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
Harold Lane "Hal" David was an American lyricist. He grew up in New York City, he was best known for his collaborations with composer Burt Bacharach and his association with Dionne Warwick. David was born in New York City, a son of Austrian Jewish immigrants Lina and Gedalier David, who owned a delicatessen in Brooklyn, younger brother of American lyricist and songwriter Mack David, he is credited with popular music lyrics, beginning in the 1940s with material written for bandleader Sammy Kaye and for Guy Lombardo. He worked with Morty Nevins of The Three Suns on four songs for the feature film Two Gals and a Guy, starring Janis Paige and Robert Alda. In 1957, David met composer Burt Bacharach at Famous Music in the Brill Building in New York; the two teamed up and wrote their first hit "The Story of My Life", recorded by Marty Robbins in 1957. Subsequently, in the 1960s and early 1970s Bacharach and David wrote some of the most enduring songs in American popular music, many for Dionne Warwick but for The Carpenters, Dusty Springfield, B. J. Thomas, Gene Pitney, Tom Jones, Jackie DeShannon and others.
In the UK, a version of "The Story of My Life" recorded by Michael Holliday reached #1 in 1958 before being replaced by Perry Como's "Magic Moments", the first time any songwriter had consecutive #1 hits in the UK charts. Bacharach and David hits included "Alfie", "Raindrops Keep Fallin' on My Head", "This Guy's in Love with You", "I'll Never Fall in Love Again", "Do You Know the Way to San Jose", "Walk On By", "What the World Needs Now Is Love", "I Say a Little Prayer", " Always Something There to Remind Me", "One Less Bell to Answer" and "Anyone Who Had a Heart"; the duo's film work includes the Oscar-nominated title songs for "What's New Pussycat?" and "Alfie", "The Look of Love", from Casino Royale. In addition, "Don't Make Me Over", " Close to You" and "Walk On By" have been inducted into the Grammy Hall of Fame. David's work with other composers includes Albert Hammond for Willie Nelson and Julio Iglesias's "To All the Girls I've Loved Before". A." with Albert Hammond, recorded by Hammond and Art Garfunkel.
With Paul Hampton, David co-wrote the country standard "Sea of Heartbreak", a hit for Don Gibson and others. David contributed lyrics to three James Bond film themes: in addition to "The Look of Love" from Casino Royale with Bacharach, he wrote "We Have All the Time in the World", with John Barry and sung by Louis Armstrong for the 1969 film On Her Majesty's Secret Service, in 1979, "Moonraker" with Barry, sung by Bond regular Shirley Bassey for the film of the same name. David and Bacharach were awarded the 2011 Gershwin Prize for Popular Song, bestowed by the Library of Congress, the first time a songwriting team was given the honor. David was recuperating from an illness and was unable to attend the Washington D. C. presentation ceremony in May 2012. David died in the morning hours of September 2012, of a stroke, he was 91. He had Craig David with his first wife Alice, he had three grandchildren. He is interred in the Forest Lawn Memorial Park beside his first wife, who died in 1987. 1972: inducted into the Songwriters Hall of Fame 1984: elected to the Nashville Songwriters Hall of Fame 1991: received a Doctor of Music degree from Lincoln College, for his major contribution to American music May 2000: received an honorary doctorate of humane letters degree from Claremont Graduate University Founder of the Los Angeles Music Center Member of the board of governors of Cedars-Sinai Medical Center Member of the board of directors of ASCAP, having served as its president, worked on reform of intellectual property rights Served on the advisory board of the Society of Singers Member of the board of visitors of Claremont Graduate University in California Chairman of the board of the National Academy of Popular Music and its Songwriters Hall of Fame 2011: The Songwriters Hall of Fame presented him their newest award, the Visionary Leadership Award, for his decades of service 2011: received a star on the Hollywood Walk of Fame 2012: Gershwin prize recipient Promises, Promises – musical – lyricist – Tony Nomination for Best Musical André DeShield's Haarlem Nocturne – revue – featured songwriter The Look of Love – revue – lyricist List of songwriter tandems List of songs written by Burt Bacharach Hal David on IMDb Hal David at the Songwriters Hall of Fame Official Hal David website "The Fresh Air Interview: Burt Bacharach and Hal David".
NPR. May 5, 2010. Hal David at Find a Grave Hal David Interview - NAMM Oral History Library
Melbourne Robert "Bob" Cranshaw was an American jazz bassist. His career spanned the heyday of Blue Note Records to his recent involvement with the Musicians Union, he is best known for his long association with Sonny Rollins. Cranshaw performed in Rollins's working band on and off for over five decades, starting with a live appearance at the 1959 Playboy jazz festival in Chicago and on record with the 1962 album The Bridge; some of Cranshaw's best-known performances include Lee Morgan's The Sidewinder and Grant Green's Idle Moments. Cranshaw served as the sole session bassist to Sesame Street and The Electric Company songwriter and composer Joe Raposo, played bass guitar on all songs, tracks and cues recorded by the Children's Television Workshop during Raposo's tenure. In addition, he was the bass player for Saturday Night Live from 1975 to 1980 and musical director and bassist for Dick Cavett's talk show in the early 1980s, he performed in pit orchestras for numerous Broadway shows including Jesus Christ Superstar, Lena Horne: The Lady and Her Music Sergeant Pepper's Lonely Heart's Club Band: The Musical and many more.
He recorded innumerable recording dates for television shows and jingles. He is among the most recorded bassists in history. Along with Wes Montgomery's brother Monk, Cranshaw was among the early jazz bassists to trade his upright bass for an electric bass, he was criticized for this by jazz purists, although he was forced to switch by a back injury incurred in a serious auto accident. Throughout his long career he performed on hundreds of television shows and film and television scores, he appears in a 90-minute documentary of the jazz label. Cranshaw was a founding member of the short-lived MJT + 3 that included Frank Strozier on alto saxophone, Harold Mabern on piano, Willie Thomas on trumpet, Walter Perkins on drums; the Chicago-based group produced a number for Vee-Jay Records. Another Cranshaw appearance, Shirley Scott and Stanley Turrentine's Blue Flames, featuring Otis Finch, was recorded for Prestige Records. Cranshaw played live shows for tap dancer Maurice Hines, along with friend and drummer Paul Goldberg.
Since the 1990s he worked for the musicians union in New York City as an advocate for the rights of jazz musicians. He fought for better pension plans for jazz musicians, to make sure they or their widows received the royalties owed them and for other related issues; because of his work in television, film and on Broadway, Cranshaw was compensated financially in a way that many jazz musicians were not. He credited his involvement in the union as his way of trying to insure that his fellow jazz musicians receive the same treatment and financial compensation that he did because of his work in other genres and in other media. Cranshaw died at the age of 83 on November 2016 in Manhattan, New York from Stage IV cancer. DTM interview
Granville William "Mickey" Roker was an American jazz drummer. Roker was born into extreme poverty in Miami to Willie Mae Roker. After his mother died, when he was only ten, he was taken by his grandmother to live in Philadelphia with his uncle Walter, who gave him his first drum kit and communicated his love of jazz to his nephew, he introduced the young Roker to the jazz scene in Philadelphia, where drummer Philly Joe Jones became Roker's idol. In the early 1950s, he began to gain recognition as a hard-driving big-band drummer, he was favored by Dizzy Gillespie, who remarked of him that "once he sets a groove, whatever it is, you can go to Paris and come back and it's right there. You never have to worry about it." Roker was soon in demand for his supportive skills in both small-group settings. While in Philadelphia he played with Jimmy Oliver, Jimmy Heath, Jimmy Divine, King James and Sam Reed before moving to New York in 1959, where his first gigs were with Gigi Gryce, Ray Bryant, Joe Williams, Junior Mance, Nancy Wilson and the Duke Pearson big band.
In 1992, he replaced Connie Kay in the Modern Jazz Quartet. He recorded with Dizzy Gillespie, Sonny Rollins, Duke Pearson, Tommy Flanagan, Ella Fitzgerald, Zoot Sims, Horace Silver, Junior Mance, Sarah Vaughan, Milt Jackson, Herbie Hancock, Phil Woods, Oscar Peterson, Ray Brown, Bucky Pizzarelli, Stanley Turrentine, Toshiko Akiyoshi, Hank Jones, Bobby Hutcherson, Joe Locke, many other jazz musicians. Roker was still active on the Philadelphia music scene during the 21st century, he died in Philadelphia, Pennsylvania, at the age of 84. With Nat Adderley Little Big Horn With Gene Ammons Got My Own Big Bad Jug Together Again for the Last Time - with Sonny StittWith Roy Ayers Daddy Bug With Randy Brecker Score With Ray Brown Red Hot Ray Brown Trio With Ray Bryant Con Alma Dancing the Big Twist With Art Farmer The Time and the Place: The Lost Concert The Time and the Place The Art Farmer Quintet Plays the Great Jazz Hits With Frank Foster Manhattan Fever With Dizzy Gillespie Dizzy Gillespie's Big 4 Afro-Cuban Jazz Moods with Machito The Dizzy Gillespie Big 7 Bahiana Carter, Gillespie Inc. with Benny Carter Dizzy's Party With Gigi Gryce Saying Somethin'!
The Hap'nin's The Rat Race Blues Doin' the Gigi With Herbie Hancock Speak Like a Child With Gene Harris The Gene Harris Trio Plus One With Bobby Hutcherson San Francisco With Milt Jackson Born Free Milt Jackson and the Hip String Quartet Olinga The Milt Jackson Big 4 With Willis Jackson Really Groovin' In My Solitude With Hank Jones Groovin' High With Sam Jones Something New With Irene Kral Better Than Anything With Charles Kynard The Soul Brotherhood With Mike Longo Funkia With Junior Mance Junior's Blues Happy Time Monk With Herbie Mann Stone Flute With Blue Mitchell Boss Horn With the Modern Jazz Quartet MJQ & Friends: A 40th Anniversary Celebration With Lee Morgan Standards Live at the Lighthouse Sonic Boom With Joe Pass Quadrant With Duke Pearson Wahoo! Honeybuns Prairie Dog Sweet Honey Bee Introducing Duke Pearson's Big Band The Phantom Now Hear This How Insensitive It Could Only Happen with You With Billie Poole Confessin' the Blues With Sonny Rollins There Will Never Be Another You Sonny Rollins on Impulse!
With Shirley Scott Soul Duo with Clark Terry Oasis Great Scott! Blues Everywhere Skylark With Horace Silver All In Pursuit of the 27th Man With Buddy Terry Awareness With Stanley Turrentine Rough'n' Tumble The Spoiler With McCoy Tyner Live at Newport With Harold Vick The Caribbean Suite Commitment With Mary Lou Williams Zoning Free Spirits With Cedar Walton The Electric Boogaloo Song With Joe Williams At Newport'63 With Reuben Wilson The Cisco Kid With Phil Woods Rights of Swing With The N. Y. Hardbop Quintet Rokermotion With Oscar Peterson and Stephane Grapelli Skol - EP With Joshua Breakstone Let's Call This Monk! Mickey Roker at AllMusic Mickey Roker discography at Discogs Mickey Roker on IMDb Mickey Roker at Drummerworld
The Look of Love (1967 song)
"The Look of Love" is a popular song composed by Burt Bacharach and Hal David and sung by English pop singer Dusty Springfield, which appeared in the 1967 spoof James Bond film Casino Royale. In 2008, the song was inducted into the Grammy Hall of Fame, it received a Best Song nomination in the 1968 Academy Awards. The music was written by Burt Bacharach, was intended to be an instrumental, but Hal David added the lyrics, the song was published in 1967. According to Bacharach, the melody was inspired by watching Ursula Andress in an early cut of the film; the first recording is by Stan Getz as an instrumental in December 1966. The song with lyrics was recorded by Dusty Springfield for the Casino Royale soundtrack, receiving an Oscar nomination and reaching the US Top 40. Phil Ramone, the soundtrack's engineer, recorded the song separately from the rest of the film tracks. Springfield re-recorded the song the same year in London, featuring a throaty saxophone solo, released it as the B-side of "Give Me Time".
Claudine Longet recorded the song on her 1967 album of the same title. Lainie Kazan recorded "The Look of Love" on her 1967 album Love is Lainie. Nina Simone recorded "The Look of Love" in 1967 on her album Silk & Soul. Morgana King recorded "The Look of Love" on her 1967 album Gemini Rising. Sérgio Mendes' hit rendition on the Sérgio Mendes & Brasil'66 album Look Around reached #4 on the pop charts after their performance in the Academy Awards telecast in April 1968; the lead vocal on this single was handled by Janis Hansen, not Lani Hall, a rarity in the early Brasil'66 canon. Andy Williams released a version in 1967 on his album, Andy, while Nancy Wilson included the song on her 1968 album Easy. Soul group The Delfonics covered the song in 1968 on their album La La Means I Love You, while the legendary Motown quartet Four Tops gave the song a sweeping Broadway-like treatment on their 1969 album Soul Spin. Brazilian threesome Som Três recorded an early instrumental version on their album Show.
Dorothy Ashby included the song in her 1968 album Afro-Harping. An instrumental version of the song was included on the 1967 Burt Bacharach album Reach Out, featured on the soundtrack for the film The Boys in the Band. Dionne Warwick, who recorded a number of Burt Bacharach/Hal David songs, performed her own cover version for her 1969 album Dionne Warwick's Greatest Motion Picture Hits. In 1969, American rock band Vanilla Fudge released an experimental version of the song, as the band was famous for innovative rock arrangements of contemporary hit songs of the time. Isaac Hayes covered the song for his 1970 album... To Be Continued. While Hayes used the same lyrics, his cover includes a unique instrumental arrangement, sampled on R&B and hip-hop records, his version of the song was featured in Dead Presidents. A version performed by Susanna Hoffs was featured in the 1997 film Austin Powers: International Man of Mystery, was included on the film's soundtrack. In 2001, Canadian jazz singer Diana Krall recorded the song as the title track of her album The Look of Love.
The song is covered by Mari Wilson on her 2016 release Pop Deluxe and is a regular feature of her live shows. Bobby Womack covered this song in his 1973 album Facts of Life. Sérgio Mendes interview by Pete Lewis,'Blues & Soul' July 2008Lyrics of this song at MetroLyrics"The Look Of Love, Performed Live by Diana Krall". YouTube.com
Michael LeDonne is a jazz pianist and organist known for post-bop and hard bop. He has worked with Benny Golson since 1996 and performs under his own name all over the world, his parents ran a music store and his father was a jazz guitarist. His father started booking him gigs from the age of ten. At 21 he graduated from the New England Conservatory of Music and moved to New York City, playing with the Widespread Depression Jazz Orchestra. LeDonne made his recording debut in 1988 and joined Milt Jackson's quartet, he performed with the band for 11 years and became the quartet's musical director. He has worked with many of the masters of jazz history such as Benny Goodman, Sonny Rollins, Bobby Hutcherson, Art Farmer, Dizzy Gillespie.'Bout Time Criss Cross The Feeling of Jazz Criss Cross Common Ground Criss Cross Soulmates Criss Cross Waltz for an Urbanite Criss Cross To Each His Own Double-Time Then & Now Double-Time Bags Groove: A Tribute to Milt Jackson Double-Time Smokin' Out Loud Night Song On Fire: Live at Smoke Savant Five Live Savant The Groover Savant Keep the Faith Savant Let It Go - Blue Duo with John Webber Speak Cellar Live I Love Music Savant Awwl Right!
Savant That Feelin' Savant From The Heart Savant With Eric Alexander Gentle Ballads Venus The Battle HighNote Gentle Ballads II Venus Gentle Ballads III Venus Lazy Afternoon: Gentle Ballads IV Venus Revival of the Fittest HighNote Friendly Fire HighNoteWith Mike DiRubbo Keep Steppin' Criss CrossWith Chris Flory For All We Know Concord Word on the Street Double-Time For You ArborsWith Benny Golson Remembering Clifford Brown Immortal Keystone/Video Arts Terminal 1 New Time, New'Tet Horizon Ahead With Wycliffe Gordon Boss Bones Criss Cross Cone and T-Staff Criss CrossWith Scott Hamilton Organic Duke ConcordWith Michael Hashim A Blue Streak Stash Guys and Dolls Stash Multi Coloured Blue HepWith Milt Jackson Sa Va Bella Qwest/WBWith Clifford Jordan The Mellow Side of Clifford Jordan MapleshadeWith Alvin Queen I Ain't Lookin' at You Enja Mighty Long Way EnjaWith Duke Robillard Swing RounderWith Scott Robinson Jazz Ambassador: Scott Robinson Plays the Compositions of Louis Armstrong Arbors Scott Robinson Plays the Compositions of Thad Jones: Forever Lasting ArborsWith Jim Rotondi Blues for Brother Ray Posi-ToneWith Tad Shull Deep Passion Criss Cross In the Land of the Tenor Criss CrossWith Greg Skaff Blues For Mr. T Khaeon With Gary Smulyan Saxophone Mosaic Criss Cross Gary Smulyan With Strings Criss Cross The Real Deal Reservoir More Treasures Reservoir Smul's Paradise CapriWith Jim Snidero Standards Plus Tippin' With Benny Waters Birdland Birthday: Live at 95 EnjaWith Cory Weeds Big Weeds Cellar Live Up a Step: The Music of Hank Mobley Cellar Live Condition Blue: The Music of Jackie McLean Cellar Live Let's Groove: The Music of Earth Wind & Fire Cellar LiveWith Laura Welland Dissertations on the State of Bliss OA2/OriginWith Saori Yano Sakura Stamp Columbia All Music Smokejazz.com bio Mike LeDonne's home page In Conversation with Mike LeDonne by Tomas Peña