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Bud Powell
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Art Blakey
Arthur "Art" Blakey (October 11, 1919 – October 16, 1990), known later as Abdullah Ibn Buhaina, was an American jazz drummer and bandleader.
http://wn.com/Art_Blakey -
Art Tatum
Arthur "Art" Tatum, Jr. (October 13, 1909 – November 5, 1956) was an American jazz pianist and virtuoso. He was nearly blind.
http://wn.com/Art_Tatum -
Art Taylor
Arthur S. Taylor, Jr. (April 6, 1929–February 6, 1995) was an American jazz drummer of the hard bop school.
http://wn.com/Art_Taylor -
Bill Cunliffe
:''For the rugby league footballer of the 1910s, '20s, and '30s for Great Britain, England, and Warrington, see William Cunliffe''
http://wn.com/Bill_Cunliffe -
Bill Evans
William John Evans, known as Bill Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists including: Chick Corea, Herbie Hancock, John Taylor, Steve Kuhn, Don Friedman, Marian McPartland, Denny Zeitlin, Bobo Stenson, Michel Petrucciani and Keith Jarrett, as well as many other musicians world-wide. The music of Bill Evans continues to inspire younger pianists like Marcin Wasilewski, Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias and arguably Brad Mehldau, early in his career. He is considered by some to be the most influential post World War II jazz pianist.
http://wn.com/Bill_Evans -
Buddy Rich
Bernard "Buddy" Rich (September 30, 1917 – April 2, 1987) was an American jazz drummer and bandleader. Rich was billed as "the world's greatest drummer" and was known for his virtuosic technique, power, groove, and speed.
http://wn.com/Buddy_Rich -
Charles Mingus
Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz musician, composer, bandleader, and civil rights activist.
http://wn.com/Charles_Mingus -
Charlie Parker
Charles Parker, Jr. (August 29, 1920 – March 12, 1955), famously called Bird, or Yardbird was an American jazz saxophonist and composer.
http://wn.com/Charlie_Parker -
Clifford Brown
Clifford Brown (October 30, 1930 – June 26, 1956), aka "Brownie," was an influential and highly rated American jazz trumpeter. He died aged 25, leaving behind only four years' worth of recordings. Nonetheless, he had a considerable influence on later jazz trumpet players, including Donald Byrd, Lee Morgan, Booker Little, Freddie Hubbard, Valery Ponomarev, and Wynton Marsalis.
http://wn.com/Clifford_Brown -
Coleman Hawkins
Coleman Randolph Hawkins (November 21, 1904 – May 19, 1969) was an American jazz tenor saxophonist. Hawkins was the first important jazz musician to use the instrument. As Joachim E. Berendt explained, "there were some tenor players before him, but the instrument was not an acknowledged jazz horn". While Hawkins is most strongly associated with the swing music and big band era, he had a role in the development of bebop in the 1940s,
http://wn.com/Coleman_Hawkins -
Cootie Williams
Charles Melvin "Cootie" Williams (July 10, 1911 - September 15, 1985) was an American jazz and rhythm and blues trumpeter.
http://wn.com/Cootie_Williams -
Curly Russell
http://wn.com/Curly_Russell -
Dizzy Gillespie
John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpet player, bandleader, singer, and composer.
http://wn.com/Dizzy_Gillespie -
Don Byas
Carlos Wesley "Don" Byas (born October 21, 1912 in Muskogee, Oklahoma – died August 24, 1972 in Amsterdam, Netherlands) was an American jazz tenor saxophonist, long-resident in Europe.
http://wn.com/Don_Byas -
Duke Ellington
Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was a composer, pianist, and big band leader.
http://wn.com/Duke_Ellington -
Earl Hines
Earl Kenneth Hines, universally known as Earl "Fatha" Hines, (December 28, 1903 – April 22, 1983) was "one of a small number of pianists whose playing shaped the history of jazz".
http://wn.com/Earl_Hines -
Fats Navarro
Theodore "Fats" Navarro (September 24, 1923 – July 7, 1950[http://www.biography.com/articles/Fats-Navarro-9420792]) was an American jazz trumpet player. He was a pioneer of the bebop style of jazz improvisation in the 1940s. He had a strong stylistic influence on many other players, most notably Clifford Brown.
http://wn.com/Fats_Navarro -
Fats Waller
Fats Waller (May 21, 1904 – December 15, 1943), born Thomas Wright Waller, was a jazz pianist, organist, composer, singer, and comedic entertainer. He was the youngest of four children born to Adaline Locket Waller, wife of the Reverend Edward Martin Waller.
http://wn.com/Fats_Waller -
Frank Socolow
Frank Socolow (September 18, 1923 – April 30, 1981), born in New York City, was a jazz saxophonist and oboist, noted for his tenor playing.
http://wn.com/Frank_Socolow -
George Duvivier
George Duvivier (Aug 17, 1920 - Jul 11, 1985) was an American jazz double-bass player.
http://wn.com/George_Duvivier -
Harold Bloom
Harold Bloom (born July 11, 1930) is an American writer and literary critic, currently Sterling Professor of the Humanities at Yale University. He is known for his defense of 19th-century Romantic poets, his construction of unique but controversial theories of poetic influence, and for advocating an aesthetic approach to literature against feminist, Marxist, New Historicist, poststructuralist (deconstructive and semiotic) literary criticism. Bloom is a 1985 recipient of a MacArthur Fellowship.
http://wn.com/Harold_Bloom -
Idrees Sulieman
Idrees Sulieman (August 7, 1923, in St. Petersburg, Florida – July 23, 2002 in St. Petersburg, FL) was a bop and hard bop trumpeter. He studied at Boston Conservatory, and gained early experience playing with the Carolina Cotton Pickers and the wartime Earl Hines Orchestra (1943–1944). Sulieman was closely associated with Mary Lou Williams for a time and had stints with Cab Calloway, John Coltrane, Count Basie, and Lionel Hampton. Sulieman recorded with Coleman Hawkins (1957) and gigged with Randy Weston (1958–1959), in addition to popping up in many other situations. He went to Europe in 1961 to tour with Oscar Dennard, and then settled in Stockholm, moving to Copenhagen in 1964. A major soloist with The Kenny Clarke-Francy Boland Big Band from the mid-'60s through 1973, Sulieman frequently worked with radio orchestras. His recordings as a leader were for Swedish Columbia (1964) and SteepleChase (1976 and 1985). In 1985, he played in the big band in Miles Davis' album "Aura," which was released in 1989. Sulieman's career slowed down considerably in the '90s as he aged. He died of bladder cancer on July 23, 2002 at St. Anthony's Hospital in St. Petersburg, Florida.
http://wn.com/Idrees_Sulieman -
J. J. Johnson
J. J. Johnson (born James Louis Johnson) in Indianapolis, Indiana, (January 22, 1924 - February 4, 2001) was a United States jazz trombonist, composer and arranger. He was sometimes credited as Jay Jay Johnson.
http://wn.com/J_J_Johnson -
Jackie McLean
:For other persons named John McLean, see John McLean.
http://wn.com/Jackie_McLean -
Kenny Clarke
Kenny Clarke (born Kenneth Spearman Clarke, nicknamed "Klook", and later known as Liaqat Ali Salaam, on January 9, 1914 in Pittsburgh, Pennsylvania-died January 26, 1985 in Montreuil-sous-bois, France) was a jazz drummer and an early innovator of the bebop style of drumming. As the house drummer at Minton's Playhouse in the early 1940s, he participated in the after hours jams that led to the birth of Be-Bop, which in turn led to modern jazz. While in New York, he played with the major innovators of the emerging bop style, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Curly Russell and others, as well as musicians of the prior generation, including Sidney Bechet.
http://wn.com/Kenny_Clarke -
Kenny Drew
Kenneth Sidney (Kenny) Drew (August 28, 1928–August 4, 1993) was an American jazz pianist.
http://wn.com/Kenny_Drew -
Lester Young
Lester Willis Young (August 27, 1909 – March 15, 1959), nicknamed "Prez", was an American jazz tenor saxophonist and clarinetist. He also played trumpet, violin, and drums.
http://wn.com/Lester_Young -
Lloyd Trotman
Lloyd Trotman (May 25, 1923 – October 3, 2007), born in Boston, was a jazz bassist who backed numerous jazz, dixieland, doo-wop and R&B; artists in the 50s and 60s. He provided the famous bass line on Ben E. King's "Stand by Me".
http://wn.com/Lloyd_Trotman -
Max Roach
Maxwell Lemuel Roach (January 10, 1924 – August 16, 2007) was an American jazz percussionist, drummer, and composer.
http://wn.com/Max_Roach -
Miles Davis
Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American trumpeter, bandleader, and composer.
http://wn.com/Miles_Davis -
Norman Granz
Norman Granz (August 6, 1918 in Los Angeles, USA – November 22, 2001 in Geneva, Switzerland) was an American jazz music impresario and producer.
http://wn.com/Norman_Granz -
Oscar Pettiford
Oscar Pettiford (30 September 1922 – 8 September 1960) was an American jazz double bassist, cellist and composer known particularly for his pioneering work in bebop.
http://wn.com/Oscar_Pettiford -
Osie Johnson
James "Osie" Johnson (January 11, 1923 in Washington, D.C. – February 10, 1966 in New York City) was a jazz drummer.
http://wn.com/Osie_Johnson -
Pierre Michelot
Pierre Michelot (March 3, 1928–July 3, 2005) was a French bebop and hard bop double bass player.
http://wn.com/Pierre_Michelot -
Ray Brown (musician)
Raymond Matthews Brown (October 13, 1926 – July 2, 2002) was an American jazz double bassist.
http://wn.com/Ray_Brown_(musician) -
Richie Powell
Richie Powell (September 5, 1931 – June 26, 1956) was an American bebop jazz pianist.
http://wn.com/Richie_Powell -
Sonny Rollins
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.
http://wn.com/Sonny_Rollins -
Sonny Stitt
Edward "Sonny" Stitt (b. February 2, 1924, Boston, Massachusetts – d. July 22, 1982, Washington, D.C.) was an American jazz saxophonist of the bebop/hard bop idiom. He was also one of the most well-documented saxophonists of his generation, recording over 100 albums in his lifetime. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern in tribute to his relentless touring and his devotion to jazz. He is considered the greatest disciple of Charlie Parker. Although his playing was at first heavily inspired by Charlie Parker and Lester Young, Stitt eventually developed his own style, one which influenced John Coltrane. Stitt was especially effective with blues and with ballad pieces such as "Skylark".
http://wn.com/Sonny_Stitt -
Teddy Wilson
Theodore Shaw "Teddy" Wilson (November 24, 1912 – July 31, 1986) was an American jazz pianist whose sophisticated and elegant style was featured on the records of many of the biggest names in jazz, including Louis Armstrong, Lena Horne, Benny Goodman, Billie Holiday and Ella Fitzgerald. He is considered one of the most influential jazz pianists of all time.
http://wn.com/Teddy_Wilson -
Thelonious Monk
Thelonious Sphere Monk (October 10, 1917 – February 17, 1982) was an American jazz pianist and composer considered "one of the giants of American music". Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "Epistrophy", "'Round Midnight", "Blue Monk", "Straight, No Chaser" and "Well, You Needn't". Monk is the second most recorded jazz composer after Duke Ellington, which is particularly remarkable as Ellington composed over 1,000 songs while Monk wrote about 70.
http://wn.com/Thelonious_Monk -
Tommy Potter
Tommy Potter, (born Charles Thomas Potter) Philadelphia, PA on September 21, 1918 - died March 1, 1988, was a jazz double bass player.
http://wn.com/Tommy_Potter
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Milan
Milan (, ; Western Lombard: Milan, ) is a city in Italy and the capital of the region of Lombardy and of the province of Milan. The city proper has a population of about 1,310,000, while the urban area is the first in Italy and the fifth largest in the European Union with a population of 4,345,000 over an area of . The Milan metropolitan area, by far the largest in Italy, is estimated by the OECD to have a population of 7,400,000.
http://wn.com/Milan -
Stockholm
Stockholm () is the capital and the largest city of Sweden. It is the site of the national Swedish government, the Riksdag (parliament), and the official residence of the Swedish monarch as well as the prime minister. Since 1980, the monarch has resided at Drottningholm Palace outside of Stockholm and uses the Royal Palace of Stockholm as his workplace and official residence. As of 2009, the Stockholm metropolitan area is home to approximately 22% of Sweden's population. Stockholm is the most populous city in Sweden with a population of 829,417 in the municipality (2009), 1.25 million in the urban area (2005), and 2 million in the 6650 km² large metropolitan area (2009).
http://wn.com/Stockholm -
United States
The United States of America (also referred to as the United States, the U.S., the USA, or America) is a federal constitutional republic comprising fifty states and a federal district. The country is situated mostly in central North America, where its forty-eight contiguous states and Washington, D.C., the capital district, lie between the Pacific and Atlantic Oceans, bordered by Canada to the north and Mexico to the south. The state of Alaska is in the northwest of the continent, with Canada to the east and Russia to the west across the Bering Strait. The state of Hawaii is an archipelago in the mid-Pacific. The country also possesses several territories in the Caribbean and Pacific.
http://wn.com/United_States
- alcoholism
- All About Jazz
- arpeggios
- Art Blakey
- Art Tatum
- Art Taylor
- bebop
- Bill Cunliffe
- Bill Evans
- Birdland (jazz club)
- Black Lion Records
- Blue Note Records
- Blues for Bouffemont
- Blues in the Closet
- Bouncing with Bud
- Bud in Paris
- Bud Plays Bird
- Bud Powell in Paris
- Bud Powell Trio
- Bud Powell's Moods
- Buddy Rich
- cannabis (drug)
- Cannonball Adderley
- Charles Mingus
- Charlie Parker
- Chlorpromazine
- chromaticism
- Clef Records
- Clifford Brown
- Coleman Hawkins
- Columbia Records
- Cootie Williams
- Curly Russell
- Dexter Gordon
- Dexter Rides Again
- Dizzy Gillespie
- Don Byas
- Dreyfus Jazz Records
- Duke Ellington
- Earl Hines
- Elektra Records
- Elmo Hope
- ESP-Disk
- Essen
- Fats Navarro
- Fats Waller
- flamenco
- Flamenco guitar
- Fontana Records
- Francis Paudras
- Frank Socolow
- George Duvivier
- Harold Bloom
- Idrees Sulieman
- In Walked Bud
- Inner Fires
- J. J. Johnson
- Jackie McLean
- Jazz
- Jazz at Massey Hall
- Jazz Giant
- Jazz Original
- Jazz piano
- Kenny Clarke
- Kenny Drew
- Lester Young
- Lloyd Trotman
- Mainstream Records
- Max Roach
- Mercury Records
- Milan
- Miles Davis
- Mingus at Antibes
- Minton's Playhouse
- Mythic Sound Records
- New York City
- Norgran Records
- Norman Granz
- Oscar Goodstein
- Oscar Pettiford
- Osie Johnson
- Our Man in Paris
- Paris
- Paris Jam Session
- Percy Heath
- Pianist
- Piano
- Pianology
- Pierre Michelot
- Proper Records
- Ray Brown (musician)
- RCA Records
- Reprise Records
- Richie Powell
- Roost Records
- Roulette Records
- Roy Haynes
- schizophrenia
- seventh
- Sonet Records
- Sonny Rollins
- Sonny Stitt
- Steeplechase Records
- Stockholm
- Stretch Records
- Strictly Powell
- Stride (music)
- swing music
- Swingin' with Bud
- Teddy Wilson
- Tempus Fugue-it
- The Lonely One...
- Thelonious Monk
- Tommy Potter
- trumpet
- tuberculosis
- Un Poco Loco
- United States
- Ups'n Downs
- Verve Records
- Xanadu Records
Powell, Bud Filmography
RELEASE
ALBUMS
Sonny Stitt Bud Powell J.J. Johnson
(Released 2006)
- All God's Chillun Got Rhythm
- Sonny Side
- Bud's Blues
- Sunset
- Fine and Dandy (take 1)
- Fine and Dandy (take 2)
- Strike Up the Band
- I Want to Be Happy
- Taking a Chance on Love
- Afternoon in Paris (take 1)
- Elora (take 2)
- Teapot (take 2)
- Blue Mode (take 1)
- Blue Mode (take 2)
- Afternoon in Paris (take 1)
- Elora (take 1)
- Teapot (take 1)
Blues in the Closet
(Released 2005)
- When I Fall in Love
- My Heart Stood Still
- Blues in the Closet
- Swinging 'til the Girls Come
- I Know That You Know
- Elogie
- Woody 'n' You
- I Should Care
- Now Is the Time
- I Didn't Know What Time It Was
- Be-Bop
- Fifty-Second Street Theme
The Very Best
(Released 2005)
- Bouncing With Bud
- Dance of the Infidels
- Un Poco Loco
- Parisian Thouroughfare
- A Night In Tunisia
- Glass Enclosure
- Collard Greens And Black-Eyed Peas
- Autumn In New York
- John's Abbey
- Cleopatra's Dream
- The Scene Changes
Swingin' With Bud
(Released 2005)
- Another Dozen
- Like Someone in Love
- Salt Peanuts
- She
- Swedish Pastry
- Shaw 'Nuff
- Oblivion
- In the Blue of the Evening
- Get It
- Birdland Blues
- Midway
The Definitive Bud Powell
(Released 2002)
- Bud's Bubble
- Tempus Fugit
- Celia
- Cherokee
- I'll Keep Loving You
- Bouncing With Bud
- Dance of the Infidels
- Parisian Thoroughfare
- Dusk in Sandi
- Hallucinations
- Un Poco Loco
- Glass Enclosure
- Autumn in New York
The Amazing Bud Powell, Volume Three: Bud!
(Released 2002)
- Some Soul
- Blue Pearl
- Frantic Fancies
- Bud on Bach
- Keepin' in the Groove
- Idaho
- Don't Blame Me
- Moose the Mooche
- Blue Pearl (alternate take)
Complete the Amazing Bud Powell
(Released 2001)
- Bouncin' With Bud (alternate take 1)
- Bouncin' With Bud (alternate take 2)
- Bouncin' With Bud
- Wail (alternate take)
- Wail
- Dance of the Infidels (alternate take)
- Dance of the Infidels
- 52nd Street Theme
- You Go to My Head
- Ornithology
- Ornithology (alternate take)
- Un Poco Loco (alternate take 1)
- Un Poco Loco (alternate take 2)
- Un Poco Loco
- Over the Rainbow
- A Night in Tunisia
- A Night in Tunisia (alternate take)
- It Could Happen to You (alternate take)
- It Could Happen to You
- Parisian Thoroughfare
The Amazing Bud Powell, Volume Two
(Released 2001)
- Autumn in New York
- Reets and I
- Sure Thing
- Collard Greens and Black-Eyed Peas
- Polka Dots and Moonbeams
- I Want to Be Happy
- Audrey
- Glass Enclosure
- I've Got You Under My Skin
- Autumn in New York (alternate take #1)
- Autumn in New York (alternate take #2)
- Reets and I (alternate take #1)
- Reets and I (alternate take #2)
- Sure Thing (alternate take)
- Collard Greens and Black-Eyed Peas (alternate take)
Bouncing with Bud
(Released 2001)
- Strictly Confidential
- You Go to My Head
- Ornithology
- I'll keep Lovin' You
- Tempus Fugit
- Celia
- Cherokee
- All God's Chillun Got Rhythm
- I'll Remember April
- Everything Happens to Me
- Indiana
- I Should Care
- Nice Work If You Can Get It
- Off Minor
- Bud's Bubble
- Somebody Loves Me
- Bouncing With Bud
- Wail
- Dance of the Infidels
- 52nd Street Theme
Jazz Giant
(Released 2001)
- Tempus Fugit
- Celia
- Cherokee
- I'll Keep Loving You
- Strictly Confidential
- All God's Chillun Got Rhythm
- So Sorry Please
- Get Happy
- Sometimes I'm Happy
- Sweet Georgia Brown
- Yesterdays
- April in Paris
- Body and Soul
The Amazing Bud Powell, Volume One
(Released 2001)
- Bouncing With Bud
- Wail
- Dance of the Infidels
- 52nd Street Theme
- You Go to My Head
- Ornithology
- Bouncing With Bud (alternate take #1)
- Bouncing With Bud (alternate take #2)
- Wail (alternate take)
- Dance of the Infidels (alternate take)
- Ornithology (alternate take)
- Un Poco Loco
- Over the Rainbow
- A Night in Tunisia
- It Could Happen to You
- Parisian Thoroughfare
- Un Poco Loco (alternate take #1)
- Un Poco Loco (alternate take #2)
- A Night in Tunisia (alternate take)
- It Could Happen to You (alternate take)
Planet Jazz
(Released 1997)
- There Will Never Be Another You
- I Cover The Waterfront
- Topsy Turvey
- Elegy
- Coscrane
- Jump City
- Blues For Bessie
- Salt Peanuts
- Swedish Pastry
- Shaw 'Nuff
- Midway
- Oblivion
- Get It
- Another Dozen
- Birdland Blues
Jazz Profile, Volume 8
(Released 1997)
- Indiana
- Bud's Bubble
- Wail
- Dance of the Infidels
- A Night in Tunisia
- Burt Covers Bud
- Autumn in New York
- Collard Greens and Black-Eyed Peas
- I Want to Be Happy
- Time Waits
- Comin' Up
- Bud on Bach
A Tribute to Cannonball
(Released 1997)
- Just One of Those Things
- Jackie My Little Cat
- Cherokee
- I Remember Clifford
- Good Bait
- Jeannine
- All the Things You Are
- Myth
- Jackie My Little Cat (alternate)
- Cherokee (Unissued alternate)
Sonny Stitt Bud Powell J.J. Johnson
(Released 1996)
- All God's Chillun Got Rhythm
- Blue Mode (take 1)
- Sonny Side
- Bud's Blues
- Sunset
- Fine and Dandy (take 1)
- Fine and Dandy (take 2)
- Strike Up the Band
- I Want to Be Happy
- Taking a Chance on Love
- Afternoon in Paris (take 1)
- Afternoon in Paris (take 2)
- Elora (take 1)
- Elora (take 2)
- Teapot (take 1)
- Teapot (take 2)
- Blue Mode (take 2)
Jazz & Blues Collection 42: Bud Powell
(Released 1995)
- Tea for Two
- It Could Happen to You
- Lover Come Back to Me
- Lullaby of Birdland
- I Want to Be Happy
- Embraceable You
- I've Got You Under My Skin
- Ornithology
- Sure Thing
- Woody'n You
- Salt Peanuts
Strictly Powell
(Released 1995)
- There Will Never Be Another You
- Coscrane
- Over the Rainbow
- Blues for Bessie
- Time Was
- Topsy Turvy
- Lush Life
- Elegy
- They Didn't Believe Me
- I Cover the Waterfront
- Jump City
The Complete Blue Note and Roost Recordings
(Released 1994)
- I'll Remember April
- Indiana
- Somebody Loves Me
- I Should Care
- Bud's Bubble
- Off Minor
- Nice Work If You Can Get It
- Everything Happens to Me
- Bouncing With Bud (alternate take #1)
- Bouncing With Bud (alternate take #2)
- Bouncing With Bud
- Wail (alternate take)
- Wail
- Dance of Infidels (alternate take)
- Dance of Infidels
- 52nd Street Theme
- You Go to My Head
- Ornithology
- Ornithology (alternate take)
- Un Poco Loco (alternate take #1)
- Un Poco Loco (alternate take #2)
- Un Poco Loco
- Over the Rainbow
The Complete Bud Powell on Verve
(Released 1994)
- Thou Swell (alternate take)
- Thou Swell
- Someone to Watch Over Me
- Bean and the Boys
- Tenderly (false starts)
- Tenderly
- How High the Moon?
- I Get a Kick Out of You (breakdown)
- I Get a Kick Out of You
- I Get a Kick Out of You (alternate take)
- The Best Thing for You (breakdown)
- You Go to My Head
- The Best Thing for You
- Mediocre
- All the Things You Are
- Epistrophy
- Dance of the Infidels
- Salt Peanuts
- Sweet Georgia Brown
Best of Bud Powell On Verve, The
(Released 1994)
- Lady Bird
- Dance of the Infidels
- So Sorry Please
- Sweet Georgia Brown
- Willow Grove
- Tempus Fugue-It
- It Never Entered My Mind
- Bean and the Boys
- Celia
- Tea for Two
- Star Eyes
- April in Paris
- Tenderly
- All God's Chillun Got Rhythm
- Stairway to the Stars
- Just One of Those Things
- Parisian Thoroughfare
The Complete Essen Jazz Festival Concert
(Released 1960)
- Shaw 'Nuff
- Blues In The Closet
- Willow Weep For Me
- John's Abbey
- Salt Peanuts
- All The Things You Are
- Just You, Just Me
- Yesterdays
- Stuffy
Piano Solos
(Released 1950)
- Tempus Fugue-It
- I'll Keep Loving You
- Celia
- All God's Chillun Got Rhythm
- Yesterdays
- Strictly Confidential
Bud Powell's Moods
(Released 1950)
- Parisienne Thorofare
- Oblivion
- Dusk in Sandi
- Hallucinations
- The Fruit
- Tea for Two
- Hallelujah
- The Last Time I Saw Paris
- Just One of Those Things
- A Nightingale Sang in Berkeley Square
- Tempus Fugit
- Celia
- Cherokee
- I'll Keep Loving
- Strictly Confidential
- All God's Chillun Got Rhythm
- So Sorry Please
- Get Happy
- Sometimes I'm Happy
- Yesterdays
- April In Paris
- Body and Soul
- Hallelujah
- Parisian Thoroughfare
- Oblivion
- Dusky 'n' Sandy
- Hallucinations
- The Fruit
- A Nightingale Sang on Berkeley Square
- Just One of Those Things
- The Last Time I Saw Paris
- Un Poco Loco
- Over the Rainbow
- Night in Tunisia
- It Could Happen to You
- Parisian Thoroughfare
- Reets and I
- Autumn in New York
- Sure Thing
- Collard Greens and Black Eyed Peas
- Polka Dots and Moonbeams
- I Want to Be Happy
- Audrey
- Glass Enclosure
- I've Got You Under My Skin
- The Man I Love
- Reverse the Charges
- September in the Rain
- Boppin' a Riff, Part 1
- Boppin' a Riff, Part 2
- Fat Boy, Part 1
- Fat Boy, Part 2
- Everything's Cool, Part 1
- Everything's Cool, Part 2
- Webb City, Part 1
- Webb City, Part 2
- I'll Remember April
- Indiana
- Somebody Loves Me
- I Should Care
- Bud's Bubble
- Off Minor
- Nice Work If You Can Get It
- Everything Happens to Me
- I've Got You Under My Skin
- Autumn in New York
- I Want To Be Happy
- Moose The Mooche
- Cheryl
- Budo
- My Heart Stood Still
- Dance Of The Infidels
- I'll Remember April
- Indiana
- Somebody Loves Me
- I Should Care
- Bud's Bubble
- Off Minor
- Nice Work If You Can Get It
- Everything Happens to Me
- Tempus Fuge-It
- Celia
- Cherokee
- I'll Kepp Loving You
- Strictly Confidential
- All God's Chillun Got Rhythm
- You Go to My Head
- Ornithology
- Bouncing With Bud
- Wail
- Dance of the Infiels
- 52nd Street Theme
- Epistrophy
- 52nd Street Theme
- Oop Bop Sh'Bam
- Rue Chaptal
- How High The Moon
- Dear Old Stockholm
- Body And Soul
- Jordu
- Reets And I
- Satin Doll
- Parisian Thoroughfare
- I Can't Get Started
- Little Benny (Crazeology)
- Indiana (Back Home Again In)
- B Flat Blues
- Lullaby of Birdland
- I've Got You Under My Skin
- Hallelujah
- Dance of the Infidels
- Woody 'n You
- All God's Children Got Rhythm
- Move
- Hot House
- 52nd Street Theme
- Jumping With Symphony Sid
- Reet and I
- Autumn in New York
- I Want to Be Happy
- It Could Happen to You
- Sure Thing
- Polka Dots and Moonbeams
- Glass Enclosure
- Collard Greens and Black-Eye Peas
- Over the Rainbow
- Audrey
- You Go to My Head
- Ornithology
- Glass Enclosure
- A Night in Tunisia
- Tempus Fugi
- Celia
- Un Poco Loco
- Autumn in New York
- Hallucinations
- Get Happy
- Sweet Georgia Brown
- Tea for Two
- Over the Rainbow
- Parisian Thoroughfare
- Collard Greens and Black Eyed Peas
- Sure Thing
- Orinithology
- Bud's Bubble
- I'll Remember April
- Indiana
- Nice Work If You Can Get It
- Oblivion
- 'Round Midnight
- Bud on Bach
- Someone To Watch Over Me
- All God's Chillun Got Rhythm
- Bud's Bubble
- I'll Remember April
- Nice Work If You Can Get It
- All God's Chillun Got Rhythm
- Sonny Side
- Bud's Blues
- Sunset
- Tempus Fugit
- Celia
- Cherokee
- I'll Keep Loving You
- Strictly Confidential
- All God's Chillun Got Rhythm (2)
- Afternoon in Paris
- Elora
- Teapot
- Ornithology
- Un poco loco
- A Night in Tunisia
- Over the Rainbow
- Fantasy in Blue
- Buttercup
- Tempus Fugit
- When I Fall in Love
- Crazy Rhythm
- Salt Peanuts
- All the Things You Are
- Someone to Watch Over Me
- Be-Bop
- Yesterdays
- I Know What You Do
- Sweet Georgia Brown
- Blues in the Closet
- Lover, Come Back to Me
- Dance of the Infidels
- I'll Keep Loving You
- Dusk in Sandi
- Yesterdays
- Omicron
- Anthropology (Incomplete)
- John's Abbey
- Shaw 'Nuff
- Buzzy
- Just One of Those Things
- No Problem
- Pie Eye
- 52nd Street Theme
- Miguel's Party
- Groovin' High
- Blue Red Blues - 52nd Street Theme
- Idaho
- Perdido
- Shaw Nuff
- Oleo
- Autumn in New York
- John's Abbey
- John's Abbey
- Buttercup
- Sweet and Lovely
- Crossing the Channel
- Confirmation
- Get Happy
- John's Abbey
Born: 1924-09-27
Died: 1966-07-31
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Bud Powell - Anthropology (1962)
- Order: Reorder
- Duration: 5:28
- Published: 14 Jan 2010
- Uploaded: 08 Feb 2012
- Author: logudorian
Bud Powell - piano Niels-Henning Orsted Pedersen - bass Jorn Elniff - drums Live from Café Montmartre, Copenhagen, early 1962
http://wn.com/Bud_Powell__Anthropology_1962
Bud Powell - Tempus Fugit
- Order: Reorder
- Duration: 2:29
- Published: 04 Sep 2009
- Uploaded: 11 Feb 2012
- Author: CadillacBoneZ
...The Maestro... Bud Powell (piano) Ray Brown (bass) Max Roach (drums) Recorded in January or Februari 1949 in New York City Original LP issue: Jazz Giant Norgran MGN 1063
http://wn.com/Bud_Powell__Tempus_Fugit
Bud powell trio : "there will never be another you"
Bud powell trio : "there will never be another you" ( Mackgordon - Warren ) Piano : Bud Powell Bass : Pierre Michelot Drums : Kenny Clarke 'around about midnight at the blue note - 1962
http://wn.com/Bud_powell_trio__there_will_never_be_another_you
Bud Powell Trio plays Round Midnight
- Order: Reorder
- Duration: 9:18
- Published: 14 Dec 2009
- Uploaded: 10 Feb 2012
- Author: MartinengoJazzClub
Bud Powell Trio plays Round Midnight
http://wn.com/Bud_Powell_Trio_plays_Round_Midnight
Bud Powell - Cherokee
- Order: Reorder
- Duration: 3:40
- Published: 04 Apr 2008
- Uploaded: 09 Feb 2012
- Author: marcbloch86
From "Jazz Giant" Bud Powell, piano Ray Brown, bass Max Roach, drums recorded in New York, 1949
http://wn.com/Bud_Powell__Cherokee
Bud Powell "Bouncing With Bud"
Sonny Rollins (ts), Fats Navarro (tp), Bud Powell (p), Tommy Potter (b), Roy Haynes (d). recorded August 1949
http://wn.com/Bud_Powell_Bouncing_With_Bud
Bud Powell: A Night In Tunisia
Bud Powell: A Night In Tunisia Bud Powell: Piano Kenny Clarke: Drums Pierre Michelot: Bass From the CD:"Round About Midnight At The Blue Note"
http://wn.com/Bud_Powell_A_Night_In_Tunisia
Bud Powell In Europe
Please check my jazzblog at jazzpages.tumblr.com This footage collects three separate rare performances by Bud Powell during his time living in Europe. The best of the lot is the 1959 set at Club St. Germaine in Paris. Powell is evidently free of demons on this evening, brightened by the presence of trumpeter Clark Terry and saxophonist Barney Wilen, along with his regular trio consisting of bassist Pierre Michelot and drummer Kenny Clarke. Powell plays without a slip and solos with gusto, particularly in 'Blues In The Closet', which also features Michelot. Terry is the featured soloist in the hip blues 'Pie Eye' and Wilen in '52nd Street Theme'. Later the same year at the Blue Note in Paris Powell's trio is accompanied by tenor saxophonist Lucky Thompson and guitarist Jimmy Gourley. Powell is once more playing with plenty of fire, while Thompson and Gourley devour 'Anthropology' whole. The 1962 selections from Cafe Montmartre in Copenhagen features the pianist with the teenaged but accomplished bassist Niels-Henning Ørsted Pedersen and drummer Jorn Elniff. Powell once again proves that he is at full strength on this shorter set.
http://wn.com/Bud_Powell_In_Europe
Bud Powell Documentary: l'Exil Intérieur
Please check my jazzblog at jazzpages.tumblr.com A VHS-transfer of a very rare 1999 French documentary 'l'Exil Intérieur' ('Internal Exile') by director Robert Mugnerot. Great footage of Bud Powell in Paris.
http://wn.com/Bud_Powell_Documentary_l'Exil_Intérieur
Bud Powell - Sometimes I'm Happy
- Order: Reorder
- Duration: 3:39
- Published: 07 Apr 2008
- Uploaded: 08 Feb 2012
- Author: marcbloch86
Sometimes I'm Happy (Vincent Youmans, Irving Caesar, Clifford Grey) From Jazz Giant (Verve, 1951) Bud Powell, piano Curly Russell, bass Max Roach, drums
http://wn.com/Bud_Powell__Sometimes_I'm_Happy
Bud Powell Round Midnight
- Order: Reorder
- Duration: 9:18
- Published: 19 Apr 2011
- Uploaded: 08 Feb 2012
- Author: caracolitoumiracolo
Sonny Rollins Remembers Bud Powell
- Order: Reorder
- Duration: 3:59
- Published: 06 Sep 2007
- Uploaded: 18 Dec 2011
- Author: JazzVideoGuy
www.sonnyrollins.com presents Sonny Remembers. Here, the Saxman talks about the bebop piano legend, Bud Powell. Sonny played on Bud's 1949 session, the Amazing Bud Powell, when he was 19. Roy Haynes played drums on the session, and Fats Navarro on trumpet.
http://wn.com/Sonny_Rollins_Remembers_Bud_Powell
Bud Powell - Autumn In New York
- Order: Reorder
- Duration: 2:55
- Published: 27 Jan 2010
- Uploaded: 11 Feb 2012
- Author: StrawberryFairyShoes
"Autumn In New York" performed by Bud Powell and band. Taken from the 1953 "The Amazing Bud Powell Vol. 2" Blue Note Jazz album. Composed by Vernon Duke. Musicians: Bud Powell: Piano George Duvivier: Bass Art Taylor : Drums
http://wn.com/Bud_Powell__Autumn_In_New_York
Charlie Parker Quintet 1947 ~ Donna Lee ( Master Take 5 )
Recorded: Harris Smith Studio, New York City, NY May 8, 1947 Personnel: Charlie Parker - Alto Sax Miles Davis - Trumpet Earl "Bud" Powell - Piano Tommy Potter - Bass Max Roach - Drums * One of Parker's first recordings after his return to New York from California.
http://wn.com/Charlie_Parker_Quintet_1947_~_Donna_Lee__Master_Take_5_
Chick Corea & Gary Burton Duet "Bud Powell"
Gary Burton -Vibes Chick Corea -Piano play a Chick Corea composition "Bud Powell" Tokyo c.1979
http://wn.com/Chick_Corea_Gary_Burton_Duet_Bud_Powell
Chick Corea Band Remembering Bud Powell
Chick Corea - p Joshua Redman - ts Terrence Blanchard - tp Christian McBride - db Roy Haynes - dr Live at Blue Note, NYC.
http://wn.com/Chick_Corea_Band_Remembering_Bud_Powell
Blues in the Closet Powell Bud 1959
Blues in the Closet Powell Bud 1959 The Bud Powell trio at their home base in Paris in 1959. Here Bud on piano with drummer Kenny Clarke and French bass player Pierre Michelot in Club Saint Germain
http://wn.com/Blues_in_the_Closet_Powell_Bud_1959
Bud Powell - Bud On Bach
- Order: Reorder
- Duration: 2:35
- Published: 19 Nov 2010
- Uploaded: 10 Feb 2012
- Author: StrawberryFairyShoes
"Bud On Bach" performed by Bud Powell. Taken from the 1957 "Bud! The Amazing Bud Powell Volume 3" album. Composed by Bud Powell. Musicians: Bud Powell: Piano
http://wn.com/Bud_Powell__Bud_On_Bach
Bud Powell-Over The Rainbow
earl rudolph powell goes over the rainbow
http://wn.com/Bud_Powell-Over_The_Rainbow
Amiri Baraka "Un Poco Loco"
- Order: Reorder
- Duration: 5:30
- Published: 16 Dec 2009
- Uploaded: 14 Jan 2012
- Author: mediasanctuary
"Un Poco Loco" by Amiri Baraka with Rob Brown-saxophone,recorded live on February 21, 2009 at The Sanctuary for Independent Media in Troy NY. The poet icon and political activist Amiri Baraka performs with Rob Brown, an eloquent and versatile saxophonist with a deep knowledge of jazz, in a reading from his book "Somebody Blew Up America & Other Poems. This production is part of "Free Jazz at the Sanctuary," a 13-part series of performance videos featuring some of the world's most talented improvisers. Each hour-long show is available on DVD directly from Downtown Music Gallery (www.downtownmusicgallery.com). For more information on this series, visit www.JazzSanctuary.org The complete series consists of performances by: The Thirteenth Assembly (Taylor Ho Bynum, Tomas Fujiwara, Mary Halvorson, Jessica Pavone) Ethnic Heritage Ensemble (Kahil El'Zabar, Ernest Dawkins, Corey Wilkes) From Between Trio (Michel Doneda, Tatsuya Nakatani, Jack Wright) Michael Vlatkovich Quartet (Christopher Garcia, Jonathan Golove, David Mott, Michael Vlatkovich) Sax Soup Poetry and Voice (Joe Giardullo, Pierre Joris, Nicole Peyrafitte) Trio Tarana (Sam Bardfeld, Ravish Momin, Brian Prunka) The Ras Ensemble (Clif Jackson, Dave Miller, Ras Moshe, Tor Yochai Snyder) William Hooker Empty Cage Quartet (Ivan Johnson, Paul Kikuchi, Jason Mears, Kris Tiner) Weasel Walter Trio (Peter Evans, Mary Halvorson, Weasel Walter) Splatto Festival Chorus (Dave Barrett, Michael Bisio, Ed Mann, Todd Reynolds) Amiri <b>...</b>
http://wn.com/Amiri_Baraka_Un_Poco_Loco
Bud Powell -John Abbey 1959
John Abbey Powell Bud 1959 Bud Powell in the Blue Note in Paris France in December 1959. With him are Kenny Clarke on drums and French bass player Pierre Michelot.
http://wn.com/Bud_Powell_-John_Abbey_1959
Bud Powell - Time Waits
Love! Please do use 1080p for optimal quality.
http://wn.com/Bud_Powell__Time_Waits
Bud Powell - Shaw Nuff - Blue Note Paris, 1963 (excerpt)
- Order: Reorder
- Duration: 1:23
- Published: 25 Jan 2007
- Uploaded: 27 Jan 2012
- Author: chieflittlenuts
Bud Powell performs Shaw Nuff in a Blue Note Paris performance from 1963.
http://wn.com/Bud_Powell__Shaw_Nuff__Blue_Note_Paris,_1963_excerpt
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The Examiner
All About Jazz - 1 hr 29 mins ago Bud Powell Live at the Blue Note Cafe, Paris 1961 ESP-Disk 2008 Bud Powell In Copenhagen Storyville 2008 Pianist Bud Powell's music is often buried in his tragic personal history, so much so that his story is best known through the film Round Midnight, where his...(size: 2.9Kb)
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| Coordinates | 33°51′35.9″N151°12′40″N |
|---|---|
| name | Bud Powell |
| background | non_vocal_instrumentalist |
| birth name | Earl Rudolph Powell |
| birth date | September 27, 1924 |
| death date | July 31, 1966 |
| origin | New York City, U.S. |
| instrument | Piano |
| genre | Jazz, bebop |
| occupation | Pianist |
| years active | 1944–1965 |
| label | Blue Note RecordsMercury RecordsNorgran RecordsClef RecordsVerve Records |
| associated acts | Sonny RollinsMiles Davis |
| notable instruments | }} |
Biography
Powell's grandfather was a flamenco guitarist, and his father was a stride pianist. The family lived in New York City. Powell learned classical piano from an early age; but, by the age of eight, he was interested in jazz, playing his own transcriptions of pianists Art Tatum and Fats Waller. His older brother William played the trumpet; and, by the age of fifteen, Powell was playing in his brother's band. His younger brother Richie and his schoolfriend Elmo Hope were also accomplished pianists who had significant careers. Thelonious Monk was an important early teacher and mentor and a close friend throughout Powell's life, dedicating the composition "In Walked Bud" to him.In the early forties, Powell played in a number of bands, including that of Cootie Williams, who had to become Powell's guardian because of his youth; his first recording date was with Williams's band in 1944. This session included the first-ever recording of Monk's "'Round Midnight". Monk also introduced Powell to the circle of bebop musicians starting to form at Minton's Playhouse; and other early recordings included sessions with Frank Socolow, Dexter Gordon, J. J. Johnson, Sonny Stitt, Fats Navarro and Kenny Clarke.
Powell soon became renowned for his ability to play accurately at fast tempos, his inspired bebop soloing, and his comprehension of the ideas that Charlie Parker had found from the chords of "Cherokee" and other song-forms. His solos, conceived in emulation of and rivalry with Parker, are instantly recognizable, with frequent arpeggios punctuated by chromaticism. They are nonetheless progressive-sounding, exploring the harmonic series in unexpected ways. He often formed carefully phrased statements, singing along with his playing. Powell's generally rough-edged execution contrasted with his very daring and virtuosic passages at higher tempos. Many later pianists copied his melodic ideas.
Powell adhered to a simplified left-hand "comping" recalling stride and pianist Teddy Wilson. The comping often consisted of single bass notes outlining the root and fifth. He also used a tenth, which he was able to reach easily due to his very large hands, with the minor seventh included.
He freed the right hand for continuous linear exploration and facilitated in the left a statement of the harmonies typical of bebop. When Art Tatum questioned his neglect of the left hand, the younger player responded audaciously in a subsequent tune by soloing with his left hand. His favoring the treble was not to avoid integrating the hands, which is essential to both a solo and accompanying technique. These formed the basic small ensembles that have dominated jazz since the bebop era (after swing). Before Powell, Art Tatum and Earl Hines had also somewhat explored independent homophony closely resembling later piano playing.
Powell's first session as a leader was in a trio with Curly Russell and Max Roach, recorded in 1947 for the short-lived Deluxe label, but released by Roost two years later. He also recorded on a Charlie Parker date with Miles Davis, Tommy Potter, and Roach in May 1947, demonstrating his mature style in a few short solos.
In November 1947, Powell was admitted to Creedmoor Psychiatric Center, where he stayed for more than a year, receiving electroconvulsive therapy which caused severe memory loss. The young Jackie McLean and Sonny Rollins became friendly with Powell on his release from the hospital, and Powell recommended McLean to Miles Davis. Powell suffered from mental illness throughout his later life, possibly triggered by a beating by the police in 1945. (Although he had a prior reputation for strange behaviour, the beating certainly exacerbated his problems.) He was also an alcoholic; and even small quantities of alcohol had a profound effect on his character, making him aggressive. Powell's continued rivalry with Charlie Parker, while essential to the production of brilliant music, was also the subject of disruptive feuding and bitterness on the bandstand, as a result of Powell's troubled mental and physical condition. Jazz pianist Bill Cunliffe, whose music was influenced by Bud Powell, said in an interview with All About Jazz:
Bud Powell is the most important pianist in jazz and one of the most underrated because he spent over a third of his life in mental and medical hospitals. He was beaten by the police when he was twenty and he never fully recovered from that beating and as a result, he suffered pain and had to take drugs to alleviate the pain. ... In spite of that, he created a whole lot of wonderful music. He was really the first guy. Before Bud Powell, pianists were playing "boom, chuck" in the left hand and a lot of melodic figures in the right hand that tended to be arpeggios ... Bud Powell was imitating Charlie Parker. So Bud was the first pianist to take Charlie Parker's language and adapt it successfully to the piano. That's why he is the most important pianist in music today because everybody plays like that now. -- Bill Cunliffe
It is generally agreed that his best recordings are those made prior to 1954, both for Blue Note Records and for Norman Granz (at Mercury Records, Norgran Records, Clef Records, and later on Verve Records). The first Blue Note session, in August 1949, features Fats Navarro, Sonny Rollins, Powell, Tommy Potter and Roy Haynes, and the compositions "Bouncing with Bud" and "Dance of the Infidels". The second Blue Note session in 1951 was a trio with Russell and Roach, and includes "Parisian Thoroughfare" and "Un Poco Loco", the latter selected by literary critic Harold Bloom for inclusion on his short list of the greatest works of twentieth-century American art. Sessions for Granz (more than a dozen) were all solo or trios, with a variety of bassists and drummers including Russell, Roach, Buddy Rich, Ray Brown, Percy Heath, George Duvivier, Art Taylor, Lloyd Trotman, Osie Johnson, Art Blakey and Kenny Clarke.
Powell recorded for both Blue Note and Granz throughout the fifties, interrupted by another long stay in a mental hospital from late 1951 to early 1953, following arrest for possession of marijuana. He was released into the guardianship of Oscar Goodstein, the owner of the Birdland nightclub. A 1953 trio session for Blue Note (with Duvivier and Taylor) included Powell's composition "Glass Enclosure", inspired by his near-imprisonment in Goodstein's apartment. His playing after his release from hospital began to be seriously affected by Largactil, taken for the treatment of schizophrenia; and, by the late fifties, his talent was clearly in eclipse. In 1956 his brother Richie was killed in a car crash alongside Clifford Brown. Three albums for Blue Note in the late fifties showcased Powell's ability as a composer, but his playing was far removed from the standard set by his earlier recordings for the label.
After several further spells in hospital, Powell moved to Paris in 1959, in the company of Altevia "Buttercup" Edwards, a childhood friend. In Paris, Powell worked in a trio with Pierre Michelot and Kenny Clarke. Buttercup, though, did not have Powell's best interests in mind. She kept control of his finances and overdosed him with Largactil, but Powell continued to perform and record. The 1960 live recording of the Essen jazz festival performance (with Clarke, Oscar Pettiford and on some numbers Coleman Hawkins) is particularly notable. In December 1961 he recorded two albums for Columbia Records under the aegis of Cannonball Adderley: ''A Portrait of Thelonious'' (with Michelot and Clarke), and ''A Tribute to Cannonball'' (with the addition of Don Byas and Idrees Sulieman—despite the title, Adderley only plays on one alternate take). The first album (with overdubbed audience noise) was released shortly after Powell's death, and the second was released in the late 1970s. Eventually Powell was befriended by Francis Paudras, a commercial artist and amateur pianist; and Powell moved into Paudras's home in 1962. There was a brief return to Blue Note in 1963, when Dexter Gordon recorded ''Our Man in Paris'' for the label. Powell was a last-minute substitute for Kenny Drew, and the album of standards—Powell could not by then learn new material—showed him to be still capable of playing with some proficiency. In 1963 Powell contracted tuberculosis, and the following year returned to New York with Paudras for a return engagement at Birdland. The original agreement had been for the two men to go back to Paris, but Paudras returned alone (although Powell did record in Paris, with Pettiford and Clarke, in July 1964). In 1965 Powell played only two concerts: one a disastrous performance at Carnegie Hall, the other a tribute to Charlie Parker on May 1 with other performers on the bill, including Albert Ayler. Little else was seen of him in public.
Powell was hospitalized in New York after months of increasingly erratic behavior and self-neglect. On July 31, 1966, he died of tuberculosis, malnutrition, and alcoholism. Several thousand people viewed his Harlem funeral procession.
Legacy
The pianist Bill Evans paid Powell a tribute in 1979:If I had to choose one single musician for his artistic integrity, for the incomparable originality of his creation and the grandeur of his work, it would be Bud Powell. He was in a class by himself.
In 1986 Paudras wrote a book about his friendship with Powell, translated into English in 1997 as ''Dance of the Infidels: A Portrait of Bud Powell''. The book was the basis for ''Round Midnight,'' a film inspired by the lives of Powell and Lester Young, in which Dexter Gordon played the lead role of an expatriate jazzman in Paris.
Discography
''Years listed are years recorded (not years released).''
Studio recordings
1947: ''Bud Powell Trio'' (Roost) 1949-50: ''Bud Powell Piano Solos'' (Mercury / Clef) aka (½ of) ''Jazz Giant'' (Norgran / Verve) 1949-51: ''The Amazing Bud Powell'' (Blue Note) 1950: ''Bud Powell Piano Solos #2'' (Mercury / Clef) aka (½ of) ''Jazz Giant'' (Norgran / Verve) 1950-51: ''Bud Powell's Moods'' (Mercury / Clef) aka ''The Genius of Bud Powell'' (Verve) 1953: ''The Amazing Bud Powell, Vol. 2'' (Blue Note) 1953: ''Bud Powell Trio, Volume 2'' (Roost) 1954-55: ''Bud Powell's Moods'' (Norgran / Verve) 1954-55: ''Jazz Original'' (Norgran) aka ''Bud Powell '57'' (Norgran / Verve) 1955: ''The Lonely One...'' (Verve) 1955: ''Piano Interpretations by Bud Powell'' (Norgran / Verve) 1956: ''Blues in the Closet'' (Verve) 1956: ''Strictly Powell'' (RCA Victor) 1957: ''Swingin' with Bud'' (RCA Victor) 1957: ''Bud! The Amazing Bud Powell (Vol. 3)'' (Blue Note) 1957-58: ''Bud Plays Bird'' (Roulette / Blue Note) 1958: ''Time Waits: The Amazing Bud Powell (Vol. 4)'' (Blue Note) 1958: ''The Scene Changes: The Amazing Bud Powell (Vol. 5)'' (Blue Note) 1961: ''A Tribute to Cannonball'' (Columbia) 1961: ''A Portrait of Thelonious'' (Columbia) 1963: ''Bud Powell in Paris'' (Reprise)
Live and home recordings
Notable compilations
As sideman
with Cootie Williams
Selected Compositions
Notes
References
External links
Category:1924 births Category:1966 deaths Category:American jazz pianists Category:African American musicians Category:Bebop pianists Category:Musicians from New York City Category:Stride pianists Category:RCA Victor artists Category:Blue Note Records artists Category:ESP-Disk artists
da:Bud Powell de:Bud Powell et:Bud Powell es:Bud Powell eo:Bud Powell fa:باد پاول fr:Bud Powell it:Bud Powell he:באד פאוול nl:Bud Powell ja:バド・パウエル no:Bud Powell nn:Bud Powell pl:Bud Powell pt:Bud Powell sr:Бад Пауел fi:Bud Powell sv:Bud Powell uk:Бад ПавеллThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Coordinates | 33°51′35.9″N151°12′40″N |
|---|---|
| name | Sonny Rollins |
| background | non_vocal_instrumentalist |
| birth name | Theodore Walter Rollins |
| alias | Newk, Colossus, Uncle Don |
| born | September 07, 1930 |
| origin | New York, New York, United States |
| instrument | Tenor saxophone, soprano saxophone |
| genre | Jazz |
| occupation | Saxophonist |
| label | Prestige, Blue Note, Contemporary, RCA Victor, Impulse!, Milestone |
| associated acts | Jackie McLean, Max Roach, Clifford Brown, Miles Davis, Thelonious Monk |
| notable instruments | }} |
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
External links
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
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Charles Parker, Jr. (August 29, 1920 – March 12, 1955), famously called Bird or Yardbird, was an American jazz saxophonist and composer.
Parker, with Louis Armstrong and Duke Ellington, is widely considered to have been one of the most influential jazz musicians. Parker acquired the nickname "Yardbird" early in his career and the shortened form "Bird" remained Parker's sobriquet for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology" and "Bird of Paradise."
Parker played a leading role in the development of bebop, a form of jazz characterized by fast tempos, virtuoso technique, and improvisation based on harmonic structure. Parker's innovative approaches to melody, rhythm, and harmony exercised enormous influence on his contemporaries. Several of Parker's songs have become standards, including "Billie's Bounce", "Anthropology", "Ornithology", and "Confirmation". He introduced revolutionary harmonic ideas including a tonal vocabulary employing 9ths, 11ths and 13ths of chords, rapidly implied passing chords, and new variants of altered chords and chord substitutions. His tone was clean and penetrating, but sweet and plaintive on ballads. Although many Parker recordings demonstrate dazzling virtuosic technique and complex melodic lines – such as "Ko-Ko", "Kim", and "Leap Frog" – he was also one of the great blues players. His themeless blues improvisation "Parker's Mood" represents one of the most deeply affecting recordings in jazz. At various times, Parker fused jazz with other musical styles, from classical to Latin music, blazing paths followed later by others.
Parker was an icon for the hipster subculture and later the Beat generation, personifying the conception of the jazz musician as an uncompromising artist and intellectual, rather than just a popular entertainer. His style – from a rhythmic, harmonic and soloing perspective – influenced countless peers on every instrument.
Biography
Childhood
Charlie Parker was born in Kansas City, Kansas and raised in Kansas City, Missouri, the only child of Charles and Addie Parker. Charles, an alcoholic, was often absent. Parker attended Lincoln High School. He enrolled in September 1934 and withdrew in December 1935 about the time he joined the local Musicians Union.Parker displayed no sign of musical talent as a child. His father presumably provided some musical influence; he was a pianist, dancer and singer on the T.O.B.A. circuit, although he later became a Pullman waiter or chef on the railways. His mother worked nights at the local Western Union. His biggest influence however was a young trombone player who taught him the basics of improvisation.
Parker began playing the saxophone at age 11 and at age 14 joined his school's band using a rented school instrument. One story holds that, without formal training, he was terrible, and thrown out of the band. Experiencing periodic setbacks of this sort, at one point he broke off from his constant practicing.
Early career
It has been said that, in early 1936, Parker participated in a cutting contest that included Jo Jones on drums, who tossed a cymbal at Parker in impatience with his playing. However, in the numerous interviews throughout his life, Jones made no mention of this incident. At this time Parker began to practice with great diligence and rigor, learning the blues, "Cherokee" and "rhythm changes" in all twelve keys. In this woodshedding period, Parker mastered improvisation and developed some of the ideas of be-bop. In an interview with Paul Desmond, he said he spent 3–4 years practicing up to 15 hours a day. It has been said that he used to play many other tunes in all twelve keys. The story, though undocumented, would help to explain the fact that he often played in unconventional concert pitch key signatures, like E (which transposes to C# for the alto sax).Groups led by Count Basie and Bennie Moten were the leading Kansas City ensembles, and undoubtedly influenced Parker. He continued to play with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique with the assistance of Buster Smith, whose dynamic transitions to double and triple time certainly influenced Parker's developing style.
In 1938, Parker joined pianist Jay McShann's territory band. The band toured nightclubs and other venues of the southwest, as well as Chicago and New York City. Parker made his professional recording debut with McShann's band. It was said at one point in McShann's band that he "sounded like a machine", owing to his highly virtuosic yet nonetheless musical playing.
As a teenager, Parker developed a morphine addiction while in hospital after an automobile accident, and subsequently became addicted to heroin. Heroin would haunt him throughout his life and ultimately contribute to his death.
New York City
In 1939, Parker moved to New York City. There he pursued a career in music, but held several other jobs as well. He worked for $9 a week as a dishwasher at Jimmie's Chicken Shack where pianist Art Tatum performed. Parker's later style in some ways recalled Tatum's, with dazzling, high-speed arpeggios and sophisticated use of harmony.In 1942, Parker left McShann's band and played with Earl Hines for one year. Also in the band was trumpet player Dizzy Gillespie, which is where the soon to be famous duo met for the first time. Unfortunately, this period is virtually undocumented because of the strike of 1942–1943 by the American Federation of Musicians, during which no official recordings were made. Nevertheless, we know that Parker joined a group of young musicians in after-hours clubs in Harlem such as Clark Monroe's Uptown House and (to a much lesser extent) Minton's Playhouse. These young iconoclasts included Gillespie, pianist Thelonious Monk, guitarist Charlie Christian, and drummer Kenny Clarke. The beboppers' attitude was summed up in a famous quotation attributed to Monk by Mary Lou Williams: "We wanted a music that they couldn't play" – "they" being the (white) bandleaders who had taken over and profited from swing music. The group played in venues on 52nd Street including the Three Deuces and The Onyx. In his time in New York City, Parker also learned much from notable music teacher Maury Deutsch.
Bebop
According to an interview Parker gave in the 1950s, one night in 1939, he was playing "Cherokee" in a jam session with guitarist William 'Biddy' Fleet when he hit upon a method for developing his solos that enabled him to play what he had been hearing in his head for some time, by connecting harmony using the diminished relationship of dominants. Still with McShann's orchestra, Parker at this time realized that the twelve tones of the chromatic scale can lead melodically to any key, breaking some of the confines of simpler jazz soloing.Early in its development, this new type of jazz was rejected by many of the established, traditional jazz musicians who disdained their younger counterparts with comments like Eddie Condon's putdown: "They flat their fifths, we drink ours." The beboppers, in response, called these traditionalists "moldy figs". However, some musicians, such as Coleman Hawkins and Benny Goodman, were more positive about its development, and participated in jam sessions and recording dates in the new approach with its adherents.
Because of the 2-year Musicians' Union recording ban on all commercial recordings from 1942 to 1944 (part of a struggle to get royalties from record sales for a union fund for out-of-work musicians), much of bebop's early development was not captured for posterity. As a result, the new musical concepts only gained limited radio exposure. Bebop musicians had a difficult time gaining widespread recognition. It was not until 1945, when the recording ban was lifted, that Parker's collaborations with Dizzy Gillespie, Max Roach, Bud Powell and others had a substantial effect on the jazz world. One of their first (and greatest) small-group performances together was rediscovered and issued in 2005: a concert in New York's Town Hall on June 22, 1945. Bebop began to grab hold and gain wider appeal among musicians and fans alike.
On November 26, 1945, Parker led a record date for the Savoy label, marketed as the "greatest Jazz session ever." The tracks recorded during this session include "Ko-Ko" (based on the chords of "Cherokee"), "Now's the Time" (a twelve bar blues incorporating a riff later used in the late 1949 R&B; dance hit "The Hucklebuck"), "Billie's Bounce", and "Thriving on a Riff".
Shortly afterwards, the Parker/Gillespie band traveled to an unsuccessful engagement at Billy Berg's club in Los Angeles. Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. He experienced great hardship in California, eventually being committed to Camarillo State Mental Hospital for a six month period.
Addiction
Parker's addiction to heroin, which began in his late teens, caused him to miss gigs and to be fired for being high. To satisfy his habit, he frequently resorted to busking on the streets for drug money, receiving loans from fellow musicians/admirers, pawning his own horn and borrowing other sax players' instruments as a result. Parker's situation was typical of the strong connection between drug abuse and jazz at the time.Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic due to his habit. Heroin was difficult to obtain after he moved to California for a short time where the drug was less abundant, and Parker began to drink heavily to compensate for this. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Prior to this session, Parker drank about a quart of whiskey. According to the liner notes of ''Charlie Parker on Dial Volume 1'', Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax." When he finally did come in, he swayed wildly and once spun all the way around, going badly off mic. On the next tune, "Lover Man", producer Ross Russell physically supported Parker in front of the microphone. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars. On his second eight bars, however, Parker begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at Parker. McGhee's bellow is audible on the recording. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings despite its flaws. Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing the sub-par performance (and re-recorded the tune in 1951 for Verve, this time in stellar form, but perhaps lacking some of the passionate emotion in the earlier, problematic attempt).
During the night following the "Lover Man" session, Parker was drinking in his hotel room. He entered the hotel lobby stark naked on several occasions and asked to use the phone, but was refused on each attempt. The hotel manager eventually locked him in his room. At some point during the night, he set fire to his mattress with a cigarette, then ran through the hotel lobby wearing only his socks. He was arrested and committed to Camarillo State Mental Hospital, where he remained for six months.
Coming out of the hospital, Parker was initially clean and healthy, and proceeded to do some of the best playing and recording of his career. Before leaving California, he recorded "Relaxin' at Camarillo", in reference to his hospital stay. He returned to New York – and his addiction – and recorded dozens of sides for the Savoy and Dial labels that remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including trumpeter Miles Davis and drummer Max Roach.
Charlie Parker with strings
A longstanding desire of Parker's was to perform with a string section. He was a keen student of classical music, and contemporaries reported he was most interested in the music and formal innovations of Igor Stravinsky, and longed to engage in a project akin to what later became known as Third Stream Music, a new kind of music, incorporating both jazz and classical elements as opposed to merely incorporating a string section into performance of jazz standards. On November 30, 1949, Norman Granz arranged for Parker to record an album of ballads with a mixed group of jazz and chamber orchestra musicians. Six master takes from this session comprised the album ''Bird With Strings'': "Just Friends", "Everything Happens to Me", "April in Paris", "Summertime", "I Didn't Know What Time It Was", and "If I Should Lose You". The sound of these recordings is rare in Parker's catalog. Parker's improvisations are, in comparison to his usual work, more distilled and economical. His tone is darker and softer than on his small-group recordings, and the majority of his lines are beautiful embellishments on the original melodies rather than harmonically based improvisations. These are among the few recordings Parker made during a brief period when he was able to control his heroin habit, and his sobriety and clarity of mind are evident in his playing. Parker stated that, of his own records, ''Bird With Strings'' was his favorite. Although using classical music instrumentation with jazz musicians was not entirely original, this was the first major work where a composer of bebop was matched with a string orchestra.Some fans thought this record was a sell out and a pandering to popular tastes. It is now seen to have been artistically as well as commercially successful. While ''Charlie Parker with Strings'' sold better than his other releases, Parker's version of "Just Friends" is regarded as one of his best performances. In an interview, Parker said he considered it to be his best recording to that date.
Prominence
thumb|right|Right side view of a [[C. G. Conn|Conn 6M "Lady Face" alto sax with highly distinctive underslung octave key, a model that Parker is known to have used. ]]By 1950, much of the jazz world had fallen under Parker's spell. Many musicians transcribed and copied his solos. Legions of saxophonists imitated his playing note-for-note. In response to these pretenders, Parker's admirer, the bass player Charles Mingus, titled a tune "Gunslinging Bird" (meaning "If Charlie Parker were a gunslinger, there would be a whole lot of dead copycats") featured on the album ''Mingus Dynasty''. In this regard, he is perhaps only comparable to Louis Armstrong: both men set the standard for their instruments for decades, and few escaped their influence.
In 1953, Parker performed at Massey Hall in Toronto, Canada, joined by Gillespie, Mingus, Bud Powell and Max Roach. Unfortunately, the concert clashed with a televised heavyweight boxing match between Rocky Marciano and Jersey Joe Walcott and as a result was poorly attended. Thankfully, Mingus recorded the concert, and the album ''Jazz at Massey Hall'' is often cited as one of the finest recordings of a live jazz performance, with the saxophonist credited as "Charlie Chan" for contractual reasons.
At this concert, he played a plastic Grafton saxophone (serial number 10265); later, saxophonist Ornette Coleman used this brand of plastic sax in his early career. There is a story that says Parker had sold his alto saxophone to buy drugs, and at the last minute, he, Dizzy Gillespie and other members of Charlie's entourage went running around Toronto trying to find Parker a saxophone. After scouring all the downtown pawnshops open at the time, they were only able to find a Grafton, which Parker proceeded to use at the concert that night. This account however is totally untrue. Parker in fact owned two of the Grafton plastic horns. At this point in his career he was experimenting with new sounds and new materials. Parker himself explains the purpose of the plastic saxophone in a May 9 of 1953 broadcast from Birdland and does so again in subsequent May 1953 broadcast.
Parker was known for often showing up to performances without an instrument, necessitating a loan at the last moment. There are various photos that show him playing a Conn 6M saxophone, a high quality instrument that was noted for having a very fast action and a unique "underslung" octave key.
Some of the photographs showing Parker with a Conn 6M were taken on separate occasions. because Parker can be seen wearing different clothing and there are different backgrounds. However, other photos exist that show Parker holding alto saxophones with a more conventional octave key arrangement, i.e. mounted above the crook of the saxophone e.g. the Martin Handicraft and Selmer Model 22 saxophones, among others. Parker is also known to have performed with a King 'Super 20' saxophone, with a semi-underslung octave key that bears some resemblance to those fitted on modern Yanagisawa instruments. Parker's King Super 20 saxophone was made specially for him in 1947.
Death
Parker died in the suite of his friend and patron Nica de Koenigswarter at the Stanhope Hotel in New York City while watching ''The Dorsey Brothers' Stage Show'' on television. The official causes of death were lobar pneumonia and a bleeding ulcer but Parker also had an advanced case of cirrhosis and had had a heart attack. Any one of the four ailments could have killed him. The coroner who performed his autopsy mistakenly estimated Parker's 34-year-old body to be between 50 and 60 years of age.
It was well known that Parker never wanted to return to Kansas City, even in death. Parker had told his common-law wife, Chan, that he did not want to be buried in the city of his birth; that New York was his home and he didn’t want any fuss or memorials when he died. At the time of his death, though, he had not divorced his previous wife Doris, nor had he officially married Chan, which left Parker in the awkward post-mortem situation of having two widows. This complicated the settling of Parker's inheritance and would ultimately serve to frustrate his wish to be quietly interred in his adopted hometown. Dizzy Gillespie was able to take charge of the funeral arrangements that Chan had been putting together and organised a ‘lying-in-state’, a Harlem procession officiated by Adam Clayton Powell, Jr., and a memorial concert before Parker's body was flown back to Missouri to be buried there in accordance with his mother's wishes. Parker was buried at Lincoln Cemetery, 8604 E. Truman Road, Kansas City, Missouri.
Charlie Parker was survived by both his legal wife, Doris (née Doris June Snyder, August 16, 1922 – January 17, 2000), and his partner, Chan; a stepdaughter, Kim, who is also a musician; and a son, Baird; their later lives are chronicled in Chan Parker's autobiography, ''My Life in E Flat''.
Parker's estate is managed by CMG Worldwide.
Music
Parker's style of composition involved interpolation of original melodies over pre-existing jazz forms and standards, a practice still common in jazz today. Examples include "Ornithology" ("How High The Moon") and "Yardbird Suite" ("What Price Love"). The practice was not uncommon prior to bebop; however, it became a signature of the movement as artists began to move away from arranging popular standards and began to compose their own material.While tunes such as "Now's The Time", "Billie's Bounce", and "Cool Blues" were based on conventional 12-bar blues changes, Parker also created a unique version of the 12-bar blues for his tune "Blues for Alice". These unique chords are known popularly as "Bird Changes". Like his solos, some of his compositions are characterized by long, complex melodic lines and a minimum of repetition although he did employ the use of repetitive (yet relatively rhythmically complex) motifs in many other tunes as well, most notably "Now's The Time".
Parker also contributed a vast rhythmic vocabulary to the modern jazz solo, one in which triplets and pick-up notes were used in (then) unorthodox ways to lead into chord tones, affording the soloist with more freedom to use passing tones, which soloists would have previously avoided. Within this context, Parker was admired for his unique style of phrasing and innovative use of rhythm. Via his recordings and the popularity of the posthumously published ''Charlie Parker Omnibook'', Parker's uniquely identifiable vocabulary of "licks" and "riffs" dominated jazz for many years to come. Today his ideas are routinely analyzed by jazz students and are part of any player's basic jazz vocabulary.
Awards and recognitions
;Grammy Award {| class=wikitable |- | colspan="5" style="text-align:center;"| Charlie Parker Grammy Award History |- ! Year ! Category ! Title ! Genre ! Label ! Result |- align=center | 1974 | Best Performance By A Soloist | ''First Recordings!'' | Jazz | Onyx | Winner |}
;Grammy Hall of Fame Recordings of Charlie Parker were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."
{| class=wikitable |- | colspan="6" style="text-align:center;"| Charlie Parker: Grammy Hall of Fame Awards |- ! Year Recorded ! Title ! Genre ! Label ! Year Inducted |- align=center | 1945 | "Billie's Bounce" | Jazz (Single) | Savoy | 2002 |- align=center | 1953 | ''Jazz at Massey Hall'' | Jazz (Album) | Debut | 1995 |- align=center | 1946 | "Ornithology" | Jazz (Single) | Dial | 1989 |- align=center | 1950 | ''Charlie Parker with Strings'' | Jazz (Album) | Mercury | 1988 |}
;Inductions {| class=wikitable |- | colspan="5" style="text-align:center;"| |- ! Year Inducted ! Title |- align=center | 2004 | Jazz at Lincoln Center: Nesuhi Ertegun Jazz Hall of Fame |- align=center | 1984 | Grammy Lifetime Achievement Award |- align=center | 1979 | Big Band and Jazz Hall of Fame |}
;National Recording Registry
In 2002, the Library of Congress honored his recording "Ko-Ko" (1945) by adding it to the National Recording Registry.
;U.S. Postage Stamp
{| class=wikitable |- | colspan="4" style="text-align:center;"| |- ! Year Issued ! Stamp ! USA ! Note |- align=center | 1995 | 32 cents Commemorative stamp | U.S. Postal Stamps | Photo (Scott #2987) |}
Musical tributes
| Coordinates | 33°51′35.9″N151°12′40″N |
|---|---|
| name | Charlie Parker Residence |
| nrhp type | nrhp |
| locmapin | New York City |
| lat degrees | 40 |
| lat minutes | 43 |
| lat seconds | 36 |
| lat direction | N |
| long degrees | 73 |
| long minutes | 58 |
| long seconds | 50 |
| long direction | W |
| coord parameters | region:US-NY_type:landmark |
| location | 151 Avenue BManhattan, New York City |
| built | c.1849 |
| architecture | Gothic Revival |
| added | April 7, 1994 |
| designated nrhp type | April 7, 1994 |
| refnum | 94000262 |
| governing body | private |
| designated other2 name | NYC Landmark |
| designated other2 date | May 18, 1999 |
| designated other2 abbr | NYCL |
| designated other2 link | New York City Landmarks Preservation Commission |
| designated other2 color | #ff0000 }} |
Charlie Parker Residence
From 1950 to 1954, Parker and his common-law wife, Chan Richardson, lived in the ground floor of the townhouse at 151 Avenue B, between East 9th and 10th Streets across from Tompkins Square Park in the Alphabet City section of the East Village neighborhood of Manhattan, New York City. The Gothic Revival building, which was built c.1849, was added to the National Register of Historic Places in 1994, and was designated a New York City landmark in 1999. In addition, in 1992, Avenue B between East 7th and 10th Streets was renamed Charlie Parker Place in 1992.
Other tributes
Notes
References
External links
Category:1920 births Category:1955 deaths Category:People from Kansas City, Kansas Category:African American musicians Category:American buskers Category:American jazz composers Category:American jazz saxophonists Category:Bebop saxophonists Category:Deaths from pneumonia Category:Grammy Lifetime Achievement Award winners Category:Infectious disease deaths in New York Category:Jazz alto saxophonists Category:Musicians from Missouri Category:Savoy Records artists
ar:شارلي باركر bs:Charlie Parker bg:Чарли Паркър ca:Charlie Parker cs:Charlie Parker da:Charlie Parker de:Charlie Parker et:Charlie Parker el:Τσάρλι Πάρκερ es:Charlie Parker eo:Charlie Parker eu:Charlie Parker fa:چارلی پارکر fr:Charlie Parker gl:Charlie Parker ko:찰리 파커 hr:Charlie Parker io:Charlie Parker id:Charlie Parker it:Charlie Parker he:צ'ארלי פרקר ka:ჩარლზ პარკერი sw:Charlie Parker lv:Čārlijs Pārkers lb:Charlie Parker hu:Charlie Parker nl:Charlie Parker ja:チャーリー・パーカー no:Charlie Parker nn:Charlie Parker oc:Charlie Parker nds:Charlie Parker pl:Charlie Parker pt:Charlie Parker ru:Паркер, Чарли scn:Charlie Parker simple:Charlie Parker sk:Charlie Parker sr:Чарли Паркер fi:Charlie Parker sv:Charlie Parker tl:Charlie Parker th:ชาร์ลี พาร์กเกอร์ tr:Charlie Parker uk:Чарлі Паркер zh:查利·帕克This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Coordinates | 33°51′35.9″N151°12′40″N |
|---|---|
| name | Chick Corea |
| background | non_vocal_instrumentalist |
| birth name | Armando Anthony Corea |
| birth date | June 12, 1941 |
| origin | Chelsea, Massachusetts, U.S. |
| instrument | Piano, keyboards, synthesizers, organ, vibraphone, drums |
| genre | Jazz, jazz fusion, post bop, Latin jazz, classical music, avant-garde jazz |
| occupation | Pianist, keyboardist, composer, bandleader |
| years active | 1962–present |
| label | ECM, Polydor, Stretch, Warner Bros. |
| associated acts | Return to Forever, Five Peace Band, Chaka Khan |
| website | |
| notable instruments | }} |
Armando Anthony "Chick" Corea (born June 12, 1941) is an American jazz pianist, keyboardist, and composer.
Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever. He, along with Herbie Hancock, McCoy Tyner and Keith Jarrett, have been described as some of the major jazz piano voices to emerge in the post-John Coltrane era.
His career has been driven by his will to operate as a free agent and compulsively explore different avenues of music making. This hunger has positioned him as an important catalyst in the world of serious, mainstream acoustic jazz, and he is one of the most influential and widely studied figures in the last 40 years.
Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, such as eradicating social illiteracy, and is a Scientologist.
Life and career
Youth
Corea was born in Chelsea, Massachusetts. He is of Sicilian and Spanish descent. Armando's father, a jazz trumpet player who had led a Dixieland band in the Boston area in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument.Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo from whom Corea started taking lessons at age eight and who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist for The Knights of St. Rose, a Drum & Bugle Corp based in Chelsea.
Given a black tuxedo by his father, he started doing gigs when in high school. He enjoyed listening to Herb Pomeroy's band at the time, and had a trio which would play Horace Silver's music at a local jazz club.
He eventually decided to move to New York where he studied musical education for one month at Columbia University and six months at The Juilliard School. He quit after finding both disappointing, but liked the atmosphere of New York where the musical scene became the starting point for his professional career.
Early career
Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamaría. One of the earliest recordings of his playing is with Blue Mitchell's quintet on ''The Thing To Do''. This album features his composition "Chick's Tune", a clever retooling of "You Stepped Out of a Dream" that demonstrates the angular melodies and Latin-and-swing rhythms that characterize, in part, Corea's personal style. (Incidentally, the same tune features a drum solo by a very young Al Foster.)His first album as a leader was ''Tones for Joan's Bones'' in 1966, two years before the release of his album ''Now He Sings, Now He Sobs'', with Roy Haynes on drums and Miroslav Vitouš on bass.
He made another sideman appearance with Stan Getz on 1967's ''Sweet Rain'' (Verve Records).
Avant garde period
From 1968 to 1971 Chick Corea had associations with avant garde players and his solo style revealed a dissonant, avant garde orientation. His avant garde playing can be heard on his solo works of the period, his solos in live recordings under the leadership of Miles Davis, his recordings with Circle, and his playing on Joe Farrell's ''Song of the Wind'' album on CTI Records.In September 1968 Corea replaced Herbie Hancock in the piano chair in Davis' band and appeared on landmark albums such as ''Filles de Kilimanjaro'', ''In a Silent Way'', and ''Bitches Brew''. In concert, Davis' rhythm section of Corea, Dave Holland, and Jack DeJohnette combined elements of free jazz improvisation and rock music. Corea experimented using electric instruments with the Davis band, mainly the Fender Rhodes electric piano.
In live performance he frequently processed the output of his electric piano with a device called a ring modulator, producing sounds reminiscent of composer Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including ''Black Beauty: Live at the Fillmore West'' and ''Miles Davis at Fillmore: Live at the Fillmore East.'' His live performances with the Miles Davis band continued into 1970, with a great touring band of Steven Grossman, tenor sax, Keith Jarrett, additional electric piano and organ, Jack DeJohnette, drums, Dave Holland, bass, Airto Moreira, percussion, and Miles on trumpet.
Holland and Corea left to form their own group, Circle, active between 1970 and 1971. This free jazz group featured multi-reed player Anthony Braxton and drummer Barry Altschul. This band was documented on Blue Note and ECM. Aside from soloing in an atonal style, Corea sometimes reached in the body of the piano and plucked the strings. In 1971 or 1972 Corea struck out on his own.
The concept of communication with an audience became a big thing for me at the time. The reason I was using that concept so much at that point in my life – in 1968, 1969 or so – was because it was a discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship to an audience, really, until way later.
Jazz fusion
In the early 1970s Corea took a profound stylistic turn from avant garde playing to a crossover jazz fusion style that incorporated Latin jazz elements. He founded Return to Forever in 1971. This band had a fusion sound and even though it relied on electronic instrumentation it drew more on Brazilian and Spanish-American musical styles than on rock music. On its first two records, Return to Forever featured Flora Purim's vocals, the Fender Rhodes electric piano, and Joe Farrell's flute and soprano saxophone. Airto Moreira played drums. Corea's compositions for this group often had a Brazilian tinge. In 1972 Corea played many of the early ''Return to Forever'' songs in a group he put together for Stan Getz. This group, with Stanley Clarke on bass and Tony Williams on drums, recorded the Columbia label album ''Captain Marvel'' under Getz's name.
Only Clarke remained from the group's first lineup; Bill Connors played electric guitar and Lenny White played drums. No one replaced vocalist Purim. (Briefly, in 1977, Corea's wife, Gayle Moran, served as vocalist in the band.) In 1974 Al Di Meola joined the band, replacing Connors. In this second version of Return to Forever, Corea extended the use of synthesizers, particularly Moogs. The group released its final studio record in 1977. Thereafter, Corea focused on solo projects.
Corea's composition "Spain" first appeared on the 1972 Return to Forever album ''Light as a Feather''. This is probably his most popular piece, and it has been recorded by a variety of artists. There are also a variety of subsequent recordings by Corea himself in various contexts, including an arrangement for piano and symphony orchestra that appeared in 1999, and a collaborative piano and voice-as-instrument arrangement with Bobby McFerrin on the 1992 album ''Play''. Corea usually performs "Spain" with a prelude based on Joaquín Rodrigo's ''Concierto de Aranjuez'' (1940), which earlier received a jazz orchestration on Miles Davis' and Gil Evans' "Sketches of Spain".
In 1976 he issued ''My Spanish Heart'', influenced by Latin American music and featuring vocalist Moran and electric violinist Jean-Luc Ponty.
The late Ana Mazzotti, a Brazilian jazz pianist and vocalist, dedicated what is perhaps her last ever recorded track, "Grand Chick", to Chick Corea. The song may be found on her "Ao Vivo Guaruja 1982" album. As Ana Mazzotti worked with Brazilian jazz fusion masters Azymuth in her first album, it was further testament to Chick Corea's influence in the genre.
Duet projects
In the 1970s Corea started working occasionally with vibraphonist Gary Burton, with whom he recorded several duet albums on ECM, including 1972's ''Crystal Silence''. They reunited in 2006 for a concert tour. A new record called ''The New Crystal Silence'' (which has received 3 nominations for the 51st Grammy Awards) was issued shortly into 2008. The package includes a disc of duets and another disc featuring the Sydney Symphony.
Later, toward the end of the 1970s, Corea embarked on a series of concerts and two albums with Herbie Hancock. These concerts were presented in elegant settings with both pianists formally dressed, and performing on Yamaha concert grand pianos. The two jazz greats traded playing each other's compositions, as well as pieces by other composers such as Béla Bartók.
In December 2007 Corea recorded a duet album, ''The Enchantment'', with banjoist Bela Fleck. Fleck and Corea toured extensively behind the album in 2007. Fleck was nominated in the Best Instrumental Composition category at the 49th Grammy Awards for the track "Spectacle."
In 2008 Corea collaborated with Japanese pianist Hiromi Uehara on the live album ''Duet (Chick Corea and Hiromi)''. The duo played a concert at Tokyo's Budokan arena on April 30.
Later work
Corea's other bands include the Elektric Band, the Akoustic Band, and Origin.
The Akoustic Band released a self-titled album in 1989, and featured John Patitucci on bass and Dave Weckl on drums. It marked a turn back toward traditional jazz in Corea's career, and the bulk of his subsequent recordings have been acoustic ones. The Akoustic Band also provided the music for the 1986 Pixar short Luxo Jr. with their song ''The Game Maker''.
In 1992 Corea started his own record label, Stretch Records.
In 2001 the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums, respectively, released the album ''Past, Present & Futures''. The 11-song album includes only one standard composition (Fats Waller's "Jitterbug Waltz"). The rest of the tunes are Corea originals.
He also participated in 1998's ''Like Minds'', which features Gary Burton on vibes, Pat Metheny on guitar, Dave Holland on bass and Roy Haynes on drums.
Recent years have also seen Corea's rising interest in contemporary classical music. He composed his first piano concerto – and an adaptation of his signature piece, ''Spain'' for a full symphony orchestra – and performed it in 1999 with the London Philharmonic Orchestra. Five years later he composed his first work not to feature any keyboards: His ''String Quartet No. 1'', specifically written for and performed by the highly acclaimed Orion String Quartet on 2004's Summerfest.
Corea has continued releasing jazz fusion concept albums such as ''To the Stars'' (2004) and ''Ultimate Adventure'' (2006). The latter album won the Grammy Award for Best Jazz Instrumental Album, Individual or Group.
In 2008 the second version of Return to Forever (Corea, keyboards; Stanley Clarke, bass; Lenny White, drums; Al Di Meola, guitar) reunited for a worldwide tour. The reunion received positive reviews from most jazz and mainstream publications. Most of the group's studio recordings were re-released on the compilation ''Return to Forever: The Anthology'' to coincide with the tour. A concert DVD recorded during their performance at the Montreux Jazz Festival was released in May 2009. He is recently working on a collaboration CD with the Grammy Award winning jazz vocal group The Manhattan Transfer, due to be released in August 2009.
A new group, the 5 Peace Band, which features Corea and guitarist John McLaughlin began a world tour in October 2008. Corea previously worked with McLaughlin in Miles Davis' late-1960s bands, including the group that recorded Davis' album ''Bitches Brew''. Joining Corea and McLaughlin in the 5 Peace Band are saxophonist Kenny Garrett, and bassist Christian McBride. Drummer Vinnie Colaiuta played with the band in Europe and on select North American dates; Brian Blade played all dates in Asia and Australia, and most dates in North America.
Scientology
Corea claims that Scientology has helped deepen his relationships with others, and helped him find a renewed path. Under the "special thanks" notes, found in all of his later albums, Corea mentions that L. Ron Hubbard, founder of Scientology, has been a continual source of inspiration. In 1968 Corea discovered ''Dianetics'', Hubbard's principal work, and in the early 1970s developed an interest in Hubbard's science fiction novels. The two exchanged letters until Hubbard's death in 1986, and Corea even had three guest appearances on Hubbard's 1982 album ''Space Jazz: The Soundtrack of the Book Battlefield Earth'', noting, "[Hubbard] was a great composer and keyboard player as well. He did many, many things. He was a true Renaissance Man."Corea claimed that Scientology became a profound influence on his musical direction in the early 1970s:
:''I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean something to people.''
Due to Corea’s religious affiliation, he was banned from performing in a concert to be held in Stuttgart, Germany, on Aug 15, 1993. Members of U.S. Congress sent letters to the German government concerning a violation of basic human rights that are upheld by the German Constitution. The ban was not upheld and in later years Corea performed in festivals in Germany, including several times at the government-supported International Jazz Festival in Burghausen where was awarded with a plaque in Burghausen's "Street of Fame" in 2011.
In 1998 Chick Corea and fellow entertainers Anne Archer, Isaac Hayes, and Haywood Nelson attended the 30th anniversary of ''Freedom Magazine'', the Church of Scientology's investigative news journal, at the National Press Club in Washington, D.C., to honor 11 human rights activists.
Discography
Awards
Over the years, he has been nominated for 51 Grammy Awards out of which he has won 15:| | | Award | Album/song | |
| Grammy Awards of 1976 | 1976 | ''No Mystery'' (with Return to Forever) | |
| ''In Concert, Zürich, October 28, 1979'' (with Gary Burton) | |||
| ''Akoustic Band'' (with Akoustic Band) | |||
| "Rhumbata", ''Native Sense'' (with Gary Burton) | |||
| Grammy Award for Best Jazz Instrumental Album, Individual or Group>Best jazz instrumental performance | |||
| "Spain for Sextet & Orchestra", ''Corea.Concerto'' | |||
| "Matrix" | |||
| "The Ultimate Adventure" | |||
| ''The New Crystal Silence'' (with Gary Burton) | |||
His 1968 album ''Now He Sings, Now He Sobs'' was inducted in the Grammy Hall of Fame in 1999.
In 2010, he was named ''doctor honoris causa'' at Norwegian University of Science and Technology (NTNU).
See also
References
External links
Category:1941 births Category:Living people Category:Post-bop pianists Category:Jazz fusion pianists Category:American jazz pianists Category:American Scientologists Category:Crossover (music) Category:American jazz composers Category:Miles Davis Category:People from Suffolk County, Massachusetts Category:Grammy Award winners Category:Latin Grammy Award winners Category:American people of Spanish descent Category:Return to Forever members Category:Keytarists Category:GRP Records artists Category:ECM artists Category:American jazz musicians of Italian descent Category:American people of Sicilian descent
bg:Чък Кърия ca:Chick Corea cs:Chick Corea da:Chick Corea de:Chick Corea es:Chick Corea eo:Chick Corea fa:چیک کوریا fr:Chick Corea gl:Chick Corea io:Chick Corea id:Chick Corea it:Chick Corea he:צ'יק קוריאה ka:ჩიკ კორია sw:Chick Corea hu:Chick Corea nl:Chick Corea ja:チック・コリア no:Chick Corea nn:Chick Corea oc:Chick Corea pl:Chick Corea pt:Chick Corea ro:Chick Corea ru:Кориа, Чик simple:Chick Corea sk:Chick Corea sr:Чик Корија fi:Chick Corea sv:Chick Corea th:ชิค คอเรีย tr:Chick Corea uk:Чік КоріаThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Coordinates | 33°51′35.9″N151°12′40″N |
|---|---|
| name | Amiri Baraka |
| birth date | October 07, 1934 |
| birth place | Newark, New Jersey (U.S.) |
| occupation | Actor, teacher, theater director/producer, writer, activist |
| nationality | American |
| ethnic heritage | African-American |
| period | 1961–Present |
| genre | Poetry, Drama |
| children | Kellie Jones, Lisa Jones, Dominque DiPrima, Maria Jones, Shani Baraka, Obalaji Baraka, Ras Baraka, Ahi Baraka, and Amiri Baraka |
| influences | Richard Wright, Malcolm X |
| influenced | John S. Hall |
| website | http://amiribaraka.com/ }} |
Early life
Baraka was born Everett LeRoi Jones in Newark, New Jersey, where he attended Barringer High School. His father, Coyt Leverette Jones, worked as a postal supervisor and lift operator. His mother, Anna Lois (née Russ), was a social worker. In 1967 he adopted the African name Imamu Amear Baraka, which he later changed to Amiri Baraka.Baraka studied at Rutgers, Columbia, and Howard Universities, leaving each without a degree, and the New School for Social Research. He won a scholarship to Rutgers University in 1951, but a continuing sense of cultural dislocation prompted him to transfer in 1952 to Howard University. His major fields of study were philosophy and religion. Baraka also served two years in the U.S. Air Force as a gunner. Baraka continued his studies of comparative literature at Columbia University.
1934–1965
Baraka studied philosophy and religion at Rutgers University, Columbia University and Howard University without obtaining a degree. In 1954 he joined the US Air Force, reaching the rank of sergeant.After an anonymous letter to his commanding officer accusing him of being a communist led to the discovery of Soviet writings, Baraka was put on gardening duty and given a dishonorable discharge for violation of his oath of duty.
The same year, he moved to Greenwich Village working initially in a warehouse for music records. His interest in jazz began in this period. At the same time he came into contact with Beat, Black Mountain College and New York School poets. In 1958 he married Hettie Cohen and founded Totem Press, which published such Beat Generation icons as Jack Kerouac and Allen Ginsberg. Their literary magazine ''Yugen'' lasted for eight issues (1958–62). Baraka also worked as editor and critic for ''Kulchur'' (1960–65). With Diane DiPrima he edited the first twenty-five issues (1961–63) of their little magazine ''Floating Bear.''
Baraka visited Cuba in July 1960 with a Fair Play for Cuba Committee delegation and reported his impressions in his essay ''Cuba libre''. In 1961 Baraka co-authored a ''Declaration of Conscience'' in support of Fidel Castro's regime. Baraka also was a member of the Umbra Poets Workshop of emerging Black Nationalist writers (Ishmael Reed, Lorenzo Thomas and many others) on the Lower East Side (1962–65). He had begun to be a politically active artist. In 1961 a first book of poems, ''Preface to a Twenty Volume Suicide Note,'' was published, followed in 1963 by ''Blues People: Negro Music in White America'' — to this day one of the most influential volumes of jazz criticism, especially in regard to the then beginning Free Jazz movement. His acclaimed controversial play ''Dutchman'' premiered in 1964 and received an Obie Award the same year.
After the assassination of Malcolm X (1965), Baraka left his wife and their two children and moved to Harlem. Now a ''black cultural nationalist,'' he broke away from the basically white Beat Generation and became very critical of the pacifist and integrationist Civil Rights movement. His revolutionary poetry now became more controversial. A poem like “Black Art” (1969), according to academic Werner Sollors from Harvard University, expressed his need to commit the violence required to “establish a Black World.” Rather than use poetry as an escapist mechanism, Baraka saw poetry as a weapon of action. His poetry demanded violence against those he felt were responsible for an unjust society.
1966–1980
In 1966, Baraka married his second wife, Sylvia Robinson, who later adopted the name Amina Baraka. In 1967 he lectured at San Francisco State University. The year after, he was arrested in Newark for having allegedly carried an illegal weapon and resisting arrest during the 1967 Newark riots, and was subsequently sentenced to three years in prison. Shortly afterward an appeals court reversed the sentence based on his defense by attorney, Raymond A. Brown. That same year his second book of jazz criticism, ''Black Music'', came out, a collection of previously published music journalism, including the seminal ''Apple Cores'' columns from ''Down Beat'' magazine. In 1970 he strongly supported Kenneth A. Gibson's candidacy for mayor of Newark; Gibson was elected the city's first Afro-American Mayor. In the late 1960s and early 1970s, Baraka courted controversy by penning some strongly anti-Jewish poems and articles, similar to the stance at that time of the Nation of Islam.Around 1974, Baraka distanced himself from Black nationalism and became a Marxist and a supporter of third-world liberation movements. In 1979 he became a lecturer SUNY-Stony Brook's Africana Studies Department. The same year, after altercations with his wife, he was sentenced to a short period of compulsory community service. Around this time he began writing his autobiography. In 1980 he denounced his former anti-semitic utterances, declaring himself an anti-zionist.
1980–today
During the 1982-83 academic year, Baraka was a visiting professor at Columbia University, where he taught a course entitled "Black Women and Their Fictions." In 1984 Baraka became a full professor at Rutgers University, but was subsequently denied tenure. In 1987, together with Maya Angelou and Toni Morrison, he was a speaker at the commemoration ceremony for James Baldwin. In 1989 he won an American Book Award for his works as well as a Langston Hughes Award. In 1990 he co-authored the autobiography of Quincy Jones, and 1998 was a supporting actor in Warren Beatty's film ''Bulworth''. In 1996, Baraka contributed to the AIDS benefit album Offbeat: A Red Hot Soundtrip produced by the Red Hot Organization.Baraka collaborated with hip hop group The Roots on the song "Something in the Way of Things (In Town)" on their 2002 album ''Phrenology''.
In 2002, scholar Molefi Kete Asante listed Amiri Baraka on his list of 100 Greatest African Americans.
In 2003, Baraka's daughter Shani, age 31, and her lesbian partner, Rayshon Homes, were murdered in the home of Shani's sister, Wanda Wilson Pasha, by Pasha's ex-husband, James Coleman. Prosecutors argued that Coleman shot Shani because she had helped her sister separate from her husband. A New Jersey jury found Coleman (also known as Ibn El-Amin Pasha) guilty of murdering Shani Baraka and Rayshon Holmes, and sentenced him to 168 years in prison for the 2003 shooting.
Controversies
Baraka's writings have generated controversy over the years, particularly his advocacy of rape and violence towards (at various times) women, gay people, white people, and Jews. Critics of his work have alternately described such usage as ranging from being vernacular expressions of Black oppression to outright examples of the racism, sexism, homophobia, and anti-Semitism they perceive in his work.The following is from a 1965 essay:
Most American white men are trained to be fags. For this reason it is no wonder their faces are weak and blank. … The average ofay [white person] thinks of the black man as potentially raping every white lady in sight. Which is true, in the sense that the black man should want to rob the white man of everything he has. But for most whites the guilt of the robbery is the guilt of rape. That is, they know in their deepest hearts that they should be robbed, and the white woman understands that only in the rape sequence is she likely to get cleanly, viciously popped.
In 2009, he was again asked about the quote, and placed it in a personal and political perspective:
Those quotes are from the essays in Home, a book written almost fifty years ago. The anger was part of the mindset created by, first, the assassination of John Kennedy, followed by the Assassination of Patrice Lumumba, followed by the assassination of Malcolm X amidst the lynching, and national oppression. A few years later, the assassination of Martin Luther King and Robert Kennedy. What changed my mind was that I became a Marxist, after recognizing classes within the Black community and the class struggle even after we had worked and struggled to elect the first Black Mayor of Newark, Kenneth Gibson.
Amiri Baraka wrote a poem titled "Somebody Blew Up America" about the September 11, 2001 attacks. The poem was controversial and highly critical of racism in America, and includes angry depictions of public figures such as Trent Lott, Clarence Thomas, and Condoleezza Rice. The poem also contains lines claiming Israel's involvement in the World Trade Center attacks:
Who knew the World Trade Center was gonna get bombed Who told 4000 Israeli workers at the Twin Towers To stay home that day Why did Sharon stay away? [...] Who know why Five Israelis was filming the explosion And cracking they sides at the notion
Baraka has said that he believed Israelis (and President George W. Bush) were involved in the Sept. 11 attacks, citing what he described as information that had been reported in the American and Israeli press and on Jordanian television. He denies that the poem is anti-Semitic, and points to its accusation, which is directed against Israelis, rather than Jews as a people. The Anti-Defamation League denounced the poem as anti-Semitic, though Baraka and his defenders defined his position as Anti-Zionism.
In July 2002, ten months after the attacks, Baraka was named Poet Laureate of New Jersey. After this poem's publication, Governor Jim McGreevey tried to remove Baraka from the post, only to discover that there was no legal way to do so. In 2003, after legislation was passed allowing him to do so, McGreevey abolished the NJ Poet Laureate title. In response to legal action filed by Baraka, the United States Court of Appeals for the Third Circuit ruled that state officials were immune from such suits, and in November 2007 the Supreme Court of the United States refused to hear an appeal of the case.
In response to the attempts to remove Baraka as Poet Laureate of New Jersey, a nine-member advisory board named him the poet laureate of the Newark Public Schools in December 2002.
Baraka has received honors from a number of prestigious foundations, including: fellowships from the Guggenheim Foundation and the National Endowment for the Arts, the Langston Hughes Award from the City College of New York, The Rockefeller Foundation Award for Drama, an induction into the American Academy of Arts and Letters, and the Before Columbus Foundation Lifetime Achievement Award.
Works
Film appearances
References
External links
Category:1934 births Category:Living people Category:People from Newark, New Jersey Category:African American writers Category:African American dramatists and playwrights Category:African American essayists Category:African American poets Category:African American performance poets Category:American Poets Laureate Category:Barringer High School alumni Category:Rutgers University alumni Category:Columbia University alumni Category:Howard University alumni Category:Beat Generation writers Category:Marxist poets Category:Civil rights activists Category:Jazz writers Category:American music critics Category:American Marxists Category:Reparations for slavery Category:Converts to Islam Category:National Endowment for the Arts Fellows Category:American communists Category:African American Muslims Category:Black supremacy Category:India Navigation artists Category:State University of New York at Stony Brook faculty Category:University at Buffalo faculty
ar:أميري بركة da:LeRoi Jones/Amiri Baraka de:Amiri Baraka es:Amiri Baraka fr:Amiri Baraka ko:아미리 바라카 it:Amiri Baraka he:אמירי ברקה pl:Amiri Baraka pt:Amiri Baraka ro:Amiri Baraka ru:Джонс, Лерой simple:Amiri Baraka sk:Amiri Baraka sv:Amiri BarakaThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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Amiri Baraka "Un Poco Loco"
mediasanctuary
Amiri Baraka "Un Poco Loco"
"Un Poco Loco" by Amiri Baraka with Rob Brown-saxophone,recorded live on February 21, 2009 at The Sanctuary for Independent Media in Troy NY. The poet icon and political activist Amiri Baraka performs with Rob Brown, an eloquent a...
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