Talmage Holt Farlow was an American jazz guitarist. He was nicknamed "Octopus" because of how his quick hands spread over the fretboard; as Steve Rochinski notes, "Of all the guitarists to emerge in the first generation after Charlie Christian, Tal Farlow, more than any other, has been able to move beyond the rhythmic and harmonic vocabulary associated with the early electric guitar master. Tal's incredible speed, weaving lines, rhythmic excitement developed harmonic sense, enormous reach have enabled him to create a style that stands apart from the rest." Where guitarists of his day combined rhythmic chords with linear melodies, Farlow placed single notes together in clusters, varying between harmonically enriched tones. As music critic Stuart Nicholson put it, "In terms of guitar prowess, it was the equivalent of Roger Bannister breaking the four-minute mile." Talmage Holt Farlow was born in Greensboro, in 1921. He taught himself, he learned chord melodies by playing a mandolin tuned like a ukulele.
He said playing the ukulele was the reason he used the higher four strings on the guitar for the melody and chord structure, with the two bottom strings for bass counterpoint, which he played with his thumb. His only professional training was as an apprentice sign painter, he requested the night shift. He listened to Bix Beiderbecke, Louis Armstrong, Eddie Lang, his career was influenced by hearing Charlie Christian playing electric guitar with the Benny Goodman band. He said. Farlow employed artificial harmonics and tapped his guitar for percussion, creating a flat, snare drum sound or a hollow backbeat like the bongos, his large, quick hands earned him the nickname "The Octopus". He caught the public's attention in 1949 when he was in a trio with Charles Mingus. In 1953, he was a member of the Gramercy Five led by Artie Shaw, two years he led his own trio with Vinnie Burke and Eddie Costa in New York City. After getting married in 1958, he retired and settled in Sea Bright, New Jersey, returning to a career as a sign painter.
He continued to play occasional dates in local clubs. In 1962 the Gibson Guitar Corporation, with Farlow's participation, produced the "Tal Farlow" model, he made one album as a leader from 1960–1975. In 1976, Farlow started recording again. A documentary about him was released in 1981. In his career Tal performed as a member of Great Guitars with a DVD released in 2005 after his death. Farlow died of esophageal cancer at Memorial Sloan-Kettering Cancer Center in New York City on July 25, 1998, at the age of 77. Autumn in New York The Tal Farlow Album The Interpretations of Tal Farlow Swing Guitars with Oscar Moore, Barney Kessel A Recital by Tal Farlow Tal The Swinging Guitar of Tal Farlow This Is Tal Farlow The Guitar Artistry of Tal Farlow Tal Farlow Plays the Music of Harold Arlen The Return of Tal Farlow Fuerst Set Trinity Second Set A Sign of the Times Tal Farlow'78 On Stage with Red Norvo Chromatic Palette Cookin' on all Burners The Legendary Tal Farlow All Strings Attached with John Abercrombie, Larry Carlton, Larry Coryell, John Scofield At Ed Fuerst's Standard Recitals with Philippe Petit Chance Meeting with Lenny Breau With Sonny Criss Up, Up and Away With Buddy DeFranco Sweet and Lovely The Great Encounter With Howard McGhee Howard McGhee Volume 2 With Gil Mellé Gil Mellé Quintet/Sextet Gil Mellé Quintet with Urbie Green and Tal Farlow With the Metronome All-Stars Metronome All-Stars 1956 With Red Norvo Red Norvo with Strings With Oscar Pettiford Oscar Pettiford Sextet Tal Farlow biography at AllMusic Tal Farlow at Find a Grave "Talmage Farlow Documentary Film Collection, 1979-2011".
Rubenstein Rare Book & Manuscript Library, Duke University
Hampton Barnett Hawes, Jr. was an American jazz pianist. He was the author of the memoir Raise Up Off Me, which won the Deems-Taylor Award for music writing in 1975. Hampton Hawes was born on November 1928, in Los Angeles, California, his father, Hampton Hawes, Sr. was minister of Westminster Presbyterian Church in Los Angeles. His mother, the former Gertrude Holman, was Westminster's church pianist. Hawes' first experience with the piano was as a toddler sitting on his mother's lap while she practiced, he was able to pick out complex tunes by the age of three. Hawes was self-taught, his second professional job, at 18, was playing for eight months with the Howard McGhee Quintet at the Hi De Ho Club, in a group that included Charlie Parker. After serving in the U. S. Army in Japan from 1952 to 1954, Hawes formed his own trio, with bassist Red Mitchell and drummer Chuck Thompson; the three-record Trio sessions made by this group in 1955 on Contemporary Records were considered some of the finest records to come out of the West Coast at the time.
The next year, Hawes added guitarist Jim Hall for the All Night Sessions. These were three records made during a non-stop overnight recording session. After a six-month national tour in 1956, Hawes won the "New Star of the Year" award in Down Beat magazine, "Arrival of the Year" in Metronome; the following year, he recorded in New York City with Charles Mingus on the album Mingus Three. Struggling for many years with a heroin addiction, in 1958 Hawes became the target of a federal undercover operation in Los Angeles. Investigators believed that he would inform on suppliers rather than risk ruining a successful music career. Hawes was arrested on heroin charges on his 30th birthday but refused to cooperate and was sentenced to ten years imprisonment. In the intervening weeks between his trial and sentencing, Hawes recorded an album of spirituals and gospel songs, The Sermon. In 1961, while at a federal prison hospital in Fort Worth, Hawes was watching President Kennedy's inaugural speech on television, became convinced that Kennedy would pardon him.
With help from inside and outside the prison, Hawes submitted an official request for a presidential pardon. In an miraculous turn, in August 1963, Kennedy granted Hawes executive clemency, the 42nd of only 43 such pardons given in the final year of Kennedy's presidency. After being released from prison, Hawes resumed recording. During a world tour in 1967–68, he was startled to discover that he had become a legend among jazz listeners overseas. During a ten-month tour of Europe and the Middle East, Hawes recorded nine albums, played sold out shows and concert halls in ten countries, was covered in the press, including appearances on European television and radio. Raise Up Off Me, Hawes' autobiography, written with Don Asher and published in 1974, shed light on his heroin addiction, the bebop movement, his friendships with some of the leading jazz musicians of his time, it was the first book about the bebop era written by a musician, won the ASCAP Deems Taylor Award for music writing in 1975.
Critic Gary Giddins, who wrote the book's introduction, called Raise Up Off Me "a major contribution to the literature of jazz." The Penguin Guide to Jazz cites it as "one of the most moving memoirs written by a musician, a classic of jazz writing." In the 1970s, Hawes experimented with electronic music, although he returned to playing the acoustic piano. Hampton Hawes died unexpectedly of a brain hemorrhage in 1977, at the age of 48, he was buried next to Hampton Hawes, Sr. who had died five months earlier. In 2004, the Los Angeles City Council passed a resolution declaring November 13 "Hampton Hawes Day". Hawes' playing style developed in the early 1950s, he included "figures used by Parker and Powell, some Oscar Peterson phrases, some Bill Evans phrases, an impressive locked-hands style in which the top notes always sang out clearly." He helped develop "the double-note blues figures and rhythmically compelling comping style that Horace Silver and others were to use in the mid-1950s." His technique featured "great facility with rapid runs and a versatile control of touch."Hawes influenced a great number of prominent pianists, including André Previn, Horace Silver, Claude Williamson, Pete Jolly, Toshiko Akiyoshi.
Hawes' own influences came from a number of sources, including the gospel music and spirituals he heard in his father's church as a child, the boogie-woogie piano of Earl Hines. Hawes learned much from pianists Powell and Nat King Cole, among others. By Hawes' own account, his principal source of influence was his friend Charlie Parker. With Gene Ammons Gene Ammons and Friends at Montreux With Sonny Criss I'll Catch the Sun! With Art Farmer On the Road With Dexter Gordon The Hunt Blues à la Suisse With Barney Kessel Kessel Plays Standards Let's Cook! With Warne Marsh Live in Hollywood With Charles Mingus Mingus Three With Blue Mitchell Stratosonic Nuances With Red Mitchell Red Mitchell With Art Pepper The Early Show Surf Ride Living Legend With Shorty Rogers Modern Sounds Shorty Rogers and His Giants With Sonny Ro
Earl Kenneth Hines, universally known as Earl "Fatha" Hines, was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one major source, is "one of a small number of pianists whose playing shaped the history of jazz"; the trumpeter Dizzy Gillespie wrote, "The piano is the basis of modern harmony. This little guy came out of Earl Hines, he changed the style of the piano. You can find the roots of Herbie Hancock, all the guys who came after that. If it hadn't been for Earl Hines blazing the path for the next generation to come, it's no telling where or how they would be playing now. There were individual variations but the style of... the modern piano came from Earl Hines."The pianist Lennie Tristano said, "Earl Hines is the only one of us capable of creating real jazz and real swing when playing all alone." Horace Silver said, "He has a unique style. No one can get that sound, no other pianist". Erroll Garner said, "When you talk about greatness, you talk about Art Tatum and Earl Hines".
Count Basie said that Hines was "the greatest piano player in the world". Earl Hines was born in Duquesne, Pennsylvania, 12 miles from the center of Pittsburgh, in 1903, his father, Joseph Hines, played cornet and was the leader of the Eureka Brass Band in Pittsburgh, his stepmother was a church organist. Hines intended to follow his father on cornet, but "blowing" hurt him behind the ears, whereas the piano did not; the young Hines took lessons in playing classical piano. By the age of eleven he was playing the organ in his Baptist church, he had a "good ear and a good memory" and could replay songs after hearing them in theaters and park concerts: "I'd be playing songs from these shows months before the song copies came out. That astonished a lot of people and they'd ask where I heard these numbers and I'd tell them at the theatre where my parents had taken me." Hines said that he was playing piano around Pittsburgh "before the word'jazz' was invented". With his father's approval, Hines left home at the age of 17 to take a job playing piano with Lois Deppe and His Symphonian Serenaders in the Liederhaus, a Pittsburgh nightclub.
He got his board, two meals a day, $15 a week. Deppe, a well-known baritone concert artist who sang both classical and popular songs used the young Hines as his concert accompanist and took him on his concert trips to New York. In 1921 Hines and Deppe became the first African Americans to perform on radio. Hines's first recordings were accompanying Deppe – four sides recorded for Gennett Records in 1923, still in the early days of sound recording. Only two of these were issued, one of, a Hines composition, "Congaine", "a keen snappy foxtrot", which featured a solo by Hines, he entered the studio again with Deppe a month to record spirituals and popular songs, including "Sometimes I Feel Like a Motherless Child" and "For the Last Time Call Me Sweetheart". In 1925, after much family debate, Hines moved to Chicago, Illinois the world's jazz capital, the home of Jelly Roll Morton and King Oliver. Hines started in Elite No. 2 Club but soon joined Carroll Dickerson's band, with whom he toured on the Pantages Theatre Circuit to Los Angeles and back.
Hines met Louis Armstrong in the poolroom of the Black Musicians' Union, local 208, on State and 39th in Chicago. Hines was 21, Armstrong 24, they played the union's piano together. Armstrong was astounded by Hines's avant-garde "trumpet-style" piano playing using dazzlingly fast octaves so that on none-too-perfect upright pianos "they could hear me out front". Richard Cook wrote in Jazz Encyclopedia that most dramatic departure from what other pianists were playing was his approach to the underlying pulse: he would charge against the metre of the piece being played, accent off-beats, introduce sudden stops and brief silences. In other hands this might sound clumsy or all over the place but Hines could keep his bearings with uncanny resilience. Armstrong and Hines shared a car. Armstrong joined Hines in Carroll Dickerson's band at the Sunset Cafe. In 1927, this became Armstrong's band under the musical direction of Hines; that year, Armstrong revamped his Okeh Records recording-only band, Louis Armstrong and His Hot Five, hired Hines as the pianist, replacing his wife, Lil Hardin Armstrong, on the instrument.
Armstrong and Hines recorded what are regarded as some of the most important jazz records made.... with Earl Hines arriving on piano, Armstrong was approaching the stature of a concerto soloist, a role he would play more or less throughout the next decade, which makes these final small-group sessions something like a reluctant farewell to jazz's first golden age. Since Hines is magnificent on these discs the results seem like eavesdropping on great men speaking quietly among themselves. There is nothing in jazz finer or more moving than the playing on "West End Blues", "Tight Like This", "Beau Koo Jack" and "Muggles"; the Sunset Cafe closed in 1927. Hines and the drummer Zutty Singleton agreed that they would become the "Unholy Three" – they would "stick together and not play for anyone unless the three of us were hired", but as Louis Armstrong and His Stompers, they ran into difficulties trying to establish their own venue, the Warwick Hall Club. Hines went to New York and returned to find that Armstrong and Singleton had rejoined the rival Dickerson band at the new Savoy Ballro
Walter Bishop Jr.
Walter Bishop Jr. was an American jazz pianist. Bishop was born in New York City on October 4, 1927, he had at least two sisters and Beverly. His father was composer Walter Bishop Sr. In his teens, Bishop Jr.'s friends included future jazz musicians Kenny Drew, Sonny Rollins, Art Taylor. He was brought up in Harlem, he left high school to play in dance bands in the area. In 1945–47 he was in the Army Air Corps. During his military service in 1947 Bishop was met touring bebop musicians. In 1947, he returned to New York; that year he was recorded with them. Bishop developed his bebop playing in part by playing in jam sessions at Minton's Playhouse, he recorded with Milt Jackson and Stan Getz in 1949 played with Charlie Parker, Oscar Pettiford, Kai Winding, Miles Davis. At this time he was a drug addict, which led to imprisonment and the withdrawal of his New York City Cabaret Card. In 1956, he recorded with Hank Mobley. "At some point he became a Muslim and took the name Ibrahim ibn Ismail, but he did not use this publicly."
In the early 1960s he led his own trio with Jimmy Garrison and G. T. Hogan. After studying at The Juilliard School with Hall Overton in the late 1960s, Bishop taught music theory at colleges in Los Angeles in the 1970s. At some point prior to moving from New York to Los Angeles, Bishop met and married the former Valerie Isabel Paul, they moved to Los Angeles. According to an only son, Jay Blotcher, whom Mrs. Valerie Bishop gave up for adoption after divorcing Bishop in the mid-70s, Valerie Bishop worked as an assistant for Ike and Tina Turner in California. Valerie Bishop is the person, cited in the Tina Turner memoir "I, Tina" as the person who inspired Tina Turner to pursue Buddhism. In the 1980s Bishop taught at the University of Hartford. By this time, he made frequent appearances at festivals in New York, he wrote a book, A Study in Fourths, about jazz improvisation based on cycles of fourths and fifths. His debut recording as a leader was in the 1960s, he continued performing into the 1990s.
Bishop died of a heart attack at the Veterans Affairs Medical Center in Manhattan on January 24, 1998. He was survived by his wife, his mother, two sisters. Bishop was influenced at an early stage by Bud Powell. Bishop was "known for holding back on the beat, a device that added tension to the music." 1965 The Walter Bishop Jr. Trio / 1965, compiles A Pair of "Naturals" and Summertime With Gene Ammons Up Tight! Boss Soul! With Art Blakey Blakey Art Blakey Big Band With Rocky Boyd Ease It With Miles Davis Dig Collectors' Items With Kenny Dorham Kenny Dorham Quintet Inta Somethin' With Curtis Fuller Boss of the Soul-Stream Trombone The Magnificent Trombone of Curtis Fuller Fire and Filigree With John Handy Jazz With Bill Hardman Focus Politely With Milt Jackson Meet Milt Jackson With Ken McIntyre Looking Ahead With Jackie McLean Swing, Swingin' Capuchin Swing With Blue Mitchell Blue Mitchell Vital Blue With Hank Mobley Mobley's 2nd Message With Charlie Parker Swedish Schnapps side 2 Fiesta Charlie Parker Plays Cole Porter With Oscar Pettiford The New Oscar Pettiford Sextet With Dizzy Reece Soundin' Off With Charlie Rouse Takin' Care of Business With Archie Shepp On Green Dolphin Street With Sonny Stitt Broadway Soul With Harold Vick Commitment With Stan Getz Zoot Sims etc.
The Brothers Walter Bishop Jr. at AllMusic MusicWeb Encyclopaedia of Popular Music
Arthur Edward Pepper Jr. was an American alto saxophonist and occasional tenor saxophonist and clarinetist. A longtime figure in West Coast jazz, Pepper came to prominence in Stan Kenton's big band, he was known for his charged performances and several stylistic shifts throughout his career, was described by critic Scott Yanow as "the world's great altoist" at the time of his death. Art Pepper was born in Gardena, California, on September 1, 1925, his mother was a 14-year-old runaway. Both were violent alcoholics, when Art was still quite young he was sent to live with his paternal grandmother, he expressed early musical interest and talent, he was given lessons. He began playing clarinet at nine, switched to alto saxophone at 13 and began jamming on Central Avenue, the black nightclub district of Los Angeles. At the age of 17 he began playing professionally with Benny Carter and became part of the Stan Kenton orchestra, touring with that band until he was drafted in 1943. After the war he joined the Kenton Innovations Orchestra.
By the 1950s Pepper was recognized as one of the leading alto saxophonists in jazz, finishing second only to Charlie Parker as Best Alto Saxophonist in the DownBeat magazine Readers Poll of 1952. Along with Chet Baker, Gerry Mulligan and Shelly Manne, due more to geography than playing style, Pepper is associated with the musical movement known as West Coast jazz, as contrasted with the East Coast jazz of Charlie Parker, Dizzy Gillespie and Miles Davis; some of Pepper's most famous albums from the 1950s are Art Pepper Meets the Rhythm Section, Art Pepper + Eleven – Modern Jazz Classics, Gettin' Together, Smack Up. Representative music from this time appears on The Aladdin Recordings, The Early Show, The Late Show, The Complete Surf Ride, The Way It Was!, which features a session recorded with Warne Marsh. His career was interrupted by several prison stints stemming from his addiction to heroin, but Pepper managed to have several memorable and productive "comebacks". Remarkably, his substance abuse and legal travails did not affect the quality of his recordings, which maintained a high level of musicianship throughout his career until his death in 1982.
His last comeback saw Pepper, who had started his career in Stan Kenton's big band, becoming a member of Buddy Rich's Big Band from 1968 to 1969. During the mid-1970s and early 1980s he toured Europe and Japan with his own groups and recorded dozens of albums for Fantasy Records. Pepper lived for many years in Los Angeles, he had become a heroin addict in the 1940s, his career was interrupted by drug-related prison sentences in 1954–56, 1960–61, 1961–64 and 1964–65. While in San Quentin he played in an ensemble with saxophonist Frank Morgan. In the late 1960s Pepper spent time in a drug rehabilitation group. After beginning methadone therapy in the mid-1970s, Art had a musical comeback and recorded a series of albums including Living Legend, Art Pepper Today, Among Friends, Live in Japan: Vol. 2. His autobiography, Straight Life, discusses the jazz music world, as well as drug and criminal subcultures of mid-20th century California. Soon after the publication of this book, the director Don McGlynn released the documentary film Art Pepper: Notes from a Jazz Survivor, discussing his life and featuring interviews with both Art and his wife Laurie, as well as footage from a live performance in Malibu jazz club.
Laurie Pepper released an interview to NPR. Pepper died of a stroke in Los Angeles on June 15, 1982, aged 56, he is interred in the Abbey of the Psalms Mausoleum in Hollywood. Surf Ride Two Altos (Regent, 1952–54. A. Art Pepper + Eleven – Modern Jazz Classics Gettin' Together Smack Up Intensity Art Pepper Quartet in San Francisco Art Pepper Quintet: Live at Donte's 1968 Garden State Jam Sessions Bootleg I'll Remember April: Live at Foothill College Living Legend The Trip A Night in Tunisia Tokyo Debut - released as First Live in Japan No Limit Thursday Night at the Village Vanguard Friday Night at the Village Vanguard Saturday Night at the Village Vanguard More for Les at the Village Vanguard San Francisco Samba Live in Japan, Vol. 1: Ophelia Live in Japan, Vol. 2 Among Friends Art Pepper Today New York Album So in Love Artworks Stardust Tokyo Encore Landscape Besame Mucho Straight Life Winter Moon
The Early Show (album)
The Early Show is a live album by jazz saxophonist Art Pepper. It was recorded on February 1952 at the Surf Club in Hollywood, Los Angeles. Xanadu Records released the album in 1976; the Early Show and The Late Show were both recorded the same night at the Surf Club. They represent the earliest recordings with Pepper as leader. "How High the Moon" "Suzy the Poodle" "Easy Steppin'" "Tickle Toe" "Patty Cake" "Move" "All the Things You Are" "Don't Blame Me" "Surf Ride" "Rose Room" "Suzy the Poodle" Recorded on February 12, 1952. Art Pepper - alto saxophone, clarinet Hampton Hawes - piano Joe Mondragon - bass guitar Larry Bunker - drums, vibes
Ronald Edward Cuber is a jazz saxophonist. He has played in Latin, pop and blues sessions. In addition to his primary instrument, baritone sax, he has played tenor sax, soprano sax and flute, the latter on an album by Eddie Palmieri as well as on his own recordings; as a leader, Cuber is known for Latin jazz. As a side man, he has played with B. B. King, Paul Simon, Eric Clapton. Cuber can be heard on Freeze Frame by the J. Geils Band, one of his most spirited performances is on Dr. Lonnie Smith's 1970 Blue Note album Drives, he was a member of the Saturday Night Live Band. Cuber was in Marshall Brown's Newport Youth Band in 1959, where he switched from tenor to baritone sax, his first notable work was with Maynard Ferguson. From 1966 to 1967, Cuber worked with George Benson, he was a member of the Lee Konitz nonet from 1977 to 1979. He can be heard playing in Frank Zappa's group in the mid-1970s, including the album Zappa in New York, he has been a member of the Mingus Big Band since its inception in the early 1990s.
He was an off-screen musician for the movie Across the Universe. 1976: Cuber Libre! 1978: The Eleventh Day of Aquarius 1981: New York Jazz 1985: Two Brothers 1985: Pin Point 1985: Passion Fruit 1986: Live at the Blue Note 1992: Cubism 1993: The Scene Is Clean 1994: Airplay 1996: In a New York Minute 1997: N. Y. C.ats 1998: Love for Sale 2009: Ronnie 2011: Boplicity 2013: Live at JazzFest Berlin 2018 Ronnie's Trio With Patti Austin End of a Rainbow Havana Candy With George Benson It's Uptown The George Benson Cookbook Good King Bad With Nick Brignola Burn Brigade With Maynard Ferguson The New Sounds of Maynard Ferguson Come Blow Your Horn Color Him Wild With Grant Green The Main Attraction With Billy Joel baritone saxophone on "Easy Money", "Careless Talk", "Tell Her About It", "Keeping The Faith" on album An Innocent Man baritone saxophone on "Big Man on Mulberry Street" on album The Bridge With Sam Jones Something New With Lee KonitzLee Konitz Nonet Yes, Nonet Live at Laren With Jimmy McGriff Feelin' It McGriff Avenue With Idris Muhammad House of the Rising Sun Turn This Mutha Out With Horace Silver The Hardbop Grandpop With Lonnie Smith Move Your Hand Drives Live at Club Mozambique With Mickey Tucker Sojourn With Gerald Wilson Detroit With Rare Silk New Weave With Randy Brecker 34th N Lex With Dr. John Duke Elegant With Paul Simon baritone saxophone on "You Can Call Me Al" on album Graceland With Tom Scott Bebop United With Eddie Palmieri Harlem River Drive Vamonos Pa'l Monte.