Melvin Sokoloff, known professionally as Mel Lewis, was an American jazz drummer, session musician and author. He received fourteen Grammy Award nominations. Lewis was born in Buffalo, New York, to Russian-Jewish immigrant parents Samuel and Mildred Sokoloff, he started playing professionally as a teen joining Stan Kenton in 1954. 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 began performing on Monday nights at the famed venue, the Village Vanguard. 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 became known as Mel Lewis and the Jazz Orchestra.
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. Lewis's cymbal work was considered unique among many musicians. Of his style, drummer Buddy Rich had remarked: "Mel Lewis doesn't sound like anybody else, he sounds like himself." 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, his signature sound, a 22-inch swish "knocker" with rivets on his far right; the rather lightweight cymbals exuded a overtone-rich sound. Lewis' wood-shell drums were considered rich in their sound, he 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 doesn't look like I'm doing much," he remarked in an interview. In the late 1980s, Lewis was diagnosed with melanoma, it was identified in his arm surfaced in his lungs, went to his brain. He died on February 2, 1990, just days before his band was to celebrate its 24th anniversary at the Village Vanguard. Mellifluous Naturally, Live in Montreux: Mel Lewis Plays Herbie Hancock, ) Live at the Village Vanguard... Featuring the Music of Bob Brookmeyer, Mel Lewis and the Jazz Orchestra, 20 Years at the Village Vanguard, The Definitive Thad Jones, Live from the Village Vangard, Definitive Thad Jones, Vol. 1, Definitive Thad Jones, Vol. 2, Soft Lights and Hot Music, To You: A Tribute to Mel Lewis, Opening Night Presenting Thad Jones / Mel Lewis and the Jazz Orchestra Presenting Joe Williams and Thad Jones / Mel Lewis, The Jazz Orchestra Live at the Village Vanguard The Big Band Sound of Thad Jones / Mel Lewis Featuring Miss Ruth Brown Monday Night Central Park North Basle, 1969 Consummation Live in Tokyo Potpourri Thad Jones / Mel Lewis and Manuel De Sica Suite for Pops New Life: Dedicated to Max Gordon Thad Jones / Mel Lewis Orchestra With Rhoda Scott aka Rhoda Scott in New York with...
Live in Munich It Only Happens Every Time EMI – with Monica Zetterlund Body and Soul aka Thad Jones / Mel Lewis Orchestra in Europe West Wind – Live in Berlin A Touch of Class – Live in Warsaw Jazz Casual – Thad Jones / Mel Lewis Orchestra... – a 1968 television appearance The Blue Note Reissue Series: Thad Jones / Mel Lewis The Complete Solid State Recordings of the Thad Jones / Mel Lewis Orchestra In Europe The Complete Poland Concerts 1976 & 1978 Greetings and Salutations Town Crier – Jones and Jon Faddis with the Swedish Radio Jazz Group, Stockholm Thad Jones, Mel Lewis and UMO RCA Records – Jones and Lewis with the UMO Jazz Orchestra, Helsinki With Pepper Adams Pepper Adams Quintet Critic's Choice Ephemera With Manny Albam Brass on Fire With Chet Baker Theme Music from "The James Dean Story" with Bud Shank Once Upon a Summertime With Bob Brookmeyer Bob Brookmeyer Plays Bob Brookmeyer and Some Others The Dual Role of Bob Brookmeyer 7 x Wilder Gloomy Sunday and Other Bright Moments Back Again With Kenny Burrell Blue Bash! – with Jimmy Smith Ellington Is Forever With Al Cohn Son of Drum Suite Jazz Mission to Moscow Body and Soul with Zoot SimsWith Bob Cooper Coop!
The Music of Bob Cooper With Hank Crawford and Jimmy McGriff Soul Survivors With Eric Dolphy Live in Germany With Maynard Ferguson The Blues Roar (Mainstream, 1
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
Joseph Salvatore Lovano is an American jazz saxophonist, alto clarinetist and drummer. He has earned a Grammy Award and several mentions on Down Beat magazine's critics' and readers' polls, he is married to jazz singer Judi Silvano with whom he performs. Lovano was a longtime member of a trio led by drummer Paul Motian. Lovano was born in Ohio, to Sicilian-American parents, his father's family came from Alcara Li Fusi in Sicily, his mother's family came from Cesarò in Sicily. In Cleveland, Lovano's father exposed him to jazz throughout his early life, teaching him the standards, as well as how to lead a gig, pace a set, be versatile enough to find work. Lovano switched to tenor saxophone five years later. John Coltrane, Dizzy Gillespie, Sonny Stitt were among his earlier influences. After graduating from Euclid High School in 1971, he went to Berklee College of Music, where he studied under Herb Pomeroy and Gary Burton. Lovano received an honorary doctor of music degree from the college in 1998.
After Berklee he worked with Lonnie Smith. He spent three years with the Woody Herman orchestra moved to New York City, where he played with the big band of Mel Lewis, he plays lines that convey the rhythmic drive and punch of an entire horn section. In the mid 1980s Lovano began working in a quartet with John Scofield and in a trio with Bill Frisell and Paul Motian. In 1993, he played on the album Anything Went by a native of Cleveland. In the late 1990s, he formed the Saxophone Summit with Michael Brecker. Streams of Expression was a tribute to free jazz. Lovano and pianist Hank Jones released an album together in June 2007, entitled Kids, he played the tenor saxophone on the 2007 McCoy Tyner album Quartet. In 2008 Lovano formed the quintet Us Five with Esperanza Spalding on bass, pianist James Weidman, two drummers, Francisco Mela and Otis Brown III. Folk Art was an album of compositions by Lovano that the band hoped to interpret in the spirit of the avant-garde jazz and loft jazz of the 1960s.
Bird Songs was a tribute to Charlie Parker. West African guitarist Lionel Loueke appeared on the album Cross Culture. Lovano played percussion instruments he had collected since the 1970s. Peter Slavov replaced Esperanza Spalding on six tracks, all of them written by Lovano except for "Star Crossed Lovers" by Billy Strayhorn. "The idea wasn't just to play at the same time, but to collectively create music within the music," Lovano wrote in the liner notes to Cross Culture. "Everyone is leading and following," and "the double drummer configuration adds this other element of creativity."Lovano has taught at the Berklee College of Music. He taught Jeff Coffin after Coffin was given a NEA Jazz Studies Grant in 1991. Downbeat magazine gave its Jazz Album of the Year Award to Lovano for Quartets: Live at the Village Vanguard. Lovano has played Borgani saxophones since 1991 and since 1999, he has his own series called Borgani-Lovano. Official website Joe Lovano at NPR Music Podcast featuring "The One You Love to Hate" performed by Joe Lovano NAMM Oral History Interview October 15, 2014 Joe Lovano discography at Discogs
Urbana is a city in and the county seat of Champaign County, United States. The population is estimated at 41,989 as of July 1, 2017. Urbana is the tenth-most populous city in Illinois outside of the Chicago metropolitan area, it is included in the Champaign–Urbana metropolitan area. Urbana is notable for sharing the campus of the University of Illinois at Urbana–Champaign with its sister city of Champaign; the Urbana area was first settled in 1822, when it was called "Big Grove". When the county of Champaign was organized in 1833, the county seat was located on 40 acres of land, 20 acres donated by William T. Webber and 20 acres by Col. M. W. Busey, considered to be the city's founder, the name "Urbana" was adopted after Urbana, the hometown of State Senator Vance; the creation of the new town was celebrated for the first time in July 4, 1833. Stores began opening beginning in 1834; the first mills were founded in c.1838-50. The town's first church was built c.1840 with the Baptist Church following in 1855 and the Methodist Church in 1856.
The Presbyterian Church was founded in 1856. The city's first school was built in 1854. Urbana suffered a setback when the Chicago branch of the Illinois Central Railroad, expected to pass through town, was instead laid down two miles west, where the land was flatter; the town of West Urbana grew up around the train depot built there in 1854, in 1861 its name was changed to Champaign. The competition between the two cities provoked Urbana to tear down the ten-year-old County Courthouse and replace it with a much larger and fancier structure, to ensure that the county seat would remain in Urbana. Champaign-Urbana was selected as the site for a new state agricultural school, thanks to the efforts of Clark Griggs. Illinois Industrial University, which would evolve into the University of Illinois at Urbana–Champaign, opened in 1868 with 77 students. A number of efforts to merge Urbana and Champaign have failed at the polls. On October 9, 1871 a fire burned much of downtown Urbana. Children playing with matches started the fire.
Downtown Urbana is located west of the intersection of its two busiest streets: U. S. 10 and U. S. 45. Most of Urbana lies south of I-74. There are three exits: Lincoln and University; the Lincoln exit is closest to the University of Illinois, while the Cunningham exit goes to downtown Urbana. The University exit goes to downtown Urbana as well as Illinois Route 130 to Philo; the Norfolk Southern operates an east to west line through Urbana. The NS line connects industries in eastern Urbana to the Norfolk Southern main line at Mansfield, west of Champaign; the line now operated by Norfolk Southern is the former Peoria & Eastern Railway operated as part of the Big Four, New York Central, Penn Central, Conrail systems, being sold by Conrail to Norfolk Southern in 1996. Construction of the line was begun by the Danville, Urbana and Pekin Railroad; this short-lived entity became part of the Indianapolis and Western Railway before the railroad was completed. A branch line of the Norfolk and Western Railway used to connect Urbana with the main line from Danville to Decatur at Sidney, but this was first rerouted and closed in the early 1990s.
Willard Airport serves the city. As of the census of 2000, there were 36,395 people, 14,327 households, 6,217 families residing in the city; the population density was 3,468.3 people per square mile. There were 15,311 housing units at an average density of 1,459.1/sq mi. The racial makeup of the city was 67.01% White, 14.34% African American, 0.18% Native American, 14.24% Asian, 0.04% Pacific Islander, 1.76% from other races, 2.45% from two or more races. Hispanic or Latino of any race were 3.54% of the population. There were 14,327 households out of which 20.1% had children under the age of 18 living with them, 32.2% were married couples living together, 8.7% had a female householder with no husband present, 56.6% were non-families. 36.6% of all households were made up of individuals and 8.1% had someone living alone, 65 years of age or older. The average household size was 2.14 and the average family size was 2.83. In the city, the population was spread out with 14.9% under the age of 18, 36.2% from 18 to 24, 26.4% from 25 to 44, 13.2% from 45 to 64, 9.3% who were 65 years of age or older.
The median age was 25 years. For every 100 females, there were 111.3 males. For every 100 females age 18 and over, there were 111.7 males. The median income for a household in the city was $27,819, the median income for a family was $42,655. Males had a median income of $32,827 versus $26,349 for females; the per capita income for the city was $15,969. About 13.3% of families and 27.3% of the population were below the poverty line, including 24.5% of those under age 18 and 7.2% of those age 65 or over. Urbana has Mayor-Council government, of the strong-mayor form; the city council has seven members, each elected from a different ward. The mayor is elected in a citywide vote. Urbana is located at 40°6′35″N 88°12′15″W. According to the 2010 census, Urbana has a total area of 11.69 square miles, of which 11.65 square miles is land and 0.04 square miles is water. Urbana borders the city of Champaign; the main campus of the University of Illinois is situated on this border. Together, these two cities are referred to as Urbana-Champaign (the designation used by th
Time's Mirror is a 1999 big band album by jazz trumpeter and arranger, Tom Harrell. In 2000 Harrell received a Grammy nomination for this album in category Best Large Jazz Ensemble Performance. Several of the tracks were composed by Harrell in the 1960s and are arranged for big band and released for the first time on this album. According to All About Jazz, this album is Harrell's "first full-fledged recording as a big-band impresario". AllMusic recommended the album, stating that several tracks are candidates to become jazz standards; the album charted at #16 on the Billboard Top Jazz Albums Chart. Credits adapted from AllMusic. Tom Harrell – flugelhorn, trumpet Earl Gardner – flugelhorn, trumpet Joe Magnarelli – flugelhorn, trumpet Chris Rogers – flugelhorn, trumpet David Weiss – flugelhorn, trumpet James Zollar – flugelhorn, trumpet Mike Fahn – trombone Conrad Herwig – trombone Curtis Hasselbring – trombone Douglas Purviance – trombone, bass trombone Craig Bailey – flute, alto saxophone Mark Gross – alto saxophone Alex Foster – flute, tenor saxophone Don Braden – tenor saxophone David Schumacher – baritone saxophone Xavier Davis – piano Kenny Davis – bass Carl Allen – drums Bob Belden – producer Tom Harrell, Official Website
Charles McPherson (musician)
Charles McPherson is an American jazz alto saxophonist born in Joplin and raised in Detroit, who worked intermittently with Charles Mingus from 1960 to 1974, as a performer leading his own groups. McPherson was commissioned to help record ensemble renditions of pieces from Charlie Parker on the 1988 soundtrack for the film Bird; the following is sourced from the Jazz Discography website of Michael Fitzgerald. Bebop Revisited! Con Alma! The Quintet/Live! From This Moment On! Horizons McPherson's Mood Charles McPherson Siku Ya Bibi Today's Man Beautiful! Live in Tokyo New Horizons Free Bop! The Prophet Illusions in Blue First Flight Out Come Play With Me Live at Vartan Jazz Manhattan Nocturne Is That It? No, But... A Tribute to Charlie Parker Live at the Cellar But Beautiful The Journey With Pepper Adams Pepper Adams Plays the Compositions of Charlie Mingus With Toshiko Akiyoshi Just Be Bop With Kenny Drew For Sure! With Clint Eastwood Eastwood After Hours: Live at Carnegie Hall With Art Farmer The Many Faces of Art Farmer With Barry Harris Newer Than New Bull's Eye!
With Sam Jones Cello Again With Charles Mingus Live at Birdland 1962 The Complete Town Hall Concert Music Written for Monterey 1965 My Favorite Quintet Charles Mingus in Paris: The Complete America Session Charles Mingus Sextet In Berlin Charles Mingus Sextet Paris, TNP October 28th 1970 Let My Children Hear Music Live in Chateauvallon, 1972 Parkeriana Charles Mingus and Friends in Concert Mingus at Carnegie Hall With Don Patterson Boppin' & Burnin' Funk You! With Dave Pike Bluebird With Red RodneyBird Lives! With Charles Tolliver Impact With Larry Vuckovich Blues For Red Charles McPherson NAMM Oral History Interview
Vincent Anthony Guaraldi, born Vincent Anthony Dellaglio, was an American jazz pianist noted for his innovative compositions and arrangements and for composing music for animated television adaptations of the Peanuts comic strip, as well as his performances on piano as a member of Cal Tjader's 1950s ensembles and for his own solo career which included the radio hit Cast Your Fate to the Wind. Guaraldi was born in San Francisco's North Beach area, a place that became important to his blossoming musical career, his last name changed to Guaraldi after his mother, divorced his biological father and married Tony Guaraldi, who adopted the boy. His maternal uncle was musician and whistler Muzzy Marcellino, he graduated from Lincoln High School, attended San Francisco State College, served in the U. S. Army as a cook in the Korean War. Guaraldi's first recording was made in November 1953 with Cal Tjader and was released early in 1954; the 10-inch LP was called The Cal Tjader Trio, included "Chopsticks Mambo", "Vibra-Tharpe", "Lullaby of the Leaves".
By 1955, Guaraldi had his own trio with Dean Reilly. He reunited with Tjader in June 1956 and was an integral part of two bands that the vibraphonist assembled; the first band played straight jazz and included Al Torre, Eugene Wright and Luis Kant. The second band was formed in the spring of 1958 and included Al McKibbon, Mongo Santamaría and Willie Bobo. Reed men Paul Horn and Jose "Chombo" Silva were added to the group for certain live performances and recordings. Guaraldi left the group early in 1959 to pursue his own projects full-time, he would have remained a well-respected but minor jazz figure had he not written an original number to fill out his covers of Antonio Carlos Jobim/Luis Bonfá tunes on his 1962 album, Jazz Impressions of Black Orpheus, inspired by the French/Brazilian film Black Orpheus. Fantasy Records released "Samba de Orpheus" as a single, trying to catch the building bossa nova wave, but it was destined to sink without a trace when radio DJs began flipping it over and playing the B-side, Guaraldi's "Cast Your Fate to the Wind".
A gentle, likeable tune, it stood out from everything else on the airwaves and became a grass-roots hit. It won the Grammy for Best Original Jazz Composition. While "Cast Your Fate to the Wind" by Guaraldi achieved modest chart success as a single in 1963, a cover version two years by British group Sounds Orchestral cracked the Billboard top 10. Unlike many songwriters who grow weary of their biggest hits, Guaraldi never minded taking requests to play it when he appeared live. "It's like signing the back of a check", he once remarked. Guaraldi recorded an album called Vince Guaraldi, Bola Sete and Friends with guitarist Bola Sete, Fred Marshall and Jerry Granelli; this began a period of collaboration between Guaraldi and Sete where Guaraldi began experimenting with bossa nova-influenced music as well as with the electric piano. This experimentation may have led to the loss of Fred Marshall, who left the group in 1964 citing "personal differences" after Guaraldi purportedly threw a cup of coffee at Marshall during the 17th Berkeley Jazz Festival.
Shortly after this time, Guaraldi undertook the role of composer and pianist for the Eucharist chorus at the San Francisco Grace Cathedral. Utilizing his Latin influences from his bossa nova days with Bola Sete, Guaraldi composed a number of pieces with waltz tempos and jazz standards and recorded this performance in 1965. Guaraldi appreciated the potential in some of the radio waves' pop tunes of the day. For instance, he recorded his own version of "I'm a Loser", written by John Lennon and a hit for the Beatles. While searching for music to accompany a planned Peanuts television documentary, Lee Mendelson heard a single version of "Cast Your Fate to the Wind" by Guaraldi's trio on the radio while traveling in a taxicab. Mendelson contacted Ralph J. Gleason, jazz columnist for the San Francisco Chronicle, was put in touch with Guaraldi, he proposed that Guaraldi score the upcoming Peanuts Christmas special, Guaraldi enthusiastically took the job, performing a version of what became "Linus and Lucy" over the phone two weeks later.
The soundtrack was recorded by the Vince Guaraldi Trio, with drummer Jerry Granelli and bassist Fred Marshall. Guaraldi went on to compose scores for seventeen Peanuts television specials, as well as the 1969 feature film A Boy Named Charlie Brown and the unaired television program of the same name. Guaraldi died at age 47 on February 6, 1976; the evening before, he had dined at Peanuts producer Lee Mendelson's home and was not feeling well, complaining of indigestion-like chest discomfort. The following evening, after concluding the first set at Butterfield's Nightclub in Menlo Park, with his interpretation of the Beatles' "Eleanor Rigby", Guaraldi and drummer Jim Zimmerman returned to the room they were staying in that weekend at the adjacent Red Cottage Inn, to relax before the next set. Zimmerman commented, "He was walking across the room and just collapsed; that was it." His cause of death has been variously described as an aortic aneurysm. Guaraldi had just finished recording the soundtrack for It's Arbor Day, Charlie Brown earlier that afternoon.
Guaraldi's death was a blow to his colleagues. "It was unexpected", said Mendelson. "The day of his funeral, they played the Charlie Brown music over the sound system in the church. It was not an easy day, it was one of the saddest days of my life. He was up to my house the