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.
Name | Bill Haley |
---|---|
Background | solo_singer |
Birth name | William John Clifton Haley |
Alias | Jack Haley, Johnny Clifton |
Birth date | July 06, 1925 |
Died | February 09, 1981, Harlingen Texas |
Origin | Highland Park, Michigan, United States |
Genre | Rock and roll, country, rockabilly |
Occupation | Singer-songwriter, musician, bandleader |
Instrument | Vocals, guitar, slap bass |
Years active | 1946–1980 |
Label | Cowboy, Atlantic, Keystone, Center, Holiday, Essex, Decca, Warner Bros. Records, Orfeón, Dimsa, Newtown, Guest Star, Logo, APT, Gone, United Artists, Roulette, Sonet, Buddah, Antic, Arzee |
Associated acts | Bill Haley & His Comets, The Down Homers }} |
Bill Haley (; July 6, 1925 – February 9, 1981) was one of the first American rock and roll musicians. He is credited by many with first popularizing this form of music in the early 1950s with his group Bill Haley & His Comets and their hit song "Rock Around the Clock".
The anonymous sleeve notes accompanying the 1956 Decca album "Rock Around The Clock" describe Haley's early life and career thus: "Bill got his first professional job at the age of 13, playing and entertaining at an auction for the fee of $1 a night. Very soon after this he formed a group of equally enthusiastic youngsters and managed to get quite a few local bookings for his band."
The sleeve notes continue: "When Bill Haley was fifteen [c.1940] he left home with his guitar and very little else and set out on the hard road to fame and fortune. The next few years, continuing this story in a fairy-tale manner, were hard and poverty stricken, but cramful of useful experience. Apart from learning how to exist on one meal a day and other artistic exercises, he worked at an open-air park show, sang and yodelled with any band that would have him and worked with a traveling medicine show. Eventually he got a job with a popular group known as the "Down Homers" while they were in Hartford, Connecticut. Soon after this he decided, as all successful people must decide at some time or another, to be his own boss again - and he has been that ever since.’ [Note: these notes fail to account for his early band, known as the Four Aces of Western Swing. They later changed their name to avoid confusion with the pop vocal group the Four Aces].
The sleeve notes conclude: "For six years Bill Haley was a musical director of Radio Station WPWA in Chester, Pennsylvania, and led his own band all through this period. It was then known as Bill Haley's Saddlemen, indicating their definite leaning toward the tough Western style. They continued playing in clubs as well as over the radio around Philadelphia, and in 1951 made their first recordings."
In 1953, a song called "Rock Around the Clock" was written for Haley. He was unable to record it until April 12, 1954. Initially, it was relatively unsuccessful, staying at the charts for only one week, but Haley soon scored a major worldwide hit with a cover version of Big Joe Turner's "Shake, Rattle and Roll", which went on to sell a million copies and became the first ever rock 'n' roll song to enter British singles charts in December 1954 and became a Gold Record. He retained elements of the original, but threw some country music aspects in to the song (specifically, Western Swing) and cleaned up the lyrics. Haley and his band were important in launching the music known as "Rock and Roll" to a wider, mostly white audience after years of it being considered an underground genre. When "Rock Around the Clock" appeared behind the opening credits of the 1955 film Blackboard Jungle starring Glenn Ford, it soared to the top of the American Billboard chart for eight weeks. The single is commonly used as a convenient line of demarcation between the "rock era" and the music industry that preceded it; Billboard separated its statistical tabulations into 1890-1954 and 1955–present. After the record rose to number one, Haley was quickly given the title "Father of Rock and Roll," by the media, and by teenagers that had come to embrace the new style of music.
"Rock Around the Clock" was the first record ever to sell over one million copies in both Britain and Germany and, in 1957, Haley became the first major American rock singer to tour Europe. Haley continued to score hits throughout the 1950s such as "See You Later, Alligator" and he starred in the first rock and roll musical movies Rock Around the Clock and Don't Knock the Rock, both in 1956. Haley was soon eclipsed in the United States by the younger, sexier Elvis, but continued to enjoy great popularity in Latin America, Europe, and Australia through the 1960s.
The October 25, 1980 edition of the German paper Bild reported that Haley had a brain tumor. It quoted British manager Patrick Maylan as saying that Haley "had taken a fit and went over the seat. He didn't recognize anyone anymore" after being taken to his home in Beverly Hills. It also reported that a doctor at the clinic where Haley had been taken said, "The tumor can't be operated on anymore."
"The Berliner Zeitung" reported a few days later that Haley had collapsed after a performance in Texas and been taken to the hospital in his home town of Harlingen, Texas.
Despite his ill health, Haley began compiling notes for possible use as a basis for either a biographical film based on his life, or a published autobiography (accounts differ), and there were plans for him to record an album in Memphis, Tennessee, when the brain tumor began affecting his behavior and he went back to his home in Harlingen, Texas, where he died early in the morning of February 9, 1981.
Martha, Bill's wife who was with him in these troubling times, denies he had a brain tumor as does his old, very close friend, Hugh McCallum. Martha and friends related that Bill did not want to go on the road any more and that ticket sales for that planned tour of Germany in the fall of 1980 were slow. According to McCallum, "It's my unproven gut feeling that that [the brain tumor] was said to curtail talks about the tour and play the sympathy card."
It was obvious that his drinking problem was getting worse. According to Martha, by this time she and Bill fought all the time and she told him to stop drinking or move out so he moved out into a room in their pool house. Martha still took care of him and sometimes he would come in the house to eat, but he ate very little. "There were days we never saw him," said his daughter Martha Maria.
In addition to the drinking problems, it had become obvious that he also was having serious mental problems; Martha Maria said that, "It was like sometimes he was drunk even when he wasn't drinking." After having been jailed by the Harlingen Police, Martha had the judge put Haley in the hospital where he was seen by a psychiatrist who said Bill's brain was overproducing a chemical, like adrenaline. The doctor prescribed a medication to stop the overproduction but said Bill would have to stop drinking. Martha said, "This is pointless." She took him home, however, fed him and gave him his first dose. As soon as he felt better, he went back out the his room in the pool house and the downward spiral continued until his death.
Haley's death certificate listed "Natural causes: Most likely heart attack" as the 'Immediate Cause' of death. The next lines, 'Due to, or as a consequence Of" were blank.
Haley made a succession of bizarre, mostly monologue late-night phone calls to friends and relatives in which he seemed incoherently drunk or ill. Haley's first wife has been quoted as saying, "He would call and ramble and dwell on the past, his mind was really warped." A belligerent phone call to a business associate was taped and gives evidence of Haley's troubled state of mind.
Media reports immediately following his death indicated Haley displayed deranged and erratic behavior in his final weeks, although beyond a biography of Haley by John Swenson, released a year later, which described Haley painting the windows of his home black, there is little information extant about Haley's final days.
Haley was posthumously inducted into the Rock and Roll Hall of Fame in 1987. He has a star on the Hollywood Walk of Fame.
Songwriters Tom Russell and Dave Alvin addressed Haley's demise in musical terms with "Haley's Comet" on Alvin's 1991 album Blue Blvd. Dwight Yoakam sang backup on the tribute.
Haley's original Comets still tour the world. They released a concert DVD in 2004 on Hydra Records, played the Viper Room in West Hollywood in 2005, and performed at Dick Clark's American Bandstand Theater in Branson, Missouri in 2006-07.
In March 2007, the Original Comets pre-opened the Bill Haley Museum in Munich, Germany. On October 27, 2007, ex-Comets guitar player Bill Turner opened the Bill Haley Museum for the public.
In February 2006, the International Astronomical Union announced the naming of asteroid 79896 Billhaley to mark the 25th anniversary of Bill Haley's death.
He also had a daughter, Martha Maria, from his last marriage with Martha Velasco.
Bill Haley Jr. (Haley's second son and first with Joan Barbara "Cuppy" Haley-Hahn) publishes a regional business magazine in Southeastern Pennsylvania (Route 422 Business Advisor). He sings and plays guitar with a band called "Lager Rhythms," and appeared with the "Original Comets" at the Bubba Mac Shack in Somers Point, New Jersey, in 2004 and 2005, and at the Twin Bar re-dedication ceremony in Gloucester City, New Jersey, in 2007. He is currently writing a biography about his father, concentrating on the years 1949-61.
Bill Haley has also been portrayed - not always in a positive light - in several "period" films:
In March 2005, the British network Sky TV reported that Tom Hanks was planning to produce a biopic on the life of Bill Haley, with production tentatively scheduled to begin in 2006. However this rumor was quickly debunked by Hanks.
As Bill Haley and the Four Aces of Western Swing
1948
As Johnny Clifton and His String Band
1949 or 1950
Many Haley discographies list two 1946 recordings by the Down Homers released on the Vogue Records label as featuring Haley. Haley historian Chris Gardner, as well as surviving members of the group, have confirmed that the two singles: "Out Where the West Winds Blow"/"Who's Gonna Kiss You When I'm Gone" (Vogue R736) and "Boogie Woogie Yodel"/"Baby I Found Out All About You" (Vogue R786) do not feature Haley. However, the tracks were nonetheless included in the compilation box set Rock 'n' Roll Arrives released by Bear Family Records in 2006.
:See the discography section of Bill Haley & His Comets for a list of the singles and album releases made by Haley with the Saddlemen and the Comets from 1950 onwards.
A number of previously unreleased Haley country-western recordings from the 1946-1950 period began to emerge near the end of Haley's life, some of which were released by the Arzee label, with titles such as "Yodel Your Blues Away" and "Rose of My Heart." Still more demos, alternate takes, and wholly unheard-before recordings have been released since Haley's death. Notable examples of such releases include the albums Golden Country Origins by Grassroots Records of Australia and Hillbilly Haley by the British label, Rollercoaster, as well as the aforementioned German release by Hydra Records. In 2006, Bear Family Records of Germany released what is considered to be the most comprehensive (yet still incomplete) collection of Haley's 1946-1950 recordings as part of its Haley box set Rock n' Roll Arrives.
NME - January 1957
Category:1925 births Category:1981 deaths Category:People from Highland Park, Michigan Category:Bill Haley & His Comets members Category:American radio personalities Category:American rock singers Category:Bandleaders Category:Musicians from Philadelphia, Pennsylvania Category:People from Delaware County, Pennsylvania Category:People from Harlingen, Texas Category:Rock and Roll Hall of Fame inductees Category:Rockabilly Hall of Fame inductees Category:American bandleaders Category:Decca Records artists Category:People self-identifying as alcoholics Category:Songwriters from Michigan
bg:Бил Хейли cs:Bill Haley cy:Bill Haley da:Bill Haley de:Bill Haley et:Bill Haley el:Μπιλ Χάλεϊ es:Bill Haley eo:Bill Haley fr:Bill Haley ga:Bill Haley gl:Bill Haley hr:Bill Haley io:Bill Haley id:Bill Haley it:Bill Haley he:ביל היילי hu:Bill Haley nl:Bill Haley ja:ビル・ヘイリー no:Bill Haley nn:Bill Haley oc:Bill Haley pl:Bill Haley pt:Bill Haley ro:Bill Haley ru:Хейли, Билл fi:Bill Haley sv:Bill Haley th:บิล เฮลีย์ tr:Bill HaleyThis 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.
name | Yu Dafu |
---|---|
birth date | December 07, 1896 |
birth place | Fuyang, Zhejiang, China |
death date | September 17, 1945 |
occupation | Short Story writer and Poet |
website | }} |
In 1912, he entered Hangchow University (later its major part merged into Zhejiang University) preparatory through examination. He was there only for a short period before he was expelled for participation in a student strike.
He then moved to Japan, where he studied economics at the Tokyo Imperial University between 1913 and 1922, where he met other Chinese intellectuals (namely, Guo Moruo, Zhang Ziping and Tian Han). Together, in 1921 they founded the Chuangzao she 創造社 ("Creation Society"), which promoted vernacular and modern literature. One of his earlier works Chenlun 沉淪, also his most famous, published in Japan in 1921. The work had gained immense popularity in China, shocking the world of Chinese literature with its frank dealing with sex, as well as grievances directed at the incompetence of Chinese government at the time.
In 1922, he returned to China as a literary celebrity and worked as the editor of Creation Quarterly, editing journals and writing short stories. In 1923, after an attack of tuberculosis, Yu Dafu directed his attention to the welfare of the masses.
In 1927, he worked as an editor of the Hongshui literary magazine. He later came in conflict with the Communist Party of China and fled back to Japan.
In 1942 when the Imperial Japanese Army invaded Singapore, he was forced to flee to Sumatra. Known under a different identity, he settled there among other overseas Chinese and began a brewery business with the help of the locals. Later he was forced to help the Japanese military police as an interpreter when it was discovered that he was one of the few "locals" in the area who could speak Japanese.
In 1945, he was arrested by the Kempeitai when his true identity was finally discovered. It is believed that he was executed by the Japanese shortly after the surrender of Japan.
His most popular work, breaking all Chinese sales records, was Jih-chi chiu-chung "Nine Diaries", which detailed his affair with the writer Wang Ying-hsin. The most critically acclaimed work is Kuo-ch'u or "The Past", written in 1927.
Category:1896 births Category:1945 deaths Category:Chinese expatriates in Japan Category:Hangzhou High School alumni Category:People from Hangzhou Category:Republic of China poets Category:University of Tokyo alumni Category:Zhejiang University alumni
de:Yu Dafu es:Yu Dafu fr:Yu Dafu it:Yu Dafu no:Yu Dafu zh:郁達夫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.
name | Gerry Mulligan |
---|---|
background | non_vocal_instrumentalist |
birth name | Gerald Joseph Mulligan |
alias | Jeru |
birth date | April 06, 1927 |
death date | January 20, 1996 |
origin | Queens Village, Queens, New York, United States |
instrument | Baritone saxophone, clarinet, piano |
genre | Jazz, cool jazz |
occupation | Saxophonist |
associated acts | Gil Evans, Miles Davis, Chet Baker, Lee Konitz, Paul Desmond, Billy Taylor, Ben Webster, Stan Getz, Dave Brubeck, Bob Brookmeyer |
notable instruments | }} |
Gerald Joseph "Gerry" Mulligan (April 6, 1927 – January 20, 1996) was an American jazz saxophonist, clarinetist, composer and arranger. Though Mulligan is primarily known as one of the leading baritone saxophonists in jazz history – playing the instrument with a light and airy tone in the era of cool jazz – he was also a notable arranger, working with Claude Thornhill, Miles Davis, Stan Kenton, and others. Mulligan's pianoless quartet of the early 1950s with trumpeter Chet Baker is still regarded as one of the more important cool jazz groups. Mulligan was also a skilled pianist and played several other reed instruments. Mulligan reportedly had a relationship with actress Judy Holliday until she died in 1965, and with actress Sandy Dennis from 1965 until they broke up in 1976.
George Mulligan's career as an engineer necessitated frequent moves through numerous cities. When Gerry was less than a year old, the family moved to Marion, Ohio, where his father accepted a job with the Marion Power Shovel Company.
With the demands of a large home and four young boys to raise, Mulligan's mother hired an African-American nanny named Lily Rose, who became especially fond of the youngest Mulligan. As he became older, Mulligan began spending time at Rose's house and was especially amused by Rose's player piano, which Mulligan later recalled as having rolls by numerous players, including Fats Waller. Black musicians sometimes came through town, and because many motels wouldn't take them, they often had to stay at homes within the black community. The young Mulligan occasionally met such musicians staying at Rose's home.
The family's moves continued with stops in southern New Jersey (where Mulligan lived with his maternal grandmother), Chicago, Illinois, and Kalamazoo, Michigan, where Mulligan lived for three years and attended Catholic school. When the school moved into a new building and established music courses, Mulligan decided to play clarinet in the school's nascent orchestra. Mulligan made an attempt at arranging with the Richard Rodgers song "Lover", but the arrangement was seized prior to its first reading by an overzealous nun who was taken aback by the title on the arrangement.
When Gerry Mulligan was 14, his family moved to Detroit and then to Reading, Pennsylvania. While in Reading, Mulligan began studying clarinet with dance-band musician Sammy Correnti, who also encouraged Mulligan's interest in arranging. Mulligan also began playing saxophone professionally in dance bands in Philadelphia, an hour and a half or so away.
The Mulligan family next moved to Philadelphia, where Gerry attended the West Philadelphia Catholic High School for Boys and organized a school big band, for which he also wrote arrangements. When Mulligan was sixteen, he approached Johnny Warrington at local radio station WCAU about writing arrangements for the station's house band. Warrington was impressed and began buying Mulligan's arrangements.
Mulligan dropped out of high school during his senior year to pursue work with a touring band. He contacted bandleader Tommy Tucker when Tucker was visiting Philadelphia's Earle Theatre. While Tucker did not need an additional reedman, he was looking for an arranger and Mulligan was hired at $100 a week to do two or three arrangements a week (including all copying). At the conclusion of Mulligan's three-month contract, Tucker told Mulligan that he should move on to another band that was a little less "tame". Mulligan went back to Philadelphia and began writing for Elliot Lawrence, a pianist and composer who had taken over for Warrington as the band leader at WCAU.
Mulligan moved to New York City in January 1946 and joined the arranging staff on Gene Krupa's bop-tinged band. Notable arrangements of Mulligan's work with Krupa include "Birdhouse", "Disc Jockey Jump" and an arrangement of "How High the Moon" that quoted Charlie Parker's "Ornithology" as a countermelody.
Mulligan next began arranging for the Claude Thornhill Orchestra, occasionally sitting in as a member of the reed section. Thornhill's arranging staff included Gil Evans, whom Mulligan had met while working with the Krupa band. Mulligan eventually began living with Evans, at the time that Evans' apartment on West 55th Street became a regular hangout for a number of jazz musicians working on creating a new jazz idiom.
The band only played a handful of live performances (a two week engagement at the Royal Roost jazz club and two nights at the Clique Club). However, over the next couple of years, Davis reformed the nonet on three occasions to record twelve pieces for release as singles. These were eventually compiled on a Capitol Records album, titled Birth of the Cool. Mulligan wrote and arranged three of the tunes recorded ("Rocker," "Venus de Milo," and "Jeru," the latter named after himself), and arranged a further three ("Deception," "Godchild," and "Darn That Dream").
He was also (with Davis, Konitz and Barber) one of only four musicians who played on all the recordings. Despite the chilly reception by audiences of 1949, the Davis nonet has been judged by history as one of the most influential groups in jazz history, creating a sound that, despite its East Coast origins, became known as West Coast Jazz.
During his period of occasional work with the Davis nonet between 1949 and 1951, Mulligan also regularly performed with and arranged for trombonist Kai Winding. Mulligan's composition "Elevation" and his arrangement of "Between the Devil and the Deep Blue Sea" were recorded by Mulligan's old boss, Elliott Lawrence. This brought Mulligan additional recognition. Mulligan also arranged for and recorded with bands led by Georgie Auld and Chubby Jackson.
In September, 1951, Mulligan recorded the first album under his own name, Mulligan Plays Mulligan. By this point, he had mastered a melodic and linear playing style, inspired by Lester Young, that he would retain for the rest of his career.
In the spring of 1952, Mulligan became more desperate for remunerative employment and headed west to Los Angeles with his girlfriend, pianist Gail Madden. Through an acquaintance with arranger Bob Graettinger, Mulligan started writing arrangements for Stan Kenton's Orchestra. While most of Mulligan's work for Kenton were pedestrian arrangements that Kenton needed to fill out money-making dance performances, Mulligan was able to throw in some more substantial original works along the way. His compositions "Walking Shoes" and "Young Blood" stand out as embodiments of the contrapuntal style that became Mulligan's signature. His sound or tone (timbre) was likened to a tweed cloth.
Faced with a dilemma of what to do for a rhythm section, Mulligan decided to build on earlier experiments and perform as a pianoless quartet with Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums (later Mulligan himself would occasionally double on piano). Baker's melodic style fit well with Mulligan's, leading them to create improvised contrapuntal textures free from the rigid confines of a piano-enforced chordal structure. While novel at the time in sound and style, this ethos of contrapuntal group improvisation hearkened back to the formative days of jazz. Despite their very different backgrounds, Mulligan a classically-trained New Yorker and Baker from Oklahoma and a much more instinctive player, they had an almost psychic rapport and Mulligan later remarked that, "I had never experienced anything like that before and not really since." Their dates at the Haig became sell-outs and the recordings they made in the fall of 1952 became major sellers that led to significant acclaim for Mulligan and Baker.
This fortuitous collaboration came to an abrupt end with Mulligan's arrest on narcotics charges in mid-1953 that led to six months at Sheriff's Honor Farm. Both Mulligan and Baker had followed the example of their peers and became heroin addicts. However, while Mulligan was in prison, Baker transformed his lyrical trumpet style, gentle tenor voice and matinee-idol looks into independent stardom. Thus when upon his release Mulligan attempted to rehire Baker, the trumpeter declined the offer for financial reasons. They did briefly reunite at the 1955 Newport Jazz Festival and would occasionally get together for performances and recordings up through a 1974 performance at Carnegie Hall. But in later years their relationship became strained as Mulligan, with considerable effort, would manage to kick his habit, while Baker's addiction would bedevil him professionally and personally almost constantly until his death in 1988.
Mulligan also studied Piano with Suezenne Fordham, who was a member of the inner circle of Jazz players in NY. She was sought out by jazz musicians of the era to coach them to improve their piano technique. She and Mulligan also had a personal relationship from 1966 through 1972.
Mulligan also performed as a soloist or sideman (often in festival settings) with a veritable Who's Who of late 50s jazz artists: Paul Desmond, Duke Ellington, Ben Webster, Johnny Hodges, Jimmy Witherspoon, André Previn, Billie Holiday, Marian McPartland, Louis Armstrong, Count Basie, Stan Getz, Thelonious Monk, Fletcher Henderson, Manny Albam, Quincy Jones, Kai Winding, Miles Davis, and Dave Brubeck. Mulligan appears in Art Kane's celebrated A Great Day in Harlem portrait of 57 major jazz musicians taken in August 1958.
Mulligan formed his first "Concert Jazz Band" in the Spring of 1960. Partly an attempt to revisit the ornate arrangements of big band music in a smaller setting, the band varied in size and personnel, with the core group being six brass, five reeds (including Mulligan) and a pianoless two-piece rhythm section. The membership included (at various times, among others): trumpeters Conte Candoli, Nick Travis, Clark Terry, Don Ferrara, Al Derisi, Thad Jones and Doc Severinsen, saxophonists Zoot Sims Jimmy Ryder, Gene Allen, Bobby Donovan, Phil Woods and Gene Quill, trombonists Willie Dennis, Alan Raph and Bob Brookmeyer, drummers Mel Lewis and Gus Johnson, and bassists Buddy Clark and Bill Crow. The band also recorded an album of songs sung by Gerry's close friend Judy Holliday in 1961. The band toured and recorded extensively through the end of 1964, ultimately producing five albums for Verve records.
Mulligan resumed work with small groups in 1962 and appeared with other groups sporadically (notably in festival situations). Mulligan would continue to work intermittently in small group settings until the end of his life, although performing dates started to become more infrequent during the mid '60s. After Dave Brubeck's quartet broke up in 1967, Mulligan began appearing regularly with Brubeck as the "Gerry Mulligan / Dave Brubeck Quartet" through 1973. Thereafter, Mulligan and Brubeck would work together sporadically until the final year of Mulligan's life.
In 1971, Mulligan created his most significant work for big band in over a decade for the album The Age of Steam. At various times in the 70's he performed with Charles Mingus. The Concert Jazz Band was "reformed" in 1978 and toured at various times through the '80s.
Mulligan's more serious work with orchestra began in May 1970 with a performance of Dave Brubeck's oratorio, The Light in the Wilderness with Erich Kunzel and the Cincinnati Symphony.
In the 1970s and 1980s, Mulligan worked to build and promote a repertoire of baritone saxophone music for orchestra. In 1973, Mulligan commissioned composer Frank Proto to write a Saxophone Concerto that was premiered with the Cincinnati Symphony. In 1977, the Canadian Broadcasting Company commissioned Harry Freedman to write the saxophone concerto Celebration which was performed by Mulligan with the CBC Symphony. In 1982, Zubin Mehta invited Mulligan to play soprano saxophone in a New York Philharmonic performance of Ravel's Bolero.
In 1984, Mulligan commissioned Harry Freedman to write The Sax Chronicles which was an arrangement of some of Mulligan's melodies in pastiche styles. In April of that year, Mulligan was a soloist with the New American Orchestra in Los Angeles for the premier of Patrick Williams' Spring Wings.
In June 1984, Mulligan completed and performed his first orchestral commission, Entente for Baritone Saxophone and Orchestra, with the Filarmonia Venetia. In October, Mulligan performed Entente and The Sax Chronicles with the London Symphony Orchestra.
In 1987, Mulligan adapted K-4 Pacific (from his 1971 Age of Steam big band recording) for quartet with orchestra and performed it beside Entente with the Israel Philharmonic in Tel Aviv with Zubin Mehta conducting. Mulligan's orchestral appearances at the time also included the Houston Symphony, Stockholm Philharmonic and New York Philharmonic.
1988 saw the premier of Mulligan's Octet for Sea Cliff a chamber work commissioned by the Sea Cliff Chamber Players. In 1991 the Concordia Orchestra premiered Momo's Clock, a work for orchestra (without saxophone solo) that was inspired by a book by German author Michael Ende.
In June 1988, Mulligan was invited to be the first-ever Composer-in-Residence at the Glasgow International Jazz Festival and was commissioned to write a work, which he entitled The Flying Scotsman. In 1991, Mulligan contacted Miles Davis about revisiting the music from the germane 1949 Birth of the Cool album. Davis had recently performed some of his Gil Evans collaborations with Quincy Jones at the Montreux Jazz Festival and was enthusiastic. However, Davis died from a stroke in September and Mulligan continued the recording project and tour with Wallace Roney and Art Farmer subbing for Davis. Re-Birth of the Cool (released in 1992) featured the charts from Birth of the Cool, and a new nonet which included Lewis and Barber from the original Davis band. Mulligan appeared at the Brecon Jazz Festival 1991. Mulligan's final recording was a quartet album (with guests), Dragonfly, recorded in the Summer of 1995 and released on the Telarc label. Mulligan gave his final performance on the 13th Annual Floating Jazz Festival, SS Norway, Caribbean Cruise, November 9, 1995.
Mulligan died in Darien, Connecticut on January 20, 1996 at the age of 68 following complications from knee surgery. His widow Franca — to whom he had been married since 1976 — said he had also been suffering from liver cancer. Upon Mulligan's death, his library and numerous personal effects (including a gold-plated Conn baritone saxophone) were given to the Library of Congress. 'The Gerry Mulligan Collection' is open to registered public researchers in the library's Performing Arts Research Center. The library placed Mulligan's saxophone on permanent exhibit in early 2009.
As a film composer, Mulligan wrote music for A Thousand Clowns (1965 - title theme) the film version of the Broadway comedy Luv (1967), the French films La Menace (1977) and Les Petites galères (1977 - with Ástor Piazzolla) and I'm Not Rappaport (1996 - title theme).
In 1974 Mulligan collaborated on a musical version of Anita Loos' play Happy Birthday. Although the creative team had great hopes for the work, it never made it past a workshop production at the University of Alabama. In 1978, Mulligan wrote incidental music for Dale Wasserman's Broadway play Play with Fire.
In 1995 the Hal Leonard Corporation released the video tape The Gerry Mulligan Workshop - A Master Class on Jazz and Its Legendary Players.
Category:Jazz baritone saxophonists Category:1927 births Category:1996 deaths Category:Cool jazz saxophonists Category:Cool jazz arrangers Category:Grammy Award winners Category:American musicians of Irish descent Category:American jazz baritone saxophonists Category:American jazz composers Category:Deaths from liver cancer Category:People from Queens Category:Deaths from surgical complications Category:Cancer deaths in Connecticut Category:Verve Records artists Category:GRP Records artists Category:Prestige Records artists
an:Gerry Mulligan bg:Джери Мълиган ca:Gerry Mulligan cs:Gerry Mulligan da:Gerry Mulligan de:Gerry Mulligan et:Gerry Mulligan es:Gerry Mulligan eo:Gerry Mulligan fa:جری مالیگن fr:Gerry Mulligan it:Gerry Mulligan he:ג'רי מאליגן nl:Gerry Mulligan ja:ジェリー・マリガン no:Gerry Mulligan nds:Gerry Mulligan pl:Gerry Mulligan pt:Gerry Mulligan ru:Маллигэн, Джерри sv:Gerry MulliganThis 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.
Name | Harry Belafonte |
---|---|
Born | New York City, New York, U.S. |
Background | solo_singer |
Birth name | Harold George Belafonete Jr. |
Years active | 1949–2003 |
Label | RCA Victor CBS EMI Island |
Genre | Calypso, vocal, folk |
Occupation | Actor, activist, singer }} |
One of the songs included in the album is the now famous "Banana Boat Song" (listed as "Day O" on the original release), which reached number five on the pop charts, and featured its signature lyric "Day–O." Belafonte based his version on a 1954 recording by Jamaican folk singer Louise Bennett. His other smash hit was "Jump in the Line."
Many of the compositions recorded for Calypso, including "Banana Boat Song" and "Jamaica Farewell," gave songwriting credit to Irving Burgie, Belafonte and his team but were really previously recorded Jamaican mento songs sold as calypso. The original Jamaican versions can now be heard on the "Jamaica—Mento1951–1958" CD released in 2010.
In 1959 he starred in Tonight With Belafonte, a nationally televised special that featured Odetta, who sang Water Boy and who performed a duet with Belafonte of There's a Hole in My Bucket that hit the national charts in 1961. Belafonte continued to record for RCA through the 1950s to the 1970s. Two live albums, both recorded at Carnegie Hall in 1959 and 1960, enjoyed critical and commercial success. From his 1959 album, Hava Nagila became part of his regular routine and one of his signature songs. He was one of many entertainers recruited by Frank Sinatra to perform at the inaugural gala of President John F. Kennedy in 1961. That same year he released his second calypso album, Jump Up Calypso, which went on to become another million seller. During the 1960s he introduced several artists to American audiences, most notably South African singer Miriam Makeba and Greek singer Nana Mouskouri. His album Midnight Special (1962) featured the first–ever record appearance by a then young harmonica player named Bob Dylan.
As The Beatles and other stars from Britain began to dominate the U.S. pop charts, Belafonte's commercial success diminished; 1964's Belafonte at The Greek Theatre was his last album to appear in Billboard's Top 40. His last hit single, A Strange Song, was released in 1967 and peaked at number 5 on the Adult contemporary music charts. Belafonte has received Grammy Awards for the albums Swing Dat Hammer (1960) and An Evening with Belafonte/Makeba (1965). The latter album dealt with the political plight of black South Africans under Apartheid. He earned six Gold Records.
Following a lengthy recording hiatus, An Evening with Harry Belafonte and Friends, a soundtrack and video of a televised concert were released in 1997 by Island Records. The Long Road to Freedom, An Anthology of Black Music, a huge multi–artist project recorded during the 1960s and 1970s with RCA, was finally released by the label in 2001. The album was nominated for the 2002 Grammy Awards for Best Boxed Recording Package, for Best Album Notes and for Best Historical Album.
Belafonte was the first African–American to win an Emmy, with his first solo TV special Tonight with Belafonte (1959). During the 1960s he appeared on TV specials alongside such artists as Julie Andrews, Petula Clark, Lena Horne and Nana Mouskouri. He was also a guest star on a memorable episode of The Muppet Show in 1978, in which he performed his signature song "Day–O" on television for the first time. The episode is best known for Belafonte's rendition of the spiritual song, "Turn the World Around," which he performed with Muppets that resembled African tribal masks. It became one of the series' most famous performances. It was reportedly Jim Henson's favorite episode, and Belafonte reprised the song at Henson's memorial in 1990. "Turn the World Around" was also included in the 2005 official hymnal supplement of the Unitarian Universalist Association, "Singing the Journey."
Belafonte received the Kennedy Center Honors in 1989. He was awarded the National Medal of Arts in 1994 and he won a Grammy Lifetime Achievement Award in 2000. He performed sell–out concerts globally through the 1950s to the 2000s. Due to illness he was forced to cancel a reunion tour with Nana Mouskouri planned for the spring and summer of 2003 following a tour in Europe. His last concert was a benefit concert for the Atlanta Opera on October 25, 2003. In a 2007 interview he stated that he had since retired from performing.
Dissatisfied with the film roles available to him, he returned to music during the 1960s. In the early 1970s Belafonte appeared in more films among which are two with Poitier: Buck and the Preacher (1972) and Uptown Saturday Night (1974). In 1984 Belafonte produced and scored the musical film Beat Street, dealing with the rise of hip-hop culture. Together with Arthur Baker, he produced the gold-certified soundtrack of the same name. Belafonte next starred in a major film again in the mid-1990s, appearing with John Travolta in the race–reverse drama White Man's Burden (1995); and in Robert Altman's jazz age drama Kansas City (1996), the latter of which garnered him the New York Film Critics Circle Award for Best Supporting Actor. He also starred as an Associate Justice of the Supreme Court of the United States in the TV drama Swing Vote (1999). In late 2006, Belafonte appeared in the role of Nelson, a friend of an employee of the Ambassador Hotel played by Anthony Hopkins, in Bobby, Emilio Estevez's ensemble drama about the assassination of Robert F. Kennedy.
On March 8, 1957, Belafonte married second wife Julie Robinson (former dancer with the Katherine Dunham Company). They had two children, David and Gina Belafonte. David Belafonte (a former model and actor) is an Emmy-winning producer and the executive director of the family-held company Belafonte Enterprises Inc. A music producer, he has been involved in most of Belafonte's albums and tours. He married Danish model, singer and TV personality Malena Belafonte, born Mathiesen, who won silver in Dancing with the Stars in Denmark in 2009. Malena Belafonte founded Speyer Legacy School, an award winning private elementary school for gifted and talented children. David and Malena's daughter Sarafina attended this school. Gina Belafonte is a TV and film actress and worked with her father as coach and producer on more than six films. Gina helped found The Gathering For Justice, an intergenerational, intercultural non-profit organization working to reintroduce nonviolence to stop child incarceration. She is married to actor Scott McCray.
In April 2008, Belafonte married Pamela Frank. Belafonte lived in a 17-room apartment at 300 West End Avenue (corner of 74th Street) in New York City for 50 years. In 2007 he sold his fifth-floor apartment to Abigail Disney for ten million eight hundred thousand dollars. In October 1998 Belafonte contributed a letter to Liv Ullmann's book Letter to My Grandchild.
Belafonte gave the keynote address at the ACLU of Northern California's annual Bill of Rights Day Celebration In December 2007 and was awarded the Chief Justice Earl Warren Civil Liberties Award. The 2011 Sundance Film Festival featured the documentary film "Sing Your Song," a biographical film focusing on Belafonte's contribution to and his leadership in the civil rights movement in America and his endeavours to promote social justice globally.
During "Freedom Summer" in 1964 Belafonte bankrolled the Student Non-Violent Coordinating Committee, flying to Mississippi that August with $60,000 in cash and entertaining crowds in Greenwood. In 1968 Belafonte appeared on a Petula Clark primetime television special on NBC. In the middle of a song, Clark smiled and briefly touched Belafonte's arm, which made the show's sponsor, Plymouth Motors, nervous. Plymouth wanted to cut the segment, but Clark, who had ownership of the special, told NBC that the performance would be shown intact or she would not allow the special to be aired at all. Newspapers reported the controversy, and when the special aired it grabbed high ratings. Belafonte appeared on The Smothers Brothers Comedy Hour and performed a controversial "Mardi Gras" number with footage intercut from the 1968 Democratic National Convention riots. CBS censors deleted the segment.
In 2001 he went to South Africa to support the campaign against HIV/AIDS. In 2002 Africare awarded him the Bishop John T. Walker Distinguished Humanitarian Service Award for his efforts to assist Africa. In 2004 Belafonte went to Kenya to stress the importance of educating children in the region. Belafonte has been involved in prostate cancer advocacy since 1996, when he was diagnosed and successfully treated for the disease. On June 27, 2006, Belafonte was the recipient of the BET Humanitarian Award at the 2006 BET Awards. He was named one of nine 2006 Impact Award recipients by AARP The Magazine.
On October 19, 2007, Belafonte represented UNICEF on Norwegian television to support the annual telethon (TV Aksjonen) in support of that charity and helped raise a world record of $10 per inhabitant of Norway. Belafonte was also an ambassador for the Bahamas. He is on the board of directors of the Advancement Project.
“When I went back to Havana a couple years later, the people in the hip-hop community came to see me and we hung out for a bit. They thanked me profusely and I said, 'Why?' and they said, 'Because your little conversation with Fidel and the Minister of Culture on hip-hop led to there being a special division within the ministry and we've got our own studio'."
Belafonte was active in the anti–Apartheid movement. He was the Master of Ceremonies at a reception honoringAfrican National Congress President Oliver Tambo at Roosevelt House, Hunter College, in New York City. The reception was held by the American Committee on Africa (ACOA) and The Africa Fund. He is a current board member of the TransAfrica Forum and the Institute for Policy Studies.
In December 2007 he endorsed John Edwards for the 2008 Presidential Election.
Belafonte used the quote to characterize former United States Secretaries of State Colin Powell and Condoleezza Rice, both African-Americans. Powell and Rice both responded, with Powell calling the remarks "unfortunate" and Rice saying "I don't need Harry Belafonte to tell me what it means to be black."
thumb|Harry Belafonte at the 61st Berlin International Film FestivalThe comment was brought up again in an interview with Amy Goodman for Democracy Now! in 2006. In January 2006, Belafonte led a delegation of activists including actor Danny Glover and activist/professor Cornel West to meet with President of Venezuela Hugo Chávez. In 2005 Chávez, an outspoken Bush critic, initiated a program to provide cheaper heating oil for poor people in several areas of the United States. Belafonte supported this initiative. Belafonte was quoted as saying, during the meeting with Chávez, "No matter what the greatest tyrant in the world, the greatest terrorist in the world, George W. Bush says, we're here to tell you: Not hundreds, not thousands, but millions of the American people support your revolution." Belafonte and Glover met again with Chávez in 2006. The comment ignited a great deal of controversy. Hillary Clinton refused to acknowledge Belafonte's presence at an awards ceremony that featured both of them. AARP, which had just named him one of its 10 Impact Award honorees 2006, released this statement following the remarks: "AARP does not condone the manner and tone which he has chosen and finds his comments completely unacceptable." During a Martin Luther King, Jr. Day speech at Duke University in 2006 Belafonte compared the American government to the 9/11 hijackers, saying, "What is the difference between that terrorist and other terrorists?" In response to criticism about his remarks Belafonte asked, "What do you call Bush when the war he put us in to date has killed almost as many Americans as died on 9/11 and the number of Americans wounded in war is almost triple? [...] By most definitions Bush can be considered a terrorist." When he was asked about his expectation of criticism for his remarks on the war in Iraq, Belafonte responded: "Bring it on. Dissent is central to any democracy."
In another interview Belafonte remarked that while his comments may have been "hasty," nevertheless he felt the Bush administration suffered from "arrogance wedded to ignorance" and its policies around the world were "morally bankrupt." In January 2006, in a speech to the annual meeting of the Arts Presenters Members Conference, Belafonte referred to "the new Gestapo of Homeland Security" saying, "You can be arrested and have no right to counsel!" During the Martin Luther King, Jr. Day speech at the Duke University in January 2006 Belafonte said that if he could choose his epitaph it would be, "Harry Belafonte, Patriot."
Category:American anti-war activists Category:American folk singers Category:People from Manhattan Category:American socialists Category:International opponents of apartheid in South Africa Category:Calypsonians Category:Emmy Award winners Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:American musicians of Jamaican descent Category:People of Martiniquais descent Category:World music musicians Category:Jubilee Records artists Category:RCA Victor artists Category:Kennedy Center honorees Category:Tony Award winners Category:United States National Medal of Arts recipients Category:1927 births Category:Living people
an:Harry Belafonte bg:Хари Белафонте cy:Harry Belafonte da:Harry Belafonte de:Harry Belafonte et:Harry Belafonte es:Harry Belafonte fa:هری بلافونته fr:Harry Belafonte gl:Harry Belafonte hr:Harry Belafonte io:Harry Belafonte id:Harry Belafonte is:Harry Belafonte it:Harry Belafonte he:הארי בלפונטה hu:Harry Belafonte ml:ഹാരി ബെലാഫൊണ്ടെ nl:Harry Belafonte ja:ハリー・ベラフォンテ no:Harry Belafonte oc:Harry Belafonte pl:Harry Belafonte pt:Harry Belafonte ru:Белафонте, Гарри simple:Harry Belafonte fi:Harry Belafonte sv:Harry Belafonte tr:Harry BelafonteThis 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.
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