Rhythm and blues
Rhythm and blues abbreviated as R&B, is a genre of popular music that originated in African American communities in the 1940s. The term was used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, drums, one or more saxophones, sometimes background vocalists. R&B lyrical themes encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships and aspirations; the term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was applied to blues records. Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music.
In the 1960s, several British rock bands such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands. Their mix of rock and roll and R&B is now known as "British rhythm and blues". By the 1970s, the term "rhythm and blues" changed again and was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as "contemporary R&B", it combines elements of rhythm and blues, soul, hip hop, electronic music. Popular R&B vocalists at the end of the 20th century included Prince, R. Kelly, Stevie Wonder, Chaka Khan, Whitney Houston, Mariah Carey. In the 21st century, R&B has remained a popular genre becoming more pop orientated and alternatively influenced with successful artists including Usher, Bruno Mars, Chris Brown, Justin Timberlake, The Weeknd, Frank Ocean and Khalid. Although Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in 1948, the term was used in Billboard as early as 1943.
It replaced the term "race music", which came from within the black community, but was deemed offensive in the postwar world. The term "rhythm and blues" was used by Billboard in its chart listings from June 1949 until August 1969, when its "Hot Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles". Before the "Rhythm and Blues" name was instated, various record companies had begun replacing the term "race music" with "sepia series". Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music, made by and for black Americans", he has used the term "R&B" as a synonym for jump blues. However, AllMusic separates it from jump blues because of R&B's stronger gospel influences. Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.
Well into the 21st century, the term R&B continues in use to categorize music made by black musicians, as distinct from styles of music made by other musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, bass and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow and hypnotic textures while calling attention to no individual sound. While singers are engaged with the lyrics intensely so, they remain cool, in control; the bands dressed in suits, uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics seemed fatalistic, the music followed predictable patterns of chords and structure; the migration of African Americans to the urban industrial centers of Chicago, New York City, Los Angeles and elsewhere in the 1920s and 1930s created a new market for jazz and related genres of music.
These genres of music were performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the late-1920s and 1930s through the work of musicians such as the Harlem Hamfats, with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, T-Bone Walker. There was increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone. In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five, consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues". Robert Palmer described it as "urbane, jazz-based music with a heavy, insistent beat".
Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, Wynonie Harris, is now referred to as jump blues. Paul Gayten, Roy Brown, others had had hits in the style now referred to as rhythm and blu
Michał Urbaniak is a Polish jazz musician who plays violin and saxophone. His music includes elements of folk music and blues, hip hop, symphonic music. Urbaniak started his music education during high school in Łódź, continued from 1961 in Warsaw in the violin class of Tadeusz Wroński. Learning to play on the saxophone alone, he first played in a Dixieland band, with Zbigniew Namysłowski and the Jazz Rockers, with whom he performed during the Jazz Jamboree festival in 1961. After this, he was invited to play with Andrzej Trzaskowski, toured the United States in 1962 with the Andrzej Trzaskowski band, the Wreckers, playing at festivals and clubs in Newport, San Francisco, Chicago and New York City. After returning to Poland, he worked with Krzysztof Komeda's quintet. Together, they left for Scandinavia, after finishing a couple of contracts, Urbaniak remained until 1969. There he created a band with Urszula Dudziak and Wojciech Karolak, which gained considerable success and was to be the starting point for the Michał Urbaniak Fusion.
After Urbaniak returned to Poland and the violin, he created the Michał Urbaniak Group, to which he invited, among others, Urszula Dudziak, Adam Makowicz, Pawel Jarzebski – bass and Czeslaw Bartkowski – drums They recorded their first international albums, Parathyphus B, Instinct and played in many festivals, including Jazz Jamboree in 1969–1972. During the Montreux'71 festival, Urbaniak was awarded "Grand Prix" for the best soloist and received a scholarship to the Berklee College of Music in Boston. After many triumphant concerts in Europe and the United States, in May 1973 he played for the last time before a Polish audience and emigrated with Urszula Dudziak on September 11, 1973, to the United States, where he now lives as a U. S. citizen. Despite getting an award from Berklee, he did not study there. Recommended by John H. Hammond, Urbaniak signed a contract with Columbia Records, who published the West German album Super Constellation under the name Fusion. For the tour, he invited Polish musicians, including Czesław Bartkowski, Paweł Jarzębski, Wojciech Karolak.
In 1974, Urbaniak formed the band Fusion and introduced melodic and rhythmic elements of Polish folk music into his funky New York-based music. With this band Urbaniak recorded another album for Columbia in New York: Atma. Urbaniak followed his musical journey with innovative projects such as Urbanator and UrbSymphony. On January 27, 1995, UrbSymphony performed and recorded a concert with a rapper and a 60-piece symphony orchestra. Since 1970 Urbaniak has been playing his custom-made, five-string violin furnished for him, a violin synthesizer called "talking" violin, his fusion with a hint of folklore was becoming popular among American jazz musicians. He started to play in well known clubs such as the Village Vanguard and Village Gate, in famous concert halls such as Carnegie Hall, Beacon Theatre, Avery Fisher Hall. Urbaniak has played with Billy Cobham, Buster Williams, Chick Corea, Elvin Jones, Freddie Hubbard, George Benson, Herbie Hancock, Joe Henderson, Joe Zawinul, Kenny Barron, Larry Coryell, Lenny White, Marcus Miller, Quincy Jones, Ron Carter, Roy Haynes, Wayne Shorter, Weather Report.
In 1985, he was invited to play during the recording of Tutu with Miles Davis. In 2012, he acted in the Polish film My Father's Bike. Urbaniak's Orchestra Paratyphus B Inactin New Violin Summit with Don Harris, Jean-Luc Ponty Super Constellation Polish Jazz Atma Fusion Funk Factory Fusion III Body English The Beginning Tribute to Komeda Urbaniak Ecstasy Urban Express Daybreak Music for Violin and Jazz Quartet Serenade for the City Folk Songs: Children's Melodies Jam at Sandy's My One and Only Love The Larry Coryell and Michael Urbaniak Duo Recital with Władysław Sendecki A Quiet Day in Spring Take Good Care of My Heart New York Five at the Village Vanguard Songs for Poland Milky Way, Some Other Blues, Mardin Cinemode Songbird Michal Urbaniak Manhattan Man Milky Way Burning Circuits, Urban Express, Manhattan Man Urbanator Friday Night at the Village Vanguard Some Other Blues Code Blue Urbanator II Live in Holy City Urbaniax Fusion Ask Me Now From Poland with Jazz Urbsymphony Decadence Urbanizer Urbanator III Michal Urbaniak's Group I Jazz Love You Sax Love Polish Wind Miles of Blue With Urszula Dudziak 1976 Urszula 1977 Midnight Rain 1979 Future Talk 1983 Sorrow Is Not Forever...
But Love IsWith others 1971 Swiss Suite, Oliver Nelson 1974 Journey, Arif Mardin 1977 Tomorrow's Promises, Don Pullen 1977 The Lion and the Ram, Larry Coryell 1980 Swish, Michael Brecker 1981 Stratus, Charly Antolini/Billy Cobham 1984 Islands, Scott Cossu 1986 Tutu, Miles Davis 1987 Music from Siesta, Miles Davis/Marcus Miller 1987 The Camera Never Lies, Michael Franks 1989 Whispers and Promises, Earl Klugh 1994 Rejoicing, Paul Bley 1994 Mo' Jam
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
The Recording Academy
The Recording Academy is a U. S. organization of musicians, recording engineers, other recording professionals. It is headquartered in California. Neil Portnow is its current president; the Recording Academy, which began in 1957, is known for its Grammy Awards. In 1997, the Recording Academy under Michael Greene launched The Latin Recording Academy, which produces the Latin Grammy Awards; the origin of the academy dates back to the beginning of the 1950s Hollywood Walk of Fame project. The Hollywood Chamber of Commerce asked the help of major recording industry executives in compiling a list of people in the music business who should be honored by Walk of Fame stars; the music committee, made up of these executives, compiled a list, but as they worked, they realized there were many more talented industry people who would not qualify to be recognized with a Hollywood Boulevard bronze star. The founding committee members included MGM Records; this was the start of the academy and of the Grammy Awards.
The Producers and Engineers Wing is a part of the academy made up of producers, engineers and other technically involved professionals. It is composed of 6,000 members; the producers and engineers wing addresses various aspects of issues facing the recording profession. They support music and recording arts education; the P&E Wing advocates for the use of professional usage of recording technology as well as the preservation of recordings. The members of this division make up a large portion of those who vote on the Grammy Awards each year; the Grammy University Network is an organization for college students who are pursuing a career in the music industry. It offers forms of networking, interactive educational experiences and programs, advice from music professionals and internship opportunities; the Recording Academy supports the MusiCares Foundation, a philanthropic organization which provides money and services to musicians in an emergency or crisis. The academy has twelve chapters in various locations throughout the United States.
The twelve chapters are in Atlanta, Florida, Los Angeles, Nashville, New York City, the Pacific Northwest, San Francisco and Washington D. C. List of music organizations in the United States The Latin Recording Academy Canadian Academy of Recording Arts and Sciences The Recording Academy
George Benson is an American guitarist and songwriter. He began his professional career at the age of 21 as a jazz guitarist. Benson uses a rest-stroke picking technique similar to that of gypsy jazz players such as Django Reinhardt. A former child prodigy, Benson first came to prominence in the 1960s, playing soul jazz with Jack McDuff and others, he launched a successful solo career, alternating between jazz, pop, R&B singing, scat singing. His album Breezin' was certified triple-platinum, hitting no. 1 on the Billboard album chart in 1976. His concerts were well attended through the 1980s, he still has a large following. Benson has been honored with a star on the Hollywood Walk of Fame. Benson was raised in the Hill District in Pittsburgh, Pennsylvania. At the age of seven, he first played the ukulele in a corner drug store, for which he was paid a few dollars. At the age of eight, he played guitar in an unlicensed nightclub on Friday and Saturday nights, but the police soon closed the club down.
At the age of 9, he started to record. Out of the four sides he cut, two were released: "She Makes Me Mad" backed with "It Should Have Been Me", with RCA-Victor in New York; the single was produced by Leroy Kirkland for Groove Records. As he has stated in an interview, Benson's introduction to showbusiness had an effect on his schooling; when this was discovered his guitar was impounded. Luckily, after he spent time in a juvenile detention centre his stepfather made him a new guitar.* Benson attended and graduated from Schenley High School. As a youth he learned how to play straight-ahead instrumental jazz during a relationship performing for several years with organist Jack McDuff. One of his many early guitar heroes was country-jazz guitarist Hank Garland. At the age of 21, he recorded his first album as The New Boss Guitar, featuring McDuff. Benson's next recording was It's Uptown with the George Benson Quartet, including Lonnie Smith on organ and Ronnie Cuber on baritone saxophone. Benson followed it up with The George Benson Cookbook with Lonnie Smith and Ronnie Cuber on baritone and drummer Marion Booker.
Miles Davis employed Benson in the mid-1960s, featuring his guitar on "Paraphernalia" on his 1968 Columbia release, Miles in the Sky before going to Verve Records. Benson signed with Creed Taylor's jazz label CTI Records, where he recorded several albums, with jazz heavyweights guesting, to some success in the jazz field, his 1974 release, Bad Benson, climbed to the top spot in the Billboard jazz chart, while the follow-ups, Good King Bad and Benson and Farrell, both reached the jazz top-three sellers. Benson did a version of The Beatles's 1969 album Abbey Road called The Other Side of Abbey Road released in 1969, a version of "White Rabbit" written and recorded by San Francisco rock group Great Society, made famous by Jefferson Airplane. Benson played on numerous sessions for other CTI artists during this time, including Freddie Hubbard and Stanley Turrentine, notably on the latter's acclaimed album Sugar. By the mid-to-late 1970s, as he recorded for Warner Bros. Records, a whole new audience began to discover Benson.
With the 1976 release Breezin', Benson sang a lead vocal on the track "This Masquerade", which became a huge pop hit and won a Grammy Award for Record of the Year. The rest of the album is instrumental, including his rendition of the 1975 Jose Feliciano composition "Affirmation". In 1976, Benson toured with soul singer Minnie Riperton, diagnosed with terminal breast cancer earlier that year and, in addition, appeared as a guitarist and backup vocalist on Stevie Wonder's song "Another Star" from Wonder's album Songs in the Key of Life. During the same year, 1976, the top selling album'Breezin' was released on the Warner Brothers label featuring the Bobby Womack penned title track and the Leon Russell penned This Masquerade, now a jazz standard. Both tracks won Grammy awards that year and the LP put Benson into the musical limelight both in the USA and in Europe. Benson had been discouraged up until this time, from using his singing skills as the company decision makers felt he wasn't competent enough vocally, he should stick to playing the guitar.
It was here that he proved them wrong. He recorded the original version of "The Greatest Love of All" for the 1977 Muhammad Ali bio-pic, The Greatest, covered by Whitney Houston as "Greatest Love of All". During this time Benson recorded with the German conductor Claus Ogerman; the live take of "On Broadway", recorded a few months from the 1978 release Weekend in L. A. won a Grammy. He has worked with Freddie Hubbard on a number of his albums throughout the 1970s and 1980s; the Qwest record label released Benson's breakthrough pop album Give Me The Night, produced by Jones. Benson made it into the pop and R&B top ten with the song "Give Me the Night", he had many hit singles such as "Love All the Hurt Away", "Turn Your Love Around", "Inside Love", "Lady Love Me", "20/20", "Shiver", "Kisses in the Moonlight". More Quincy Jones encouraged Benson to search his roots for further vocal inspiration, he rediscovered his love for Nat Cole, Ray Ch
Christian Scott known as Christian Scott aTunde Adjuah, is an American jazz trumpeter and producer. Scott is the nephew of jazz saxophonist Donald Harrison. Scott has been Grammy nominated twice. Christian Scott is known for his signature'whisper technique', noted as emphasizing breath over vibration at the mouth piece creating a unique tone. Scott was born on March 31, 1983, in New Orleans, Louisiana, to Cara Harrison and Clinton Scott III and has a twin brother, Kiel. At the age of 13 he started learning with jazz alto saxophonist Donald Harrison. By 14, he was accepted into the New Orleans Center for Creative Arts, where he studied jazz under the guidance of program directors Clyde Kerr, Jr. and Kent Jordan. On graduating from NOCCA, Scott received a scholarship to attend Berklee College of Music in Boston, where he graduated in 2004. Between 2003 and 2004, while attending Berklee, he was member of the Berklee Monterey Quartet, recorded as part of the Art:21 student cooperative quintet, studied under the direction of Charlie Lewis, Dave Santoro, Gary Burton.
He majored in professional music with a concentration in film scoring. Christian Scott was discovered by Kenneth Shurtlift, former distributor at Concord Records, who forwarded Scott's music to Concord Music Group. Scott was signed to the label in 2005. Scott's debut album Rewind, it received a Grammy nomination. Scott received the Edison Award in 2010 and 2012. Since 2002, Scott has released 12 studio albums, two live recordings. In 2016, Scott has appeared on the public television series Articulate. 2002 Christian Scott – Impromp2 Records / Omni American Music 2004 Two of a Kind – Nagel Heyer Records w/ Donald Harrison 2006 Rewind That – Concord Records 2007 Anthem – Concord Records 2008 Live at Newport – Concord Records 2010 Yesterday You Said Tomorrow – Concord Records / UMG / OmniAmerican Music 2011 Ninety Miles – Concord Picante w/ Stefon Harris and David Sanchez 2012 Christian aTunde Adjuah – Concord Records / UMG / OmniAmerican Music 2012 Ninety Miles Live at Cubadisco – Concord Picante 2015 Stretch Music – Ropeadope/Stretch Music 2017 Ruler Rebel – Ropeadope/Stretch Music 2017 Diaspora – Ropeadope/Stretch Music 2017 The Emancipation Procrastination – Ropeadope/Stretch Music 2019 Ancestral Recall – Ropeadope/Stretch Music 1999 Paradise Found – Donald Harrison 2001 Real Life Stories – Donald Harrison 2003 Karin Williams – Karin Williams 2005 Blueprint of a Lady:Sketches of Billie Holiday – Nnenna Freelon 2006 Every Road I Walked – Grace Kelly 2006 Survivor – Donald Harrison 2006 What is Love – Erin Boheme 2007 Return From Mecca – X Clan 2007 Planet Earth – Prince 2008 Blueprints of Jazz, Vol 1 – Mike Clark 2008 Charlie Brown TV Themes – David Benoit 2008 Global Noize – Global Noize 2008 It's Christmas – Ledisi 2011 Tutu Revisited – Marcus Miller 2014 Inner Dialogue – Sarah Elizabeth Charles Christian Scott - trumpet, flugelhorn, soprano trombone Braxton Cook - alto saxophone, straight alto saxophone Joe Dyson - drums, pan-African drums Corey Fonville - drums Lawrence Fields - piano Kristopher Funn - bass Dominic Minix - guitar Elena Pinderhughes - flute & vocals Esperanza Spalding - bass Matthew Stevens - guitar Thomas Pridgen - drums Aaron Parks - piano Walter Smith III - sax Jamire Williams - drums Luques Curtis - bass Zaccai Curtis - piano Marcus Gilmore - drums Milton Fletcher Jnr - piano christianscott.tv Performance for NPR's Tiny Desk Concerts