Jesper Lundgaard
Jesper Lundgaard is a Danish jazz bassist, bandleader and recording studio. Jesper Lundgaard was born in 1954 in Hillerød, after first playing guitar for a few years, he started to play bass at age 16. In 1976 he began to study music at Århus University and the year he became part of Århus jazz scene when he joined Bent Eriksens trio. Lundgaard soon established himself as one of the leading jazz bassists on the Danish jazz scene, after the tour both Thad Jones and Jesper Lundgaard settled in Copenhagen. In 1979 he started recording for SteepleChase Records, appearing on around 40 albums from this label and he was a sideman for musicians such as Benny Carter and Teddy Wilson on albums released on Storyville Records. He has recorded with Chet Baker and Duke Jordan for some albums released by Japanese labels and these included lengthy tours with Doug and Jimmy Raney to the Netherlands and Germany and others with Tommy Flanagan and Ed Thigpen. In the mid-1980s he became a member of Bob Rockwells quartet after Rockwell had become the third former The Thad Jones / Mel Lewis Orchestra-member to permanently move to Copenhagen in 1984.
From 1989 to 1991 he was a member of the DR Big Band, in 1994 he formed the Repertory Quartet which released six albums before it was dissolved in 2000. He has taught and conducted classes at educational institutions in Denmark as well as at conservatories in Rotterdam, Zürich. Photos, Hreinn Gudlaugsson Since 1986 Lundgaard worked with audio engineering, since 1991 he has operated his own recording studio, the Loft Studio, in which he has produced some 40 albums for other artists. -This bass was made for walking-, Bob Rockwell Jacob Fisher Jesper Lundgaard Alex Riel, -X-Mas bass-, Doug Raney Carsten Dahl Jesper Lundgaard Frands Rifbjerg. -Trio-, Ole Stolle Jacob Fischer Jesper Lundgaard, -Two basses -, Jesper Lundgaard, Mads Vinding. God bless the child / Secret love / Trubbel / Top of the mountain / Dont get around much anymore / A child is born / I can see the bright islands / Loverman / Basslines / Nocturne. -Jesper Lundgaard Thomas Clausen play the music of Børge Roger Henrichsen -, -Blues for Thad-, Nikolaj Gromin and Jesper Lundgaard.
Solar / Karen / My romance / Blues for thad / My one, -Celluloid-, Hans Ulrik rJesper Lundgaard Niclas Knudsen. -Plays Cornelis-, Hans Ulrik Niclas Knudsen rJesper Lundgaard, københavn, June 29, October 14–19,2006. Steamboat blues / A song of a rose petal / Telegram for Lucidor / The dishonest girl / The ballad of mr
Flugelhorn
The flugelhorn is a brass instrument pitched in B♭, and resembles a trumpet, but has a wider, conical bore. The instrument known today as the flugelhorn is a descendant of the valved bugle, the valved bugle provided Adolphe Sax with the inspiration for his B♭ soprano saxhorns, on which the modern-day flugelhorn is modeled. The German word Flügel translates into English as wing or flank, the flugelhorn is built in the same B♭ pitch as many trumpets and cornets. It usually has three valves and employs the same fingering system as other brass instruments, but four-piston valve. It can thus be played too much trouble by trumpet and cornet players. It is usually played with a more deeply conical mouthpiece than either trumpets or cornets, some modern flugelhorns feature a fourth valve that lowers the pitch a perfect fourth. This adds a low range that, coupled with the flugelhorns dark sound. More often, players use the valve in place of the first and third valve combination. A pair of bass flugelhorns in C, called fiscorns, are played in the Catalan cobla bands which provide music for sardana dancers, the tone is fatter and usually regarded as more mellow and dark than the trumpet or cornet.
The sound of the flugelhorn has been described as halfway between a trumpet and a French horn, whereas the sound is halfway between a trumpet and a flugelhorn. The flugelhorn is as agile as the cornet but more difficult to control in the high register and it is not generally used for aggressive or bright displays as trumpets and cornets often are, but tends more towards a softer and more reflective role. The flugelhorn is a member of the British-style brass band. It appears occasionally in orchestral and concert band music, famous orchestral works with flugelhorn include Igor Stravinskys Threni, Ralph Vaughan Williamss Ninth Symphony, Danzon no.2 by Arturo Marquez, and Michael Tippetts third symphony. The flugelhorn is sometimes substituted for the post horn in Mahlers Third Symphony, in HK Grubers trumpet concerto Busking the soloist is directed to play a flugelhorn in the slow middle movement. The flugelhorn figured prominently in many of Burt Bacharachs 1960s pop song arrangements and it is featured in a solo role in Bert Kaempferts 1962 recording of That Happy Feeling.
Flugelhorns have occasionally used as the alto or low soprano voice in a drum. The flugelhorns in these orchestras are pitched in B-flat, with sporadically an E-flat soloïst, due to bad intonation these E-flat flugelhorns are mostly being replaced by the E-flat trumpet or cornet. Joe Bishop, as a member of the Woody Herman band in 1936, was one of the earliest jazz musicians to use the flugelhorn, shorty Rogers and Kenny Baker began playing it in the early fifties, and Clark Terry used it in Duke Ellingtons orchestra in the mid-1950s
Thelonious Monk
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 did not list his name, taken from his maternal grandfather. A brother, 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, 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, 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 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, 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
Hank Jones
Henry Hank Jones Jr. was an American jazz pianist, bandleader and composer. Critics and musicians described Jones as eloquent and impeccable, in 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award. He was honored in 2003 with the American Society of Composers, Authors, in 2008, he was awarded the National Medal of Arts. On April 13,2009, the University of Hartford presented Jones with a Doctorate Degree for his musical accomplishments, Jones recorded more than 60 albums under his own name, and countless others as a sideman, including Cannonball Adderleys celebrated album Somethin Else. On May 19,1962, he played piano as actress Marilyn Monroe sang her famous Happy Birthday, Mr. President song to U. S. president John F. Kennedy. Born in Vicksburg, Henry Hank Jones moved to Pontiac, one of seven children, Jones was raised in a musical family. His mother Olivia Jones sang, his two sisters studied piano, and his two younger brothers—Thad, a trumpeter, and Elvin, a drummer—also became prominent jazz musicians.
He studied piano at an age and came under the influence of Earl Hines, Fats Waller, Teddy Wilson. By the age of 13 Jones was performing locally in Michigan, while playing with territory bands in Grand Rapids and Lansing in 1944 he met Lucky Thompson, who invited Jones to work in New York City at the Onyx Club with Hot Lips Page. In New York City, Jones regularly listened to leading bop musicians, while practicing and studying the music he worked with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine. From 1959 through 1975 Jones was staff pianist for CBS studios and this included backing guests such as Frank Sinatra on The Ed Sullivan Show. He played the accompaniment to Marilyn Monroe as she sang Happy Birthday Mr. President to John F. Kennedy on May 19,1962. By the late 1970s, his involvement as pianist and conductor with the Broadway musical Aint Misbehavin had informed an audience of his unique qualities as a musician. The trio recorded with other personnel, such as Art Farmer, Benny Golson.
In the early 1980s Jones held a residency as a solo pianist at the Cafe Ziegfeld and made a tour of Japan, Jones versatility was more in evidence with the passage of time. He collaborated on recordings of Afro-pop with an ensemble from Mali and on an album of spirituals and folksongs with Charlie Haden called Steal Away. Jones made his debut on Lineage Records, recording with Frank Wess and with the guitarist Eddie Diehl and he accompanied Diana Krall for Dream a Little Dream of Me on the album compilation, We all Love Ella. He is one of the musicians who test and talk about the piano in the documentary Note by Note, The Making of Steinway L1037, Hank Jones lived in Cresskill NJ, upstate New York and in Manhattan
Elvin Jones
Elvin Ray Jones was an American jazz drummer of the post-bop era. He showed an interest in drums at an age, watching the circus bands march by his familys home in Pontiac. He served in the United States Army from 1946 to 1949 and he moved to New York City in 1955 and worked as a sideman for Charles Mingus, Teddy Charles, Bud Powell and Miles Davis. From 1960 to 1966 he was a member of the John Coltrane quartet, following his work with Coltrane, Jones led several small groups, some under the name The Elvin Jones Jazz Machine. His brothers Hank Jones and Thad Jones were jazz musicians with whom he recorded and he was inducted into the Modern Drummer Hall of Fame in 1995. Elvin Jones was born in Pontiac, Michigan to parents Henry and Olivia Jones and his brothers, Hank Jones and Thad Jones, both became important jazz musicians. By age two, he said he knew he held a fascination for drums and he would watch the circus marching band parades go by his home as a boy, particularly fascinated by the drummers.
Following his early passion, Elvin joined his high schools marching band. Jones began service in the United States Army in 1946 and he was discharged in 1949, and returned home penniless. Jones said he borrowed thirty-five dollars from his sister when he got back to buy his first drumset, Jones began his professional career in 1949 with a short-lived gig in Detroits Grand River Street club. Eventually he went on to play artists such as Miles Davis. In 1955, after an audition for the Benny Goodman band, he found work in New York City, joining Charles Minguss band. In 1960, he joined the classic John Coltrane Quartet, which included bassist Jimmy Garrison. Jones and Coltrane often played extended duet passages and this band is widely considered to have redefined swing in much the same way that Louis Armstrong, Charlie Parker, and others did during earlier stages of jazzs development. He stayed with Coltrane until 1966, by that time, Jones was not entirely comfortable with Coltranes new direction and his polyrhythmic style clashed with the multidirectional approach of the groups second drummer, Rashied Ali.
Jones remained active after leaving the Coltrane group, and led bands in the late sixties and seventies that are considered highly influential groups. Notable among them was a trio formed with saxophonist and multi-instrumentalist Joe Farrell and bassist Jimmy Garrison, Jones recorded extensively for Blue Note under his own name in the late sixties and early seventies, with groups that featured prominent as well as up and coming greats. The two-volume Live at the Lighthouse showcases a 21- and 26-year-old Steve Grossman and Dave Liebman, Jones played on many significant albums of the modal jazz era, such as The Real McCoy with McCoy Tyner and saxophonist Wayne Shorters Speak No Evil
Mel Lewis
Mel Lewis was an American jazz drummer, session musician and author. He received fourteen Grammy Award nominations, Lewis was born Melvin Sokoloff in Buffalo, New York, to Russian-Jewish immigrant parents Samuel and Mildred Sokoloff. He started playing professionally as a teen, eventually joining Stan Kenton in 1954 and his musical career brought him to Los Angeles in 1957 and New York City in 1963. In 1966 in New York, he teamed up with Thad Jones to lead the Thad Jones/Mel Lewis Orchestra. The group started as informal jam sessions with the top studio and jazz musicians of the city, but eventually began performing regularly on Monday nights at the famed venue, in 1979, the band won a Grammy for their album Live in Munich. Like all of the musicians in the band, it was only a sideline, in 1976, he released an album titled Mel Lewis and Friends that featured him leading a smaller sextet that allowed freedom and improvisation. The band became the Thad Jones/Mel Lewis Orchestra, but when Jones moved to Denmark in 1978, it known as Mel Lewis.
Lewis continued to lead the band and performing every Monday night at the Village Vanguard until shortly before his death from cancer at age 60. The band still performs on most Monday nights at the Village Vanguard, lewiss cymbal work was considered unique among many musicians. Of his style, drummer Buddy Rich had remarked, Mel Lewis doesnt sound like anybody else, Lewis insisted on playing genuine Turkish-made cymbals, switching from the Zildjian brand in his career to the Istanbul brand. His setup included a 21-inch ride on his right, a 19-inch crash-ride on his left, and his signature sound, the rather lightweight cymbals exuded a dark, overtone-rich sound. Lewis wood-shell drums were considered warm and rich in their sound and he almost exclusively played Gretsch drums, although in years, played Slingerland drums equipped with natural calfskin top heads. Regular mylar heads were used on the bottom, Lewis described a playing philosophy of not pushing or pulling but supporting. If you watch me, it doesnt look like Im doing much, in the late 1980s, Lewis was diagnosed with melanoma.
It was identified in his arm, surfaced in his lungs and he died on February 2,1990, just days before his band was to celebrate its 24th anniversary at the Village Vanguard. Gretsch Drums, The Legacy of That Great Gretsch Sound, ISBN 0-931759-98-6 Mel Lewis at Drummerworld Mel Lewis at The Percussive Arts Society The Mel Lewis Collection at the Miller Nichols Library of the University of Missouri–Kansas City
Tim Hagans
Tim Hagans is a jazz trumpeter and composer. Hagans grew up in Dayton, Ohio, in 1974, Hagans joined the Stan Kenton band, with whom he played until 1977, when he toured with Woody Herman. He left for Europe, where he lived in Malmö, while in Europe, he toured extensively and played with Dexter Gordon, Kenny Drew, Horace Parlan, and Thad Jones. His first recorded composition, I Hope This Time Isnt the Last, in 1987, he moved to New York City. He has performed with Maria Schneider, Steps Ahead, Secret Society, Hagans has worked extensively with producer and saxophonist Bob Belden on a variety of recordings and live performances, including their ongoing Animation/Imagination project. Festivals at which he has performed include the Mount Fuji Festival in Japan, the Montreal Jazz Festival, the Berlin Jazz Tage, Hagans has taught master classes at universities both here and abroad. He taught at the University of Cincinnati from 1982 to 1984, from 1996 to 2010, he was Artistic Director and Composer-in-Residence for the Norrbotten Big Band located in Luleå, Sweden.
His compositions are featured on recordings with the Norrbotten Big Band, including Future North, Future Miles. Hagans has been commissioned by several other European jazz orchestras, including the NDR Big Band in Hamburg, UMO in Helsinki, Hagans is the subject of the feature documentary Boogaloo Road, directed by Runar Enberg and Marianne Soderberg. He is a featured soloist on Howard Shores soundtrack for the feature film The Score starring Marlon Brando, Edward Norton, in January 2012, his composition Outside My Window was performed with the MBDE at Dance Theatre of Harlem. In June 2012, Hagans was awarded a doctorate from the Sibelius Academy in Helsinki
Sonny Rollins
Walter Theodore Sonny Rollins is an American jazz tenor saxophonist, widely recognized as one of the most important and influential jazz musicians. In a seven-decade career, he has recorded at least sixty albums as leader and a number of his compositions, including St. Thomas, Doxy, Pent-Up House, Rollins was born in New York City to parents from the United States Virgin Islands. The youngest of three siblings, he grew up in central Harlem and on Sugar Hill, receiving his first alto saxophone at the age of seven or eight and he attended Edward W. Stitt Junior High School and graduated from Benjamin Franklin High School in East Harlem. Rollins started as a pianist, changed to alto saxophone, during his high school years, he played in a band with other future jazz legends Jackie McLean, Kenny Drew, and Art Taylor. After graduating from school in 1947, Rollins began performing professionally. Between 1951 and 1953, he recorded with Miles Davis, the Modern Jazz Quartet, Charlie Parker, a breakthrough arrived in 1954 when he recorded his famous compositions Oleo and Doxy with a quintet led by Davis that featured pianist Horace Silver.
In 1955, Rollins entered the Federal Medical Center, Rollins initially feared sobriety would impair his musicianship, but went on to greater success. Rollins briefly joined the Miles Davis Quintet in the summer of 1955, that year, he joined the Clifford Brown–Max Roach quintet, studio albums documenting his time in the band are Clifford Brown and Max Roach at Basin Street and Sonny Rollins Plus 4. A long blues solo on Saxophone Colossus, Blue 7, was analyzed in depth by the composer and critic Gunther Schuller in a 1958 article. In the solo for St. Thomas, Rollins uses repetition of a pattern, and variations of that pattern, covering only a few tones in a tight range. This is interrupted by a sudden flourish, utilizing a much wider range before returning to the former pattern, in his book The Jazz Style of Sonny Rollins, David N. Baker explains that Rollins very often uses rhythm for its own sake. He will sometimes improvise on a pattern instead of on the melody or changes. In 1956 he married the actress and model Dawn Finney, in 1956 he recorded Tenor Madness, using Daviss group – pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones.
The title track is the recording of Rollins with John Coltrane. In 1957, Rollins pioneered the use of bass and drums, without piano, as accompaniment for his saxophone solos, two early tenor/bass/drums trio recordings are Way Out West and A Night at the Village Vanguard. Way Out West was so named because it was recorded for California-based Contemporary Records, the Village Vanguard album consists of two sets, a matinee with bassist Donald Bailey and drummer Pete LaRoca and an evening set with bassist Wilbur Ware and drummer Elvin Jones. Rollins used the trio format intermittently throughout his career, sometimes taking the step of using his sax as a rhythm section instrument during bass. Lew Tabackin cited Rollinss pianoless trio as an inspiration to lead his own, Joe Henderson, David S. Ware, Joe Lovano, Branford Marsalis, and Joshua Redman have led pianoless sax trios
Caterina Valente
Caterina Valente is an Italian singer, guitarist and actress. She was born into an Italian artist family and her father, was a well-known accordion player, her mother, Maria, a musical clown. She had three siblings, one of whom, was active in show business. In 1953, she made her first recordings with Kurt Edelhagen, soon afterwards she achieved success with songs such as Malagueña, The Breeze and I, and Dreh dich nicht um with the Werner Müller orchestra. In 1955, she was featured on The Colgate Comedy Hour with Gordon MacRae, in the mid 1960s, Valente worked with Claus Ogerman and recorded material in both Italian and English that he arranged/conducted and/or composed on the Decca and London labels. She was a favorite of singer Perry Como making eight guest appearances on his NBC Kraft Music Hall television program from 1961 to 1966, between 1966 and 1972 she was a frequent guest on the Dean Martin Show. In Germany she was a performer of Schlager music. There she recorded Cole Porters I Love Paris under the German title Ganz Paris träumt von der Liebe, in 1959, she was nominated for a Grammy Award.
Valente was a principal, along with Carol Burnett and Bob Newhart, a briglia sciolta, the Italian jazz CD recorded in 1989 and re-released in years under the titles Fantastica and Platinum deluxe, was her best-selling CD worldwide. In 2001, she released a new album, with harpist Catherine Michel, in 1958, she filmed the musical comedy Hier bin ich – hier bleib ich which featured a guest appearance by Bill Haley & His Comets. During Haleys segment, Valente sings a duet with Haley on a recorded version of his song Vive la Rock. In 1952, she married the juggler Erik van Aro and he recognized her talent and accompanied her in her initial years of worldwide success, although they divorced. Their son is the singer Eric van Aro, in 1972, she married the British pianist Roy Budd. They had a son, before they divorced in 1979, the Hi-Fi Nightingale,1956 Olé Caterina,1957, Plenty Valente. 1957, A Toast To the Girls, More Schlagerparade, À La Carte - Caterina Valente Sings In French,1959 The Greatest. in Any Language.
Golden Favorites, Rendezvous with Caterina, Fire & FrenzyCaterina Valente & Edmundo Ros Orchestra,1960 Classics with a Chaser,1960, Super-Fonics, Decca South Of The Border,1963. Teldec Caterina Valentes Greatest Hits,1965, songs Ive Sung on the Perry Como Show I Happen to Like New York, Valente & Violins,1964. Sweet Beat, Valente on T. V. Love,1972, un Brindis para las Muchachas, Bueno
Des Moines, Iowa
Des Moines /dᵻˈmɔɪn/ is the capital and the most populous city in the U. S. state of Iowa. It is the county seat of Polk County, a small portion of the city extends into Warren County. It was incorporated on September 22,1851, as Fort Des Moines and it is located on and named after the Des Moines River, which likely was adapted from the French colonial name, Rivière des Moines, meaning River of the Monks. The citys population was 203,433 as of the 2010 census, the five-county metropolitan area is ranked 91st in terms of population in the United States with 599,789 residents according to the 2013 estimate by the United States Census Bureau. Des Moines is a center of the U. S. insurance industry and has a sizable financial services. The city was credited as the one spot for U. S. insurance companies in a Business Wire article. The city is the headquarters for the Principal Financial Group, the Meredith Corporation, Ruan Transportation, EMC Insurance Companies, and Wellmark Blue Cross Blue Shield.
Other major corporations such as Wells Fargo, Voya Financial, Nationwide Mutual Insurance Company, ACE Limited, Monsanto, in recent years Microsoft, Hewlett Packard and Facebook have established data processing and logistical facilities in the Des Moines metro. Forbes magazine ranked Des Moines as the Best Place for Business in both 2010 and 2013, in 2014, NBC ranked Des Moines as the Wealthiest City in America, according to its criteria. Des Moines is an important city in U. S. presidential politics, as the capital of the state, many presidential candidates set up campaign headquarters in Des Moines. Des Moines takes its name from Fort Des Moines, which was named for the Des Moines River and this was adopted from the name given by French colonists. Des Moines translates literally to either from the monks or of the monks, the historian Virgil Vogel claimed that the name was derived from Moingona, the Algonquian clan name for Loon, one of the clans of the local Native American people. Some historians and researchers lacking linguistic or Algonquianist training concluded that Moingona meant people by the portage or something similar and this was the site of the earliest known encounters between the Moingona and European explorers took place.
This was some 200 miles from the Des Moines River, based on archeological evidence, the juncture of the Des Moines and Raccoon rivers has attracted humans for at least 7,000 years. Several prehistoric occupation areas have been identified by archeologists in downtown Des Moines, discovered in December 2010, the Palace is an expansive 7, 000-year-old site found during excavations prior to construction of the new wastewater treatment plant in southeastern Des Moines. It contains well-preserved house deposits and numerous graves, more than 6,000 artifacts were found at this site. State of Iowa archaeologist John Doershuk was assisted by University of Iowa archaeologists at this dig, at least three Late Prehistoric villages, dating from about AD1300 to 1700, stood in or near what developed as downtown Des Moines. In addition,15 to 18 prehistoric American Indian mounds were observed in area by early settlers
