Keith Jarrett is an American jazz and classical music pianist and composer. Jarrett started his career with Art Blakey. Since the early 1970s he has enjoyed a great deal of success as a group leader and a solo performer in jazz, jazz fusion, classical music, his improvisations draw from the traditions of jazz and other genres Western classical music, gospel and ethnic folk music. In 2003, Jarrett received the Polar Music Prize, the first recipient of both the contemporary and classical musician prizes, in 2004 he received the Léonie Sonning Music Prize, his album The Köln Concert became the best-selling piano recording in history. In 2008, he was inducted into the Down Beat Hall of Fame in the magazine's 73rd Annual Readers' Poll. Keith Jarrett was born on May 8, 1945, in Allentown, Pennsylvania, to a mother of Hungarian descent and a father of either French or Scots-Irish descent, he grew up in suburban Allentown with significant early exposure to music. Jarrett possesses absolute pitch, he displayed prodigious musical talents as a young child.
He began piano lessons before his third birthday, at age five he appeared on a TV talent program hosted by the swing bandleader Paul Whiteman. He gave his first formal piano recital at the age of seven, playing works by composers such as Mozart, Bach and Saint-Saëns, ending with two of his own compositions. Encouraged by his mother, he took classical piano lessons with a series of teachers, including Eleanor Sokoloff of the Curtis Institute. In his teens, as a student at Emmaus High School in Emmaus, Jarrett learned jazz and became proficient in it, he developed a strong interest in contemporary jazz. He had an offer to study classical composition in Paris with Nadia Boulanger, an opportunity that pleased his mother but that Jarrett leaning toward jazz, decided to turn down. After his graduation from Emmaus High School in 1963, Jarrett moved from Allentown to Boston where he attended the Berklee College of Music and played cocktail piano in local clubs. After a year he moved to New York City.
In New York, Art Blakey hired Jarrett to play with the Jazz Messengers. During a show he was noticed by Jack DeJohnette who recognized the unknown pianist's talent and unstoppable flow of ideas. DeJohnette recommended him to his band leader, Charles Lloyd; the Charles Lloyd Quartet had formed not long before and were exploring open, improvised forms while building supple grooves, they were moving into terrain, being explored, although from another stylistic background, by some of the psychedelic rock bands of the west coast. Their 1966 album Forest Flower was one of the most successful jazz recordings of the mid-1960s, when they were invited to play The Fillmore in San Francisco, they won over the local hippie audience; the Quartet's tours across America and Europe, Moscow made Jarrett a popular musician in rock and jazz. The tour laid the foundation for a lasting musical bond with DeJohnette. Jarrett began to record his own tracks as a leader of small groups, at first in a trio with Charlie Haden and Paul Motian.
Life Between the Exit Signs, his first album as a leader, was released by Vortex, followed by Restoration Ruin, which Thom Jurek of AllMusic called "a curiosity in his catalog". Not only does Jarrett touch the piano, but he plays all the other instruments on what is a folk-rock album. Unusually, he sings. Somewhere Before, another trio album with Haden and Motian, followed in 1968 for Atlantic Records; the Charles Lloyd Quartet with Jarrett, Ron McClure and DeJohnette came to an end in 1968, after the recording of Soundtrack, because of disputes over money as well as artistic differences. Jarrett was asked to join the Miles Davis group after the trumpeter heard him in a New York City club. During his tenure with Davis, Jarrett played both Fender Contempo electronic organ and Fender Rhodes electric piano, alternating with Chick Corea. After Corea left in 1970, Jarrett played electric piano and organ simultaneously. Despite his growing dislike of amplified music and electric instruments within jazz, Jarrett continued with the group out of respect for Davis and because of his desire to work with DeJohnette.
Jarrett has cited Davis as a vital influence, both musical and personal, on his own thinking about music and improvisation. Jarrett performs on several Davis albums: Miles Davis at Fillmore: Live at the Fillmore East, The Cellar Door Sessions, his keyboard playing features prominently on Live-Evil. Jarrett plays electric organ on Get Up with It; some other tracks from this period were released much later. From 1971 to 1976, Jarrett added saxophonist Dewey Redman to the existing trio with Haden and Motian; the so-called "American quartet" was supplemented by an extra percussionist, such as Danny Johnson, Guilherme Franco, or Airto Moreira, by guitarist Sam Brown. The quartet members played various instrument
Fingers is an album by Brazilian jazz drummer and percussionist Airto Moreira featuring performances recorded in 1973 and released on the CTI label. The album reached number 18 in the Billboard Jazz albums charts; the Allmusic review states "the results are enriching. Fingers is an album to savor". "Fingers" - 4:30 "Romance of Death" - 5:35 "Merry-Go-Round" - 2:40 "Wind Chant" - 5:45 "Parana" - 6:00 "San Francisco River" - 4:05 "Tombo in 7/4" - 6:20Recorded at Van Gelder Studio in Englewood Cliffs, New Jersey on April 9, 17 and 18, 1973 Airto - drums, vocals Hugo Fattoruso - keyboards, vocals, composer David Amaro - guitar, electric guitar Ringo Thielmann - bass, vocals Jorge Osvaldo Fattoruso - drums, vocals Flora Purim - percussion, vocals
Joseph Carl Firrantello, known as Joe Farrell, was an American jazz saxophonist and flautist. He is best known for a series of albums under his own name on the CTI record label and for playing in the initial incarnation of Chick Corea's Return to Forever. Farrell was born in Chicago Heights, United States, he joined the Ralph Marterie band in 1957 and played with Maynard Ferguson and The Thad Jones/ Mel Lewis Orchestra. He recorded with Charles Mingus, Andrew Hill, Jaki Byard, Players Association and Elvin Jones. After the death of John Coltrane, Elvin Jones formed a pianoless trio with Jimmy Garrison and Farrell, recording two albums for Blue Note in 1968. In the late 1960s and throughout the 1970s, Farrell performed with Chick Corea and Return to Forever, he is the flutist in Corea's most famous work "Spain,", considered to be a modern jazz standard. He did numerous sessions and contributed a flute solo to Aretha Franklin's 1973 hit "Until You Come Back to Me"; the Santana track "When I Look into Your Eyes" from Welcome includes solo work from Farrell.
Farrell was prominently featured on the Hall & Oates recording Abandoned Luncheonette which featured both tenor saxophone and oboe solos from Farrell. His tenor saxophone solo on the recording of AWB – the Average White Band's Pick Up The Pieces is one of the most memorable tenor solos in all of rock and roll history. Farrell recorded Flute Talk with Sam Most in 1979, billed as a duet of the world's two greatest Jazz flutists. Farrell performs with Brazilian percussionist Airto and Airto's wife Flora Purim on the album Three-Way Mirror. A message on the CD jacket dedicates the 1987 album to Farrell and states it contains his final recordings. Farrell died of myelodysplastic syndrome in Los Angeles, California on January 10, 1986 at the age of 48. In 2008, Farrell's daughter Kathleen Firrantello filed a lawsuit against rappers Kanye West, Method Man and Common, their record labels for using portions of Farrell's 1974 musical composition "Upon This Rock" in their songs without approval. Firrantello was seeking punitive damages of at least US$1 million and asked that no further copies of the songs be made, sold or performed.
1967: Jazz for a Sunday Afternoon with Chick Corea and others 1970: Joe Farrell Quartet 1971: Outback 1972: Moon Germs 1973: Penny Arcade 1974: Upon This Rock 1975: Canned Funk 1976: Benson & Farrell with George Benson 1977: La Catedral Y El Toro 1978: Night Dancing 1979: Skate Board Park 1980: Sonic Text 1980: Farrell's Inferno 1982: Darn That Dream 1983: Vim'n' Vigor 1985: Clark Woodard And Joe Farrell, with Clark Woodard 1985: Three-Way Mirror, with Airto Moreira and Flora Purim With Mose Allison Hello There, Universe Your Mind Is on Vacation With Patti Austin End of a Rainbow With Average White Band AWB With The Band Rock of Ages With Ray Barreto La CunaWith the Bee Gees Main Course With George Benson Tell It Like It Is Good King Bad With Willie Bobo Bobo's Beat With Frank Butler Wheelin' and Dealin' With Jaki Byard Jaki Byard Quartet Live! The Last from Lennie's With George Cables Circle With Billy Cobham Spectrum With Chick Corea/Return to Forever Tones for Joan's Bones Return to Forever Light as a Feather The Leprechaun Musicmagic The Mad Hatter Friends Live Secret Agent With Lou Donaldson Sophisticated Lou With Maynard Ferguson Newport Suite Let's Face the Music and Dance Maynard'61 Double Exposure with Chris Connor Two's Company with Chris Connor Maynard'64 Primal Scream Conquistador With Aretha Franklin Let Me in Your Life With Fuse One Fuse One With Grant Green The Main Attraction With Urbie Green The Fox With Bobby HackettCreole Cookin' With Slide Hampton Explosion!
The Sound of Slide Hampton With Andrew Hill Dance with Death Passing Ships With Johnny Hodges 3 Shades of Blue With Jackie and Roy A Wilder Alias With Antônio Carlos Jobim Stone Flower Tide Urubu With Elvin Jones Puttin' It Together The Ultimate Poly-Currents Genesis Merry-Go-Round New Agenda With The Thad Jones/Mel Lewis Orchestra Presenting Thad Jones/Mel Lewis and the Jazz Orchestra Live at the Village Vanguard Monday Night Central Park North With Rufus Jones Five on Eight With Lee Konitz Chicago'n All That Jazz With John Larkin John Larkin With The Jeff Lorber Fusion Soft Space With Arif Mardin Journey With Pat Martino Strings! With Jack McDuff The Fourth Dimension Sophisticated Funk With Charles Mingus Pre-Bird (aka Mingus Revisited With Mingus Dynasty Chair in the Sky Live at Montreux With Blue Mitchell Many Shades of Blue (Mainstream, 1
Hubert Laws is an American flutist and saxophonist with a career spanning over 50 years in jazz and other music genres. Considering the artistry of the late Eric Dolphy and the popularity of the late Herbie Mann, Laws is notably in the company of the most recognized and respected jazz flutists in the history of jazz. Laws is one of the few classical artists who has mastered jazz and rhythm-and-blues genres, moving effortlessly from one repertory to another. Hubert Laws, Jr. was born November 10, 1939, in the Studewood section of Houston, the second of eight children to Hubert Laws, Sr. and Miola Luverta Donahue. Many of his siblings entered the music industry, including saxophonist Ronnie and vocalists Eloise and Johnnie Laws, he began playing flute in high school after volunteering to substitute for the school orchestra's regular flutist. He became adept at jazz improvisation by playing in the Houston-area jazz group the Swingsters, which evolved into the Modern Jazz Sextet, the Night Hawks, The Crusaders.
At age 15, he was a member of the early Jazz Crusaders while in Texas, played classical music during those years. Winning a scholarship to New York's Juilliard School of Music in 1960, he studied music both in the classroom and with master flutist Julius Baker, played with both the New York Metropolitan Opera Orchestra and the New York Philharmonic Orchestra, 1969–72. In this period his renditions of classical compositions by Gabriel Fauré, Stravinsky and Bach on the 1971 CTI recording Rite of Spring—with a string section and such jazz stalwarts as Airto Moreira, Jack DeJohnette, Bob James, Ron Carter—earned him an audience of classical music aficionados, he would return to this genre in 1976 with a recording of Juliet. While at Juilliard, Laws played flute during the evenings with several acts, including Mongo Santamaría, 1963–67 and in 1964 began recording as a bandleader for Atlantic, he released the albums The Laws of Jazz, Flute By-Laws, Laws Cause, he appeared on albums by Ashford & Simpson, Chet Baker, George Benson, Moondog.
He recorded with his younger brother Ronnie on the album The Laws in the early 1970s. He played flute on Gil Scott-Heron's 1971 album Pieces of a Man, which featured the jazz poem "The Revolution Will Not Be Televised". During the 1970s he was a member of the New York Jazz Quartet, he can be heard playing tenor saxophone on some records from the 1970s. In 1980 he had a minor hit with the tune "Family" on CBS records played on many UK soul radio stations. In the 1990s Laws resumed his career, playing on the 1991 Spirituals in Concert recording by opera singers Kathleen Battle and Jessye Norman, his albums on the Music Masters Jazz label—My Time Will Come in 1990 and, more Storm Then Calm in 1994—are regarded by critics as a return to the form he exhibited on his early 1970s albums. He recorded a tribute album to jazz pianist and pop-music vocalist Nat King Cole, Hubert Laws Remembers the Unforgettable Nat King Cole, which received critical accolades. Among the many artists he has played and recorded with are Herbie Hancock, McCoy Tyner, Nancy Wilson, Quincy Jones, Paul McCartney, Paul Simon, Aretha Franklin, Ella Fitzgerald, Sarah Vaughan, Lena Horne, Leonard Bernstein, James Moody, Jaco Pastorius, Sérgio Mendes, Bob James, Carly Simon, George Benson, Clark Terry, Stevie Wonder, J. J. Johnson, The Rascals.
In 1998, Laws recorded with Morcheeba for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease. The 2006 video Hubert Laws Live 30-year Video Retrospective includes "Red Hot & Cool" with Nancy Wilson, Performance in Brazil, The Tonight Show Starring Johnny Carson Appearance, The 1975 Down Beat Reader's Poll Awards, Performance in Japan, Performance in Germany. Laws was honored with the Lifetime Achievement Award in 2003 from the National Flute Association. In June 2010, Laws received a Lifetime Achievement Award from the National Endowment for the Arts in the field of jazz. Laws is a recipient of the 2011 NEA Jazz Masters Award; the Laws of Jazz Flute By-Laws Laws' Cause Crying Song Afro-Classic The Rite of Spring Wild Flower Morning Star Carnegie Hall In the Beginning The Chicago Theme The San Francisco Concert Romeo & Juliet Family Hubert Laws official website Hubert Laws Allmusic Hubert Laws Jr.
Interview NAMM Oral History Library
Creed Taylor is an American record producer, best known for his work with CTI Records, which he founded in 1968. His career included periods at Bethlehem Records, ABC-Paramount, A&M Records. In the 1960s, he signed bossa nova artists from Brazil to record in the US, such as Antonio Carlos Jobim, Eumir Deodato, João and Astrud Gilberto, among others. Taylor was born and spent his childhood in Pearisburg, where he played trumpet in the high school marching band and symphony orchestra. Although he grew up surrounded by country music and bluegrass, he gravitated more toward the sounds of jazz, citing Dizzy Gillespie as a source of inspiration during his high school years. Taylor recalls spending many evenings beside a small radio, listening to Symphony Sid's live broadcasts from Birdland in New York City. After high school, Taylor completed an undergraduate degree in psychology from Duke University in 1951 while performing with the student jazz ensembles the Duke Ambassadors and the Five Dukes. Taylor credits Duke's strong tradition of student-led jazz ensembles, Les Brown's association with Duke in particular, as drawing him to the university.
As he recalls, "The reason I went to Duke was from hearing Les Brown and all the history of the bands who went through Duke. This was a great jazz band... and the book was handed down from one class to the next, you had to audition and all the best players who came to Duke got in the band.... I had a ball when I was there." After graduating from Duke, Taylor spent two years in the Marines before returning to Duke for a year of graduate study. Shortly thereafter, Taylor relocated to New York City in order to pursue his dream of becoming a record producer. Although he had no formal training at the time in record production, he recalls his "mix of naivete and positive thinking" that convinced him that he could succeed. After arriving in NYC, Taylor approached another Duke University alum, running Bethlehem Records. Taylor convinced Bethlehem Records to allow him to record the vocalist Chris Connor with the trio of pianist Ellis Larkins. Due in part to the album's success, Taylor became head of artists and repertory for Bethlehem Records.
He was at Bethlehem during its two most significant years, recording such artists as Oscar Pettiford, Ruby Braff, Carmen McRae, Charles Mingus, Herbie Mann, Charlie Shavers, the J. J. Johnson-Kai Winding Quintet. In 1956 Taylor left Bethlehem to join ABC-Paramount, where four years he founded the subsidiary label Impulse!. Motivated by the idea of a label dedicated to tasteful, current jazz, Taylor worked with ABC-Paramount executive Harry Levine to advocate for the label, which he dubbed "The New Wave in Jazz", it was Taylor who signed John Coltrane to Impulse!, rather than Coltrane's better known producer at the label, Bob Thiele. Taylor's accomplishments during this period included gaining immediate credibility for the label by releasing successful gate-fold albums by Ray Charles, Gil Evans, Kai Winding and J. J. Johnson and Oliver Nelson. Taylor was sensitive to the importance of album cover design for visually drawing people to the music, he hired photographers Pete Turner and Arnold Newman to create cover images.
Taylor's successful Impulse! Albums blurred the genre-based lines between jazz and popular music, his superb production values became the hallmark of the label. Although he signed John Coltrane for Impulse in 1960, Taylor left the following year to accept a job with Verve Records. There he prominently introduced bossa nova to the US through recordings such as “The Girl from Ipanema” with Antonio Carlos Jobim and Stan Getz. Jobim, a prolific writer on both piano and guitar, had come up with numerous melodies based on the rhythm of the bossa nova. One such piece, "Desafinado", found its way into the repertoire of bebop trumpeter Dizzy Gillespie and caught the ear of jazz guitarist Charlie Byrd while he was on tour in Brazil; when Byrd returned to the States in 1961 armed with "Desafinado" and a cache of new Brazilian songs, the first person he rang up was jazz producer Creed Taylor. As Taylor recalls, "I went down to Brazil a few times and spent some time at Jobim’s house and met all the players down there.
Of course after “Desafinado” became a hit, Jobim wanted to come up and see what New York was like, so he came in to see me right off the bat. That started a long friendship and series of albums"; as Gene Lees puts it, "Creed Taylor was treating with dignity. Were it not for Creed Taylor, I am convinced, bossa nova and Brazilian music would have retreated in to itself, gone back to Brazil... and become a quaint parochial phenomenon interesting to tourists, instead of the worldwide music and the tremendous influence on jazz itself that it in fact became". While at Verve, Taylor produced recordings by Wes Montgomery, Jimmy Smith, Bill Evans, Cal Tjader, among others. Taylor formed his own label, CTI, the following year. A&M distributed CTI releases until 1969, when Taylor left A&M to establish CTI as an independent record company. Wes Montgomery joined Taylor at A&M. Taylor soon established CTI among the most successful jazz record companies of the 1970s, gaining notice for his ability to balance the artistic with the commercial.
Musicians including Freddie Hubbard, Stanley Turrentine, George Benson, Chet Baker, Gerry Mulligan, Nina Simone, Paul Desmond, Art Farmer, Eumir Deodato, Hubert Laws, Herbie Hancock, Ron Carter are among the artists who recorded for CTI during the 1970s. Taylor formed other labels within C
Ronald Levin Carter is an American jazz double bassist. His appearances on 2,221 recording sessions make him the most-recorded jazz bassist in history. Carter is a cellist who has recorded numerous times on that instrument; some of his studio albums as a leader include: Blues Farm. He was a member of the Miles Davis Quintet in the mid 1960s, which included Herbie Hancock, Wayne Shorter and drummer Tony Williams. Carter joined Davis's group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E. S. P.. Carter performed on some of Hancock and Shorter's recordings during the sixties for Blue Note Records, he was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and many others. He was elected to the Down Beat Jazz Hall of Fame in 2012. In 1993, he won a Grammy Award for Best Jazz Instrumental Group and another Grammy in 1998 for "an instrumental composition for the film" Round Midnight.
In 2010 he was honored with France's premier cultural award, the medallion and title of Commander of the Ordre des Arts et des Lettres. Carter was born in Michigan, he started to play cello at the age of 10. His first jobs as a jazz musician were playing bass with Chico Hamilton, his first records were made with Eric Dolphy and Don Ellis, in 1960. His own first date as leader, Where?, with Eric Dolphy, Charlie Persip, Mal Waldron, George Duvivier, a date with Dolphy called Out There with George Duvivier and Roy Haynes and Carter on cello. Carter came to fame via the second Miles Davis Quintet in the mid 1960s, which included Herbie Hancock, Wayne Shorter and drummer Tony Williams. Carter joined Davis's group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E. S. P; the latter being the first album to feature only the full quintet. It featured three of Carter's compositions, he stayed with Davis until 1968, participated in a couple of studio sessions with Davis in 1969 and 1970.
Although he played electric bass during this era of early jazz-rock fusion, he has subsequently stopped playing that instrument, in the 2000s plays only double bass. Carter performed on some of Hancock and Shorter's recordings during the sixties for Blue Note Records, he was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver, others. After leaving Davis, Carter was for several years a mainstay of CTI Records, making albums under his own name and appearing on many of the label's records with a diverse range of other musicians. Notable musical partnerships in the 1970s and 1980s included Joe Henderson, Houston Person, Hank Jones, Gabor Szabo and Cedar Walton. During the 1970s he was a member of the New York Jazz Quartet. In 1986, Carter played double bass on "Big Man on Mulberry Street" on Billy Joel's album The Bridge. In 1993, he won a Grammy Award for Best Jazz Instrumental Group and another Grammy in 1998 for "an instrumental composition for the film" Round Midnight.
He appears on the alternative hip hop group A Tribe Called Quest's influential album The Low End Theory on a track called "Verses from the Abstract". He appeared as a member of the jazz combo the Classical Jazz Quartet. In 1994, Carter appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool; the album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African-American community, was heralded as "Album of the Year" by TIME. In 2001, Carter collaborated with Black Star and John Patton to record "Money Jungle" for the Red Hot Organization's compilation album, Red Hot + Indigo, a tribute to Duke Ellington. Carter is a Distinguished Professor Emeritus of the Music Department of City College of New York, having taught there for 20 years, received an honorary Doctorate from the Berklee College of Music in Spring 2005, he joined the faculty of the Juilliard School in New York City in 2008, teaching bass in the school's Jazz Studies program.
Carter made an appearance in Kansas City. The end credits feature him and fellow bassist Christian McBride duetting on "Solitude". Carter sits on the Advisory Committee of the Board of Directors of The Jazz Foundation of America and on the Honorary Founder's Committee. Carter has worked with the Jazz Foundation since its inception to save the homes and the lives of America's elderly jazz and blues musicians including musicians that survived Hurricane Katrina. Most Carter appeared as himself in an episode of the HBO series Treme entitled "What Is New Orleans" and his authorized biography, Ron Carter: Finding the Right Notes, by Dan Ouellette, was published by ArtistShare in 2008. Where? Uptown Conversation Alone Together with Jim Hall Blues Farm All Blues Spanish Blue Anything Goes Yellow & Green Pastels Piccolo Third Plane Peg Leg A Song for You 1 + 3 Carnaval with Hank Jones, Sadao Watanabe and Tony Williams Pick'Em Parade New York Slick (Mileston
Alan Rubin known as Mr. Fabulous, was an American musician, he played trumpet and piccolo trumpet. Rubin began attending Juilliard School of Music in New York when he was 17 and studied with William Vacchiano, principal trumpet in the New York Philharmonic. Vacchiano described Rubin as his best student. While at Juilliard, Rubin was invited to play with Paul Hindemith on his last concert tour of the U. S. A. but Rubin chose, instead. Rubin dropped out of Juilliard at 20 to tour with singer Robert Goulet as his lead trumpet player, he was a member of the Saturday Night Live Band, with whom he played at the Closing Ceremony of the 1996 Olympic Games. As a member of The Blues Brothers, he portrayed Mr. Fabulous in the 1980 film, the 1998 sequel and was a member of the touring band; the nickname "Mr Fabulous" was given to Rubin by John Belushi. Rubin played with an array of artists, such as Frank Sinatra, Frank Zappa, Duke Ellington, Blood and Tears, Gil Evans, Eumir Deodato, Aerosmith, The Rolling Stones, Paul Simon, James Taylor, Frankie Valli, Eric Clapton, Billy Joel, B.
B. King, Miles Davis, Yoko Ono, Peggy Lee, Aretha Franklin, James Brown, Ray Charles, Cab Calloway, Dr. John. Rubin contributed to over 6000 recording sessions. Rubin's last performance was with The Blues Brotherhood at B. B. King's in NYC on October 12, 2010; the performance featured Tom "Bones" Malone and Lou "Blue Lou" Marini. Rubin died from lung cancer at Memorial Sloan Kettering Cancer Center in New York City and he was cremated. Rubin is survived by his wife and two siblings, Sharyn Soleimani and Marshall Rubin. With Randy Weston Blue Moses With Hank Crawford Wildflower I Hear a Symphony Mr. Chips Night Beat Groove Master Tight With Johnny Hammond Higher Ground With Jackie and Roy Time & Love With Hubert Laws Morning Star With O'Donel Levy Simba With Don Sebesky Giant Box With Gato Barbieri Chapter Three: Viva Emiliano Zapata With Ron Carter Anything Goes With Lonnie Smith Keep on Lovin' With Patti Austin Havana Candy With Herbie Mann Brazil: Once Again With Jimmy McGriff Red Beans Tailgunner With Stanley Turrentine Nightwings With The Blues Brothers Briefcase Full of Blues The Blues Brothers Made in America The Blues Brothers Band Live in Montreux Red, White & Blues Blues Brothers 2000 With Billy Joel trumpet on "Big Man on Mulberry Street" on album The Bridge With Jimmy Buffett Off to See the Lizard With Fred Lipsius Better Believe It Alan Rubin at Find a Grave Alan Rubin on IMDb Video: Flugelhorn solo on'To touch you again' Video: Alan Rubin'She's funny that way' 1959