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| Coordinates | 41°52′55″N87°37′40″N |
|---|---|
| Name | Bebop |
| Bgcolor | pink |
| Color | black |
| Stylistic origins | SwingKansas City jazz |
| Cultural origins | early–mid 1940s,United States |
| Instruments | Clarinet, saxophone, trumpet, trombone, piano, double bass, drums, keyboards, electric guitars, acoustic guitars |
| Popularity | 1940s, 1950s |
| Subgenrelist | Subgenre |
The word "bebop" is usually stated to be nonsense syllables (vocables) which were made in scat singing, and is supposed to have been first attested in 1928. Some researchers speculate that it was a term used by Charlie Christian, because it sounded like something he hummed along with his playing. Dizzy Gillespie tells that the audiences coined the name after hearing him scat the then-nameless tunes to his players and the press ultimately picked it up, using it as an official term: "People, when they'd wanna ask for those numbers and didn't know the name, would ask for bebop." However, possibly the most plausible theory is that it derives from the cry of "Arriba! Arriba!" used by Latin American bandleaders of the period to encourage their bands. This squares with the fact that, originally, the terms "bebop" and "rebop" were used interchangeably. By 1945, the use of "bebop"/"rebop" as nonsense syllables was widespread in R&B; music, for instance Lionel Hampton's "Hey! Ba-Ba-Re-Bop", and a few years later in rock and roll, for instance Gene Vincent's "Be-Bop-A-Lula" (1956).
The 1939 recording of "Body and Soul" by Coleman Hawkins is an important antecedent of bebop. Hawkins' willingness to stray—even briefly—from the ordinary resolution of musical themes and his playful jumps to double-time signaled a departure from existing jazz. The recording was popular; but more importantly, from a historical perspective, Hawkins became an inspiration to a younger generation of jazz musicians, most notably Charlie Parker, in Kansas City.
In the 1940s, the younger generation of jazz musicians forged a new style out of the swing music of the 1930s. Mavericks like Dizzy Gillespie, Charlie Parker, Bud Powell and Thelonious Monk were influenced by the preceding generation's adventurous soloists, such as pianists Art Tatum and Earl Hines, tenor saxophonists Coleman Hawkins and Lester Young and trumpeter Roy Eldridge. Gillespie and Parker, both out of the Earl Hines Band in Chicago had traveled with some of the pre-bop masters, including Jack Teagarden, Earl Hines and Jay McShann. While Gillespie was with Cab Calloway, he practiced with bassist Milt Hinton and developed some of the key harmonic and chordal innovations that would be the cornerstones of the new music; Charlie Parker did the same with bassist Gene Ramey while with McShann's group. These forerunners of the new music (which would later be termed "bebop", or "bop"-- although Parker himself never used that term, feeling it demeaned the music) began exploring advanced harmonies, complex syncopation, altered chords and chord substitutions. The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach.
Minton's Playhouse in New York served as a workout room and experimental theater for early bebop players, including Don Byas, Thelonious Monk and Charlie Christian, who had already hinted at the bop style in innovative solos with Benny Goodman's band.
Christian's major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats, and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. Swing improvisation was commonly constructed in two or four bar phrases that corresponded to the harmonic cadences of the underlying song form. Bop improvisers would often deploy phrases over an odd number of bars, and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. Swing improvisers commonly emphasized the first and third beats of a measure. But in a bebop composition such as Dizzy Gillespie's "Salt Peanuts", the rhythmic emphasis switches to the second and fourth beats of the measure. Such new rhythmic phrasing techniques give the typical bop solo a feeling of floating free over the underlying song form, rather than being tied into the song form.
Swing drummers had kept up a steady four-to-the-bar pulse on the bass drum. Bop drummers, led by Kenny Clarke, moved the drumset's time-keeping function to the ride or hi-hat cymbal, reserving the bass drum for accents. Bass drum accents were colloquially termed "dropping bombs." Notable bop drummers such as Max Roach, Shadow Wilson, Philly Joe Jones, Roy Haynes, and Kenny Clarke began to support and respond to soloists, almost like a shifting call and response.
This change increased the importance of the string bass. Now, the bass not only maintained the music's harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a "walking" bass line of four quarter notes to the bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble.
By 1950, a second wave of bebop musicians—such as Clifford Brown, Sonny Stitt, and Fats Navarro—began to smooth out the rhythmic eccentricities of early bebop. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes, and simply accented certain notes in the line to create rhythmic variety.
Bebop differed drastically from the straightforward compositions of the swing era, and was instead characterized by fast tempos, asymmetrical phrasing, intricate melodies, and rhythm sections that expanded on their role as tempo-keepers. The music itself seemed jarringly different to the ears of the public, who were used to the bouncy, organized, danceable tunes of Benny Goodman and Glenn Miller during the swing era. Instead, bebop appeared to sound racing, nervous, and often fragmented. But to jazz musicians and jazz music lovers, bebop was an exciting and beautiful revolution in the art of jazz.
While swing music tended to feature orchestrated big band arrangements, bebop music highlighted improvisation. Typically, a theme (a "head," often the main melody of a pop or jazz standard of the swing era) would be presented together at the beginning and the end of each piece, with improvisational solos based on the chords of the tune. Thus, the majority of a song in bebop style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines ("allusions," or "riffs"). Sometimes they were entirely original, spontaneous melodies from start to finish.
Chord progressions for bebop tunes were often taken directly from popular swing-era songs and reused with a new and more complex melody, forming new compositions. This practice was already well-established in earlier jazz, but came to be central to the bebop style. The style made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but infused with II-V motion) and 'rhythm changes' (I-VI-II-V, the chords to the 1920s pop standard I Got Rhythm). Late bop also moved towards extended forms that represented a departure from pop and show tunes.
Bebop musicians also employed several harmonic devices not typical of the jazz music that had come before. Complicated harmonic substitutions for more basic chords became commonplace. These substitutions often emphasized certain dissonant intervals such as the flat ninth, sharp ninth, and sharp eleventh/tri-tone.
Although only one part of a rich jazz tradition, bebop music continues to be played regularly throughout the world. Trends in improvisation since its era have changed from its harmonically-tethered style, but the capacity to improvise over a complex sequence of altered chords is a fundamental part of any jazz education.
Bebop style also influenced the Beat Generation whose spoken-word style drew on jazz rhythms, and whose poets often employed jazz musicians to accompany them. The bebop influence also shows in rock and roll, which contains solos employing a form similar to bop solos, and "hippies" of the 60s and 70s, like the boppers had a unique, non-conformist style of dress, a vocabulary incoherent to outsiders, and a communion through music. Fans of bebop were not restricted to the United States; the music gained cult status in France and Japan.
More recently, Hip-hop artists (A Tribe Called Quest, Guru) have cited bebop as an influence on their rapping and rhythmic style. Bassist Ron Carter even collaborated with A Tribe Called Quest on 1991's The Low End Theory, and vibraphonist Roy Ayers and trumpeter Donald Byrd were featured on Jazzmatazz, by Guru, in the same year. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and piano riffs are found throughout the hip-hop compendium.
Category:Jazz genres Category:Onomatopoeias
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| Coordinates | 41°52′55″N87°37′40″N |
|---|---|
| Name | Steve Gadd |
| Background | non_vocal_instrumentalist |
| Birth name | Stephen Kendall Gadd |
| Born | April 09, 1945Irondequoit, New York, United States |
| Instrument | Drums, Percussion |
| Genre | Jazz, Bebop, Rock music, Blues, R&B; |
| Occupation | Musician |
| Url | http://www.drstevegadd.com/ |
After graduating from Irondequoit's Eastridge High School, he attended the Manhattan School of Music for two years before transferring to the Eastman School of Music in Rochester, playing in wind ensembles and concert bands. After Gadd finished college in the late 1960s, he played regularly with Chuck Mangione and his brother Gap Mangione. His first recording was on Gap Mangione's debut solo album, Diana in the Autumn Wind (1968).
Gadd was drafted into the U.S. Army and spent three years as a drummer in the Army Music Program, most of which was spent with the Jazz Ambassadors of the U.S. Army Field Band in Ft. Meade, MD. While living in the Washington DC area, he briefly took lessons from the noted jazz drummer, Michael S. Smith. Following his military service, Gadd played and worked with a band in Rochester. In 1972, Gadd formed a trio with Tony Levin and Mike Holmes, traveling to New York with them. The trio eventually broke up, but Gadd began to work mainly as a studio musician. Gadd also played with Corea's Return to Forever but left the group.
In the 1970s and 1980s, he toured internationally, and recorded with Paul Simon and also with Al Di Meola's Electric Rendezvous Band. In response to confusion over another drummer by the same name, Gadd, while on his We're on a Mission from Gadd tour in 2005, told fans that was not him. Gadd said, "I've never met the other Steve Gadd. We happened to stay in the same hotel once, though. I kept getting his messages and apparently he was getting mine."
In 1976, Gadd and other session musicians in New York City, including Richard Tee, Eric Gale and Cornell Dupree, formed the group Stuff. Their work included appearances on NBC's Saturday Night Live, both performing on their own and backing Joe Cocker.
By the end of the 1970s, Steve Gadd was an accomplished drummer, with transcriptions of his drum solos on sale in Japan. Chick Corea once commented, "Every drummer wants to play like Gadd because he plays perfect ... He has brought orchestral and compositional thinking to the drum kit while at the same time having a great imagination and a great ability to swing."
In 2005, along with Abraham Laboriel, Patrice Rushen and others, Gadd was awarded an honorary Doctor of Music degree from Berklee College of Music for outstanding contributions to contemporary music.
In January 2010, he was interviewed by Linus Wyrsch on The Jazz Hole for BreakThru Radio.
The song "A Little Green Rosetta" from the Frank Zappa album Joe's Garage lampoons Steve Gadd's status as one of the highest paid session drummers in popular music.
Also in 2009, Gadd reunited with his band from 1973, "L'Image", featuring Mike Mainieri, Warren Bernhardt, David Spinozza and Tony Levin. The group performed at the Iridium Jazz Club in New York City, toured Japan, and released the album "L'Image 2.0".
He has been asked to contribute his ideas to develop his own signature series Zildjian K Custom Session cymbals.
Gadd also has Vic Firth sticks with his signature on them. The drumsticks are a very light, thin kind, black in color, and normal "wood color" on the tips. There is also an identical model with nylon tips. The stick is also slightly shorter than the American Classic 5A, and features a barrel tip for improved recording sound. It is long and the diameter is . Along with having his own signature stick, he also has his own signature brushes. These brushes are intended to solve the problem of wire brushes snagging on new coated drumheads by slightly angling the wires in the top 3/4” (1.9 cm) of the playing end. The wires glide across the head, allowing a smoother sweep and a velvet swish sound.
Gadd uses a variety of Remo heads: a coated Powerstroke 3 on the batter side of the snare, coated Pinstripes or coated Ambassadors on the batter sides of toms, and clear Ambassadors for the resonant sides. He uses a Pinstripe on the bass drum.
With Stuff:
With B.B. King:
With Chick Corea:
With Steely Dan:
With Simon and Garfunkel:
With The Manhattan Transfer:
With Paul Simon:
With Steps Ahead:
With George Benson:
With Joe Brucato:
With Eric Clapton:
With Dr. John:
With James Brown:
With Al Jarreau:
With Rickie Lee Jones:
With Paul McCartney:
With Chuck Mangione:
With Michel Petrucciani:
With Al Di Meola:
With Lee Ritenour:
With Bob James
With Michel Jonasz:
With Sunlightsquare:
With Weather Report
With Funk Factory
With James Taylor
With Art Garfunkel
With L'Image
With Lesley Meguid
With Chet Baker
Category:1945 births Category:Living people Category:American jazz musicians of Sicilian descent Category:American jazz drummers Category:American rock drummers Category:Eastman School of Music alumni Category:Manhattan School of Music alumni Category:People from Rochester, New York Category:American session musicians Category:Steely Dan members Category:Return to Forever members
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| Coordinates | 41°52′55″N87°37′40″N |
|---|---|
| Name | Luiz Inácio Lula da Silva |
| Alt | Portrait of Luiz Inácio Lula da Silva |
| Office | 35th President of Brazil |
| Vicepresident | José Alencar |
| Term start | 1 January 2003 |
| Term end | 1 January 2011 |
| Predecessor | Fernando Henrique Cardoso |
| Successor | Dilma Rousseff |
| Office2 | Leader of the Workers' Party |
| Term start2 | 10 February 1980 |
| Term end2 | 15 November 1994 |
| Predecessor2 | Position established |
| Birth date | October 27, 1945 |
| Birth place | Caetés, Brazil |
| Party | Workers' Party |
| Spouse | Maria de Lurdes (Deceased)Marisa Letícia Rocco Casa |
| Children | Fábio LuísLurian CordeiroLuís CláudioMarcos Cláudio (Adopted)Sandro Luís |
| Residence | São Bernardo do Campo |
| Profession | Automotive workerUnion organizer |
| Religion | Roman Catholicism |
| Signature | Signature of Luiz Inácio Lula da Silva.svg |
| Signature alt | Lula (Signature of Luiz Inácio Lula da Silva) |
A founding member of the Workers' Party (PT – Partido dos Trabalhadores), he ran for President three times unsuccessfully, first in the 1989 election. Lula achieved victory in the 2002 election, and was inaugurated as President on 1 January 2003. In the 2006 election he was re-elected for a second term as President, which ended on 1 January 2011. He was succeeded by his former Chief of Staff, Dilma Rousseff.
He is often regarded as the most popular politician in the history of Brazil and, at the time of his mandate, one of the most in the world. Social programs like Bolsa Família and Fome Zero are hallmarks of his time in office. Lula played a prominent role in recent international relations developments, including the Nuclear program of Iran and global warming, and was described as "a man with audacious ambitions to alter the balance of power among nations." He was featured in Times The 100 Most Influential People in the World for 2010.
In December, 1952, when Lula was only seven years old, his mother decided to migrate to São Paulo with her children to rejoin her husband. After a journey of thirteen days in a pau-de-arara (the open cargo area of a truck), they arrived in Guarujá and discovered that Aristides had formed a second family with Valdomira. Aristides' two families lived in the same house for some time, but they didn't get along very well, and four years later, Eurídice moved with her children to a small room in the back area of a bar in the city of São Paulo. After that, Lula rarely saw his father, who became an alcoholic and died in 1978.
Lula was married twice. In 1969, he married Maria de Lourdes, who died of hepatitis in 1971, when she was pregnant with their first son, who also died. Lula and Miriam Cordeiro had a daughter, Lurian, out of wedlock in 1974. In 1974, Lula married Marisa, his current wife and at the time a widow, with whom he had three sons (he has also adopted Marisa's son from her first marriage).
At age 19, he lost the little finger on his left hand in an accident while working as a press operator in an automobile parts factory. The Workers' Party (Partido dos Trabalhadores, PT) helped write the country's post-military government Constitution, ensuring strong constitutional guarantees for workers' rights, but failed to achieve a proposed push for agrarian reform in the Constitutional text. Under Lula's leadership, the PT took a stance against the Constitution in the 1988 Constituent Assembly, grudgingly agreeing to sign the convened draft at a later stage.
In 1989, still as a Congressman, Lula ran as the PT candidate in the first democratic elections for President since 1960. Lula and Leonel Brizola, two popular left-wing candidates, were expected to vie for first place. Lula was viewed as the most left-leaning of the two, advocating immediate land reform and a default on the external debt. However, a minor candidate, the governor of Alagoas, Fernando Collor de Mello, quickly amassed support among the nation's élite with a more business-friendly agenda. Collor became popular taking emphatic anti-corruption positions; he eventually beat Lula in the second round of the 1989 elections. In 1992, Collor resigned, under threat of impeachment for his alleged embezzlement of public money.
Lula refused to run for re-election as a Congressman in 1990, busying himself with expanding the Workers' Party organizations around the country. As the political scene in the 1990s came under the sway of the Brazilian real monetary stabilization plan, which ended decades of rampant inflation, former Minister of Finance Fernando Henrique Cardoso (Brazilian Social Democracy Party (PSDB)) defeated Lula in 1994 and again, by an even wider margin, in 1998.
Before winning the presidency in 2002, Lula had been a strident union organizer known for his bushy beard and Che Guevara t-shirts.
Very few actual reforms have been implemented so far. Some wings of the Worker's Party have disagreed with this moderation in focus and have left the party to form dissident wings such as the Workers' Cause Party, the United Socialist Workers' Party and the Socialism and Freedom Party. Alliances with conservative, right wing politicians, like former Presidents José Sarney and Fernando Collor, have been a cause of disappointment for some. On 1 October 2006, Lula narrowly missed winning another term in the first round of elections. He faced a run-off on 29 October which he won by a substantial margin.
In an interview published 26 August 2007, he said that he had no intention to seek a constitutional change so that he could run for a third consecutive term; he also said that he wanted "to reach the end of [his] term in a strong position in order to influence the succession."
Brazil's largest assistance program, however, is Bolsa Família, which is an expansion based upon the previous Bolsa Escola ("School Allowance"), which was conditional on school attendance, first introduced in the city of Campinas by then-mayor José Roberto Magalhães Teixeira. Not long thereafter, other municipalities and states adopted similar programs. President Fernando Henrique Cardoso later federalized the program in 2001. In 2003, Lula formed Bolsa Família by combining Bolsa Escola with additional allowances for food and kitchen gas. This was preceded by the creation of a new ministry – the Ministry of Social Development and Eradication of Hunger. This merge reduced administrative costs and bureaucratic complexity for both the families involved and the administration of the program.
Fome Zero has a government budget and accepts donations from the private sector and international organizations The Bolsa Família program has been praised internationally for its achievements, despite internal criticism accusing it of having turned into a electoral weapon.
Along with projects such as Fome Zero and Bolsa Família, the Lula administration flagship program is the Growth Acceleration Program (PAC). The PAC has a total budget of $646 billion reais (US $353 billion) by 2010, and is the Lula administration's main investment program. It is intended to strengthen Brazil's infrastructure, and consequently to stimulate the private sector and create more jobs. The social and urban infrastructure sector was scheduled to receive $84.2 billion reais (US $46 billion).
As Lula gained strength in the run-up to the 2002 elections, the fear of drastic measures (and comparisons with Hugo Chávez of Venezuela) increased internal market speculation. This led to some market hysteria, contributing to a currency maxi-devaluation on the real, and a rise in Brazil's risk factor by more than 2000 base points.
In the beginning of his first term, Lula's chosen Minister of Finance was Antonio Palocci, a physician and former Trotskyist activist who had recanted his far left views while serving as the mayor of the sugarcane processing industry center of Ribeirão Preto, in the state of São Paulo. Lula also chose Henrique Meirelles of the Brazilian Social Democracy Party, a prominent market-oriented economist, as head of the Brazilian Central Bank. As a former CEO of the BankBoston he was well-known to the market. Meirelles was elected to the Chamber of Deputies in 2002 as a member of the opposing PSDB, but resigned as deputy to become Governor of the Central Bank. by renewing all agreements with the International Monetary Fund, which were signed by the time Argentina defaulted on its own deals in 2001. His government achieved a satisfactory primary budget surplus in the first two years, as required by the IMF agreement, exceeding the target for the third year. In late 2005, the government paid off its debt to the IMF in full, two years ahead of schedule. Three years after the election, Lula had slowly but firmly gained the market's confidence, and sovereign risk indexes fell to around 250 points. The government's choice of inflation targeting kept the economy stable, and was complimented during the 2005 World Economic Forum in Davos.
The Brazilian economy was generally not affected by the mensalão scandal. In early 2006, however, Palocci had to resign as finance minister due to his involvement in an abuse of power scandal. Lula then appointed Guido Mantega, a member of the PT and an economist by profession, as finance minister. Mantega, a former Marxist who had written a Ph.D. thesis (in Sociology) on the history of economic ideas in Brazil from a left-wing viewpoint, is presently known for his criticism of high interest rates, something he claims satisfy banking interests. So far, however, Brazil's interest rates remain among the highest in the world. Mantega has been supportive of a higher employment by the state.
Not long after the start of his second term, Lula, alongside his cabinet, announced the new Growth Acceleration Program (the Programa de Aceleração de Crescimento, or PAC, in Portuguese), an investment program to solve many of the problems that prevent the Brazilian economy from expanding more rapidly. The measures include investment in the creation and repair of roads and railways, simplification and reduction of taxation, and modernization on the country's energy production to avoid further shortages. The money promised to be spent in this Program is considered to be around R$ 500 billion (more than 250 billion dollars) over four years. Part of the measures still depend on approval by Congress. Prior to taking office, Lula had been a critic of privatization policies. In his government, however, his administration has created public-private partnership concessions for seven federal roadways.
After decades as the largest foreign debtor among emerging economies, Brazil became a net creditor for the first time in January 2008. By mid-2008, both Fitch ratings and S&P; had elevated the classification of Brazilian debt from speculative to investment grade. Banks have had record profit in Lula's government.
Lula also gained increasing stature in the Southern hemisphere buoyed by economic growth in his country. In 2008, he was said to have become a "point man for healing regional crises," as in the escalation of tensions between Colombia, Venezuela and Ecuador. Former Finance Minister, and current advisor, Delfim Netto, said: "Lula is the ultimate pragmatist."
He travelled to more than 80 countries during his presidency. And Lula was considered to have pulled off a major coup with Turkey in regards to getting Iran to send its uranium abroad in contravention of western calls.
Marisa Letícia, pictured in the Palácio da Alvorada, the official residence of the Brazilian president.]]
The condemnation of Iranian Sakineh Mohammadi Ashtiani for the crime of adultery, and who was originally to be executed by stoning led to calls for Lula da Silva's intervention on her behalf. On the issue, Lula commented that "I need to respect the laws of a [foreign] country. If my friendship with the president of Iran and the respect that I have for him is worth something, if this woman has become a nuisance, we will receive her in Brazil." The Iranian government, however, declined the offer. Lula da Silva's actions and comments sparked controversy. Mina Ahadi, an Iranian Communist politician, welcomed Lula da Silva's offer of asylum for Ashtiani, but also reiterated a call for an end to stoning altogether and requesting a cessation of recognition and support for the Iranian government. Jackson Diehl, the right-leaning Deputy Editorial Page Editor of The Washington Post, called Lula da Silva the "best friend of tyrants in the democratic world" and criticised his actions.
His administration has been heavily criticized for relying on local political barons, like José Sarney, Jader Barbalho, Renan Calheiros and Fernando Collor, to ensure a majority in Congress. He lost some important votes there, though, for example when the Senate barred the financial tax from being reinstated. Another frequent reproach relates to his ambiguous treatment of the left wing in the Workers' Party. Analysts fear that he occasionally gives in to their wishes for tighter government control of the media and increased state intervention: in 2004, he pushed for the creation of a "Federal Council of Journalists" (CFJ) and a "National Cinema Agency" (Ancinav), the latter of which would overhaul funding for electronic communications. Both proposals ultimately failed amid concerns that they would lead to excessive state intervention over free speech. Fernando Cardoso, Lula's predecessor as the president of Brazil, has accused Lula of denying any positive achievements allegedly made by the Cardoso administration.
In March 2009, before an appearance at the G-20 summit meeting in London, Lula caused an uproar when he declared that the economic crisis was caused by "the irrational behavior of white people with blue eyes, who before seemed to know everything, and now have shown they don't know anything." Despite a decision upheld by the Brazilian Supreme Court, Lula decided to deny extradition of the Italian far-left militant Cesare Battisti.
Since Lula began his term as President, he has attained numerous medals, such as the Brazilian Order of Merit, the Brazilian Orders of Military, Naval and Aeronautical Merit, the Brazilian Order of Scientific Merit, the Order of the Southern Cross, the Mexican Order of the Aztec Eagle and the Norwegian Order of Royal Merit. He also received the Prince of Asturias Award for International Cooperation in 2003 and was the chief guest at India's Republic Day celebration in 2004. He was also given the Jawaharlal Nehru Award in 2006. He was rated the most popular Brazilian president of all time with an 80.5% approval rate in his last months as the president.
US President Barack Obama's greeted him at the G20 summit in London (April, 2009) saying: "That's my man right there... The most popular politician on earth."
Lula was chosen as the 2009 Man of the Year by prominent European newspapers El País and Le Monde. The Financial Times ranks Lula among the 50 faces that shaped the 2000s.
On 20 December 2008, he was named the 18th most important person in the world by Newsweek magazine, and was the only Latin American person featured in a list of 50 most influential World leaders.
On July 7, 2009, he received UNESCO's Félix Houphouët-Boigny Peace Prize at UNESCO Headquarters in Paris, France. On 5 November 2009, President Lula was awarded the Chatham House Prize, awarded to the statesperson who is deemed by Chatham House members to have made the most significant contribution to the improvement of international relations in the previous year.
On 29 January 2010, President Lula was awarded as a Global Statesman by the World Economic Forum, held in Davos, Switzerland, but could not attend the ceremony due to problems of high blood pressure.
In 2010, Time Magazine named Lula one of the most influential leaders of the world.
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Category:1945 births Category:Brazilian amputees Category:Brazilian Christian socialists Category:Brazilian Order of Scientific Merit recipients Category:Brazilian presidential candidates Category:Brazilian Roman Catholics Category:Brazilian socialists Category:Honorary Knights Grand Cross of the Order of the Bath Category:Knights Grand Cross of the Order of St. Olav Category:Living people Category:Members of the Brazilian Chamber of Deputies Category:People from Pernambuco Category:People from São Paulo (city) Category:Politicians with physical disabilities Category:Presidents of Brazil Category:Presidents of the Workers' Party (Brazil) Category:Royal Norwegian Order of Merit Category:Workers' Party (Brazil) politicians
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Coordinates | 41°52′55″N87°37′40″N |
|---|---|
| Name | Hank Jones |
| Background | non_vocal_instrumentalist |
| Birth name | Henry Jones |
| Born | July 31, 1918Vicksburg, Mississippi, United States |
| Died | May 16, 2010Manhattan, New York, United States |
| Instrument | Piano |
| Genre | BebopJazz |
| Occupation | MusicianBandleaderComposer |
| Years active | 1944–2010 |
| Label | Verve, Savoy, Epic, Capitol, Argo, Impulse, Concord, Chesky, Sony |
| Associated acts | Ella FitzgeraldCharlie HadenNancy WilsonCharlie ParkerSalena JonesRoberta Gambarini |
| Url | Hank Jones official site |
Henry "Hank" Jones (July 31, 1918 – May 16, 2010) In 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award. He was also honored in 2003 with the American Society of Composers, Authors, and Publishers (ASCAP) Jazz Living Legend Award. 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 over sixty albums under his own name, and countless others as a sideman.
In New York, Jones regularly listened to leading bop musicians, and was inspired to master the new style. While practicing and studying the music he worked with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine. In autumn 1947, he began touring in Norman Granz's Jazz at the Philharmonic package, and from 1948 to 1953 he was accompanist for Ella Fitzgerald, and accompanying her in England in the Fall of 1948, developed a harmonic facility of extraordinary taste and sophistication. During this period he also made several historically important recordings with Charlie Parker, which included "The Song Is You", from the Now's the Time album, recorded in December 1952, with Teddy Kotick on bass and Max Roach on drums.
Engagements with Artie Shaw and Benny Goodman followed, and recordings with artists such as Lester Young, Cannonball Adderley, and Wes Montgomery, in addition to being for a time, 'house pianist' on the Savoy label. From 1959 through 1975 Jones was staff pianist for CBS studios. This included backing guests like Frank Sinatra on The Ed Sullivan Show. He played the piano 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 Ain't Misbehavin' (based on the music of Fats Waller) had informed a wider audience of his unique qualities as a musician.
During the late 1970s and the 1980s, Jones continued to record prolifically, as an unaccompanied soloist, in duos with other pianists (including John Lewis and Tommy Flanagan), and with various small ensembles, most notably the Great Jazz Trio. The group took this name in 1976, by which time Jones had already begun working at the Village Vanguard with its original members, Ron Carter and Tony Williams (it was Buster Williams rather than Carter, however, who took part in the trio's first recording session in 1976); by 1980 Jones' sidemen were Eddie Gomez and Al Foster, and in 1982 Jimmy Cobb replaced Foster. The trio also recorded with other all-star personnel, such as Art Farmer, Benny Golson, and Nancy Wilson. In the early 1980s Jones held a residency as a solo pianist at the Cafe Ziegfeld and made a tour of Japan, where he performed and recorded with George Duvivier and Sonny Stitt. 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, hymns and folksongs with Charlie Haden called Steal Away (1995).
Some of his later recordings are For My Father (2005) with bassist George Mraz and drummer Dennis Mackrel, a solo piano recording issued in Japan under the title Round Midnight (2006), and as a side man on Joe Lovano's Joyous Encounter (2005). Jones made his debut on Lineage Records, recording with Frank Wess and with the guitarist Eddie Diehl, but also appeared on West of 5th (2006) with Jimmy Cobb and Christian McBride on Chesky Records. He also accompanied Diana Krall for "Dream a Little Dream of Me" on the album compilation, We all Love Ella (Verve 2007). He is one of the musicians who test and talk about the piano in the documentary , released in November 2007.
In early 2000, the Hank Jones Quartet accompanied jazz singer Salena Jones at the Lionel Hampton Jazz Festival in Idaho, and in 2006 at the Monterey Jazz Festival with both jazz singer Roberta Gambarini and the Oscar Peterson Trio.
Hank Jones lived in upstate New York and in Manhattan. He died at a hospice in Manhattan, New York, on May 16, 2010. He is survived by his wife Theodosia.
{| class=wikitable |- | colspan=5 align=center | Hank Jones Grammy Awards History |- ! Year ! Category ! Title ! Genre ! Label ! Result |- align=center | 1977 | Best Jazz Instrumental Performance - Soloist | "Bop Redux" | Jazz | Muse | Nominee |- align=center | 1980 | Best Jazz Instrumental Performance - Soloist | "I Remember You" | Jazz | Black & Blue | Nominee |- align=center | 1980 | Best Jazz Instrumental Performance - Group | "I Remember You" | Jazz | Black & Blue | Nominee |- align=center | 1995 | Best Jazz Instrumental Solo | "Go Down Moses" | Jazz | Verve | Nominee |- align=center | 1995 | Best Jazz Instrumental Performance - Individual or Group | "Steal Away" | Jazz | Verve | Nominee |- align=center |}
Category:1918 births Category:2010 deaths Category:People from Vicksburg, Mississippi Category:Swing pianists Category:Bebop pianists Category:African American musicians Category:American jazz pianists Category:United States National Medal of Arts recipients Category:Savoy Records artists Category:Mercury Records artists Category:Verve Records artists Category:Muse Records artists Category:Musicians from Mississippi
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| Coordinates | 41°52′55″N87°37′40″N |
|---|---|
| Name | Gene Vincent |
| Background | solo_singer |
| Birth name | Vincent Eugene Craddock |
| Born | February 11, 1935Norfolk, Virginia, United States |
| Died | |
| Genre | Rockabilly, rock and roll |
| Occupation | Singer, musician |
| Years active | 1955–1971 |
| Instrument | Vocals, guitar |
His father, Ezekiah Jackson Craddock, volunteered to serve in the U.S. Coast Guard and patrolled American coastal waters to protect Allied shipping against German U-boats during World War II. His mother, Mary Louise Craddock, maintained a general store at Munden Point. Craddock's parents moved the family and opened a new general store and sailor's tailoring shop in Norfolk.
Having spent his youth in the Norfolk area, Craddock decided to pursue the life of a sailor. He dropped out of school at age 17 and enlisted in the U.S. Navy in 1952. Craddock's parents signed the required forms allowing him to join the Navy. He completed basic training and joined the fleet as a crewman aboard the fleet oiler USS Chukawan, although he did spend a two week training period on the repair ship USS Amphion before returning to the Chukawan. He proved to be a good sailor while deployed at sea, but gained a reputation as a trouble-maker while on liberty ashore. Craddock never saw combat, but completed a Korean War deployment. He sailed home from Korean waters aboard battleship USS Wisconsin, but was not part of the ship's company.
Craddock planned a long career in the U.S. Navy and, in 1955, used his $612 dollar reenlistment bonus to buy a new Triumph motorbike. In July 1955, while in Norfolk, he was involved in a severe motorcycle accident that shattered his left leg. He refused to have it amputated. The leg was saved, but left him with a permanent limp and chronic pain for the rest of his life. He spent time in the Portsmouth Naval Hospital and was medically discharged from the Navy shortly thereafter.
Gene Vincent and His Blue Caps soon gained a reputation playing in various country bands in his native Norfolk, Virginia. There, they won a talent contest organized by local radio DJ "Sheriff Tex" Davis, who became his manager.
After "Be-Bop-A-Lula" became a hit (peaking at No. 7 and spending 20 weeks on the Billboard Pop Chart), Gene Vincent and His Blue Caps were unable to follow it up with the same level of commercial success, but released critically-acclaimed songs like "Race With The Devil" (No. 96 in Billboard) and "Bluejean Bop" (No. 49). That year, Vincent was reportedly convicted of public obscenity and fined $10,000 by the state of Virginia for his live performance of the erotic song, "Woman Love", although this is now believed to have been a rumor, possibly started by his manager.
Cliff Gallop left the band and Johnny Meeks was ushered in as new guitarist for The Blue Caps in 1957. The group had another hit with 1957's "Lotta Lovin'" (highest position No. 13 and spending 19 weeks in the charts). Gene Vincent was awarded Gold Records for 2 million sales of Be-Bop-A-Lula and 1.5 million sales of Lotta Lovin'. The same year he toured the east coast of Australia with Little Richard and Eddie Cochran, drawing audiences totaling 72,000 to their Sydney Stadium concerts. Vincent also made an appearance in the film, The Girl Can't Help It with Jayne Mansfield, performing "Be-Bop-A-Lula with the Blue Caps in a rehearsal room..
"Dance to the Bop" was released by Capitol records on October 28, 1957. On November 17, 1957 Vincent and His Blue Caps performed the song on the nationally-broadcast Ed Sullivan Show. The song spent nine weeks on the charts and peaked at No. 23 on January 23, 1958, and would be Vincent's last American hit single. The song was used in the movie Hot Rod Gang for a dance rehearsal scene featuring dancers doing West Coast Swing.
Vincent and His Blue Caps also appeared several times on Town Hall Party, California's largest country music barn dance held at the Town Hall in Compton, California. Town Hall Party drew in excess of 2,800 paid admissions each Friday and Saturday with room for 1,200 dancers. The show was also on from 8:30 to 9:30 pm over the NBC Radio network. It was also shown on KTTV, channel 11 from 10 pm to 1 am on Saturday nights. Appearances were on October 25, 1958, as well as July 25 and November 7, 1959. Songs performed were: "Be-Bop-A-Lula", "High Blood Pressure", "Rip It Up", "Dance To The Bop", "You Win Again", "For Your Precious Love", "Rocky Road Blues", "Pretty Pearly", "High School Confidential", "Over The Rainbow", "Roll Over Beethoven" and "She She Little Sheila".
On December 15, 1959 Vincent appeared on Jack Good's TV show "Boy Meets Girl", his first appearance in England.] He wore black leather, gloves, and a medallion stood in a hunched posture. Good is credited with the transformation of Vincent's image. After the TV appearance he toured the France, Holland, Germany, and the UK performing in his US stage clothes. When joined by Eddie Cochran and a month long extension of the tour, he resumed the maximum leather state dynamics.
On April 16, 1960, while on tour in the UK, Vincent, Eddie Cochran, and songwriter Sharon Sheeley were involved in a high-speed traffic accident in a private hire taxi. Vincent broke his ribs and collarbone and further damaged his weakened leg. Sheeley suffered a broken pelvis. Cochran, who had been thrown from the vehicle, suffered serious brain injuries and died the next day.
Vincent subsequently moved to England in 1963. The band Sounds Incorporated—a six-piece outfit which included three saxophones, guitar, bass and drums. They later went on to play with The Beatles at their Shea Stadium concert.
In 1966 and 1967, back in the States, he recorded tracks for Challenge Records. On these, he was backed by ex-members of The Champs and Glen Campbell. Challenge released a single in the US and the UK London label released two singles and collected all the recordings onto an LP Gene Vincent on the UK London label in 1967. Although critically well received, none of these releases sold well.
In 1969, he recorded the album I'm Back and I'm Proud for long-time fan John Peel's Dandelion label, which was produced by maverick Kim Fowley with arrangements by The Byrds' Skip Battin and boasted backing vocals by Linda Ronstadt. He later recorded two other albums for the Kama Sutra label, reissued on one CD by Rev-Ola in March 2008.
On his final tour of the UK, he was backed by The Wild Angels, a British band who had previously worked at the Royal Albert Hall with Bill Haley & His Comets and Duane Eddy. Because of pressure from his ex-wife, the Inland Revenue and promoter Don Arden, Vincent had to return swiftly to the US.
His final US recordings were four tracks for Rockin' Ronny Weiser's Rolling Rock label, a few weeks before his death. These tracks were later released on a compilation album of tribute songs, including a version of "Say Mama" by his daughter Melody Jean Vincent (accompanied by Johnny Meeks on guitar). He later recorded five tracks (released years later as The Final Sessions) in Britain in October 1971.
Vincent died on October 12, 1971 from a ruptured stomach ulcer while visiting his father in California, and is interred in the Eternal Valley Memorial Park, Newhall, California.
He was the first inductee into the Rockabilly Hall of Fame upon its formation in 1997. The following year he was inducted into the Rock and Roll Hall of Fame. Vincent has a star on the Hollywood Walk of Fame at 1749 N. Vine Street.
Category:1935 births Category:1971 deaths Category:American expatriates in the United Kingdom Category:American rock musicians Category:Apex Records artists Category:Bandleaders Category:Capitol Records artists Category:Challenge Records artists Category:Deaths from ulcers Category:Musicians from Virginia Category:Norton Records artists Category:People from Norfolk, Virginia Category:Protopunk musicians Category:Rock and Roll Hall of Fame inductees Category:Rockabilly musicians Category:Rockabilly Hall of Fame inductees Category:United States Navy sailors Category:American people of Welsh descent
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| Coordinates | 41°52′55″N87°37′40″N |
|---|---|
| Background | non_vocal_instrumentalist |
| Birth name | John Birks Gillespie |
| Born | October 21, 1917Cheraw, South Carolina, U.S. |
| Died | January 06, 1993Englewood, New Jersey, U.S. |
| Instrument | Trumpet, piano, trombone |
| Genre | BebopAfro-Cuban jazz |
| Occupation | Trumpeter, bandleader, singer, composer |
| Years active | 1935–1993 |
| Associated acts | Charlie ParkerCab CallowayBud Powell |
| Label | Pablo Records, Verve Records, Savoy Records, RCA Victor Records, Milan Records |
John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpet player, bandleader, singer, and composer dubbed "the sound of surprise".
Together with Charlie Parker, he was a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Jon Faddis and Chuck Mangione.
Allmusic's Scott Yanow wrote that "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated . . . Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time.
In addition to featuring in the epochal moments in bebop, he was instrumental in founding Afro-Cuban jazz, the modern jazz version of what early-jazz pioneer Jelly Roll Morton referred to as the "Spanish Tinge". Gillespie was a trumpet virtuoso and gifted improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unknown in jazz. Dizzy's beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.
Dizzy's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, essentially replacing Roy Eldridge as first trumpet in 1937. Teddy Hill’s band was where Dizzy Gillespie made his first recording, King Porter Stomp. At this time Dizzy met a young woman named Lorraine from the Apollo Theatre, whom he married in 1940. They remained married until his death in 1993. Dizzy stayed with Teddy Hill’s band for a year, then left and free-lanced with numerous other bands.
After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin, Ray Brown, Kenny Clarke, James Moody, J.J. Johnson, and Yusef Lateef) and finally put together his first successful big band. Dizzy Gillespie and his band tried to popularize bop and make Dizzy Gillespie a symbol of the new music. He also appeared frequently as a soloist with Norman Granz's Jazz at the Philharmonic. He also headlined the 1946 independently-produced musical revue film Jivin' in Be-Bop.
In 1948 Dizzy was involved in a traffic accident when the bicycle he was riding was bumped by an automobile. He was slightly injured, and found that he could no longer hit the B-flat above high C. He won the case, but the jury awarded him only $1000, in view of his high earnings up to that point.
In 1956 he organized a band to go on a State Department tour of the Middle East and earned the nickname "the Ambassador of Jazz". During this time, he also continued to lead a big band that performed throughout the United States and featured musicians including Pee Wee Moore and others. This band recorded a live album at the 1957 Newport jazz festival that featured Mary Lou Williams as a guest artist on piano.
Afro-Cuban jazz was considered bebop-oriented, and some musicians classified it as a modern style. Afro-Cuban jazz was successful because it never decreased in popularity and it always attracted people to dance to its unique rhythms. He said his running mate would be Phyllis Diller.
Gillespie published his autobiography, To Be or Not to Bop, in 1979.
Gillespie was a vocal fixture in many of John Hubley and Faith Hubley's animated films, such as The Hole, The Hat, and Voyage to Next.
In the 1980s, Dizzy Gillespie led the United Nation Orchestra. For three years Flora Purim toured with the Orchestra and she credits Gillespie with evolving her understanding of jazz after being in the field for over two decades. David Sánchez also toured with the group and was also greatly influenced by Gillespie. Both artists later were nominated for Grammy awards. Gillespie also had a guest appearance on The Cosby Show as well as Sesame Street and The Muppet Show.
In 1982, Dizzy Gillespie had a cameo appearance on Stevie Wonder's hit "Do I Do". Gillespie's tone gradually faded in the last years in life, and his performances often focused more on his proteges such as Arturo Sandoval and Jon Faddis; his good-humoured comedic routines became more and more a part of his live act.
at 1984 Stanford Jazz Workshop]]
In 1988, Gillespie had worked with Canadian flautist and saxophonist Moe Koffman on their prestigious album Oo Pop a Da. He did fast scat vocals on the title track and a couple of the other tracks were played only on trumpet.
In 1989 Gillespie gave 300 performances in 27 countries, appeared in 100 U.S. cities in 31 states and the District of Columbia, headlined three television specials, performed with two symphonies, and recorded four albums. He was also crowned a traditional chief in Nigeria, received the Ordre des Arts et des Lettres; France's most prestigious cultural award. He was named Regent Professor by the University of California, and received his fourteenth honorary doctoral degree, this one from the Berklee College of Music. In addition, he was awarded the Grammy Lifetime Achievement Award the same year. The next year, at the Kennedy Center for the Performing Arts ceremonies celebrating the centennial of American jazz, Gillespie received the Kennedy Center Honors Award and the American Society of Composers, Authors, and Publishers Duke Ellington Award for 50 years of achievement as a composer, performer, and bandleader. In 1993 he received the Polar Music Prize in Sweden.
.]]
November 26, 1992 at Carnegie Hall in New York, following the Second Bahá'í World Congress was Dizzy's 75th birthday concert and his offering to the celebration of the centenary of the passing of Bahá'u'lláh. Gillespie was to appear at Carnegie Hall for the 33rd time. The line-up included: Jon Faddis, Marvin "Doc" Holladay, James Moody, Paquito D'Rivera, and the Mike Longo Trio with Ben Brown on bass and Mickey Roker on drums. But Gillespie didn't make it because he was in bed suffering from cancer of the pancreas. "But the musicians played their real hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their friend, this great soul and innovator in the world of jazz."
Gillespie also starred in a film called The Winter in Lisbon released in 2004. He has a star on the Hollywood Walk of Fame at 7057 Hollywood Boulevard in the Hollywood section of the City of Los Angeles. He is honored by the December 31, 2006 - A Jazz New Year's Eve: Freddy Cole & the Dizzy Gillespie All-Star Big Band at The John F. Kennedy Center for the Performing Arts.
At the time of his death, Dizzy Gillespie was survived by his widow, Lorraine Willis Gillespie; a daughter, jazz singer Jeanie Bryson; and a grandson, Radji Birks Bryson-Barrett. Gillespie had two funerals. One was a Bahá'í funeral at his request, at which his closest friends and colleagues attended. The second was at the Cathedral of St. John the Divine in New York open to the public.
Dizzy Gillespie, a Bahá'í since 1970, was one of the most famous adherents of the Bahá'í Faith which helped him make sense of his position in a succession of trumpeters as well as turning his life from knife-carrying roughneck to global citizen, and from alcohol to soul force, in the words of author Nat Hentoff, who knew Gillespie for forty years. He spoke about the Baha'i Faith frequently on his trips abroad. He is often called the Bahá'í Jazz Ambassador. He is honored with weekly jazz sessions at the New York Bahá'í Center.
In Dizzy's obituary, Peter Watrous describes his performance style:
Wynton Marsalis summed up Gillespie as a player and teacher:
Whatever the origins of Gillespie's upswept trumpet, by June, 1954, Gillespie was using a professionally manufactured horn of this design, and it was to become a visual trademark for him for the rest of his life.
Category:1917 births Category:1993 deaths Category:African American musicians Category:American Bahá'ís Category:American jazz bandleaders Category:American jazz composers Category:American jazz trumpeters Category:American memoirists Category:Bebop trumpeters Category:Burials at Flushing Cemetery Category:Cancer deaths in New Jersey Category:Capitol Records artists Category:Cuban jazz (genre) bandleaders Category:Cuban jazz (genre) composers Category:Cuban jazz (genre) trumpeters Category:Deaths from pancreatic cancer Category:Grammy Lifetime Achievement Award winners Category:Kennedy Center honorees Category:Latin jazz bandleaders Category:Latin jazz composers Category:Latin jazz trumpeters Category:Musicians from Pennsylvania Category:Musicians from South Carolina Category:People from Bergen County, New Jersey Category:People from Chesterfield County, South Carolina Category:People from Corona, Queens Category:RCA Victor artists Category:Savoy Records artists Category:United States National Medal of Arts recipients Category:Verve Records artists Category:Prestige Records artists Category:Commandeurs of the Ordre des Arts et des Lettres
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| Coordinates | 41°52′55″N87°37′40″N |
|---|---|
| Name | Richard “Dick” Hyman |
| Background | non_vocal_instrumentalist |
| Birth name | Richard Hyman |
| Born | March 08, 1927 |
| Origin | New York, New York, U.S. |
| Instrument | PianoKeyboards |
| Genre | SwingStride pianoSpy musicLounge music |
| Occupation | Pianistkeyboardistcomposer}} |
Richard “Dick” Hyman (born March 8, 1927, New York City) is an American jazz pianist/keyboardist and composer, best-known for his versatility with jazz piano styles. Over a 50 year career, he has functioned as pianist, organist, arranger, music director, and, increasingly, as composer. His versatility in all of these areas has resulted in well over 100 albums recorded under his own name and many more in support of other artists.
Hyman completed his freshman year at Columbia University, and in June 1945, he enlisted in the Army, transferred to the Navy, and began playing in the band department. When he returned to Columbia, he won an on-air piano competition, earning him 12 free lessons with Teddy Wilson, the great swing-era pianist who a decade earlier had broken the race barrier as a member of the Benny Goodman Trio. A few years later, Hyman himself became Goodman's pianist.
In the 1960s, he was regularly seen on NBC-TV's weekly musical series Sing Along with Mitch. Other solo recordings include the music of Irving Berlin, Harold Arlen, Cole Porter, George Gershwin, and Duke Ellington. He recorded as a member of the 'Dick Hyman Trio', including a 78 RPM called 'Rolling the Boogie'. During the 1970s, he was also member of Soprano Summit.
Hyman served as artistic director for the Jazz in July series at New York's 92nd Street Y for twenty years, a post from which he stepped down in 2004. (He was succeeded in that post by his cousin, Bill Charlap, a highly regarded jazz pianist.) He continues his Jazz Piano at the Y series as well as his post as jazz advisor to The Shedd Institute's Oregon Festival of American Music. In 1995, he was inducted into the Jazz Hall of Fame of the Rutgers Institute of Jazz Studies and the New Jersey Jazz Society. Since then, he has received honorary doctorates from Wilkes University, Five Towns College, Hamilton College and the University of South Florida at Tampa, Florida.
Hyman has had an extensive career in New York as a studio musician and won seven Most Valuable Player Awards from the National Academy of Recording Arts and Sciences. He acted as music director for such television programs as Benny Goodman's final appearance (on PBS) and for In Performance at the White House. For five years (1969-1974), he was the in-studio organist for the stunt game show Beat the Clock. He received an Emmy Award for his original score for Sunshine's on the Way, a daytime drama, and another for musical direction of a PBS Special on Eubie Blake. He continues to be a frequent guest performer with The Jim Cullum Jazz Band on the long-running public radio series Riverwalk Jazz, and has been heard on Terry Gross' Fresh Air. He has also collaborated with Ruby Braff extensively on recordings at Arbors Records.
Dick Hyman's Century Of Jazz Piano, an encyclopedic series of solo performances, has been released on Arbors Records. Other new recordings include Thinking About Bix and E Pluribus Duo with Ken Peplowski.
Other scores include: Moonstruck, Scott Joplin, The Lemon Sisters and Alan and Naomi. His music has also been heard in The Mask, Billy Bathgate, Two Weeks Notice, and other films. He was music director of The Movie Music of Woody Allen, which premiered at the Hollywood Bowl.
The track "The Minotaur" from The Electric Eclectics charted in the US top-40, becoming the first Moog single hit. Some elements from the track, "The Moog And Me" (most notably the synthetic whistle that serves as the song's lead-in) on the same album were sampled by Beck for the track "Sissyneck" on his 1996 album Odelay.
With Evan Christopher
radio interview with Doug Miles WSLR
Category:Stride pianists Category:1927 births Category:Living people Category:American musicians Category:Columbia University alumni Category:RCA Victor artists Category:MGM Records artists Category:Milestone Records artists Category:Ragtime pianists Category:American jazz pianists
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| Coordinates | 41°52′55″N87°37′40″N |
|---|---|
| Name | Billy Taylor |
| Landscape | yes |
| Background | non_vocal_instrumentalist |
| Birth name | William Taylor |
| Born | July 24, 1921 |
| Died | December 28, 2010 |
| Origin | Greenville, North Carolina, U.S. |
| Instrument | Piano |
| Genre | Jazz, hard bop |
| Occupation | Pianist, composer, educator |
| Years active | 1944–2010 |
| Associated acts | Charlie ParkerDizzy GillespieMiles DavisHerbie MannChristian McBrideNancy WilsonDee Dee BridgewaterCyrus Chestnut |
| Url | BillyTaylorJazz.net |
Billy Taylor (July 24, 1921 December 28, 2010) was an American jazz pianist, composer, broadcaster and educator. He was the Robert L. Jones Distinguished Professor of Music at East Carolina University in Greenville, and since 1994, he was the artistic director for jazz at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
Taylor was a also a Jazz activist. He sat on the Honorary Founders Board of The Jazz Foundation of America. In 1989, Billy Taylor, Ann Ruckert, Herb Storfer and Phoebe Jacobs started The Jazz Foundation to save the homes and the lives of America's elderly jazz and blues musicians, later including musicians that survived Hurricane Katrina.
Among his most notable works is "I Wish I Knew How It Would Feel to Be Free", composed in 1954, and subsequently achieving more popularity with Civil Rights Movement of the 1950s and 1960s. Nina Simone covered the song in her 1967 album Silk and Soul. It is widely known in the UK as a piano instrumental version, used for BBC1's Film programme, hosted by Barry Norman and subsequently Jonathan Ross. Solomon Burke, Derek Trucks, The Lighthouse Family, Levon Helm and Jools Holland & His Rhythm & Blues Orchestra have also recorded versions.
Taylor remained active with his educational activities and continued to tour and work into his eighties. He continued to work for over 50 years. He visited the White House several times and he received awards from a President and a New York Governor. Taylor received an Emmy award for his work for television which includes carrying out over 250 interviews on behalf of CBS News Sunday Morning. and a host of prestigious and highly coveted prizes, such as the National Medal of Arts (1992), the Tiffany Award, and the Lifetime Achievement Award from Down Beat Magazine. He was also honored in 2001 with the American Society of Composers, Authors and Publishers (ASCAP) Jazz Living Legend Award, and election to the Hall of Fame for the International Association for Jazz Education.
Category:1921 births Category:2010 deaths Category:American jazz composers Category:American jazz pianists Category:Atlantic Records artists Category:Bebop pianists Category:Deaths from heart failure Category:GRP Records artists Category:Hard bop pianists Category:Mainstream jazz pianists Category:Mercury Records artists Category:People from Greenville, North Carolina Category:People from Greenville, North Carolina Category:Prestige Records artists Category:Riverside Records artists Category:Savoy Records artists Category:Savoy Records artists Category:Soul-jazz pianists Category:United States National Medal of Arts recipients Category:University of Massachusetts Amherst alumni Category:Virginia State University alumni
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