A percussion instrument is any object which produces a sound when hit with an implement, shaken, rubbed, scraped, or by any other action which sets the object into vibration. The term usually applies to an object used in a rhythmic context or with musical intent.

The word "percussion" has evolved from Latin terms: "percussio" (which translates as "to beat, strike" in the musical sense, rather than the violent action), and "percussus" (which is a noun meaning "a beating"). As a noun in contemporary English it is described in Wiktionary as "the collision of two bodies to produce a sound". The usage of the term is not unique to music but has application in medicine and weaponry, as in percussion cap, but all known and common uses of the word, "percussion", appear to share a similar lineage beginning with the original Latin: "percussus". In a musical context then, the term "percussion instruments" may have been coined originally to describe a family of instruments including drums, rattles, metal plates, or wooden blocks which musicians would beat or strike (as in a collision) to produce sound.

History

Anthropologists and historians often speculate that percussion instruments were the first musical devices ever created. The human voice was probably the first musical instrument, but percussion instruments such as hands and feet, then sticks and rocks, were in widespread use long before recorded musical history.

Function

Percussion instruments may play not only rhythm, but also melody and harmony.

Percussion is commonly referred to as "the backbone" or "the heartbeat" of a musical ensemble, often working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist and the drummer are often referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, and brass. However, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed. In the 18th and 19th centuries, other percussion instruments (like the triangle or cymbals) have been used, again relatively sparingly in general. The use of percussion instruments became more frequent in the 20th century classical music.

In almost every style of music, percussion plays a pivotal role. In military marching bands and pipes and drums, it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, and it is the snare that provides that crisp, decisive air to the tune of a regiment. In classic jazz, one almost immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is spoken. In more recent popular music culture, it is almost impossible to name three or four rock, hip-hop, rap, funk or even soul charts or songs that do not have some sort of percussive beat keeping the tune in time.

Because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody, and harmony are all represented in these ensembles.

Percussion notation

Music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef; More often a treble clef (or sometimes a bass clef) is substituted for rhythm clef.

Classifications

Percussion instruments are classified by various criteria sometimes depending on their construction, ethnic origin, function within musical theory and orchestration, or their relative prevalence in common knowledge.

Percussion instruments are sometimes classified as "pitched" or "unpitched." While valid, this classification is widely seen as inadequate. Rather, it may be more informative to describe percussion instruments in regards to one or more of the following four paradigms:

By methods of sound production

Many texts, including ''Teaching Percussion'' by Gary Cook of the University of Arizona, begin by studying the physical characteristics of instruments and the methods by which they can produce sound. This is perhaps the most scientifically pleasing assignment of nomenclature whereas the other paradigms are more dependent on historical or social circumstances. Based on observation and experimentation, one can determine how an instrument produces sound and then assign the instrument to one of the following four categories:

Idiophone

"Idiophones produce sounds through the vibration of their entire body." Examples of idiophones:

Bock-a-da-bock

Cabasa

Cajón

Celesta

Chimes

Cowbell

Crash cymbals

Crotales

Güiro

Handbells

Hi-hat

Lummi stick

Marimba

Orchestra bells

Singing bowls

Slit drum

Suspended cymbal

Triangle

Vibraphone

Vibraslap

Wood block

Xylophone

Membranophone

Most objects commonly known as "drums" are membranophones. "Membranophones produce sound when the membrane or head is struck."

Examples of membranophones:

Bass drum

Bongos

Conga

Darbuka

Djembe

Mridangam

Octoban

Snare drum

Tabla

Timpani

Tom-tom

The lion's roar and the cuíca are friction instruments which are not struck like other drums, but the sound is produced by applying friction to a string (lion's roar) or to a stick (cuíca) that is attached to the center of the membrane. In both cases, it is the membrane that vibrates, not the string nor the the stick, thus ensuring their classification as membranophones. In the case of the lion's roar, a resined string (or gut) is fastened through a hole in the membrane. In the case of the cuíca, the stick is attached (tied) to the membrane before it is stretched and tightened to the body of the instrument, and the stick is accessible by placing one hand inside the body, rubbed with a wet cloth.

Wind machines: A wind machine in this context is not a wind tunnel and therefore not an aerophone. Instead, it is an apparatus (often used in theatre as a sound effect) in which a sheet of canvas (a membrane) is rubbed against a screen or resonator; this action produces a sound which resembles the blowing of wind.

Chordophone

Most instruments known as "chordophones" are defined as string instruments, but some such as these examples are percussion instruments also.

Hammered dulcimer, Cimbalom

Onavillu

Aerophone

Most instruments known as "aerophones" are defined as wind instruments such as a saxophone whereby sound is produced by a person or thing blowing air through the object. Examples of aerophones played by percussionists:

Apito or samba whistle

Siren

Slide whistle

Whistle or police whistle

By musical function or orchestration

When classifying instruments by function it is useful to note if a percussion instrument makes a definite pitch or indefinite pitch.

For example, some percussion instruments (such as the marimba and timpani) produce an obvious fundamental pitch and can therefore play melody and serve harmonic functions in music. Other instruments (such as crash cymbals and snare drums) produce sounds with such complex overtones and a wide range of prominent frequencies that no pitch is discernible.

Definite pitch

Percussion instruments in this group are sometimes referred to as "pitched" or "tuned".

Examples of percussion instruments with definite pitch:

Anvil

Caisadrum

Chimes/Tubular bells

Crotales

Glass harmonica

Glass harp

Glockenspiel

Handbells

Hang

Marimba

Mridangam

Steelpan

Tabla

Timpani

Tuned Triangle

Vibraphone

Wind chimes

Xylophone

Xylo-marimba

Indefinite pitch

Instruments in this group are sometimes referred to as "non-pitched", "unpitched", or "untuned". This phenomenon occurs when the resultant sound of the instrument contains complex frequencies through which no discernible pitch can be heard.

Examples of percussion instruments with indefinite pitch:

Bass drum

Castanets

Cymbals

Rainstick

Slapstick or whip

Snare drum

Tamtam

Tom-tom

By prevalence in common knowledge

Although it is difficult to define what is "common knowledge", there are instruments in use by percussionists and composers in contemporary music which are certainly not considered by most to be musical instruments of any kind. Therefore, it is worthwhile to ''try'' to make distinction between instruments based on their acceptance or consideration by a general audience.

For example, it is safe to argue that most people would not consider an anvil, a brake drum (the circular hub which houses the brake on the wheel of a motor vehicle), or a fifty-five gallon oil barrel to be musical instruments, yet these objects are used regularly by composers and percussionists of modern music.

One might assign various percussion instruments to one of the following categories:

Conventional or popular

Drum kit

Gong

Tambourine

Unconventional

(Sometimes referred to as "found" instruments)

Automobile Brake Drum

Beer kegs

Brooms

Clay pots

Five gallon buckets

Garbage cans

Metal pipes

Metal pots

Plastic bag

Rocks in a bucket

Shopping carts

Spokes on a bicycle wheel

John Cage, Harry Partch, Edgard Varèse, and Peter Schickele, all noted composers, created entire pieces of music using unconventional instruments. Beginning in the early 20th century, perhaps with ''Ionisation'' by Edgard Varèse which used air-raid sirens (among other things), composers began to require percussionists to invent or "find" objects to produce the desired sounds and textures. Another example includes the use of a hammer and saw in Penderecki's ''De Natura Sonoris No. 2''. By late 20th century, such instruments had become common in modern percussion ensemble music and popular productions, such as the off-Broadway show, Stomp. Rock band Aerosmith used a number of unconventional instruments in their song Sweet Emotion, including shotguns, brooms, and a sugar bag.

By cultural significance or tradition

It is not uncommon to discuss percussion instruments in relation to their cultural origin. This has led to a division between instruments which are considered "common" or "modern," and folk instruments which have a significant history or purpose within a geographic region or cultural group.

Folk percussion instruments

Berimbau

Bodhrán

Bombo legüero

Cajon

Dhaa

Dhime

Dhol

Dholak

Djembe

Gamelan

Kalimba (Thumb Piano)

Kheen

Kpanlogo

Lagerphone

Latin percussion

Madal

Marimba

Marimbula

Naykheen

Pogo cello

Skrabalai

Steelpan

Taiko

Tambourine

Thavil

Timbales

Tonbak

Urumee

Udukai

"Common" drums

This category includes instruments which are widely available and popular throughout the world:

Drum kit, typically consisting of:

* Bass drum

* Crash cymbal

* Floor tom

* Hi-Hat cymbals

* Snare drum

* Tom-tom drums

Marching percussion instruments

Orchestral percussion instruments

Names for percussionists

The general term for a musician who plays percussion instruments is "percussionist" but the terms listed below are often used to describe a person's specialties:

Balafonist: a balafon player

Bombisto: a bombo legüero player

Bongocerro: someone who plays bongos and usually cencerro (a cow bell)

Congalero, conguero: someone who plays congas

Cymbalist: someone who plays cymbals

Drummer: a term usually used to describe someone who plays the drumset, hand drums or a single drum such as Snare drum.

Glockenspielist: someone who plays the glockenspiel.

Güirero: someone who plays the güira, a Dominican scraper used in merengue music

Marimbist: a marimba player

Panman, pannist: a steelpan player

Timbalero, timbero: someone who plays timbales

Timpanist: a timpani player

Vibraphonist: a vibraphone player

Xylophonist: a xylophone player

See also

Beatboxing

Bock-a-da-bock

Drum

Drum beat (including a list of drum beats)

Drum Corps International

Drum Kit

Drumline

Electronic drum

Hand percussion

Klopotec

List of melodic percussion instruments

Latin percussion

List of percussionists

Melodic percussion instrument

Musical Stones of Skiddaw

Orchestral percussion

Percussion notation

Percussive Arts Society

Pipes and Drums Corps

Practice pad

Vocal percussion

Notes and references

Further reading

James Blades, ''Percussion Instruments and Their History'', (1970).

Shen, Sinyan, Acoustics of Ancient Chinese Bells, Scientific American, 256, 94 (1987).

External links

Drummer Brasil — Website for drummers and percussionists

Video clips of percussion instruments demonstrated

Drum Museum, Information about antique hand drums from Africa, New Guinea and the Himalayas

Category:Percussion music Category:Performing arts

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''for the New Zealand racehorse trainer and driver see: Charlie Hunter''

name	Charlie Hunter
background	non_vocal_instrumentalist
birth name	Charlie Hunter
genre	Jazz, post-bop, jazz fusion, acid jazz, jazz-funk
origin	Berkeley, California, U.S.
instrument	Guitar
occupation	Guitarist
label	Blue Note Records
associated acts	The Disposable Heroes of HiphoprisyThe Coalition of the WillingGarage A Trois
notable instruments	8-string guitar/bass hybrid, custom built by Ralph Novak }}

Charlie Hunter (born May 23, 1967) is an American guitarist, composer and bandleader.

First coming to prominence in the early 1990s, Hunter has recorded 17 albums. Hunter plays custom-made seven and eight-string guitars, on which he simultaneously plays basslines, rhythm guitar, and solos. Critic Sean Westergaard describes Hunter's guitar technique as "mind-boggling ... he's an agile improviser with an ear for great tone, and always has excellent players alongside him in order to make great music, not to show off."

Biography

Hunter was born in Rhode Island. When he was four his mom packed him and his younger sister in an old yellow school bus and headed west. After several years living on a commune in Mendocino County they settled in Berkeley, California. Hunter graduated from Berkeley High School and took lessons from famed guitar teacher Joe Satriani. At eighteen he moved to Paris. Returning to the Bay area, Hunter played a seven-string guitar and organ in Michael Franti's political rap group, The Disposable Heroes of Hiphoprisy. In 1992, they were one of the opening acts for U2's Zoo TV Tour.

Since the debut of his self-titled ''Charlie Hunter Trio'' (which included Dave Ellis on sax and Jay Lane on drums) in 1993, Charlie Hunter has recorded seventeen albums. He co-founded Garage A Trois, a jazz fusion band with Stanton Moore and Skerik. He has collaborated with Bobby Previte for an ongoing project entitled "Groundtruther." He also recorded and toured for Bobby Previte's The Coalition of the Willing in 2006. He appears on acclaimed jazz bassist Christian McBride's ''Live At Tonic''. On both ''The Coalition of the Willing'' and ''Live at Tonic'' he plays 6-string guitars. His earliest known released recording without unusual guitars is as a guest bassist for the band Sweet Potato from California's East Bay. The song "Crankshaft" can be found on the Ubiquity Records compilation ''Mo Cookin'' from 1994 and the song "Monkey Wrench" can be found on the Ubiquity Records compilation ''Still Cookin'' from 1995. He also played guitar on the track "Me and Chuck" from the Les Claypool and the Holy Mackerel album, ''Highball with the Devil'', released in 1996.

Charlie played in the band T.J. Kirk active 1990s that merged the music of Thelonious Monk, James Brown, and Rahsaan Roland Kirk. T.J Kirk is: Will Bernard - Guitar, John Schott - Guitar, Charlie Hunter - 8-string guitar and Scott Amendola - Drums. Three recordings of the time are called: ''T.J. Kirk'' August 8, 1995, ''If Four Was One'' September 24, 1996 and ''Talking Only Makes it Worse'' released in 2005. Hunter contributed to three songs for D'Angelo's ''Voodoo'' (2000), including "The Root". Hunter has stated that the session for the song was the most challenging session he has worked on.

In the summer of 2007, Charlie toured with a trio that included New York keyboardist Erik Deutsch and New York/New Orleans drummer Simon Lott. This trio recorded the July, 2007 Fantasy release ''Mistico''. In 2008, Hunter recorded his first self-release, ''Baboon Strength''. Featured on the record are Erik Deutch on keys and Tony Mason on drums. Hunter returned to the studio in Fall of 2009 to record with drummer Eric Kalb.

In 2008, eminent clarinetist and composer Ben Goldberg put together a project entitled "Go Home" with Charlie on guitar(s), Ron Miles (trumpet) and Scott Amendola (drums). The alternately funky, beautiful, spacious and deep compositions showcase all the musicians. The group performed at the Jazz Standard in New York from October 29 to November 1, 2009 with Curtis Fowlkes on trombone, replacing Miles on trumpet.

Hunter was also an inaugural member of the Independent Music Awards' judging panel to support independent artists.

Charlie Hunter is represented by Tree Lawn Artists, Inc.

Equipment

Hunter currently plays a custom-made, seven-string guitar made by Jeff Traugott. Previously, Hunter played a custom-made, eight-string guitar made by luthier Ralph Novak of Novax Guitars. He plays the lead guitar on the top five strings (tuned ADGBe) and bass guitar (tuned EAD) on the bottom three strings simultaneously. With the addition of a Hughes & Kettner Tube Rotosphere (a Leslie rotary speaker simulator), his unique style produces a sound similar to that of a Hammond organ -- an instrument he set out to imitate.

In 2006, Hunter removed the top guitar string and had the neck of his guitar reworked and now plays a modified 7-string on the formerly-8 string body. Hunter has mentioned that because of his small hands, he had to move out of position to make use of the 8th string and thus wasn't using it much. A change in Hunter's style away from the organ sound into a more blues and distortion based sound happened at the same time. After removing the 8th string, Hunter retuned all of the strings up a half step: F-A#-D# on the bass and A#-D#-G#-C on the guitar. As of 2008, he had once again retuned up another whole step: G-C-F on the bass and C-F-A#-D on the guitar.

Discography

1993 - ''Charlie Hunter Trio'' - Prawn Song

1995 - ''Bing, Bing, Bing!'' - Blue Note

1996 - ''Ready, Set...Shango!'' - Blue Note

1997 - ''Natty Dread'' - Blue Note

1998 - ''Return of the Candyman'' - Blue Note

1998 - ''All Kooked Out!'' (Stanton Moore) - Fog City

1999 - ''Duo'' - Blue Note

1999 - ''Mysteryfunk'' (Garage a Trois) - Fog City

2000 - ''Voodoo'' (D'Angelo) – Cheeba Sound

2000 - ''Charlie Hunter'' - Blue Note

2000 - ''Solo Eight-String Guitar'' - Contra Punto

2001 - ''Songs from the Analog Playground'' - Blue Note

2003 - ''Emphasizer'' (Garage a Trois) - Tone-Cool

2003 - ''Right Now Move'' - Ropeadope

2003 - ''Come In Red Dog, This is Tango Leader'' (with Bobby Previte) - Ropeadope

2004 - ''Friends Seen and Unseen'' - Ropeadope

2004 - ''Latitude'' (Groundtruther) - Thirsty Ear

2005 - ''Steady Groovin' '' - Blue Note

2005 - ''Longitude'' (Groundtruther) - Thirsty Ear

2005 - ''Outre Mer'' (Garage a Trois) - Telarc

2005 - ''Earth Tones'' (with Chinna Smith and Ernest Ranglin) - Green Street

2006 - ''The Coalition of the Willing (Bobby Previte)'' - Ropeadope

2006 - ''Live at Tonic'' (Christian McBride) - Ropeadope

2006 - ''Copperopolis'' - Ropeadope

2007 - ''Mistico'' - Fantasy

2007 - ''Altitude'' (Groundtruther) - Thirsty Ear

2007 - ''Continuum''(In Repair) - John Mayer

2008 - ''Baboon Strength'' - reapandsow

2008 - ''Fade'' - (Tim Collins featuring Charlie Hunter & Simon Lott) - Ropeadope

2009 - ''Go Home'' - (Ben Goldberg, Charlie Hunter, Scott Amendola & Ron Miles) - BAG Production

2009 - ''Gentlemen, I Neglected To Inform You You Will Not Be Getting Paid'' - Spire Artist Media / reapandsow

2010 - ''Public Domain -

Filmography

''SOLOS: the jazz sessions'' (2004)

''Late Night with Conan O'Brien'' (1997)

''Rochester, New York Jazz Festival'' (2009)

References

External links

CharlieHunter.com

Charlie Hunter collection on the Internet Archive's live music archive

Category:American jazz guitarists Category:Living people Category:1967 births Category:Ropeadope Records artists Category:Blue Note Records artists Category:Live Music Archive artists

da:Charlie Hunter de:Charlie Hunter fr:Charlie Hunter pt:Charlie Hunter

name	Sonny Rollins
background	non_vocal_instrumentalist
birth name	Theodore Walter Rollins
alias	Newk, Colossus, Uncle Don
born	September 07, 1930
origin	New York, New York, United States
instrument	Tenor saxophone, soprano saxophone
genre	Jazz
occupation	Saxophonist
label	Prestige, Blue Note, Contemporary, RCA Victor, Impulse!, Milestone
associated acts	Jackie McLean, Max Roach, Clifford Brown, Miles Davis, Thelonious Monk
notable instruments	}}

Theodore Walter "Sonny" Rollins (born September 7, 1930 in New York City) is a Grammy-winning American jazz tenor saxophonist. Rollins is widely recognized as one of the most important and influential jazz musicians. A number of his compositions, including "St. Thomas", "Oleo", "Doxy", and "Airegin", have become jazz standards.

Biography

Early life and career

While Rollins was born in New York City, his parents were born in the United States Virgin Islands. Rollins received his first saxophone at age 13.

Rollins started as a pianist, changed to alto saxophone, and finally switched to tenor in 1946. During his high-school years, he played in a band with other future jazz legends Jackie McLean, Kenny Drew and Art Taylor. He was first recorded in 1949 with Babs Gonzales ( J.J Johnson was the arranger of the group). In his recordings through 1954, he played with performers such as Miles Davis, Charlie Parker and Thelonious Monk.

In 1950, Rollins was arrested for armed robbery and given a sentence of three years. He spent 10 months in Rikers Island jail before he was released on parole. In 1952 he was arrested for violating the terms of his parole by using heroin. Rollins was assigned to the Federal Medical Center, Lexington, at the time the only assistance in the U.S. for drug addicts. While there he was a volunteer for then-experimental methadone therapy and was able to break his heroin habit. Rollins himself initially feared sobriety would impair his musicianship, but then went on to greater success.

As a saxophonist he had initially been attracted to the jump and R&B; sounds of performers like Louis Jordan, but soon became drawn into the mainstream tenor saxophone tradition. Joachim Berendt has described this tradition as sitting between the two poles of the strong sonority of Coleman Hawkins and the light flexible phrasing of Lester Young, which did so much to inspire the fleet improvisation of be-bop in the 1950s.

Rollins began to make a name for himself in 1949 as he recorded with J.J Johnson and Bud Powell what would later be called "Hard Bop", with Miles Davis in 1951, with the Modern Jazz Quartet and with Thelonious Monk in 1953, but the breakthrough arrived in 1954 when he recorded his famous compositions "Oleo" "Airegin" and "Doxy" with a quintet led by Davis. Rollins then joined the Clifford Brown–Max Roach quintet in 1955 (recordings made by this group have been released as ''Sonny Rollins Plus 4'' and ''Clifford Brown and Max Roach at Basin Street''; Rollins also plays on half of ''More Study in Brown''), and after Brown's death in 1956 worked mainly as a leader. By this time he had begun his contract with Prestige Records, which released some of his best-known albums, although during the later 1950s Rollins recorded for Blue Note, Riverside and the Los Angeles label Contemporary.

''Saxophone Colossus''

His widely acclaimed album ''Saxophone Colossus'' was recorded on June 22, 1956 at Rudy Van Gelder's studio in New Jersey, with Tommy Flanagan on piano, former Jazz Messengers bassist Doug Watkins and his favorite drummer Max Roach. This was Rollins' sixth recording as a leader and it included his best-known composition "St. Thomas", a Caribbean calypso based on a tune sung to him by his mother in his childhood, as well as the fast bebop number "Strode Rode", and "Moritat" (the Kurt Weill composition also known as "Mack the Knife").

In 1956 he also recorded ''Tenor Madness'', using Miles Davis' group – pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The title track is the only recording of Rollins with John Coltrane, who was also in Davis' group.

At the end of the year Rollins recorded a set for Blue Note with Donald Byrd on trumpet, Wynton Kelly on piano, Gene Ramey on bass, and Rollins' long-term collaborator Max Roach on drums. This has been released as ''Sonny Rollins Volume One'' (the superstar session ''Volume Two'' recorded the following year has consistently outsold it).

The piano-less trio

In 1957 he pioneered the use of bass and drums (without piano) as accompaniment for his saxophone solos. This texture came to be known as "strolling". Two early tenor/bass/drums trio recordings are ''Way Out West'' (Contemporary, 1957) and ''A Night at the Village Vanguard'' (Blue Note, 1957). Rollins uses the trio format intermittently throughout his career, sometimes taking the unusual step of using his sax as a rhythm section instrument during bass and drum solos. ''Way Out West'' was so named because it was recorded for a California-based record label (with L.A. stalwart drummer Shelly Manne), and because the record included country and western songs such as "Wagon Wheels" and "I'm an Old Cowhand". The Village Vanguard CD consists of two sets, a matinee with bassist Donald Bailey and drummer Pete LaRoca and then the evening set with bassist Wilbur Ware and drummer Elvin Jones.

By this time, Rollins had become well-known for taking relatively banal or unconventional material (such as "There's No Business Like Show Business" on ''Work Time'', "I'm an Old Cowhand", and later "Sweet Leilani" on the Grammy-winning CD ''This Is What I Do'') and turning it into a vehicle for improvisation.

1957's ''Newk's Time'' saw him working with a piano again, in this case Wynton Kelly, but one of the most highly-regarded tracks is a saxophone/drum duet, "Surrey with the Fringe on Top" with Philly Joe Jones. Also that year he recorded for Blue Note with a star-studded line-up of JJ Johnson on trombone, Horace Silver or Thelonious Monk on piano and drummer Art Blakey (released as ''Sonny Rollins Volume 2'').

In 1958 Rollins recorded another landmark piece for saxophone, bass and drums trio: ''The Freedom Suite''. His original sleeve notes said, "How ironic that the Negro, who more than any other people can claim America's culture as his own, is being persecuted and repressed; that the Negro, who has exemplified the humanities in his very existence, is being rewarded with inhumanity."

The title track is a 19-minute improvised bluesy suite, much of it interaction between Rollins' saxophone and the drums of Max Roach, some of it very tense. However the album was not all politics – the other side featured hard bop workouts of popular show tunes. The bassist was Oscar Pettiford. The LP was only briefly available in its original form, before the record company repackaged it as ''Shadow Waltz'', the title of another piece on the record.

Finally in 1958 Rollins made one more studio album before taking a three-year break from recording. This was another session for Los Angeles based Contemporary Records and saw Rollins recording an esoteric mixture of tunes including "Rock-A-Bye Your Baby With A Dixie Melody" with a West Coast group made up of pianist Hampton Hawes, guitarist Barney Kessel, bassist Leroy Vinnegar and drummer Shelly Manne.

1959 to 1971

By 1959, Rollins was frustrated with what he perceived as his own musical limitations and took the first – and most famous – of his musical sabbaticals. To spare a neighboring expectant mother the sound of his practice routine, Rollins ventured to the Williamsburg Bridge to practice. Upon his return to the jazz scene in 1962 he named his "comeback" album ''The Bridge'' at the start of a contract with RCA Records, recorded with a quartet featuring guitarist Jim Hall and still no piano. The rhythm section was Ben Riley on drums and bassist Bob Cranshaw. This became one of Rollins' best-selling records.

The contract with RCA lasted until 1964 and saw Rollins remain one of the most adventurous musicians around. Each album he recorded differed radically from the previous one. Rollins explored Latin rhythms on ''What's New'', tackled the avant-garde on ''Our Man in Jazz'', and re-examined standards on ''Now's the Time''.

He then provided the soundtrack to the 1966 version of ''Alfie''. His 1965 residency at Ronnie Scott's legendary jazz club has recently emerged on CD as ''Live in London'', a series of releases from the Harkit label; they offer a very different picture of his playing from the studio albums of the period. (These are unauthorized releases, and Rollins has responded by "bootlegging" them himself and releasing them on his website.)

1972 to 2000

Rollins took his most recent sabbatical to study yoga, meditation, and Eastern philosophies. When he returned in 1972, it was clear that he had become enamored of R&B;, pop, and funk rhythms. His bands throughout the 1970s and 1980s featured electric guitar, electric bass, and usually more pop- or funk-oriented drummers. For most of this period he recorded for Milestone Records and the compilation ''Silver City: A Celebration of 25 Years on Milestone'' contains a selection from these years. The 70s and 80s were not all disco though and it was during this period that Rollins' passion for unaccompanied saxophone solos came to the forefront. In 1985 he released ''The Solo Album''.

In 1981, Rollins was asked to play uncredited on three tracks by The Rolling Stones for their album ''Tattoo You'', including the single, "Waiting on a Friend".

In 1986 Documentary filmmaker Robert Mugge released a film titled ''Saxophone Colossus''. It featured two Rollins performances: a quintet in upstate New York and his ''Concerto for Saxophone and Symphony'' in Japan.

2001 to present

Critics such as Gary Giddins and Stanley Crouch have noted the disparity between Sonny Rollins the recording artist, and Sonny Rollins the concert artist. In a May 2005 ''New Yorker'' profile, Crouch wrote of Rollins the concert artist:

Rollins won a 2001 Grammy Award for Best Jazz Instrumental Album for ''This Is What I Do'' (2000). On September 11, 2001, the 71-year-old Rollins, who lived several blocks away, heard the World Trade Center collapse, and was forced to evacuate his apartment, with only his saxophone in hand. Although he was shaken, he traveled to Boston five days later to play a concert at the Berklee School of Music. The live recording of that performance was released on CD in 2005, ''Without a Song: The 9/11 Concert'', which won the 2006 Grammy for Jazz Instrumental Solo for Sonny's performance of "Why Was I Born?". Rollins was presented with a Grammy Award for lifetime achievement in 2004, but sadly that year also saw the death of his wife Lucille.

In 2006, Rollins went on to complete a Down Beat Readers Poll triple win for: "Jazzman of the Year", "#1 Tenor Sax Player", and "Recording of the Year" for the CD ''Without a Song (The 9/11 Concert)''. The band that year was led by his nephew, trombonist Clifton Anderson, and included bassist Bob Cranshaw, pianist Stephen Scott, percussionist Kimati Dinizulu, and drummer Perry Wilson.

After a highly successful Japanese tour Rollins returned to the recording studio for the first time in five years to record the Grammy-nominated CD ''Sonny, Please'' (2006). The CD title is derived from one of his late wife's favorite phrases. The album was released on Rollins' own label, Doxy Records, following his departure from Milestone Records after many years and was produced by Clifton Anderson. Rollins' band at this time, and on this album, included Bob Cranshaw, guitarist Bobby Broom, drummer Steve Jordan and Kimati Dinizulu.

Rollins performed at Carnegie Hall on September 18, 2007, in commemoration of the 50th anniversary of his first performance there. Appearing with him were Clifton Anderson (trombone), Bobby Broom (guitar), Bob Cranshaw (bass), Kimati Dinizulu (percussion), Roy Haynes (drums) and Christian McBride (bass).

September 25, 2009, Rollins performed to a packed crowd at the Kimmel Center in Philadelphia. The personnel was similar to the Carnegie Hall performance; Clifton Anderson (trombone), Bobby Broom (guitar), Bob Cranshaw (bass), Kobie Watkins, drums, Sammy Figueroa (percussion).

On June 27, 2010, Rollins played at the Salle Wilfrid-Pelletier in Montreal's Place-des-Arts for the 31st annual Montreal Jazz Festival, accompanied by, among others, Bob Cranshaw and Russell Malone. Prior to this show, he received the Miles Davis Award.

Tributes and legacy

Rollins is recognized by many for the length and quality of his career, one not easily matched in the world of music. His melodic sensibilities, playing style and solos have influenced several generations of musicians.

Rollins was awarded the 2010 National Medal of Arts by President Barack Obama.

The city of Minneapolis, Minnesota officially named October 31, 2006, after Rollins in honor of his achievements and contributions to the world of jazz.

In 2007 he received the prestigious Polar Music Prize in Stockholm, Sweden, together with Steve Reich, while Colby College awarded Rollins a Doctor of Music, ''honoris causa'', for his contributions to jazz music.

Rollins was elected to the Down Beat Jazz Hall of Fame in 1973.

Donald Fagen can be seen playing Rollins' 1958 LP ''Sonny Rollins and the Contemporary Leaders'' on the cover of his 1982 LP ''The Nightfly'', while Joe Jackson replicated the cover photo for his 1984 A&M; album ''Body and Soul'' as homage to the 1957 Blue Note album ''Sonny Rollins, Vol. 2''.

In The Simpsons episode 12 season 5, the jazz musician Bleeding Gums Murphy makes his appearance playing his saxophone on a bridge in the middle of the night. This is a homage to Sonny Rollins, who famously retired from public and was not seen for three years, until a journalist discovered him playing the saxophone alone on the Williamsburg Bridge.

Discography

References

Further reading

Blancq, Charles. (1983). ''Sonny Rollins: The journey of a jazzman''. Boston: Twayne.

Christian Broecking (2010). ''Sonny Rollins - Improvisation und Protest''. Creative People Books / Broecking Verlag, ISBN 978-3-938763-29-2

External links

Sonny Rollins Official Website

Documentary about Sonny's new CD "SONNY, PLEASE"

Night Lights radio show featuring excerpts from Rollins' live 1965 appearances at Ronnie Scott's

Review of Sonny Please by JazzChicago.net

Sonny Rollins multimedia directory

Sonny Rollins: The Titan Remembers - slideshow by ''Life magazine''

Category:1930 births Category:Living people Category:African American woodwind musicians Category:American jazz tenor saxophonists Category:American bandleaders Category:American jazz composers Category:Bebop saxophonists Category:Hard bop saxophonists Category:Musicians from New York City Category:Grammy Lifetime Achievement Award winners Category:Contemporary Records artists Category:Blue Note Records artists Category:RCA Victor artists Category:Milestone Records artists Category:Verve Records artists Category:Prestige Records artists Category:Impulse! Records artists Category:American people of United States Virgin Islands descent Category:United States National Medal of Arts recipients

cs:Sonny Rollins da:Sonny Rollins de:Sonny Rollins es:Sonny Rollins eo:Sonny Rollins fa:سانی رالینز fr:Sonny Rollins id:Sonny Rollins it:Sonny Rollins he:סאני רולינס la:Sonny Rollins nl:Sonny Rollins ja:ソニー・ロリンズ no:Sonny Rollins pl:Sonny Rollins pt:Sonny Rollins sr:Сони Ролинс fi:Sonny Rollins sv:Sonny Rollins th:ซันนี โรลลินส์

name	Kimati Dinizulu
landscape	yes
background	non_vocal_instrumentalist
birth name	Nana Kimati Dinizulu
alias	Kimati Dinizulu
genre	Folk, African
occupation	percussionist, artist, musician
website	http://www.kimatidinizulu.com
notable instruments	Drums }}

Nana Kamati Dinizulu is an African percussionist. He has performed with many great artists like Toni Morrison, Alvin Ailey, Donald McKayle, Gregory Hines, Sonny Rollins, Nina Simone, Harry Belafonte, Wynton Marsalis, Jackie McLean and Dizzie Gillespie and many more.

Life and career

Nana Kimati Dinizulu has been playing drums and percussion instruments since his early childhood. For many generations, the Dinizulu clan has been active in music and performance. Nana Dinizulu’s father, the late Nana Opare Dinizulu was a world-respected African drummer. His mother, Alice Dinizulu, was a key dancer for Asadata Dafora’s Dance Company which was the first dance company to put African dance and music on Broadway in the United States from the 1930s to the 1950s.

To gain a deeper knowledge of African traditions, as a young man, Dinizulu, traveled to Ghana where he lived and learned for two years and then he moved back to the United States. Since then, he has made over 30 trips to Africa, where he now resides part of the year. While in Ghana, he studied with expert drummers, Kofi Nabenadi, C. K. Ganyo, and Sully Emmorro. He also learned from elders of the Fanti people, master drummers whose tutelage proved invaluable in his development as a leading practitioner of African drumming. A major influence on his musical growth and creative energies was his involvement with the Fanti’s Asafo (warrior) music, a tradition dating back many centuries.

Apart from this, Mr. Dinizulu studied extensively with Haitian master drummers, Louis Celestine, Frisner Augustin, and Alphonse Cimber. He also studied various forms of traditional music from Brazil with the late Loramil Machado. Additionally, Mr. Dinizulu has studied African and African-American hand drumming with his father, Baba Chief Bey (James Hawthorne Bey), Baba Kwame Ishangi, and many others. In addition, e has conducted extensive research with the Maroons of Jamaica, the Ewe of Togo, the Orisha worshippers of Trinidad and Tobago, Rada ritual musicians in Haiti and the Ring Shouters of the Georgia Sea Islands.

Mr. Dinizulu has worked with several domestic and international cultural organizations, including UNESCO. UNESCO declared 2004 to be the International Year to Commemorate the Struggle against Slavery and its Abolition by the United Nations General Assembly. Mr. Dinizulu performed and lectured on endangered African-American instruments as a part of a UNESCO conference of scholars from around the world gathered at Tulane University.

Furthermore, Mr. Kimati Dinizulu has worked with the Schomburg Center for Research in Black Culture, an organization for documenting, preserving, interpreting, and celebrating the culture and history of black people worldwide. He has performed music and conducted traditional African rituals for the Schomburg Center. He performed at the 75th anniversary celebrations of the Schomburg Center which included pouring libation for the grand opening of the “Lest We Forget: The Triumph over Slavery Exhibit”.

Kimati Dinizulu has also performed libation and drumming at “A Harlem Tribute to the Freedom Schooner Amistad”. He performed the drum rituals to help bring the Amistad into port in Harlem, New York.

Besides this, Mr. Dinizulu was a participant in the African-American delegation at the First Annual Emancipation Day Celebration in Ghana, Africa in 1998 which was sponsored by the government of Ghana. The African-American delegation was responsible for the re-interment of one escaped slave, Samuel Carson with a full state funeral. Emancipation Day is a remembrance of the abolition of Chattel Slavery.

The learning of drumming and African culture is a lifetime process for Mr. Dinizulu. His encyclopedic knowledge of drums, percussion, and the art of drumming comes from his worldwide travels and studies of the music of other cultures as well as his heartfelt love for music and learning. He has assembled a group of musicians from around the world, called the Kotoko Society with whom he composes and performs regularly.

Music

Performances by Nana Kimati Dinizulu

Nana Kimati Dinizulu has made numerous worldwide performances over the past decades for many diverse groups of people. Some of Mr. Dinizulu’s performances include Broadway’s ''Death and the King's Horseman'' which is a play written and directed by the legendary Wole Soyinka. Mr. Dinizulu has also undertaken many other Broadway productions. In addition, Mr. Dinizulu has worked with prominent artists such as author Toni Morrison in her production ''N’Orleans - A Storyville Musical'' in which he scored music for the Congo Square scene and Satchmo’s last international concert in Ghana scene. He also performed as a percussionist with Odetta, Carmen de Lavallade and Antonio Fargas in this production. Moreover, Mr. Dinizulu has co-written the composition “Divining” (Judith Jamison’s first ballet for the Alvin Ailey American Dance Theater) which was a collaboration with artist/composer Monti Ellison. He was also commissioned by choreographer Judith Jamison for the Alvin Ailey American Dance Theater to compose the music for the smash hit “Riverside”. Both of these works have toured extensively throughout the world.

In the year 2003, Mr. Dinizulu performed for the Blues Music Foundation at Radio City Music Hall in New York in the “Salute to the Blues” concert produced by Martin Scorsese and directed by Antoine Fuqua which was filmed for television broadcast. The Blues Music Foundation is a non-profit, international organization and is dedicated to the preservation of blues history and the celebration of blues excellence. Mr. Dinizulu performed with artists such as Mavis Staples, Buddy Guy, Mos Def, and Angelique Kidjo in this concert.

Apart from all this, Mr. Dinizulu has also performed during Nelson Mandela’s 70th Birthday Tribute. He is also an active member of UNESCO’s efforts to promote knowledge about the slave trade in the world and has given several lectures such as on "African-American Endangered Musical Instruments" and performances on UNESCO’s behalf.

He has also performed with the Paul Winter Consort which combined elements from various African, Asian and South American cultures with jazz. Together they performed A Concert for the Earth which was recorded live at the General Assembly of the United Nations on World Environment Day. Mr. Dinizulu is also the percussionist in the Sonny Rollins band.

The Kotoko Society

Dinizulu established the Kotoko Society to promote traditional African music and awareness of African culture throughout the world and to continually explore musical styles from Africa, the Caribbean, Brazil, and all places where African music has found a new home. This society consists of musicians from countries such as Ghana, Senegal, Nigeria, Haiti, Trinidad, Barbados, Brazil, Puerto Rico, Jamaica, St. Martin, Panama, and the United States of America. The main emphasis of this society is to promote a new musical style called “Sankofa music” which has been created by Mr. Dinizulu. Sankofa is a proverbial term from the language of the Akan people of Ghana.

The traditional instruments used to perform Sankofa have been gathered from a wide variety of lands and cultures and are represented in his Kotoko Society's performances. However, Mr. Dinizulu not only uses these traditional instruments, he also continually introduces new musical instruments of his own design and construction, to complement those, which are already employed by the Kotoko Society. Playing over 500 traditional and modern instruments, the Kotoko society regularly performs at leading concert venues as well as major universities and cultural institutions. They have performed at Lincoln Center, the American Museum of Natural History, Columbia University, Medgar Evers College, Long Island University, as well as other diverse environments such as the Trump Tower and the Philadelphia Folk Festival and toured in Japan and the Caribbean. In addition to these, the group regularly appears at major nightclubs such as The Sounds of Brazil (S.O.B.’s).

Discography

''Ancestral Spirits'' — Kimati Dinizulu

''Without a Song: The 9/11 Concert'' — Sonny Rollins

''Slavery and the Making of America — Original Soundtrack to the PBS Series

''Martin Scorsese Presents a Film'' — Antoine Fuqua Lightning in a Bottle

''Unforgivable Blackness The Rise and Fall of Jack Johnson'' — Wynton Marsalis

''Reeltime'' — Wynton Marsalis

''Collected'' — Danilo Pérez

''Lotus Flower'' — Steve Turre

''New Horizons'' — Vanessa Rubin

''Jungle Swing'' — Johnny Copeland

''Mental Images'' — Robin Eubanks

''JLW'' — Joe Louis Walker

''The Journey'' — Danilo Pérez

''Steve Turre'' — Steve Turre

''20th Anniversary Collection'' — Green Linnet

''Don't You Know I Care'' — Antonio Hart

''Anthems'' — Paul Winter

''Undocumented Dancing'' — Pat Kilbride

''Sanctified Shells'' — Steve Turre

''A Cloud of Red Dust'' — Stefon Harris

''Love Like Fire'' — Rick Henly

''Greatest Hits'' — Paul Winter

''Rhythm Within'' — Steve Turre

''Silhouettes'' — Lonnie Liston Smith

''Pontius Pilate's Decision'' — Delfeayo Marsalis

''Wolf Eyes'' — Paul Winter

''So Far: The Collection 1979-1995''

''80th Anniversary'' — RCA Victor

''25 Years of Celtic Music'' — Various Artists

''Wild Blue'' — Eileen Ivers

''Concert for the Earth'' — Paul Winter

''Celtic Music Today '' — Various Artists

''Joyful Noise: Celtic Favorites'' — Green Linnet

External links

http://www.kimatidinizulu.com

http://www.kimatidinizulu.net/blog

Category:Living people Category:African drummers Category:American drummers

name	M. Shawn Crahan
background	non_vocal_instrumentalist
birth name	Michael Shawn Crahan
alias	#6, Clown, BoBo Hong Kong
born	September 24, 1969Des Moines, Iowa, U.S.
instrument	Custom percussion, drums, piano, vocals, timpanis
genre	Heavy metal, alternative metal, nu metal, experimental rock, funk metal, indie pop, indie rock, industrial metal, metalcore, pop punk, psychedelic rock
occupation	Musician, songwriter, producer, director, photographer
years active	1991–present
label	Roadrunner, Big Orange Clown, Nuclear Blast, Pale One, -ismist
associated acts	Slipknot, To My Surprise, Dirty Little Rabbits, The Black Dots of Death
website	(External links)
notable instruments	}}

Michael Shawn "Clown" Crahan (born September 24, 1969), also known as Clown, or by his number #6, is an American musician, music producer, and artist. He is best known as one of the two custom percussionists of the Grammy winning heavy metal band Slipknot, and the drummer of To My Surprise and Dirty Little Rabbits. At 41, Shawn Crahan is the oldest member of Slipknot. As a result of the death of Slipknot bassist Paul Gray in 2010, he and Joey Jordison are the only original members still in the band.

Personal life and career

Crahan was born Michael Shawn Crahan in Des Moines, Iowa. He once performed in bands such as Heads on the Wall & One Cup of Fat. He married his wife Chantel in June, 1993, in Des Moines, Iowa. They have four children, Alexandria, Gage, Gabrielle, and Simon.

As well as lending his percussion talents to the band, Crahan has also sung backing vocals on a number of songs Slipknot has both recorded and performed live. He also wrote the original draft of "Tattered & Torn", which appeared on the band's early demo, ''Mate. Feed. Kill. Repeat.''. Outside Slipknot, Crahan has founded Big Orange Clown Records, a vanity label within Sanctuary Records, which has so far signed the metalcore band Gizmachi. He also acted as director for, and assembled Slipknot's 2005 DVD, ''Voliminal: Inside the Nine'', while the band engaged a brief hiatus.

He also performed with To My Surprise, recording guitar and vocals for the band's self-titled debut album. The band received little interest due to their album being released amidst the success of Slipknot members Corey Taylor, James Root and Joey Jordison's side projects, Stone Sour and the Murderdolls, respectively. To My Surprise was later dropped by Roadrunner Records. In 2007, Crahan began performing as drummer for Dirty Little Rabbits. The band was a supporting act for Stone Sour during their North American tour in Summer 2007, and have released one EP, titled ''Breeding''. They have since signed a deal with The End Records as of November, 2008.

In 2009 he contributed to Bring Me the Horizon's remix album, ''Suicide Season: Cut Up!'', by remixing the track "Sleep With One Eye Open". Also in 2009 Shawn remixed a Suicide Silence track on their ''Wake Up'' EP entitled "Wake Up (Clown of Slipknot Remix)". In 2010, he contributed to Escape the Fate's ''This War Is Ours'' deluxe edition, by remixing the track "This War Is Ours (The Guillotine Part II)" and in 2011 he remixed "Angles of Clarity" for Dead by April on their compilation album "Stronger". Crahan has confirmed the formation of a brand new side project called The Black Dots of Death who released their debut studio album ''Ever Since We Were Children'' on March 28, 2011. He is the director of many of Slipknot's music videos, DVDs and other artistic projects.

Clown Crahan, to his nickname, wears clown-style masks while performing with Slipknot. He also wears a death mask made from a cast of his own face when performing the song "Vermilion".

Equipment

Gretsch drums with Bubinga shells and Remo heads- two 20 kick drums, 15 tom, 16 tom

15" Pearl Competitor FFX-style Marching Snare

Pearl Championship RMALTS Marching Snare Carrier

Vic Firth Drum Mallets

Vic Firth American Classic 7A Nylon Tip Drumsticks

2 empty Budweiser beer kegs (one on each side) played with a baseball bat and sometimes with a pair of 12 inch red wooden claves.

Audio Technica AEW-T6100 Wireless Handheld Microphone and system

Two cameras mounted on the rig which he uses to record himself, the band, and the audience

Shawn usually wears Franklin batting gloves when performing. He sometimes also wears black Mizuno vintage pro G2 batting gloves

Shawn's percussion set-up is miced with Audio-Technica AT-23 mics

Discography

With Slipknot

1996: ''Mate. Feed. Kill. Repeat.''

1999: ''Slipknot''

2001: ''Iowa''

2002: ''Disasterpieces''

2004: ''Vol. 3: (The Subliminal Verses)''

2006: ''Voliminal: Inside the Nine''

2008: ''All Hope Is Gone''

2010: ''(sic)nesses''

With To My Surprise

2003: ''To My Surprise''

With Dirty Little Rabbits

2007: ''Breeding''

2009: ''Simon''

2010: ''Dirty Little Rabbits''

With The Black Dots of Death

2011: ''Ever Since We Were Children''

Guest appearances and remixes

American Head Charge - "Just So You Know" (Clown #6 from Slipknot Remix) (2002)

Bring Me the Horizon - "Sleep With One Eye Open" (Clown Remix) (2009)

Dead by April - "Angels of Clarity" (Shawn 'Clown' Crahan Remix) (2009)

Suicide Silence - "Wake Up" (Clown of Slipknot Remix) (2009)

Coheed and Cambria - "Welcome Home" (Shawn "Clown" Crahan Remix) (2009)

Marilyn Manson - "Arma-Goddamn-Motherfuckin-Geddon" (Clown/Slipknot Fuck the God Damn TV and Radio Remix) (2009)

Escape the Fate - "This War Is Ours (The Guillotine Part II)" (This War Is Mine) (2010)

Mindless Self Indulgence - "Pay for It" (The Son of a Clown Remix) (2010)

Hesta Prynn - "Pepper" (2010)

Albums produced

2000: ''L.D. 50'' - Mudvayne

2001: ''Invitation to the Dance'' - 40 Below Summer

2003: ''To My Surprise'' - To My Surprise

2005: ''The Imbuing'' - Gizmachi

2008: ''The American Nightmare'' - Dirtfedd

Filmography

1999: ''Welcome to Our Neighborhood''

2002: ''Disasterpieces''

2002: ''Rollerball''

2006: ''Voliminal: Inside the Nine''

2008: ''Nine: The Making of "All Hope Is Gone"''

2010: ''(sic)nesses''

References

External links

Official website

Category:1969 births Category:American musicians Category:American heavy metal drummers Category:American heavy metal singers Category:American male singers Category:Dirty Little Rabbits Category:Grammy Award winners Category:Musicians from Iowa Category:Living people Category:Nu metal drummers Category:People from Des Moines, Iowa Category:Roadrunner Records artists Category:Slipknot members Category:To My Surprise

bg:Шон Крахан cs:Shawn Crahan da:Shawn Crahan de:Shawn Crahan et:Shawn Crahan es:Shawn Crahan fr:Shawn Crahan id:Shawn Crahan it:Shawn Crahan hu:Shawn Crahan no:Shawn Crahan pl:Shawn Crahan pt:Shawn Crahan ru:Крэхан, Шон sq:Shawn Crahan simple:Shawn Crahan sk:Shawn Crahan fi:Shawn Crahan sv:Shawn Crahan tr:Shawn "Clown" Crahan