1.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, 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 rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a 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. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
2.
Library of Congress
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The Library of Congress is the research library that officially serves the United States Congress and is the de facto national library of the United States. It is the oldest federal cultural institution in the United States, the Library is housed in three buildings on Capitol Hill in Washington, D. C. it also maintains the Packard Campus in Culpeper, Virginia, which houses the National Audio-Visual Conservation Center. The Library of Congress claims to be the largest library in the world and its collections are universal, not limited by subject, format, or national boundary, and include research materials from all parts of the world and in more than 450 languages. Two-thirds of the books it acquires each year are in other than English. The Library of Congress moved to Washington in 1800, after sitting for years in the temporary national capitals of New York. John J. Beckley, who became the first Librarian of Congress, was two dollars per day and was required to also serve as the Clerk of the House of Representatives. The small Congressional Library was housed in the United States Capitol for most of the 19th century until the early 1890s, most of the original collection had been destroyed by the British in 1814, during the War of 1812. To restore its collection in 1815, the bought from former president Thomas Jefferson his entire personal collection of 6,487 books. After a period of growth, another fire struck the Library in its Capitol chambers in 1851, again destroying a large amount of the collection. The Library received the right of transference of all copyrighted works to have two copies deposited of books, maps, illustrations and diagrams printed in the United States. It also began to build its collections of British and other European works and it included several stories built underground of steel and cast iron stacks. Although the Library is open to the public, only high-ranking government officials may check out books, the Library promotes literacy and American literature through projects such as the American Folklife Center, American Memory, Center for the Book, and Poet Laureate. James Madison is credited with the idea for creating a congressional library, part of the legislation appropriated $5,000 for the purchase of such books as may be necessary for the use of Congress. And for fitting up an apartment for containing them. Books were ordered from London and the collection, consisting of 740 books and 3 maps, was housed in the new Capitol, as president, Thomas Jefferson played an important role in establishing the structure of the Library of Congress. The new law also extended to the president and vice president the ability to borrow books and these volumes had been left in the Senate wing of the Capitol. One of the only congressional volumes to have survived was a government account book of receipts and it was taken as a souvenir by a British Commander whose family later returned it to the United States government in 1940. Within a month, former president Jefferson offered to sell his library as a replacement
3.
Cannonball Adderley
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Julian Edwin Cannonball Adderley was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is remembered for his 1966 single Mercy, Mercy, Mercy, a hit on the pop charts. He was the brother of jazz cornetist Nat Adderley, a member of his band. Originally from Tampa, Florida, Adderley moved to New York in 1955 and his nickname derived from cannibal, a title imposed on him by high school colleagues as a tribute to his voracious appetite. Cannonball moved to Tallahassee, when his parents obtained teaching positions at Florida A&M University, both Cannonball and brother Nat played with Ray Charles when Charles lived in Tallahassee during the early 1940s. Cannonball was a legend in Southeast Florida until he moved to New York City in 1955. One of his known addresses in New York was in the neighborhood of Corona and he left Florida originally to seek graduate studies at New York conservatories, but one night in 1955 he brought his saxophone with him to the Café Bohemia. Adderley formed his own group with his brother Nat after signing onto the Savoy jazz label in 1957 and he was noticed by Miles Davis, and it was because of his blues-rooted alto saxophone that Davis asked him to play with his group. He joined the Davis band in October 1957, three months prior to the return of John Coltrane to the group, some of Daviss finest trumpet work can be found on Adderleys first solo album Somethin Else, which was recorded shortly after the two giants met. Adderley then played on the seminal Davis records Milestones and Kind of Blue and this period also overlapped with pianist Bill Evans time with the sextet, an association that led to recording Portrait of Cannonball and Know What I Mean. His interest as an educator carried over to his recordings, in 1961, Cannonball narrated The Childs Introduction to Jazz, released on Riverside Records. The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet, Cannonballs first quintet was not very successful, however, after leaving Davis group, he formed another, again with his brother, which enjoyed more success. By the end of the 1960s, Adderleys playing began to reflect the influence of the jazz, avant-garde. On his albums from this period, such as Accent on Africa and The Price You Got to Pay to Be Free, he began doubling on soprano saxophone, showing the influence of Coltrane and Wayne Shorter. In 1975 he also appeared in a role alongside José Feliciano. Songs made famous by Adderley and his bands include This Here, The Jive Samba, Work Song, Mercy, Mercy, Mercy, a cover version of Pops Staples Why. also entered the charts. His instrumental Sack o Woe was covered by Manfred Mann on their debut album and he had a cerebral hemorrhage and four weeks later, on August 8,1975, he died at St. Mary Methodist Hospital in Gary, Indiana. He was buried in the Southside Cemetery, Tallahassee, later that year he was inducted into the Down Beat Jazz Hall of Fame
4.
Herbie Hancock
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Herbert Jeffrey Herbie Hancock is an American pianist, keyboardist, bandleader, composer and actor. He was one of the first jazz musicians to embrace synthesizers, Hancocks music is often melodic and accessible, he has had many songs cross over and achieved success among pop audiences. Hancocks best-known compositions include Cantaloupe Island, Watermelon Man, Maiden Voyage, Chameleon, and his 2007 tribute album River, The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award, after Getz/Gilberto in 1965. Hancock was born in Chicago, Illinois, the son of Winnie Belle, a secretary, and Wayman Edward Hancock and his parents named him after the singer and 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, and his talent was recognized early, through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the group the Hi-Los. He reported that. by the time I actually heard the Hi-Los, I started picking that stuff out, my ear was happening. I could hear stuff and thats when I really learned some much farther-out voicings – like the harmonies I used on Speak Like a Child – just being able to do that, I really got that from Clare Fischers arrangements for the Hi-Los. Clare Fischer was an influence on my harmonic concept. he and Bill Evans. You know, thats where it came from, in 1960, he heard Chris Anderson play just once, and begged him to accept him as a student. Hancock often 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 also 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, the pianist quickly earned a reputation, and 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 importantly for Hancock, Takin Off caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, Hancock received considerable attention when, in May 1963, he joined Daviss Second Great Quintet. Davis personally 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, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot and this quintet is often regarded as one of the finest jazz ensembles, and the rhythm section has been especially praised for its innovation and flexibility. The second great quintet was where Hancock found his own voice as a pianist, not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz
5.
Ron Carter
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Ronald Levin Ron Carter is an American jazz double bassist. His appearances on 2,221 recording sessions make him the most-recorded jazz bassist in history, Carter is also a cellist who has recorded numerous times on that instrument. Some of his albums as a leader include, Blues Farm, All Blues, Spanish Blue, Anything Goes, Yellow & Green, Pastels, Piccolo, Third Plane, Peg Leg. He was a member of the Miles Davis Quintet in the early 1960s, Carter joined Daviss group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E. S. P. Carter also performed on some of Hancock, Williams and Shorters recordings during the sixties for Blue Note Records. He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and he was elected to the Down Beat Jazz Hall of Fame in 2012. In 1993, he won a Grammy Award for Best Jazz Instrumental Group, Carter was born in Ferndale, Michigan. Carter switched to playing double bass and he attended Cass Technical High School in Detroit, and, later, the Eastman School of Music in Rochester, New York, where he played in its Philharmonic Orchestra. He finished his bachelors degree at Eastman in 1959, and in 1961 a masters degree in bass performance from the Manhattan School of Music in New York City. His first jobs as a musician were playing bass with Jaki Byard. His first records were made with Eric Dolphy and Don Ellis and his own first date as leader, Where. Carter came to fame via the second great Miles Davis Quintet in the early 1960s, Carter joined Daviss group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E. S. P. The latter being the first album to only the full quintet. It also featured three of Carters compositions and he stayed with Davis until 1968, and participated in a couple of studio sessions with Davis in 1969 and 1970. Although he played electric bass occasionally during this era of early jazz-rock fusion, he has stopped playing that instrument. Carter also performed on some of Hancock, Williams and Shorters recordings during the sixties for Blue Note Records. He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and others. After leaving Davis, Carter was for years a mainstay of CTI Records, making albums under his own name
6.
Thelonious Monk
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Thelonious Sphere Monk was an American jazz pianist and composer. Monk is the second most-recorded jazz composer after Duke Ellington, which is remarkable as Ellington composed more than a thousand pieces. He was renowned for his style in suits, hats. Monk is one of five musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck. Thelonious Sphere Monk was born two years after his sister Marion on October 10,1917, in Rocky Mount, North Carolina and his badly written birth certificate misspelled his first name as Thelious or Thelius. It also did not list his name, taken from his maternal grandfather. A brother, Thomas, was born in January 1920, in 1922, the family moved to 243 West 63rd Street, in Manhattan, New York City. Monk started playing the piano at the age of six, and was largely self-taught and he attended Stuyvesant High School but did not graduate. He toured with an evangelist in his teens, playing the church organ, in the early to mid-1940s, Monk was the house pianist at Mintons Playhouse, a Manhattan nightclub. Much of Monks style was developed during his time at Mintons, Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at the club. Monks style at this time was described as hard-swinging, with the addition of runs in the style of Art Tatum. Monks stated influences included Duke Ellington, James P. Johnson, in the documentary Thelonious Monk, Straight, No Chaser, it is stated that Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager. So, the worked out a music that was hard to steal. Ill say this for the leeches, though, they tried, ive seen them in Mintons busily writing on their shirt cuffs or scribbling on the tablecloth. And even our own guys, Im afraid, did not give Monk the credit he had coming, why, they even stole his idea of the beret and bop glasses. In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet, Hawkins was one of the earliest established jazz musicians to promote Monk, and the pianist later returned the favor by inviting Hawkins to join him on a 1957 session with John Coltrane. Monk made his first recordings as leader for Blue Note in 1947, Monk married Nellie Smith the same year, and in 1949 the couple had a son, T. S. Monk, who became a jazz drummer. A daughter, Barbara, was born in 1953 and died in 1984 from cancer, in August 1951, New York City police searched a parked car occupied by Monk and friend Bud Powell
7.
Tito Puente
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Ernesto Antonio Tito Puente was an American musician, songwriter and record producer. He is best known for dance-oriented mambo and Latin jazz compositions that endured over a 50-year career and he and his music appear in many films such as The Mambo Kings and Fernando Truebas Calle 54. He guest-starred on several shows, including Sesame Street and The Simpsons two-part episode Who Shot Mr. Burns. Tito Puente was born on April 20,1923, at Harlem Hospital Center in the New York borough of Manhattan and his family moved frequently, but he spent the majority of his childhood in the Spanish Harlem area of the city. Puentes father was the foreman at a razorblade factory, as a child, he was described as hyperactive, and after neighbors complained of hearing seven-year-old Puente beating on pots and window frames, his mother sent him to 25-cent piano lessons. By the age of 10, he switched to percussion, drawing influence from jazz drummer Gene Krupa and he later created a song-and-dance duo with his sister Anna in the 1930s and intended to become a dancer, but an ankle tendon injury prevented him pursuing dance as a career. When the drummer in Machitos band was drafted to the army, Tito Puente served in the Navy for three years during World War II after being drafted in 1942. He was discharged with a Presidential Unit Citation for serving in nine battles on the escort carrier USS Santee, the GI Bill allowed him to study music at Juilliard School of Music, where he completed a formal education in conducting, orchestration and theory. In 1969, he received the key to the City of New York from former Mayor John Lindsay, in 1992, he was inducted into the National Congressional Record, and in 1993 he received the James Smithson Bicentennial Medal from the Smithsonian. During the 1950s, Puente was at the height of his popularity, and helped to bring Afro-Cuban and Caribbean sounds like mambo, son, Puente was so successful playing popular Afro-Cuban rhythms that many people mistakenly identify him as Cuban. Dance Mania, possibly Puentes most well known album, was released in 1958, later, he moved into more diverse sounds, including pop music, bossa nova and others, eventually settling down with a fusion of Afro-Cuban and Latin jazz. In 1979, Puente won the first of five Grammy Awards for the albums A Tribute to Benny Moré, On Broadway, Mambo Diablo, in 1990, Puente was awarded the James Smithson Bicentennial Medal. He was also awarded a Grammy at the first Latin Grammy Awards, in 1995, he appeared as himself on the Simpsons episode Who Shot Mr. Burns. In early 2000, he shot the music documentary Calle 54 and he was posthumously awarded the Grammy Lifetime Achievement Award in 2003. Puentes son Richard Richie Puente was the percussionist in the 70s Funk Band Foxy, Puentes youngest son, Tito Puente Jr. Puentes granddaughter, Janeen Puente, is a singer and bandleader. Her band is known as the Janeen Puente Orchestra, on September 10,2007, a United States Post Office in Spanish Harlem was named after him at a ceremony presided by House Ways and Means Committee Chairman Charles Rangel and Rep. José Serrano. An amphitheatre was named in his honor at Luis Muñoz Marín Park, next to the Roberto Clemente Coliseum, in San Juan, Puente performed at the closing ceremonies at the 1996 Summer Olympics in Atlanta, Georgia. The timbales he used there are on display at the National Museum of American History in Washington D. C, in 1997, he was awarded the National Medal of Arts
8.
Woody Shaw
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Woody Herman Shaw, Jr. was an American trumpeter, flugelhornist, cornetist, composer and band leader, described by NPR Music as the last great trumpet innovator. Shaw is regarded as one of the jazz band leaders and innovators of his generation. Born with a memory and perfect pitch, he was considered to have been generations ahead of his time. Woody Shaw was born on December 24,1944 in Laurinburg and he was taken to Newark, New Jersey by his parents, Rosalie Pegues and Woody Shaw, Sr. when he was one year old. Shaws mother was from the town as Gillespie, Cheraw. Shaw began playing the bugle at age nine and performed in the Junior Elks, Junior Mason, though not his first choice of instrument, he began studying classical trumpet with Jerome Ziering at Cleveland Junior High School at the age of 11. In a 1978 interview, Shaw explained, The trumpet was not my first choice for an instrument, in fact, I ended up playing it by default. When we were asked what we wanted to play in the Eighteenth Avenue School Band, I chose the violin and my second choice was the saxophone or the trombone but they were also all spoken for. The only instrument that was left was the trumpet, and I felt why did I have to get stuck with this tinny sounding thing. When I complained to my music teacher that I didnt think it was fair that all the kids got to play the instruments they wanted. He said he had a feeling about me and the trumpet. Of course my teacher was right, and it didnt take long for me to fall in love with the trumpet, in retrospect, I believe there was some mystical force that brought us together. His first influences were Louis Armstrong and Harry James, after skipping two grades, he began attending Newark Arts High School, from which he graduated. As a teenager, Shaw worked professionally at weddings, dances and he eventually left school but continued his study of the trumpet under the influence of Gillespie, Fats Navarro, Clifford Brown, Booker Little, Lee Morgan, and Freddie Hubbard. He later discovered that he had picked up the trumpet during the month and year that Brown died. In 1963, after many local jobs, Shaw worked for Willie Bobo and performed and recorded as a sideman with Eric Dolphy, with whom he made his recorded debut. Dolphy, who had moved to Paris around this time, unexpectedly died in June 1964, Shaw was nonetheless invited to Paris to join Dolphys collaborator, Nathan Davis, and the two found steady work all over Europe. After some time, Shaw demanded that two of his contemporaries, organist Larry Young and drummer Billy Brooks, be brought to Paris
9.
Sun Ra
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Sun Ra was an American jazz composer, bandleader, piano and synthesizer player, poet and philosopher known for his experimental music, cosmic philosophy, prolific output, and theatrical performances. For much of his career, Ra led The Arkestra, an ensemble with an ever-changing name, born and raised in Alabama, Blount would eventually become involved in the 1940s Chicago jazz scene. From the mid-1950s until his death, Ra led the musical collective The Arkestra and its performances often included dancers and musicians dressed in elaborate, futuristic costumes inspired by ancient Egyptian attire and the space age. He is now considered an innovator, among his distinctions are his pioneering work in free improvisation and modal jazz. Following Sun Ras death in 1993, the Arkestra continues to perform and he was born Herman Blount on May 22,1914, in Birmingham, Alabama, as discovered by his biographer, John F. Szwed, and published in his 1998 book. He was named after the popular stage magician Black Herman. He was nicknamed Sonny from his childhood, had a sister and half-brother. For decades, very little was known about Sun Ras early life, as a self-invented person, he routinely gave evasive, contradictory or seemingly nonsensical answers to personal questions, and denied his birth name. He speculated, only half in jest, that he was related to Elijah Poole, later famous as Elijah Muhammed. His birthday for years remained unknown, as he claimed it for years ranging from 1910 to 1918, only a few years before his death, the date of Sun Ras birth was still a mystery. Jim Macnies notes for Blue Delight said that Sun Ra was believed to be about 75 years old, but Szwed was able to uncover a wealth of information about his early life and confirmed a birth date of May 22,1914. As a child, Herman was a skilled pianist, by the age of 11 or 12, he was composing and sight reading music. Birmingham was an important stop for touring musicians and he saw famous musicians such as Fletcher Henderson, Duke Ellington, and Fats Waller, along with others who were quite talented but never made the big time. Sun Ra once said, The world let down a lot of good musicians, by his mid-teens, Blount was performing semi-professionally as a solo pianist, or as a member of various ad hoc jazz and R&B groups. Though deeply religious, his family was not formally associated with any Christian church or sect, Blount had few or no close friends in high school but was remembered as kind-natured and quiet, an honor roll student, and a voracious reader. He took advantage of the Black Masonic Lodge as one of the few places in Birmingham where African Americans had unlimited access to books and its collection on Freemasonry and other esoteric concepts made a strong impression on him. By his teens, Blount suffered from cryptorchidism and it left him with a nearly constant discomfort that sometimes flared into severe pain. Szwed suggests that Blount felt shame about it and the condition contributed to his isolation, in 1934 Blount was offered his first full-time musical job by Ethel Harper—his biology teacher from the high school, who had organized a band to pursue a career as a singer
10.
Bobby Hutcherson
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Robert Bobby Hutcherson was an American jazz vibraphone and marimba player. Little Bs Poem, from the 1966 Blue Note album Components, is one of his best-known compositions, Hutcherson influenced younger vibraphonists including Steve Nelson, Joe Locke, and Stefon Harris. Bobby Hutcherson was born in Los Angeles, California, to Eli, a mason, and Esther. Hutcherson was exposed to jazz by his brother Teddy, who listened to Art Blakey records in the home with his friend Dexter Gordon. His older sister Peggy was a singer in Gerald Wilsons orchestra, Hutcherson went on to record on a number of Gerald Wilsons Pacific Jazz recordings as well as play in his orchestra. Hutchersons sister personally introduced Hutcherson to Eric Dolphy and Billy Mitchell, in January 1962, Hutcherson joined the Billy Mitchell–Al Grey group for dates at The Jazz Workshop in San Francisco and Birdland in New York City. Lewis was working with The Jazztet and hosted jam sessions at his apartment, Hutcherson won the Talent Deserving of Wider Recognition award in the 1964 Down Beat readers poll, and Blue Note released Hutchersons Dialogue in 1965. Featuring Joe Henderson, Herbie Lewis, and Billy Higgins, was the first of many recorded sessions Hutcherson made with McCoy Tyner throughout their careers. Stick-Up. was also the album out of ten Hutcherson recorded as leader for Blue Note between 1965 and 1969 which did not feature drummer Joe Chambers or any of Chambers compositions. Spanning the years 1963 to 1977, Hutcherson had one of the longest recording careers with Blue Note, the Hutcherson-Land group broke up in 1971, and that same year Hutcherson won the title of Worlds Best Vibist in the International Jazz Critics Poll. After the release of Knucklebean in 1977, Hutcherson recorded three albums for Columbia Records in the late 1970s. In 2004, Hutcherson became a member of the SFJAZZ Collective, featuring Joshua Redman, Miguel Zenón, Nicholas Payton, Renee Rosnes. He toured with them for four years, and made an appearance at the SFJAZZ Centers grand opening in 2013 and his 2007 quartet included Renee Rosnes on piano, Dwayne Burno on bass and Al Foster on drums. His 2008 quartet included Joe Gilman on piano, Glenn Richman on bass, in 2010 he received the lifetime Jazz Master Fellowship Award from the National Endowment for the Arts and performed at Birdland in a quintet featuring Gilman, Burno, Marshall, and Peter Bernstein. 2014 saw Hutcherson return to Blue Note Records with Enjoy the View, recorded at Ocean Way Studios in Hollywood with Joey DeFrancesco, David Sanborn, the quartet performed four sold-out shows at the SFJAZZ Center in February, prior to the albums release. Hutchersons intermittent acting career included an appearance as the bandleader in They Shoot Horses, Dont They. Hutcherson has a son, Barry, from his first marriage to Beth Buford. Hutcherson wrote the waltz Little Bs Poem for Barry in 1962 and that same year, he married Rosemary Zuniga, a ticket taker at the Both/And club in San Francisco. The couple had a son, Teddy, who is a manager for SFJAZZ
