is a district of Chūō, Tokyo, located south of Yaesu and Kyōbashi, west of Tsukiji, east of Yūrakuchō and Uchisaiwaichō, and north of Shinbashi.

It is known as an upscale area of Tokyo with numerous department stores, boutiques, restaurants and coffeehouses. Ginza is recognized as one of the most luxurious shopping districts in the world. Many upscale fashion clothing flagship stores are located here, being also recognized as having the highest concentration of western shops in Tokyo. Prominent are Chanel, Dior, Abercrombie & Fitch, Gucci, and Louis Vuitton. Flagship electronic retail stores like the Sony showroom and the Apple Store are also here.

History

Ginza is named after the silver-coin mint established there in 1612 during the Edo period. After the Tsukiji area burnt to the ground in 1872, the Meiji government designated the Ginza area as model of modernisation. The government planned the construction of fireproof brick buildings, and larger, better streets connecting the Shimbashi Station and the foreign concession in Tsukiji, as well as to important government buildings. Designs for the area were provided by the Irish-born architect Thomas Waters; the Bureau of Construction of the Ministry of Finance was in charge of construction. In the following year, a Western-style shopping promenade on the street from the Shinbashi bridge to the Kyōbashi bridge in the southwestern part of Chūō with two- and three-story Georgian brick buildings was completed. "Bricktown" buildings were initially offered for sale, later they were leased, but the high rent meant that many remained unoccupied. Nevertheless, the area flourished as a symbol of "civilisation and enlightenment", thanks to the presence of newspapers and magazine companies, who led the trends of the day. The area was also known for its window displays, an example of modern marketing techniques.

Most of these European-style buildings disappeared, but some older buildings still remain, most famously the Wakō building with the now-iconic Hattori Clock Tower. The building and clock tower were originally built by Kintarō Hattori, the founder of Seiko.

Its recent history has seen it as a promiment outpost of western luxury shops. Ginza is a popular destination on weekends, when the main north-south artery is closed to traffic. The traffic blockade began in the 1960s under governor Ryokichi Minobe.

Economy

Ricoh is headquartered in the Ricoh Building in Ginza. In 2006, Ricoh's headquarters moved to the 25-story building from a previous location in Minato, Tokyo. In the Ricoh Building, the headquarters occupies the same space as its sales offices.

Matsuya

Oji Paper

Recruit

Ricoh

Shise

Wako

Dai-ichi Kikaku Senden Co., Ltd. opened in Chūō in Ginza, Chūō in December 1951. In January 1958 the company relocated to a new headquarters in Ginza. The company moved to another headquarters in Ginza in September 1961 and its name changed to Dai-ichi Kikaku Co., Ltd. In November 1974, after growth, the company moved to another headquarters in Ginza. In November 1981 Dai-ichi Kikaku moved its head office to a facility in Ginza and administrative office to a facility in Uchisaiwaichō, Chiyoda. The headquarters of Asatsu moved to Ginza in July 1995. Asatsu and Dai-ichi Kikaku merged into Asatsu-DK on January 1, 1999.

Subway stations

Ginza Station (Tokyo Metro Hibiya Line, Tokyo Metro Ginza Line, Tokyo Metro Marunouchi Line)

Ginza-itchōme Station (Tokyo Metro Yūrakuchō Line)

Higashi-Ginza Station (Tokyo Metro Hibiya Line, Toei Asakusa Line)

Gallery

See also

Harajuku

Shinjuku

Shibuya

List of upscale shopping districts

Tourism in Japan

References

External links

Ginza on Wikitravel

Tokyo Essentials: Ginza

Ginza Concierge

Ginza Architecture and Map

Category:Chūō, Tokyo Category:Shopping districts and streets in Japan Category:Neighborhoods of Tokyo

ar:غينزا ca:Ginza de:Ginza es:Ginza fa:گینزا fr:Ginza ko:긴자 id:Ginza it:Ginza he:גינזה ka:გინძა nl:Ginza ja:銀座 pl:Ginza ru:Гиндза sk:Ginza sv:Ginza (stadsdel) th:กินซะ uk:Ґіндза (Токіо) zh:銀座

name	Vince Guaraldi
background	solo_singer
birth name	Vincent Anthony Guaraldi
birth date	July 17, 1928
death date	February 06, 1976
origin	San Francisco, California, United States
genre	Jazz
Instrument	Piano, electric piano, guitar, vocals
occupation	Musician, singer-songwriter
years active	1953–1976
label	Warner Bros. RecordsFantasy Records
associated acts	Vince Guaraldi TrioCal Tjader''Peanuts
website	VinceGuaraldi.com
notable instruments	}}

Vincent Anthony "Vince" Guaraldi (July 17, 1928 – February 6, 1976) was an Italian-American jazz musician and pianist noted for his innovative compositions and arrangements and for composing music for animated adaptations of the ''Peanuts'' comic strip. Guaraldi was born in San Francisco, California. He was the nephew of musician, singer, and whistler Muzzy Marcellino. Vince graduated from Lincoln High School, attended San Francisco State University, and served as an Army cook in the Korean War.

Italian American musical family

According to Laura E. Ruberto (2010):

:"Vincent Anthony Guaraldi ... was born in the North Beach neighborhood of San Francisco and raised out in the Avenues, surrounded by an Italian American musical family, especially on his mother’s side. According to the pianist’s son Dave Guaraldi, Vince was adopted by Tony Guaraldi, after Vince’s mother, Cannella Guaraldi, neè Marcellino, split with his biological father, Vince Delaio (sp?). Guaraldi’s maternal grandfather hailed from Sicily and at least some part of his family emigrated first to New York before coming west.

:"And although it was his mother who arranged for his piano lessons as a kid, it was his uncles, Joe, a violinist, and Muzzy, a singer, who introduced him to the world of professional music."

Early career and Grammy Award

Guaraldi's first recording was made in November 1953 with Cal Tjader and came out early in 1954. The early 10-inch LP was called ''The Cal Tjader Trio'', and included "Chopsticks Mambo", "Vibra-Tharpe", and "Lullaby of the Leaves". By 1955, Guaraldi had his own trio with Eddie Duran and Dean Reilly. He then reunited with Cal Tjader in June 1956 and was an integral part of two bands that the vibraphonist assembled. The first band played mainly straight jazz and included Al Torre (drums), Eugene Wright (bass) and Luis Kant (congas and bongos). The second band was formed in the spring of 1958 and included Al McKibbon (bass), Mongo Santamaría (congas and bongos) and Willie Bobo (drums and timbales). Reed men Paul Horn and Jose "Chombo" Silva were also added to the group for certain live performances and recordings. Guaraldi made a big splash with his performance with Tjader at the 1958 Monterey Jazz Festival.

Guaraldi left the group early in 1959 to pursue his own projects full time. He probably would have remained a well-respected but minor jazz figure had he not written an original number to fill out his covers of Antonio Carlos Jobim/Luis Bonfá tunes on his 1962 album, ''Jazz Impressions of Black Orpheus'', inspired by the French/Brazilian film ''Black Orpheus'', which won an Academy Award for Best Foreign Language Film. Fantasy Records released "Samba de Orpheus" as a single, trying to catch the building bossa nova wave, but it was destined to sink without a trace when radio DJs began flipping it over and playing the B-side, Guaraldi's "Cast Your Fate to the Wind". A gentle, likeable tune, it stood out from everything else on the airwaves and became a grass-roots hit. It also won the Grammy for Best Original Jazz Composition. While "Cast Your Fate To The Wind" by Guaraldi achieved modest chart success as a single in 1963, a cover version two years later by British group Sounds Orchestral cracked the Billboard top 10 (in the spring of 1965). Unlike many songwriters who grow weary of their biggest hits, Guaraldi never minded taking requests to play it when he appeared live. "It's like signing the back of a check", he once remarked.

Guaraldi then recorded an album called ''Vince Guaraldi, Bola Sete, and Friends'' with guitarist Bola Sete, Fred Marshall (bass) and Jerry Granelli (drums). This began a period of collaboration between Guaraldi and Sete where Guaraldi began experimenting with bossa nova-influenced music as well as with the electric piano. This led to the recording and release of his album ''The Eclectic Vince Guaraldi''. Shortly after this, Guaraldi undertook the role of composer and pianist for the Eucharist chorus at the San Francisco Grace Cathedral. Utilizing his Latin influences from his bossa nova days with Bola Sete, Guaraldi composed a number of pieces with waltz tempos and jazz standards and later recorded this performance in 1965.

Compositions for Charles Schulz's ''Peanuts''

While searching for just the right music to accompany a planned ''Peanuts'' television documentary, Lee Mendelson (the producer of the special) heard a single version of "Cast Your Fate to the Wind" by Vince Guaraldi's trio on the radio while traveling in a taxicab on the Golden Gate Bridge in San Francisco, California. Mendelson contacted Ralph J. Gleason, jazz columnist for the ''San Francisco Chronicle'' and was put in touch with Guaraldi. He proposed that Guaraldi score the upcoming ''Peanuts'' Christmas special and Guaraldi enthusiastically took the job, performing a version of what became "Linus and Lucy" over the phone two weeks later. The soundtrack was recorded by the Vince Guaraldi Trio, with drummer Jerry Granelli, and Puzzy Firth standing in for bassist Fred Marshall, who was ill at the time. Guaraldi went on to compose scores for seventeen ''Peanuts'' television specials, plus the feature film ''A Boy Named Charlie Brown'' as well as the unaired television program of the same name.

Death

Guaraldi died at age 47 on February 6, 1976. The evening before, he had dined at ''Peanuts'' producer Lee Mendelson's home, and was reportedly not feeling well, complaining of indigestion-like chest discomfort that his doctor had told him was nothing to worry about. The following evening, after concluding the first set at Butterfield's Nightclub in Menlo Park, California, with his rousing interpretation of "Eleanor Rigby," Guaraldi and drummer Jim Zimmerman returned to the room they were staying in that weekend at the adjacent Red Cottage Inn, to relax before the next set. Zimmerman commented, "He (Vince) was walking across the room and just collapsed. That was it." His cause of death has been variously described as a heart attack or an aortic aneurysm. Guaraldi had just finished recording the soundtrack for ''It's Arbor Day, Charlie Brown'' earlier that afternoon.

Guaraldi's untimely passing was a blow to his colleagues. "It was totally unexpected", said ''Peanuts'' executive producer Lee Mendelson. "The day of his funeral, they played the Charlie Brown music over the sound system in the church. It was not an easy day; he was so young. It was one of the saddest days of my life. He was up to my house the night before [his death], and said he had not been feeling well, and didn't know what it was." ''Peanuts'' animator Bill Meléndez added, "He was a real good guy and we miss him."

After Guaraldi's death, the music for the ''Peanuts'' series was composed first by San Francisco film and television composer Ed Bogas, who scored several ''Peanuts'' TV specials and motion pictures up to the early 1990s, along with Bogas' future wife Desirée Goyette, and occasionally, Judy Munsen. Bogas also did his own arrangements of Guaraldi's "Linus And Lucy" theme as a nod to the musician (most notably in ''It's Your First Kiss, Charlie Brown'' and ''What a Nightmare, Charlie Brown!'').

Legacy

A definitive, book-length biography of Guaraldi was published in March 2012. ''Vince Guaraldi at the Piano'', by author and noted Guaraldi archivist Derrick Bang, chronicles Guaraldi's career and role in the Northern California jazz scene, and also includes a complete discography and filmography, as well as an appendix of quotations from Guaraldi's former sidemen.

David Benoit

Noted jazz musician David Benoit has often credited Guaraldi and the original ''Peanuts'' Christmas special music for his interest in jazz. In 1985, Benoit recorded a cover of Guaraldi's "Linus and Lucy" for an album called ''This Side Up'', which enjoyed considerable radio airplay and helped launch the smooth jazz genre. He released "Cast Your Fate to the Wind" on the album ''Waiting for Spring'' in 1989.

George Winston

New Age pianist George Winston released a Guaraldi tribute album in 1996 entitled ''Linus and Lucy – The Music of Vince Guaraldi''. Winston performed many ''Peanuts'' songs that had not been released by Guaraldi himself. "I love his melodies and his chord progressions", Winston said of Guaraldi. "He has a really personal way of doing voicings." The album was very successful, leading Winston to record a follow-up entitled ''Love Will Come – The Music of Vince Guaraldi, Volume 2'', released in early 2010.

In 2003, a heretofore unknown live performance of the eight-part "Charlie Brown Suite" was released on the album ''The Charlie Brown Suite & Other Favorites''. The performance was culled from tapes in Winston's private collection.

Discography

Albums as leader or co-leader

1955 ''Modern Music from San Francisco''

1956 ''Vince Guaraldi Trio''

1957 ''A Flower is a Lovesome Thing''

1962 ''Jazz Impressions of Black Orpheus'' (also known as "Cast Your Fate to the Wind: Jazz Impressions of Black Orpheus")

1963 ''Vince Guaraldi In Person''

1963 ''Vince Guaraldi, Bola Sete and Friends''

1964 ''The Latin Side Of Vince Guaraldi''

1964 ''Jazz Impressions Of A Boy Named Charlie Brown''

1965 ''From All Sides'' (with Bola Sete)

1965 ''The Grace Cathedral Concert''

1965 ''A Charlie Brown Christmas''

1966 ''Live at El Matador'' (with Bola Sete)

1968 ''Vince Guaraldi With San Francisco Boys Chorus''

1968 ''Oh good Grief!''

1969 ''The Eclectic Vince Guaraldi''

1970 ''Alma-Ville''

1989 ''Greatest Hits'' (Compilation album by Fantasy Records)

1998 ''Charlie Brown's holiday Hits''

2001 ''Jazz Casual: Paul Winter / Bola Sete & Vince Guaraldi'' (1963 television recording)

2003 ''The Charlie Brown Suite & Other Favorites'' (previously unreleased material from late 1960s)

2005 ''Oaxaca'' (previously unreleased material from late 1960s/early 1970s)

2006 ''North Beach'' (previously unreleased material from late 1960s/early 1970s)

2006 ''A Charlie Brown Christmas [Original Recordings Remastered]'' Reissued 1965 album with additional recordings and more complete versions of some tracks

2006 ''Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials'' (previously unreleased recordings from 1972–1975)

2008 ''Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials: Volume 2''

2008 ''Live on the Air''

2009 ''Essential Standards'' (Compilation album by Fantasy Records)

2009 ''The Definitive Vince Guaraldi'' (Compilation album by Fantasy Records including two previously unreleased tracks)

2011 ''An Afternoon with The Vince Guaraldi Quartet''

Notable appearances on other albums

1953 ''The Cal Tjader Trio'' (Guaraldi's first recorded session)

1956 ''Introducing Gus Mancuso'' (w / Cal Tjader)

1957 ''Jazz At The Blackhawk'' (Cal Tjader Quartet)

1957 ''Cal Tjader'' (Cal Tjader Quartet)

1957 ''Conte Candoli Quartet''

1958 ''Mas Ritmo Caliente'' (Cal Tjader)

1958 ''Stan Getz/Cal Tjader Sextet'' (all-star studio session that includes a long version of Guaraldi's piece "Ginza")

1958 ''Latin Concert'' (Cal Tjader Quintet)

1959 ''A Night At The Blackhawk'' (Cal Tjader Sextet)

1959 ''Latin For Lovers'' (Cal Tjader with Strings)

1959 ''Tjader Goes Latin'' (Cal Tjader)

1959 ''West Coast Jazz In Hifi'' (Richie Kamuca / Bill Holman)

1960 ''Little Band, Big Jazz'' (The Conte Candoli All Stars)

1974 ''Jimmy Witherspoon & Ben Webster – Previously Unissued Recordings'' (1960s session from Verve Records archive; the ''Black Orpheus'' incarnation of Guaraldi's trio supports the two leaders)

Albums showcasing or featuring Vince Guaraldi's music

1988 ''Quiet as the Moon'' (Dave Brubeck)

1989 ''Happy Anniversary, Charlie Brown'' (Various artists including B. B. King, Chick Corea, Gerry Mulligan, Dave Brubeck)

1995 ''Joe's Cool Blues'' (Wynton Marsalis)

1996 ''Linus and Lucy – The Music of Vince Guaraldi'' (George Winston)

2000 ''Here's to You, Charlie Brown! 50 Great Years!'' (David Benoit)

2000 ''A Charlie Brown Christmas'' (Cyrus Chestnut Trio)

2000 ''The Seventh Song'' (Steve Vai)

2006 ''Wintersong'' (Sarah McLachlan)

2010 ''Merry Christmas II You'' (Mariah Carey)

2010 ''Love Will Come – The Music of Vince Guaraldi, Volume 2'' (George Winston)

References

Liner notes to the 2006 re-mastered CD release of ''A Charlie Brown Christmas'' soundtrack.

External links

Vince Guaraldi official site (requires Macromedia Flash for all content)

Vince Guaraldi biography and discography at FiveCentsPlease

'Vince Guaraldi at the Piano' by Derrick Bang (ISBN: 978-0-7864-5902-5) The definitive musical biography of Vince Guaraldi, published in March 2012.

Category:1928 births Category:1976 deaths Category:American jazz musicians of Italian descent Category:American jazz pianists Category:American people of Italian descent Category:American pianists Category:American Roman Catholics Category:American television composers Category:Burials at Holy Cross Cemetery (Colma) Category:Cool jazz pianists Category:Grammy Award winners Category:Peanuts music Category:People from San Francisco, California Category:United States Army soldiers

de:Vince Guaraldi fr:Vince Guaraldi pt:Vince Guaraldi fi:Vince Guaraldi

name	Art Blakey
landscape	yes
background	non_vocal_instrumentalist
birth name	Arthur Blakey
alias	Abdullah Ibn Buhaina
birth date	October 11, 1919
Birth place	Pittsburgh, Pennsylvania United States
death date	October 16, 1990
Death place	New York City, New York, U.S.
instrument	Drums, percussion
genre	Hard bop, bebop
occupation	Drummer, bandleader
years active	1942–1990
label	Blue Note
associated acts	Art Blakey & the Jazz Messengers, Art Blakey Quartet, Art Blakey Quintet, Art Blakey & the Afrocuban Boys
website
notable instruments	}}

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

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

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

Before the Messengers

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

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

Blakey said that he travelled to Africa during 1948 and 1949. He converted to Islam during this period and took the name Abdullah Ibn Buhaina (which led to the nickname "Bu"). In the early 1950s he performed and broadcast with such musicians as Charlie Parker and Miles Davis.

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

The Jazz Messengers

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

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

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

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

Later career

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

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

Jazz Messengers alumni

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

Awards

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

Newport Jazz Festival Hall of Fame (1976)

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

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

Lee Morgan Memorial Award (1982)

Jazz Hall of Fame Induction (1982)

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

Jazznote Award (1986)

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

Martin Luther King Humanitarian Award (1991)

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

Pittsburgh Jazz Festival Award

Grammy Lifetime Achievement Award (2005; awarded posthumously)

Discography

References

External links

Official Art Blakey website

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

cs:Art Blakey da:Art Blakey de:Art Blakey es:Art Blakey eo:Art Blakey fa:آرت بلیکی fr:Art Blakey it:Art Blakey he:ארט בלייקי sw:Art Blakey hu:Art Blakey nl:Art Blakey ja:アート・ブレイキー no:Art Blakey nn:Art Blakey pl:Art Blakey pt:Art Blakey ru:Блэйки, Арт simple:Art Blakey fi:Art Blakey sv:Art Blakey th:อาร์ท แบลคคี uk:Арт Блейкі

name	Lee Morgan
background	non_vocal_instrumentalist
birth name	Edward Lee Morgan
birth date	July 10, 1938
died	February 19, 1972, New York, United States
origin	Philadelphia, Pennsylvania, United States
instrument	Trumpet
genre	Bebop, hard bop
label	Blue Note Records, Vee-Jay Records}}

Edward Lee Morgan (July 10, 1938, Philadelphia, Pennsylvania – February 19, 1972, New York City) was an American hard bop trumpeter.

Biography

Edward Lee Morgan was born in Philadelphia on July 10, 1938, the youngest of Otto Ricardo and Nettie Beatrice Morgan's four children.

Lee Morgan, a leading trumpeter and composer, recorded prolifically from 1956 until a day before his death in February 1972. Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. Morgan also knew how to play the alto saxophone. On his thirteenth birthday, his sister Ernestine gave him his first trumpet. His primary stylistic influence was Clifford Brown, who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, and remained a member for a year and a half, until the economical situation forced Dizzy to disband the unit in 1958. He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader for the company, with more than 250 musicians. He also recorded on the Vee-Jay label.

He was a featured sideman on several early Hank Mobley records, as well as on John Coltrane's ''Blue Train'' (1957), on which he played a trumpet with an angled bell (given to him by Gillespie) and delivered one of his most celebrated solos on the title track.

Joining Art Blakey's Jazz Messengers in 1958 further developed his talent as a soloist and composer. He toured with Blakey for a few years, and was featured on numerous albums by the Messengers, including ''Moanin''', which is one of the band's best-known recordings. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This version of the Jazz Messengers, including pianist Bobby Timmons and bassist Jymie Merritt, recorded the classic ''The Freedom Rider'' album. The drug problems of Morgan and Timmons forced them to leave the band in 1961, and the trumpeter returned to Philadelphia, his hometown. According to Tom Perchard, a Morgan biographer, it was Blakey who introduced the trumpeter to heroin, an addictive drug that impeded his career trajectory.

On returning to New York in 1963, he recorded ''The Sidewinder'' (1963), which became his greatest commercial success. The title track cracked the pop charts in 1964, and served as the background theme for Chrysler television commercials during the World Series. The tune was used without Morgan's or Blue Note's consent, and intercession by the label's lawyers led to the commercial being withdrawn. Due to the crossover success of "The Sidewinder" in a rapidly changing pop music market, Blue Note encouraged its other artists to emulate the tune's "boogaloo" beat. Morgan himself repeated the formula several times with compositions such as "Cornbread" (from the eponymous album ''Cornbread'') and "Yes I Can, No You Can't" on ''The Gigolo''. According to drummer Billy Hart, Morgan said he had recorded "The Sidewinder" as filler for the album, and was bemused that it had turned into his biggest hit. He felt that his playing was much more advanced on Grachan Moncur III's essentially avant-garde ''Evolution'' album, recorded a month earlier, on November 21, 1963.

After this commercial success, Morgan continued to record prolifically, producing such works as ''Search for the New Land'' (1964), which reached the top 20 of the R&B; charts. He also briefly rejoined the Jazz Messengers after his successor, Freddie Hubbard, joined another group. Together with John Gilmore, this lineup was filmed by the BBC for seminal jazz television program Jazz 625.

As the 60's progressed, he recorded some twenty additional albums as a leader, and continued to record as a sideman on the albums of other artists, including Wayne Shorter's ''Night Dreamer''; Stanley Turrentine's ''Mr. Natural''; Freddie Hubbard's ''The Night of the Cookers''; Hank Mobley's ''Dippin''', ''A Caddy for Daddy'', ''A Slice of the Top'', ''Straight No Filter''; Jackie McLean's ''Jackknife'' and ''Consequence''; Joe Henderson's ''Mode for Joe''; McCoy Tyner's ''Tender Moments''; Lonnie Smith's ''Think'' and ''Turning Point''; Elvin Jones' ''The Prime Element''; Jack Wilson's ''Easterly Winds''; Reuben Wilson's ''Love Bug''; Larry Young's ''Mother Ship''; ''Lee Morgan and Clifford Jordan Live in Baltimore 1968''; Andrew Hill's ''Grass Roots''; as well as on several albums with Art Blakey and the Jazz Messengers.

He became more politically involved in the last two years of his life, becoming one of the leaders of the Jazz and People's Movement. The group demonstrated during the taping of talk and variety shows during 1970-71 to protest the lack of jazz artists as guest performers and members of the programs' bands. His working band during those last years featured reed players Billy Harper or Bennie Maupin, pianist Harold Mabern, bassist Jymie Merritt and drummers Mickey Roker or Freddie Waits. Maupin, Mabern, Merritt and Roker are featured on the well-regarded 3-disc, ''Live at the Lighthouse'', recorded during a two-week engagement at the Hermosa Beach club, California, in July 1970.

Death

Morgan was murdered in the early hours of February 19, 1972, at Slugs', a jazz club in New York City's East Village where his band was performing. Following an altercation between sets, Morgan's common-law wife Helen More (a.k.a. Morgan), shot him in the chest onstage, killing him within moments. He was 33 years old. According to an eye witness, Miss More (13 years his senior) walked out of the club just before the last set. She returned and the band was already on stage. Lee was trying to get up there, but was talking with some people. He just started to get up the stage, when she entered and called his name. He turned around and she shot him in the heart. She then turned the gun on the club's doorman Ernie Holman, who grabbed her wrist and took the gun away from her. She started to scream "Baby, what have I done?" and ran to him. She was later arrested, tried, sentenced, and paroled by 1978. Soon after, Helen Morgan returned to her native North Carolina. Reportedly she never spoke publicly of the incident, until she granted an interview a month before her death. She died in Wilmington, NC, from a heart condition, in March 1996.

Discography

{| cellspacing="0" cellpadding="2" border="0" |- style="background:#ffdead;" ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Title ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Year ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Label |- | style="border-bottom:1px solid grey;" | ''Lee Morgan Indeed!'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1956 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Introducing Lee Morgan'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1956 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Savoy |- | style="border-bottom:1px solid grey;" | ''Lee Morgan Sextet'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Lee Morgan Vol. 3'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''City Lights'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Cooker'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Candy'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1957 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- |- | style="border-bottom:1px solid grey;" | ''Here's Lee Morgan'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Vee-Jay |- | style="border-bottom:1px solid grey;" | ''The Young Lions'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Vee-Jay |- | style="border-bottom:1px solid grey;" | ''Expoobident'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Vee-Jay |- | style="border-bottom:1px solid grey;" | ''Lee-Way'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1960 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Take Twelve'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1962 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Jazzland |- | style="border-bottom:1px solid grey;" | ''The Sidewinder'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1963 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Search for the New Land'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1964 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Tom Cat'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1964 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Rumproller'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Gigolo'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Cornbread'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Infinity'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1965 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Delightfulee Morgan'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1966 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Charisma'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1966 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Rajah'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1966 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Standards'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1967 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Sonic Boom'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1967 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Procrastinator'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1967 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Sixth Sense'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1967 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Taru'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1968 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Caramba!'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1968 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''Live at the Lighthouse'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1970 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |- | style="border-bottom:1px solid grey;" | ''The Last Session'' | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1971 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Blue Note |}

Further reading

Jeff McMillan "DelightfuLee: The Life and Music of Lee Morgan", 2008, University of Michigan Press

Tom Perchard ''Lee Morgan: His Life, Music and Culture'', 2006, Equinox

Thomas, Larry Reni. ''The Lady Who Shot Lee Morgan'' (1996)

References

External links

Lee Morgan tribute site

Masaya Matsumura's Lee Morgan Discography site

Lee Morgan discography

Lee Morgan playing his famous "Ceora" ballad

One version of "The Day Lee Morgan Died" as told by Billy Hart

Category:1938 births Category:1972 deaths Category:American jazz trumpeters Category:Bebop trumpeters Category:Hard bop trumpeters Category:Murdered entertainers Category:Musicians from Philadelphia, Pennsylvania Category:Savoy Records artists Category:Vee-Jay Records artists Category:Blue Note Records artists Category:Musicians who died on stage

ca:Lee Morgan cs:Lee Morgan da:Lee Morgan de:Lee Morgan es:Lee Morgan fa:لی مورگان fr:Lee Morgan it:Lee Morgan he:לי מורגן nl:Lee Morgan ja:リー・モーガン pl:Lee Morgan pt:Lee Morgan ru:Морган, Ли sv:Lee Morgan

name	Stan Getz
background	non_vocal_instrumentalist
birth name	Stanley Gayetzky
known as	Stan Getz
birth date	February 02, 1927
Birth place	Philadelphia, Pennsylvania, United States
death date	June 06, 1991
Death place	Malibu, California, United States
instrument	Tenor saxophone, Baritone Saxophone
genre	JazzBossa novaWest coast jazzCool jazz
occupation	Saxophonist
years active	1943–1991
label	Verve Records
associated acts	Kenny Barron, Bill Evans, J.J. Johnson, Bob Brookmeyer, Dizzy Gillespie, Charlie Byrd, Chet Baker, Gary Burton, Cal Tjader, Woody Herman, João Gilberto, Tom Jobim, Victor Lewis
notable instruments	}}

Stanley Getz (February 2, 1927 – June 6, 1991) was an American jazz saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists". Getz went on to perform in bebop, cool jazz and third stream, but is perhaps best known for popularizing bossa nova, as in the worldwide hit single "The Girl from Ipanema" (1964).

Early life

Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who emigrated from the Kiev area in 1903. The family later moved to New York City for better employment opportunities. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing eight hours a day.

He attended James Monroe High School (New York) in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system's truancy officers.

In 1943 at the age of 16, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in "The Second Herd", and he first gained wide attention as one of the band's saxophonists, who were known collectively as 'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left "The Second Herd" he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.

Career

In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson, Herb Ellis, Ray Brown and Max Roach.

Returning to the U.S. from Europe in 1961, Getz became a central figure in introducing bossa nova music to the American audience. Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded ''Jazz Samba'' in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado", from the same album. It sold over one million copies, and was awarded a gold disc. As a follow-up, Getz recorded the album, ''Jazz Samba Encore!'', with one of the originators of bossa nova, Brazilian guitarist Luiz Bonfá. It also sold more than a million copies by 1964, giving Getz his second gold disc.

He then recorded the album ''Getz/Gilberto'', in 1963, with Tom Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known latin jazz tracks. ''Getz/Gilberto'' won two Grammys (Best Album and Best Single). A live album, ''Getz/Gilberto Vol. 2'', followed, as did ''Getz Au Go Go'', a live recording at the Cafe Au Go Go. Getz's affair with Astrud Gilberto brought an end to his musical partnership with her and her husband, and he began to move away from bossa nova and back to cool jazz. While still working with the Gilbertos, he recorded the jazz album ''Nobody Else But Me'', with a new quartet including vibraphonist Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa nova, refused to release it. It eventually came out 30 years later, after Getz had died.

In 1972, Getz recorded in the fusion idiom with Chick Corea, Tony Williams and Stanley Clarke, and in this period experimented with an Echoplex on his saxophone. He had a cameo in the film ''The Exterminator'' (1980).

In the mid-1980s Getz worked regularly in the San Francisco Bay area and taught at Stanford University as an artist-in-residence at the Stanford Jazz Workshop until 1988. In 1986, he was inducted into the ''Down Beat'' Jazz Hall of Fame. During 1988, Getz worked with Huey Lewis and the News on their ''Small World'' album. He played the extended solo on the title track, which became a minor hit single.

His tenor saxophone of choice was the Selmer Mark VI.

Personal life

Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on November 7, 1946; they had three children together.

Getz became involved with drugs and alcohol while a teenager. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix. As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly gave birth to their third child one floor below. Getz tried to escape his narcotics addiction by moving to Copenhagen. He married Swedish aristocrat Monica Silfverskiöld on November 3, 1956, and had two children with her: Pamela and Nicolas. Getz divorced Monica in 1987.

Zoot Sims, who had known Getz since their time with Herman, once described him as 'a nice bunch of guys', as a consequence of the wide behavioural range of which Getz was capable. Getz died of liver cancer in June 6, 1991. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California.

In 1998, the 'Stan Getz Media Center and Library' at Berklee College of Music was dedicated through a donation from the Herb Alpert Foundation.

Discography

Awards

Grammy Award for Best Jazz Performance, Soloist or Small Group (Instrumental) "Desafinado," Stan Getz. 1962

Grammy Award for Record of the Year, "The Girl From Ipanema," 1964

Grammy Award for Album of the Year, Getz/Gilberto, Stan Getz and João Gilberto (Verve)1964

Grammy Award for Best Instrumental Jazz Performance, Small Group or Soloist With Small Group, Getz/Gilberto, Stan Getz 1964

Grammy Award for Best Jazz Solo Performance, "I Remember You" Stan Getz 1991

Bibliography

''The Stan Getz discography'', Astrup, Arne. 1978

''Stan Getz'', Palmer, Richard. 1988.

''Stan Getz: an appreciation of his recorded work'', Kirkpatrick, Ron. 1992.

''Stan Getz: nobody else but me'', Gelly, Dave. 2002.

''Stan Getz: an annotated bibliography and filmography'', Churchill, Nicholas. 2005.

''Jazz saxophone: an in-depth look at the styles of the tenor masters'', Taylor, Dennis, 2004.

References

External links

Official Stan Getz homepage

1986 Interview

Getz discography

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Category:1927 births Category:1991 deaths Category:American jazz saxophonists Category:Grammy Award winners Category:Jazz tenor saxophonists Category:Jewish American musicians Category:Musicians from New York City Category:American people of Ukrainian-Jewish descent Category:Deaths from liver cancer Category:Musicians from Philadelphia, Pennsylvania Category:People from the Bronx Category:Savoy Records artists Category:MGM Records artists Category:SteepleChase Records artists Category:Verve Records artists Category:Cool jazz saxophonists‎ Category:Crossover jazz saxophonists‎ Category:Hard bop saxophonists‎ Category:Jazz fusion saxophonists‎ Category:Smooth jazz saxophonists Category:Swing saxophonists‎ Category:Brazilian jazz (genre) saxophonists‎

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