1.
Jason Gillespie
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His primary role was as a right-arm fast bowler, but he was also a competent lower-order batsman with a Test double century, an unbeaten 201. He was an AIS Australian Cricket Academy scholarship holder in 1995 and he made his Test debut against the West Indies at Sydney in 1996 and his One Day International debut against Sri Lanka at Colombo in the Singer World Series in 1996. On 29 February 2008, Gillespie announced his retirement from cricket in Australia. At the end of the 2008 English domestic season he retired from all first-class cricket, as Yorkshire County Cricket Clubs first team coach from 2012 to 2016, he guided them to two County Championship titles. Jason Gillespie is a descendant on his fathers side of the Kamilaroi people of Indigenous Australians and he attended Cabra Dominican College in Adelaide, South Australia. The couple have four children, Jackson, Brandon Kingston and a daughter, Delaney, Gillespie has another daughter, Sapphire from a previous relationship. Gillespie took 259 wickets in 71 Tests making him Australias sixth-highest wicket-taker, in terms of pace, he bowled in the mid 140s-150 km/h mark in his early career up to about 2001. When he made his comeback in the 2000/01 season, he bowled more consistently, consistent injuries forced Gillespie to operate from a shorter run-up and therefore reduce his pace. Gillespie seldom dominated a Test series, but he was a support bowler over several years for his more famous teammates Glenn McGrath. However, Gillespies career suffered a sharp decline. In early 2005, there were signs that he was struggling, with somewhat poor displays against New Zealand. This poor form continued into the 2005 Ashes series where he struggled badly, after the Ashes series Gillespie took 40 wickets for South Australia during the 2005/06 Pura Cup Season. He was the fourth-highest wicket taker in the competition, with an average far below the leading wicket takers. His best figures came against Victoria where he took 7-35 and these performances saw him make a return to the Australian Test side against Bangladesh after injury problems to the first choice attack. Gillespie was named man of the series after taking 8 wickets, Gillespie occasionally proved his worth with the bat, with a highest Test score of 201 not out and an average of 18.73. He is the player in Test cricket with a career batting average of less than 20 to reach 200 runs in an innings. Also, given his low back lift, he could defend or deflect shots from spin bowlers more readily and he has a one-day international high score of 44 not out and he averages 12.56 in one-day internationals with an impressive strike rate of 78.53. In the second Test match against Bangladesh at Chittagong on 19 April 2006 and this was Gillespies maiden first-class century
2.
Normandy
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Normandy is one of the regions of France, roughly corresponding to the historical Duchy of Normandy. Administratively, Normandy is divided into five departments, Calvados, Eure, Manche, Orne and it covers 30,627 km², forming roughly 5% of the territory of France. Its population of 3.37 million accounts for around 5% of the population of France, Normans is the name given to the inhabitants of Normandy, and the region is the homeland of the Norman language. The historical region of Normandy comprised the region of Normandy, as well as small areas now part of the départements, or departments of Mayenne. For a century and a following the Norman conquest of England in 1066, Normandy and England were linked by Norman. Archaeological finds, such as paintings, prove that humans were present in the region in prehistoric times. Celts invaded Normandy in successive waves from the 4th to the 3rd century BC, when Julius Caesar invaded Gaul, there were nine different Celtic tribes living in Normandy. The Romanisation of Normandy was achieved by the methods, Roman roads. Classicists have knowledge of many Gallo-Roman villas in Normandy, in the late 3rd century, barbarian raids devastated Normandy. Coastal settlements were raided by Saxon pirates, Christianity also began to enter the area during this period. In 406, Germanic tribes began invading from the east, while the Saxons subjugated the Norman coast, the Roman Emperor withdrew from most of Normandy. As early as 487, the area between the River Somme and the River Loire came under the control of the Frankish lord Clovis, the Vikings started to raid the Seine Valley during the middle of the 9th century. As early as 841, a Viking fleet appeared at the mouth of the Seine, after attacking and destroying monasteries, including one at Jumièges, they took advantage of the power vacuum created by the disintegration of Charlemagnes empire to take northern France. The fiefdom of Normandy was created for the Norwegian Viking leader Hrólfr Ragnvaldsson, Rollo had besieged Paris but in 911 entered vassalage to the king of the West Franks, Charles the Simple, through the Treaty of Saint-Clair-sur-Epte. In exchange for his homage and fealty, Rollo legally gained the territory which he, the name Normandy reflects Rollos Viking origins. The descendants of Rollo and his followers adopted the local Gallo-Romance language and they became the Normans – a Norman-speaking mixture of Saxons and indigenous Franks and Celts. Besides the Norman conquest of England and the subsequent conquests of Wales and Ireland, Norman families, such as that of Tancred of Hauteville, Rainulf Drengot and Guimond de Moulins played important parts in the Norman conquest of southern Italy and Crusades. They also carved out a place for themselves and their descendants in the Crusader states of Asia Minor, the 14th century Norman explorer Jean de Béthencourt established a kingdom in the Canary Islands
3.
Cheraw, South Carolina
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Cheraw is a town on the Pee Dee River in Chesterfield and Marlboro counties, South Carolina, United States. The population was 5,851 at the 2010 census and it has been nicknamed The Prettiest Town in Dixie. The harbor tug USS Cheraw was named in the towns honor, when the first Europeans arrived in the area it was inhabited by the Cheraw and Pee Dee American Indian tribes. The Cheraw lived near the hill, near present-day Cheraw. Survivors joined the Catawba Confederacy for safety and left their name in history, only a few scattered Cheraw families remained by the time of the American Revolution. A few European settlers entered their territory in the 1730s, forced upriver when the Welsh came to claim the Welsh Baptist lands granted by the English government in the area around Society Hill. Many of the settlers of the 1740s in Cheraw were ethnic English, Scots, French Huguenots. By 1750, Cheraw had become an established Anglo-American village with a growing river trade and it was one of only six places in South Carolina that appeared on English maps at the time. In the 1760s, Joseph and Eli Kershaw were granted the part of Cheraw that is now the historic district. The Kershaws laid out a street system. By 1830 settlers lined all the streets with rows of elms, the Kershaws originally called the town Chatham, but people never accepted this name, continuing to call it Cheraw or Cheraw Hill. There was a lack of organization and rule during the beginning of the 1740s in the backcountry of South Carolina and this lack of organization and unrest was an underlying cause of the resentment people of these areas felt toward the British Crown. In the Pee Dee area, planters organized a group called the Regulators to help bring order to the area. In 1768 St. David’s Parish, the last Anglican Church built in South Carolina under King George III, was established to serve the civic. Later a judicial district and courthouse were established to deal with the problem of order. However, there was much discontent with the ruling authority. Many area men played prominent roles in the American Revolution and they included Claudius Pegues, General Henry W. Harrington, the Ellerbe brothers, Philip Pledger, and Eli Kershaw. Other towns in this line of defense included Camden, South Carolina, Cheraw also became a strategic point for the Americans
4.
Englewood, New Jersey
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Englewood is a city located in Bergen County, New Jersey, United States. Englewood was incorporated as a city by an act of the New Jersey Legislature on March 17,1899, from portions of Ridgefield Township, with the creation of the City of Englewood, Englewood Township was dissolved. An earlier referendum on March 10,1896, was declared unconstitutional, Englewood Township, the citys predecessor, is believed to have been named in 1859 for the Engle family. Other sources indicate that the name is derived from wood ingle, meaning woody nook, numerous other settlements in the United States were named for Englewood as settlement in North America expanded westward. J. Wyman Jones is credited with convincing residents to choose Englewood for the name when it was incorporated over such alternatives as Brayton. Englewood, like the rest of New Jersey, was populated by Lenape Native Americans prior to European colonization, the Lenape who lived in the Englewood region were of the turtle clan which used a stylized turtle as its symbol, but little else is known of those inhabitants. In 1664, after the Dutch surrendered all of New Netherland to England, the English were generous with land grants, and many families, not only English but also Dutch and Huguenot, settled the area, which during the colonial era was known as the English Neighborhood. From 1906 until March 16,1907, when it burned down, Englewood was the site of Upton Sinclairs socialist-inflected intentional community, associated with the project were Charlotte Perkins Gilman and Sinclair Lewis. The United States telephone industry introduced direct distance dialing to the public in Englewood, on November 10,1951, Englewood Mayor M. Leslie Denning made the first customer-dialed long distance call, to Mayor Frank Osborne of Alameda, California. Two years after his graduation from Fordham University, Vince Lombardi began his coaching career at Englewoods St. Cecilia High School. Unincorporated communities, localities and place names located partially or completely within the city include Highwood, the city borders Bergenfield, Englewood Cliffs, Fort Lee, Leonia, Teaneck and Tenafly. As of the census of 2010, there were 27,147 people,10,057 households, the population density was 5,524.6 per square mile. There were 10,695 housing units at a density of 2,176.5 per square mile. The racial makeup of the city was 45. 28% White,32. 58% Black or African American,0. 54% Native American,8. 10% Asian,0. 04% Pacific Islander,9. 73% from other races, and 3. 72% from two or more races. [[Hispanic |Hispanic or Latino of any race were 27. 48% of the population,27. 3% of all households were made up of individuals, and 9. 6% had someone living alone who was 65 years of age or older. The average household size was 2.68 and the family size was 3.24. In the city, the population was out with 22. 2% under the age of 18,7. 7% from 18 to 24,28. 9% from 25 to 44,27. 0% from 45 to 64. The median age was 38.9 years, for every 100 females there were 90.0 males
5.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, 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 rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a 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. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
6.
Bebop
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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, Bebop groups used rhythm sections in a way that expanded their role. The term bebop is derived from nonsense syllables used in scat singing and it appears again in a 1936 recording of Ise a Muggin by Jack Teagarden. A variation, rebop, appears in several 1939 recordings, the first, known print appearance also occurred in 1939, but the term was little-used subsequently until applied to the music now associated with it in the mid-1940s. Some researchers speculate that it was a used by Charlie Christian because it sounded like something he hummed along with his playing. Another theory is that it derives from the cry of Arriba, used by Latin American bandleaders of the period to encourage their bands. At times, the bebop and rebop were used interchangeably. By 1945, the use of bebop/rebop as nonsense syllables was widespread in R&B music, ability to play sustained, high energy, and creative solos was highly 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 an alto saxophone player named Charlie Parker. Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos and he would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the two or four bar phrases that players had used until then. They would often be extended to an odd number of measures and 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, Parker played along with the new Basie recordings on a Victrola until he could play Youngs solos note for note. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new language of bebop. That solo showed a sophisticated harmonic exploration of the tune, with implied passing chords, Hawkins would eventually go on to lead the first formal recording of the bebop style in early 1944. As the 1930s turned to the 1940s, Parker went to New York as a player in the Jay McShann Orchestra. Guitarist Charlie Christian, who had arrived in New York with the Benny Goodman Orchestra in 1939 was, like Parker, christians major influence was in the realm of rhythmic phrasing
7.
Afro-Cuban jazz
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Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation, Afro-Cuban jazz first emerged in the early 1940s with the Cuban musicians Mario Bauza and Frank Grillo Machito in the band Machito and his Afro-Cubans, based in New York City. Early combinations of jazz with Cuban music, such as Dizzys and Pozos Manteca and Charlie Parkers and Machitos Mangó Mangüé, were referred to as Cubop. During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba itself, in the early 1970s, the Orquesta Cubana de Música Moderna and later Irakere brought Afro-Cuban jazz into the Cuban music scene, influencing new styles such as songo. Although true clave-based Afro-Cuban jazz did not appear until the mid-twentieth century, African American music began incorporating Afro-Cuban musical motifs in the nineteenth century, when the habanera gained international popularity. The habanera was the first written music to be based on an African motif. The habanera rhythm can be thought of as a combination of tresillo, musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera, reached the U. S.20 years before the first rag was published, scott Joplins Solace is considered a habanera. For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, early New Orleans jazz bands had habaneras in their repertoire and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. Comparing the music of New Orleans with the music of Cuba, although technically, the pattern is only half a clave, Marsalis makes the important point that the single-celled figure is the guide-pattern of New Orleans music. Handy has a bass line. I began to suspect there was something Negroid in that beat. Jelly Roll Morton considered the tresillo/habanera to be an ingredient of jazz. The habanera rhythm and tresillo can be heard in his hand on songs like The Crave. Now in one of my earliest tunes, “New Orleans Blues, in fact, if you can’t manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz—Morton. Although the exact origins of jazz syncopation may never be known, buddy Bolden, the first known jazz musician, is credited with creating the big four, a habanera-based pattern. The big four was the first syncopated bass drum pattern to deviate from the standard on-the-beat march, as the example below shows, the second half of the big four pattern is the habanera rhythm. It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz, because they could be adapted more readily to European rhythmic conceptions
8.
RCA Records
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RCA Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. It is one of SMEs three flagship labels, alongside Columbia Records and Epic Records. The label has released multiple genres of music, including pop, rock, hip hop, R&B, blues, jazz, the companys name is derived from the initials of the labels former parent company, the Radio Corporation of America. It is the second oldest recording company in US history, after sister label Columbia Records, RCAs Canadian unit is Sonys oldest label in Canada. It was one of only two Canadian record companies to survive the Great Depression, kelly, Enrique Iglesias, Foo Fighters, Kings of Leon, Kesha, Miley Cyrus, Giorgio Moroder, Jennifer Hudson, DAngelo, Pink, Tinashe, G-Eazy, Pitbull, Zayn and Wizkid. In 1929, the Radio Corporation of America purchased the Victor Talking Machine Company, then the worlds largest manufacturer of phonographs and phonograph records. The company then became RCA Victor but retained use of the Victor Records name on their labels until the beginning of 1946 when the labels were finally switched over to RCA Victor. With Victor, RCA acquired New World rights to the famous Nipper His Masters Voice trademark, in Shanghai, China, in 1931, RCA Victors British affiliate the Gramophone Company merged with the Columbia Graphophone Company to form EMI. This gave RCA head David Sarnoff a seat on the EMI board, in September 1931, RCA Victor introduced the first 33⅓ rpm records sold to the public, calling them Program Transcriptions. In the depths of the Great Depression, the format was a commercial failure, during the early part of the depression, RCA made a number of attempts to produce a successful cheap label to compete with the dime store labels. The first was the short-lived Timely Tunes label in 1931 sold at Montgomery Ward, in 1932, Bluebird Records was created as a sub-label of RCA Victor. It was originally an 8-inch record with a blue label. In 1933, RCA reintroduced Bluebird and Electradisk as a standard 10-inch label, another cheap label, Sunrise, was produced. The same musical couplings were issued on all three labels and Bluebird Records still survives eight decades after Electradisk and Sunrise were discontinued, RCA also produced records for Montgomery Ward label during the 1930s. Besides manufacturing records for themselves, RCA Victor operated RCA Custom which was the leading record manufacturer for independent record labels, RCA Custom also pressed record compilations for The Readers Digest Association. RCA sold its interest in EMI in 1935, but EMI continued to distribute RCA recordings in the UK, RCA also manufactured and distributed HMV classical recordings on the RCA and HMV labels in North America. During World War II, ties between RCA and its Japanese affiliate JVC were severed, the Japanese record company is today called Victor Entertainment and is still a JVC subsidiary. From 1942 to 1944, RCA Victor was seriously impacted by the American Federation of Musicians recording ban, virtually all union musicians could not make recordings during that period
9.
Savoy Records
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Savoy Records is an American record company and label established by Herman Lubinsky in 1942 in Newark, New Jersey. Savoy specialized in jazz, rhythm and blues, and gospel music, in the 1940s Savoy recorded some of the biggest names in jazz, Miles Davis, Erroll Garner, Dexter Gordon, J. J. Johnson, Fats Navarro, and Charlie Parker. In 1948, it began buying other labels, Bop, Discovery, National and it also reissued music from Jewel Records. In the early 1960s, Savoy recorded a number of jazz artists. They included Paul Bley, Ed Curran, Bill Dixon, Mark Levin, Charles Moffett, Perry Robinson, Joseph Scianni, Archie Shepp, Sun Ra, Marzette Watts, after Lubinskys death in 1974, Clive Davis, then manager of Arista Records, acquired Savoys catalogue. After that, Joe Fields of Muse Records purchased the catelogue from Arista, in 1986 Malaco Records acquired Savoys black gospel titles and contracts. In 2003, Savoy Jazz acquired the rights to the Muse, as of 2012, the Savoy library is primarily controlled by Nippon Columbia, a public company based in Tokyo, which purchased Savoy in 1991. Nippon Columbias wholly owned subsidiary, Savoy Jazz, handled Savoy Records distribution in the United States until 2009, many of the labels African-American artists begrudged the labels founder, Herman Lubinsky, feeling underpaid for their work. Tiny Price, a journalist for the African-American newspaper The Newark Herald News, said of Savoy and Lubinsky, if he messed with you, you were messed. At the same time, some of people, many of them Newarks top singers and musicians. Except for Lubinsky, all the hot little numbers, like Buddy Johnsons Cherry, the man may have been hated, but he saved a lot of our history for us and for future generations. Savoys artistic directors included Buck Ram, Teddy Reig, Ralph Bass, Fred Mendelsohn, the following are 12 LPs and have the prefix MG. Acorn Records Gospel Records Regent Records Sharp Records List of record labels Ruppli, Michel, Porter, official website SavoyJazz. com Savoy Records Discography Project
10.
Verve Records
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Verve Records is an American record company operating under the newly-founded Verve Label Group distributed by Interscope Geffen A&M Records. It was founded in 1956 by Norman Granz and it absorbed the catalogues of his earlier labels, Clef Records and Norgran Records, and material previously licensed to Mercury Records. It has been under ownership of Universal Music Group and has expanded to scope newer artists. Norman Granz created Verve to produce new recordings by Ella Fitzgerald, whom he managed, the catalog grew throughout the 1950s and 1960s to include Charlie Parker, Bill Evans, Stan Getz, Billie Holiday, Oscar Peterson, Ben Webster, and Lester Young. Milton Rudin, his attorney, represented Frank Sinatra and knew that Sinatra wanted his own label, Sinatra and Granz made a handshake deal, but negotiations broke down over price and Sinatras desire that Granz remain head of the label. Granz sold Verve to MGM in 1961, Sinatra established Reprise Records and hired Mo Ostin, an executive at Verve, to run it. At Verve, Creed Taylor was made head producer, Taylor adopted a more commercial approach, canceling several contracts. He brought bossa nova to America with the release of Jazz Samba by Stan Getz and Charlie Byrd, Getz/Gilberto, Verves notable arrangers included Claus Ogerman and Oliver Nelson. According to Ogerman in Jazzletter, he arranged 60–70 albums for Verve from 1963–1947, in 1964, Taylor supervised the creation of a folk music subsidiary named Verve Folkways, later renamed Verve Forecast. Taylor left Verve in 1967 to form CTI Records, aside from jazz, Verves catalogue included the Righteous Brothers, the Velvet Underground, Frank Zappa & the Mothers of Invention, and the Blues Project. In the 1970s, Verve became part of the PolyGram, incorporating the Mercury/EmArcy jazz catalog, Verve Records became the Verve Music Group after PolyGram was merged with Seagrams Universal Music Group in 1998. The jazz holdings from the companies were folded into this sub-group. When Universal and Polygram merged in 1998, Verves holdings were merged with Universals GRP Recording Company to become Verve Music Group, after forays into Americana and adult contemporary music, Verve was corporately aligned with Universal Music Enterprises, and was no longer a stand-alone label within UMG. The Verve imprint itself manages much of the catalog that once belonged to PolyGram. Meanwhile, GRP manages the rest of MCA/Universals jazz catalog, including releases once issued on the Decca, the Verve Music Group has expanded its output beyond jazz to include crossover classical music, progressive pop and show tunes. Official site Article about Creed Taylor
11.
Improvisation
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Improvisation is the term for the action of improvising. In a technical context, this can mean adapting a device for use other than that which it was designed for, or building a device from unusual components in an ad-hoc fashion. Improvisation, within the context of performing arts, is a spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to different faculties, across all artistic, scientific, physical, cognitive, academic. Musical improvisation is usually defined as the composition of music, without prior preparation, improvisational comedy is a theatre art performed throughout the world and has had on-again, off-again status throughout history. Dance improvisation is frequently used as a choreographic tool, choreography is also frequently used as a tool for improvisation. Improvisation also exists outside the arts, Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Improvised weapons are used by guerrillas, insurgents and criminals. Improvisation in engineering is to solve a problem with the tools and materials immediately at hand, engineering improvisations may be needed because of emergencies, embargo, obsolescence of a product and the loss of manufacturer support, or just a lack of funding appropriate for a better solution. Users of motor vehicles in parts of Africa develop improvised solutions where it is not feasible to obtain manufacturer-approved spare parts. The popular television program MacGyver used as its gimmick a hero who could solve almost any problem with jury rigged devices from everyday materials, a Swiss Army knife and some duct tape. Improvisation can be thought of as an on the spot or off the cuff spontaneous moment of sudden inventiveness that can just come to mind, body, no preparation or training is needed. However, improvisation in any life or art form, can more often if it is practiced as a way of encouraging creative behavior. That practice includes learning to use ones intuition, as well as learning a technical understanding of the necessary skills and this can result in the invention of new thought patterns, new practices, new structures or symbols, and/or new ways to act. Improvisation was originally used on dramatic television. Techniques of improvisation are used in training for performing arts or entertainment, for example, music, theatre. To extemporize or ad lib is basically the same as improvising, colloquial terms such as lets play it by the ear, take it as it comes, and make it up as we go along are all used to describe improvisation. Where the improvisation is intended to solve a problem on a temporary basis and this applies to the field of engineering
12.
Roy Eldridge
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David Roy Eldridge, commonly known as Roy Eldridge, and nicknamed Little Jazz, was an American jazz trumpet player. Eldridge began playing the piano at the age of five, he claims to have been able to play coherent blues licks at even this young age. The young Eldridge looked up to his brother, Joe Eldridge, particularly because of Joes diverse musical talents on the violin, alto saxophone. Roy took up the drums at the age of six, taking lessons, Joe recognized his brothers natural talent on the bugle, which Roy played in a local church band, and tried to convince Roy to play the valved trumpet. When Roy began to play drums in his brothers band, Joe soon convinced him to pick up the trumpet, but Roy made little effort to gain proficiency on the instrument at first. From an early age, Roy lacked proficiency at sight-reading, a gap in his education that would affect him for much of his early career. Eldridge led and played in a number of bands during his early years and he absorbed the influence of saxophonists Benny Carter and Coleman Hawkins, setting himself the task of learning Hawkinss 1926 solo on The Stampede in developing an equivalent trumpet style. Eldridge left home after being expelled from school in ninth grade, joining a traveling show at the age of sixteen, the show soon folded, however. He was then picked up by the Greater Sheesley Carnival, Eldridge continued playing with similar traveling groups until returning home to Pittsburgh at the age of 17. At the age of 20, Eldridge led a band in Pittsburgh, billed as Roy Elliott and his Palais Royal Orchestra, many of the members of Webbs band, annoyed by the leaders lack of dedication, left to form a practically identical group with Eldridge as bandleader. The ensemble was short-lived, and Eldridge soon moved to Milwaukee, Eldridge moved to New York in November 1930, playing in various bands in the early 1930s, including a number of Harlem dance bands with Cecil Scott, Elmer Snowden, Charlie Johnson, and Teddy Hill. At this time, Eldridge was also making records and radio broadcasts under his own name and he laid down his first recorded solos with Teddy Hill in 1935, which gained almost immediate popularity. For a brief time, he led his own band at the reputed Famous Door nightclub. In October 1935, Eldridge joined Fletcher Hendersons Orchestra, playing lead trumpet, until he left the group in early September 1936, Eldridge was Hendersons featured soloist, his talent highlighted by such numbers as Christopher Columbus and Blue Lou. His rhythmic power to swing a band was a trademark of the jazz of the time. It has been said that from the mid-Thirties onwards, he had superseded Louis Armstrong as the exemplar of modern hot trumpet playing, in the fall of 1936, Eldridge moved to Chicago to form an octet with older brother Joe Eldridge playing saxophone and arranging. The ensemble boasted nightly broadcasts and made recordings that featured his extended solos, including After Youve Gone, Eldridge, fed up with the racism he had encountered in the music industry, quit playing in 1938 to study radio engineering. He was back to playing in 1939, when he formed a band that gained a residency at New Yorks Arcadia Ballroom
13.
Harmony
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In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
14.
Scat singing
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In vocal jazz, scat singing is vocal improvisation with wordless vocables, nonsense syllables or without words at all. Scat singing is a technique that requires singers with the ability to sing improvised melodies. Though scat singing is improvised, the lines are often variations on scale and arpeggio fragments, stock patterns and riffs. As well, scatting usually incorporates musical structure, will Friedwald has compared Ella Fitzgerald to Chuck Jones directing his Roadrunner cartoon—each uses predetermined formulas in innovative ways. The deliberate choice of scat syllables also is a key element in vocal jazz improvisation, syllable choice influences the pitch articulation, coloration, and resonance of the performance. Syllable choice also differentiated jazz singers personal styles, Betty Carter was inclined to use sounds like louie-ooie-la-la-la while Sarah Vaughan would prefer shoo-doo-shoo-bee-ooo-bee, the choice of scat syllables can also be used to reflect the sounds of different instruments. Humor is another important element of scat singing, cab Calloway exemplified the use of humorous scatting. In addition to such uses of language, humor is communicated in scat singing through the use of musical quotation. Leo Watson, who performed before the canon of American popular music and this is called using a compression. The 1958 song The Witch Doctor by Ross Bagdasarian Sr. creator of Alvin, Ella Fitzgerald, who performed later, was able to draw extensively on popular music in her singing. For example, in her 1960 recording of How High the Moon live in Berlin, she quotes over a dozen songs, including The Peanut Vendor, Heat Wave, A-Tisket, A-Tasket, and Smoke Gets in Your Eyes. Though Louis Armstrongs 1926 recording of Heebie Jeebies is often cited as the first song to employ scatting, one early master of ragtime scat singing was Gene Greene who recorded scat choruses in his song King of the Bungaloos and several others between 1911 and 1917. Entertainer Al Jolson scatted through a few bars in the middle of his 1911 recording of That Haunting Melody, Gene Greens 1917 From Here to Shanghai, which featured faux-Chinese scatting, and Gene Rodemichs 1924 Scissor Grinder Joe and Some of These Days also pre-date Armstrong. Cliff Ukulele Ike Edwards scatted an interlude on his 1923 Old Fashioned Love in lieu of using an instrumental soloist, harry Barris, one of Paul Whitemans The Rhythm Boys, along with Bing Crosby, scatted on several songs, including Mississippi Mud, which Barris wrote in 1927. One of the female singers to use scat was Aileen Stanley. Jelly Roll Morton credited Joe Sims of Vicksburg, Mississippi, as the creator of scat around the turn of the 20th century. Morton, Oh and that was way before Louis Armstrongs time. By the way, scat is something that a lot of people dont understand, but I must take the credit away, since I know better. The first man ever did a scat number in history of this country was a man from Vicksburg, Mississippi, by the name of Joe Sims
15.
Charlie Parker
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Charles Charlie Parker, Jr. also known as Yardbird and Bird, was an American jazz saxophonist and composer. Parker was an influential jazz soloist and a leading figure in the development of bebop. Parker was a blazingly fast virtuoso, and he introduced revolutionary harmonic ideas including rapid passing chords, new variants of altered chords and his tone ranged from clean and penetrating to sweet and somber. Parker acquired the nickname Yardbird early in his career, Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer. Charles Parker, Jr. was born in Kansas City, Kansas, and raised in Kansas City, Missouri, the child of Charles Parker and Adelaide Addie. He attended Lincoln High School in September 1934, but withdrew in December 1935, Parker began playing the saxophone at age 11, and at age 14 he joined his schools band using a rented school instrument. His father, Charles, was absent but provided some musical influence, he was a pianist. He later became a Pullman waiter or chef on the railways, Parkers mother Addie worked nights at the local Western Union office. His biggest influence at that time was a trombone player who taught him the basics of improvisation. In the late 1930s Parker began to practice diligently, during this period he mastered improvisation and developed some of the ideas that led to bebop. In an interview with Paul Desmond, he said that he spent three to four years practicing up to 15 hours a day, bands led by Count Basie and Bennie Moten certainly influenced Parker. In 1937, Parker played at a jam session at the Reno Club in Kansas City and his attempt to improvise failed when he lost track of the chord changes. This prompted Jo Jones, the drummer for Count Basies Orchestra, in 1938 Parker joined pianist Jay McShanns territory band. The band toured nightclubs and other venues of the southwest, as well as Chicago, Parker made his professional recording debut with McShanns band. As a teenager, Parker developed a morphine addiction while hospitalized after an automobile accident and he continued using heroin throughout his life, and it ultimately contributed to his death. In 1939 Parker moved to New York City, to pursue a career in music and he held several other jobs as well. He worked for nine dollars a week as a dishwasher at Jimmies Chicken Shack, in 1942 Parker left McShanns band and played for one year with Earl Hines, whose band included Dizzy Gillespie, who later played with Parker as a duo. This period is virtually undocumented, due to the strike of 1942–1943 by the American Federation of Musicians, Parker joined a group of young musicians, and played in after-hours clubs in Harlem, such as [[Clark Monroes Uptown House
16.
Miles Davis
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Miles Dewey Davis III was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz, with his ever-changing directions in music, Davis was at the forefront of a number of major stylistic developments in jazz over his five-decade career. In the early 1950s, Davis recorded some of the earliest hard bop music while on Prestige Records, after a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers and his million-selling 1970 record Bitches Brew helped spark a resurgence in the genres commercial popularity with jazz fusion as the decade progressed. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, Miles Dewey Davis III was born on May 26,1926 into an affluent middle class African-American family in Alton, Illinois,15 miles north of St. Louis. The second of three children, he had a sister, Dorothy Mae, and a younger brother. His father, Miles Dewey Davis II of Arkansas, was a dental surgeon who earned three college degrees, and his mother Cleota Mae Davis, also of Arkansas, was a music teacher. They owned a 200-acre estate near Pine Bluff, Arkansas where Davis and his siblings would ride horses, fish, and hunt. In 1927, the moved to East St. Louis, Illinois. From 1932 to 1934, Davis attended John Robinson Elementary School, an institution, followed by Crispus Attucks School where he performed well in mathematics, music. It was in East St. Louis and Pine Bluff that the young Davis developed his earliest appreciation for music, Davis later suggested that his fathers instrument choice was made largely to irk his wife, who disliked the trumpets sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato, Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, I prefer a round sound with no attitude in it, like a voice with not too much tremolo. If I cant get that sound I cant play anything, in 1939, the family moved to 1701 Kansas Avenue in East St. Louis. For his 13th birthday held that year, Davis father bought his son a new trumpet, around this time, Davis took additional trumpet lessons from Joseph Gustat, first chair of the St. Louis Symphony Orchestra. In 1941, the 15-year-old Davis began at East St. Louis Lincoln High School where he joined the marching band directed by Buchanan. Davis claimed the contests he did not win was largely down to prejudice over his race and it was at Lincoln High where Davis met his first girlfriend, Irene Cawthorn. Davis had formed his own group by this time, performing in local venues such as Huffs Beer Garden with hits such as In the Mood by Glenn Miller
17.
Jon Faddis
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Jon Faddis is an American jazz trumpet player, conductor, composer, and educator, renowned for both his playing and for his expertise in the field of music education. Upon his first appearance on the scene, he known for his ability to closely mirror the sound of trumpet icon Dizzy Gillespie. Jon Faddis was born in Oakland, California, in 1953, at 18, he joined Lionel Hamptons big band before joining the Thad Jones/Mel Lewis Orchestra as lead trumpet. After playing with Charles Mingus in his twenties, Faddis became a noted studio musician in New York City, appearing on many pop recordings in the late 1970s. One such recording was Disco Inferno with the Players Association in which he plays trumpet recorded in 1977 on the LP Born to Dance. In the mid-1980s, he left the studios to continue to pursue his solo career, as of May 2010, Faddis leads the JFJONY, while continuing also to lead the Jon Faddis Quartet and the JFQ+2. In 2006, the Jon Faddis Quartet released the CD Teranga, featuring guests including Clark Terry, Russell Malone, Gary Smulyan, in 1999, Faddis released the Grammy-nominated Remembrances, which was composed almost entirely of ballads and featured work from Argentinian composer/arranger Carlos Franzetti. In 1997, Faddis composed the jazz opera Lulu Noire, which was presented at USA in Charleston, South Carolina, Faddis appeared in the 1998 movie Blues Brothers 2000. In the film, he plays trumpet with The Louisiana Gator Boys, Faddis is a first-call lead player in New York City and has an international reputation for his playing ability in the full range, particularly the highest registers, of the trumpet. His distinctive trumpet playing can be heard on themes including Lil Bill, The Wiz, alongside his playing career, Faddis is a noted educator for jazz and the trumpet, as well as a performing artist for Schilke Trumpets, manufactured in Melrose Park, Illinois. Faddis performs on a Schilke S-42L trumpet in gold-plate with slight modifications of his own design and he previously played a gold-plated B6L with the beryllium bell. His mouthpieces are custom-made by Scott Laskey, of Lombard, Illinois, Faddis is the uncle of Madlib and Oh No, acclaimed hip-hop producers
18.
Fats Navarro
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Theodore Fats Navarro was an American jazz trumpet player. He was a pioneer of the style of jazz improvisation in the 1940s. He had a stylistic influence on many other players, most notably Clifford Brown. Navarro was born in Key West, Florida, of Cuban-Black-Chinese parentage and he began playing piano at age six, but did not become serious about music until he began playing trumpet at the age of thirteen. He was a friend of drummer Al Dreares. By the time he graduated from Douglass high school he wanted to be away from Key West and he met and played with, among others, Charlie Parker, one of the greatest musical innovators of modern jazz improvisation. But Navarro was in a position to demand a high salary and he also developed a heroin addiction, tuberculosis, and a weight problem. These afflictions led to a decline in his health and death at the age of twenty-six. Navarro was hospitalized on July 1 and died in the evening of July 6,1950 and his last performance was with Charlie Parker on July 1 at Birdland. In Charles Minguss somewhat counter-factual autobiography Beneath the Underdog, Navarro, Navarro was survived by wife Rena, his daughter Linda, and his sister Delores. - Boning Up the Bones Billy Eckstine - Mr. B, - The Bebop Era Fats Navarro Memorial - Fats - Bud - Klook - Sonny - Kinney Earl Bud Powell, Vol.2 - Burning in U. S. A. 53-55 Fats Navarro Memorial, Vol.2 - Nostalgia V. A, Coleman Hawkins - Bean and the Boys 1947 Illinois Jacquet and his Tenor Sax V. A. - Opus de Bop Billy Stewart/Ray Abrams - Gloomy Sunday c/w In My Solitude Milton Buggs/Ray Abrams - I Live True to You c/w Fine Brown Frame V. A,15, Bebop Spoken Here The Fabulous Fats Navarro, Vol.2 V. A. - The Other Side Blue Note 1500 Series The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron Earl Coleman - I Wished on the Moon c/w Guilty Dexter Gordon on Dial - Move
19.
Clifford Brown
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Brownie, was an American jazz trumpeter. He died at the age of 25 in a car accident, nonetheless, he had a considerable influence on later jazz trumpet players, including Donald Byrd, Lee Morgan, Booker Little, Arturo Sandoval and Freddie Hubbard. He was also a composer of note, two of his compositions, Joy Spring and Daahoud, have become jazz standards. Brown won the Down Beat critics poll for the New Star of the Year in 1954, Brown was born into a musical family in a progressive East-Side neighborhood of Wilmington, Delaware. His father organized his four youngest sons, including Clifford, into a vocal quartet, around age ten, Brown started playing trumpet at school after becoming fascinated with the shiny trumpet his father owned. At age thirteen, upon entering senior high, his father bought him his own trumpet, as a junior in high school, he received lessons from Robert Boysie Lowery and played in a jazz group that Lowery organized. He even began making trips to Philadelphia, Brown took pride in his neighborhood and earned a good education from Howard High. Brown briefly attended Delaware State University as a major, before he switched to Maryland State College. Brown played in the fourteen-piece, jazz-oriented, Maryland State Band, in June 1950, he was seriously injured in a car accident after a successful gig. During his year-long hospitalization, Dizzy Gillespie visited the younger trumpeter, Browns injuries limited him to the piano for months, he never fully recovered and would routinely dislocate his shoulder for the rest of his life. Brown moved into playing music professionally, where he became one of the most highly regarded trumpeters in jazz. Brown was influenced and encouraged by Fats Navarro, sharing Navarros virtuosic technique and his sound was warm and round, and notably consistent across the full range of the instrument. He could articulate every note, even at very fast tempos which seemed to present no difficulty to him and his sense of harmony was highly developed, enabling him to deliver bold statements through complex harmonic progressions, and embodying the linear, algebraic terms of bebop harmony. In addition to his prowess, he could express himself deeply in a ballad performance. His first recordings were with R&B bandleader Chris Powell, following which he performed with Tadd Dameron, J. J. Johnson, Lionel Hampton, and Art Blakey before forming his own group with Max Roach. The Clifford Brown & Max Roach Quintet was a mark of the hard bop style. Browns trumpet was originally partnered with Harold Lands tenor saxophone, after Land left in 1955 in order to spend more time with his wife, Sonny Rollins joined and remained a member of the group for the rest of its existence. In their hands the bebop vernacular reached a peak of inventiveness, the clean-living Brown escaped the influence of heroin on the jazz world
20.
Arturo Sandoval
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Arturo Sandoval is a Cuban American jazz trumpeter, pianist and composer. Sandoval, while still in Cuba, was influenced by jazz musicians Charlie Parker, Clifford Brown, Gillespie became a mentor and colleague, playing with Sandoval in concerts in Europe and Cuba and later featuring him in the United Nations Orchestra. Sandoval defected while touring with Gillespie in 1990, and he became a citizen in 1998. His life was the subject of the film For Love or Country, The Arturo Sandoval Story, Sandoval has won ten Grammy Awards and been nominated nineteen times, he has also received six Billboard Awards and one Emmy Award. On August 8,2013, President Barack Obama announced that Sandoval would receive the Presidential Medal of Freedom, as a twelve-year-old boy in Cuba, Sandoval played trumpet with street musicians. He helped establish the Orquesta Cubana de Musica Moderna, which became the band Irakere in 1973 and he toured worldwide with his own group in 1981. The following year he toured with Dizzy Gillespie, who became his friend, in 1989, Gillespie invited Sandoval to be part of the United Nations Orchestra. During a tour with this group, Sandoval visited the American Embassy in Rome to defect from Cuba and he became an American citizen on December 7,1998. Sandoval has performed Latin jazz with Paquito DRivera, Tito Puente, and Chico OFarrill, Cuban music in Miami, in the 1990s, he was a member of the GRP All-Star Big Band. Sandovals song A Mis Abuelos received Grammy Award nominations for Best Instrumental Composition and this composition was featured on his Grammy-winning album, Danzon. Other highlights from Sandovals discography featuring his compositions include Dear Diz, Live at the Blue Note, Rumba Palace, when HBO Films developed a movie based on Arturo Sandovals life, he was asked to score the movie, which earned him his first Emmy award. In 1996, Sandoval was commissioned by the Kennedy Center Ballet to score Pepitos Story, Sandoval also composed a classical trumpet concerto that he performed and recorded with the London Symphony Orchestra. Sandovals compositions and performances can be heard in The Mambo Kings, in 2015, Arturo Sandoval joined the 14th annual Independent Music Awards judging panel to assist independent musicians careers. He was also a judge for the 2nd, 12th and 13th Independent Music Awards, a.1996, Mr. coms biography Streaming music Arturo Sandoval, A Time for Love by Billboard Arturo Sandoval Interview NAMM Oral History Program, July 26,2011
21.
Lee Morgan
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Edward Lee Morgan was an American jazz trumpeter. Morgan stayed with Blakey until 1961 and started to record as soon after. Soon after The Sidewinder was released, Morgan rejoined Blakey for a period of time. Morgans career was cut short at the age of 33, when his longtime girlfriend shot him at Slugs Saloon where he died of his injuries. Edward Lee Morgan was born in Philadelphia, Pennsylvania, on July 10,1938, a leading trumpeter and composer, he recorded prolifically from 1956 until a day before his death in February 1972. Originally interested in the vibraphone, he showed a growing enthusiasm for the trumpet. Morgan also knew how to play the alto saxophone, on his thirteenth birthday, his sister Ernestine gave him his first trumpet. His primary stylistic influence was Clifford Brown, with whom he took a few lessons as a teenager. He joined the Dizzy Gillespie Big Band at 18, and remained as a member for a year and he began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader for the company, with more than 250 musicians. He also recorded on the Vee-Jay label and one album for Riverside Records on its short-lived Jazzland subsidiary, joining Art Blakeys Jazz Messengers in 1958 further developed his talent as a soloist and composer. He toured with Blakey for a few years, and was featured on albums by the Messengers, including Moanin. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter and this version of the Jazz Messengers, including pianist Bobby Timmons and bassist Jymie Merritt, recorded several albums including Africaine, The Big Beat, A Night in Tunisia and The Freedom Rider. During his time with The Jazz Messengers, Morgan also wrote several tunes including The Midget, Haina, Celine, Yama, Kozos Waltz, Pisces, and Blue Lace. The drug problems of Morgan and Timmons forced them to leave the band in 1961, according to Tom Perchard, a Morgan biographer, it was Blakey who introduced the trumpeter to heroin, which impeded his progression in his career. On returning to New York in 1963, he recorded The Sidewinder, the title track cracked the pop charts in 1964, and served as the background theme for Chrysler television commercials during the World Series. The tune was used without Morgans or Blue Notes consent, due to the crossover success of The Sidewinder in a rapidly changing pop music market, Blue Note encouraged its other artists to emulate the tunes boogaloo beat. Morgan himself repeated the formula several times with such as Cornbread and Yes I Can. According to drummer Billy Hart, Morgan said he had recorded The Sidewinder as filler for the album and he felt that his playing was much more advanced on Grachan Moncur IIIs essentially avant-garde Evolution album, recorded a month earlier, on November 21,1963
22.
Chuck Mangione
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Charles Frank Chuck Mangione is an American flugelhorn player, trumpeter and composer. After a stint with drummer Art Blakeys band and co-leading the Jazz Brothers with his sibling Gap, Mangione has released more than 30 albums since 1960. Mangione, whose uncle Jerre Mangione was an American writer and scholar of the Italian-American experience, was born and raised in Rochester, New York, Together, the brothers led the Jazz Brothers group which recorded three albums for Riverside Records before Mangione branched out into other work. In the late 1960s, Mangione was a member of the band The National Gallery, Mangiones quartet with saxophonist Gerry Niewood was a popular concert and recording act throughout the 1970s. Bellavia, recorded during this collaboration, won Mangione his first Grammy Award in 1977 in the category Best Instrumental Composition and he performed it live at the closing ceremonies, which were televised globally. In 1978 Mangione composed the soundtrack for the film The Children of Sanchez starring Anthony Quinn. This album won him his second Grammy, in the category Best Pop Instrumental performance in 1979, in 1981 Mangione composed/performed the theme for The Cannonball Run starring Burt Reynolds and many more. Performances of material new and old included versions of Main Squeeze, “Hill Where the Lord Hides, Mangione opened and closed the show with Feels So Good and its Reprise version. BBye featured an arrangement from Bill Reichenbach. The horns were arranged by frequent collaborator Jeff Tyzik, who played trumpet in the horn section that night. Mangione also played material from the just-released Children of Sanchez soundtrack album, the liner notes from the album describe the frenzy in which the performance was put together. Unable to set up on stage the day before, Mangione and his crew had only the day of show to set up lights, sound and recording gear. He had only nine hours the day before to rehearse at A&M studios with the musicians and was never able to run through the entire set list once in its entirety. He and the band stayed at a hotel up the street from the Bowl to make sure they wouldnt miss the performance due to snarled traffic pouring in as showtime neared, nevertheless, the show went off without a hitch. In December 1980, Mangione held a concert in the American Hotel Ballroom in Rochester to benefit the victims of an earthquake in Italy. The nine-hour concert included jazz luminaries such as Chick Corea, Steve Gadd and Dizzy Gillespie, among a host of other session and concert greats. Soon thereafter, A&M released Tarantella, named for the Italian traditional dance, an album of some of the concerts exceptional moments. A1980 issue of Current Biography called Feels So Good the most recognized tune since Michelle by The Beatles
23.
Johnny Hartman
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John Maurice Hartman was an American jazz singer who specialized in ballads and earned critical acclaim, though he was never widely known. Most of Hartmans career was spent recording solo albums, born in Louisiana but raised in Chicago, Hartman began singing and playing the piano by the age of eight. He attended DuSable High School studying music under Walter Dyett before receiving a scholarship to Chicago Musical College. He sang as an Army private during World War II, seeing potential in the singer, Hines hired him for the next year. Although Hartman’s first recordings were with Marl Young in February 1947, after the Hines orchestra broke up, Dizzy Gillespie invited Hartman to join his big band in 1948 during an eight-week tour in California. Dropped from the band one year later, Hartman worked for a short time with pianist Erroll Garner before going solo by early 1950. After recording several singles with different orchestras, Hartman finally released his first solo album, Songs from the Heart, releasing two more albums with small labels, neither very successful, Hartman got a career-altering offer in 1963 to record with John Coltrane. The saxophonist likely remembered Hartman from a bill they shared at the Apollo Theater in 1950 and later said, “I just felt something about him, I don’t know what it was. I like his sound, I thought there was something there I had to hear so I looked him up and did that album. ”Featuring all ballads, John Coltrane and Johnny Hartman is widely considered a classic. This led to recording four albums with Impulse. and parent label ABC. With the 1970s being difficult for singers clinging to the pre-rock American songbook, Hartman turned to playing cocktail lounges in New York City and Chicago. Recording again with small labels such as Perception and Musicor, Hartman produced music of mixed quality as he attempted to be viewed as a versatile vocalist. Referring to his approach to interpreting a song, Hartman said, Well, to me a lyric is a story, almost like talking, telling somebody a story, try to make it believable. ”Returning to the combo format of his earlier albums, Hartman recorded Once in Every Life for Bee Hive. This was quickly followed up by his last album of recorded material titled This Ones for Tedi as a tribute to his wife Theodora. Hartman recorded new tracks for Grenadilla Records on their jazz label and these were dance tracks of Beyond the Sea and Caravan, with the latter also having an extended six-minute version. In the early 1980s Hartman gave several performances for festivals, television. His reputation grew considerably in 1995 when the soundtrack to Clint Eastwood’s Bridges of Madison County featured four songs from the then out-of-print Once in Every Life album. A biography, The Last Balladeer, The Johnny Hartman Story by Dr. Gregg Akkerman, was published in June 2012 by Scarecrow Press as part of their Studies in Jazz series
24.
AllMusic
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AllMusic is an online music guide service website. It was launched in 1991 by All Media Guide which later became All Media Network, AllMusic was launched in 1991 by Michael Erlewine of All Media Guide. The aim was to discographic information on every artist whos made a record since Enrico Caruso gave the industry its first big boost and its first reference book was published the following year. When first released onto the Internet, AMG predated the World Wide Web and was first available as a Gopher site, the AMG consumer web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in July 2013 to All Media Network, LLC. All Media Network, LLC. was formed by the founders of SideReel. com. The following are contributors to AllMusic, as of this date, All Media Network also produced the AllMusic guide series that includes the AllMusic Guide to Rock, the All Music Guide to Jazz and the All Music Guide to the Blues. Vladimir Bogdanov is the president of the series, in August 2007, PC Magazine included AllMusic in its Top 100 Classic Websites list. All Media Network AllGame AllMovie SideReel All Music Guide to the Blues All Music Guide to Jazz Stephen Thomas Erlewine Official website
25.
Tadd Dameron
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Tadley Ewing Peake Tadd Dameron was an American jazz composer, arranger and pianist. Saxophonist Dexter Gordon called him the romanticist of the bop movement, born in Cleveland, Ohio, Dameron was the most influential arranger of the bebop era, but also wrote charts for swing and hard bop players. The bands he arranged for included those of Count Basie, Artie Shaw, Jimmie Lunceford, Dizzy Gillespie, Billy Eckstine and he and lyricist Carl Sigman wrote If You Could See Me Now for Sarah Vaughan and it became one of her first signature songs. According to the composer, his greatest influences were George Gershwin, in the late 1940s, Dameron wrote arrangements for Gillespies big band, who gave the première of his large-scale orchestral piece Soulphony in Three Hearts at Carnegie Hall in 1948. Also in 1948, Dameron led his own group in New York, which included Fats Navarro, from 1961 he scored for recordings by Milt Jackson, Sonny Stitt, and Blue Mitchell. Dameron also arranged and played for rhythm and blues musician Bull Moose Jackson, playing for Jackson at that same time was Benny Golson, who was to become a jazz composer in his own right. Golson has said that Dameron was the most important influence on his writing, Dameron composed several bop standards, including Hot House, If You Could See Me Now, Our Delight, Good Bait, and Lady Bird. Damerons bands featured leading players such as Fats Navarro, Miles Davis, Dexter Gordon, Sonny Rollins, after forming another group of his own with Clifford Brown in 1953, Dameron developed an addiction to narcotics toward the end of his career. He served time in prison in Lexington, Kentucky. Dameron suffered from cancer and had heart attacks before dying of cancer in 1965. Continuum, Mad About Tadd, The Music of Tadd Dameron is a released in 1982 by a group consisting of Slide Hampton, Jimmy Heath, Ron Carter, Art Taylor. The LP has since been reissued on CD, in 1975, jazz pianist Barry Harris recorded Barry Harris Plays Tadd Dameron for Xanadu Records. In 2007, pianist Richard Tardo Hammer recorded Look Stop and Listen, dameronia, The Life and Music of Tadd Dameron. Tadd Dameron biographical information at the Dameron/Damron Family Association web page
26.
Hank Jones
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Henry Hank Jones Jr. was an American jazz pianist, bandleader, arranger, and composer. Critics and musicians described Jones as eloquent, lyrical, and impeccable, in 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award. He was also honored in 2003 with the American Society of Composers, Authors, in 2008, he was awarded the National Medal of Arts. On April 13,2009, the University of Hartford presented Jones with a Doctorate Degree for his musical accomplishments, Jones recorded more than 60 albums under his own name, and countless others as a sideman, including Cannonball Adderleys celebrated album Somethin Else. On May 19,1962, he played piano as actress Marilyn Monroe sang her famous Happy Birthday, Mr. President song to then U. S. president John F. Kennedy. Born in Vicksburg, Mississippi, Henry Hank Jones moved to Pontiac, Michigan, one of seven children, Jones was raised in a musical family. His mother Olivia Jones sang, his two sisters studied piano, and his two younger brothers—Thad, a trumpeter, and Elvin, a drummer—also became prominent jazz musicians. He studied piano at an age and came under the influence of Earl Hines, Fats Waller, Teddy Wilson. By the age of 13 Jones was performing locally in Michigan, while playing with territory bands in Grand Rapids and Lansing in 1944 he met Lucky Thompson, who invited Jones to work in New York City at the Onyx Club with Hot Lips Page. In New York City, Jones regularly listened to leading bop musicians, while practicing and studying the music he worked with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine. From 1959 through 1975 Jones was staff pianist for CBS studios and this included backing guests such as Frank Sinatra on The Ed Sullivan Show. He played the accompaniment to Marilyn Monroe as she sang Happy Birthday Mr. President to John F. Kennedy on May 19,1962. By the late 1970s, his involvement as pianist and conductor with the Broadway musical Aint Misbehavin had informed an audience of his unique qualities as a musician. The trio also recorded with other personnel, such as Art Farmer, Benny Golson. In the early 1980s Jones held a residency as a solo pianist at the Cafe Ziegfeld and made a tour of Japan, Jones versatility was more in evidence with the passage of time. He collaborated on recordings of Afro-pop with an ensemble from Mali and on an album of spirituals, hymns and folksongs with Charlie Haden called Steal Away. Jones made his debut on Lineage Records, recording with Frank Wess and with the guitarist Eddie Diehl and he also accompanied Diana Krall for Dream a Little Dream of Me on the album compilation, We all Love Ella. He is one of the musicians who test and talk about the piano in the documentary Note by Note, The Making of Steinway L1037, Hank Jones lived in Cresskill NJ, upstate New York and in Manhattan
27.
Mary Lou Williams
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Mary Lou Williams was an African-American jazz pianist, composer, and vocalist. She wrote hundreds of compositions and arrangements, and recorded more than one hundred records, Williams was born in Atlanta, Georgia, and grew up in the East Liberty neighborhood of Pittsburgh, Pennsylvania, one of eleven children. As a very young child she taught herself to play the piano and at the age of six and she began performing publicly at the age of seven, when she became known admiringly in Pittsburgh as the little piano girl of East Liberty. She became a musician in her teens and she cited Lovie Austin as her greatest influence. In 1922, at the age of 12, she was taken on the Orpheum Circuit, the following year she played with Duke Ellington and his early small band, the Washingtonians. One shining salute to her talent came when she was only 15, one morning at three A. M, she was jamming with McKinneys Cotton Pickers at Harlems Rhythm Club. Louis Armstrong entered the room and paused to listen to her, Mary Lou shyly told what happened, Louis picked me up and kissed me. In 1927, Williams married saxophonist John Williams and she met him at a performance in Cleveland where he was leading his group, the Syncopators, and moved with him to Memphis, Tennessee. He assembled a band in Memphis, which included Mary Lou on piano, in 1929, he accepted an invitation to join Andy Kirks band in Oklahoma City, leaving 19-year-old Mary Lou to head the Memphis band for its remaining tour dates. Williams eventually joined her husband in Oklahoma City but did not play with the band. The group, now known as Andy Kirks Twelve Clouds of Joy, relocated to Tulsa, Oklahoma, where Williams and she provided Kirk with such songs as Walkin and Swingin, Twinklin, Cloudy, Little Joe from Chicago and others. From the first record sides Kirk made in Kansas City, Williams was on board as pianist, during one of those trips to Chicago in 1930, Williams recorded Drag Em and Night Life as piano solos. Williams took the name Mary Lou at the suggestion of Brunswicks Jack Kapp, the records sold briskly, raising Williams to national prominence. In 1937, she produced In the Groove, a collaboration with Dick Wilson, the result was Roll Em, a boogie-woogie piece based on the blues, which followed her successful Camel Hop, named for Goodmans radio show sponsor, Camel cigarettes. Goodman tried to put Williams under contract to write for him exclusively, in 1942, Williams, who had divorced her husband, left the Twelve Clouds of Joy band, returning again to Pittsburgh. She was joined there by bandmate Harold Shorty Baker, with whom she formed an ensemble that included Art Blakey on drums. After a lengthy engagement in Cleveland, Baker left to join Duke Ellingtons orchestra, Williams joined the band in New York City, and then traveled to Baltimore, where she and Baker were married. She traveled with Ellington and arranged several tunes for him, including Trumpet No End and she also sold Ellington on performing Walkin and Swingin
28.
Laurinburg Institute
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Laurinburg Institute is a historic African American preparatory school in Laurinburg, North Carolina. The school was founded in 1904 by Emmanuel Monty and Tinny McDuffie at the request of Booker T. Washington, the school is particularly noted for its output of highly accomplished alumni as well as a rich basketball tradition, having produced several All-Americans. Its most notable alumni include Sam Jones, NBA Hall of Famer with the Boston Celtics, and Charlie Scott. The schools have picked up since 2006 when the NBA implemented new draft eligibility rules that require players to be at least 19 years old and one year removed from high school graduation. Since college experience is not needed, students may attend these institutions, throughout and after high school, in Laurinburg’s case, the NCAA, after two on-site visits, raised concerns about the curriculum and quality control, among other issues. McDuffie says he’s tried and failed to learn from the NCAA what precisely is wrong with his school, “I gave up communicating with them last fall, ” he says. Royer says to be cleared Laurinburg must “offer courses that meet minimum NCAA eligibility requirements, ” and this is the first time Laurinburg has not been cleared, and it is among more than 60 institutions whose courses are discredited by the NCAA. Such NCAA policies have long been controversial, joe Nathan, director of the Center for School Change at Macalester College in St. Paul, Minn. says the NCAA has issued sweeping rulings without much transparency or explanation. “We’ve documented situations where National Merit scholars were not allowed to play in college because of alleged academic deficiencies. ”The most recent round of NCAA probes has prompted at least one lawsuit. Star forward Michael Glover, for instance, was “not cleared” by the NCAA when in 2007 he left a private prep school found lacking by the NCAA to play at Seton Hall University. He sued, claiming that the NCAA never specified why it deemed his senior year transcript at American Christian Academy in Aston and his suit was dismissed, and Glover now plays at the College of Eastern Utah. American Christian Academy was one target of the NCAA in its probe of “basketball academies, Hughes says some schools do little to educate players while drawing talent away from more traditional sports programs. If the children leave the private academies later for mainstream schools, “we have to re-educate them, even on how to play basketball, “They are taught the ‘me-and-I’ style of play that isn’t team play but let’s them think they are already stars, ” he says
29.
Edgar Hayes
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Edgar Junius Hayes was an American jazz pianist and bandleader. Born in Lexington, Kentucky, Hayes attended Wilberforce University, where he graduated with a degree in music in the early 1920s, in 1922 he toured with Fess Williams, and formed his own group, the Blue Grass Buddies, in Ohio in 1924. In 1925 he played with Lois Deppe, and later in the led the groups Eight Black Pirates. From 1931 to 1936 Hayes played in and arranged for the Mills Blue Rhythm Band, from 1937 to 1941 Hayes again led his own orchestra, Kenny Clarke was among his sidemen. His most popular recording was a version of the song Stardust and he moved to California in 1942, and led a quartet there for most of the decade. Following this he played solo, continuing to live into the 1970s. Hayes recorded under his own name in 1937-38,1946,1947,1948 and he died in San Bernardino, California, in 1979. Scott Yanow, Edgar Hayes at Allmusic
30.
Teddy Hill
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Teddy Hill was a big band leader and the manager of Mintons Playhouse, a seminal jazz club in Harlem. He played a variety of instruments, including drums, clarinet, soprano, over several years it featured such major young musicians as Roy Eldridge, Bill Coleman, Frankie Newton and Dizzy Gillespie. Hills band played at the Savoy Ballroom regularly, and toured England, after leaving the band business, Hill began to manage Mintons Playhouse in 1940, which became a hub for the bebop style, featuring such major musicians as Thelonious Monk and Kenny Clarke. Hill left Mintons in 1969, long after its significance had declined. In 1935, he recorded a four song session for ARC, in 1936, he recorded two sessions for Vocalion. He signed with Bluebird in 1937 and recorded 18 songs over three sessions, Teddy Hill married Louise Welton in the 1920s. Their daughter Gwendolyn Louise Hill was born in 1930, over time, Teddy and Louise separated and eventually divorced. In the late 1930s, a singer named Bonnie Davis started working in his band and they later had a daughter together, Beatrice Hill, who would become known under the stage name Melba Moore
31.
Apollo Theater
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It was the home of Showtime at the Apollo, a nationally syndicated television variety show which showcased new talent, from 1987 to 2008, encompassing 1,093 episodes. The theater, which has a capacity of 1,506, opened its doors in 1914 as Hurtig & Seamons New Burlesque Theater and it became the Apollo in 1934, when it was opened to black patrons – previously it had been a whites-only venue. In 1983, both the interior and exterior of the building were designated as New York City Landmarks, and it is estimated that 1.3 million people visit the Apollo every year. The building which became the Apollo Theater was built in 1913-14 and was designed by architect George Keister. It was originally Hurtig and Seamons New Theater, which enforced a strict Whites Only policy, the theatre was operated by noted burlesque producers Jules Hurtig and Harry Seamon, who obtained a 30-year lease. It remained in operation until 1928, when Billy Minsky took over, the song I May Be Wrong by Harry Sullivan and Harry Ruskin, written in 1929, became the theme song of the theater. During the early 1930s, the fell into disrepair and closed once more. The show ran for an engagement and was highly praised by the press. Leo Brechers Harlem Opera House was another competing venue, to improve the shows at the Apollo, Cohen hired noted talent scout John Hammond to book his shows. However, the deal fell through when Cohen died, and the end result was the merger of the Apollo with the Harlem Opera House, the Opera House became a movie theater, but the Apollo, under the ownership of Brecher and Schiffman, continued to present stage shows. Schiffman hired Clarence Robinson as in-house producer, Originally, a show presented at the Apollo was akin to a vaudeville show. As the years progressed, such variety shows were presented less often, comic acts also appeared on the Apollo stage, including those who performed in blackface, such as Butterbeans and Susie, much to the horror of the NAACP and the elite of Harlem. Gospel acts which played the Apollo include the Staple Singers, Mahalia Jackson, The Clark Sisters, Sister Rosetta Tharpe, Clara Ward and Sam Cooke with the Soul Stirrers. Performers of soul music on the Apollo stage included Ray Charles, Otis Redding and Aretha Franklin, and jazz was represented as well, by acts such as Art Blakey and Horace Silver. The theaters audience was often mixed, in the 1940s it was estimated that during the week about 40% of the audience was white, Jazz singer Anita ODay headlined for the week of September 21,1950, billed as the Jezebel of Jazz. Schiffman had first introduced a night at the Lafayette Theater, where it was known as Harlem Amateur Hour. At the Apollo, it was originally called Audition Night, but later became Amateur Night in Harlem, held every Monday evening and broadcast on the radio over WMCA, the Apollo grew to prominence during the Harlem Renaissance of the pre-World War II years. Fitzgeralds performances pulled in an audience at the Apollo and she won the opportunity to compete in one of the earliest of its Amateur Nights
32.
Cab Calloway
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Cabell Cab Calloway III was an American jazz singer and bandleader. He was strongly associated with the Cotton Club in Harlem, New York City, Calloway was a master of energetic scat singing and led one of the United States most popular big bands from the start of the 1930s to the late 1940s. Calloway continued to perform until his death in 1994 at the age of 86, Calloway was born in Rochester, New York, on Christmas Day in 1907 to an upper-middle-class family. His mother, Martha Eulalia Reed, was a Morgan State College graduate, teacher and his father, Cabell Calloway, Jr. graduated from Lincoln University of Pennsylvania in 1898, and worked as a lawyer and in real estate. Cab Calloway grew up as an adolescent in a household in West Baltimores Sugar Hill, considered the political, cultural. Early on, his parents recognized their sons talent. He continued to study music and voice throughout his formal schooling, despite his parents and teachers disapproval of jazz, Calloway began frequenting and performing in many of Baltimores nightclubs. As a result, he came into contact with many of the local jazz luminaries of the time and he counted among his early mentors drummer Chick Webb and pianist Johnny Jones. After his graduation from Frederick Douglass High School, Calloway joined his sister, Blanche, in a touring production of the popular Black musical revue. His parents had hopes of their son becoming an attorney following after his father, at the Sunset Café, Cab cut his teeth as an understudy for singer Adelaide Hall. Here he met and performed with Louis Armstrong, who taught him to sing in the scat style and he eventually left school to sing with a band called the Alabamians. In 1930 Calloway took over a brilliant, but failing band called The Missourians, later on, they renamed it Cab Calloway, the Cotton Club in New Yorks Harlem was the premier jazz venue in the country. In 1931 Calloway and his orchestra were hired as a replacement for the Duke Ellington Orchestra while it was touring, Calloway quickly proved so popular that his band became the co-house band with Ellingtons, and his group began touring nationwide when not playing the Cotton Club. Their popularity was enhanced by the twice-weekly live national radio broadcasts on NBC from the Cotton Club. Calloway also appeared on Walter Winchells radio program and with Bing Crosby in his show at New Yorks Paramount Theatre, as a result of these appearances, Calloway, together with Ellington, broke the major broadcast network color barrier. Many of his records were vocal specialties with Calloways vocal taking up the majority of the record, in 1931 Calloway recorded his most famous song, Minnie the Moocher. Through rotoscoping, Calloway performed voiceover for these cartoons, but his dance steps were the basis of the characters movements and he took advantage of this, timing concerts in some communities to coincide with the release of the films in order to make the most of the publicity. As a result of the success of Minnie the Moocher, Calloway became identified with its chorus and he also performed in the 1930s in a series of short films for Paramount
33.
Milt Hinton
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Milton John Milt Hinton, regarded as the Dean of jazz bass players, was an American double bassist and photographer. His nicknames included Sporty from his years in Chicago, Fump from his time on the road with Cab Calloway, Hinton was born in Vicksburg, Mississippi, the only child of Hilda Gertrude Robinson, whom he referred to as Titter, and Milton Dixon Hinton. He was three-months-old when his left the family. He grew up in a home with his mother, his maternal grandmother and his childhood in Vicksburg was characterized by extreme poverty and extreme racism. Lynching was a practice at the time. Hinton said that one of the clearest memories of his childhood was when he came upon a lynching. Hinton moved with his family to Chicago, Illinois in the fall of 1919. Chicago was where Hinton first encountered economic diversity among African-Americans, about which he later noted and it was also where he experienced an abundance of music, either in person or through live performances on the radio. During this time he first heard concerts featuring Louis Armstrong, Duke Ellington, Fletcher Henderson, Earl Hines, Eddie South, music was a fixture at home. His mother and other relatives regularly played piano and he received his first instrument – a violin – in 1923 for his thirteenth birthday. He soon transitioned from peck horn to bass saxophone and then to tuba, while also being accepted into the brass band sponsored by the Chicago Defender. After graduating from school, Hinton attended Crane Junior College for two years, during which time he began receiving regular work as a freelance musician around Chicago. He performed with Freddie Keppard, Zutty Singleton, Jabbo Smith, Erskine Tate and his first steady job began in the spring of 1930, playing tuba in the band of pianist Tiny Parham. His recording debut on November 4,1930 was on tuba with Parhams band on a tune titled Squeeze Me, after graduating from Crane Junior College in 1932, attended Northwestern University for one semester, then dropped out to pursue music full-time. He received steady work from 1932 through 1935 in a quartet with violinist Eddie South, with extended residencies in California, Chicago, with this group he first recorded on double bass in the spring of 1933. He quickly found acceptance among the members, and he ended up staying with Calloway for over fifteen years. Until the Cotton Club closed in 1940, the Calloway band would perform there for up to six months per year, going on tour for the remaining six months of the year. During the Cotton Club residencies, Hinton took part in recording sessions with Benny Goodman, Lionel Hampton, Billie Holiday, Ethel Waters, Teddy Wilson and it was at this time that he recorded what is possibly the first bass feature, Pluckin the Bass in August 1939
34.
Jonah Jones
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Jonah Jones was a jazz trumpeter who created concise versions of jazz and swing and jazz standards that appealed to a mass audience. In the jazz community, it can be argued that he might be best appreciated for his work with Stuff Smith and he was sometimes referred to as King Louis II, a reference to Louis Armstrong. Jones started playing saxophone at the age of 12 in the Booker T. Washington Community Center band in Louisville, Kentucky before quickly transitioning to trumpet. Jones was born in Louisville, Kentucky, Jones began his career playing on a river boat named Island Queen, which traveled between Kentucky and Ohio. He began in the 1920s playing on Mississippi riverboats and then in 1928 he joined with Horace Henderson, later he worked with Jimmie Lunceford and had an early collaboration with Stuff Smith in 1932. From 1932 to 1936 he had a collaboration with Smith. He would spend most of decade with Cab Calloways band which became a combo. Starting in the 1950s, he had his own quartet and began concentrating on a formula which gained him wider appeal for a decade, the quartet consisted of George River Rider Rhodes on piano, John Broken Down Browne on bass and Hard Nuts Harold Austin on drums. The most-mentioned accomplishment of this style is their version of On The Street Where You Live and this effort succeeded and he began to be known to a wider audience. This led to his performing on An Evening With Fred Astaire in 1958. In 1972 he made a return to more core jazz work with Earl Hines on the Chiaroscuro Album Back On The Street, Jones enjoyed especial popularity in France, being featured in a jazz festival in the Salle Pleyel. A1996 videotaped interview completed by Dan Del Fiorentino was donated to the NAMM Oral History Program Collection in 2010 to preserve his music for future generations. Jones performed in the pit under the direction of Alexander Smallens and briefly in an onstage musical sequence of Porgy and Bess. He was inducted into the Big Band and Jazz Hall of Fame in 1999, jonah Jones married the trumpeter, clarinetist and hornist Elizabeth Bowles, sister of Russell Bowles
35.
Woody Herman
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Woodrow Charles Woody Herman was an American jazz clarinetist, alto saxophonist, singer, and big band leader. Leading various groups called The Herd, Herman was one of the most popular of the 1930s and 1940s bandleaders and his bands often played music that was experimental for its time. He was a halftime performer for Super Bowl VII. Herman was born Woodrow Charles Thomas Herman in Milwaukee, Wisconsin. His parents were Otto and Myrtle Herman and his father had a deep love for show business and this influenced Woody Herman at an early age. As a child he worked as a singer and tap-dancer in Vaudeville, then started to play the clarinet, in 1931, he met Charlotte Neste, an aspiring actress, they married on September 27,1936. Woody Herman joined the Tom Gerun band and his first recorded vocals were Lonesome Me, Herman also performed with the Harry Sosnick orchestra, Gus Arnheim and Isham Jones. Isham Jones wrote many songs, including It Had to Be You. Jones wanted to live off the residuals of his songs, Woody Herman saw the chance to lead his former band, Woody Hermans first band became known for its orchestrations of the blues, and was sometimes billed as The Band That Plays The Blues. This band recorded for the Decca label, at first serving as a cover band, the first song recorded was Wintertime Dreams on November 6,1936. After two and a half years on the label, the band had its first hit, Woodchoppers Ball recorded in 1939, Woody Herman remembered that Woodchoppers Ball started out slowly at first. But Decca kept re-releasing it, and over a period of three or four years it became a hit, eventually it sold more than five million copies—the biggest hit I ever had. Other hits for the band include The Golden Wedding and Blue Prelude, musicians and arrangers that stand out include Cappy Lewis on trumpet and Dean Kincaide, a big band arranger. In jazz, swing was gradually being replaced by bebop, Dizzy Gillespie, a trumpeter and one of the originators of bop, wrote three arrangements for Woody Herman, Woodyn You, Swing Shift and Down Under. Woodyn You was not used at the time, down Under was recorded November 8,1943. The fact that Herman commissioned Gillespie to write arrangements for the band, in February 1945, the band started a contract with Columbia Records. Herman liked what drew many artists to Columbia, Liederkranz Hall, the first side Herman recorded was Laura, the theme song of the 1944 movie of the same name. Hermans version was so successful that it made Columbia hold from release the arrangement that Harry James had recorded days earlier, the Columbia contract coincided with a change in the bands repertoire. The 1944 group, which he called the First Herd, was famous for its progressive jazz, the First Herds music was heavily influenced by Duke Ellington and Count Basie
36.
Jimmy Dorsey
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James Jimmy Dorsey was a prominent American jazz clarinetist, saxophonist, composer and big band leader. He recorded and composed the jazz and pop standards Im Glad There Is You and Its The Dreamer In Me. His other major recordings were Tailspin, John Silver, So Many Times, Amapola, Brazil, Pennies from Heaven with Bing Crosby, Louis Armstrong, and Frances Langford, Grand Central Getaway, and So Rare. Jimmy Dorsey was born in Shenandoah, Pennsylvania, the son of a miner turned music teacher. He played trumpet in his youth, appearing on stage with J. Carson McGees King Trumpeters in 1913 and he switched to alto saxophone in 1915, and then learned to double on clarinet. Jimmy Dorsey played on a clarinet outfitted with the Albert system of fingering, as opposed to the more common Boehm system used by most of his contemporaries including Benny Goodman and Artie Shaw. With his brother Tommy playing trombone, he formed Dorsey’s Novelty Six, in 1924 he joined the California Ramblers. He did much freelance radio and recording throughout the 1920s. In 1924 he married Jane Porter, the brothers also appeared as session musicians on many jazz recordings. He joined Ted Lewiss band in 1930, with whom he toured Europe, after returning to the United States, he worked briefly with Rudy Vallee and several other bandleaders, in addition to the Dorsey Brothers Orchestra with Tommy. Tommy left the Dorsey Brothers Orchestra to form his own band in 1935 after a dispute with Jimmy. In 1939 Jimmy hired Helen OConnell as his female singer and she and Eberly possessed a boy and girl next door charm and their pairing produced several of the bands biggest hits. Many of the Eberly-OConnell recordings were arranged in an unusual 3-section a-b-c format, the three-part format was reportedly developed at the insistence of a record producer who wanted to feature both singers and the full band in a single 3-minute 78 rpm recording. Jimmy continued leading his own band until the early 1950s, in 1949 he and Jane Porter were divorced. In 1953 he joined Tommys Orchestra, renamed Tommy Dorsey and his Orch, on December 26,1953, the brothers and their orchestra appeared on Jackie Gleasons CBS television program. The success of that television appearance led Gleason to produce a variety program, Stage Show. Elvis Presley appeared on several of the telecasts and these were Presleys first appearances on national TV. Jimmy took over leadership of the orchestra after Tommys death, Jimmy survived his brother by only a few months and died of throat cancer, aged 53, in New York City
37.
Ella Fitzgerald
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Ella Jane Fitzgerald was an American jazz singer often referred to as the First Lady of Song, Queen of Jazz and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing and intonation, Fitzgeralds rendition of the nursery rhyme A-Tisket, A-Tasket helped boost both her and Webb to national fame. Taking over the band after Webb died, Fitzgerald left it behind in 1942 to start a career that would last effectively the rest of her life. With Verve she recorded some of her more noted works. These partnerships produced recognizable songs like Dream a Little Dream of Me, Cheek to Cheek, Into Each Life Some Rain Must Fall, in 1993, Fitzgerald capped off her sixty-year career with her last public performance. Three years later, she died at the age of 79, Fitzgerald was born on April 25,1917, in Newport News, Virginia, the daughter of William Fitzgerald and Temperance Tempie Fitzgerald. Her parents were unmarried but lived together for at least two and a years after she was born. Initially living in a room, her mother and Da Silva soon found jobs. Her half-sister, Frances Da Silva, was born in 1923, by 1925, Fitzgerald and her family had moved to nearby School Street, then a predominantly poor Italian area. She began her education at the age of six and proved to be an outstanding student. Fitzgerald had been passionate about dancing from third grade, being a fan of Earl Snakehips Tucker in particular, Fitzgerald and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, and she regularly attended worship services, Bible study, and Sunday school. The church provided Fitzgerald with her earliest experiences in music making. During this period Fitzgerald listened to recordings by Louis Armstrong, Bing Crosby. Fitzgerald idolized the Boswell Sisters lead singer Connee Boswell, later saying, My mother brought home one of her records, in 1932, her mother died from serious injuries she received in a car accident when Fitzgerald was 15 years of age. This left her at first in the care of her stepfather but before the end of April 1933, following these traumas, Fitzgerald began skipping school and letting her grades suffer. During this period she worked at times as a lookout at a bordello, Ella Fitzgerald never talked publicly about this time in her life. When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, in the Bronx. However, when the orphanage proved too crowded, she was moved to the New York Training School for Girls in Hudson, New York, eventually she escaped and for a time she was homeless
38.
Chick Webb
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William Henry Webb, often known as Chick Webb was an American jazz and swing music drummer as well as a band leader. Webb was born in Baltimore, Maryland, to William H. from childhood, he suffered from tuberculosis of the spine, leaving him with short stature and a badly deformed spine, which caused him to appear hunchbacked. The idea of playing an instrument was suggested by his doctor to loosen up his bones and he supported himself as a newspaper boy to save enough money to buy drums, and first played professionally at age 11. Webb had three sisters, Bessie, Mabel and Ethel, Mabel married Wilbur Porter around 1928. At the age of 17 he moved to New York City, jazz drummer Tommy Benford said he gave Webb drum lessons when he first reached New York. He alternated between band tours and residencies at New York City clubs through the late 1920s, in 1931, his band became the house band at the Savoy Ballroom. He became one of the bandleaders and drummers of the new swing style. Drummer Buddy Rich cited Webbs powerful technique and virtuoso performances as heavily influential on his own drumming, Webb was unable to read music, and instead memorized the arrangements played by the band and conducted from a platform in the center. He used custom-made pedals, goose-neck cymbal holders, a 28-inch bass drum, although his band was not as influential and revered in the long term, it was feared in the battle of the bands. The Savoy often featured Battle of the Bands where Webbs band would compete with top bands from opposing bandstands. By the end of the battles the dancers seemed always to have voted Chicks band as the best. As a result, Webb was deemed the most worthy recipient to be crowned the first King of Swing, notably, Webb lost to Duke Ellington in 1937. Webb married Martha Loretta Ferguson, and in 1935 he began featuring a teenaged Ella Fitzgerald as vocalist, together Chick and Ella would electrify the Swing Era of jazz with hits such as A-Tisket a Tasket, which was composed by Van Alexander at Fitzgeralds request. Despite rumors to the contrary, Ella was not adopted by Webb, nor did she live with him and his wife, Sallye, according to Stuart Nicholson in his Fitzgerald biography. In November 1938, Webbs health began to decline, for a time, however, he continued to play and he disregarded his own discomfort and fatigue, which often found him passing out from physical exhaustion after finishing sets. Finally, he had an operation at Johns Hopkins Hospital in Baltimore in 1939. William Henry Chick Webb died from tuberculosis on June 16,1939. Reportedly his last words were, Im sorry, Ive got to go and he was roughly 34 years old
39.
World War II
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World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945, although related conflicts began earlier. It involved the vast majority of the worlds countries—including all of the great powers—eventually forming two opposing alliances, the Allies and the Axis. It was the most widespread war in history, and directly involved more than 100 million people from over 30 countries. Marked by mass deaths of civilians, including the Holocaust and the bombing of industrial and population centres. These made World War II the deadliest conflict in human history, from late 1939 to early 1941, in a series of campaigns and treaties, Germany conquered or controlled much of continental Europe, and formed the Axis alliance with Italy and Japan. Under the Molotov–Ribbentrop Pact of August 1939, Germany and the Soviet Union partitioned and annexed territories of their European neighbours, Poland, Finland, Romania and the Baltic states. In December 1941, Japan attacked the United States and European colonies in the Pacific Ocean, and quickly conquered much of the Western Pacific. The Axis advance halted in 1942 when Japan lost the critical Battle of Midway, near Hawaii, in 1944, the Western Allies invaded German-occupied France, while the Soviet Union regained all of its territorial losses and invaded Germany and its allies. During 1944 and 1945 the Japanese suffered major reverses in mainland Asia in South Central China and Burma, while the Allies crippled the Japanese Navy, thus ended the war in Asia, cementing the total victory of the Allies. World War II altered the political alignment and social structure of the world, the United Nations was established to foster international co-operation and prevent future conflicts. The victorious great powers—the United States, the Soviet Union, China, the United Kingdom, the Soviet Union and the United States emerged as rival superpowers, setting the stage for the Cold War, which lasted for the next 46 years. Meanwhile, the influence of European great powers waned, while the decolonisation of Asia, most countries whose industries had been damaged moved towards economic recovery. Political integration, especially in Europe, emerged as an effort to end pre-war enmities, the start of the war in Europe is generally held to be 1 September 1939, beginning with the German invasion of Poland, Britain and France declared war on Germany two days later. The dates for the beginning of war in the Pacific include the start of the Second Sino-Japanese War on 7 July 1937, or even the Japanese invasion of Manchuria on 19 September 1931. Others follow the British historian A. J. P. Taylor, who held that the Sino-Japanese War and war in Europe and its colonies occurred simultaneously and this article uses the conventional dating. Other starting dates sometimes used for World War II include the Italian invasion of Abyssinia on 3 October 1935. The British historian Antony Beevor views the beginning of World War II as the Battles of Khalkhin Gol fought between Japan and the forces of Mongolia and the Soviet Union from May to September 1939, the exact date of the wars end is also not universally agreed upon. It was generally accepted at the time that the war ended with the armistice of 14 August 1945, rather than the formal surrender of Japan
40.
Selective Service
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The Selective Service System is an independent agency of the United States government that maintains information on those potentially subject to military conscription. A2010 GAO report estimated the rate at 92% with the names and addresses of over 16.2 million men on file. The Selective Service System provides the names of all registrants to the Joint Advertising Marketing Research & Studies program for inclusion in the JAMRS Consolidated Recruitment Database, the names are distributed to the Services for recruiting purposes on a quarterly basis. Regulations are codified at 32 C. F. R, owing to very slow enlistment following the U. S. The Act gave the President the power to men for military service. All men aged 21 to 30 were required to register for service for a service period of 12 months. As of mid-November 1917, all registrants were placed in one of five new classifications, Men in Class I were the first to be drafted, and men in lower classifications were deferred. Dependency deferments for registrants who were fathers or husbands were especially widespread, the age limit was later raised in August 1918 to a maximum age of 45. The military draft was discontinued in 1920, the Selective Training and Service Act of 1940 was passed by the 76th United States Congress on September 16,1940, establishing the first peacetime conscription in United States history. It required all men between the ages of 18 to 64 to register with Selective Service and it originally conscripted all men aged 21 to 35 for a service period of 12 months. In 1941 the military service period was extended to 18 months, the Selective Service System created by the 1940 Act was terminated by the Act of March 31,1947. The Selective Service Act of 1948, enacted in June of that year, created a new and separate system, all men 18 years and older had to register with Selective Service. All men between the ages of 19 to 26 were eligible to be drafted for a requirement of 21 months. Conscripts could volunteer for service in the Regular Army for a term of four years or the Organized Reserves for a term of six years. Due to deep postwar budget cuts, only 100,000 conscripts were chosen in 1948, in 1950, the number of conscripts was greatly increased to meet the demands of the Korean War. The outbreak of the Korean War fostered the creation of the Universal Military Training and this lowered the draft age from 19 to 18 1⁄2, increased active-duty service time from 21 to 24 months, and set the statutory term of military service at a minimum of eight years. Students attending a college or training program full-time could request an exemption, a Universal Military Training clause was inserted that would have made all men obligated to perform 12 months of military service and training if the Act was amended by later legislation. Despite successive attempts over the several years, however, such legislation was never passed
41.
4-F (Selective Service System)
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The Selective Service System is an independent agency of the United States government that maintains information on those potentially subject to military conscription. A2010 GAO report estimated the rate at 92% with the names and addresses of over 16.2 million men on file. The Selective Service System provides the names of all registrants to the Joint Advertising Marketing Research & Studies program for inclusion in the JAMRS Consolidated Recruitment Database, the names are distributed to the Services for recruiting purposes on a quarterly basis. Regulations are codified at 32 C. F. R, owing to very slow enlistment following the U. S. The Act gave the President the power to men for military service. All men aged 21 to 30 were required to register for service for a service period of 12 months. As of mid-November 1917, all registrants were placed in one of five new classifications, Men in Class I were the first to be drafted, and men in lower classifications were deferred. Dependency deferments for registrants who were fathers or husbands were especially widespread, the age limit was later raised in August 1918 to a maximum age of 45. The military draft was discontinued in 1920, the Selective Training and Service Act of 1940 was passed by the 76th United States Congress on September 16,1940, establishing the first peacetime conscription in United States history. It required all men between the ages of 18 to 64 to register with Selective Service and it originally conscripted all men aged 21 to 35 for a service period of 12 months. In 1941 the military service period was extended to 18 months, the Selective Service System created by the 1940 Act was terminated by the Act of March 31,1947. The Selective Service Act of 1948, enacted in June of that year, created a new and separate system, all men 18 years and older had to register with Selective Service. All men between the ages of 19 to 26 were eligible to be drafted for a requirement of 21 months. Conscripts could volunteer for service in the Regular Army for a term of four years or the Organized Reserves for a term of six years. Due to deep postwar budget cuts, only 100,000 conscripts were chosen in 1948, in 1950, the number of conscripts was greatly increased to meet the demands of the Korean War. The outbreak of the Korean War fostered the creation of the Universal Military Training and this lowered the draft age from 19 to 18 1⁄2, increased active-duty service time from 21 to 24 months, and set the statutory term of military service at a minimum of eight years. Students attending a college or training program full-time could request an exemption, a Universal Military Training clause was inserted that would have made all men obligated to perform 12 months of military service and training if the Act was amended by later legislation. Despite successive attempts over the several years, however, such legislation was never passed
42.
Earl Hines
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Earl Kenneth Hines, universally known as Earl Fatha Hines, was an American jazz pianist and bandleader. He was one of the most influential figures in the development of piano and. The trumpeter Dizzy Gillespie wrote, The piano is the basis of modern harmony and this little guy came out of Chicago, Earl Hines. He changed the style of the piano and you can find the roots of Bud Powell, Herbie Hancock, all the guys who came after that. If it hadnt been for Earl Hines blazing the path for the generation to come. There were individual variations but the style of, the modern piano came from Earl Hines. The pianist Lennie Tristano said, Earl Hines is the one of us capable of creating real jazz. Horace Silver said, He has a unique style. No one can get that sound, no other pianist, Erroll Garner said, When you talk about greatness, you talk about Art Tatum and Earl Hines. Count Basie said that Hines was the greatest piano player in the world, Hines was born in Duquesne, Pennsylvania,12 miles from the center of Pittsburgh, in 1903. His father, Joseph Hines, played cornet and was the leader of the Eureka Brass Band in Pittsburgh, Hines intended to follow his father on cornet, but blowing hurt him behind the ears, whereas the piano did not. The young Hines took lessons in playing classical piano, by the age of eleven he was playing the organ in his Baptist church. He had an ear and a good memory and could replay songs after hearing them in theaters and park concerts. That astonished a lot of people and theyd ask where I heard these numbers, later, Hines said that he was playing piano around Pittsburgh before the word jazz was even invented. With his fathers approval, Hines left home at the age of 17 to take a job playing piano with Lois Deppe and His Symphonian Serenaders in the Liederhaus and he got his board, two meals a day, and $15 a week. Deppe, a well-known baritone concert artist who sang both classical and popular songs, also used the young Hines as his concert accompanist and took him on his trips to New York. In 1921 Hines and Deppe became the first African Americans to perform on radio, Hiness first recordings were accompanying Deppe – four sides recorded for Gennett Records in 1923, still in the very early days of sound recording. Only two of these were issued, one of which was a Hines composition, Congaine, a keen snappy foxtrot, which also featured a solo by Hines
43.
Gunther Schuller
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Gunther Alexander Schuller was an American composer, conductor, horn player, author, historian and jazz musician. Schuller was born in Queens, New York City, the son of German parents Elsie and Arthur E. Schuller and he studied at the Saint Thomas Choir School and became an accomplished French horn player and flute player. During his youth, he attended the Precollege Division at the Manhattan School of Music, but, already a high school dropout because he wanted to play professionally, Schuller never obtained a degree from any institution. He began his career in jazz by recording as a player with Miles Davis. While lecturing at Brandeis University in 1957, he coined the term Third Stream to describe music that combines classical, in 1966, he composed the opera The Visitation. He also orchestrated Scott Joplins only known surviving opera Treemonisha for the Houston Grand Operas premiere production of work in 1975. In 1959, Schuller gave up performance to himself to composition. He conducted internationally and studied and recorded jazz with such greats as Dizzy Gillespie, Schuller wrote over 190 original compositions in many musical genres. In the 1960s and 1970s, Schuller was president of New England Conservatory, Schuller was editor-in-chief of Jazz Masterworks Editions, and co-director of the Smithsonian Jazz Masterworks Orchestra in Washington, D. C. Another effort of preservation was his editing and posthumous premiering at Lincoln Center in 1989 of Charles Minguss immense final work, Epitaph and he was the author of two major books on the history of jazz, Early Jazz and The Swing Era. His students included Irwin Swack, Ralph Patt, John Ferritto, Eric Alexander Hewitt, Mohammed Fairouz, Oliver Knussen, Nancy Zeltzman, Riccardo Dalli Cardillo, see, List of music students by teacher, R to S#Gunther Schuller. From 1993 until his death, Schuller served as Artistic Director for the Northwest Bach Festival in Spokane, each year the festival showcased works by J. S. Bach and other composers in venues around Spokane, at the 2010 festival, Schuller conducted the Mass in B minor at St. Johns Cathedral, sung by the chamber choir from Eastern Washington University, accompanied by the Spokane Symphony. Other notable performances conducted at the festival include the St Matthew Passion in 2008, Schullers association with Spokane began with guest conducting the Spokane Symphony for one week in 1982. He then served as Music Director from 1984–1985 and later appeared as a guest conductor. Schuller also served as Artistic Director to the nearby Festival at Sandpoint and his modernist orchestral work Where the Word Ends, organized in four movements corresponding to those of a symphony, premiered at the Boston Symphony Orchestra in 2009. In 2011 Schuller published the first volume of an autobiography, Gunther Schuller, A Life in Pursuit of Music. In 2012, Schuller premiered a new arrangement, the Treemonisha suite from Joplins opera and it was performed as part of The Rest is Noise season at Londons South Bank in 2013
44.
Big band
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A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s. Big Bands evolved with the times and continue to this day, a big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra and this does not, however, mean that each one of these names is technically correct for naming a big band specifically. The music is traditionally called charts, improvised solos may be played only when called for by the arranger. There are two periods in the history of popular bands. Beginning in the mid-1920s, big bands, then consisting of 10–25 pieces. At that time they played a form of jazz that involved very little improvisation, which included a string section with violins. A few bands also had violas and cellos, usually one or two along with them, the dance form of jazz was characterized by a sweet and romantic melody. Orchestras tended to stick to the melody as it was written and vocals would be sung, many of these artists changed styles or retired after the introduction of swing music. Although unashamedly commercial, these bands often featured front-rank jazz musicians - for example Paul Whiteman employed Bix Beiderbecke, there were also all-girl bands such as Helen Lewis and Her All-Girl Jazz Syncopators. Towards the end of the 1920s, a new form of Big Band emerged which was more authentically jazz and this form of music never gained the popularity of the sweet dance form of jazz. The few recordings made in form of jazz were labelled race records and were intended for a limited urban audience. Few white musicians were familiar with music, Johnny Mercer. The three major centres in this development were New York City, Chicago and Kansas City, some big ensembles, like the Joe King Oliver outfit played a kind of half arranged, half improvised jazz, often relying on head arrangements. Other great bands, like the one of Luis Russell became a vehicle for star instrumentalists, there the whole arrangement had to promote all the possibilities of the star, although they often contained very good musicians, like Henry Red Allen, J. C. Earl Hines became the star of Chicago with his Grand Terrace Cafe band, meanwhile, in Kansas City and across the Southwest, an earthier, bluesier style was developed by such bandleaders as Benny Moten and, later, by Jay McShann and Jesse Stone. Radio was a factor in gaining notice and fame for Benny Goodman. Soon, others challenged him, and the battles of the bands became a staple at theater performances featuring many groups on one bill
45.
Billy Eckstine
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William Clarence Billy Eckstine was an American jazz and pop singer, and a bandleader of the swing era. He was noted for his rich, resonant, almost operatic bass-baritone voice, Eckstines recording of I Apologize was awarded the Grammy Hall of Fame Award in 1999. Eckstines paternal grandparents were William F. Eckstein and Nannie Eckstein, William F. was born in Prussia and Nannie in Virginia. His parents were William Eckstein, a chauffeur, and Charlotte Eckstein, Eckstine was born in Pittsburgh, Pennsylvania, a State Historical Marker is placed at 5913 Bryant St, Highland Park, Pittsburgh, Pennsylvania, to mark the house where he grew up. Billys sister, Maxine, was a well-respected Spanish teacher at Taylor Allderdice High School in Pittsburgh and he attended Peabody High School before moving to Washington, DC. He attended Armstrong High School, St. Paul Normal and Industrial School and he left Howard in 1933, after winning first place in an amateur talent contest. He married his first wife, June, in 1942, after their divorce in 1952, he remarried shortly after to actress and model Carolle Drake in 1953, and they remained married until his death. Heading to Chicago, Eckstine joined Earl Hines Grand Terrace Orchestra in 1939, staying with the band as vocalist and trumpeter, by that time, Eckstine had begun to make a name for himself through the Hines bands juke-box hits as Stormy Monday Blues and his own Jelly Jelly. In 1944, Eckstine formed his own big band and it became the school for adventurous young musicians who would shape the future of jazz. Included in this group were Dizzy Gillespie, Dexter Gordon, Miles Davis, Art Blakey, Charlie Parker, tadd Dameron, Gil Fuller and Jerry Valentine were among the bands arrangers. The Billy Eckstine Orchestra is considered to be the first bop big-band, both were awarded a gold disc by the RIAA. Dizzy Gillespie, in reflecting on the band in his 1979 autobiography To Be or Not to Bop, gives this perspective and our attack was strong, and we were playing bebop, the modern style. No other band like this one existed in the world, Eckstine became a solo performer in 1947, with records featuring lush sophisticated orchestrations. Even before folding his band, Eckstine had recorded solo to support it, far more successful than his band recordings, these prefigured Eckstine’s future career. Eckstine would go on to record over a dozen hits during the late 1940s and he signed with the newly established MGM Records, and had immediate hits with revivals of Everything I Have Is Yours, Richard Rodgers and Lorenz Hart’s Blue Moon, and Juan Tizol’s Caravan. Eckstine had further success in 1950 with Victor Young’s theme song to My Foolish Heart, and his 1950 appearance at the Paramount Theatre in New York City drew a larger audience than Frank Sinatra at his Paramount performance. One photograph taken by Holmes and published in LIFE showed Eckstine with a group of female admirers, Eckstines biographer Cary Ginell, wrote of the image that Holmes. captured a moment of shared exuberance, joy, and affection, unblemished by racial tension. Holmes would later describe the photograph as the favorite of the many she had taken in her career as it. told just what the world should be like
46.
Ray Brown (musician)
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Raymond Matthews Ray Brown was an American jazz double bassist and cellist, known for extensive work with Oscar Peterson and Ella Fitzgerald, among others. Ray Brown was born in Pittsburgh, Pennsylvania and took lessons from the age of eight. After noticing how many attended his high school, he thought of taking up the trombone but was unable to afford one. With a vacancy in the school jazz orchestra, he took up the upright bass. A major early influence on Browns bass playing was Jimmy Blanton, as a young man Brown became increasingly well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russell band. After graduating high school, having heard stories about the jazz scene on 52nd Street in New York City. He arrived in New York at the age of 20, met up with Hank Jones, with whom he had worked, and was introduced to Dizzy Gillespie. Gillespie hired Brown on the spot, and he played with such established musicians as Art Tatum. From 1946 to 1951 Brown played in Gillespies band, Brown, along with the vibraphonist Milt Jackson, drummer Kenny Clarke, and pianist John Lewis formed the rhythm section of the Gillespie band. Lewis, Clarke, and Jackson eventually formed the Modern Jazz Quartet, Brown became acquainted with singer Ella Fitzgerald when she joined the Gillespie band as a special attraction for a tour of the southern United States in 1947. Around this time Brown was also appearing in Jazz at the Philharmonic concerts and it was at a Jazz at the Philharmonic concert in 1949 that Brown first worked with the jazz pianist Oscar Peterson, in whose trio Brown would play from 1951 to 1966. Between 1957 and 1959, Brown appeared on Blossom Dearies first five recordings for Verve Records, after leaving the Trio he became a manager and promoter as well as a performer. In 1966, he settled in Los Angeles, where he was in high demand working for television show orchestras. He also accompanied some of the artists of the day, including Tony Bennett, Billy Eckstine, Frank Sinatra, Sarah Vaughan. Also in Los Angeles he composed music for films and television shows, from 1974 to 1982, Brown performed and recorded a series of albums with guitarist Laurindo Almeida, saxophonist and flautist Bud Shank, and drummer Shelly Manne under the name The L. A. Four. Brown guested as a player on Razor Boy, the second track on Steely Dans second album, Countdown to Ecstasy. Brown appeared on four tracks from the soundtrack to Clint Eastwoods biopic about Charlie Parker, although all of the saxophone parts are Birds original playing, the accompaniment was re-recorded in order to beef up the sound, using Brown and, among others, John Guerin on drums. In the 1980s and 1990s Brown led his own trios and continued to refine his bass playing style, in his later years he recorded and toured extensively with pianist Gene Harris
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Media related to Dizzy Gillespie at Wikimedia Commons