1.
Album
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Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, the term album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves
2.
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
3.
Plaza Hotel
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With a height of 250 ft and a length of 400 ft, the hotel occupies the west side of Grand Army Plaza, from which it derives its name, and extends along Central Park South in Manhattan. Fifth Avenue extends along the east side of Grand Army Plaza, the Plaza Hotel is recognized as a Historic Hotel of America by the National Trust for Historic Preservation. The hotels main entrance at 768 Fifth Avenue faces the southern portion of Grand Army Plaza, the Grand Ballroom, Terrace Room and meeting spaces are currently managed by CPS Events, a joint venture between Delaware North Companies and the high end caterer Great Performances. The Oak Room, now closed, was another restaurant in the Plaza, the Plaza Hotel is the second hotel of that name on the site. The French Renaissance château-style building was designed by Henry Janeway Hardenbergh, at the time, it cost $12.5 million to construct. When the hotel opened, a room at the Plaza Hotel was only $2.50 per night, the same room costs over 15 times as much today. Alphonse Salamone joined the hotel in 1947, although later left to accept a position in San Juan at the Caribe Hilton and he returned the hotel and helped it out of hardship during the 1960s. The Plaza Hotel was accorded landmark status by the New York City Landmarks Preservation Commission in 1969, the hotel offers tours of its interior to the public. Long the site for famous performers and guests, it has also been the place for important political meetings. Miles Davis recorded an album in the Persian Room in 1958. Unaccompanied ladies were not permitted in the Oak Room bar, women favored the Palm Court for luncheons, in September 1985, ministers of developed countries met at the Plaza Hotel to consult on finance issues and affirmed their agreement by signing the Plaza Accord. It served as an agreement among the ministers of the United States, Japan, West Germany, France. The Beatles stayed at the Plaza Hotel during their first visit to the United States in February 1964, on November 28,1966, in honor of the publisher Katharine Graham, the writer Truman Capote hosted his acclaimed Black and White Ball in the Grand Ballroom. The ballroom was also the site, in 1993, of Donald Trumps wedding to Marla Maples in front of 1,500 guests, conrad Hilton bought the Plaza Hotel for $7.4 million in 1943 and spent $6 million refurbishing it. The Childs Company, a restaurant chain which partnered in the development of the neighboring Savoy-Plaza Hotel. Childs, later named Sonesta International Hotels, sold the Plaza to Western International Hotels in 1975 for $25 million, Donald Trump bought the Plaza Hotel for $407.5 million in 1988. Trump commented on his purchase in an open letter in The New York Times, I havent purchased a building. For the first time in my life, I have knowingly made a deal that was not economic – for I can never justify the price I paid, Trump installed his wife, Ivana Trump as the hotels president
4.
Columbia Records
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Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. the United States division of Sony Corporation. It was founded in 1887, evolving from an enterprise named the American Graphophone Company. Columbia is the oldest surviving brand name in the sound business. Columbia Records went on to release records by an array of singers, instrumentalists. It is one of Sony Musics three flagship record labels alongside RCA Records and Epic Records, rather, as above, it was connected to CBS, a broadcasting media company which had purchased the company in 1938, and had been co-founded in 1927 by Columbia Records itself. Though Arista Records was sold to Bertelsmann Music Group, it would become a sister label of Columbia Records through its mutual connection to Sony Music. The Columbia Phonograph Company was founded in 1887 by stenographer, lawyer and New Jersey native Edward Easton and it derived its name from the District of Columbia, where it was headquartered. At first it had a monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington. As was the custom of some of the regional companies, Columbia produced many commercial cylinder recordings of its own. Columbias ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Companys breakup, thereafter it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the XP record, a brown wax record. According to Gracyk, the molded brown waxes may have sold to Sears for distribution. Columbia began selling records and phonographs in addition to the cylinder system in 1901, preceded only by their Toy Graphophone of 1899. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its catalog of artists. The firm also introduced the internal-horn Grafonola to compete with the extremely popular Victrola sold by the rival Victor Talking Machine Company, during this era, Columbia used the famous Magic Notes logo—a pair of sixteenth notes in a circle—both in the United States and overseas. Columbia was split into two companies, one to make records and one to make players, Columbia Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the Dictaphone Corporation, in late 1923, Columbia went into receivership
5.
Duke Ellington
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Edward Kennedy Duke Ellington was an American composer, pianist, and bandleader of a jazz orchestra, which he led from 1923 until his death in a career spanning over fifty years. Ellington was based in New York City from the mid-1920s onward, in the 1930s, his orchestra toured in Europe. Some of the musicians who were members of Ellingtons orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in jazz, Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades, a master at writing miniatures for the three-minute 78 rpm recording format, Ellington often composed specifically to feature the style and skills of his individual musicians. Ellington also recorded songs written by his bandsmen, for example Juan Tizols Caravan, and Perdido, after 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major career revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in films, scoring several. His reputation continued to rise after he died, and he was awarded a special posthumous Pulitzer Prize for music in 1999, Ellington was born on April 29,1899, to James Edward Ellington and Daisy Ellington in Washington, D. C. Daisy primarily played parlor songs and James preferred operatic arias and they lived with his maternal grandparents at 2129 Ida Place, NW, in the West End neighborhood of Washington, D. C. Dukes father was born in Lincolnton, North Carolina, on April 15,1879, Daisy Kennedy was born in Washington, D. C. on January 4,1879, the daughter of a former American slave. James Ellington made blueprints for the United States Navy, when Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D. C. worked to protect their children from the eras Jim Crow laws, at the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners, Ellingtons childhood friends noticed that his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman, and began calling him Duke. Ellington credited his chum Edgar McEntree for the nickname, I think he felt that in order for me to be eligible for his constant companionship, I should have a title. Though Ellington took piano lessons, he was interested in baseball. President Roosevelt would come by on his horse sometimes, and stop and watch us play, Ellington went to Armstrong Technical High School in Washington, D. C. He gained his first job selling peanuts at Washington Senators baseball games, in the summer of 1914, while working as a soda jerk at the Poodle Dog Café, Ellington wrote his first composition, Soda Fountain Rag. He created the piece by ear, as he had not yet learned to read, I would play the Soda Fountain Rag as a one-step, two-step, waltz, tango, and fox trot, Ellington recalled
6.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
7.
Bill Evans
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William John Bill Evans was an American jazz pianist and composer who mostly worked in a trio setting. In 1955, he moved to New York City, where he worked with bandleader, in 1958, Evans joined Miles Daviss sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, in late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby. After months of seclusion, Evans re-emerged with a new trio, in 1963, Evans recorded Conversations with Myself, an innovative solo album using the unconventional technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years, several successful albums followed, such as Bill Evans at the Montreux Jazz Festival, Alone and The Bill Evans Album, among others. Many of his compositions, such as Waltz for Debby, have become standards and have played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame, Bill Evans was born in Plainfield, New Jersey, to Harry and Mary Evans. His father was of Welsh descent and ran a course, his mother was of Rusyn ancestry. The marriage was due to his fathers heavy drinking, gambling. He had a brother, Harry, two years his senior, with whom he shared a close relationship. Given Harry Evans Sr. s destructive character, Mary Evans would often leave home with her sons to nearby Somerville, to stay with her sister Justine, there, Harry began piano lessons somewhere between age 5 and 7 with local teacher Helen Leland. Even though Bill was thought to be too young to receive lessons, soon both brothers were taking piano lessons. Evans remembered Leland with affection for not insisting on a technical approach, with scales. He would soon develop a fluid sight-reading ability, though his teacher rated his brother as a better pianist, at age 7, Bill began violin lessons, and soon also flute and piccolo. Even though he soon dropped those instruments, it is believed they later influenced his keyboard style and he later cited Mozart, Beethoven and Schubert as frequently played composers. Around the same time came his first exposure to jazz. At the age of 13, Bill stood in for a sick pianist in Buddy Valentinos rehearsal band, soon, Bill began to perform for dances and weddings throughout New Jersey, playing music like boogie woogie and polkas for $1 per hour
8.
John Coltrane
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John William Coltrane, also known as Trane, was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career and he led at least fifty recording sessions during his career, and appeared as a sideman on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk. As his career progressed, Coltrane and his music took on a spiritual dimension. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history and he received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane and a special Pulitzer Prize in 2007. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist, Coltrane was born in his parents apartment at 200 Hamlet Avenue, Hamlet, North Carolina on September 23,1926. His father was John R. Coltrane and his mother was Alice Blair and he grew up in High Point, North Carolina, attending William Penn High School. Beginning in December 1938 Coltranes aunt, grandparents, and father all died within a few months of one another, leaving John to be raised by his mother, in June 1943 he moved to Philadelphia. In September of that year his mother bought him his first saxophone, Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a cocktail lounge trio, with piano and guitar. To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6,1945, by the time he got to Hawaii, in late 1945, the Navy was already rapidly downsizing. As the Melody Masters was a band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band. He continued to other duties when not playing with the band, including kitchen. By the end of his service, he had assumed a role in the band. His first recordings, a session in Hawaii with Navy musicians. Coltrane played alto saxophone on a selection of standards and bebop tunes. In Philadelphia after the war, he studied theory with guitarist and composer Dennis Sandole. Originally an altoist, in 1947 Coltrane also began playing saxophone with the Eddie Vinson Band. Coltrane later referred to point in his life as a time when a wider area of listening opened up for me
9.
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
10.
Kind of Blue
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Kind of Blue is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was released on August 17,1959 by Columbia Records and recorded earlier that year on March 2 and April 22 at Columbias 30th Street Studio in New York City. Though precise figures have been disputed, Kind of Blue has been described by music writers not only as Daviss best-selling album. On October 7,2008 it was certified platinum in sales by the Recording Industry Association of America. Kind of Blue has been regarded by critics as jazzs greatest record, Daviss masterpiece. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded, by late 1958, Davis employed one of the most acclaimed and profitable working bands pursuing the hard bop style. His personnel had become stable, alto saxophonist Cannonball Adderley, tenor saxophonist John Coltrane, pianist Bill Evans, long-serving bassist Paul Chambers and his band played a mixture of pop standards and bebop originals by Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Tadd Dameron. As with all bebop-based jazz, Daviss groups improvised on the changes of a given song. Davis was one of jazz musicians growing dissatisfied with bebop. In 1953, the pianist George Russell published his Lydian Chromatic Concept of Tonal Organization and this approach led the way to modal in jazz. Influenced by Russells ideas, Davis implemented his first modal composition with the track of his studio album Milestones. Satisfied with the results, Davis prepared an entire album based on modality, Kind of Blue was recorded on three-track tape in two sessions at Columbia Records 30th Street Studio in New York City. Production was handled by Teo Macero, who had produced Daviss previous two LPs, and Irving Townsend, as was Daviss penchant, he called for almost no rehearsal and the musicians had little idea what they were to record. As described in the liner notes by pianist Bill Evans, Davis had only given the band sketches of scales. Once the musicians were assembled, Davis gave brief instructions for each piece, while the results were impressive with so little preparation, the persistent legend that the entire album was recorded in one pass is untrue. Only Flamenco Sketches yielded a complete take on the first try and that take, not the master, was issued in 1997 as a bonus alternate take. Pianist Wynton Kelly may not have been happy to see the man he replaced, Bill Evans, perhaps to assuage the pianists feelings, Davis had Kelly play instead of Evans on the albums most blues-oriented number, Freddie Freeloader. The live album Miles Davis at Newport 1958 documents this band, Kind of Blue is based entirely on modality in contrast to Daviss earlier work with the hard bop style of jazz and its complex chord progression and improvisation
11.
Cannonball Adderley
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Julian Edwin Cannonball Adderley was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is remembered for his 1966 single Mercy, Mercy, Mercy, a hit on the pop charts. He was the brother of jazz cornetist Nat Adderley, a member of his band. Originally from Tampa, Florida, Adderley moved to New York in 1955 and his nickname derived from cannibal, a title imposed on him by high school colleagues as a tribute to his voracious appetite. Cannonball moved to Tallahassee, when his parents obtained teaching positions at Florida A&M University, both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Cannonball was a legend in Southeast Florida until he moved to New York City in 1955. One of his known addresses in New York was in the neighborhood of Corona and he left Florida originally to seek graduate studies at New York conservatories, but one night in 1955 he brought his saxophone with him to the Café Bohemia. Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957 and he was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group. He joined the Davis band in October 1957, three months prior to the return of John Coltrane to the group, some of Daviss finest trumpet work can be found on Adderleys first solo album Somethin Else, which was recorded shortly after the two giants met. Adderley then played on the seminal Davis records Milestones and Kind of Blue and this period also overlapped with pianist Bill Evans time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean. His interest as an educator carried over to his recordings, in 1961, Cannonball narrated The Childs Introduction to Jazz, released on Riverside Records. The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet, Cannonballs first quintet was not very successful, however, after leaving Davis group, he formed another, again with his brother, which enjoyed more success. By the end of the 1960s, Adderleys playing began to reflect the influence of the jazz, avant-garde. On his albums from this period, such as Accent on Africa and The Price You Got to Pay to Be Free, he began doubling on soprano saxophone, showing the influence of Coltrane and Wayne Shorter. In 1975 he also appeared in a role alongside José Feliciano. Songs made famous by Adderley and his bands include This Here, The Jive Samba, Work Song, Mercy, Mercy, Mercy, a cover version of Pops Staples Why. also entered the charts. His instrumental Sack o Woe was covered by Manfred Mann on their debut album and he had a cerebral hemorrhage and four weeks later, on August 8,1975, he died at St. Mary Methodist Hospital in Gary, Indiana. He was buried in the Southside Cemetery, Tallahassee, later that year he was inducted into the Down Beat Jazz Hall of Fame
12.
Jimmy Cobb
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Wilbur James Cobb is an American jazz drummer. Probably Cobbs most famous work is on Miles Davis Kind of Blue, Cobb is the last surviving player from the session. As of 2011, Cobb leads the Jimmy Cobb So What Band, a tribute to 50 years of Kind of Blue, in June 2008, Jimmy Cobb was the recipient of the Don Redman Heritage award. On October 17,2008, Cobb was one of six artists to receive the 2009 National Endowment for the Arts NEA Jazz Masters award. Encounter Only for the Pure of Heart So Nobody Else Can Hear Four Generations of Miles, turning Point With Paul Gonsalves Gettin Together With Joe Henderson Four Straight, No Chaser With John Hendricks Freddie Freeloader With Wynton Kelly Kelly Blue Wynton Kelly. Someday My Prince Will Come Comin in the Back Door Its All Right, I. Williams When Alto Was King Jimmy Cobb - Legendary Jazz Drummer – includes full discography Drummerworld. com Page Jazz Icon Jimmy Cobb Jimmy Cobb interview at allaboutjazz. com
