Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States, which features songs characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody. Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing style with a new "musician's music", not as danceable and demanded close listening; as bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, intricate melodies. Bebop groups used rhythm sections in a way. Whereas the key ensemble of the swing era was the big band of up to fourteen pieces playing in an ensemble-based style, the classic bebop group was a small combo that consisted of saxophone, piano, double bass, drums playing music in which the ensemble played a supportive role for soloists.
Rather than play arranged music, bebop musicians played the melody of a song with the accompaniment of the rhythm section, followed by a section in which each of the performers improvised a solo returned to the melody at the end of the song. Some of the most influential bebop artists, who were composer-performers, are: tenor sax players Dexter Gordon, Sonny Rollins, James Moody; the term "bebop" is derived from nonsense syllables used in scat singing. It appears again in a 1936 recording of "I'se a Muggin'" by Jack Teagarden. A variation, "rebop", appears in several 1939 recordings; the first, known print appearance occurred in 1939, but the term was little-used subsequently until applied to the music now associated with it in the mid-1940s. Thelonious Monk claims that the original title "Bip Bop" for his tune "52nd Street Theme", was the origin of the name bebop; some researchers speculate that it was a term used by Charlie Christian because it sounded like something he hummed along with his playing.
Dizzy Gillespie stated that the audiences coined the name after hearing him scat the then-nameless tunes to his players and the press picked it up, using it as an official term: "People, when they'd wanna ask for those numbers and didn't know the name, would ask for bebop." Another theory is that it derives from the cry of "Arriba! Arriba!" used by Latin American bandleaders of the period to encourage their bands. At times, the terms "bebop" and "rebop" were used interchangeably. By 1945, the use of "bebop"/"rebop" as nonsense syllables was widespread in R&B music, for instance Lionel Hampton's "Hey! Ba-Ba-Re-Bop". Bebop grew out of the culmination of trends, occurring within swing music since the mid-1930s: less explicit timekeeping by the drummer, with the primary rhythmic pulse moving from the bass drum to the high hat cymbal; the path towards rhythmically streamlined, solo-oriented swing was blazed by the territory bands of the southwest with Kansas City as their musical capital. Ability to play sustained, high energy, creative solos was valued for this newer style and the basis of intense competition.
Swing-era jam sessions and "cutting contests" in Kansas City became legendary. The Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937. One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker, he was enthralled by their tenor saxophone player Lester Young, who played long flowing melodic lines that wove in and out of the chordal structure of the tune but somehow always made musical sense. Young was daring with his rhythm and phrasing as with his approach to harmonic structures in his solos, he would repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the four bar phrases that horn players had used until then, they would be extended to an odd number of measures, overlapping the musical stanzas suggested by the harmonic structure. He would take a breath in the middle of a phrase, using the pause, or "free space," as a creative device.
The overall effect was that his solos were something floating above the rest of the music, rather than something springing from it at intervals suggested by the ensemble sound. When the Basie orchestra burst onto the national scene with its 1937 recordings and nationally broadcast New York engagements, it gained a national following, with legions of saxophone players striving to imitate Young, drummers striving to imitate Jo Jones, piano players striving to imitate
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Svend Asmussen was a jazz violinist from Denmark, known as "The Fiddling Viking". A Swing style virtuoso, he played and recorded with many of the greats of Jazz, including Duke Ellington, Benny Goodman and Stephane Grappelli, he played publicly until 2010 when he had his career having spanned eight decades. At the age of 100, he died on 7 February 2017. Asmussen was born in Copenhagen, raised in a musical family, started taking violin lessons at the age of 7. At age 16 he first began to emulate his style, he started working professionally as a violinist and singer at age 17, leaving his formal training behind for good. Early in his career he worked in Denmark and on cruise ships with artists such as Josephine Baker and Fats Waller. Asmussen was influenced by Stuff Smith, whom he met in Denmark. Asmussen played with Valdemar Eiberg and Kjeld Bonfils during World War II, during which time jazz had moved to the underground and served as a form of political protest. In the late 1950s, Asmussen formed the trio Swe-Danes with singer Alice Babs and guitarist Ulrik Neumann.
The group became popular in Scandinavia for their music hall style entertainment and toured the United States. Asmussen worked with Benny Goodman, Lionel Hampton, Duke Ellington. Asmussen was invited by Ellington to play on his Jazz Violin Session recording in 1963 with Stéphane Grappelli and Ray Nance. In 1966 Asmussen appeared alongside Grappelli, Stuff Smith, Jean-Luc Ponty in a jazz Violin Summit in Switzerland, issued as a live recording, he made an appearance at the 1967 Monterey Jazz Festival, which included a celebrated violin summit with him, Ray Nance and Jean-Luc Ponty. In 1969 he guested on "Snakes in a Hole," an album by the jazz-rock band Made in Sweden, he was still active playing violin at the age of 94. He turned 100 in February 2016. A few weeks before Asmussen would have turned 101, on 7 February 2017, he died peacefully in his sleep. Asmussen's collection of jazz music, photographs and other material is held in the jazz collections at the University Library of Southern Denmark.
Asmussen's son, Claus Asmussen, is a guitar player in Denmark and a former member of the band Shu-Bi-Dua. 1951: Svend Asmussen 1953: Plays Hot Fiddle 1955: Svend Asmussen And His Unmelancholy Danes 1955: Svend Asmussen And His Unmelancholy Danes, Vol. 2 1955: Skol! 1956: Asmussen Moods 1961: Spielt Welterfolge 1965: Evergreens 1966: & De Gode Gamle 1968: Svend Asmussen Spelar Nordiskt 20-30-Tal 1975: Spelar Nordiskt 20-30-Tal 1979: Dance Along With Svend Asussen 1983: String Swing, featuring Ulf Wakenius 1983: June Night 1984: Svend Asmussen at Slukafter 1989: Fiddler Supreme 1994: Fiddling Around 1999: Fit as a Fiddle 2002: Still Fiddling 2008: When You Are Smiling 2009: Rhythm Is Our Business 2009: Makin' Whoopee...and Music! 2011: The Jazz Man Hitler Failed to Silence With Ulrik Neumann1959: Danish Imports 1962: En Kväll Med Svend Och Ulrik With Duke Ellington1963: Jazz Violin Session With Jan Johansson1968: Jazz På Ungerska With Toots Thielemans1972: Toots & Svend 1973: Yesterday And Today With Eric Ericson and Kammarkören1972: Kammarkören & Eric Ericsson Möter Svend Asmussen 1973: Kammarkören & Eric Ericson Möter Svend Asmussen Igen With Putte Wickman and Ivan Renliden1975: Musik I Kyrkan 1976: Telemann Today, including with Niels Henning Ørsted-Pedersen 1977: Spelar För Er With others1962: European Encounter, with John Lewis 1964: Scandinavian Songs with Alice and Svend, with Alice Babs 1965: Be'Swing'Te Party, with Bent Fabric 1966: Violin-Summit, with Stuff Smith, Stéphane Grappelli and Jean-Luc Ponty 1966: Swing with Svend, with Dieter Reith 1968: Two of a Kind, with Stéphane Grappelli 1975: Amazing Strings, with Christian Schmitz-Steinberg presenting Svend Asmussen 1978: As Time Goes By, with Lionel Hampton 1978: Prize/Winners, with Kenny Drew, Niels-Henning Ørsted Pedersen and Ed Thigpen 1982: Garland, Dr. L. Subramaniam featuring Svend Asmussen 1987: On the Good Ship Lollipop, with Teresa Brewer 1988: Svingin' with Svend, with David Grisman Quintet featuring Svend Asmussen Sources Brooks, Richard.
"Svend Asmussen: Phenomenal Jazz Fiddler". FiddlerMagazine.com. Retrieved 2006-06-02. Lowe, James. "The Phenomenal Danish Fiddler". Yodaslair.com. Retrieved 2006-06-02. Notes The Jazz collections at the University Library of Southern Denmark AllMusic Biography by Scott Yanow Svend Asmussen: Phenomenal Jazz Fiddler by Richard J. Brooks Svend Asmussen on YouTube
Jesper Thilo is a Danish jazz musician known as a tenor saxophonist, alto saxophonist and clarinetist. He is considered to be one of the top European straight-ahead jazz musicians of the post-1970 period. Ben Webster and Coleman Hawkins were early influences, while he developed a personal sound reminiscent of Zoot Sims. Thilo first recorded as a leader for Storyville Records in 1973 and in the 1980s on Storyville his sidemen at various times included Kenny Drew, Clark Terry and Harry "Sweets" Edison. In the 1980s he played in the Ernie Wilkins's Almost Big Band. Thilo appears on the Miles Davis album Aura recorded in 1985. In 1991 he worked with Hank Jones in a quintet. Jesper Thilo was born on Christianshavn in Copenhagen in 1941 to a pianist-actress mother and a father, an architect, he started to play clarinet at age 11 and from 1955 to 1960 he played clarinet and trombone in various amateur Dixieland jazz bands with occasional paid jobs as a musician. Early he knew that he wanted to become a professional jazz musician but to get an education he chose to study classical clarinet at the Royal Danish Academy of MusicWhile still a student at the Academy, Thilo joined Arnved Meyer's orchestra where he played from 1960 to 1964 and again from 1967 to 1974 and it was Arnved Meyer who convinced him to shift to saxophone.
In Meyer's band he played with musicians such as Ben Webster, Benny Carter, Harry Edison, Roy Eldridge and Coleman Hawkins. During this part of his career his virile Swing style chiefly inspired by Hawkins. Besides his engagement in Meyer's orchestra, Thilo played in his own band, a quintet which he had founded in 1965 and co-lead with Torolf Mølgaard and Bjarne Rostvold. From 1966 to 1989 Thilo was a member of the DR Big Band where he under bandleaders such as Palle Mikkelborg and Thad Jones played alto saxophone but also tenor saxophone, soprano saxophone, baritone saxophone, concert flute, clarinet or bass clarinet. Up through the 1980s he played in Ernie Wilkins' Almost Big Band. Other collaborators have included Niels Jørgen Steen. In 1989 he left the DR Big Band and Ernie Wilkins's orchestra to lead his own bands with members such as Søren Kristiansen, Olivier Antunes, Hugo Rasmussen og Svend-Erik Nørregaard. 1980: Tribute to Frog with Richard Boone, Jesper Lundgaard, Svend-Erik Nørregaard, Clark Terry, 1980: Copenhagen 1980 with Billy Hart, Jesper Lundgaard, Svend-Erik Nørregaard, Clark Terry, Mads Vinding 1980: Swingin' Friends with Jesper Thilo Quintet 1986: Featuring Harry Edison with Harry Edison and Jesper Thilo Quintet 1990: Shufflin' 1994: Don't Count Him Out 1994: Jesper Thilo Quintet: With Hank Jones with Hank Jones, Svend-Erik Nørregaard, Doug Raney, Hugo Rasmussen 2000: Strike Up the Band with Bob Barnard, Romano Cavicchiolo, Henri Chaix, Stephan Kurmann 2004: Snap Your Fingers 2009: Remembering Those Who Were 2010: Plays Duke Ellington 2014: Stardust with Olivier Antunes, Bo Stief, Frands Rifbjerg Compilations: 1994: Copenhagen 1980 2005: Jesper Thilo and the American Stars, Vol. 1 2005: Jesper Thilo and the American Stars, Vol. 2 With Tommy Flanagan Flanagan's Shenanigans With Thad Jones 1978: Live at Montmartre with Idrees Sulieman, Allan Botschinsky, NHOP With Roland Hanna 1987: This Time It's Real with JensThilo Quartet With Miles Davis 1989: Aura With Scot Hamilton 2012: Scott Hamilton Meets Jesper Thilo 1971: Danish jazz musician of the year 1977: Ben Webster Prize
Oscar Pettiford was an American jazz double bassist and composer. He was one of the earliest musicians to work in the bebop idiom. Pettiford was born at Oklahoma, his mother was Choctaw, his father was half Cherokee and half African American. He grew up playing in the family band in which he sang and danced before switching to piano at the age of 12 to double bass when he was 14, he is quoted as saying he did not like the way people were playing the bass so he developed his own way of playing it. Despite being admired by the likes of Milt Hinton at the age of 14, he gave up in 1941 as he did not believe he could make a living. Five months he once again met Hinton, who persuaded him to return to music. In 1942 he joined the Charlie Barnet band and in 1943 gained wider public attention after recording with Coleman Hawkins on his "The Man I Love". Pettiford recorded with Earl Hines and Ben Webster around this time. After he moved to New York, he was one of the musicians who in the early 1940s jammed at Minton's Playhouse, where the music style developed, called bebop.
He and Dizzy Gillespie led a bop group in 1943. In 1945 Pettiford went with Hawkins to California, where he appeared in The Crimson Canary, a mystery movie known for its jazz soundtrack, which featured Josh White, he worked with Duke Ellington from 1945 to 1948 and for Woody Herman in 1949 before working as a leader in the 1950s. As a leader he inadvertently discovered Cannonball Adderley. After one of his musicians had tricked him into letting Adderley, an unknown music teacher, onto the stand, he had Adderley solo on a demanding piece, on which Adderley performed impressively. Pettiford is considered the pioneer of the cello as a solo instrument in jazz music, he first played the cello as a practical joke on his band leader when he walked off stage during his solo spot and came back, unexpectedly with a cello and played on that. In 1949, after suffering a broken arm, Pettiford found it impossible to play his bass, so he experimented with a cello a friend had lent him. Tuning it in fourths, like a double bass, but one octave higher, Pettiford found it possible to perform during his rehabilitation and made his first recordings with the instrument in 1950.
The cello thus became his secondary instrument, he continued to perform and record with it throughout the remainder of his career. He recorded extensively during the 1950s for the Debut, Bethlehem and ABC Paramount labels among others. During the mid-1950s he played on the first three albums Thelonious Monk's recorded for the Riverside label. In 1958 he moved to Copenhagen and started recording for European companies. After his move to Europe he performed with European musicians, like Atilla Zoller, with other Americans who had settled in Europe, like Bud Powell and Kenny Clarke, he died in 1960 in Copenhagen, from a virus related to polio. Along with his contemporary, Charles Mingus, Pettiford stands out as one of the most-recorded bass-playing bandleader/composers in jazz. Bass Hits The New Oscar Pettiford Sextet Oscar Pettiford Sextet Oscar Pettiford Basically Duke Another One The Oscar Pettiford Orchestra in Hi-Fi The Oscar Pettiford Orchestra in Hi-Fi Volume Two Discoveries Winner's Circle with John Coltrane Vienna Blues – The Complete Session with Hans Koller, Attila Zoller, Jimmy Pratt The Complete Essen Jazz Festival Concert, with Coleman Hawkins, Bud Powell, Kenny Clarke My Little Cello released as Last Recordings of the Late Great Bassist and Montmartre Blues First Bass Kenny Burrell: Swingin' Art Blakey: Drum Suite The Birdlanders: Vol. 2 with Kai Winding, Al Cohn, Tal Farlow, Duke Jordan, Max Roach, Denzil Best Sid Catlett: 1944–1946 Teddy Charles: 3 for Duke Jimmy Cleveland: Introducing Jimmy Cleveland and His All Stars Earl Coleman: Earl Coleman Returns Chris Connor & John Lewis Quartet: Chris Connor Miles Davis: The Musings of Miles Miles Davis: Miles Davis Volume 1/Miles Davis Volume 2 Kenny Dorham: Jazz Contrasts Afro-Cuban Duke Ellington: Carnegie Hall Concert January 1946 Duke Ellington: Carnegie Hall Concert December 1947.
Tal Farlow: Jazz Masters 41.
Classical music is art music produced or rooted in the traditions of Western culture, including both liturgical and secular music. While a more precise term is used to refer to the period from 1750 to 1820, this article is about the broad span of time from before the 6th century AD to the present day, which includes the Classical period and various other periods; the central norms of this tradition became codified between 1550 and 1900, known as the common-practice period. The major time divisions of Western art music are as follows: the ancient music period, before 500 AD the early music period, which includes the Medieval including the ars antiqua the ars nova the ars subtilior the Renaissance eras. Baroque the galant music period the common-practice period, which includes Baroque the galant music period Classical Romantic eras the 20th and 21st centuries which includes: the modern that overlaps from the late-19th century, impressionism that overlaps from the late-19th century neoclassicism, predominantly in the inter-war period the high modern the postmodern eras the experimental contemporary European art music is distinguished from many other non-European classical and some popular musical forms by its system of staff notation, in use since about the 11th century.
Catholic monks developed the first forms of modern European musical notation in order to standardize liturgy throughout the worldwide Church. Western staff notation is used by composers to indicate to the performer the pitches, tempo and rhythms for a piece of music; this can leave less room for practices such as improvisation and ad libitum ornamentation, which are heard in non-European art music and in popular-music styles such as jazz and blues. Another difference is that whereas most popular styles adopt the song form or a derivation of this form, classical music has been noted for its development of sophisticated forms of instrumental music such as the symphony, fugue and mixed vocal and instrumental styles such as opera and mass; the term "classical music" did not appear until the early 19th century, in an attempt to distinctly canonize the period from Johann Sebastian Bach to Ludwig van Beethoven as a golden age. The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1829.
Given the wide range of styles in European classical music, from Medieval plainchant sung by monks to Classical and Romantic symphonies for orchestra from the 1700s and 1800s to avant-garde atonal compositions for solo piano from the 1900s, it is difficult to list characteristics that can be attributed to all works of that type. However, there are characteristics that classical music contains that few or no other genres of music contain, such as the use of music notation and the performance of complex forms of solo instrumental works. Furthermore, while the symphony did not exist prior to the late 18th century, the symphony ensemble—and the works written for it—have become a defining feature of classical music; the key characteristic of European classical music that distinguishes it from popular music and folk music is that the repertoire tends to be written down in musical notation, creating a musical part or score. This score determines details of rhythm, and, where two or more musicians are involved, how the various parts are coordinated.
The written quality of the music has enabled a high level of complexity within them: fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be difficult to achieve in the heat of live improvisation. The use of written notation preserves a record of the works and enables Classical musicians to perform music from many centuries ago. Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced; that said, the score does allow the interpreter to make choices on. For example, if the tempo is written with an Italian instruction, it is not known how fast the piece should be played; as well, in the Baroque era, many works that were designed for basso continuo accompaniment do not specify which instruments should play the accompaniment or how the chordal instrument should play the chords, which are not notated in the part.
The performer and the conductor have a range of options for musical expression and interpretation of a scored piece, including the phrasing of melodies, the time taken during fermatas or pauses, the use of effects such as vibrato or glissando. Although Classical music in the 2000s has lost most of its tradition for musical improvisation, from the Baroque era to the Romantic era, there are examples of performers who could improvise in the style of their era. In the Baroque era, organ performers would improvise preludes, keyboard performers playing harpsichord would improvise chords from the figured bass symbols beneath the bass notes of the basso continuo part and b
Alex Riel is a Danish jazz and rock drummer. His first group Alex Riel/Palle Mikkelborg Quintet won Montreux Grand Prix Award at the Montreux Jazz Festival in 1968 and it was published in Billboard's June 1968 edition, he is married to the writer Ane Riel. Riel has recorded with, among others, Kenny Drew, Kenny Werner, Bob Brookmeyer, Thomas Clausen, Bill Evans, Eddie "Lockjaw" Davis, Jackie McLean, Dexter Gordon, he has worked with a wide range of important jazz musicians, including Ray Brown, Donald Byrd, Don Cherry, Art Farmer, Stéphane Grappelli, Hank Jones, Thad Jones, Ben Webster. He formed a renowned jazz ensemble with bass player Niels-Henning Ørsted Kenny Drew, he was a founding member in 1968 of the popular Danish rock group The Savage Rose. His album The Riel Deal won a Danish Grammy Award Jazz in 1996. In September 2010, Riel reached seventy years of an age and it was celebrated at the famed Jazzhus Montmartre; the event was broadcast live with the title Celebration of a Living Jazz Legend by the Danish national television station TV2, showing rare photos depicting Riel with Duke Ellington, Ben Webster, Bill Evans and The Savage Rose.
Alex Riel married Ane Riel in 2002. They have lived in Liseleje in North Zealand since 2005. Danish Jazz Musician Award 1965 presented by Duke Ellington and Sam Woodyard Ben Webster 90 Years Honorary Prize 1999 Danish Grammy Award Jazz in 1996 for Riel's album The Riel Deal Life Time Achievement Award from IFPI 2007 Alex Riel Trio with Kenny Drew, Niels-Henning Ørsted Pedersen Emergence with Jesper Lundgaard, Jerry Bergonzi The Riel Deal with Kenny Werner, Jerry Bergonzi Unriel with Jerry Bergonzi, Michael Brecker, Eddie Gómez, Mike Stern, Niels Lan Doky DSB Kino with Harry Sweets Edison, Roger Kellaway Rielatin with Jerry Bergonzi, Mike Stern, Kenny Werner Celebration Live at Jive Alex Riel/Luts Büchner Quartet What Happened? Alex Riel Trio The High & The Mighty Alex Riel Trio Live at Stars Alex Riel Quartet feat. Charlie Mariano Riel Time Alex Riel Quartet Get Riel With Eddie "Lockjaw" Davis Swingin' Till the Girls Come Home With Dexter Gordon Cheese Cake King Neptune Love for Sale It's You or No One Billie's Bounce Loose Walk Misty Heartaches Ladybird More Than You Know Swiss Nights Vol. 1 Swiss Nights Vol. 2 Swiss Nights Vol. 3 Lullaby for a Monster With Ken McIntyre Hindsight With Jackie McLean Live at Montmartre Ode to Super with Gary Bartz A Ghetto Lullaby The Meeting with Dexter Gordon The Source with Dexter GordonWith Archie Shepp and Lars Gullin The House I Live In With Sahib Shihab Sahib's Jazz Party With Thorgeir Stubø Flight With Ben Webster My Man: Live at Montmartre 1973 Official site