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 | 34°03′″N118°15′″N |
---|---|
Character name | Black Lightning |
Converted | y |
Publisher | DC Comics |
Debut | ''Black Lightning'' #1 (April 1977) |
Creators | Tony Isabella (writer)Trevor Von Eeden (artist) |
Real name | Jefferson Pierce |
Species | |
Homeworld | |
Alliances | Justice LeagueOutsidersU.S. Department of EducationInternational Olympic Committee |
Aliases | |
Supports | |
Powers | Electricity generation and manipulation,Limited flightForce field generation,Skilled martial artistOlympic level athlete |
Cat | super |
Subcat | DC Comics |
Hero | y |
Sortkey | Black Lightning }} |
Tony Isabella wrote the first 10 issues of ''Black Lightning'', before handing it over to Dennis O'Neil. Only one O'Neil-scripted issue came out before the series was canceled in 1978 as part of a general large-scale pruning of the company's superhero titles known as the DC Implosion (which also canceled the debut of ''Vixen'', which would have been DC's first title starring a ''female'' black superhero). Issue #12 was published in ''Cancelled Comic Cavalcade'' and ''World's Finest'' #260.
Black Lightning made a number of guest appearances in various titles over the next few years, including a string of issues of ''World's Finest'' written by O'Neil, then shifting to Detective Comics and a two-part story in ''Justice League of America'' in which the League invited him to join, but he turned them down.
In 1983, with his powers restored, he regularly appeared again as a member of the Batman-led superhero team the Outsiders. When ''The Outsiders'' ended, he returned to making occasional guest appearances.
In 1995, a new ''Black Lightning'' series began, with art by Eddy Newell, again written by Tony Isabella, who was fired after the eighth issue. After Tony Isabella left, the series was canceled after only five more issues. The reason for Tony Isabella leaving could have been because of editorial disagreements about the direction of the series. However, Isabella has since revealed that he believes the editor fired him because of a wish to bring in a new writer in order to "create his own power base at DC Comics".
A "Black Lightning: Year One" six-issue limited series, written by Jen Van Meter and illustrated by Cully Hamner saw a bi-weekly release in 2009, and was nominated for two Glyph Awards in 2010.
Making frequent guest appearances in several DC series, Pierce has appeared in ''Green Arrow'' (who had a one night stand with his niece, a successful attorney named Joanna Pierce). Pierce helped Green Arrow track down Dr. Light in the ''Green Arrow'' "Heading into the Light" story arc. He also appeared in the new ''Outsiders'', of which his daughter, Anissa (using the alias Thunder), is a member. He came to fight the new Sabbac and help his daughter alongside Captain Marvel Jr. and the Outsiders. He had on an outfit that mixed his second outfit with the colors of the first. After teaming up with the Outsiders, incoming President Pete Ross asked him to resign as Secretary of Education and he did.
At some point prior to his resignation, Pierce used his pull in Washington to deny powerful metahuman gangster known as Holocaust permits to build a Casino on Paris Island in Dakota. This would come back to haunt Pierce sometime later when the enraged Holocaust attacked him while he was giving the graduation speech at Ernest Hemmingway Highschool.
After the third Society of Super Villains was formed, Black Lightning as a member of Brad Meltzer's new Justice League began using his status as Lex Luthor's former Secretary of Education to gain information from super villains.
Black Lightning was the focus of the one-shot ''Final Crisis: Submit'', in which he helped the new Tattooed Man and his family escape at the cost of his own freedom. He is subsequently shown in issue 4 of ''Final Crisis'' under Darkseid's thrall.
In ''Justice League of America'' (vol 2 )#27, Pierce claims that people frequently ask him if he is the father of Static, much to his chagrin. It is later revealed that Static is in fact a fan of Black Lightning, and has a poster of the hero in his room in Titans Tower.
According to ''Black Lightning: Year One'', Jefferson Pierce is in current continuity a metahuman who was born with the ability to generate and magnify external localized electromagnetic phenomena, by manipulating intense bio-electric fields generated by his body. This is a power that he internalized and kept hidden for much of the early part of his adult life. Exactly how much electrical energy Black Lightning can generate is unknown but he can easily stun or kill a man with his internal powers, and on one occasion he was able to restart Superman's heart after the Man of Steel had suffered from a near-fatal Kryptonite exposure. He can also generate a powerful electro-magnetic force field capable of stopping projectiles, however, this act requires considerable effort and concentration. He has demonstrated the ability to create an electromagnetic repulsion field which grants him limited flight capabilities. Pierce also maintains his Olympic-level physical conditioning, giving him above average strength, speed, and stamina. Under Batman's tutelage, he has become a highly skilled hand-to-hand martial artist and combatant.
Prior to appearing in ''Batman: The Brave and the Bold'' in 2009, Black Lightning had never appeared in any of the many television series based on DC Comics superheroes. This in itself is not unusual for a character of Black Lightning's relative obscurity, but is notable because at least three such series have contained specially-created black superheroes with electrical powers who ''weren't'' Black Lightning - series regular Black Vulcan in ''Super Friends'' (Hanna-Barbera did not want to pay the larger licensing fee required to cover the royalty due to the creators, so decided to create its own version of the character); Soul Power, who appeared in ''Static Shock'' and was originally intended to have been Black Lightning, but DC Comics would not permit the use of Black Lightning; and Juice in ''Justice League Unlimited'', based on Black Vulcan.
Category:1977 comic debuts Category:Comics characters introduced in 1977 Category:DC Comics martial artists Category:DC Comics metahumans Category:DC Comics titles Category:Fictional African-American people Category:Fictional characters with electric abilities Category:Fictional schoolteachers
de:Black Lightning fr:Black Lightning pt:Raio Negro (DC Comics) fi:Musta Salama (DC Comics) tl:Black LightningThis 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.
Charles Parker, Jr. (August 29, 1920 – March 12, 1955), famously called Bird or Yardbird, was an American jazz saxophonist and composer.
Parker, with Louis Armstrong and Duke Ellington, is widely considered to have been one of the most influential jazz musicians. Parker acquired the nickname "Yardbird" early in his career and the shortened form "Bird" remained Parker's sobriquet for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology" and "Bird of Paradise."
Parker played a leading role in the development of bebop, a form of jazz characterized by fast tempos, virtuoso technique, and improvisation based on harmonic structure. Parker's innovative approaches to melody, rhythm, and harmony exercised enormous influence on his contemporaries. Several of Parker's songs have become standards, including "Billie's Bounce", "Anthropology", "Ornithology", and "Confirmation". He introduced revolutionary harmonic ideas including a tonal vocabulary employing 9ths, 11ths and 13ths of chords, rapidly implied passing chords, and new variants of altered chords and chord substitutions. His tone was clean and penetrating, but sweet and plaintive on ballads. Although many Parker recordings demonstrate dazzling virtuosic technique and complex melodic lines – such as "Ko-Ko", "Kim", and "Leap Frog" – he was also one of the great blues players. His themeless blues improvisation "Parker's Mood" represents one of the most deeply affecting recordings in jazz. At various times, Parker fused jazz with other musical styles, from classical to Latin music, blazing paths followed later by others.
Parker was an icon for the hipster subculture and later the Beat generation, personifying the conception of the jazz musician as an uncompromising artist and intellectual, rather than just a popular entertainer. His style – from a rhythmic, harmonic and soloing perspective – influenced countless peers on every instrument.
Parker displayed no sign of musical talent as a child. His father presumably provided some musical influence; he was a pianist, dancer and singer on the T.O.B.A. circuit, although he later became a Pullman waiter or chef on the railways. His mother worked nights at the local Western Union. His biggest influence however was a young trombone player who taught him the basics of improvisation.
Parker began playing the saxophone at age 11 and at age 14 joined his school's band using a rented school instrument. One story holds that, without formal training, he was terrible, and thrown out of the band. Experiencing periodic setbacks of this sort, at one point he broke off from his constant practicing.
Groups led by Count Basie and Bennie Moten were the leading Kansas City ensembles, and undoubtedly influenced Parker. He continued to play with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique with the assistance of Buster Smith, whose dynamic transitions to double and triple time certainly influenced Parker's developing style.
In 1938, Parker joined pianist Jay McShann's territory band. The band toured nightclubs and other venues of the southwest, as well as Chicago and New York City. Parker made his professional recording debut with McShann's band. It was said at one point in McShann's band that he "sounded like a machine", owing to his highly virtuosic yet nonetheless musical playing.
As a teenager, Parker developed a morphine addiction while in hospital after an automobile accident, and subsequently became addicted to heroin. Heroin would haunt him throughout his life and ultimately contribute to his death.
In 1942, Parker left McShann's band and played with Earl Hines for one year. Also in the band was trumpet player Dizzy Gillespie, which is where the soon to be famous duo met for the first time. Unfortunately, this period is virtually undocumented because of the strike of 1942–1943 by the American Federation of Musicians, during which no official recordings were made. Nevertheless, we know that Parker joined a group of young musicians in after-hours clubs in Harlem such as Clark Monroe's Uptown House and (to a much lesser extent) Minton's Playhouse. These young iconoclasts included Gillespie, pianist Thelonious Monk, guitarist Charlie Christian, and drummer Kenny Clarke. The beboppers' attitude was summed up in a famous quotation attributed to Monk by Mary Lou Williams: "We wanted a music that they couldn't play" – "they" being the (white) bandleaders who had taken over and profited from swing music. The group played in venues on 52nd Street including the Three Deuces and The Onyx. In his time in New York City, Parker also learned much from notable music teacher Maury Deutsch.
Early in its development, this new type of jazz was rejected by many of the established, traditional jazz musicians who disdained their younger counterparts with comments like Eddie Condon's putdown: "They flat their fifths, we drink ours." The beboppers, in response, called these traditionalists "moldy figs". However, some musicians, such as Coleman Hawkins and Benny Goodman, were more positive about its development, and participated in jam sessions and recording dates in the new approach with its adherents.
Because of the 2-year Musicians' Union recording ban on all commercial recordings from 1942 to 1944 (part of a struggle to get royalties from record sales for a union fund for out-of-work musicians), much of bebop's early development was not captured for posterity. As a result, the new musical concepts only gained limited radio exposure. Bebop musicians had a difficult time gaining widespread recognition. It was not until 1945, when the recording ban was lifted, that Parker's collaborations with Dizzy Gillespie, Max Roach, Bud Powell and others had a substantial effect on the jazz world. One of their first (and greatest) small-group performances together was rediscovered and issued in 2005: a concert in New York's Town Hall on June 22, 1945. Bebop began to grab hold and gain wider appeal among musicians and fans alike.
On November 26, 1945, Parker led a record date for the Savoy label, marketed as the "greatest Jazz session ever." The tracks recorded during this session include "Ko-Ko" (based on the chords of "Cherokee"), "Now's the Time" (a twelve bar blues incorporating a riff later used in the late 1949 R&B; dance hit "The Hucklebuck"), "Billie's Bounce", and "Thriving on a Riff".
Shortly afterwards, the Parker/Gillespie band traveled to an unsuccessful engagement at Billy Berg's club in Los Angeles. Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. He experienced great hardship in California, eventually being committed to Camarillo State Mental Hospital for a six month period.
Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic due to his habit. Heroin was difficult to obtain after he moved to California for a short time where the drug was less abundant, and Parker began to drink heavily to compensate for this. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Prior to this session, Parker drank about a quart of whiskey. According to the liner notes of ''Charlie Parker on Dial Volume 1'', Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax." When he finally did come in, he swayed wildly and once spun all the way around, going badly off mic. On the next tune, "Lover Man", producer Ross Russell physically supported Parker in front of the microphone. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars. On his second eight bars, however, Parker begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at Parker. McGhee's bellow is audible on the recording. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings despite its flaws. Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing the sub-par performance (and re-recorded the tune in 1951 for Verve, this time in stellar form, but perhaps lacking some of the passionate emotion in the earlier, problematic attempt).
During the night following the "Lover Man" session, Parker was drinking in his hotel room. He entered the hotel lobby stark naked on several occasions and asked to use the phone, but was refused on each attempt. The hotel manager eventually locked him in his room. At some point during the night, he set fire to his mattress with a cigarette, then ran through the hotel lobby wearing only his socks. He was arrested and committed to Camarillo State Mental Hospital, where he remained for six months.
Coming out of the hospital, Parker was initially clean and healthy, and proceeded to do some of the best playing and recording of his career. Before leaving California, he recorded "Relaxin' at Camarillo", in reference to his hospital stay. He returned to New York – and his addiction – and recorded dozens of sides for the Savoy and Dial labels that remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including trumpeter Miles Davis and drummer Max Roach.
Some fans thought this record was a sell out and a pandering to popular tastes. It is now seen to have been artistically as well as commercially successful. While ''Charlie Parker with Strings'' sold better than his other releases, Parker's version of "Just Friends" is regarded as one of his best performances. In an interview, Parker said he considered it to be his best recording to that date.
By 1950, much of the jazz world had fallen under Parker's spell. Many musicians transcribed and copied his solos. Legions of saxophonists imitated his playing note-for-note. In response to these pretenders, Parker's admirer, the bass player Charles Mingus, titled a tune "Gunslinging Bird" (meaning "If Charlie Parker were a gunslinger, there would be a whole lot of dead copycats") featured on the album ''Mingus Dynasty''. In this regard, he is perhaps only comparable to Louis Armstrong: both men set the standard for their instruments for decades, and few escaped their influence.
In 1953, Parker performed at Massey Hall in Toronto, Canada, joined by Gillespie, Mingus, Bud Powell and Max Roach. Unfortunately, the concert clashed with a televised heavyweight boxing match between Rocky Marciano and Jersey Joe Walcott and as a result was poorly attended. Thankfully, Mingus recorded the concert, and the album ''Jazz at Massey Hall'' is often cited as one of the finest recordings of a live jazz performance, with the saxophonist credited as "Charlie Chan" for contractual reasons.
At this concert, he played a plastic Grafton saxophone (serial number 10265); later, saxophonist Ornette Coleman used this brand of plastic sax in his early career. There is a story that says Parker had sold his alto saxophone to buy drugs, and at the last minute, he, Dizzy Gillespie and other members of Charlie's entourage went running around Toronto trying to find Parker a saxophone. After scouring all the downtown pawnshops open at the time, they were only able to find a Grafton, which Parker proceeded to use at the concert that night. This account however is totally untrue. Parker in fact owned two of the Grafton plastic horns. At this point in his career he was experimenting with new sounds and new materials. Parker himself explains the purpose of the plastic saxophone in a May 9 of 1953 broadcast from Birdland and does so again in subsequent May 1953 broadcast.
Parker was known for often showing up to performances without an instrument, necessitating a loan at the last moment. There are various photos that show him playing a Conn 6M saxophone, a high quality instrument that was noted for having a very fast action and a unique "underslung" octave key.
Some of the photographs showing Parker with a Conn 6M were taken on separate occasions. because Parker can be seen wearing different clothing and there are different backgrounds. However, other photos exist that show Parker holding alto saxophones with a more conventional octave key arrangement, i.e. mounted above the crook of the saxophone e.g. the Martin Handicraft and Selmer Model 22 saxophones, among others. Parker is also known to have performed with a King 'Super 20' saxophone, with a semi-underslung octave key that bears some resemblance to those fitted on modern Yanagisawa instruments. Parker's King Super 20 saxophone was made specially for him in 1947.
Parker died in the suite of his friend and patron Nica de Koenigswarter at the Stanhope Hotel in New York City while watching ''The Dorsey Brothers' Stage Show'' on television. The official causes of death were lobar pneumonia and a bleeding ulcer but Parker also had an advanced case of cirrhosis and had had a heart attack. Any one of the four ailments could have killed him. The coroner who performed his autopsy mistakenly estimated Parker's 34-year-old body to be between 50 and 60 years of age.
It was well known that Parker never wanted to return to Kansas City, even in death. Parker had told his common-law wife, Chan, that he did not want to be buried in the city of his birth; that New York was his home and he didn’t want any fuss or memorials when he died. At the time of his death, though, he had not divorced his previous wife Doris, nor had he officially married Chan, which left Parker in the awkward post-mortem situation of having two widows. This complicated the settling of Parker's inheritance and would ultimately serve to frustrate his wish to be quietly interred in his adopted hometown. Dizzy Gillespie was able to take charge of the funeral arrangements that Chan had been putting together and organised a ‘lying-in-state’, a Harlem procession officiated by Adam Clayton Powell, Jr., and a memorial concert before Parker's body was flown back to Missouri to be buried there in accordance with his mother's wishes. Parker was buried at Lincoln Cemetery, 8604 E. Truman Road, Kansas City, Missouri.
Charlie Parker was survived by both his legal wife, Doris (née Doris June Snyder, August 16, 1922 – January 17, 2000), and his partner, Chan; a stepdaughter, Kim, who is also a musician; and a son, Baird; their later lives are chronicled in Chan Parker's autobiography, ''My Life in E Flat''.
Parker's estate is managed by CMG Worldwide.
While tunes such as "Now's The Time", "Billie's Bounce", and "Cool Blues" were based on conventional 12-bar blues changes, Parker also created a unique version of the 12-bar blues for his tune "Blues for Alice". These unique chords are known popularly as "Bird Changes". Like his solos, some of his compositions are characterized by long, complex melodic lines and a minimum of repetition although he did employ the use of repetitive (yet relatively rhythmically complex) motifs in many other tunes as well, most notably "Now's The Time".
Parker also contributed a vast rhythmic vocabulary to the modern jazz solo, one in which triplets and pick-up notes were used in (then) unorthodox ways to lead into chord tones, affording the soloist with more freedom to use passing tones, which soloists would have previously avoided. Within this context, Parker was admired for his unique style of phrasing and innovative use of rhythm. Via his recordings and the popularity of the posthumously published ''Charlie Parker Omnibook'', Parker's uniquely identifiable vocabulary of "licks" and "riffs" dominated jazz for many years to come. Today his ideas are routinely analyzed by jazz students and are part of any player's basic jazz vocabulary.
;Grammy Award {| class=wikitable |- | colspan="5" style="text-align:center;"| Charlie Parker Grammy Award History |- ! Year ! Category ! Title ! Genre ! Label ! Result |- align=center | 1974 | Best Performance By A Soloist | ''First Recordings!'' | Jazz | Onyx | Winner |}
;Grammy Hall of Fame Recordings of Charlie Parker were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."
{| class=wikitable |- | colspan="6" style="text-align:center;"| Charlie Parker: Grammy Hall of Fame Awards |- ! Year Recorded ! Title ! Genre ! Label ! Year Inducted |- align=center | 1945 | "Billie's Bounce" | Jazz (Single) | Savoy | 2002 |- align=center | 1953 | ''Jazz at Massey Hall'' | Jazz (Album) | Debut | 1995 |- align=center | 1946 | "Ornithology" | Jazz (Single) | Dial | 1989 |- align=center | 1950 | ''Charlie Parker with Strings'' | Jazz (Album) | Mercury | 1988 |}
;Inductions {| class=wikitable |- | colspan="5" style="text-align:center;"| |- ! Year Inducted ! Title |- align=center | 2004 | Jazz at Lincoln Center: Nesuhi Ertegun Jazz Hall of Fame |- align=center | 1984 | Grammy Lifetime Achievement Award |- align=center | 1979 | Big Band and Jazz Hall of Fame |}
;National Recording Registry
In 2002, the Library of Congress honored his recording "Ko-Ko" (1945) by adding it to the National Recording Registry.
;U.S. Postage Stamp
{| class=wikitable |- | colspan="4" style="text-align:center;"| |- ! Year Issued ! Stamp ! USA ! Note |- align=center | 1995 | 32 cents Commemorative stamp | U.S. Postal Stamps | Photo (Scott #2987) |}
Coordinates | 34°03′″N118°15′″N |
---|---|
name | Charlie Parker Residence |
nrhp type | nrhp |
locmapin | New York City |
lat degrees | 40 |
lat minutes | 43 |
lat seconds | 36 |
lat direction | N |
long degrees | 73 |
long minutes | 58 |
long seconds | 50 |
long direction | W |
coord parameters | region:US-NY_type:landmark |
location | 151 Avenue BManhattan, New York City |
built | c.1849 |
architecture | Gothic Revival |
added | April 7, 1994 |
designated nrhp type | April 7, 1994 |
refnum | 94000262 |
governing body | private |
designated other2 name | NYC Landmark |
designated other2 date | May 18, 1999 |
designated other2 abbr | NYCL |
designated other2 link | New York City Landmarks Preservation Commission |
designated other2 color | #ff0000 }} |
Category:1920 births Category:1955 deaths Category:People from Kansas City, Kansas Category:African American musicians Category:American buskers Category:American jazz composers Category:American jazz saxophonists Category:Bebop saxophonists Category:Deaths from pneumonia Category:Grammy Lifetime Achievement Award winners Category:Infectious disease deaths in New York Category:Jazz alto saxophonists Category:Musicians from Missouri Category:Savoy Records artists
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Coordinates | 34°03′″N118°15′″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, Douglas 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. In 1939, Dizzy joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, the instrumental ''Pickin' the Cabbage'', in 1940. (Originally released on ''Paradiddle'', a 78rpm backed with a co-composition with Cozy Cole, Calloway's drummer at the time, on the Vocalion label, #5467).
Dizzy was fired by Calloway in late 1941, after a notorious altercation between the two. The incident is recounted by Dizzy, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bach's 1997 film, The Spitball Story. Calloway did not approve of Dizzy's mischievous humor, nor of his adventuresome approach to soloing; according to Jones, Calloway referred to it as “Chinese music.” During one performance, Calloway saw a spitball land on the stage, and accused Dizzy of having thrown it. Dizzy denied it, and the ensuing argument led to Calloway striking Dizzy, who then pulled out a switchblade knife and charged Calloway. The two were separated by other band members, during which scuffle Calloway was cut on the hand.
During his time in Calloway's band, Dizzy Gillespie started writing big band music for bandleaders like Woody Herman and Jimmy Dorsey. He then freelanced with a few bands - most notably Ella Fitzgerald's orchestra, composed of members of the late Chick Webb's band, in 1942.
In 1943, Dizzy joined the Earl Hines orchestra. The legendary big band of Billy Eckstine gave his unusual harmonies a better setting and it was as a member of Eckstine's band that he was reunited with Parker, a fellow member of Hines's more conventional band. In 1945, Dizzy left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums.He was a world renowned figure and was a major influence on modern day jazz.
Gillespie compositions like "Groovin' High", "Woody n' You" and "Salt Peanuts" sounded radically different, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while Gillespie was playing with Earl Hines' band, is noted for having a feature that is common in today's music, a non-walking bass line. The song also displays Afro-Cuban rhythms. One of their first (and greatest) small-group performances together was only issued in 2005: a concert in New York's Town Hall on June 22, 1945. Gillespie taught many of the young musicians on 52nd Street, including Miles Davis and Max Roach about the new style of jazz. After a lengthy gig at Billy Berg's club in Los Angeles, which left most of the audience ambivalent or hostile towards the new music, the band broke up. Unlike Parker, who was content to play in small groups and be an occasional featured soloist in big bands, Gillespie aimed to lead a big band himself; his first, unsuccessful, attempt to do this was in 1945.
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. Gillespie's most famous contributions to Afro-Cuban music are the compositions "Manteca" and "Tin Tin Deo" (both co-written with Chano Pozo); he was responsible for commissioning George Russell's "Cubano Be, Cubano Bop", which featured the great but ill-fated Cuban conga player, Chano Pozo. In 1977, Gillespie discovered Arturo Sandoval while researching music during a tour of Cuba.
In 1960, he was inducted into the ''Down Beat'' magazine's Jazz Hall of Fame.
During the 1964 United States presidential campaign the artist, with tongue in cheek, put himself forward as an independent write-in candidate. He promised that if he were elected, the White House would be renamed "The Blues House," and a cabinet composed of Duke Ellington (Secretary of State), Miles Davis, (Director of the CIA), Max Roach (Secretary of Defense), Charles Mingus (Secretary of Peace), Ray Charles (Librarian of Congress), Louis Armstrong (Secretary of Agriculture), Mary Lou Williams (Ambassador to the Vatican), Thelonious Monk (Travelling Ambassador) and Malcolm X (Attorney General). He said his running mate would be Phyllis Diller. Campaign buttons had been manufactured years ago by Gillespie's booking agency "for publicity, as a gag", but now proceeds from them went to benefit the Congress of Racial Equality, Southern Christian Leadership Conference and Martin Luther King, Jr.; in later years they became a collector's item. In 1971 Gillespie announced he would run again but withdrew before the election for reasons connected to the Baha'i faith.
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.
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.
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Coordinates | 34°03′″N118°15′″N |
---|---|
Name | Rosemary Clooney |
Background | solo_singer |
Born | May 23, 1928Maysville, Kentucky, U.S. |
Died | June 29, 2002Beverly Hills, California, U.S. |
Genre | Traditional pop, vocal jazz |
Years active | 1946–2001 |
Occupation | Singer, Actress |
Spouse | Jose Ferrer (1953–1961; 1964–1967), Dante Cesare DiPaolo (1997–2002, her death) |
Label | ColumbiaMGMCoralRCA VictorRepriseDotUnited ArtistsConcord Jazz |
Website | Rosemary Clooney Palladium website }} |
In 1954, she starred, along with Bing Crosby, Danny Kaye, and Vera-Ellen, in the movie ''White Christmas''. She starred, in 1956, in a half-hour syndicated television musical-variety show ''The Rosemary Clooney Show''. The show featured The Hi-Lo's singing group and Nelson Riddle's orchestra. The following year, the show moved to NBC prime time as ''The Lux Show Starring Rosemary Clooney'' but only lasted one season. The new show featured the singing group The Modernaires and Frank DeVol's orchestra. In later years, Clooney would often appear with Bing Crosby on television, such as in the 1957 special ''The Edsel Show'', and the two friends made a concert tour of Ireland together. On November 21, 1957, she appeared on NBC's ''The Ford Show, Starring Tennessee Ernie Ford,'' a frequent entry in the "Top 20" and featuring a musical group called "The Top Twenty." In 1960, Clooney and Crosby co-starred in a 20-minute CBS radio program aired before the midday news each weekday.
Clooney left Columbia Records in 1958, doing a number of recordings for MGM Records and then some for Coral Records. Finally, toward the end of 1958, she signed with RCA Victor Records, where she stayed until 1963. In 1964, she went to Reprise Records, and in 1965 to Dot Records. She moved to United Artists Records in 1966.
Beginning in 1977, she recorded an album a year for the Concord Jazz record label, which continued until her death. This was in contrast to most of her generation of singers who had long since stopped recording regularly by then. In the late-1970s and early-1980s, Clooney did television commercials for Coronet brand paper towels, during which she sang a memorable jingle that goes, "Extra value is what you get, when you buy Coro-net." James Belushi later parodied Clooney and the commercial while as a cast member on NBC's ''Saturday Night Live'' in the early 1980s. Clooney sang a duet with Wild Man Fischer on "It's a Hard Business" in 1986, and in 1994 she sang a duet of ''Green Eyes'' with Barry Manilow in his 1994 album, ''Singin' with the Big Bands''.
She guest-starred in the NBC television medical drama ''ER'' (starring her nephew, George Clooney) in 1995; she received a Primetime Emmy Award nomination for Outstanding Guest Actress in a Drama Series. On January 27, 1996, Clooney appeared on Garrison Keillor's ''Prairie Home Companion'' radio program. She sang "When October Goes" -- lyrics by Johnny Mercer and music by Barry Manilow (after Mercer's death) -- from Manilow's 1984 album ''2:00 AM Paradise Cafe'', and discussed what an excellent musician Manilow was.
In 1999, Clooney founded the Rosemary Clooney Music Festival, held annually in Maysville, her hometown. She performed at the festival every year until her death. Proceeds benefit the restoration of the Russell Theater in Maysville, where Clooney's first film, ''The Stars are Singing'', premiered in 1953.
She received the Grammy Lifetime Achievement Award in 2002.
Clooney was married twice to the movie star José Ferrer who was sixteen years her senior. They were first married from 1953 until 1961 and, despite his open infidelities, again from 1964 to 1967. They had five children: actor Miguel Ferrer (b. 1955), Maria Ferrer (b. 1956), Gabriel Ferrer (b. 1957) (who married singer Debby Boone), Monsita Ferrer (b. 1958), and Rafael Ferrer (b. 1960).
In 1968, her relationship with a young drummer ended after two years, and she became increasingly dependent on pills after a punishing tour.
She joined the presidential campaign of close friend Bobby Kennedy, and heard the shots when he was assassinated on June 5, 1968. A month later she had a nervous breakdown onstage in Reno, Nevada, and was hospitalized. She remained in psychoanalysis therapy for eight years afterwards. Her sister Betty died suddenly of a brain aneurysm in 1976. She subsequently started a foundation in memory of and named for her sister. During this time she wrote her first autobiography, ''This for Remembrance: the Autobiography of Rosemary Clooney, an Irish-American Singer'', written in collaboration with Raymond Strait and published by Playboy Press in 1977. She chronicled her unhappy early life, her career as a singer, her marriage to Ferrer and mental health problems, concluding with her comeback as a singer and her happiness. Her good friend Bing Crosby wrote the introduction. Katherine Coker adapted the book for Jackie Cooper who produced and directed the television movie, ''Rosie: the Rosemary Clooney Story'' (1982) starring Sondra Locke (who lip syncs Clooney's songs), Penelope Milford as Betty and Tony Orlando who plays Jose Ferrer.
Living for many years in Beverly Hills, California, in the house formerly owned by George and Ira Gershwin, in 1980, she purchased a second home on Riverside Drive in Augusta, Kentucky, near Maysville, her childhood hometown. In 1983, Rosemary and her brother Nick co-chaired the Betty Clooney Foundation for the Brain-Injured, addressing the needs of survivors of cognitive disabilities caused by strokes, tumors and brain damage from trauma or age.
In 1999 Clooney published her second autobiography, ''Girl Singer: An Autobiography'' describing her battles with addiction to prescription drugs for depression, and how she lost and then regained a fortune. "I'd call myself a sweet singer with a big band sensibility," she wrote.
Today, the Augusta house offers viewing of collections of her personal items and from many of her films and singing performances. Her Beverly Hills home at 1019 North Roxbury Drive was sold to a developer after her death in 2002 and has been demolished.
She married her longtime friend, a former dancer, Dante DiPaolo in 1997 at St. Patrick's Church in Maysville, Kentucky.\
In 2003 Rosemary Clooney was inducted into the Kentucky Women Remembered exhibit and her portrait by Alison Lyne is on permanent display in the Kentucky State Capitol's rotunda.
In September 2007 a mural honoring moments from her life was painted in downtown Maysville. The mural highlights her lifelong friendship with Blanche Chambers, the 1953 premier of ''The Stars are Singing'' and her singing career. It was painted by Louisiana muralists Robert Dafford, Herb Roe and Brett Chigoy as part of the Maysville Floodwall Murals project. Her brother Nick Clooney spoke during the dedication for the mural, explaining various images to the crowd.
Category:1928 births Category:2002 deaths Category:American Roman Catholics Category:American female singers Category:American pop singers Category:Cabaret singers Category:Cancer deaths in California Category:Deaths from lung cancer Category:Decca Records artists Category:American musicians of German descent Category:Grammy Lifetime Achievement Award winners Category:American musicians of Irish descent Category:American people of German descent Category:American people of Irish descent Category:MGM Records artists Category:Musicians from Kentucky Category:Kentucky Democrats Category:California Democrats Category:People from Mason County, Kentucky Category:People with bipolar disorder Category:Torch singers Category:Traditional pop music singers Category:RCA Victor artists Category:Concord Records artists Category:Actors from Kentucky Category:History of women in Kentucky
be:Розмары Клуні de:Rosemary Clooney es:Rosemary Clooney fr:Rosemary Clooney gl:Rosemary Clooney ko:로즈메리 클루니 hr:Rosemary Clooney id:Rosemary Clooney it:Rosemary Clooney nl:Rosemary Clooney ja:ローズマリー・クルーニー no:Rosemary Clooney nov:Rosemary Clooney pl:Rosemary Clooney pt:Rosemary Clooney ru:Клуни, Розмари simple:Rosemary Clooney fi:Rosemary Clooney sv:Rosemary Clooney th:โรสแมรี คลูนีย์This 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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