Coordinates	42°42′56″N170°58′5″N
Name	Umbria
Region logo	Regione-Umbria-Stemma.svg
Logo size	50px
Map	Umbria in Italy.svg
Flag	Flag of Umbria.svg
Capital	Perugia
Area	8456
Area rank	16th
Area percent	2.8
Population	906675
Pop rank	17th
Pop percent	1.5
Pop date	2010-11-30
Gdp	21.8
Gdp year	2008
Website
Leader	Catiuscia Marini
Leader party	PD
Nuts	ITE
Iso region	}}

Umbria () is a region of modern central Italy. It is one of the smallest Italian regions and the only peninsular region that is landlocked.

Its capital is Perugia.

Assisi and Norcia are historical towns associated with St. Francis of Assisi, and St. Benedict.

The official language, as in the rest of Italy, is Italian.

Geography

Umbria is bordered by Tuscany to the west, the Marche to the east and Lazio to the south. Mostly hilly or mountainous, its topography is dominated by the Apennines, with the highest point in the region at Monte Vettore on the border of the Marche, at , and the Tiber valley basin, with the lowest point at Attigliano, . It is the only Italian region having neither coastline nor common border with other countries.

The Tiber river forms the approximate border with Lazio, although its source is just over the Tuscan border. The Tiber's three principal tributaries flow southward through Umbria. The Chiascio basin is relatively uninhabited as far as Bastia Umbra. About further it joins the Tiber at Torgiano. The Topino, cleaving the Apennines with passes that the Via Flaminia and successor roads follow, makes a sharp turn at Foligno to flow NW for a few kilometres before joining the Chiascio below Bettona. The third river is the Nera, flowing into the Tiber further south, at Terni; its valley is called the ''Valnerina''. The upper Nera cuts ravines in the mountains; the lower in the Chiascio-Topino basin is in a fairly large floodplain.

In antiquity, the plain was covered by a pair of shallow, interlocking lakes, the Lacus Clitorius and the Lacus Umber. They were drained by the Romans over several hundred years, but an earthquake in the 4th century and the political collapse of the Roman Empire resulted in the reflooding of the basin. It was drained a second time, almost a thousand years later, during a five-hundred-year period: Benedictine monks started the process in the 13th century, and the draining was completed by an engineer from Foligno in the 18th century.

In literature, one sometimes sees Umbria called ''il cuor verde d'Italia'' (the green heart of Italy). The phrase is taken from a poem by Giosuè Carducci — the subject of which is not Umbria but rather a specific place in it, the source of the Clitunno river.

History

The region is named for the Umbri tribe, one of those who were absorbed by the expansion of the Romans. Pliny the Elder recounts a fanciful derivation for the tribal name from the Greek ὄμβ�?ος "a shower", which had led to the confused idea that they had survived the Deluge familiar from Greek mythology, giving them the claim to be the most ancient race in Italy. In fact they belonged to a broader family of neighbouring tribes with similar roots. Their language was Umbrian, one of the Italic languages, related to Latin and Oscan.

The Umbri probably sprang, like neighbouring tribes, from the creators of the Terramara, and Villanovan culture in northern and central Italy, who entered north-eastern Italy at the beginning of the Bronze Age.

The Etruscans were the chief enemies of the Umbri, and the Etruscan invasion went from the western seaboard towards the north and east (lasting from about 700 to 500 BC), eventually driving the Umbrians towards the Apenninic uplands and capturing 300 Umbrian towns. Nevertheless, the Umbrian population does not seem to have been eradicated in the conquered districts.

After the downfall of the Etruscans, Umbrians attempted to aid the Samnites in their struggle against Rome (308 BC); but communications with Samnium were impeded by the Roman fortress of Narni (founded 298 BC). At the great battle of Sentinum (295 BC), which was fought in their own territory, the Umbrians did not substantially help the Samnites.

The Roman victory at Sentinum started a period of integration under the Roman rulers, who established some colonies (e.g., Spoletium) and built the via Flaminia (220 BC), which became a principal vector for Roman development in Umbria. During Hannibal's invasion in the second Punic war, the battle of Lake Trasimene was fought in Umbria, but the Umbrians did not aid him.

During the Roman civil war between Mark Antony and Octavian (40 BC), the city of Perugia supported Antony and was almost completely destroyed by the latter.

In Pliny's time, 49 independent communities still existed in Umbria, and the abundance of inscriptions and the high proportion of recruits in the imperial army attest to its population.

The modern region of Umbria, however, is essentially different from the Umbria of Roman times (see Roman Umbria), which extended through most of what is now the northern Marche, to Ravenna, but excluded the west bank of the Tiber. Thus Perugia was in Etruria, and the area around Norcia was in the Sabine territory.

After the collapse of the Roman empire, Ostrogoths and Byzantines struggled for the supremacy in the region; the Lombards founded the duchy of Spoleto, covering much of today's Umbria. When Charlemagne conquered most of the Lombard kingdoms, some Umbrian territories were given to the Pope, who established temporal power over them. Some cities acquired a form of autonomy (the ''comuni''); they were often at war with each other in the context of the more general conflict between the papacy and the Holy Roman Empire or between the Guelphs and the Ghibellines.

In the 14th century, the ''signorie'' arose, but were subsumed into the Papal States, which ruled the region until the end of the 18th century.

After the French Revolution and the French conquest of Italy, Umbria was part of the ephemeral Roman Republic (1798–1799) and of the Napoleonic Empire (1809–1814).

After Napoleon's defeat, the Pope regained Umbria until 1860.

After the Risorgimento, the expansion of the Piedmontese, and Italian unification, in 1861 Umbria was incorporated in the Kingdom of Italy.

The borders of Umbria were fixed in 1927, with the creation of the province of Terni and the separation of the province of Rieti, which was incorporated in Lazio.

In 1946 Umbria became part of the Italian Republic.

Economy

The present economic structure emerged from a series of transformations which took place mainly in the 1970s and 1980s. During this period, there was rapid expansion among small and medium-sized firms and a gradual retrenchment among the large firms which had hitherto characterised the region's industrial base. This process of structural adjustment is still going on.

Umbrian agriculture is noted for its tobacco, its olive oil and its vineyards, which produce excellent wines. Regional varietals include the white Orvieto, which draws agri-tourists to the vineyards in the area surrounding the medieval town of the same name. Other noted wines produced in Umbria are Torgiano and Rosso di Montefalco. Another typical Umbrian product is the black truffle found in Valnerina, an area that produces 45% of this product in Italy.

The food industry in Umbria produces processed pork-meats, confectionery, pasta and the traditional products of Valnerina in preserved form (truffles, lentils, cheese). The other main industries are textiles, clothing, sportswear, iron and steel, chemicals and ornamental ceramics.

Demographics

As of 2008, the Italian national institute of statistics ISTAT estimated that 75,631 foreign-born immigrants live in Umbria, equal to 8.5% of the total population of the region.

Government and politics

Umbria was a former stronghold of the Italian Communist Party forming with Tuscany, Emilia-Romagna and Marche the famous Italian political "Red Quadrilateral". Nowadays Umbria is a stronghold of the center-left and of the Democratic Party. At the April 2008 elections, Umbria gave more than 47% of its votes to Walter Veltroni.

Administrative divisions

Umbria is divided into two provinces:

Province	Area (km²/sq mi)	Population	Density (per km²/sq mi)
Province of Perugia		660,040	104 / 270
Province of Terni		232,311	109 / 284

References

Bibliography

External links

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Coordinates	42°42′56″N170°58′5″N
name	Gil Evans
background	non_vocal_instrumentalist
birth date	May 13, 1912
death date	April 20, 1988
genre	Jazz, third stream
occupation	Composer
years active	1933–1988
label	Impulse!, Prestige Records
notable instruments	Piano }}

Gil Evans (born 13 May 1912 in Toronto, Canada, died 20 March 1988 in Cuernavaca, Mexico) was a jazz pianist, arranger, composer and bandleader, active in the United States. He played an important role in the development of cool jazz, modal jazz, free jazz and jazz fusion, and collaborated extensively with Miles Davis.

Biography

Born Ian Ernest Gilmore Green, his name was changed early on to Evans, the name of his stepfather. His family moved to Stockton, California where he spent most of his youth. After 1946, he lived and worked primarily in New York City, living for many years at Westbeth Artists Community.

Between 1941 and 1948, he worked as an arranger for the Claude Thornhill Orchestra. Evans' modest basement apartment behind a New York City Chinese laundry soon became a meeting place for musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those present included the leading bebop performer Charlie Parker himself. In 1948, Evans, with Miles Davis, Gerry Mulligan, and others, collaborated on a band book for a nonet. The group was booked for a week at the "Royal Roost" as an intermission group on the bill with the Count Basie Orchestra. Capitol Records recorded 12 numbers by the nonet at three sessions in 1949 and 1950. These recordings were reissued on a 1957 Miles Davis LP titled ''Birth of the Cool''.

Later, while Davis was under contract to Columbia Records, producer George Avakian suggested that Davis work with any of several arrangers. Davis immediately chose Evans. The three albums that resulted from the resulting collaboration are ''Miles Ahead'' (1957), ''Porgy and Bess'' (1958), and ''Sketches of Spain'' (1960). Another collaboration from this period, ''Quiet Nights'' (1962) was issued later, against the wishes of Davis, who broke with his then-producer Teo Macero for a time as a result. Although these four records were marketed primarily under Davis's name (and credited to ''Miles Davis with Orchestra Under the Direction of Gil Evans''), Evans's contribution was as important as Davis's. Their work coupled Evans's classic big band jazz stylings and arrangements with Davis's solo playing. Evans also contributed behind the scenes to Davis' classic quintet albums of the 1960s.

From 1957 onwards Evans recorded albums under his own name. Among the featured soloists on these records were Lee Konitz, Steve Lacy, Johnny Coles and Cannonball Adderley. In 1965 he arranged the big band tracks on Kenny Burrell's ''Guitar Forms'' album. Evans was very influenced by Latin and Brazilian music. 1966 he recorded an album with Brazilian singer Astrud Gilberto, ''Look To The Rainbow''.

In the 1970s, following Davis and many other jazz musicians, Evans worked in the free jazz and jazz-rock idioms, gaining a new generation of admirers. Evans had a particular interest in the work of rock guitarist Jimi Hendrix. Hendrix's 1970 death made impossible a scheduled meeting with Evans to discuss having Hendrix front a big band led by Evans. In 1974, he released an album of his arrangements of music by Hendrix. In 1986, Evans produced and arranged the soundtrack to the film of the Colin MacInnes book ''Absolute Beginners'', thereby working with such contemporary artists as Sade Adu, Patsy Kensit's Eight Wonder, The Style Council, Jerry Dammers, Smiley Culture, Edward Tudor-Pole, and, notably, David Bowie. In 1987, Evans recorded a live CD with Sting, featuring big band arrangements of songs by and with The Police.

In April 1983, the Gil Evans Orchestra was booked into the Sweet Basil jazz club (Greenwich Village, New York) by jazz producer and Sweet Basil owner Horst Liepolt. This turned out to be a regular Monday night engagement for Evans for nearly five years and also resulted in the release of a number of successful albums by ''Gil Evans and the Monday Night Orchestra'' (produced by Horst Liepolt). One of these albums, ''Bud and Bird'', won the Grammy award for Grammy Award for Best Jazz Instrumental Performance, Big Band in 1989.

In 1986, Evans was inducted into the ''Down Beat'' Jazz Hall of Fame.

Evans died in the same Mexican city as Charles Mingus, Cuernavaca.

Discography

As leader

1957: ''Gil Evans & Ten''

1958: ''New Bottle Old Wine''

1959: ''Great Jazz Standards''

1960: ''Out of the Cool''

1961: ''Into the Hot''

1964: ''The Individualism of Gil Evans''

1971: ''Blues in Orbit''

1971: ''Where Flamingos Fly'' (Artists House)

1973: ''Svengali''

1975: ''Plays the Music of Jimi Hendrix''

1975: ''There Comes a Time''

1976: ''Tokyo Concert''

1977: ''Priestess'' (Antilles Records)

1978: ''Little Wing'' (Circle Records (Germany))

1980: ''Live at the Public Theater Volume 1 & 2''

1986: ''Live at Sweet Basil''

1986: ''Farewell''

1986: ''Bud and Bird'' (Grammy Award for Best Jazz Instrumental Performance, Big Band)

1986: ''Absolute Beginners Soundtrack''

1987: ''Live at Umbria Jazz: Volume 1 & 2''

1987: ''Collaboration'' (with Helen Merrill)

1987: ''75th Birthday Concert''

1987: ''Paris Blues'' (duo with Steve Lacy)

1987: ''Last Session'' (with Sting)

1988: ''A Tribute to Gil''

1990: Gil Evans with RMS - ''Take Me To The Sun''

Arranger

1947-1949: ''The Real Birth of the Cool: Studio Recordings'' (Claude Thornhill)

1957: ''Miles Ahead'' (Miles Davis)

1958: ''Porgy and Bess'' (Miles Davis)

1958: ''Dream of You'' (with Helen Merrill)

1960: ''Sketches of Spain'' (Miles Davis)

1963: ''Quiet Nights'' (Miles Davis)

1965: ''Look To The Rainbow'' (Astrud Gilberto)

1965: ''Guitar Forms'' (with Kenny Burrell)

Filmography

2005: ''RMS Live With Gil Evans at the Montreux Jazz Festival 1983''

2007: ''Gil Evans and His Orchestra''

2007: ''Strange Fruit with Sting''

2009: ''Miles Davis The Cool Jazz Sound''

References

External links

Gil Evans Homepage

Interview with "Gil Evans: Out Of The Cool" author Stephanie Stein Crease

Category:1912 births Category:1988 deaths Category:Jazz arrangers Category:Cool jazz arrangers Category:Jazz fusion arrangers Category:Post-bop arrangers Category:Experimental big band arrangers Category:Canadian Music Hall of Fame inductees Category:Grammy Award winners Category:Guggenheim Fellows Category:Antilles Records artists Category:Verve Records artists Category:Enja Records artists Category:EmArcy Records artists Category:Impulse! Records artists Category:Miles Davis

ca:Gil Evans cs:Gil Evans da:Gil Evans de:Gil Evans es:Gil Evans eo:Gil Evans fr:Gil Evans it:Gil Evans he:גיל �?וונס nl:Gil Evans ja:ギ�?��?�エ�?�ァ�?�ス no:Gil Evans pl:Gil Evans pt:Gil Evans ru:Эван�?, Джил fi:Gil Evans th:�?ิล อี�?วนส์

:''For other persons named John McLean, see John McLean.''

Coordinates	42°42′56″N170°58′5″N
Name	Jackie McLean
Background	non_vocal_instrumentalist
Birth name	John Lenwood McLean
Birth date	May 17, 1931
Death date	March 31, 2006
Instrument	alto saxophone
Genre	BopHard bopModal jazzProgressive jazzMainstream jazzPost-bop
Occupation	Musician, bandleader, composer, educator, community activist
Years active	1951–2004 }}

John Lenwood (Jackie) McLean (May 17, 1931 — March 31, 2006) was an American jazz alto saxophonist, composer, bandleader and educator, born in New York City.

Biography

McLean's father, John Sr., played guitar in Tiny Bradshaw's orchestra. After his father's death in 1939, Jackie's musical education was continued by his godfather, his record-store-owning stepfather, and several noted teachers. He also received informal tutoring from neighbors Thelonious Monk, Bud Powell, and Charlie Parker. During high school he played in a band with Kenny Drew, Sonny Rollins, and Andy Kirk Jr. (the tenor saxophonist son of Andy Kirk).

Along with Rollins, he played on Miles Davis' ''Dig'' album, when he was 19 years old. As a young man McLean also recorded with Gene Ammons, Charles Mingus, George Wallington, and as a member of Art Blakey's Jazz Messengers. McLean joined Blakey after reportedly being punched by the volatile Mingus. Fearing for his life, McLean pulled out a knife and contemplated using it against Mingus in self-defense. He later stated that he was grateful that he did not stab the bassist.

His early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without abandoning his foundation in hard bop. Throughout his career he was known for a distinctive tone, akin to the tenor saxophone and often described with such adjectives as ''withering'', ''piercing'', or ''searing''; a slightly sharp pitch; and a strong foundation in the blues.

McLean was a heroin addict throughout his early career, and the resulting loss of his New York City cabaret card forced him to undertake a large number of recording dates; consequently, he produced an extensive body of recorded work in the 1950s and 1960s. He was under contract with Blue Note Records from 1959 to 1967, having previously recorded for Prestige. Blue Note offered better pay and more artistic control than other labels, and his work for this organization is highly regarded and includes leadership and sideman dates with a wide range of musicians, including Donald Byrd, Sonny Clark, Lee Morgan, Ornette Coleman, Dexter Gordon, Billy Higgins, Freddie Hubbard, Grachan Moncur III, Bobby Hutcherson, Mal Waldron, and many others.

In 1962 he recorded ''Let Freedom Ring'' for Blue Note. This album was the culmination of attempts he had made over the years to deal with harmonic problems in jazz, incorporating ideas from the free jazz developments of Ornette Coleman. Emblematic of his stylistic growth is the solo on his piece "Quadrangle" as compared to the version of the same tune on BST 4051, ''Jackie's Bag'', recorded in 1959. ''Let Freedom Ring'' began a period in which he performed with avant-garde jazz musicians rather than the veteran hard bop performers he had been playing with previously. His adaptation of modal jazz and free jazz innovations to his vision of hard bop made his recordings from 1962 on distinctive. In early 1964, he served six months in prison on drug charges.

McLean recorded with dozens of well-known musicians and had a gift for spotting talent. Saxophonist Tina Brooks, trumpeter Charles Tolliver, pianist Larry Willis, trumpeter Bill Hardman, and tubist Ray Draper were among those who benefited from McLean's support in the 1950s and 1960s. Drummers such as Tony Williams, Jack DeJohnette, Lenny White, Michael Carvin, and Carl Allen gained important early experience with McLean.

In 1967, his recording contract, like those of many other progressive musicians, was terminated by Blue Note's new management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a living, concentrating instead on touring. In 1968, he began teaching at The Hartt School of the University of Hartford. He later set up the university's African American Music Department (now the Jackie McLean Institute of Jazz) and its Bachelor of Music degree in Jazz Studies program.

In 1970, he and his wife, Dollie McLean, founded the Artists Collective, Inc. of Hartford, an organization dedicated to preserving the art and culture of the African Diaspora. It provides educational programs and instruction in dance, theatre, music and visual arts. The membership of McLean's later bands were drawn from his students in Hartford, including Steve Davis and his son René, who is a jazz saxophonist and flautist as well as a jazz educator. Also, in McLean's Hartford group was Mark Berman, the jazz pianist and broadway conductor of Smokey Joe's Cafe and Rent. In 1979 he reached #53 in the UK Singles Chart with "Doctor Jackyll and Mister Funk".

He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001 and numerous other national and international awards. McLean was the only American jazz musician to found a department of studies at a University and a community based organization almost simultaneously. Each has existed for over three decades.

After a long illness, McLean died on March 31, 2006, in Hartford, Connecticut.

Discography

As leader

;Prestige

''Lights Out!'' (1956)

''4, 5 and 6'' (1956)

''Alto Madness'' (1957)

''McLean's Scene'' (1957)

"Jackie McLean & Co" (1957)

;Blue Note

''New Soil'' (1959)

''Swing, Swang, Swingin''' (1959)

''Capuchin Swing'' (1960)

''Jackie's Bag'' (1959–60)

''Bluesnik'' (1961)

''A Fickle Sonance'' (1961)

''Let Freedom Ring'' (1962)

''Tippin' the Scales'' (1962)

''Vertigo'' (1962–63)

''One Step Beyond'' (1963)

''Destination... Out!'' (1963)

''It's Time!'' (1964)

''Action Action Action'' (1964)

''Right Now!'' (1965)

''Jacknife'' (1965)

''Consequence'' (1965)

''New and Old Gospel'' (1967)

'''Bout Soul'' (1967)

''Demon's Dance'' (1967)

''One Night with Blue Note Preserved Volume 2'' (1985) with Woody Shaw, McCoy Tyner, Cecil McBee and Jack DeJohnette

''It's About Time'' (1985) with McCoy Tyner

''Hat Trick'' (1996)

''Fire & Love'' (1998)

''Nature Boy'' (2000)

;SteepleChase

''Ode to Super'' (1973)

''Dr. Jackle'' (1979; recorded 1966)

''Contour'' (1980)

''Strange Blues'' (1990)

''Makin The Changes'' (1990)

''Dynasty'' (1990)

''A Long Drink Of The Blues'' ( 1994)

;Others

''The Jackie Mac Attack Live'' (1991)

''Rhythm Of The Earth'' (1992) Dreyfus

As sideman

With Gene Ammons

''The Happy Blues'' (1956)

''Jammin' with Gene'' (1956)

''Funky'' (1957)

''Jammin' in Hi Fi'' (1957)

With Art Blakey

''Hard Bop'' (1956)

''Drum Suite'' (1956)

''Ritual'' (1957)

With Kenny Burrell

''2 Guitars'' with Jimmy Raney (1957)

With Donald Byrd

''2 Trumpets'' with Art Farmer (1956)

''Off to the Races'' (1958)

''Fuego'' (1959)

''Byrd in Flight'' (1960)

With Sonny Clark

''Cool Struttin' (1958)

With Miles Davis

''Dig'' (1951)

''Quintet / Sextet'' (1955)

With Walter Davis Jr.

''Davis Cup'' (1959)

With Kenny Dorham

''Inta Somethin''' (1961)

''Matador'' (1962)

With Ray Draper

''Tuba Sounds'' (1957)

With Charles Mingus

''Pithecanthropus Erectus'' (1956)

''Blues and Roots'' (1958)

With Hank Mobley

''Mobley's Message'' (1956)

''Hi Voltage'' (1967)

With Grachan Moncur III

''Evolution'' (1963)

With Lee Morgan

''Lee-Way'' (1960)

''Tom Cat'' (1964)

''Cornbread'' (1965)

''Infinity'' (1965)

''Charisma'' (1966)

''The Sixth Sense'' (1967)

With Freddie Redd

''The Connection'' (1960)

''Shades of Redd'' (1960)

''Redd's Blues'' (1961)

With Jimmy Smith

''Open House'' (1960)

''Plain Talk'' (1960)

With Art Taylor

''Taylors Wailers'' (1957)

With Mal Waldron

''Mal 2'' (1957)

''Like Old Time'' (1976)

''Left Alone '86'' (1986)

With Jack Wilson

''Easterly Winds'' (1967)

Filmography

''The Connection'', as himself (Dir. Shirley Clarke)

''Jackie McLean on Mars ''(1980), as himself (Dir. Ken Levis)

''Ken Burns' Jazz'' (2000), as himself (Dir. Ken Burns)

References

External links

Jackie McLean complete discography from Music City

Allmusic

MusicWeb

NEA Jazz Masters

Official history of the Artists Collective Inc.

History of the Artists Collective Inc.

Jackie McLean on the Hard Bop Home Page

Obituary in ''The Guardian'' (London) by John Fordham, April 3, 2006

"Blues for Jackie," Obituary by Owen McNally in Hartford ''Courant'' (Hartford, CT) April 1, 2006

New England Jazz History Database - Audio Interviews

Jazz Portraits from the WGBH Archives: Jackie McLean a radio documentary from WGBH Radio Boston

Category:1931 births Category:2006 deaths Category:American jazz composers Category:American jazz alto saxophonists Category:Jazz saxophonists Category:African American musicians Category:Bebop saxophonists Category:Hard bop saxophonists Category:Modal jazz saxophonists Category:Post-bop saxophonists Category:Mainstream jazz saxophonists Category:Musicians from Connecticut Category:Miles Davis Category:People from Hartford, Connecticut Category:People from New York City Category:SteepleChase Records artists Category:Prestige Records artists Category:Inner City Records artists Category:Verve Records artists Category:Blue Note Records artists Category:University of Hartford Category:The Hartt School faculty

cs:Jackie McLean da:Jackie McLean de:Jackie McLean es:Jackie McLean eo:Jackie McLean fr:Jackie McLean it:Jackie McLean he:ג'קי מקלין ja:ジ�?��??キ�?��?��?�ク�?��?��?� pl:Jackie McLean

Coordinates	42°42′56″N170°58′5″N
name	Horace Silver
background	non_vocal_instrumentalist
birth name	Horace Ward Martin Tavares Silva
born	September 02, 1928
origin	Norwalk, Connecticut, U.S.
instrument	Piano
genre	Post bopModal jazzMainstream jazzSoul jazzJazz fusionHard bop
occupation	PianistComposerBandleader
associated acts	Horace Silver QuintetHorace Silver TrioArt Blakey and the Jazz Messengers
notable instruments	}}

Horace Silver (born September 2, 1928), born Horace Ward Martin Tavares Silva in Norwalk, Connecticut, is an American jazz pianist and composer.

Silver is known for his distinctive humorous and funky playing style and for his pioneering compositional contributions to hard bop. He was influenced by a wide range of musical styles, notably gospel music, African music, and Latin American music and sometimes ventured into the soul jazz genre.

Early life and career

His father, who was known as John Tavares Silva, was from the island of Maio in Cape Verde. His mother was born in New Canaan, Connecticut and was of Irish-African descent.

Silver began his career as a tenor saxophonist but later switched to piano. His tenor saxophone playing was highly influenced by Lester Young, and his piano style by Bud Powell. Silver was discovered in the Sundown Club in Hartford, Connecticut in 1950 by saxophonist Stan Getz. Getz was playing at the club with Silver’s trio backing him up. Getz liked Silver’s band and brought them on the road, eventually recording three of Silver’s compositions. It was with Getz that Silver made his recording debut.

He moved to New York City in 1951, where he worked at the jazz club Birdland on Monday nights, when different musicians would come together and informally jam. During that year he met the executives of the label Blue Note while working as a sideman. He eventually signed with them where he remained until 1980. It was in New York that he formed The Jazz Messengers, a co-operatively run group with Art Blakey.

In 1952 and 1953 he recorded three sessions with his own trio, featuring Blakey on drums and Gene Ramey, Curly Russell and Percy Heath on bass. The drummer-pianist team lasted for four years; during this time, Silver and Blakey recorded at Birdland (''A Night at Birdland Vol. 1'') with Russell, Clifford Brown and Lou Donaldson, at the Bohemia with Kenny Dorham and Hank Mobley, and also in the studios. He was also a member of the Miles Davis All Stars, recording the crucial ''Walkin''' in 1954.

Blue Note years

From 1956 onwards, Silver recorded exclusively for the Blue Note label, eventually becoming close to label boss Alfred Lion who allowed him greater input on aspects of album production than was usual at the time. During his years with Blue Note, Silver helped to create the rhythmically forceful branch of jazz known as "hard bop", which combined elements of rhythm-and-blues and gospel music with jazz. Gospel elements are particularly prominent on one of his biggest hits, "The Preacher", which Lion thought corny, but Silver persuaded him to record it.

While Silver's compositions at this time featured surprising tempo shifts and a range of melodic ideas, they caught the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums from this period included ''Horace Silver Trio'' (1953), ''Horace Silver and the Jazz Messengers'' (1955), ''6 Pieces of Silver'' (1956) and ''Blowin' the Blues Away'' (1959), which includes his famous, "Sister Sadie." He also combined jazz with a sassy take on pop through the 1961 hit, "Filthy McNasty".

Influences

Silver tended not to play up that he was proficient in Portuguese, nor draw directly on his rich Lusophone musical upbringing. His 1965 hit, "Cape Verdean Blues," is the only clear rhythmic reference to his childhood home where his father and friends jammed, with traditional Capeverdean ''morna'' and ''coladeira'' as the main fare. In the interview for the liner notes to 1964's ''Song for My Father (''Cantiga Para Meu Pai'')'', however, Silver remarked of the title track, "This tune is an original of mine, but it has a flavor of it that makes me think of my childhood days. Some of the family, including my father and my uncle, used to have musical parties with three or four stringed instruments; my father played violin and guitar. Those were happy, informal sessions." Silver melded additional Lusophone influences into his music directly after his February 1964 tour of Brazil. Referring to "Song for My Father," Silver said, "I was very much impressed by the authentic ''bossa nova'' beat. Not just the monotonous ''tick-tick-tick, tick-tick'', the way it's usually done, but the real ''bossa nova'' feeling, which I've tried to incorporate into this number."

His early influences included the styles of boogie-woogie and the blues. It includes but is not limited to Art Tatum, Teddy Wilson, Nat “King” Cole, and Thelonious Monk. He liked to quote other musicians within his own work and would often recreate famous solos in his original pieces as something of a tribute to the greats who influenced him.

During Silver's time with Blakey he rarely recorded as a leader, but after splitting with him in 1956, formed his own hard bop quintet at first featuring the same line-up as Blakey's Jazz Messengers with 18-year-old Louis Hayes substituting for Blakey. The quintet's more enduring line-up featured Blue Mitchell and Junior Cook.

In 1963 Silver created a new group featuring Joe Henderson on tenor saxophone and Carmell Jones on trumpet; this quintet recorded most of Silver's best-known album ''Song for My Father''. When Jones left to settle in Europe, the trumpet chair was filled by a young Woody Shaw and Tyrone Washington replaced Henderson.

Silver's compositions, catchy and very strong harmonically, gained popularity while his band gradually switched to funk and soul. This change of style was not readily accepted by many long-time fans. The quality of several albums of this era, such as ''The United States of Mind'' (on which Silver himself provided vocals on several tracks), is to this day contested by fans of the genre. Silver's spirituality displayed on these albums also has a mixed reputation. However, many of these later albums featured many interesting musicians (such as Randy Brecker). Silver was the last musician to be signed to Blue Note in the 1970s before it went into temporary abeyance. In 1981 he formed his own short-lived labels, Silveto and Emerald.

Later years

After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album, ''Continuity of Spirit'' (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered the urban popular music that had been largely built from his influence on ''It's Got To Be Funky'' (Columbia, 1993). Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award. The SFJazz Collective will focus on Horace Silver's music for their 2010 season.

Legacy

Silver's music has been a major force in modern jazz. He was one of the first pioneers of the style known as Hard Bop, influencing such pianists as Bobby Timmons, Les McCann, and Ramsey Lewis. Second, the instrumentation of his quintet (trumpet, tenor sax, piano, double bass, and drums) served as a model for small jazz groups from the mid-1950s until the late 1960s. Further, Silver's ensembles provided an important training ground for young players, many of whom (such as Donald Byrd, Art Farmer, Blue Mitchell, Woody Shaw, Junior Cook, and Joe Henderson) later led similar groups of their own.

Silver's talent did not go unnoticed among rock musicians who bore jazz influences, either; Steely Dan sent Silver into the Top 40 in the early 1970s when they crafted their biggest hit single, "Rikki, Don't Lose That Number," off the bass riff that opens "Song for My Father."

As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these changes through music. He commented directly on the new scene through a trio of records called United States of Mind (1970–1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic philosophy as his group, Silver 'N Strings, recorded ''Silver 'N Strings Play The Music of the Spheres'' (1979).

Discography

As leader

;Blue Note Records

1955: ''Horace Silver and the Jazz Messengers''

1956: "Horace Silver Trio"

1956: ''6 Pieces of Silver''

1957: ''The Stylings of Silver''

1958: ''Further Explorations''

1958: ''Live at Newport '58''

1959: ''Finger Poppin'''

1959: ''Blowin' the Blues Away''

1960: ''Horace-Scope''

1961: ''Doin' the Thing''

1962: ''The Tokyo Blues''

1963: ''Silver's Serenade''

1964: ''Song for My Father''

1965: ''The Cape Verdean Blues''

1966: ''The Jody Grind''

1968: ''Serenade to a Soul Sister''

1969: ''You Gotta Take a Little Love''

1970: ''That Healin' Feelin'''

1971: ''Total Response''

1972: ''All''

1972: ''In Pursuit of the 27th Man''

1975: ''Silver 'n Brass''

1976: ''Silver 'n Wood''

1977: ''Silver 'n Voices''

1978: ''Silver 'n Percussion''

1979: ''Silver 'n Strings Play the Music of the Spheres''

;Silveto Records/Emerald Records

1964: ''Live 1964''

1965: ''The Natives are Restless Tonight''

1981: ''Guides to Growing Up''

1983: ''Spiritualizing the Senses''

1984: ''There's No Need to Struggle''

1985: ''The Continuity of Spirit''

1988: ''Music to Ease Your Disease''

;Columbia Records

1956: ''Silver's Blue''

1993: ''It's Got to Be Funky''

1994: ''Pencil Packin' Papa''

;Impulse! Records

1996: ''The Hardbop Grandpop''

1997: ''A Prescription for the Blues''

;Other labels

1962: ''Paris Blues'' (Pablo)

1991: ''Rockin' with Rachmaninoff'' (Bop City)

1999: ''Jazz Has a Sense of Humor'' (Verve)

;Compilations

''The Best of Horace Silver: The Blue Note Years''

''The Best of Horace Silver Vol. II''

''Retrospective''

''The United States of Mind'' (Blue Note) - compiles ''That Healin' Feelin''', ''Total Response'', and ''All''

As sideman

'''with Nat Adderley :

''Introducing Nat Adderley'' (1955, EmArcy)

'''with Art Blakey :

''A Night at Birdland Vol. 1'' (1954, Blue Note)

''A Night at Birdland Vol. 2'' (1954, Blue Note)

''A Night at Birdland Vol. 3'' (1954, Blue Note)

''At the Cafe Bohemia, Vol. 1'' (1955, Blue Note)

''At the Cafe Bohemia, Vol. 2'' (1955, Blue Note)

''Art Blakey with the Original Jazz Messengers'' (1956, Columbia)

''Originally'' (1956, Columbia)

'''with Dee Dee Bridgewater :

''Love and Peace: A Tribute to Horace Silver'' (1994, Verve)

'''with Kenny Burrell :

''K.B. Blues'' (1957, Blue Note)

'''with Donald Byrd :

''Byrd's Eye View'' (1955, Transition)

'''with Paul Chambers :

''Whims of Chambers'' (1956, Blue Note)

'''with Kenny Clarke :

''Bohemia After Dark'' (1955, Savoy)

'''with Al Cohn :

''Al Cohn's Tones'' (1953, Savoy)

'''with Miles Davis :

''Miles Davis Volume 1'' (1954, Blue Note Records)

''Blue Haze'' (1954, Prestige Records)

''Walkin''' (1954, Prestige Records)

''Bags' Groove'' (1954, Prestige Records)

'''with Kenny Dorham :

''Afro-Cuban'' (1955, Blue Note Records)

'''with Lou Donaldson :

''Quartet/Quintet/Sextet'' (1952, Blue Note Records)

'''with Art Farmer :

''Early Art'' (1954, Prestige)

''Art Farmer Septet'' (1954, Prestige)

'''with Leonard Feather :

''Cats vs. Chicks'' (1954, MGM)

'''with Stan Getz :

''The Complete Roost Recordings'' (1951, Blue Note Records)

''Birdland Sessions'' (1952, Fresh Sound)

With Giant of Jazz

''Giants of Jazz'' (1955, Mercury Records)

'''with Terry Gibbs :

''Jazz USA'' (1951, Brunswick)

'''with Gigi Gryce :

''When Farmer Met Gryce'' (1954, Prestige)

''Nica's Tempo'' (1955, Savoy)

'''with Coleman Hawkins :

''Disorder at the Border'' (1952, Spotlite)

'''with J. J. Johnson :

''The Eminent Jay Jay Johnson Volume 2'' (1955, Blue Note)

'''with Milt Jackson :

''Milt Jackson Quartet/Quintet'' (1954, Prestige Records)

''Milt Jackson Quartet'' (1955, Prestige Records)

''Plenty, Plenty Soul'' (1957, Atlantic)

with Cliff Jordan & John Gilmore

''Blowing in from Chicago'' (1957, Blue Note)

'''with Howard McGhee :

''Howard McGhee, Volume 2'' (1953, Blue Note)

'''with Hank Mobley :

''Hank Mobley Quartet'' (1955, Blue Note)

''The Jazz Message of Hank Mobley'' (1956, Savoy)

''Hank Mobley Sextet'' (1956, Blue Note)

''Hank Mobley and his All Stars'' (1957, Blue Note)

''Hank Mobley Quintet'' (1957, Blue Note)

'''with J. R. Monterose :

''J. R. Monterose'' (1956, Blue Note)

'''with Lee Morgan :

''Lee Morgan Indeed!'' (1956, Blue Note)

''Lee Morgan Sextet'' (1956, Blue Note)

'''with Clifford Jordan and John Gilmore :

''Blowing In from Chicago'' (1957, Blue Note)

'''with Rita Reys :

''The Cool Voice of Rita Reys'' (1956, Columbia)

'''with Sonny Rollins :

''Sonny Rollins, Vol. 2'' (1957, Blue Note)

'''with Sonny Stitt :

''Arrangements by Richards'' (1953, Roost/Mosaic)

'''with Clark Terry :

''Introducing Clark Terry'' (1955, EmArcy)

'''with Phil Urso :

''The Philosophy of Urso'' (1954, Savoy)

'''with Lester Young :

''The Pres Box, Vol. 10-12'' (1953, Jazz Up)

Quotation

References

External links

Official site

Horace Silver Discography at the Hard Bop Home Page

Horace Silver entry at the Jazz Discography Project

Listening In: An Interview with Horace Silver by Bob Rosenbaum, Los Angeles, December 1981 (PDF file)

"The Dozens: Twelve Essential Horace Silver Recordings" by Bill Kirchner (Jazz.com)

Category:American jazz bandleaders Category:Bebop pianists Category:Soul-jazz pianists Category:Modal jazz pianists Category:Mainstream jazz pianists Category:Post-bop pianists Category:Hard bop pianists Category:American jazz composers Category:American jazz pianists Category:Cape Verdean musicians Category:People from New York City Category:People from Norwalk, Connecticut Category:1928 births Category:Living people Category:American musicians of Cape Verdean descent Category:Columbia Records artists Category:Blue Note Records artists

cs:Horace Silver da:Horace Silver de:Horace Silver es:Horace Silver eo:Horace Silver fr:Horace Silver it:Horace Silver he:הור�?ס סילבר nl:Horace Silver ja:�?��?�ス�?�シ�?��?�ァ�?� no:Horace Silver pl:Horace Silver pt:Horace Silver ru:Сильвер, Хора�? fi:Horace Silver sv:Horace Silver

Coordinates	42°42′56″N170°58′5″N
name	Art Blakey
landscape	yes
background	non_vocal_instrumentalist
birth name	Arthur Blakey
alias	Abdullah Ibn Buhaina
born	October 11, 1919Pittsburgh, PennsylvaniaUnited States
died	October 16, 1990New York City, New York, U.S.
instrument	Drums, percussion
genre	Hard bopBebop
occupation	Drummer, bandleader
years active	1942–1990
label	Blue Note Records
associated acts	Art Blakey & the Jazz MessengersArt Blakey QuartetArt Blakey QuintetArt Blakey & the Afrocuban Boys
website	http://www.artblakey.com/
notable instruments	}}

Arthur "Art" Blakey (October 11, 1919 – October 16, 1990), known later as Abdullah Ibn Buhaina, was an American Grammy Award-winning jazz drummer and bandleader. He was a member of the Ahmadiyya Muslim Community.

Along with Kenny Clarke and Max Roach, he was one of the inventors of the modern bebop style of drumming. He is known as a powerful musician and a vital groover; his brand of bluesy, funky hard bop was and continues to be profoundly influential on mainstream jazz. For more than 30 years his band, Art Blakey and the Jazz Messengers included many young musicians who went on to become prominent names in jazz. The band's legacy is thus not only known for the often exceptionally fine music it produced, but as a proving ground for several generations of jazz musicians; Blakey's groups are matched only by those of Miles Davis in this regard.

Blakey was inducted into the Jazz Hall of Fame (in 1982), the Grammy Hall of Fame (in 2001), and was awarded the Grammy Lifetime Achievement Award in 2005.

Before the Messengers

Blakey was born in Pittsburgh, Pennsylvania. By the time he was a teenager, he was playing the piano full-time, leading a commercial band. Shortly afterwards, reputedly because he thought he would be unable to compete with the emerging pianist Erroll Garner, he taught himself to play the drums in the aggressive swing style of Chick Webb, Sid Catlett and Ray Bauduc. He joined Mary Lou Williams as a drummer for an engagement in New York in autumn 1942. He then toured with the Fletcher Henderson Orchestra (1939–1942). During his years with Billy Eckstine’s big band (1944–7), Blakey became associated with the bebop movement, along with his fellow band members Miles Davis, Dexter Gordon, Fats Navarro and others.

By the late forties and early fifties, Blakey was backing musicians such as Miles Davis, Bud Powell and Thelonious Monk — he is often considered to have been Monk's most empathetic drummer, and he played on both Monk's first recording session as a leader (for Blue Note Records in 1947) and his final one (in London in 1971), as well as many in between.

He claimed that he then travelled to Africa during 1948–49; however, no documentation has been uncovered that supports this claim. He did though convert to Islam during this period and took the name Abdullah Ibn Buhaina (which led to the nickname "Bu"). In the early 1950s he performed and broadcast with such musicians as Charlie Parker and Miles Davis

From his earliest recording sessions with Eckstine, and particularly in his historic sessions with Monk in 1947, Blakey exuded power and originality, creating a dark cymbal sound punctuated by frequent loud snare- and bass-drum accents in triplets or cross-rhythms. Although Blakey discouraged comparison of his own music with African drumming, he adopted several African devices, including rapping on the side of the drum and using his elbow on the tom-tom to alter the pitch. His much-imitated trademark, the forceful closing of the hi-hat on every second and fourth beat, was part of his style from 1950 to '51. A loud and domineering drummer, Blakey also listened and responded to his soloists. His contribution to jazz as a discoverer and molder of young talent over three decades was no less significant than his very considerable innovations on his instrument.

The Jazz Messengers

In 1947 Blakey organized the Seventeen Messengers, a rehearsal band, and recorded with an octet called the Jazz Messengers. The use of the Messengers tag only stuck with the group co-led at first by both Blakey and pianist Horace Silver, though the name was not used on the earliest of their recordings. Blakey and Silver recorded together on several occasions, including live at Birdland with trumpeter Clifford Brown and alto-saxophonist Lou Donaldson in 1954 for Blue Note, having formed in 1953 a regular cooperative group with Hank Mobley and Kenny Dorham.

The "Jazz Messengers" name was first used for this group on a 1954 recording nominally led by Silver, with Blakey, Mobley, Dorham and Doug Watkins — the same quintet would record ''The Jazz Messengers at the Cafe Bohemia'' the following year, still functioning as a collective. Donald Byrd replaced Dorham, and the group recorded an album called simply ''The Jazz Messengers'' for Columbia Records in 1956. Blakey took over the group name when Silver left after the band's first year (taking Mobley, Byrd and Watkins with him to form a new quintet with a variety of drummers), and the band was known as "Art Blakey and the Jazz Messengers" from then onwards with Blakey being the sole leader, and he remained associated with it for the rest of his life. It was the archetypal hard-bop group of the 1950s, playing a driving, aggressive extension of bop with pronounced blues roots. Towards the end of the 1950s, the saxophonists Johnny Griffin and Benny Golson were in turn briefly members of the group. Golson, as music director, wrote several jazz standards which began as part of the band book such as "I Remember Clifford", and "Blues March" was regularly revived by later editions of the group. "Along Came Betty" and "Are You Real" were other Golson compositions for Blakey.

From 1959 to 1961 the group featured Wayne Shorter on tenor saxophone, Jymie Merritt, Lee Morgan, and Bobby Timmons. The second line-up (1961–1964) was a sextet that added trombonist Curtis Fuller and replaced Morgan and Timmons with Freddie Hubbard and Cedar Walton, respectively. Shorter was now the musical director of the group, and many of his original compositions such as "Lester Left Town" remained repertoire staples later on. (Other players over the years made permanent marks on Blakey's repertoire — Timmons, composer of "Dat Dere" and "Moanin'", and later, Bobby Watson.) Shorter's more experimental inclinations pushed the band at the time into an engagement with the 1960s "New Thing", as it was called: the influence of Coltrane's contemporary records on Impulse! is evident on ''Free For All'' (1964), often cited as the greatest document of the Shorter-era Messengers (and certainly one of the most fearsomely powerful examples of hard bop on record).

Up to the 1960s Blakey also recorded as a sideman with many other musicians: Jimmy Smith, Herbie Nichols, Cannonball Adderley, Grant Green, and Jazz Messengers graduates Lee Morgan and Hank Mobley, amongst many others. However, after the mid-1960s he mostly concentrated on his own work as a leader.Blakey also made a world tour in 1971–2 with the Giants of Jazz (with Dizzy Gillespie, Kai Winding, Sonny Stitt, Thelonious Monk and Al McKibbon).

Later career

Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers — he had a policy of encouraging young musicians: as he remarked on-mike during the live session which resulted in the ''A Night at Birdland'' albums in 1954: "I'm gonna stay with the youngsters. When these get too old I'll get some younger ones. Keeps the mind active." After weathering the fusion era in the 1970s with some difficulty (recordings from this period are less plentiful and include attempts to incorporate instruments like electric piano), Blakey's band got revitalized in the early 1980s with the advent of neotraditionalist jazz. Wynton Marsalis was for a time the band's trumpeter and musical director, and even after Marsalis's departure Blakey's band continued as a proving ground for many "Young Lions" like Johnny O'Neal, Philip Harper, Terence Blanchard, Donald Harrison and Kenny Garrett.

Blakey continued performing and touring with the group into the late 1980s; Ron Wynn notes that Blakey had "played with such force and fury that he eventually lost much of his hearing, and at the end of his life, often played strictly by instinct." Some reports suggest Blakey had hearing problems as early as 1959. Blakey died in 1990 in New York City, leaving behind a vast legacy and approach to jazz which is still the model for countless hard-bop players.

Jazz Messengers alumni

;Piano Wynton Kelly, Joanne Brackeen, Donald Brown, Walter Davis, Jr., Sam Dockery, Kenny Drew, Benny Green, John Hicks, Keith Jarrett, Geoffrey Keezer, Mulgrew Miller, Johnny O'Neal, Horace Silver, Bobby Timmons, Cedar Walton, James Williams ;Reeds Dale Barlow, Gary Bartz, Kenny Garrett, Lou Donaldson, John Gilmore, Benny Golson, Johnny Griffin, Billy Harper, Donald Harrison, Javon Jackson, Branford Marsalis, Jackie McLean, Hank Mobley, Bill Pierce, David Schnitter, Wayne Shorter, Ira Sullivan, Jean Toussaint, Bobby Watson ;Trumpet Terence Blanchard, Clifford Brown, Donald Byrd, Kenny Dorham, Bill Hardman, Philip Harper, Freddie Hubbard, Brian Lynch, Chuck Mangione, Wynton Marsalis, Lee Morgan, Woody Shaw, Valery Ponomarev, Charles Tolliver ;Trombone Steve Davis, Robin Eubanks, Curtis Fuller, Frank Lacy ;Bass Spanky DeBrest, Charles Fambrough, Dennis Irwin, Jymie Merritt, Curly Russell, Victor Sproles, Doug Watkins, Wilbur Ware, Reggie Workman, Stanley Clarke ;Guitar Bobby Broom, Kevin Eubanks

Awards

Jazz Mobile ''Development and Preservation of Jazz'' (1970)

Newport Jazz Festival Hall of Fame (1976)

Down Beat Jazz Hall of Fame ''Reader's Choice Award'' (1981)

Smithsonian Performing Arts ''Certificate of Appreciation'' (1982)

Lee Morgan Memorial Award (1982)

Jazz Hall of Fame Induction (1982)

Grammy Award Best Jazz Instrumental Performance, Group (1984) for the album New York Scene

Jazznote Award (1986)

''Doctorate of Music'' (1987; Berklee College of Music)

Martin Luther King Humanitarian Award (1991)

Grammy Hall of Fame Induction for the album ''Moanin''' (2001)

Pittsburgh Jazz Festival Award

Grammy Lifetime Achievement Award (2005; awarded posthumously)

Discography

References

External links

Official Art Blakey website

Art Blakey University School Of Hard Bop

Article about Art Blakey and "A Night in Tunisia"

"Art Blakey: Twelve Essential Performances" by Eric Novod, (Jazz.com).

Category:1919 births Category:1990 deaths Category:ABC Records artists Category:African American musicians Category:African American Muslims Category:American Ahmadis Category:American jazz drummers Category:American jazz bandleaders Category:American Muslims Category:Bebop drummers Category:Blue Note Records artists Category:Columbia Records artists Category:Converts to Islam Category:Converts to Islam from Christianity Category:Grammy Lifetime Achievement Award winners Category:Hard bop drummers Category:Impulse! Records artists Category:Jazz bandleaders Category:Musicians from Pittsburgh, Pennsylvania Category:Riverside Records artists Category:Savoy Records artists Category:Timeless Records artists

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