Patrick Bruce Metheny is an American jazz guitarist and composer. He is the leader of the Pat Metheny Group and is involved in duets, solo works, other side projects, his style incorporates elements of progressive and contemporary jazz, Latin jazz, jazz fusion. Metheny has three gold albums and 20 Grammy Awards and is the only person to win Grammys in 10 categories, he is the brother of jazz flugelhornist Mike Metheny. Metheny was born in Missouri, his father Dave played trumpet, his mother Lois sang, his maternal grandfather Delmar was a professional trumpeter. Metheny's first instrument was trumpet, which he was taught by Mike, his brother and grandfather played trios together at home. His parents were fans of swing music, they took Metheny to concerts to hear Clark Terry and Doc Severinsen, but they had little respect for guitar. Metheny's interest in guitar increased around 1964 when he saw the Beatles perform on TV. For his 12th birthday, his parents allowed him to buy a guitar, a Gibson ES-140 3/4.
Metheny's life changed after hearing More by Miles Davis. Soon after, he was captivated by Wes Montgomery's album Smokin' at the Half Note, released in 1965, he cites the Beatles, Miles Davis, Wes Montgomery as having the biggest impact on his music. When he was 15, he won a scholarship from Down Beat magazine to a one-week jazz camp where he was mentored by guitarist Attila Zoller, who invited Metheny to New York City to see guitarist Jim Hall and bassist Ron Carter. While playing at a club in Kansas City, he was approached by Bill Lee, a dean at the University of Miami, offered a scholarship. After less than a week at college, Metheny realized that playing guitar all day during his teens had left him unprepared for classes, he admitted this to Lee, who offered him a job to teach instead, as the school had introduced electric guitar as a course of study. He moved to Boston to teach at the Berklee College of Music with jazz vibraphonist Gary Burton and established a reputation as a prodigy. In 1974 he appeared on an album unofficially titled Jaco with pianist Paul Bley, bassist Jaco Pastorius, drummer Bruce Ditmas for Carol Goss's Improvising Artists label.
But he was unaware. During the next year, he joined Gary Burton's band with guitarist Mick Goodrick. Metheny released his debut album, Bright Size Life with Jaco Pastorius on bass guitar and Bob Moses on drums, his next album, was the first time he recorded with pianist Lyle Mays, who became his most frequent collaborator. The album featured Danny Gottlieb, who became the drummer for the first version of the Pat Metheny Group. With Metheny and Gottlieb, the fourth member was bassist Mark Egan when the album Pat Metheny Group was released; when Pat Metheny Group was released, the Group was a quartet comprising, besides Metheny, Danny Gottlieb on drums, Mark Egan on bass, Lyle Mays on piano and synthesizer. All but Egan had played on Metheny's album Watercolors, recorded a year before the first Group album; the second Group album, American Garage, reached number 1 on the Billboard Jazz chart and crossed over onto the pop charts. From 1982 to 1985, the Pat Metheny Group released Offramp, a live album, First Circle, The Falcon and the Snowman, a soundtrack album for the movie of the same name in which they collaborated on the single "This Is Not America" with David Bowie.
The song reached number 14 in the British Top 40 in 1985 and number 32 in the U. S. Offramp marked the first appearance of bassist Steve Rodby and a Brazilian guest artist, Nana Vasconcelos, on percussion and wordless vocals. On First Circle, Argentinian singer and multi-instrumentalist Pedro Aznar joined the group as drummer Paul Wertico replaced Gottlieb. Both Rodby and Wertico were members of the Simon and Bard Group at the time and had played in Simon-Bard in Chicago before joining Metheny. First Circle was Metheny's last album with ECM. Still Life featured new Group members trumpeter Mark Ledford, vocalist David Blamires, percussionist Armando Marçal. Aznar returned for vocals and guitar on Letter from Home. During this period the Steppenwolf Theater Company of Chicago featured compositions by Metheny and Mays for their production of Lyle Kessler's play Orphans, where it has remained special optional music for all productions of the play around the world since. Metheny again delved into solo and band projects, four years went by before the release of the next Group record, a live album titled The Road to You, which featured tracks from the two Geffen studio albums among new tunes.
The group integrated new instrumentation and technologies into its work, notably Mays' use of synthesizers. Metheny and Mays themselves refer to the next three Pat Metheny Group releases as a triptych: We Live Here and Imaginary Day. Moving away from the Latin style which had dominated the releases of the previous ten years, these albums included experiments with sequenced synthetic drums on one track, free-form improvisation on acoustic instruments, symphonic signatures and sonata schemes. With Speaking of Now, new Group members were added: drummer Antonio Sánchez from Mexico City, trumpeter Cuong Vu from Vietnam, bassist, vocalist and percussionist Richard Bona from Cameroon; the Way Up consists of one 68-minute-lo
Paul Gonsalves was an American jazz tenor saxophonist best known for his association with Duke Ellington. At the 1956 Newport Jazz Festival, Gonsalves played a 27-chorus solo in the middle of Ellington's "Diminuendo and Crescendo in Blue", a performance credited with revitalizing Ellington's waning career in the 1950s. Born in Brockton, Massachusetts, to Cape Verdean parents, Gonsalves' first instrument was the guitar, as a child he was asked to play Cape Verdean folk songs for his family, he grew up in New Bedford and played as a member of the Sabby Lewis Orchestra. His first professional engagement in Boston was with the same group on tenor saxophone, in which he played before and after his military service during World War II. Before joining Duke Ellington's orchestra in 1950, he had played in big bands led by Count Basie and Dizzy Gillespie. At the 1956 Newport Jazz Festival, Gonsalves' solo in Ellington's song "Diminuendo and Crescendo in Blue" went through 27 choruses; the performance is captured on the album Ellington at Newport.
Gonsalves was a featured soloist in numerous Ellingtonian settings. He received the nickname "The Strolling Violins" from Ellington for playing solos while walking through the crowd. Gonsalves died in London a few days before Duke Ellington's death, after a lifetime of addiction to alcohol and narcotics. Mercer Ellington refused to tell Duke of the passing of Gonsalves, fearing the shock might further accelerate his father's decline. Ellington and Gonsalves, along with trombonist Tyree Glenn, lay side-by-side in the same New York funeral home for a period of time. Gonsalves is buried at the Long Island National Cemetery in New York. Cookin' Diminuendo and Blues Ellingtonia Moods and Blues Gettin' Together! Tenor Stuff – with Harold Ashby Tell It the Way It Is! Cleopatra – Feelin' Jazzy Salt and Pepper – with Sonny Stitt Rare Paul Gonsalves Sextet in Europe Boom-Jackie-Boom-Chick Just Friends – with Tubby Hayes Change of Setting – with Tubby Hayes Jazz Till Midnight Love Calls – with Eddie Lockjaw Davis Encuentro With the Swingers and the Four Bones Humming Bird Just a-Sittin' and a-Rockin' Paul Gonsalves and His All Stars Paul Gonsalves Meets Earl Hines Mexican Bandit Meets Pittsburgh Pirate Paul Gonsalves Paul Quinichette Sitting In With Duke Ellington Ellington at Newport All Star Road Band All Star Road Band Volume 2 With Eddie "Lockjaw" Davis Love Calls With Johnny Hodges Ellingtonia'56 The Big Sound Triple Play With John Lewis The Wonderful World of Jazz With Billy Taylor Taylor Made Jazz With Clark Terry Duke with a Difference With Jimmy Woode The Colorful Strings of Jimmy Woode With Joya SherrillJoya Sherrill Sings Duke Paul Gonsalves discography at Discogs
In music, an arrangement is a musical reconceptualization of a composed work. It may differ from the original work by means of reharmonization, melodic paraphrasing, orchestration, or development of the formal structure. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, endings.... Arranging is the art of giving an existing melody musical variety". Arrangement and transcriptions of classical and serious music go back to the early history of this genre. In particular, music written for the piano has undergone this treatment. Pictures at an Exhibition, a suite of ten piano pieces by Modest Mussorgsky, has been arranged over twenty times, notably by Maurice Ravel. Due to his lack of expertise in orchestration, the American composer George Gershwin had his Rhapsody in Blue orchestrated and arranged by Ferde Grofé.
Popular music recordings include parts for brass and other instruments that were added by arrangers and not composed by the original songwriters. Popular music arrangements may be considered to include new releases of existing songs with a new musical treatment; these changes can include alterations to tempo, key and other musical elements. Well-known examples include Joe Cocker's version of the Beatles' "With a Little Help from My Friends," Cream's "Crossroads", Ike and Tina Turner's version of Creedence Clearwater Revival's "Proud Mary"; the American group Vanilla Fudge and British group Yes based their early careers on radical re-arrangements of contemporary hits. Bonnie Pointer performed disco and Motown-themed versions of "Heaven Must Have Sent You." Remixes, such as in dance music, can be considered arrangements. Though arrangers may contribute to finished musical products, they hold no legal claim to their work for the purpose of copyright and royalty payments. Arrangements for small jazz combos are informal and uncredited.
Larger ensembles have had greater requirements for notated arrangements, though the early Count Basie big band is known for its many head arrangements, so called because they were worked out by the players themselves and never written down. Most arrangements for big bands, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's big bands. Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band. Benny Carter became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer. Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions.
Big-band arrangements are informally called charts. In the swing era they were either arrangements of popular songs or they were new compositions. Duke Ellington's and Billy Strayhorn's arrangements for the Duke Ellington big band were new compositions, some of Eddie Sauter's arrangements for the Benny Goodman band and Artie Shaw's arrangements for his own band were new compositions as well, it became more common to arrange sketchy jazz combo compositions for big band after the bop era. After 1950, the big bands declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late 1950s and early 1960s intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Ray Reach, Vince Mendoza, Claus Ogerman.
In the 21st century, the big-band arrangement has made a modest comeback. Gordon Goodwin, Roy Hargrove, Christian McBride have all rolled out new big bands with both original compositions and new arrangements of standard tunes; the string section is a body of instruments composed of various stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins, violas and double basses; the string section in a multi-sectioned orchestra is referred sometimes to as the "string choir."The harp is a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir. Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar, banjo, or zither. Like the harp these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section.
The electric bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments. A group of instruments in which each member plays a unique part—rather than playing in u
New York City
The City of New York called either New York City or New York, is the most populous city in the United States. With an estimated 2017 population of 8,622,698 distributed over a land area of about 302.6 square miles, New York is the most densely populated major city in the United States. Located at the southern tip of the state of New York, the city is the center of the New York metropolitan area, the largest metropolitan area in the world by urban landmass and one of the world's most populous megacities, with an estimated 20,320,876 people in its 2017 Metropolitan Statistical Area and 23,876,155 residents in its Combined Statistical Area. A global power city, New York City has been described as the cultural and media capital of the world, exerts a significant impact upon commerce, research, education, tourism, art and sports; the city's fast pace has inspired the term New York minute. Home to the headquarters of the United Nations, New York is an important center for international diplomacy.
Situated on one of the world's largest natural harbors, New York City consists of five boroughs, each of, a separate county of the State of New York. The five boroughs – Brooklyn, Manhattan, The Bronx, Staten Island – were consolidated into a single city in 1898; the city and its metropolitan area constitute the premier gateway for legal immigration to the United States. As many as 800 languages are spoken in New York, making it the most linguistically diverse city in the world. New York City is home to more than 3.2 million residents born outside the United States, the largest foreign-born population of any city in the world. In 2017, the New York metropolitan area produced a gross metropolitan product of US$1.73 trillion. If greater New York City were a sovereign state, it would have the 12th highest GDP in the world. New York is home to the highest number of billionaires of any city in the world. New York City traces its origins to a trading post founded by colonists from the Dutch Republic in 1624 on Lower Manhattan.
The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, the Duke of York. New York served as the capital of the United States from 1785 until 1790, it has been the country's largest city since 1790. The Statue of Liberty greeted millions of immigrants as they came to the U. S. by ship in the late 19th and early 20th centuries and is an international symbol of the U. S. and its ideals of liberty and peace. In the 21st century, New York has emerged as a global node of creativity and entrepreneurship, social tolerance, environmental sustainability, as a symbol of freedom and cultural diversity. Many districts and landmarks in New York City are well known, with the city having three of the world's ten most visited tourist attractions in 2013 and receiving a record 62.8 million tourists in 2017. Several sources have ranked New York the most photographed city in the world. Times Square, iconic as the world's "heart" and its "Crossroads", is the brightly illuminated hub of the Broadway Theater District, one of the world's busiest pedestrian intersections, a major center of the world's entertainment industry.
The names of many of the city's landmarks and parks are known around the world. Manhattan's real estate market is among the most expensive in the world. New York is home to the largest ethnic Chinese population outside of Asia, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is the largest single-operator rapid transit system worldwide, with 472 rail stations. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, Rockefeller University, which have been ranked among the top universities in the world. Anchored by Wall Street in the Financial District of Lower Manhattan, New York has been called both the most economically powerful city and the leading financial center of the world, the city is home to the world's two largest stock exchanges by total market capitalization, the New York Stock Exchange and NASDAQ. In 1664, the city was named in honor of the Duke of York.
James's older brother, King Charles II, had appointed the Duke proprietor of the former territory of New Netherland, including the city of New Amsterdam, which England had seized from the Dutch. During the Wisconsinan glaciation, 75,000 to 11,000 years ago, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth; the erosive forward movement of the ice contributed to the separation of what is now Long Island and Staten Island. That action left bedrock at a shallow depth, providing a solid foundation for most of Manhattan's skyscrapers. In the precolonial era, the area of present-day New York City was inhabited by Algonquian Native Americans, including the Lenape, whose homeland, known as Lenapehoking, included Staten Island; the first documented visit into New York Harbor by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown. He named it Nouvelle Angoulême. A Spanish expedition led by captain Estêvão Gomes, a Portuguese sailing for Emperor Charles V, arrived in New York Harbor in January 1525 and charted the mouth of the Hudson River, which he named Río de San Antonio.
The Padrón Rea
Ella Jane Fitzgerald was an American jazz singer sometimes referred to as the First Lady of Song, Queen of Jazz, Lady Ella. She was noted for her purity of tone, impeccable diction, intonation, a "horn-like" improvisational ability in her scat singing. After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most associated with the Savoy Ballroom in Harlem, her rendition of the nursery rhyme "A-Tisket, A-Tasket" helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career, her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more noted works her interpretations of the Great American Songbook. While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, The Ink Spots were some of her most notable acts outside of her solo career.
These partnerships produced some of her best-known songs such as "Dream a Little Dream of Me", "Cheek to Cheek", "Into Each Life Some Rain Must Fall", "It Don't Mean a Thing". In 1993, she ended her nearly 60-year career with her last public performance. Three years she died at the age of 79 after years of declining health, her accolades included fourteen Grammy Awards, the National Medal of Arts, the Presidential Medal of Freedom. Fitzgerald was born on April 1917, in Newport News, Virginia, she was the daughter of Temperance "Tempie" Henry. Her parents lived together for at least two and a half years after she was born. In the early 1920s, Fitzgerald's mother and her new partner, a Portuguese immigrant named Joseph Da Silva, moved to Yonkers, in Westchester County, New York, her half-sister, Frances Da Silva, was born in 1923. By 1925, Fitzgerald and her family had moved to a poor Italian area, she began her formal education at the age of six and was an outstanding student, moving through a variety of schools before attending Benjamin Franklin Junior High School in 1929.
Starting in third grade, Fitzgerald admired Earl Snakehips Tucker. She performed for her peers on the way at lunchtime, she and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, where she attended worship services, Bible study, Sunday school. The church provided Fitzgerald with her earliest experiences in music. Fitzgerald listened to jazz recordings by Louis Armstrong, Bing Crosby, The Boswell Sisters, she idolized the Boswell Sisters' lead singer Connee Boswell saying, "My mother brought home one of her records, I fell in love with it... I tried so hard to sound just like her."In 1932, when Fitzgerald was fifteen, her mother died from injuries received in a car accident. Her stepfather took care of her until April 1933; this swift change in her circumstances, reinforced by what Fitzgerald biographer Stuart Nicholson describes as rumors of "ill treatment" by her stepfather, leaves him to speculate that Da Silva might have abused her. Fitzgerald began skipping school, her grades suffered.
She worked as a lookout with a Mafia-affiliated numbers runner. She never talked publicly about this time in her life; when the authorities caught up with her, she was placed in the Colored Orphan Asylum in Riverdale in the Bronx. When the orphanage proved too crowded, she was moved to the New York Training School for Girls, a state reformatory school in Hudson, New York. While she seems to have survived during 1933 and 1934 in part from singing on the streets of Harlem, Fitzgerald made her most important debut at age 17 on November 21, 1934, in one of the earliest Amateur Nights at the Apollo Theater, she had intended to go on stage and dance, but she was intimidated by a local dance duo called the Edwards Sisters and opted to sing instead. Performing in the style of Connee Boswell, she sang "Judy" and "The Object of My Affection" and won first prize, she won the chance to perform at the Apollo for a week but because of her disheveled appearance, the theater never gave her that part of her prize.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She was introduced to drummer and bandleader Chick Webb, who had asked his signed singer Charlie Linton to help find him a female singer. Although Webb was "reluctant to sign her...because she was gawky and unkempt, a'diamond in the rough,'" he offered her the opportunity to test with his band when they played a dance at Yale University. Met with approval by both audiences and her fellow musicians, Fitzgerald was asked to join Webb's orchestra and gained acclaim as part of the group's performances at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs, including "Love and Kisses" and " You'll Have to Swing It", but it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her public acclaim. "A-Tisket, A-Tasket" became a major hit on the radio and was one of the biggest-selling records of the decade. Webb died of spinal tuberculosis on June 16, 1939, his band was renamed Ella and Her Famous Orchestra with Fitzgerald taking on the role of bandleader.
She recorded nearly 150 songs with Webb's orchestra between 1935 and 1942. In The New York Times obituary o
Arthur Stewart Farmer was an American jazz trumpeter and flugelhorn player. He played flumpet, a trumpet–flugelhorn combination designed for him, he and his identical twin brother, double bassist Addison Farmer, started playing professionally while in high school. Art gained greater attention after the release of a recording of his composition "Farmer's Market" in 1952, he subsequently moved from Los Angeles to New York, where he performed and recorded with musicians such as Horace Silver, Sonny Rollins, Gigi Gryce and became known principally as a bebop player. As Farmer's reputation grew, he expanded from bebop into more experimental forms through working with composers such as George Russell and Teddy Charles, he went on to join Gerry Mulligan's quartet and, with Benny Golson, to co-found the Jazztet. Continuing to develop his own sound, Farmer switched from trumpet to the warmer flugelhorn in the early 1960s, he helped to establish the flugelhorn as a soloist's instrument in jazz, he continued to tour internationally until his death.
Farmer recorded more than 50 albums under his own name, a dozen with the Jazztet, dozens more with other leaders. His playing is known for its individuality – most noticeably, its lyricism, warmth of tone and sensitivity. Art Farmer was born an hour before his twin brother, on August 21, 1928, in Council Bluffs, Iowa at 2201 Fourth Avenue, their parents, James Arthur Farmer and Hazel Stewart Farmer, divorced when the boys were four, their steelworker father was killed in a work accident not long after this. Art moved with his grandfather, mother and sister to Phoenix, Arizona when he was still four, he started to play the piano while in elementary school moved on to bass tuba and violin before settling on cornet and trumpet at the age of thirteen. His family was musical: most of them played as a hobby, one was a professional trombonist. Art's grandfather was a minister in the African Methodist Episcopal Church; this influenced Farmer's first choice of instrument, as his mother played piano for the church choir.
The bass tuba was for use in a marching band and was Farmer's instrument for a year, until a cornet became available. Phoenix schools were segregated, no one at Farmer's school could provide useful music lessons, he practiced his new main instrument, the trumpet. Farmer and his brother moved to Los Angeles in 1945, attending the music-oriented Jefferson High School, where they got music instruction and met other developing musicians such as Sonny Criss, Ernie Andrews, Big Jay McNeely, Ed Thigpen; the brothers earned money by playing professionally. Art started playing trumpet professionally at the age of 16, performing in the bands of Horace Henderson, Jimmy Mundy, Floyd Ray, among others; these opportunities came about through a combination of his ability and the absence of numerous older musicians, who were still in the armed forces following World War II. Around this time in Los Angeles, there were abundant opportunities for musical development, according to Farmer: "During the day you would go to somebody's house and play.
At night there were after-hours clubs anybody who wanted to play was free to come up and play". Farmer left high school early but persuaded the principal to give him a diploma, which he did not collect until a visit to the school in 1958. At this time, as an adolescent in Los Angeles and the swing era big bands both attracted Farmer's attention. Decades he stated that, at that time, "I knew I had to be in jazz. Two things decided me – the sound of a trumpet section in a big band and hearing a jam session". Farmer's trumpet influences in the 1940s were Dizzy Gillespie, Miles Davis and Fats Navarro, but, in his own words, "then I heard Freddie Webster, I loved his sound. I decided to work on sound because it seemed like most of the guys my age were just working on speed". Farmer left school to tour with a group led by Johnny Otis, but this job lasted for only four months, as Farmer's lip gave out. Performing for long periods seven days a week for this job put great pressure on his technique, insufficiently developed to cope with such physical demands.
His lip became lacerated, he could no longer play. He received technique training in New York, where he worked for a time as a janitor and played as a freelance musician during 1947 and 1948. An audition for Dizzy Gillespie's big band was unsuccessful, Farmer returned to the West Coast in 1948 as a member of Jay McShann's band. Club and studio work was hard to get in Los Angeles from the late 1940s and into the 1950s, as it was dominated by white musicians. Farmer played and toured with Benny Carter, Roy Porter and Gerald Wilson played with Wardell Gray in 1951–52; the hazards of the touring jazz musician's lifestyle were present: while travelling overnight by car between Phoenix and El Paso, to get to another Roy Porter-led gig, the car that Farmer was in overturned at high speed, leaving him concussed and Porter with broken ribs. Farmer's first studio recording appears to have been on June 28 or July 2, 1948, in Los Angeles, under the leadership of vocalist Big Joe Turner and pianist Pete Johnson.
They recorded "Radar Blues", at some point in the same or the following year they added a further seven sides. Farmer recorded further singles with Roy Porter and on January 21, 1952, as a member of Wardell Gray's sextet; the latter session produced six tracks. These included "Farmer's Market", a piece, written by Farmer and brought him greater attention. Farmer worked i
Scott Colley is an American jazz double bassist and composer. He has performed extensively in bands led by: Herbie Hancock, Jim Hall, Andrew Hill, Michael Brecker, Chris Potter, Pat Metheny, Carmen McRae, Edward Simon, Adam Rogers, Brian Blade, David Binney, Antonio Sanchez, Kenny Werner, he has toured and recorded as a bandleader. Born on November 24, 1963, Colley began studying bass at age 11. At 13, he studied with bassist Monty Budwig, he attended Eagle Rock High School in Los Angeles. After graduating from high school, he was granted a scholarship to the California Institute for the Arts and studied with Charlie Haden and Fred Tinsley. In 1986, he began recording with jazz singer Carmen McRae. After graduating in 1988, he moved to New York City. 1988–89: He performed in U. S. and European tours with Carmen McRae. 1990–95: Bands included Jim Hall, John Scofield, Joe Henderson and Art Farmer. 1996–98: His work included touring with a group led by Joe Lovano and Jim Hall, Tours with Toots Thielemans.
2000–04: For five years Colley toured extensively as a member of Herbie Hancock's working trio and two separate quartets at concerts around the world. Hancock's trio has performed in concert engagements with symphonic orchestras throughout the United States. During that time he toured extensively with the Andrew Hill trio and sextet, the Chris Potter Quartet. 2005–07: Extensive touring with "Directions in Music", a collaboration with Michael Brecker, Herbie Hancock, Roy Hargrove and Terri Lyne Carrington. S. tours with Chris Potter's Quartet. S and European tours with his own quartet. 2006-07: Extensive touring with his own quartet and trio. Recordings include projects with Chris Potter. Teaching residencies in the U. S. and Europe. He worked on numerous recordings, including his seventh CD as a leader, entitled Empire, made up of original compositions, released on the CAM Jazz label during the summer of 2010, featuring Bill Frisell, Ralph Alessi, Brian Blade and Craig Taborn. Portable Universe Subliminal This Place The Magic Line Initial Wisdom Architect of the Silent Moment Empire Seven" With Chris Potter Imaginary Cities Song for Anyone Lift: Live at the Village Vanguard Traveling Mercies Gratitude This Will Be Vertigo Concentric Circles With Gary Burton Guided Tour Common Ground With Nels Cline Currents, Constellations With Andrew Hill Dusk A Beautiful DayWith Jim Hall Dialogues By Arrangement Jim Hall and Basses Panorama: Live at the Village Vanguard Hemispheres – Jim Hall & Bill FrisellWith Benjamin Koppel How to get here – Scott Colley & Benjamin Koppel Brooklyn Jazz Session – Marie Carmen Koppel & Benjamin KoppelWith Dave Binney South Luxury of GuessingWith Carmen McRae Any Old Time New York State of MindWith T. S. Monk Changing of the Guard The Charm With Greg Osby Invisible Hand Symbols of LightWith Adam Rogers Allegory The Art of the InvisibleWith Antonio Sánchez Migration Live in New York at Jazz Standard With Eberhard Weber Hommage à Eberhard Weber With Lan Xang Hidden Gardens Lan XangWith Alex Mercado Symbiosis With Joshua Redman Still Dreaming With Renee Rosnes Art & Soul With others KCB: The Koppel/Colley/Blade Collective A Moments Peace – John Scofield Lawn Chair Society – Kenny Werner Tangled Up In Blues – Taj Mahal Universal Time – Joachim Kuhn Lyric – Billy Childs Ensemble Falling Up – Geoff Keezer North and South – Luciana Souza Homage a Eberhard Weber – Pat Metheny & SWR Big Band The Way Through – Donny McCaslin Forward Motion – Fred Hersch Ben Perowski Trio – Ben Perowski El Matador – Kevin Hays Old School – Peter Epstein Transpacifik – Bojan Z Les Fleurs Bleues – Stefano Bollani Americana – Larry Koonse Trio – Brad Shepik The Maze – Dave Kikowski Diamond in the Rough – Roy Hargrove Steppin Zone – Alex Sipiagin All Sides Now – Pat Martino Souvenir – Bill Charlap Regards – Franck Amsallem/Tim Ries ARCLIGHT – Julian Lage Official website Personal Biography by Bill Milkowski Scott Colley at Allmusic