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| Coordinates | 5°22′0″N100°28′0″N |
|---|---|
| Name | Joe Lovano |
| Background | non_vocal_instrumentalist |
| Birth name | Joseph Salvatore Lovano |
| Born | December 29, 1952Cleveland, Ohio, U.S. |
| Instrument | Tenor saxophoneAlto saxophoneC melody saxophoneClarinetFlute |
| Genre | Post bop |
| Associated acts | Saxophone SummitSF Jazz CollectiveMcCoy Tyner QuartetShades of Jazz |
| Notable instruments | Tenor Saxophone |
Cleveland tenorman "Big T" Lovano was his son's first inspiration, teaching him all the standards, how to lead a gig, pace a set, and be versatile enough to always find work. Joe started on alto at age six and switched to tenor five years later. He attended Berklee before working with Jack McDuff and Dr. Lonnie Smith. After three years with Woody Herman's orchestra, Lovano moved to New York and began playing regularly with Mel Lewis’ Big Band. This influence is still present in his solos. He often plays lines that convey the rhythmic drive and punch of an entire horn section.
Lovano has enduring musical partnerships with John Scofield and Paul Motian, having participated in some of their more noteworthy projects over the years.
In 1993, at the suggestion of musicologist Gunther Schuller, fellow Clevelander and bebop guitarist Bill DeArango recorded the album "Anything Went" with Lovano. "He was a major mentor for all of us round here," said Lovano. In 1999, having developed dementia, DeArango was taken into a nursing home, where Lovano visited him on December 26, 2005. Two hours after Lovano left, DeArango died. "He knew we were there," said Lovano. "His heartbeat raced. He knew we were there."
He is currently a jazz artist on the international level. His live work, specifically Quartets: Live at the Village Vanguard, garnered a Down Beat "Jazz Album of the Year" award. Other releases include Trio Fascination and 52nd Street Themes. In the late 1990s, he formed the Saxophone Summit with Dave Liebman and Michael Brecker (now deceased, replaced with Ravi Coltrane). He played the tenor saxophone on the critically acclaimed 2007 McCoy Tyner album Quartet. In 2006 Lovano released Streams Of Expression, a tribute to cool jazz and free jazz. He did this with the help of Gunther Schuller who contributed his "Birth Of The Cool Suite". Joe Lovano and Hank Jones released an album together in June 2007 entitled Kids. Lovano also currently leads his quartet with Berklee Faculty and students Esperanza Spalding, James Weidman, and Otis Brown.
He has been the teacher of Jeff Coffin after the latter received an NEA Jazz Studies Grant in 1991.
Joe Lovano has been playing Borgani saxophones since 1991 and exclusively since 1999. He has his own series called Borgani-Lovano, which uses Pearl-Silver Alloy with Gold 24K keys.
He appears in Noah Buschel's film The Missing Person, with Academy Award Nominees Amy Ryan and Michael Shannon.
Category:1952 births Category:Living people Category:Post-bop jazz musicians Category:American saxophonists Category:Berklee College of Music alumni Category:Jazz tenor saxophonists Category:American jazz musicians of Sicilian descent Category:Berklee College of Music faculty Category:Grammy Award winners
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After working with pianist Red Garland in Dallas, Irwin moved to New York. There he played with Charles Brackeen, and later landed his first steady gig in trumpeter Ted Curson's group in 1975. He accompanied such vocalists as Jackie Paris, Betty Carter, Annie Ross, Ann Hampton Callaway, Tania Maria and Mose Allison.
Influences include bassists Al Jackson, Sr. and Eddie Jones. Irwin's first major recording session was with Brazilian pianist Dom Salvador. go and get the Beginning in 1977, Irwin played with Art Blakey for three years.
The Jazz Messengers recorded several of Irwin’s compositions including "Kamal". Irwin also worked with Chet Baker, Mel Lewis, Joe Lovano, Stan Getz, Johnny Griffin and Horace Silver as well as with Brazilian musicians Duduca Fonseca and Portinho. Beginning in 1992, Irwin began playing with guitarist John Scofield. He can be heard on such Blue Note recordings as "What We Do", "Hand Jive" and "Groove Elation".
His battle with liver cancer, which was ultimately fatal, raised awareness of jazz musicians without medical insurance. The Jazz Foundation of America and Englewood Hospital and Medical Center created the Dennis Irwin Memorial Fund to pay for cancer screenings for uninsured jazz and blues musicians.
Irwin died in Manhattan on March 10, 2008, the same day as a Jazz at Lincoln Center benefit concert in his honor featuring performances by Wynton Marsalis, Tony Bennett, and Jon Hendricks, in addition to Lovano and Scofield.
His partner was singer Aria Hendricks, daughter of Jon Hendricks.
Category:1951 births Category:2008 deaths Category:American jazz double-bassists Category:People from Birmingham, Alabama Category:People from Dallas, Texas Category:People from New York City Category:University of North Texas alumni
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| Coordinates | 5°22′0″N100°28′0″N |
|---|---|
| Name | Sonny Rollins |
| Background | non_vocal_instrumentalist |
| Birth name | Theodore Walter Rollins |
| Alias | Newk, Colossus, Uncle Don |
| Born | September 07, 1930 |
| Origin | New York, New York, United States |
| Instrument | Tenor saxophone, soprano saxophone |
| Genre | Jazz |
| Occupation | Saxophonist |
| Label | Prestige, Blue Note, Contemporary, RCA Victor, Impulse!, Milestone |
| Associated acts | Jackie McLean, Max Roach, Clifford Brown, Miles Davis, Thelonious Monk |
Rollins started as a pianist, changed to alto saxophone, and finally switched to tenor in 1946. During his high-school years, he played in a band with other future jazz legends Jackie McLean and Kenny Drew. He was first recorded in 1949 with Babs Gonzales – in the same year he recorded with J. J. Johnson and Bud Powell. In his recordings through 1954, he played with performers such as Miles Davis, Charlie Parker and Thelonious Monk.
In 1950, Rollins was arrested for armed robbery and given a sentence of three years. He spent 10 months in Rikers Island jail before he was released on parole. In 1952 he was arrested for violating the terms of his parole by using heroin. Rollins was assigned to the Federal Medical Center, Lexington, at the time the only assistance in the U.S. for drug addicts. While there he was a volunteer for then-experimental methadone therapy and was able to break his heroin habit. Rollins himself initially feared sobriety would impair his musicianship, but then went on to greater success.
As a saxophonist he had initially been attracted to the jump and R&B; sounds of performers like Louis Jordan, but soon became drawn into the mainstream tenor saxophone tradition. Joachim Berendt has described this tradition as sitting between the two poles of the strong sonority of Coleman Hawkins and the light flexible phrasing of Lester Young, which did so much to inspire the fleet improvisation of be-bop in the 1950s. Rollins drew the two threads together as a fluid post-bop improviser with a sound as strong and resonant as any since Hawkins himself.
The title track is a 19-minute improvised bluesy suite, much of it interaction between Rollins' saxophone and the drums of Max Roach, some of it very tense. However the album was not all politics – the other side featured hard bop workouts of popular show tunes. The bassist was Oscar Pettiford. The LP was only briefly available in its original form, before the record company repackaged it as Shadow Waltz, the title of another piece on the record.
Finally in 1958 Rollins made one more studio album before taking a three-year break from recording. This was another session for Los Angeles based Contemporary Records and saw Rollins recording an esoteric mixture of tunes including "Rock-A-Bye Your Baby With A Dixie Melody" with a West Coast group made up of pianist Hampton Hawes, guitarist Barney Kessel, bassist Leroy Vinnegar and drummer Shelly Manne.
The contract with RCA lasted until 1964 and saw Rollins remain one of the most adventurous musicians around. Each album he recorded differed radically from the previous one. Rollins explored Latin rhythms on What's New, tackled the avant-garde on Our Man in Jazz, and re-examined standards on Now's the Time.
He then provided the soundtrack to the 1966 version of Alfie. His 1965 residency at Ronnie Scott's legendary jazz club has recently emerged on CD as Live in London, a series of releases from the Harkit label; they offer a very different picture of his playing from the studio albums of the period. (These are unauthorized releases, and Rollins has responded by "bootlegging" them himself and releasing them on his website.)
In 1981, Rollins was asked to play uncredited on three tracks by The Rolling Stones for their album Tattoo You, including the single, "Waiting on a Friend".
In 1986 Documentary filmmaker Robert Mugge released a film titled Saxophone Colossus. It featured two Rollins performances: a quintet in upstate New York and his Concerto for Saxophone and Symphony in Japan.
Rollins won a 2001 Grammy Award for Best Jazz Instrumental Album for This Is What I Do (2000). On September 11, 2001, the 71-year-old Rollins, who lived several blocks away, heard the World Trade Center collapse, and was forced to evacuate his apartment, with only his saxophone in hand. Although he was shaken, he traveled to Boston five days later to play a concert at the Berklee School of Music. The live recording of that performance was released on CD in 2005, , which won the 2006 Grammy for Jazz Instrumental Solo for Sonny's performance of "Why Was I Born?".
September 25 2009, Rollins performed to a packed crowd at the Kimmel Center in Philadelphia. The personnel was similar to the Carnegie Hall performance; Clifton Anderson (trombone), Bobby Broom (guitar), Bob Cranshaw (bass), Kobie Watkins, drums, Sammy Figueroa (percussion).Kimmelcenter.org
On June 27, 2010, Rollins played at the Salle Wilfrid-Pelletier in Montreal's Place-des-Arts for the 31st annual Montreal Jazz Festival, accompanied by, among others, Bob Cranshaw and Russell Malone. Prior to this show, he received the Miles Davis Award.
The city of Minneapolis, Minnesota officially named October 31, 2006, after Rollins in honor of his achievements and contributions to the world of jazz.
In 2007 he received the prestigious Polar Music Prize in Stockholm, Sweden, together with Steve Reich, while Colby College awarded Rollins a Doctor of Music, honoris causa, for his contributions to jazz music.
Rollins was elected to the Down Beat Jazz Hall of Fame in 1973.
Donald Fagen can be seen playing Rollins' 1958 LP Sonny Rollins and the Contemporary Leaders on the cover of his 1982 LP The Nightfly, while Joe Jackson replicated the cover photo for his 1984 A&M; album Body and Soul as homage to the 1957 Blue Note album Sonny Rollins, Vol. 2.
Category:1930 births Category:Living people Category:African American woodwind musicians Category:American jazz tenor saxophonists Category:American bandleaders Category:American jazz composers Category:Bebop saxophonists Category:Hard bop saxophonists Category:Musicians from New York City Category:Grammy Lifetime Achievement Award winners Category:Contemporary Records artists Category:Blue Note Records artists Category:RCA Victor artists Category:Milestone Records artists Category:Verve Records artists Category:Prestige Records artists Category:Impulse! Records artists
Category:American people of United States Virgin Islands descent
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| Coordinates | 5°22′0″N100°28′0″N |
|---|---|
| Name | Paul Motian |
| Background | non_vocal_instrumentalist |
| Birth name | Paul Motian |
| Born | March 25, 1931 |
| Origin | Philadelphia, Pennsylvania |
| Instrument | drumspercussion |
| Genre | Jazz |
| Occupation | DrummerComposer |
| Associated acts | Bill FrisellJoe LovanoBill Evans |
First coming to prominence in the late '50s with the pioneering trio of pianist Bill Evans, Motian has since worked in an array of contexts, and has led a number of groups. He is one of the most influential modern drummers, having played an important role in freeing the drummer from strict time-keeping duties.
Motian has been a professional musician since 1954, and briefly played with pianist Thelonious Monk. He became well known as the drummer in pianist Bill Evans's trio (1959-64), initially alongside bassist Scott LaFaro and later Chuck Israels.
Subsequently he has played with pianists Paul Bley (1963-4) and Keith Jarrett (1967-76). Other musicians with whom Motian performed and/or recorded in the early period of his career include Lennie Tristano, Warne Marsh, Joe Castro, Arlo Guthrie (Motian performed briefly with Guthrie in 1968-69, and even performed with the singer at Woodstock), Carla Bley, Charlie Haden, and Don Cherry. As his career has continued, Motian has appeared with musicians such as Marilyn Crispell, Bill Frisell, Leni Stern, Joe Lovano, Alan Pasqua, Lee Konitz, Wolfgang Muthspiel, Bill McHenry, Stephane Oliva, and many more.
Motian has also become an important composer and band-leader, recording initially for ECM Records in the 1970s and early 1980s and subsequently for Soul Note Records, JMT Records, and Winter & Winter Records, before returning to ECM in 2005. Since the early 1980s he has led a trio featuring guitarist Bill Frisell and saxophonist Joe Lovano, occasionally joined by bassists Ed Schuller, Charlie Haden or Marc Johnson, and other musicians, including Jim Pepper, Lee Konitz, Dewey Redman and Geri Allen. In addition to playing Motian's compositions, the group has recorded tributes to Thelonious Monk and Bill Evans, and a series of Paul Motian on Broadway albums, featuring original interpretations of standard tunes.
Despite his important associations with pianists, Motian's work as a leader since the 1970s has been noteworthy for rarely including piano in his ensembles and relying heavily on guitar. Motian's first instrument was the guitar, and he seems to have retained an affinity for the instrument: in addition to his groups with Frisell, his first two solo albums on ECM featured Sam Brown, and he leads the "Electric Bebop Band", which features two and sometimes three electric guitars. The group was founded in the early 1990s, and has featured a variety of young guitar and saxophone players, in addition to electric bass and Motian's drums, including saxophonists Joshua Redman, Chris Potter, Chris Cheek, and Tony Malaby, and guitarists Kurt Rosenwinkel, Brad Shepik, Wolfgang Muthspiel, Steve Cardenas, Ben Monder, and Jakob Bro.
With Bill Frisell
With Charlie Haden
With Keith Jarrett
With Pierre Favre
With Paul Bley
With Bill McHenry
With Steve Swallow, Gil Goldstein and Pietro Tonolo
With Jacob Sacks, Eivind Opsvik and Mat Maneri
Category:Avant-garde jazz musicians Category:1931 births Category:Living people Category:musicians from Philadelphia, Pennsylvania Category:American jazz drummers Category:American musicians of Armenian descent Category:American people of Armenian descent Category:ECM artists
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| Coordinates | 5°22′0″N100°28′0″N |
|---|---|
| Name | Lee Konitz |
| Background | non_vocal_instrumentalist |
| Birth name | Lee Konitz |
| Born | October 13, 1927 |
| Origin | Chicago, Illinois, U.S. |
| Instrument | Alto saxophone |
| Genre | JazzCool jazz |
| Occupation | Saxophonist, Composer |
| Label | RCA Red SealAtlantic RecordsVerve RecordsPrestige Records Palmetto Records |
| Associated acts | Jim Hall, Elvin Jones, Lennie TristanoWarne Marsh |
Generally considered one of the driving forces of Cool Jazz, Konitz has also performed successfully in bebop and avant-garde settings. Konitz was one of the few altoists to retain a distinctive sound in the 40s, when Charlie Parker exercised a tremendous influence on other players.
Konitz, like other students of pianist and theoretician Lennie Tristano, was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Paul Desmond and, especially, Art Pepper were strongly influenced by Konitz.
Konitz's association with the Cool Jazz movement of the 1940s and 50s, includes participation in Miles Davis' epochal Birth of the Cool sessions, and his work with Lennie Tristano came from the same period. During his long career, Konitz has played with musicians from a wide variety of jazz styles.
Konitz eventually moved from tenor to alto. His greatest influences at the time were the swing big bands he and his brother listened to on the radio, in particular Benny Goodman. Hearing Goodman on the radio is actually what prodded him to ask for a clarinet. On the saxophone he recalls improvising before ever learning to play any standards.
Konitz began his professional career in 1945 with the Teddy Powell band as a replacement for Charlie Ventura. The engagement apparently did not start out smoothly, as Ventura is said to have banged his head against a wall when Konitz played. A month later the band parted ways. Between 1945 and 1947 he worked off and on with Jerry Wald. In 1946 he first met pianist Lennie Tristano and worked in a small cocktail bar with him. His next substantial work was done with Claude Thornhill in 1947, with Gil Evans arranging and Gerry Mulligan as a composer in most part.
In 1949 he teamed up with the Miles Davis group for one or two weeks and again in 1950 to record Birth of the Cool. Konitz has stated that he considered the group to belong to Gerry Mulligan, and credits Lennie Tristano as the true forebearer of "the cool". His debut as leader also came in 1949, with the release of Subconscious-Lee on Prestige Records. He also turned down an opportunity to work with Benny Goodman that same year—a decision he is on record as regretting.
In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra. In 1961, he recorded Motion with Elvin Jones on drums and Sonny Dallas on bass. This spontaneous session, widely regarded as a classic, consisted entirely of standards. The loose trio format aptly featured Konitz's unorthodox phrasing and chromaticism.
Charlie Parker lent him support on the day Konitz's child was being born in Seattle, Washington with him stuck in New York City. The two were actually good friends, and not the rivals some jazz critics once made them out to be. He has also had problems with his heart which he has received surgery for in the past.
In 1967, Konitz recorded The Lee Konitz Duets, a series of duets with various musicians. The duo configurations were often unusual for the period (saxophone and trombone, two saxophones). The recordings drew on very nearly the entire history of jazz, from Louis Armstrong's "Struttin' With Some Barbecue" with valve trombonist Marshall Brown to two completely free duos: one with a Duke Ellington associate, violinist Ray Nance, and one with guitarist Jim Hall.
Konitz contributed to the film score for Desperate Characters (1971).
Konitz has been quite prolific, recording dozens of albums as a band leader. He has also recorded or performed with Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan, Elvin Jones and others.
Konitz has become more experimental as he has grown older, and has released a number of free and avant-garde jazz albums, playing alongside many far younger musicians. He has released albums on contemporary free jazz/improv labels such as hatART, Soul Note and Omnitone.
Crafted out of numerous interviews between the author and his subject, the book offers a unique account of Konitz’s life and music, detailing his own insights into his musical education and his experiences with such figures as Miles Davis, Stan Kenton, Warne Marsh, Lennie Tristano, Charles Mingus, Bud Powell and Bill Evans.
Category:1927 births Category:American jazz alto saxophonists Category:Jewish American musicians Category:Atlantic Records artists Category:Cool jazz saxophonists Category:Enja Records artists Category:Living people Category:Miles Davis Category:Milestone Records artists Category:Palmetto Records artists Category:People from Chicago, Illinois Category:Prestige Records artists Category:SteepleChase Records artists Category:Verve Records artists
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| Coordinates | 5°22′0″N100°28′0″N |
|---|---|
| Name | John Hicks |
| School tradition | Neo-Keynesian economics |
| Color | darkorange |
| Birth date | April 08, 1904Warwick, England |
| Death date | May 20, 1989Blockley, England |
| Nationality | |
| Institution | London School of EconomicsUniversity of ManchesterNuffield College, Oxford |
| Alma mater | Balliol College, Oxford |
| Influences | Lionel Robbins, John Maynard Keynes |
| Contributions | IS/LM modelCapital theory, consumer theory, general equilibrium theory, welfare theory, induced innovation |
| Awards | Nobel Memorial Prize in Economic Sciences (1972) |
| Signature | |
| Repec prefix | e | repec_id = phi7 |
In 1972 he received the Nobel Prize in Economic Sciences (jointly) for his pioneering contribution to general equilibrium theory and welfare theory.
He was educated at Clifton College (1917–22) and at Balliol College, Oxford (1922–26), financed by mathematical scholarships. During his school days, and in his first year at Oxford, he specialised in mathematics but also had interests in literature and history. In 1923, he moved to "Philosophy, Politics and Economics," the "new school" just being started at Oxford, graduating with second-class honors and, so he states, "no adequate qualification in any of the subjects" that he had studied.
From 1935 to 1938, he lectured at Cambridge where he was also a fellow of Gonville & Caius College. He was mainly occupied in writing Value and Capital, which was based on the work he had done in London. From 1938 to 1946, he was Professor at the University of Manchester. It was there that he did his main work on welfare economics, with its application to social accounting.
In 1946 he returned to Oxford, first as a research fellow of Nuffield College (1946–52), then as Drummond Professor of Political Economy (1952–65), and finally as a research fellow of All Souls College (1965–71) where he continued writing after retirement. He was also an honorary fellow of Linacre College, Oxford . He died in 1989.
Hicks was knighted in 1964 and was co-recipient of the Nobel Prize in Economic Sciences (with Kenneth J. Arrow) in 1972. He donated the Nobel Prize to the London School of Economics and Political Science's Library Appeal in 1973.
His magnum opus is Value and Capital published in 1939. The book built on ordinal utility and mainstreamed the now-standard distinction between the substitution effect and the income effect for an individual in demand theory for the 2-good case. It generalized the analysis to the case of one good and a composite good, that is, all other goods. It aggregated individuals and businesses through demand and supply across the economy. It anticipated the aggregation problem, most acutely for the stock of capital goods. It introduced general equilibrium theory to an English-speaking audience, refined the theory for dynamic analysis, and for the first time attempted a rigorous statement of stability conditions for general equilibrium. In the course of analysis Hicks formalized comparative statics. In the same year, he also developed the famous "compensation" criterion called Kaldor-Hicks efficiency for welfare comparisons of alternative public policies or economic states.
Hicks's most familiar contribution in macroeconomics was the Hicks-Hansen IS-LM model, which formalised an interpretation of the theory of John Maynard Keynes (see Keynesianism). The model describes the economy as a balance between three commodities: money, consumption and investment. Hicks himself did not embrace the theory as he interpreted it; and, in a paper published in 1980, Hicks asserted that it had omitted some crucial components of Keynes's arguments, especially those related to uncertainty.
Category:1904 births Category:1989 deaths Category:People from Warwick Category:British economists Category:Keynesians Category:Fellows of All Souls College, Oxford Category:Fellows of Nuffield College, Oxford Category:Fellows of Gonville and Caius College, Cambridge Category:Alumni of Balliol College, Oxford Category:Nobel laureates in Economics Category:British Nobel laureates Category:Academics of the London School of Economics Category:Academics of the Victoria University of Manchester Category:Old Cliftonians Category:Knights Bachelor Category:Neo-Keynesian economists
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In 1955 Schuller and jazz pianist John Lewis founded the Modern Jazz Society, which gave its first concert in Town Hall, New York, that same year and later became known as the Jazz and Classical Music Society. While lecturing at Brandeis University in 1957 he coined the term "Third Stream" to describe music that combines classical and jazz techniques. in Washington, D.C. Another recent effort of preservation was his editing and posthumous premiering at Lincoln Center in 1989 of Charles Mingus' immense final work, Epitaph, subsequently released on Columbia/Sony Records.
His notable students include Irwin Swack and John Ferritto.
Gunther is the father of jazz percussionist George Schuller and bassist Ed Schuller.
Since 1993, Schuller has served as Artistic Director for the Northwest Bach Festival in Spokane, Washington. Each year the festival showcases works by J.S. Bach and other composers in landmark venues around Spokane. At the 2010 festival, Schuller conducted the Mass in B Minor at St. John's Cathedral. Other notable performances conducted at the festival include the St. Matthew Passion in 2008 and Handel's Messiah in 2005.
Schuller's association with Spokane began with guest conducting the Spokane Symphony for one week in 1982. He then served as Music Director from 1984 - 1985 and has since regularly appeared as a guest conductor. Schuller also serves as Artistic Director to the nearby Festival at Sandpoint.
His modernist orchestral work "Where the Word Ends", organized in four movements corresponding to those of a symphony, premiered at the Boston Symphony Orchestra in 2009.
Grammy Award for Best Album Notes - Classical:
Category:Third Stream musicians Category:Culture of Boston, Massachusetts Category:1925 births Category:Living people Category:American composers Category:Opera composers Category:20th-century classical composers Category:Postmodern composers Category:MacArthur Fellows Category:Pulitzer Prize for Music winners Category:Horn players Category:Members of the American Academy of Arts and Letters Category:Grammy Award winners Category:New England Conservatory faculty
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