Dexter Gordon was an American jazz tenor saxophonist. He was one of the first players of the instrument in the bebop idiom of musicians such as Charlie Parker, Dizzy Gillespie, Bud Powell. Gordon's height was 6 feet 6 inches, so he was known as "Long Tall Dexter" and "Sophisticated Giant", his studio and performance career spanned over 40 years. Gordon's sound was characterized as being "large" and spacious and he had a tendency to play behind the beat, he was known for humorously inserting musical quotes into his solos, with sources as diverse as popular tunes, "Happy Birthday", the operas of Wagner. This is not unusual in common-practice jazz improvisation, but Gordon did it enough to make it a hallmark of his style. One of his major influences was Lester Young. Gordon, in turn, was an early influence on Sonny Rollins. Rollins and Coltrane influenced Gordon's playing as he explored hard bop and modal playing during the 1960s. Gordon was known for his humorous stage presence, he was an advocate of playing to communicate with the audience.
A photograph by Herman Leonard of Gordon taking a smoke break at the Royal Roost in 1948 is one of the iconic images in jazz photography. Cigarettes were a recurring theme on covers of Gordon's albums. One of his idiosyncratic rituals was to recite lyrics from each ballad before playing it. Gordon was nominated for an Academy Award for Best Actor in a Leading Role for his performance in the Bertrand Tavernier film Round Midnight, he won a Grammy for Best Jazz Instrumental Performance, for the soundtrack album The Other Side of Round Midnight, he had a cameo role in the 1990 movie Awakenings. In 2019, Gordon's album Go was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally or aesthetically significant". Dexter Keith Gordon was born on February 1923 in Los Angeles, California, his father, Dr. Frank Gordon, was one of the first African American doctors in Los Angeles who arrived in 1918 after graduating from Howard Medical School in Washington, D.
C. Among his patients were Duke Ellington and Lionel Hampton. Dexter's mother, Gwendolyn Baker, was the daughter of Captain Edward Baker, one of the five African American Medal of Honor recipients in the Spanish–American War. Gordon played clarinet from the age of 13, before switching to saxophone at 15. While still at school, he played in bands with such contemporaries as Chico Hamilton and Buddy Collette. Between December 1940 and 1943, Gordon was a member of Lionel Hampton's band, playing in a saxophone section alongside Illinois Jacquet and Marshal Royal. During 1944 he was featured in the Fletcher Henderson band, followed by the Louis Armstrong band, before joining Billy Eckstine; the 1942–44 musicians' strike curtailed the recording of the Hampton and Armstrong bands. In 1943 he was featured, alongside Harry "Sweets" Edison, in recordings under Nat Cole for a small label not affected by the strike. By late 1944, Gordon was resident in New York and a featured soloist in the Billy Eckstine big band, during early 1945 he was featured on recordings by Dizzy Gillespie and Sir Charles Thompson.
By late 1945 he was recording under his own name for the Savoy label. His Savoy recordings during 1945-46 included Blow Mr. Dexter, Dexter's Deck, Dexter's Minor Mad, Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, Dexter Digs In, he returned in Los Angeles in late 1946 and in 1947 was leading sessions for Ross Russell's Dial label. After his return to Los Angeles, he became known for his saxophone duels with fellow tenorman Wardell Gray, which were a popular concert attraction documented in recordings made between 1947 and 1952; the Hunt gained literary fame from its mention in Jack Kerouac's On The Road, which contains descriptions of wild tenormen jamming in Los Angeles. Cherokee, Byas a Drink, Disorder at the Border are other live recordings of the Gray/Gordon duo from the same concert as The Hunt. In December 1947, Gordon recorded again with the Savoy label. Through the mid-to-late 1940s he continued to work as a sideman on sessions led by Russell Jacquet, Benny Carter, Ben Webster, Ralph Burns, Jimmy Rushing, Helen Humes, Gerry Mulligan, Wynonie Harris, Leo Parker, Tadd Dameron.
During the 1950s, Gordon's recorded output and live appearances declined as heroin addiction and legal troubles took their toll. Gordon made a concert appearance with Wardell Gray in February 1952 and appeared as a sideman in a session led by Gray in June 1952. After an incarceration at Chino Prison during 1953-55, he recorded the albums Daddy Plays the Horn and Dexter Blows Hot and Cool in 1955 and played as a sideman on the Stan Levey album, This Time the Drum's on Me; the latter part of the decade saw him in and out of prison until his final release from Folsom Prison in 195
Alfred McCoy Tyner is a jazz pianist from Philadelphia known for his work with the John Coltrane Quartet and a long solo career. Tyner was born in Philadelphia as the oldest of three children, he was encouraged to study piano by his mother. He began studying the piano at age 13 and within two years music had become the focal point in his life; when he was 17, he converted to Islam through the Ahmadiyya Muslim Community and changed his name to Sulieman Saud. His neighbors in Philadelphia included Bud Powell. Tyner started his career in 1960 as a member of the Jazztet led by Art Farmer. Six months he joined the quartet of John Coltrane that included Jimmy Garrison and Elvin Jones, he worked with the band during its extended run at the Jazz Gallery. He played on Coltrane's "My Favorite Things" for Atlantic; the band toured non-stop between 1961 and 1965, recording the albums Live! at the Village Vanguard, Live at Birdland, Crescent, A Love Supreme, The John Coltrane Quartet Plays for Impulse!. While in Coltrane's group, he recorded albums as a leader in a piano trio.
He appeared as a sideman on many Blue Note albums of the 1960s, although he was credited as "etc." on the cover of these albums to respect his contract with Impulse! Records, his involvement with Coltrane came to an end in 1965. Coltrane's music was becoming free. All I could hear was a lot of noise. I didn't have any feeling for the music, when I don't have feelings, I don't play". In 1966, Tyner embarked on a career as a bandleader. After leaving Coltrane's group, Tyner produced a series of post-bop albums released by Blue Note from 1967 to 1970; these included The Real McCoy, Tender Moments, Time for Tyner and Extensions. He signed with Milestone and recorded Sahara and Fly with the Wind, which included flautist Hubert Laws, drummer Billy Cobham, a string orchestra, his music for Blue Note and Milestone took the music of the Coltrane quartet as a starting point. Tyner incorporated African and East Asian elements in his music. On Sahara he played koto in addition to piano and percussion; these albums have been cited as examples of innovative jazz from the 1970s, neither fusion nor free jazz.
Trident is notable for Tyner's use of harpsichord and celeste, instruments heard in jazz. During the 1980s and 1990s Tyner worked in a trio that included Avery Sharpe on bass and Louis Hayes Aaron Scott, on drums, he made solo albums for Blue Note, culminating in Soliloquy. After signing with Telarc, he recorded with several trios that included Charnett Moffett on bass and Al Foster on drums. In 2008, he toured with a quartet of Gary Bartz, Gerald L. Cannon, Eric Kamau Gravatt. Tyner is considered to be one of the most influential jazz pianists of the 20th century, an honor he earned during and after his time with Coltrane. Although he was a member of Coltrane's group, he was never overshadowed by Coltrane, he inspired Coltrane's open approach. His style of piano is comparable to Coltrane's maximalist style on saxophone. Tyner and Coltrane used similar scales, chordal structures, melodic phrasings, rhythms. Tyner, left-handed, plays with a low bass left hand in which he raises his arm high above the keyboard for an emphatic attack.
His right-hand soloing is staccato. His melodic vocabulary is rich to complexly superimposed pentatonic scales. Tyner is the older brother of Jarvis Tyner, executive vice chairman of the Communist Party USA. On July 16, 2005, Tyner was awarded an Honorary Doctorate of Music from Berklee College of Music at the Sala dei Notari during the Umbria Jazz Festival. McCoy was a judge for the 6th, 10th and 11th annual Independent Music Awards to support independent artists' careers. Official site NEA Jazz Masters biography McCoy Tyner's musical style McCoy Tyner at Jazz Resource Center McCoy Tyner Trio with Gary Bartz concert review, 2011 McCoy Tyner live concert review Podcast with McCoy Tyner broadcast on WKCR 89.9 FM-NY McCoy Tyner sessionography McCoy Tyner interview
Herbert Jeffrey Hancock is an American pianist, bandleader and actor. Hancock started his career with Donald Byrd, he shortly thereafter joined the Miles Davis Quintet where he helped to redefine the role of a jazz rhythm section and was one of the primary architects of the post-bop sound. In the 1970s, Hancock experimented with jazz fusion and electro styles. Hancock's best-known compositions include "Cantaloupe Island", "Watermelon Man", "Maiden Voyage", "Chameleon", the singles "I Thought It Was You" and "Rockit", his 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album to win the award, after Getz/Gilberto in 1965. Hancock was born in Chicago, the son of Winnie Belle, a secretary, Wayman Edward Hancock, a government meat inspector, his parents named him after actor Herb Jeffries. He attended the Hyde Park Academy. Like many jazz pianists, Hancock started with a classical music education, he studied from age seven, his talent was recognized early.
Considered a child prodigy, he played the first movement of Mozart's Piano Concerto No. 26 in D Major, K. 537 at a young people's concert on February 5, 1952, with the Chicago Symphony Orchestra at the age of 11. Through his teens, Hancock never developed his ear and sense of harmony, he was influenced by records of the vocal group the Hi-Lo's. He reported that:"...by the time I heard the Hi-Lo's, I started picking that stuff out. I could hear stuff and that's when I learned some much farther-out voicings – like the harmonies I used on Speak Like a Child – just being able to do that. I got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept...he and Bill Evans, Ravel and Gil Evans, finally. You know, that's where it came from." In 1960, he heard Chris Anderson play just once, begged him to accept him as a student. Hancock mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he took courses at Roosevelt University.
Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist earned a reputation, played subsequent sessions with Oliver Nelson and Phil Woods, he recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" was to provide Mongo Santamaría with a hit single, but more for Hancock, Takin' Off caught the attention of Miles Davis, at that time assembling a new band. Hancock was introduced to Davis by a member of the new band. Hancock received considerable attention. Davis sought out Hancock, whom he saw as one of the most promising talents in jazz; the rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Williams, Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet gelled with Wayne Shorter on tenor saxophone; this quintet is regarded as one of the finest jazz ensembles yet.
While in Davis's band, Hancock found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Shorter, Grant Green, Bobby Hutcherson, Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard. Hancock recorded several less-well-known but still critically acclaimed albums with larger ensembles – My Point of View, Speak Like a Child and The Prisoner featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo "Chihuahua" Martinez. During this period, Hancock composed the score to Michelangelo Antonioni's film Blowup, the first of many film soundtracks he recorded in his career; as well as feature film soundtracks, Hancock recorded a number of musical themes used on American television commercials for such well known products as Pillsbury's Space Food Sticks, Standard Oil, Tab diet cola and Virginia Slims cigarettes.
Hancock wrote and conducted a spy type theme for a series of F. William Free commercials for Silva Thins cigarettes. Hancock liked it so much he wished to record it as a song but the ad agency would not let him, he rewrote the harmony and tone and recorded the piece as the track "He Who Lives in Fear" from his The Prisoner album of 1969. Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted to the new instruments, which proved to be important in his future artistic endeavors. Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, despite his departur
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Lester Willis Young, nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music. Lester Young was born in Woodville, Mississippi, on August 27, 1909, his mother was Lizetta Young, his father was Willis Handy Young from Louisiana. Lester had two siblings – Leonidas Raymond, who became a drummer, Irma Cornelia, he grew up in a musical family. His father was a teacher and band leader, several other relatives performed professionally. While growing up in New Orleans, he worked from the age of five to make money for the family.
He sold shined shoes. By the time he was ten, he had learned the basics of trumpet and drums, joined the Young Family Band touring with carnivals and playing in regional cities in the Southwest In his teens he and his father clashed, he left home for long periods. Young left the family band in 1927 at the age of 18 because he refused to tour in the Southern United States, where Jim Crow laws were in effect and racial segregation was required in public facilities, he became a member of the Bostonians, led by Art Bronson, chose tenor saxophone over alto as his primary instrument. He made a habit of leaving, working going home, he left home permanently in 1932. In 1933 Young settled in Kansas City, where after playing in several bands, he rose to prominence with Count Basie, his playing in the Basie band was characterized by a relaxed style which contrasted with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone.
Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York, they are named after the group, the Kansas City Seven, comprised Buck Clayton, Dicky Wells, Young, Freddie Green, Rodney Richardson, Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938–39 is documented on recordings with Basie, Billie Holiday, Basie small groups, the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with Sadie Fagan. Holiday always insisted their relationship was platonic.
She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957; that year Norman Granz urged him to play it. Young left the Basie band in late 1940, he is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, although Young and drummer Jo Jones would state that his departure had been in the works for months. He subsequently led a number of small groups that included his brother, drummer Lee Young, for the next couple of years. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions and made a small set of recordings with Nat "King" Cole in June 1942, his studio recordings are sparse during the 1942 to 1943 period due to the recording ban by the American Federation of Musicians.
Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in 1943. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II. Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone. While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues. In September 1944 Young and Jo Jones were in Los Angeles with the Basie Band when
Lee Konitz is an American composer and alto saxophonist. He has performed in a wide range of jazz styles, including bebop, cool jazz, avant-garde jazz. Konitz's association with the cool jazz movement of the 1940s and 1950s includes participation in Miles Davis's Birth of the Cool sessions and his work with pianist Lennie Tristano, he was notable during this era as one of few alto saxophonists to retain a distinctive style when Charlie Parker exerted a massive influence. Like other students of Tristano, Konitz was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Other saxophonists were influenced by Konitz, notably Paul Desmond and Art Pepper. Konitz was born on October 1927, in Chicago to Jewish parents of Austrian and Russian descent. At the age of eleven, Konitz received his first clarinet. However, he dropped the instrument in favor of the tenor saxophone, he moved from tenor to alto.
His greatest influences at the time were the swing big bands he and his brother listened to on the radio Benny Goodman. Hearing Goodman on the radio was, he improvised on the saxophone before learning to play standards. Konitz began his professional career in 1945 with the Teddy Powell band as a replacement for Charlie Ventura. A month the band broke up. Between 1945 and 1947, he worked intermittently with Jerry Wald. In 1946, he met pianist Lennie Tristano, the two worked together in a small cocktail bar, his next substantial work was with Claude Thornhill in 1947 with Gil Evans arranging and Gerry Mulligan as a composer. He participated with Miles Davis in a group that had a brief booking in September 1948 and another the following year, but he recorded in 1949 and 1950 the sides collected on the Birth of the Cool album; the presence of Konitz and other white musicians in the group angered some black jazz players because many were unemployed at the time, but Davis rebuffed their criticisms. Konitz has stated.
His debut as leader came in 1949 with sides collected on the album Subconscious-Lee.. He turned down an opportunity to work with Goodman in 1949. Parker lent him support on the day Konitz's child was born in Seattle, while he was stuck in New York City; the two were good friends, not the rivals some jazz critics made them out to be. In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra, but he continued to record as a leader. In 1961, he recorded Motion with Elvin Jones on Sonny Dallas on bass; this spontaneous session consisted of standards. The loose trio format aptly featured chromaticism. In 1967, Konitz recorded The Lee Konitz Duets in configurations that were unusual for the period; the recordings drew on nearly the entire history of jazz from Louis Armstrong's "Struttin' with Some Barbecue" with valve trombonist Marshall Brown to two free improvisation duos: one with a Duke Ellington associate, violinist Ray Nance, one with guitarist Jim Hall. Konitz contributed to the film score for Desperate Characters.
In 1981, he performed at the Woodstock Jazz Festival, held in celebration of the tenth anniversary of the Creative Music Studio. Konitz has worked with Dave Brubeck, Ornette Coleman, Charles Mingus, Attila Zoller, Gerry Mulligan, Elvin Jones, he recorded trio dates with Brad Mehldau and Charlie Haden, released by Blue Note, as well as a live album recorded in 2009 at Birdland and released by ECM in 2011 with drummer Paul Motian. Konitz has become more experimental as he has grown older and has released a number of free jazz and avant-garde jazz albums, playing alongside many younger musicians, his album with Grace Kelly was given 4 1/2 stars by Michael Jackson in Down Beat magazine. He has had problems with his heart, he was scheduled to appear at Melbourne's Recital Centre in 2011 for the Melbourne International Jazz Festival, but he canceled due to illness. In August 2012 Konitz played to sell-out crowds at the Blue Note in Greenwich Village as part of Enfants Terribles, a collaboration with Bill Frisell, Gary Peacock, Joey Baron.
Days after his 87th birthday in 2014, he played three nights at Cafe Stritch in San Jose, with the Jeff Denson Trio, improvising on the old standards he favors. SOLOS: The Jazz Sessions Weightless – a recording session with Jakob Bro Public television series in the late 1950s with Warne Marsh, Billy Taylor, Bill Evans, Mundell Lowe and others. Hamilton and Konitz, Lee Konitz: Conversations on the Improviser's Art, University of Michigan Press, ISBN 0472032178. Crafted out of numerous interviews between the author and his subject, the book describes Konitz's life and music. A 1985 interview Lee Konitz: 12 Memorable Duets by Thierry Quénum Lee Konitz Trio: Live at the Village Vanguard by NPR French documentary of Konitz and Dan Tepfer European tour Lee Konitz on IMDb
Frederick Dewayne Hubbard was an American jazz trumpeter. He was known for playing in the bebop, hard bop, post-bop styles from the early 1960s onwards, his unmistakable and influential tone contributed to new perspectives for modern bebop. Hubbard started playing the mellophone and trumpet in his school band at Arsenal Technical High School in Indianapolis, Indiana. Trumpeter Lee Katzman, former sideman with Stan Kenton, recommended that he begin studying at the Arthur Jordan Conservatory of Music with Max Woodbury, the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, Quincy Jones. On 19 June 1960 Hubbard made his first record as a leader, Open Sesame at the beginning of his contract with Blue Note Records, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, drummer Clifford Jarvis.
Six days he returned the favor to Brooks, recorded with him on True Blue. In December 1960, Hubbard was invited to play on Ornette Coleman's Free Jazz after Coleman had heard him performing with Don Cherry. In May 1961, Hubbard played on Olé Coltrane, John Coltrane's final recording session for Atlantic Records. Together with Eric Dolphy and Art Davis, Hubbard was the only sideman who appeared on both Olé and Africa/Brass, Coltrane's first album with Impulse!. In August 1961, Hubbard recorded Ready for Freddie, his first collaboration with saxophonist Wayne Shorter. Hubbard joined Shorter in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers, he played on several Blakey recordings, including Caravan, Ugetsu and Free for All. In all, during the 1960s, he recorded eight studio albums as a bandleader for Blue Note, more than two dozen as a sideman. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, his Blue note associate James Spaulding, pianist Kenny Barron and drummer Louis Hayes.
This group recorded for Atlantic. It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, won the DownBeat jazz magazine "New Star" award on trumpet. Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including Oliver Nelson's The Blues and the Abstract Truth, Eric Dolphy's Out to Lunch!, Herbie Hancock's Maiden Voyage, Wayne Shorter's Speak No Evil. Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in'tonal' jazz and the other in the atonal camp". Though he never embraced the free jazz of the 1960s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension, as well as on Sonny Rollins' 1966 "New Thing" track "East Broadway Run Down" with Elvin Jones and Jimmy Garrison. Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, George Benson.
Although his early 1970s jazz albums Red Clay, First Light, Straight Life, Sky Dive were well received and considered among his best work, the albums he recorded in the decade were attacked by critics for their commercialism. First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, percussionist Airto Moreira. In 1994, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light. In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of this group were released as V. S. O. P, V. S. O. P; the Quintet, V. S. O. P. Tempest in the Colosseum and V. S. O. P. Live Under the Sky. Hubbard's trumpet playing was featured on the track "Zanzibar", on the 1978 Billy Joel album 52nd Street; the track ends with a fade during Hubbard's performance.
An "unfaded" version was released on the 2004 Billy Joel box set My Lives. In the 1980s Hubbard was again leading his own jazz group – this time with Billy Childs and Larry Klein, among others, as members – attracting favorable reviews, playing at concerts and festivals in the US and Europe in the company of Joe Henderson, playing a repertory of hard bop and modal jazz pieces. Hubbard played at the Monterey Jazz Festival in 1980 and in 1989, he played with Woody Shaw, recording with him in 1985, two years recorded Stardust with Benny Golson. In 1988 he teamed up once more with Blakey at an engagement in the Netherlands, from which came Feel the Wind. In 1988, Hubbard played with Elton John, contributing trumpet and flugelhorn and trumpet solos on the track "Mona Lisas and Mad Hatters" for John's Reg Strikes Back album. In 1990 he appeared in Japan headlining an American-Japanese concert package which featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, Rufus Reid, with jazz and vocalist Salena Jones.
He performed at the Warsaw Jazz Festival, at which Live at the Warsaw Jazz Festival was recorded. Following a long setback of health problems and a seriou