published: 03 Feb 2007
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Newark, New Jersey
Newark is the largest city in New Jersey, United States, and the county seat of Essex County. Newark has a population of 310,145, making it the largest municipality in New Jersey and the 65th largest city in the U.S.
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Newark, NJ
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United Arab Emirates
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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.
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Alban Berg
http://wn.com/Alban_Berg -
Alexander Scriabin
http://wn.com/Alexander_Scriabin -
Andrew Hill
Andrew Hill (June 30, 1931 – April 20, 2007) was an American jazz pianist and composer.
http://wn.com/Andrew_Hill -
Anthony Braxton
Anthony Braxton (born June 4, 1945) is an American composer, saxophonist, clarinettist, flautist, pianist, and philosopher. Braxton has released well over 100 albums since the 1960s. Among the array of instruments he plays are the flute; the sopranino, soprano, C-melody, F mezzo-soprano, E-flat alto, baritone, bass, and contrabass saxophones; and the E-flat, B-flat, and contrabass clarinets.
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Anton Webern
http://wn.com/Anton_Webern -
Arnold Schoenberg
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Art Blakey
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Art Taylor
Arthur S. Taylor, Jr. (April 6, 1929–February 6, 1995) was an American jazz drummer of the hard bop school.
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Arthur Blythe
Arthur Blythe (born May 7, 1940, in Los Angeles, California) is an American jazz alto saxophonist and composer. His stylistic voice has a distinct vibrato and he plays within the post-bop subgenre of jazz.
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Bela Bartok
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Bennie Maupin
Bennie Maupin (born 29 August 1940) is a Detroit Michigan jazz multireedist. He performs on various saxophones, flute and bass clarinet.
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Benny Golson
Benny Golson (born January 25, 1929) is an American bebop/hard bop jazz tenor saxophonist, composer, and arranger.
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Billy Brooks
William McKinley Brooks III (born August 20, 1953 in ) is a former American football wide receiver in the National Football League. He was drafted by the Cincinnati Bengals 11th overall in the 1976 NFL Draft. He played college football at Oklahoma.
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Billy Harper
Billy Harper (born January 17, 1943)in Houston, Tx. is a Jazz saxophonist, "one of a generation of Coltrane-influenced tenor saxophonists" with a distinctively stern, hard-as-nails sound on his instrument. Harper has played with some of jazz's greatest drummers; he served with Art Blakey's Messengers for two years (1968-1970); he played very briefly with Elvin Jones (1970), he played with the Thad Jones/ Mel Lewis Orchestra in the 1970s, and was a member of Max Roach's band in the late '70s. He has also been a frequent member of Randy Weston's ensembles. He performed on Gil Evans' 1973 album Svengali, and contributed two of the most-performed tunes in the band's repertoire: "Priestess" and "Thoroughbred".
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Booker Ervin
Booker Telleferro Ervin II (October 31, 1930 – July 31, 1970) was an American tenor saxophone player. He was perhaps best known for his association with bassist Charles Mingus.
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Booker Little
Booker Little, Jr (April 2, 1938 – October 5, 1961) was an American jazz trumpeter and composer.
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Bud Powell
Earl Rudolph "Bud" Powell (September 27, 1924 – July 31, 1966) was an American Jazz pianist. Powell has been described as one of "the two most significant pianists of the style of modern jazz that came to be known as bop", the other being his friend and contemporary Thelonious Monk. Along with Monk, Charlie Parker and Dizzy Gillespie, Powell was a key player in the history of bebop, and his virtuosity as a pianist led many to call him "the Charlie Parker of the piano".
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Buster Williams
Charles Anthony Williams (born April 17, 1942 in Camden, New Jersey) is an American jazz bassist.
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Carl Allen (drummer)
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Carter Jefferson
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Cecil McBee
Cecil McBee (born May 19, 1935) is an American post bop jazz bassist, described by the ''Guinness Who's Who of Jazz'' as "a full-toned bassist who creates rich, singing phrases in a wide range of contemporary jazz contexts." Allmusic called him "One of post-bop's most advanced and versatile bassists".
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Cedar Walton
Cedar Anthony Walton, Junior (born January 17, 1934) is an American hard bop jazz pianist.
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Charles Ives
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Chick Corea
Armando Anthony "Chick" Corea (born June 12, 1941) is an American jazz pianist, keyboardist and composer.
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Chris Botti
Christopher Stephen Botti or Chris Botti (pronounced ) (born October 12, 1962), is an American trumpeter and composer. In 2007, Botti was nominated for two Grammy Awards including Best Pop Instrumental Album. On December 4, 2009, he was nominated for 3 more Grammy Awards including Best Pop Instrumental Album and Best Long Form Music Video. Three of his albums have reached the #1 position on the Billboard jazz albums chart.
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Claude Debussy
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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.
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Clint Houston
Clinton Joseph Houston (June 24, 1946, New Orleans - June 7, 2000) was an American jazz double-bassist.[http://www.allmusic.com/cg/amg.dll?p=amg&sql;=11:wifuxqu5ldde~T1 Allmusic biography]
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Colin McPhee
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Dizzy Gillespie
John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpet player, bandleader, singer, and composer.
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Eddie Moore
:For other uses, see: Eddie Moore (disambiguation).
http://wn.com/Eddie_Moore -
Edgar Varese
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Eric Dolphy
Eric Allan Dolphy (June 20, 1928 – June 29, 1964) was an American jazz alto saxophonist, flautist, and bass clarinetist. He also played, on a few occasions the clarinet and baritone saxophone. Dolphy was one of several multi-instrumentalists to gain prominence in the 1960s. He was also the first important bass clarinet soloist in jazz, and among the earliest significant flute soloists. His improvisational style was characterized by the use of wide intervals, in addition to using an array of extended techniques to reproduce human- and animal-like effects which almost literally made his instruments speak. Although Dolphy's work is sometimes classified as free jazz, his compositions and solos were often rooted in conventional (if highly abstracted) tonal bebop harmony.
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Erik Satie
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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.
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Frank Strozier
Frank Strozier (born June 13, 1937) is an alto saxophonist renowned for his playing in the hard bop idiom.
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Freddie Hubbard
Frederick Dewayne "Freddie" Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post bop styles from the early 1960s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.
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George Cables
George Andrew Cables is a jazz pianist, born November 14, 1944 in New York City. He has played with Art Blakey, Sonny Rollins, Art Pepper, and others.[http://www.allmusic.com/cg/amg.dll?p=amg&searchlink;=GEORGE|CABLES&sql;=11:hifwxqt5ldje~T1 Allmusic]
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George Gruntz
George Gruntz (b. Basle, Switzerland, 24 June 1932) is a Swiss jazz pianist, organist, harpsichordist, keyboardist and composer most noteworthy for his work with artists such as Phil Woods, Roland Kirk, Don Cherry, Chet Baker, Art Farmer, Dexter Gordon, Johnny Griffin and Mel Lewis.
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Geri Allen
Geri Allen (born June 12, 1957 in Pontiac, Michigan) is an American post bop jazz pianist, producer, and music educator from Detroit, Michigan, who has worked with many of the greats of modern jazz, including Dave Holland, Ron Carter, Ravi Coltrane, Tony Williams, Jack DeJohnette, Ornette Coleman, Betty Carter, Mary Stallings, and Charles Lloyd. She cites her primary influences to be Keith Jarrett, Herbie Hancock and Bill Evans.
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Guilherme Franco
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Hank Mobley
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Harry James
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Herbie Hancock
Herbert Jeffrey "Herbie" Hancock (born April 12, 1940, in Chicago, Illinois) is an American pianist, bandleader and composer. As part of Miles Davis's "second great quintet", Hancock helped redefine the role of a jazz rhythm section, and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace synthesizers and funk. Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel.
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Horace Silver
Horace Silver (born September 2, 1928), born Horace Ward Martin Tavares Silva in Norwalk, Connecticut, is an American jazz pianist and composer.
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Igor Stravinsky
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Jackie McLean
:For other persons named John McLean, see John McLean.
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Jamey Aebersold
Jamey Aebersold (born July 21, 1939 in New Albany, Indiana) is an American jazz saxophonist and music educator. His "Play-A-Long" series of instructional book and CD collections, using the chord-scale system, the first of which was released in 1967, are an internationally renowned resource for jazz education. , 126 of these collections have been published by Aebersold, who currently teaches musical improvisation at the University of Louisville. He is also an adept pianist, bassist, and banjoist.
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Joe Bonner
Joe Bonner (born April 20, 1948) is a jazz pianist who currently leads The Bonner Party, a jazz quartet.
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Joe Chambers
Joe Chambers (born June 25, 1942) is an American jazz drummer, pianist, Vibraphonist and composer most notable for his work with Wayne Shorter on the album ''Adam's Apple''. He attended the Philadelphia Conservatory for one year. In the 1960s and 70s Chambers gigged with many high-profile artists such as Eric Dolphy, Charles Mingus, Lou Donaldson, Chick Corea, Freddie Hubbard, Jimmy Giuffre and Bobby Hutcherson. Other artists Joe Chambers has worked with in his career include Andrew Hill, Archie Shepp, Miles Davis, David Murray, Joe Henderson, Franck Amsallem and Max Roach. He has been a member of several incarnations of Roach's M'Boom percussion ensemble.
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Joe Farrell
''For the 19th-century baseball player, see Joe Farrell (baseball).
http://wn.com/Joe_Farrell -
Joe Henderson
Joe Henderson (April 24, 1937 - June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than forty years Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note.
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Joe Zawinul
Josef Erich Zawinul (July 7, 1932 – September 11, 2007) was an Austrian-American jazz keyboardist and composer.
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John Coltrane
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Johnny Griffin
John Arnold Griffin III (April 24, 1928 – July 25, 2008) was an American bop and hard bop tenor saxophonist.
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Julian Priester
Julian Priester (born 29 June 1935 in Chicago) is an American jazz trombonist and composer.
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Junior Cook
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Kenny Barron
Kenny Barron (born June 9, 1943 in Philadelphia), is an American jazz pianist. He is the younger brother of tenor saxophonist Bill Barron, and known for his lyrical, adaptive style.
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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.
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Kenny Garrett
Kenny Garrett is a Grammy Award winning American post bop jazz saxophonist and flautist, who gained fame as a member of the Duke Ellington Orchestra, and Miles Davis' band as a young man. He has since pursued a critically acclaimed solo career, and most recently, by joining a supergroup of jazz musicians, titled the Five Peace Band.
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Kirk Lightsey
Kirkland "Kirk" Lightsey (b. Feb. 15, 1937, Detroit, Michigan) is an American jazz pianist.
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Larry Willis
Lawrence Elliott Willis (born December 20, 1942 in New York, NY) is an American jazz pianist and composer. He has performed in a wide range of styles, including jazz fusion rock music, Bebop and Avant-Garde
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Lee Morgan
Edward Lee Morgan (July 10, 1938, Philadelphia, Pennsylvania – February 19, 1972, New York City) was an American hard bop trumpeter.
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Lenny White
Leonard White III, better known as Lenny White (born December 19, 1949) is an American jazz fusion drummer, who is best known for playing in Chick Corea's Return to Forever.
http://wn.com/Lenny_White -
Leonard Feather
Leonard Geoffrey Feather (13 September 1914–22 September 1994) was a British-born jazz pianist, composer, and producer who was best known for his music journalism and other writing.
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Lionel Hampton
Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, bandleader and actor. Like Red Norvo, he was one of the first jazz vibraphone players. Hampton ranks among the great names in jazz history, having worked with a who's who of jazz musicians, from Benny Goodman and Buddy Rich to Charlie Parker and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame.
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Louis Armstrong
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Louis Hayes
Louis Hayes (born May 31, 1937, Detroit, Michigan) is an American jazz drummer.
http://wn.com/Louis_Hayes -
Mal Waldron
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Maurice Ravel
Joseph-Maurice Ravel (March 7, 1875December 28, 1937) was a French composer of Impressionist music known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
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Max Roach
Maxwell Lemuel Roach (January 10, 1924 – August 16, 2007) was an American jazz percussionist, drummer, and composer.
http://wn.com/Max_Roach -
Melba Moore
Beatrice Melba Smith (born October 29, 1945), known by her stage name, Melba Moore is an American disco, R&B; singer and actress. She is the daughter of saxophonist Teddy Hill and R&B; singer Bonnie Davis.
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Miles Davis
http://wn.com/Miles_Davis -
Muhal Richard Abrams
Muhal Richard Abrams (born September 19, 1930, in Chicago, Illinois) is an American educator, administrator, composer, arranger, clarinetist, cellist, and jazz pianist in the Free jazz medium. Abrams compresses both contemporary and traditional ideas into lean, elegant pieces.
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Mulgrew Miller
Mulgrew Miller is an American jazz pianist born in 1955 in Greenwood, Mississippi who performs in a number of jazz idioms. [http://www.allmusic.com/cg/amg.dll?p=amg&sql;=11:aifexqtgld6e~T1 Allmusic]
http://wn.com/Mulgrew_Miller -
Norman Williams
Norman Francis Williams CGM DFM & Bar (3 November 1914 – 30 June 2007) served as an air gunner in RAAF bombers in the Second World War, becoming its most highly decorated non-commissioned officer. A rear gunner in a Halifax bomber, he was credited with shooting down 8 German aircraft and damaging several others, making him the RAAF's only "ace" who was not a fighter pilot.
http://wn.com/Norman_Williams -
Olivier Messiaen
http://wn.com/Olivier_Messiaen -
Onaje Allan Gumbs
Onaje Allan Gumbs (born September 3, 1949 in New York City) is a New York-based pianist, composer, and bandleader.
http://wn.com/Onaje_Allan_Gumbs -
Paul Hindemith
Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.
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Peter Leitch
Peter Leitch VC (1820-6 December 1892) was a Scottish recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces.
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Pharoah Sanders
Pharoah Sanders (born October 13, 1940) is a Grammy Award winning American jazz saxophonist. Ornette Coleman once described him as "probably the best tenor player in the world." Emerging from John Coltrane's groups of the mid-60s Sanders is known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound." Albert Ayler famously said "Trane was the Father, Pharoah was the Son, I am the Holy Ghost."
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Ray Drummond
Ray Drummond (born November 23, 1946 in Brookline, Massachusetts) is a jazz bassist and teacher. He also has an MBA from Stanford University, hence his linkage to the Stanford Jazz Workshop. He can be heard on hundreds of albums and co-leads The Drummonds with Renee Rosnes and (not related) Billy Drummond.
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Ron Carter
Ron Carter (born May 4, 1937) is an American jazz double-bassist. His appearances on over 2,500 albums make him one of the most-recorded bassists in jazz history, along with Milt Hinton, Ray Brown and Leroy Vinnegar. Carter is also an acclaimed cellist who has recorded numerous times on that instrument.
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Ronnie Mathews
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Roy Brooks
Roy Brooks (March 9, 1938 – November 15, 2005) was an American hard bop jazz drummer.
http://wn.com/Roy_Brooks -
Sonny Fortune
Sonny Fortune (born May 19, 1939 in Philadelphia, Pennsylvania) is an American jazz alto saxophonist and flautist. He also plays soprano saxophone, tenor saxophone, baritone saxophone and clarinet.
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Stafford James
Stafford James (b. Apr. 24, 1946, Evanston, Illinois) is an American jazz bassist.
http://wn.com/Stafford_James -
Steve Turre
Steve Turre (born September 12, 1948 in Omaha, Nebraska) is an internationally renowned trombonist, recording artist, arranger, and educator. In 1998, 1999, 2001, 2002 and 2006 he won the Down Beat Reader's Poll for best trombonist.
http://wn.com/Steve_Turre -
Terence Blanchard
Terence Oliver Blanchard (born March 13, 1962) is an American jazz trumpeter, bandleader, composer, arranger, and Golden Globe-nominated film score composer. Since he emerged on the scene in 1980 with the Lionel Hampton Orchestra and then shortly thereafter with Art Blakey and the Jazz Messengers, Blanchard has been a leading artist in jazz. He was an integral figure in the 1980s jazz resurgence having recorded several award-winning albums and having performed with the jazz elite.
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Tony Reedus
Tony Reedus (22 September 1959 – 16 November 2008) was an American jazz drummer.
http://wn.com/Tony_Reedus -
Victor Lewis
http://wn.com/Victor_Lewis -
Wallace Roney
Wallace Roney (born May 25, 1960) is an American hard bop and post-bop trumpeter.
http://wn.com/Wallace_Roney -
Wayne Shorter
Wayne Shorter (born August 25, 1933) is an American jazz saxophonist and composer, commonly regarded as one of the most important American jazz musicians of his generation. Shorter's output within the field has earned worldwide recognition, critical praise and various commendations, including multiple Grammy Awards.
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William Vacchiano
William Vacchiano (1912 – September 19, 2005) was a trumpeter and trumpet instructor.
http://wn.com/William_Vacchiano -
Willie Bobo
http://wn.com/Willie_Bobo -
Woody Shaw
Woody Shaw (December 24, 1944 – May 10, 1989) (United States) was an American jazz trumpeter, composer and band leader, often referred to as the "last innovator" in the jazz trumpet lineage. Shaw is credited with revolutionizing the technical and harmonic vocabulary of the instrument and is considered one of the great jazz composers and band leaders of the twentieth century. Born with a photographic memory and perfect pitch, Woody Shaw is looked upon as one of the major conceptualists and important musical geniuses in the history of jazz, thought to have been generations ahead of his time. He died at age 44.
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Wynton Marsalis
Wynton Learson Marsalis (born October 18, 1961) is an American jazz and Western classical virtuoso trumpeter and composer. He is Artistic Director of Jazz at Lincoln Center. He has promoted the appreciation of Classical and Jazz music, often focusing on young audiences.
http://wn.com/Wynton_Marsalis
RELEASE
ALBUMS
- Stepping Stone
- In a Capricornian Way
- Seventh Avenue
- All Things Being Equal Are Not
- Escape Velocity
- Blues for Ball
- Theme for Maxine
- There Will Never Be Another You
- You Stepped Out of a Dream
- Speak Low
- Solid
- It Might as Well Be Spring
- The Woody Woodpecker Song
- Rosewood
- Every Time I See You
- The Legend of the Cheops
- Rahsaan's Run
- Sunshowers
- Theme for Maxine
- Isabel the Liberator
- Joshua C.
- Why?
- The Moontrane
- Sanyas
- Tapscott's Blues
- Katrina Ballerina
- Are They Only Dreams
- Tapscott's Blues (Alt.)
- Katerina Ballerina (Alt.)
- The Legend of Cheops
- Rosewood
- Everytime I See You
- Sunshowers
- Rahsaan's Run
- Theme for Maxine
- Woody I
- Woody II
- Woody III
- There Is No Greater Love
- All the Way
- Spiderman Blues
- The Touch of Your Lips
- What's New
- When Love Is New
- There Will Be Another You
- You Stepped Out of a Dream
- Speak Low
- Solid
- It Might as Well Be Spring
- If I Were a Bell
- Imagination
- Dat Dere
- Stormy Weather
- Steve's Blues
Born: ['1944-12-24']
Died: ['1989-05-10']
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WOODY SHAW: "Bye Bye Blackbird" (1978)
- Order: Reorder
- Duration: 1:58
- Updated: 18 Sep 2012
www.WoodyShaw.com
http://wn.com/WOODY_SHAW_Bye_Bye_Blackbird_1978
WOODY SHAW: "To Kill A Brick" - Monterey Jazz Fest. (1979)
- Order: Reorder
- Duration: 8:42
- Updated: 29 Oct 2012
www.WoodyShaw.com
http://wn.com/WOODY_SHAW_To_Kill_A_Brick_Monterey_Jazz_Fest_1979
Woody Shaw,Herbie Hancock,Art Blakey - A Night in Tunisia 1 (to be cont.)
- Order: Reorder
- Duration: 4:55
- Updated: 29 Oct 2012
A Night in Tunisia Woody Shaw,Herbie Hancock with Art Blakey Big Band Jam Session at Mt.Fuji Jazz Fes with Blue Note 1987
http://wn.com/Woody_Shaw,Herbie_Hancock,Art_Blakey_A_Night_in_Tunisia_1_to_be_cont
WOODY SHAW: "Stepping Stone (1979)
- Order: Reorder
- Duration: 2:13
- Updated: 30 Jun 2012
www.WoodyShaw.com
http://wn.com/WOODY_SHAW_Stepping_Stone_1979
Anthony Braxton on Woody Shaw
- Order: Reorder
- Duration: 6:21
- Updated: 29 Oct 2012
MosaicRecords.com Anthony Braxton speaks to Woody Shaw III about working with his father, trumpeter Woody Shaw.
http://wn.com/Anthony_Braxton_on_Woody_Shaw
Woody Shaw Quintet, Juan Les Pins, July 24 1979: "Seventh Avenue"
- Order: Reorder
- Duration: 16:14
- Updated: 27 Oct 2012
Woody Shaw (tp), Carter Jefferson (ss), Onaje Allan Gumbs (p), Stafford James (b) and Victor Lewis (dr). Thanks to the late Otto Flückiger! Please also visit my blog:crownpropeller.wordpress.com
http://wn.com/Woody_Shaw_Quintet,_Juan_Les_Pins,_July_24_1979_Seventh_Avenue
The Incomparable Woody Shaw (blues)
- Order: Reorder
- Duration: 4:21
- Updated: 29 Oct 2012
Woody Shaw with Joe Farrell
http://wn.com/The_Incomparable_Woody_Shaw_blues
Woody Shaw 5tet - Time is Right
- Order: Reorder
- Duration: 6:30
- Updated: 14 Sep 2012
Live at the Music Inn - Roma - 1983 - part 1
http://wn.com/Woody_Shaw_5tet_Time_is_Right
Nathan Davis - Woody Shaw group French TV LIVE 1965
- Order: Reorder
- Duration: 2:21
- Updated: 20 Oct 2012
Nathan Davis-Woody Shaw group live French TV 1965 Performed the John Coltrane composition Village Blues in studio carrefour du monde Paris France June 2, 1965. Nathan Davis - tenor sax Woody Shaw - trumpet Jack Dieval - piano Jacques Hess - bass Franco Manzecchi - drums
http://wn.com/Nathan_Davis_Woody_Shaw_group_French_TV_LIVE_1965
Appointment In Ghana - Jackie McLean with Woody Shaw-McCoy T
- Order: Reorder
- Duration: 7:11
- Updated: 29 Oct 2012
with Woody Shaw,McCoy Tyner,Cecil McBee,Jack Dejohnette
http://wn.com/Appointment_In_Ghana_Jackie_McLean_with_Woody_Shaw-McCoy_T
Freddie Hubbard, Woody Shaw, Joe Henderson & McCoy Tyner perform "Birdlike" (part 1)
- Order: Reorder
- Duration: 8:08
- Updated: 06 Oct 2012
Freddie Hubbard, Woody Shaw, Joe Henderson, McCoy Tyner, Louis Hayes, & Avery Sharpe perform Hubbard's composition "Birdlike" (part 1)
http://wn.com/Freddie_Hubbard,_Woody_Shaw,_Joe_Henderson_McCoy_Tyner_perform_Birdlike_part_1
Freddie Hubbard, Woody Shaw, Joe Henderson & McCoy Tyner perform "Birdlike" (part 2)
- Order: Reorder
- Duration: 8:58
- Updated: 06 Oct 2012
Freddie Hubbard, Woody Shaw, Joe Henderson, McCoy Tyner, Louis Hayes, & Avery Sharpe perform Hubbard's composition "Birdlike" (part 2)
http://wn.com/Freddie_Hubbard,_Woody_Shaw,_Joe_Henderson_McCoy_Tyner_perform_Birdlike_part_2
Woody Shaw Quintet - Rosewood, 1979
- Order: Reorder
- Duration: 5:26
- Updated: 16 Oct 2012
Full clip is unavailable at the moment. We will post it when we retrieve it. Woody Shaw Quintet in Europe. 1979; Woody Shaw, flugel horn; Carter Jefferson, tenor saxophone; Onaje Allan Gumbs, piano; Stafford James, bass; Victor Lewis, drums;
http://wn.com/Woody_Shaw_Quintet_Rosewood,_1979
Woody Shaw-Bemsha Swing
- Order: Reorder
- Duration: 10:41
- Updated: 29 Oct 2012
Another in the series of the great Woody Shaw, playing "Bemsha Swing," recorded by me on 8.21.85 at the Charles Hotel in Cambridge, MA. Notice how Shaw and Carrington do 8's, 4's, 2's and 1's. Featuring: Woody Shaw-trumpet. Stanley Cowell-piano David WIlliams-bass Terri-Lyne Carrington-drums
http://wn.com/Woody_Shaw-Bemsha_Swing
love dance woody shaw
- Order: Reorder
- Duration: 12:42
- Updated: 16 Oct 2012
http://wn.com/love_dance_woody_shaw
Dexter Gordon-Woody Shaw-Milt Jackson
- Order: Reorder
- Duration: 8:32
- Updated: 27 Aug 2012
Playboy Jazz Festival 1982
http://wn.com/Dexter_Gordon-Woody_Shaw-Milt_Jackson
Freddie Hubbard-Woody Shaw : "Lotus Blossom"
- Order: Reorder
- Duration: 8:16
- Updated: 29 Oct 2012
- Double Take is an album by trumpeters Freddie Hubbard and Woody Shaw recorded in November 1985 and released on the Blue Note label. It features performances by Hubbard, Cecil McBee, Carl Allen, Mulgrew Miller and Kenny Garrett. The album was Hubbard's first for Blue Note since recording The Night of the Cookers (1965) twenty years previously. The Allmusic review by Scott Yanow states "Hubbard still gets the edge (his range is wider and he cannot be surpassed technically). Although Shaw tended to play more harmonically sophisticated lines and is remarkably inventive, they are both trumpet masters".The album was followed by a second Hubbard/Shaw collaboration The Eternal Triangle in 1987 and the two volumes were combined for the double CD release The Complete Freddie Hubbard and Woody Shaw Sessions (1995). Track listing: "Sandu" (Clifford Brown) - 4:28 "Boperation" (Howard McGhee, Fats Navarro) - 4:56 "Lament for Booker" (Freddie Hubbard, JJ Johnson) - 6:22 "Hub-Tones" (Hubbard) - 6:25 "Desert Moonlight" (Lee Morgan) - 8:10 "Just a Ballad for Woody" (Woody Shaw) - 5:30 "Lotus Blossom" (Sam Coslow, Arthur Johnston) - 8:15 Personnel: Freddie Hubbard: trumpet, flugelhorn Woody Shaw: trumpet Kenny Garrett: alto saxophone, flute Mulgrew Miller: piano Cecil McBee: bass Carl Allen: drums
http://wn.com/Freddie_Hubbard-Woody_Shaw_Lotus_Blossom
Woody Shaw Live - Green Dolphin Street (UNRELEASED! 1979)
- Order: Reorder
- Duration: 5:27
- Updated: 17 Oct 2012
Woody Shaw - Green Dolphin Street (1979) woodyshaw.com Woody Shaw, Onaje Allen Gumbs, Stafford James, Victor Lewis
http://wn.com/Woody_Shaw_Live_Green_Dolphin_Street_UNRELEASED!_1979
Woody Shaw - University of Miami Concert Jazz Band featuring Brian Lynch
- Order: Reorder
- Duration: 11:25
- Updated: 03 Oct 2012
Directed by Dante Luciani Soloists: Brian Lynch - trumpet, composer Alex Weitz - tenor saxophone Angelo Versace - piano Daniel Susnjar - drums Michael Barroso - congas mix by Ryan Andrews
http://wn.com/Woody_Shaw_University_of_Miami_Concert_Jazz_Band_featuring_Brian_Lynch
Woody Shaw - In Case You Haven't Heard (1976)
- Order: Reorder
- Duration: 3:20
- Updated: 07 Sep 2012
Woody Shaw's solo on In Case You Haven't Heard Album: Little Red's Fantasy Frank Strozier, alto sax Ronnie Mathews, piano Stafford James, bass Eddie Moore, drums
http://wn.com/Woody_Shaw_In_Case_You_Haven't_Heard_1976
Freddie Hubbard-Woody Shaw : "Desert Moonlight"
- Order: Reorder
- Duration: 8:10
- Updated: 18 Oct 2012
- Double Take is an album by trumpeters Freddie Hubbard and Woody Shaw recorded in November 1985 and released on the Blue Note label. It features performances by Hubbard, Cecil McBee, Carl Allen, Mulgrew Miller and Kenny Garrett. The album was Hubbard's first for Blue Note since recording The Night of the Cookers (1965) twenty years previously. The Allmusic review by Scott Yanow states "Hubbard still gets the edge (his range is wider and he cannot be surpassed technically). Although Shaw tended to play more harmonically sophisticated lines and is remarkably inventive, they are both trumpet masters".The album was followed by a second Hubbard/Shaw collaboration The Eternal Triangle in 1987 and the two volumes were combined for the double CD release The Complete Freddie Hubbard and Woody Shaw Sessions (1995). Track listist: "Sandu" (Clifford Brown) - 4,28 "Boperation" (Howard McGhee, Fats Navarro) - 4,56 "Lament for Booker" (Freddie Hubbard, JJ Johnson) - 6,22 "Hub-Tones" (Hubbard) - 6,25 "Desert Moonlight" (Lee Morgan) - 8,10 *Woody Shaw on right ch. and Freddie Hubbard on left ch.* "Just a Ballad for Woody" (Woody Shaw) - 5,30 "Lotus Blossom" (Sam Coslow, Arthur Johnston) - 8,15 Personnel: Freddie Hubbard: trumpet, flugelhorn Woody Shaw: trumpet Kenny Garrett: alto saxophone, flute Mulgrew Miller: piano Cecil McBee: bass Carl Allen: drums
http://wn.com/Freddie_Hubbard-Woody_Shaw_Desert_Moonlight
Woody Shaw - Ginseng People
- Order: Reorder
- Duration: 11:41
- Updated: 05 Oct 2012
Woody Shaw - Woody Shaw Live, Vol. 3 Year: 1977 Label: High Note With each year that passes, trumpeter Woody Shaw is missed more. One of jazz's greatest trumpeters, Shaw was at his prime in the 1970s when Woody Shaw Live, Vol. 3, a previously unissued set (the third of three) was recorded. Performing live at San Francisco's Keystone Korner, Shaw stretches out on five lengthy group originals (three are his) with either Mulgrew Miller or Larry Willis on piano, bassist Stafford James, drummer Victor Lewis, and (on three of the five numbers) trombonist Steve Turre. Shaw is in fiery and explorative form throughout the challenging material, reminding listeners what a major improviser he was, and what a major loss it was when he died prematurely.
http://wn.com/Woody_Shaw_Ginseng_People
Dexter Gordon feat. Woody Shaw: You've Changed
- Order: Reorder
- Duration: 13:23
- Updated: 28 Aug 2012
An appetizer for two future series. Dexter Gordon Village Gate New York, NY 1976-10-25 Dexter Gordon - tenor sax Woody Shaw - trumpet Stafford James - bass Louis Hayes - drums Mathews, Ronnie - piano Track List (52:14): 1. Announcer / Dex Intro - 1:30 2. Fried Bananas - 17:56 3. Introductions - 1:11 4. *Strollin'- 18:04 5. You've Changed - 13:32 photo credit: Tom Marcello www.flickr.com The link to Emusic and Itunes does not redirect to this session (which is unreleased), but to the BN record (which is recommended too!).
http://wn.com/Dexter_Gordon_feat_Woody_Shaw_You've_Changed
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Freddie Hubbard & Woody Shaw live at the Mt. Fuji Jazz Festival (part 1)
- Order: Reorder
- Duration: 4:40
- Updated: 11 Oct 2012
Freddie Hubbard and Woody Shaw live at the Mt. Fuji Jazz Festival (part 1) with Kenny Garrett, Cedar Walton, Buster Williams, and Billy Higgins
http://wn.com/Freddie_Hubbard_Woody_Shaw_live_at_the_Mt_Fuji_Jazz_Festival_part_1
Nathan Davis - Woody Shaw group French TV LIVE 1965
- Order: Reorder
- Duration: 2:21
- Updated: 12 Oct 2012
Nathan Davis-Woody Shaw group live French TV 1965 Performed the John Coltrane composition Village Blues in studio carrefour du monde Paris France June 2, 1965. Nathan Davis - tenor sax Woody Shaw - trumpet Jack Dieval - piano Jacques Hess - bass Franco Manzecchi - drums
http://wn.com/Nathan_Davis_Woody_Shaw_group_French_TV_LIVE_1965
Woody Shaw Quartet-"What's New" pt.1
- Order: Reorder
- Duration: 11:49
- Updated: 10 Oct 2012
I shot this video on 8.21.85 at the Charles Hotel Courtyard. I'm glad to be able to add this to the store of documentation on this great trumpet player. The other musicians are no slouches, either. Woody Shaw-trumpet, leader Stanley Cowell-piano Terri-Lyne Carrington-drums David Williams-bass Video and notes by Steve Provizer
http://wn.com/Woody_Shaw_Quartet-What's_New_pt1
Jackie MacLean, Woody Shaw Cool Struttin' at Mt.Fuji Jazz in 1986
- Order: Reorder
- Duration: 7:55
- Updated: 14 Oct 2012
Jackie MacLean:as, Woody Shaw:tp,Baster Williams:b,Blly Higgins:dr,Ceder Walton:p Cool Struttin' Live at Blue Note Mt.Fuji Jazz Fes in 1986
http://wn.com/Jackie_MacLean,_Woody_Shaw_Cool_Struttin'_at_MtFuji_Jazz_in_1986
Woody Shaw 5tet - Time is Right
- Order: Reorder
- Duration: 6:30
- Updated: 14 Sep 2012
Live at the Music Inn - Roma - 1983 - part 1
http://wn.com/Woody_Shaw_5tet_Time_is_Right
WOODY SHAW: "Bye Bye Blackbird" (1978)
- Order: Reorder
- Duration: 1:58
- Updated: 18 Sep 2012
www.WoodyShaw.com
http://wn.com/WOODY_SHAW_Bye_Bye_Blackbird_1978
Woody Shaw Quintet - Rosewood, 1979
- Order: Reorder
- Duration: 5:26
- Updated: 16 Oct 2012
Full clip is unavailable at the moment. We will post it when we retrieve it. Woody Shaw Quintet in Europe. 1979; Woody Shaw, flugel horn; Carter Jefferson, tenor saxophone; Onaje Allan Gumbs, piano; Stafford James, bass; Victor Lewis, drums;
http://wn.com/Woody_Shaw_Quintet_Rosewood,_1979
Woody Shaw - Invitation (1976 Live, Northern Illinois University)
- Order: Reorder
- Duration: 5:16
- Updated: 06 Oct 2012
Woody Shaw, Joe Henderson, Ronnie Mathews, Stafford James, Louis Hayes
http://wn.com/Woody_Shaw_Invitation_1976_Live,_Northern_Illinois_University
Freddie Hubbard & Woody Shaw live at the Mt. Fuji Jazz Festival (part 2)
- Order: Reorder
- Duration: 4:56
- Updated: 25 Jul 2012
Freddie Hubbard and Woody Shaw live at the Mt. Fuji Jazz Festival (part 2) with Kenny Garrett, Cedar Walton, Buster Williams, and Billy Higgins
http://wn.com/Freddie_Hubbard_Woody_Shaw_live_at_the_Mt_Fuji_Jazz_Festival_part_2
Woody Shaw - What Is This Thing Called Love (1980 Live at Keystone Korner)
- Order: Reorder
- Duration: 2:53
- Updated: 08 Sep 2012
Woody Shaw Quinet at Keystone Korner Introduction: Woody teases a musician Steve Turre, Mulgrew Miller, Stafford James, Tony Reedus
http://wn.com/Woody_Shaw_What_Is_This_Thing_Called_Love_1980_Live_at_Keystone_Korner
Woody Shaw - Ginseng People
- Order: Reorder
- Duration: 11:41
- Updated: 05 Oct 2012
Woody Shaw - Woody Shaw Live, Vol. 3 Year: 1977 Label: High Note With each year that passes, trumpeter Woody Shaw is missed more. One of jazz's greatest trumpeters, Shaw was at his prime in the 1970s when Woody Shaw Live, Vol. 3, a previously unissued set (the third of three) was recorded. Performing live at San Francisco's Keystone Korner, Shaw stretches out on five lengthy group originals (three are his) with either Mulgrew Miller or Larry Willis on piano, bassist Stafford James, drummer Victor Lewis, and (on three of the five numbers) trombonist Steve Turre. Shaw is in fiery and explorative form throughout the challenging material, reminding listeners what a major improviser he was, and what a major loss it was when he died prematurely.
http://wn.com/Woody_Shaw_Ginseng_People
Woody Shaw Live - Green Dolphin Street (UNRELEASED! 1979)
- Order: Reorder
- Duration: 5:27
- Updated: 17 Oct 2012
Woody Shaw - Green Dolphin Street (1979) woodyshaw.com Woody Shaw, Onaje Allen Gumbs, Stafford James, Victor Lewis
http://wn.com/Woody_Shaw_Live_Green_Dolphin_Street_UNRELEASED!_1979
Bye Bye Blackbird by Woody Shaw
- Order: Reorder
- Duration: 12:44
- Updated: 15 Oct 2012
In my attempt to upload music by artists that I admire while also trying to avoid duplicating the same songs another user may have shared, I find I often overlook some of my favorite artists. This tune and artist meets that description. I'm sure that all jazz lovers are aware of the unique talents of Woody Shaw. A trumpet player that possessed complete command of his instrument, he was technically brilliant while at the same time very emotive in his playing. All the words I possess will never take the place of actually hearing him play so I offer this song from Shaw's live date at San Francisco's famous Keystone Korner Club in the fall of 1981. Here, he is brilliantly accompianed by Steve Turre on trombone and Larry Willis on piano. The arrangement is very similar to the Miles Davis chart from Davis' landmark album " 'Round About Midnight". The video to that tune is available here on YouTube. It's fun to compare the two. Lineup: Woody Shaw - trumpet Steve Turre - trombone Larry Willis - piano Stafford James - bass Victor Lewis - drums
http://wn.com/Bye_Bye_Blackbird_by_Woody_Shaw
WOODY SHAW: "Stepping Stone (1979)
- Order: Reorder
- Duration: 2:13
- Updated: 30 Jun 2012
www.WoodyShaw.com
http://wn.com/WOODY_SHAW_Stepping_Stone_1979
Dexter Gordon-Woody Shaw-Milt Jackson
- Order: Reorder
- Duration: 8:32
- Updated: 27 Aug 2012
Playboy Jazz Festival 1982
http://wn.com/Dexter_Gordon-Woody_Shaw-Milt_Jackson
Woody Shaw - It Could Happen to You
- Order: Reorder
- Duration: 13:27
- Updated: 10 Aug 2012
Woody Shaw - Woody Shaw Live, Vol. 4 Year: 1977 Label: High Note
http://wn.com/Woody_Shaw_It_Could_Happen_to_You
Woody Shaw Quartet-Ginseng People
- Order: Reorder
- Duration: 10:30
- Updated: 23 Jul 2012
Second tune taken from the live session on 8.21.85 at the Charles Hotel Courtyard. This is an original tune by Woody. Woody Shaw-trumpet, leader Stanley Cowell-piano Terri-Lyne Carrington-drums David Williams-bass Video and notes by Steve Provizer
http://wn.com/Woody_Shaw_Quartet-Ginseng_People
Woody Shaw - Stepping Stone
- Order: Reorder
- Duration: 11:03
- Updated: 07 Oct 2012
Woody Shaw - Woody Shaw Live, Vol. 1 Year: 1977 Label: High Note Woody Shaw's Live Volume One contains four previously unissued live tracks cut in 1977. These are extraordinary post bop, up-tempo pieces with plenty of improvising solo space shared between Shaw and tenor/soprano saxophonist Carter Jefferson, admirably backed up by Larry Willis on piano, Stafford James on bass, and Victor Lewis drums. Included is Joe Bonner's composition "Love Dance," Willis's "Light Valley," Lewis's "Why," and Shaw's original "Stepping Stone," none clocking in under ten minutes. Just about any Woody Shaw session stands the test of time and this HighNote live date is no exception.
http://wn.com/Woody_Shaw_Stepping_Stone
Woody Shaw - When Lights Are Low
- Order: Reorder
- Duration: 9:55
- Updated: 10 Aug 2012
Woody Shaw - Woody Shaw Live, Vol. 4 Year: 1977 Label: High Note
http://wn.com/Woody_Shaw_When_Lights_Are_Low
Woody Shaw - What Is This Thing Called Love?
- Order: Reorder
- Duration: 12:58
- Updated: 24 Aug 2012
Woody Shaw - Woody Shaw Live, Vol. 2 Year: 1977 Label: High Note The release of this previously unknown music was a welcome event in 2001. The great trumpeter Woody Shaw is heard really stretching out on three group originals and "What Is This Thing Called Love"; the renditions clock in between 11 minutes and 48 seconds and 17 minutes and five seconds. Shaw is joined by two versions of his regular quintet of the period, with Carter Jefferson on tenor and soprano for "Isabel the Liberator"; trombonist Steve Turre on the other three selections; and the rhythm section of pianist Larry Willis, bassist Stafford James, and drummer Victor Lewis. Shaw is heard throughout in top-form, pushing himself and coming up with advanced ideas that remind listeners how great a trumpeter he was. Highly recommended, as was Live, Vol. 1.
http://wn.com/Woody_Shaw_What_Is_This_Thing_Called_Love?
Woody Shaw - The Time Is Right
- Order: Reorder
- Duration: 13:40
- Updated: 25 Aug 2012
Woody Shaw - Woody Shaw Live, Vol. 4 Year: 1977 Label: High Note
http://wn.com/Woody_Shaw_The_Time_Is_Right
Woody Shaw Quartet-"What's New" pt. 2
- Order: Reorder
- Duration: 6:18
- Updated: 10 Oct 2012
I shot this video on 8.21.85 at the Charles Hotel Courtyard. I'm glad to be able to add this to the store of documentation on this great trumpet player. The other musicians are no slouches, either. Woody Shaw-trumpet, leader Stanley Cowell-piano Terri-Lyne Carrington-drums David Williams-bass Video and notes by Steve Provizer
http://wn.com/Woody_Shaw_Quartet-What's_New_pt_2
Woody Shaw - Rahsaan's Run
- Order: Reorder
- Duration: 11:51
- Updated: 15 Sep 2012
Woody Shaw - Woody Shaw Live, Vol. 2 Year: 1977 Label: High Note The release of this previously unknown music was a welcome event in 2001. The great trumpeter Woody Shaw is heard really stretching out on three group originals and "What Is This Thing Called Love"; the renditions clock in between 11 minutes and 48 seconds and 17 minutes and five seconds. Shaw is joined by two versions of his regular quintet of the period, with Carter Jefferson on tenor and soprano for "Isabel the Liberator"; trombonist Steve Turre on the other three selections; and the rhythm section of pianist Larry Willis, bassist Stafford James, and drummer Victor Lewis. Shaw is heard throughout in top-form, pushing himself and coming up with advanced ideas that remind listeners how great a trumpeter he was. Highly recommended, as was Live, Vol. 1.
http://wn.com/Woody_Shaw_Rahsaan's_Run
4:40
Freddie Hubbard & Woody Shaw live at the Mt. Fuji Jazz Festival (part 1)
Freddie Hubbard and Woody Shaw live at the Mt. Fuji Jazz Festival (part 1) with Kenny Garr...
published: 24 Jul 2012
author: intrepidpooch
Freddie Hubbard & Woody Shaw live at the Mt. Fuji Jazz Festival (part 1)
Freddie Hubbard and Woody Shaw live at the Mt. Fuji Jazz Festival (part 1) with Kenny Garrett, Cedar Walton, Buster Williams, and Billy Higgins
published: 24 Jul 2012
author: intrepidpooch
2:21
Nathan Davis - Woody Shaw group French TV LIVE 1965
Nathan Davis-Woody Shaw group live French TV 1965 Performed the John Coltrane composition ...
published: 15 Jul 2012
author: westcoastpaeb
Nathan Davis - Woody Shaw group French TV LIVE 1965
Nathan Davis-Woody Shaw group live French TV 1965 Performed the John Coltrane composition Village Blues in studio carrefour du monde Paris France June 2, 1965. Nathan Davis - tenor sax Woody Shaw - trumpet Jack Dieval - piano Jacques Hess - bass Franco Manzecchi - drums
published: 15 Jul 2012
author: westcoastpaeb
11:49
Woody Shaw Quartet-"What's New" pt.1
I shot this video on 8.21.85 at the Charles Hotel Courtyard. I'm glad to be able to ad...
published: 20 Jan 2011
author: stinging
Woody Shaw Quartet-"What's New" pt.1
I shot this video on 8.21.85 at the Charles Hotel Courtyard. I'm glad to be able to add this to the store of documentation on this great trumpet player. The other musicians are no slouches, either. Woody Shaw-trumpet, leader Stanley Cowell-piano Terri-Lyne Carrington-drums David Williams-bass Video and notes by Steve Provizer
published: 20 Jan 2011
author: stinging
7:55
Jackie MacLean, Woody Shaw Cool Struttin' at Mt.Fuji Jazz in 1986
Jackie MacLean:as, Woody Shaw:tp,Baster Williams:b,Blly Higgins:dr,Ceder Walton:p Cool Str...
published: 16 Jul 2008
author: cminor7add9th
Jackie MacLean, Woody Shaw Cool Struttin' at Mt.Fuji Jazz in 1986
Jackie MacLean:as, Woody Shaw:tp,Baster Williams:b,Blly Higgins:dr,Ceder Walton:p Cool Struttin' Live at Blue Note Mt.Fuji Jazz Fes in 1986
published: 16 Jul 2008
author: cminor7add9th
1:58
WOODY SHAW: "Bye Bye Blackbird" (1978)
www.WoodyShaw.com...
published: 03 Feb 2007
author: WoodyShawdotcom
WOODY SHAW: "Bye Bye Blackbird" (1978)
5:26
Woody Shaw Quintet - Rosewood, 1979
Full clip is unavailable at the moment. We will post it when we retrieve it. Woody Shaw Qu...
published: 08 Oct 2009
author: WoodyShawdotcom
Woody Shaw Quintet - Rosewood, 1979
Full clip is unavailable at the moment. We will post it when we retrieve it. Woody Shaw Quintet in Europe. 1979; Woody Shaw, flugel horn; Carter Jefferson, tenor saxophone; Onaje Allan Gumbs, piano; Stafford James, bass; Victor Lewis, drums;
published: 08 Oct 2009
author: WoodyShawdotcom
5:16
Woody Shaw - Invitation (1976 Live, Northern Illinois University)
Woody Shaw, Joe Henderson, Ronnie Mathews, Stafford James, Louis Hayes...
published: 15 Mar 2011
author: WoodyShawdotcom
Woody Shaw - Invitation (1976 Live, Northern Illinois University)
Woody Shaw, Joe Henderson, Ronnie Mathews, Stafford James, Louis Hayes
published: 15 Mar 2011
author: WoodyShawdotcom
4:56
Freddie Hubbard & Woody Shaw live at the Mt. Fuji Jazz Festival (part 2)
Freddie Hubbard and Woody Shaw live at the Mt. Fuji Jazz Festival (part 2) with Kenny Garr...
published: 24 Jul 2012
author: intrepidpooch
Freddie Hubbard & Woody Shaw live at the Mt. Fuji Jazz Festival (part 2)
Freddie Hubbard and Woody Shaw live at the Mt. Fuji Jazz Festival (part 2) with Kenny Garrett, Cedar Walton, Buster Williams, and Billy Higgins
published: 24 Jul 2012
author: intrepidpooch
2:53
Woody Shaw - What Is This Thing Called Love (1980 Live at Keystone Korner)
Woody Shaw Quinet at Keystone Korner Introduction: Woody teases a musician Steve Turre, Mu...
published: 15 Mar 2011
author: WoodyShawdotcom
Woody Shaw - What Is This Thing Called Love (1980 Live at Keystone Korner)
Woody Shaw Quinet at Keystone Korner Introduction: Woody teases a musician Steve Turre, Mulgrew Miller, Stafford James, Tony Reedus
published: 15 Mar 2011
author: WoodyShawdotcom
11:41
Woody Shaw - Ginseng People
Woody Shaw - Woody Shaw Live, Vol. 3 Year: 1977 Label: High Note With each year that passe...
published: 10 Aug 2012
author: jazzforinterplay
Woody Shaw - Ginseng People
Woody Shaw - Woody Shaw Live, Vol. 3 Year: 1977 Label: High Note With each year that passes, trumpeter Woody Shaw is missed more. One of jazz's greatest trumpeters, Shaw was at his prime in the 1970s when Woody Shaw Live, Vol. 3, a previously unissued set (the third of three) was recorded. Performing live at San Francisco's Keystone Korner, Shaw stretches out on five lengthy group originals (three are his) with either Mulgrew Miller or Larry Willis on piano, bassist Stafford James, drummer Victor Lewis, and (on three of the five numbers) trombonist Steve Turre. Shaw is in fiery and explorative form throughout the challenging material, reminding listeners what a major improviser he was, and what a major loss it was when he died prematurely.
published: 10 Aug 2012
author: jazzforinterplay
5:27
Woody Shaw Live - Green Dolphin Street (UNRELEASED! 1979)
Woody Shaw - Green Dolphin Street (1979) woodyshaw.com Woody Shaw, Onaje Allen Gumbs, Staf...
published: 30 Oct 2009
author: WoodyShawdotcom
Woody Shaw Live - Green Dolphin Street (UNRELEASED! 1979)
Woody Shaw - Green Dolphin Street (1979) woodyshaw.com Woody Shaw, Onaje Allen Gumbs, Stafford James, Victor Lewis
published: 30 Oct 2009
author: WoodyShawdotcom
12:44
Bye Bye Blackbird by Woody Shaw
In my attempt to upload music by artists that I admire while also trying to avoid duplicat...
published: 23 Jan 2011
author: beeshor1
Bye Bye Blackbird by Woody Shaw
In my attempt to upload music by artists that I admire while also trying to avoid duplicating the same songs another user may have shared, I find I often overlook some of my favorite artists. This tune and artist meets that description. I'm sure that all jazz lovers are aware of the unique talents of Woody Shaw. A trumpet player that possessed complete command of his instrument, he was technically brilliant while at the same time very emotive in his playing. All the words I possess will never take the place of actually hearing him play so I offer this song from Shaw's live date at San Francisco's famous Keystone Korner Club in the fall of 1981. Here, he is brilliantly accompianed by Steve Turre on trombone and Larry Willis on piano. The arrangement is very similar to the Miles Davis chart from Davis' landmark album " 'Round About Midnight". The video to that tune is available here on YouTube. It's fun to compare the two. Lineup: Woody Shaw - trumpet Steve Turre - trombone Larry Willis - piano Stafford James - bass Victor Lewis - drums
published: 23 Jan 2011
author: beeshor1
2:13
WOODY SHAW: "Stepping Stone (1979)
www.WoodyShaw.com...
published: 29 May 2007
author: WoodyShawdotcom
WOODY SHAW: "Stepping Stone (1979)
Vimeo results:
9:12
Woody Shaw - Stepping Stones
published: 14 Nov 2010
author: Eu2020
Woody Shaw - Stepping Stones
8:05
EVERYTIME I SEE YOU (WOODY SHAW)
HTP :|:
Check out our current line up:
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published: 21 Feb 2012
author: KHEMWEST BROADCASTING NETWORK
EVERYTIME I SEE YOU (WOODY SHAW)
HTP :|:
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THE RA CONNECTION (Khemitic Universe)
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14:21
Brian Lynch Quartet @ Jazzhus Montmartre Copenhagen - "Woody Shaw"
Brian Lynch, tp; Henrik Gunde, p; Jesper Bodilsen,b; Niclas Bardeleben dr. Recorded Aug. 2...
published: 30 Aug 2010
author: Brian Lynch
Brian Lynch Quartet @ Jazzhus Montmartre Copenhagen - "Woody Shaw"
Brian Lynch, tp; Henrik Gunde, p; Jesper Bodilsen,b; Niclas Bardeleben dr. Recorded Aug. 21, 2010 at Jazzhus Montmartre, Copenhagen, Denmark.
I had a great time playing with these wonderful musicians at this historic location!
www.brianlynchjazz.com
10:36
Milwaukee Jazz Vision Presents- Brian Lynch Quartet "Woody Shaw"
Brian Lynch Quartet preforming "Woody Shaw" at the East side Jazzfest on the 26th of Febru...
published: 02 Mar 2011
author: Thomas Sennholz
Milwaukee Jazz Vision Presents- Brian Lynch Quartet "Woody Shaw"
Brian Lynch Quartet preforming "Woody Shaw" at the East side Jazzfest on the 26th of February, 2011
You the avid music fan are invited to the Eastside Jazzfest. The festival is presented by Milwaukee Jazz Vision and WMSE. It is sure to be one of the best nights of music in the history of Milwaukee.
For more info go to
milwaukeejazzvision.org/
Youtube results:
13:27
Woody Shaw - It Could Happen to You
Woody Shaw - Woody Shaw Live, Vol. 4 Year: 1977 Label: High Note...
published: 10 Aug 2012
author: jazzforinterplay
Woody Shaw - It Could Happen to You
Woody Shaw - Woody Shaw Live, Vol. 4 Year: 1977 Label: High Note
published: 10 Aug 2012
author: jazzforinterplay
10:30
Woody Shaw Quartet-Ginseng People
Second tune taken from the live session on 8.21.85 at the Charles Hotel Courtyard. This is...
published: 11 Feb 2011
author: stinging
Woody Shaw Quartet-Ginseng People
Second tune taken from the live session on 8.21.85 at the Charles Hotel Courtyard. This is an original tune by Woody. Woody Shaw-trumpet, leader Stanley Cowell-piano Terri-Lyne Carrington-drums David Williams-bass Video and notes by Steve Provizer
published: 11 Feb 2011
author: stinging
11:03
Woody Shaw - Stepping Stone
Woody Shaw - Woody Shaw Live, Vol. 1 Year: 1977 Label: High Note Woody Shaw's Live Vol...
published: 10 Aug 2012
author: jazzforinterplay
Woody Shaw - Stepping Stone
Woody Shaw - Woody Shaw Live, Vol. 1 Year: 1977 Label: High Note Woody Shaw's Live Volume One contains four previously unissued live tracks cut in 1977. These are extraordinary post bop, up-tempo pieces with plenty of improvising solo space shared between Shaw and tenor/soprano saxophonist Carter Jefferson, admirably backed up by Larry Willis on piano, Stafford James on bass, and Victor Lewis drums. Included is Joe Bonner's composition "Love Dance," Willis's "Light Valley," Lewis's "Why," and Shaw's original "Stepping Stone," none clocking in under ten minutes. Just about any Woody Shaw session stands the test of time and this HighNote live date is no exception.
published: 10 Aug 2012
author: jazzforinterplay
Photo: AP / Themba Hadebe
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Article by WN.com Correspondent Dallas Darling. Yesterday while protesting with striking mine workers in South Africa, Mohandas Gandhi was gunned down by heavily armed security forces. Gandhi, who...
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Indiewire
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The Guardian
ANGUS SHAW Associated Press= HARARE, Zimbabwe (AP) — Zimbabwe President Robert Mugabe urged lawmakers Tuesday to move "frantically and with haste" to finalize a new constitution so elections can be held to end a shaky coalition with the nation's former opposition party....(size: 7.9Kb)
Coroner IDs man killed crossing Shaw Avenue
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MLS playoffs 2012: Exhausted Fire vs. rested Dynamo, champion Galaxy vs. freefalling Whitecaps
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Sporting News
The four MLS teams set to contest this week’s preliminary-round games obviously are happy to have qualified for the playoffs. Over 34 regular-season games across nearly eight months, the Chicago Fire, Houston Dynamo, L.A. Galaxy and Vancouver Whitecaps were good enough to earn their shot at the...(size: 8.8Kb)
Bloomberg
Virgin (VAH) Australia Holdings Ltd.’s plan to buy two domestic airlines faces a “very complicated” review because of concerns the country’s aviation market will be reduced to a duopoly, the nation’s antitrust regulator said. The proposed acquisition of a controlling stake in Tiger Airways Holdings...(size: 6.5Kb)
Daily Finance
Tim Cook is making some serious changes at Apple Inc. (NASDAQ: AAPL). The moves might seem harsh, but Steve Jobs had a policy of accountability and ownership of failure. The markets may be closed today, but we have been looking for research on this. The big news is that Scott Forstall is out as head...(size: 3.4Kb)
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The Examiner
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| Woody Shaw | |
|---|---|
 |
|
| Background information | |
| Birth name | Woody Herman Shaw, Jr. |
| Born | (1944-12-24)December 24, 1944 |
| Origin | Laurinburg, NC; Newark, NJ; U.S. |
| Died | May 10, 1989(1989-05-10) (aged 44) Bellevue Hospital, New York City |
| Genres | Hard Bop, Post-Bop, Modal Jazz, Avant-garde jazz, |
| Occupations | Trumpeter, Composer, Bandleader, Clinician, |
| Instruments | Trumpet, Flugelhorn, Cornet |
| Labels | Columbia, Muse, Elektra, Blue Note, Fantasy, Contemporary, Concord Music Group |
| Associated acts | Art Blakey, McCoy Tyner, Freddie Hubbard, Eric Dolphy, Joe Henderson, Bobby Hutcherson, Horace Silver, Max Roach, Andrew Hill |
| Website | WOODYSHAW.COM |
Woody Shaw (December 24, 1944 – May 10, 1989) was an American jazz trumpeter, flugelhornist, cornetist, composer and band leader, often referred to as the "last innovator"[1] in the jazz trumpet lineage. Shaw is credited with revolutionizing the technical and harmonic vocabulary of the instrument[2] and is considered one of the great jazz composers and band leaders of the twentieth century.[3] Born with a photographic memory[2] and perfect pitch,[4] Woody Shaw is looked upon as one of the major conceptualists and important musical geniuses in the history of jazz, thought to have been generations ahead of his time.
Contents |
Biography[link]
Early life and background[link]
Woody Shaw was born on December 24, 1944 in Laurinburg, North Carolina. He was brought to Newark, New Jersey by his parents, Rosalie Pegues and Woody Shaw, Sr., at the age of 1 year old. Shaw's father, Woody Shaw, Sr. was a member of the African American gospel group known as the Diamond Jubilee Singers and both of his parents attended the same secondary private school as Dizzy Gillespie, Laurinburg Institute. Shaw's mother is originally from the same town as Gillespie, Cheraw, South Carolina.
Shaw began playing bugle at age 9 and performed in the Junior Elks, Junior Mason, and Washington Carver Drum and Bugle Corps in Newark, New Jersey. Though not his first choice for an instrument, he began studying classical trumpet with Jerome Ziering at Cleveland Junior High School at the age of 11. In a 1978 interview, Shaw explained:
The trumpet was not my first choice for an instrument. In fact, I ended up playing it by default. When we were asked what we wanted to play in the Eighteenth Avenue School Band, I chose the violin, but I was too late since all the violins were taken. My second choice was the saxophone or the trombone but they were also all spoken for. The only instrument that was left was the trumpet, and I felt why did I have to get stuck with this "tinny" sounding thing.
When I complained to my music teacher that I didn't think it was fair that all the other kids got to play the instruments they wanted, he told me to just be patient. He said he had a good feeling about me and the trumpet, and he assured me I'd grow to love it. Of course my teacher was right, and it didn't take long for me to fall in love with the trumpet. In retrospect, I believe there was some mystical force that brought us together.[5]
Ziering encouraged him to continue his study of classical trumpet and pursue an education at the Juilliard School of music with famed trumpet instructor William Vacchiano, but Shaw had a deep interest in jazz. His first influences were Louis Armstrong and Harry James. After skipping two grades (Shaw had a photographic memory), he began attending Newark Arts High School (alma mater of Wayne Shorter, Sarah Vaughan, Larry Young, Grachan Moncur, Melba Moore, Savion Glover and many others).[6]
As a teenager, Shaw worked professionally at weddings, dances, and night clubs. He eventually left school but continued his study of the trumpet under the influence of Dizzy Gillespie, Fats Navarro, Clifford Brown, Booker Little, Lee Morgan, and Freddie Hubbard. He later discovered that he had picked up the trumpet during the same month and year that Clifford Brown died, June 1956.
Paris and Eric Dolphy (early 1960s)[link]
In 1963, after many local professional jobs, Woody worked for Willie Bobo (with Chick Corea and Joe Farrell) and also performed and recorded as a sideman with Eric Dolphy. The following year, Dolphy invited Shaw to join him in Paris, however, Dolphy suddenly died shortly before Shaw's departure. He decided to make the trip nonetheless, and found steady work in Paris with close friend Nathan Davis, performing at the famed club Le Chat Qui Peche with musicians such as Bud Powell, Kenny Clarke, Johnny Griffin, and Art Taylor, as well as notable French musicians, like Jean-Louis Chautemps and Jef Gilson. Woody performed frequently in Berlin, and London with a group that included Nathan Davis, Larry Young, and Billy Brooks, the latter two of whom grew up with Shaw in Newark.
Blue Note Records (mid- to late 1960s)[link]
By the mid-1960s, Shaw had successfully absorbed the conception and influence of his mentor and friend saxophonist Eric Dolphy (Iron Man, 1963), and was meanwhile exploring the harmonic innovations of John Coltrane. Both saxophonists contributed greatly to the development of his style as a trumpeter and composer.
Shaw returned to the U.S. from Paris in 1964 and began his career as one of Blue Note Records's formidable "house" trumpet players, working steadily with a roster of respected artists. He replaced Carmel Jones in the Horace Silver quintet (1965–1966), and made his very first Blue Note debut on Larry Young's famed Unity album (1965), upon which three of his compositions ("Zoltan", "Moontrane", and "Beyond All Limits") would appear ("Moontrane" was dedicated to John Coltrane, was written when Shaw as just 18 years old and was the first composition he ever wrote).
He also collaborated frequently and recorded with Chick Corea (1966–1967), Jackie McLean (1967), Booker Ervin (1968), McCoy Tyner (1968), Andrew Hill (1969), Herbie Hancock, and Bobby Hutcherson. In 1968-69, he worked intermittently with Max Roach touring with him to Iran. He also worked as a studio musician, and worked in pit orchestras and on Broadway musicals.
Columbia Records (1970s)[link]
After working frequently with Bobby Hutcherson, Art Blakey, McCoy Tyner and others, Woody Shaw emerged as a band leader during the early 1970s, which was a time when many jazz artists began to explore jazz-rock and fewer bands performed in the tradition of hard bop as a result of the popularity of and demand for more "commercial" music. A younger statesmen among his admired elders, Shaw saw himself as an heir to the musical legacy of great trumpeters such as Dizzy Gillespie, Fats Navarro, and Clifford Brown, and, being an alumnus of Art Blakey's Jazz Messengers, felt responsible for upholding the integrity and appreciation of the tradition of "straight-ahead" jazz.
He released several albums on the Muse label, and in 1978 was signed to Columbia Records following an endorsement from Miles Davis.[3] He then recorded the albums Rosewood, Stepping Stones, Woody III, For Sure, and United. Rosewood was nominated for 2 Grammys and was voted Best Jazz Album of 1978 in the Down Beat Reader's Poll, which also voted Woody Shaw Best Jazz Trumpeter of the Year and #4 Jazz Musician of the Year.
Collaborations (1980s)[link]
Throughout the 1980s, Shaw continued performing and recording as a leader with sidemen such as pianists Onaje Allan Gumbs, Mulgrew Miller, and Larry Willis, bassist David Williams, drummer Terri Lyne Carrington, and trombonist Steve Turre among others, recording a number of more "traditional" but highly-lyrical albums (Solid, Setting Standards, In My Own Sweet Way) consisting predominantly of standards and tunes from the hard bop repertoire. During this time he also worked on projects with saxophonists Kenny Garrett and Dexter Gordon, as well as fellow trumpeter Freddie Hubbard on three historic albums (Time Speaks, Double Take, and The Eternal Triangle), later reissued on Blue Note as the Freddie Hubbard and Woody Shaw Sessions.
Death[link]
On February 27, 1989, Shaw was struck by a Brooklyn subway car, which severed his left arm. Shaw suffered complications in the hospital and died of kidney failure on May 10, 1989.[3]
He is survived by his mother, two brothers, a sister, and his son, Woody Louis Armstrong Shaw III.[7]
Musical style[link]
Woody Shaw was noted for his mastery and innovative use of "wide" intervals, often fourths and fifths, which are considered relatively unnatural to the trumpet and difficult to employ skillfully due to (a) the tremendous technical facility required to do so (see embouchure), (b) the architecture of the instrument, (c) the trumpet's inherent harmonic tendencies based on the overtone series, and (d) its traditional association with intervals based more commonly on thirds and diatonic relationships.
In both his improvisations and his compositions, Shaw frequently used polytonality, the combination of two or more tonalities or keys (i.e. multiple chords or harmonic structures) at once. In his solos, he often superimposed highly complex permutations of the pentatonic scale and sequences of intervals that modulated unpredictably through numerous key centers. He was a master of modality and used a wide range of harmonic color, generating unusual contrasts, using tension and resolution, dissonance, odd rhythmic groupings, and "over the barline" phrases, yet always resolving his ideas according to the form and harmonic structure of a given composition while adhering to the conventions of jazz improvisation and simultaneously creating new ones.
His "attack" was remarkably clean and precise, regardless of tempo (Shaw often played extremely fast passages). He had a rich, dark tone that was distinctive with a near-vocal quality to it; his intonation and articulation were highly-developed, and he greatly utilized the effects of the lower register, usually employing a deep, extended vibrato at the end of his phrases. Shaw also often incorporated the chromatic scale, which gave his melodic lines a subtle fluidity that seemed to allow him to weave "in and out" of chords seamlessly from all "angles."
Shaw was also born with a photographic memory[2] and perfect pitch.[4] Max Roach once stated: "He was truly one of the greatest. I first had occasion to work with Woody on a trip to Iran. One of the most amazing things was his uncanny memory. I was just flabbergasted. After one look, he knew all of the charts, no matter how complex they were."[8]
Woody Shaw's improvisational and composing style bears the influences of his idols Eric Dolphy, John Coltrane and McCoy Tyner, as well as many European modern classical and 20th century composers, such as Bela Bartok, Zoltán Kodály, Arnold Schoenberg, Alban Berg, Anton Webern, Erik Satie, Alexander Scriabin, Carlos Chavez, Ernest Bloch, Olivier Messiaen, Paul Hindemith, Charles Ives, Edgar Varese, Igor Stravinsky, Claude Debussy, Maurice Ravel, Colin McPhee and others.[2] Shaw also listened closely to traditional Japanese music, Indonesian Gamelan, Indian classical music, Brazilian music, and various other musics of the world.[2]
Educator and clinician[link]
Throughout his career, Woody Shaw gave countless clinics, master classes and private lessons to students around the world.
During the 1970s, he and Joe Henderson were faculty members in Jamey Aebersold's jazz camp.
NEA Grant-recipients who studied with Woody Shaw include:
- Wynton Marsalis, Musical Director of Jazz at Lincoln Center
- Ingrid Monson, Quincy Jones Professor of African American Music, Harvard University
Other students and apprentices:
Admiration among musicians[link]
As a musician and trumpeter, Shaw was held in remarkably high esteem by his colleagues and is today seen as one of the most technically and harmonically advanced trumpet players in the history of jazz and of the instrument itself. Miles Davis, a notoriously harsh critic of fellow musicians, once said of Shaw: "Now there's a great trumpet player. He can play different from all of them."[9] Trumpeter Dave Douglas states: "It's not only the brilliant imagination that captivates with Woody Shaw - it's how natural those fiendishly difficult lines feel... Woody Shaw is now one of the most revered figures for trumpeters today."[10] Shaw is credited with having extended the harmonic and technical vocabulary of the trumpet. Upon hearing of Shaw's death in 1989, Wynton Marsalis stated: "Woody added to the vocabulary of the trumpet. His whole approach influenced me tremendously."[5]
Spirituality[link]
Woody Shaw was a devout practitioner of a Chinese martial art known as T'ai chi ch'uan (Wu-style t'ai chi ch'uan). He also practiced meditation or self-hypnosis, and Sirsha-Asana - a form of Yoga.
Travels[link]
Throughout his life, Woody Shaw travelled all over Europe, moving to Paris, France at the young age of 19 following an invitation from Eric Dolphy. As a sideman with Max Roach, he traveled to Iran in 1969. He also toured such places as Japan, England, Italy, Germany, Sweden, Switzerland, The Netherlands, Brussels, and the Czech Republic.
During a 1980s State Department Tour, Shaw ventured eastward to such countries as Egypt, Sudan, and the United Arab Emirates. Most recently, it has been discovered that Shaw spent significant time performing and giving clinics in India, working in such historic cities as New Delhi, Bombay, Bangalore, and Calcutta. When asked by film producer Chuck France in an interview whether he thought traveling was important, Shaw adamantly responded: "Most definitely. I think every great artist should share his music with the world."[11]
Discography[link]
As leader[link]
- 1971: Blackstone Legacy (Contemporary Records) with Ron Carter, Clint Houston, Lenny White, George Cables, Gary Bartz, Bennie Maupin
- 1972: Song of Songs (OJC) with Bennie Maupin, George Cables, Steve Turre, Cecil McBee, Onaje Allan Gumbs
- 1974: The Moontrane (Muse) with Azar Lawrence, Cecil McBee, Buster Williams
- 1975: San Francisco Express (Reynolds) with Patrick Gleeson, Julian Priester, Norman Williams
- 1976: Love Dance (Muse) with Steve Turre, Billy Harper, Joe Bonner, Cecil McBee, Victor Lewis, Guilherme Franco
- 1976: Little Red's Fantasy (32 Jazz) with Ronnie Mathews, Stafford James, Frank Strozier, Eddie Moore
- 1977: Rosewood (Columbia) with Steve Turre, Joe Henderson, Victor Lewis
- 1978: Stepping Stones: Live at the Village Vanguard (Columbia) with Carter Jefferson, Onaje Allan Gumbs, Clint Houston, Victor Lewis
- 1981: The Iron Men (Muse) with Anthony Braxton, Cecil McBee, Arthur Blythe, Muhal Richard Abrams, Joe Chambers, Victor Lewis)
- 1981: United (CBS/Sony - reissued on CD by Wounded Bird Records in 2011) with Mulgrew Miller, Steve Turre, Stafford James, Tony Reedus, Gary Bartz)
- 1982: Lotus Flower (Enja) with Steve Turre, Mulgrew Miller
- 1983: Setting Standards (Muse) with Cedar Walton, Buster Williams, Victor Jones
- 1985: Double Take with Freddie Hubbard, Cecil McBee, Carl Allen, Mulgrew Miller and Kenny Garrett
- 1986: Solid (Camden) with Kenny Garrett, Kenny Barron, Kirk Lightsey, Peter Leitch
- 1987: The Eternal Triangle with Freddie Hubbard, Ray Drummond, Carl Allen, Mulgrew Miller and Kenny Garrett
- 1987: Imagination (32 Jazz, reissued on Savoy Jazz in 2003) with Steve Turre, Kirk Lightsey, Ray Drummond, Carl Allen
- 1997: Bemsha Swing Live (Blue Note Records) with Geri Allen, Robert Hurst and Roy Brooks, recorded at Baker's Keyboard Lounge in 1986, released postumously in 1997.[12][13]
As sideman[link]
With Gary Bartz
- Home (1969)
With Art Blakey
- Child's Dance (1972)
- Anthenagain (1973)
- Buhania (1973)
With Roy Brooks
- Duet in Detroit (1983)
With Chick Corea
- Tones for Joan's Bones (1966)
- The Complete "Is" Sessions (1969)
With Nathan Davis
- Peace Treaty (1965)
- Happy Girl (1965)
With Eric Dolphy
- Conversations (1963)
- Iron Man (1963)
With Booker Ervin
- Tex Book Tenor (1968 [2005]) - originally released in 1976 as part of Back from the Gig
With Sonny Fortune
- Serengeti Minstral (1977)
With Kenny Garrett
- Introducing Kenny Garrett (1984)
With Benny Golson
- Time Speaks (1982)
With Dexter Gordon
- Homecoming (1976–79)
- Sophisticated Giant (1977)
- Gotham City (1981)
With George Gruntz
- For Flying Out Proud (1977)
- GG-CJB (1978)
With Lionel Hampton
- Music of Charles Mingus (1977)
With Louis Hayes
- Ichi-Ban (1976) with Junior Cook
- Lausanne 1977 (1977)
- The Real Thing (1977)
With Joe Henderson
- At the Lighthouse (1970)
With Andrew Hill
- Grass Roots (1968 [2000])
- Lift Every Voice (1969 [2001])
- Passing Ships (1969 [2003])
With Bobby Hutcherson
- Bobby Hutcherson Live at Montreux (1973)
- Cirrus (1974)
With Azar Lawrence
- Bridge into the New Age (1974)
With Jackie McLean
- 'Bout Soul (1967)
- Demon's Dance (1967)
With Hank Mobley
- Reach Out (1968)
- Thinking of Home (1970)
With Pharoah Sanders
With Horace Silver
- The Cape Verdean Blues (1965)
- The Jody Grind (1966)
With McCoy Tyner
- Expansions (1968)
With Mal Waldron
- The Git Go - Live at the Village Vanguard (Soul Note, 1986)
- The Seagulls of Kristiansund (Soul Note, 1986)
With Tyrone Washington
- Natural Essence (1967)
With Harry Whitaker
- Black Renaissance (1976)
With Buster Williams
- Pinnacle (1975)
With Larry Young
- Unity (1965)
With Joe Zawinul
- Zawinul (1970)
References[link]
- ^ Goldsher, Alan. Hard Bop Academy: The Sidemen of Art Blakey and the Jazz Messengers. p. 31. http://books.google.com/books?id=JXJSXSa9zSwC&lpg=PP1&pg=PA31#v=onepage&q=&f=false. Retrieved 5 March 2010. "[Brian] Lynch nicely summed up Woody's significance, saying, 'Woody Shaw was the last innovator in the trumpet lineage.'"
- ^ a b c d e Shaw III, Woody. "The Official Woody Shaw Website: Biography". http://woodyshaw.com/biography.htm. Retrieved 5 March 2010.
- ^ a b c Collar, Matt. "Woody Shaw Biography". Allmusic. http://www.allmusic.com/artist/p7526. Retrieved 5 March 2010.
- ^ a b Berg, Cuck. "Woody Shaw: Trumpet In Bloom". http://docs.google.com/viewer?a=v&q=cache:BAEsx-wxcRsJ:woodyshaw.com/downbeat1_cberg.pdf+site:woodyshaw.com+perfect+pitch&hl=en&gl=us&sig=AHIEtbSf0nJTZXZlCfMLPhptkbcsgw9-MA. Retrieved 5 March 2010.
- ^ a b Gibert, Lois. "Interview with Woody Shaw, WRVR, 1978". http://woodyshaw.com/Press/article_woodyshaw.pdf. Retrieved 5 March 2010.
- ^ A Brief History, Newark Arts High School. Accessed August 10, 2008
- ^ Peña, Tomas. "A Dialogue with Trumpet Player, Producer, Composer, Arranger - Tony Lujan". http://www.latinjazznet.com/interviews/tony_lujan.htm.
- ^ Parker, Jeffrey. "Woody Shaw Obituary". http://woodyshaw.com/obituary.htm. Retrieved 5 March 2010.
- ^ Feather, Leonard (December 1982), "Miles Davis' Miraculous Recovery From Stroke", Ebony (Johnson): 64, http://books.google.com/books?id=6NgDAAAAMBAJ&lpg=PA1&pg=PA64#v=onepage&q=&f=false, retrieved 4 March 2010
- ^ Douglas, Dave (19 September 2008). "Woody Shaw, 1979". The Greenleaf Music Blog. Greenleaf Music. http://www.greenleafmusic.com/woody-shaw-1979. Retrieved 17 March 2012.
- ^ France, Chuck. "Jazz In Exile". http://movies.yahoo.com/movie/1800082925/info. Retrieved 5 March 2010.
- ^ Dulzo, Jim, "Roy Brooks: Hard Bob, hard time", Jazz Times (October 2002)
- ^ Shoemaker, Bill, "Jazz Reviews: Bemsha Swing", Jazz Times (December 1997)
External links[link]
- Official Woody Shaw Website
- Woody Shaw discography at Discogs.
- Woody Shaw at Allmusic.
- Woody Shaw at All About Jazz.
| Persondata | |
|---|---|
| Name | Shaw, Woody |
| Alternative names | |
| Short description | |
| Date of birth | 1944-12-24 |
| Place of birth | |
| Date of death | 1989-05-10 |
| Place of death | Bellevue Hospital, New York City |
http://wn.com/Woody_Shaw
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| Herbie Hancock | |
|---|---|
 Hancock in concert at the Nice Jazz Festival 2010 |
|
| Background information | |
| Birth name | Herbert Jeffrey Hancock |
| Also known as | Herbie Hancock |
| Born | (1940-04-12) April 12, 1940 (age 72) Chicago, Illinois, United States |
| Genres | Jazz, bebop, post bop, jazz fusion, hard bop, jazz-funk, funk, R&B, electro funk, classical |
| Occupations | Musician, composer, bandleader |
| Instruments | Piano, synthesizer, organ, clavinet, keytar, vocoder |
| Years active | 1961–present |
| Labels | Columbia, Blue Note, Verve, Warner Bros. |
| Associated acts | Miles Davis Quintet, Jaco Pastorius, Joni Mitchell, Stevie Wonder |
| Website | www.herbiehancock.com |
Herbert Jeffrey "Herbie" Hancock (born April 12, 1940) is an American pianist, keyboardist, bandleader and composer.[1] As part of Miles Davis's Second Great Quintet, Hancock helped to redefine the role of a jazz rhythm section and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace music synthesizers and funk music (characterized by syncopated drum beats). Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel.
Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit". His 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award after Getz/Gilberto in 1965.
Hancock is a member of Sōka Gakkai International.[2][3]
On July 22, 2011 at a ceremony in Paris, Hancock was named UNESCO Goodwill Ambassador for the promotion of Intercultural Dialogue.
Contents |
Early life and career[link]
Hancock was born in Chicago, Illinois. Like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early. Considered a child prodigy,[4] he played the first movement of Mozart's Piano Concerto No. 5 at a young people's concert with the Chicago Symphony at age eleven.[5]
Through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the vocal group the Hi-Lo's. He reported that:
the time I actually heard the Hi-Lo's, I started picking that stuff out; my ear was happening. I could hear stuff and that's when I really learned some much farther-out voicings -like the harmonies I used on 'Speak Like a Child' -just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it came from.[6]
In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student.[7] Hancock often mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University. (He later graduated from Grinnell with degrees in electrical engineering and music. Grinnell also awarded him an honorary Doctor of Fine Arts degree in 1972).[5][8] Donald Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" (from Takin' Off) was to provide Mongo Santamaría with a hit single, but more importantly for Hancock, Takin' Off caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, a member of the new band.
Miles Davis quintet and Blue Note[link]
Hancock received considerable attention when, in May 1963,[5] he joined Miles Davis's Second Great Quintet. Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Tony Williams, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet would gel with Wayne Shorter on tenor saxophone. This quintet is often regarded as one of the finest jazz ensembles, and the rhythm section has been especially praised for its innovation and flexibility.
The second great quintet was where Hancock found his own voice as a pianist. Not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a unique taste for "orchestral" accompaniment – using quartal harmony and Debussy-like harmonies, with stark contrasts then unheard of in jazz. With Williams and Carter he wove a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes. In the later half of the sixties their approach became so sophisticated and unorthodox that conventional chord changes would hardly be discernible; hence their improvisational concept would become known as "Time, No Changes".
While in Davis's band, Hancock also found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Wayne Shorter, Tony Williams, Grant Green, Bobby Hutcherson, Sam Rivers, Donald Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard.
His albums Empyrean Isles (1964) and Maiden Voyage (1965) were to be two of the most famous and influential jazz LPs of the sixties, winning praise for both their innovation and accessibility (the latter demonstrated by the subsequent enormous popularity of the Maiden Voyage title track as a jazz standard, and by the jazz rap group US3 having a hit single with "Cantaloop" (derived from "Cantaloupe Island" on Empyrean Isles) some twenty five years later). Empyrean Isles featured the Davis rhythm section of Hancock, Carter and Williams with the addition of Freddie Hubbard on cornet, while Maiden Voyage also added former Davis saxophonist George Coleman (with Hubbard remaining on trumpet). Both albums are regarded as among the principal foundations of the post-bop style. Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles – My Point of View (1963), Speak Like a Child (1968) and The Prisoner (1969) featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of almost entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo "Chihuahua" Martinez.
During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup, the first of many soundtracks he recorded in his career.
Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted quickly to the new instruments, which proved to be instrumental in his future artistic endeavors.
Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, Hancock, despite his departure from the working band, continued to appear on Miles Davis records for the next few years. Noteworthy appearances include In a Silent Way, A Tribute to Jack Johnson and On the Corner.
[edit] Fat Albert and Mwandishi
Hancock left Blue Note in 1969, signing up with Warner Bros. Records. In 1969, Hancock composed the soundtrack for the Bill Cosby animated children's television show Fat Albert and the Cosby Kids. Titled Fat Albert Rotunda, the album was mainly an R&B-influenced album with strong jazz overtones. One of the jazzier songs on the record, "Tell Me A Bedtime Story", was later re-worked as a more electronic sounding song for the Quincy Jones album, Sounds...and Stuff Like That.
Hancock became fascinated with accumulating musical gadgets and toys. Together with the profound influence of Davis's Bitches Brew, this fascination would culminate in a series of albums in which electronic instruments are coupled with acoustic instruments.
Hancock's first ventures into electronic music started with a sextet comprising Hancock, bassist Buster Williams and drummer Billy Hart, and a trio of horn players: Eddie Henderson (trumpet), Julian Priester (trombone), and multireedist Bennie Maupin. Dr. Patrick Gleeson was eventually added to the mix to play and program the synthesizers. In fact, Hancock was one of the first jazz pianists to completely embrace electronic keyboards.[citation needed]
The sextet, later a septet with the addition of Gleeson, made three experimental albums under Hancock's name: Mwandishi (1971), Crossings (1972) (both on Warner Bros. Records), and Sextant (1973) (released on Columbia Records); two more, Realization and Inside Out, were recorded under Henderson's name with essentially the same personnel. The music often had very free improvisations and showed influence from the electronic music of some contemporary classical composers.
Synthesizer player Patrick Gleeson, one of the first musicians to play synthesizer on any jazz recording, introduced the instrument on Crossings, released in 1972, one of a handful of influential electronic jazz/fusion recordings to feature synthesizer that same year. On Crossings (as well as on I Sing the Body Electric), the synthesizer is used more as an improvisatory global orchestration device than as a strictly melodic instrument. This reflected Gleeson's (and Powell's) interest in contemporary European electronic music techniques and in the West Coast synthesis techniques of Morton Subotnick and other contemporaries, several of whom were resident at one time or another, as was Gleeson, at The Mills College Tape Music Center. An early review of Crossings in Downbeat magazine complained about the synthesizer, but a few years later the magazine noted in a cover story on Gleeson that he was "a pioneer" in the field of electronics in jazz. Gleeson used a modular Moog III for the recording of the album, but used an ARP 2600 synthesizer, and occasionally an ARP Soloist for the group's live performances. On Sextant Gleeson used the more compact ARP synthesizers instead of the larger Moog III for both studio and live performances. In the albums following The Crossings, Hancock started to play synth himself and unlike Gleeson, he plays it as a melodical and rhythm instrument just like electric pianos.
Hancock's three records released in 1971–1973, became later known as the "Mwandishi" albums, so-called after a Swahili name Hancock sometimes used during this era (Mwandishi is Swahili for writer). The first two, including Fat Albert Rotunda were made available on the 2-CD set Mwandishi: the Complete Warner Bros. Recordings, released in 1994, but are now sold as individual CD editions. Of the three electronic albums, Sextant is probably the most experimental since the Arp synthesizers are used extensively, and some advanced improvisation ("post-modal free impressionism") is found on the tracks "Hornets" and "Hidden Shadows" (which is in the meter 19/4). "Hornets" was later revised on the 2001 album Future2Future as "Virtual Hornets".
Among the instruments Hancock and Gleeson used were Fender Rhodes piano, ARP Odyssey, ARP 2600, ARP Pro Soloist Synthesizer, a Mellotron and the Moog synthesizer III.
All three Warner Bros. albums Fat Albert Rotunda, Mwandishi, and Crossings, were remastered in 2001 and released in Europe but were not released in the U.S.A. as of June 2005. In the Winter of 2006–7 a remastered edition of Crossings was announced and scheduled for release in the Spring.
[edit] Headhunters and Death Wish
See also: Head Hunters
After the sometimes "airy" and decidedly experimental "Mwandishi" albums, Hancock was eager to perform more "earthy" and "funky" music. The Mwandishi albums – though these days seen as respected early fusion recordings – had seen mixed reviews and poor sales, so it is probable that Hancock was motivated by financial concerns as well as artistic restlessness.[citation needed] Hancock was also bothered by the fact that many people did not understand avant-garde music. He explained that he loved funk music, especially Sly Stone's music, so he wanted to try to make funk himself.
He gathered a new band, which he called The Headhunters, keeping only Maupin from the sextet and adding bassist Paul Jackson, percussionist Bill Summers, and drummer Harvey Mason. The album Head Hunters, released in 1973, was a major hit and crossed over to pop audiences, though it prompted criticism from some jazz fans. Head Hunters was recorded at Different Fur studios.
Despite charges of "selling out", Stephen Erlewine of Allmusic positively reviewed the album among other friendly critics, saying, "Head Hunters still sounds fresh and vital three decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop."[9]
Mason was replaced by Mike Clark, and the band released a second album, Thrust, the following year. (A live album from a Japan performance, consisting of compositions from those first two Head Hunters releases was released in 1975 as Flood. The record has since been released on CD in Japan.) This was almost as well received as its predecessor, if not attaining the same level of commercial success. The Headhunters made another successful album (called Survival of the Fittest) without Hancock, while Hancock himself started to make even more commercial albums, often featuring members of the band, but no longer billed as The Headhunters. The Headhunters reunited with Hancock in 1998 for Return of the Headhunters, and a version of the band (featuring Jackson and Clark) continues to play live and record.
In 1973, Hancock composed his second masterful soundtrack to the controversial film The Spook Who Sat By The Door. Then in 1974, he also composed the soundtrack to the first Death Wish film. One of his memorable songs, "Joanna's Theme", would later be re-recorded in 1997 on his duet album with Wayne Shorter 1 + 1.
Hancock's next jazz-funk albums of the 1970s were Man-Child (1975), and Secrets (1976), which point toward the more commercial direction Hancock would take over the next decade. These albums feature the members of the 'Headhunters' band, but also a variety of other musicians in important roles.
[edit] Back to the basics: VSOP and Future Shock
During late 1970s and early 1980s, Hancock toured with his "V.S.O.P." quintet, which featured all the members of the 1960s Miles Davis quintet except Davis, who was replaced by trumpet giant Freddie Hubbard. There was constant speculation that one day Davis would reunite with his classic band, but he never did so. VSOP recorded several live albums in the late 1970s, including VSOP (1976), and VSOP: The Quintet (1977).
In 1978, Hancock recorded a duet with Chick Corea, who had replaced him in the Miles Davis band a decade earlier. He also released a solo acoustic piano album titled The Piano (1978), which, like so many Hancock albums at the time, was initially released only in Japan. (It was finally released in the US in 2004.) Several other Japan-only releases have yet to surface in the US, such as Dedication (1974), VSOP: Tempest in the Colosseum (1977), and Direct Step (1978). Live Under the Sky was a VSOP album remastered for the US in 2004, and included an entire second concert from the July 1979 tour.
From 1978–1982, Hancock recorded many albums consisting of jazz-inflected disco and pop music, beginning with Sunlight (featuring guest musicians including Tony Williams and Jaco Pastorius on the last track) (1978). Singing through a vocoder, he earned a British hit,[10] "I Thought It Was You", although critics were unimpressed.[11] This led to more vocoder on the 1979 follow-up, Feets, Don't Fail Me Now, which gave him another UK hit in "You Bet Your Love".[10] Albums such as Monster (1980), Magic Windows (1981), and Lite Me Up (1982) were some of Hancock's most criticized and unwelcomed albums, the market at the time being somewhat saturated with similar pop-jazz hybrids from the likes of former bandmate Freddie Hubbard. Hancock himself had quite a limited role in some of those albums, leaving singing, composing and even producing to others. Mr. Hands (1980) is perhaps the one album during this period that was critically acclaimed. To the delight of many fans, there were no vocals on the album, and one track featured Jaco Pastorius on bass. The album contained a wide variety of different styles, including a disco instrumental song, a Latin-jazz number and an electronic piece in which Hancock plays alone with the help of computers.
Hancock also found time to record more traditional jazz while creating more commercially oriented music. He toured with Tony Williams and Ron Carter in 1981, recording Herbie Hancock Trio, a five-track live album released only in Japan. A month later, he recorded Quartet with Wynton Marsalis, released in the US the following year. Hancock, Williams and Carter toured internationally with Wynton and his brother Branford Marsalis in what was affectionately known as "VSOP II". This quintet can be heard on Marsalis' debut album on Columbia (1981). In 1982 he contributed to the Simple Minds album New Gold Dream (81,82,83,84), playing a synthesizer solo on the track "Hunter and The Hunted".
In 1983, Hancock had a mainstream hit with the Grammy-award winning instrumental single "Rockit" from the album Future Shock. It was perhaps the first mainstream single to feature scratching, and also featured an innovative animated music video which was directed by Godley and Creme and showed several robot-like artworks by Jim Whiting. The video was a hit on MTV and reached No.8 in the UK.[12] The video won five different categories at the inaugural MTV Video Music Awards. This single ushered in a collaboration with noted bassist and producer Bill Laswell. Hancock experimented with electronic music on a string of three LPs produced by Laswell: Future Shock (1983), Sound-System (1984) and Perfect Machine (1988). Despite the success of "Rockit", Hancock's trio of Laswell-produced albums (particularly the latter two) are among the most critically derided of his entire career, perhaps even more so than his erstwhile pop-jazz experiments. Hancock's level of actual contribution to these albums was also questioned, with some critics contending that the Laswell albums should have been labelled "Bill Laswell featuring Herbie Hancock".
During this period, he appeared onstage at the Grammy awards with Stevie Wonder, Howard Jones, and Thomas Dolby, in a famous synthesizer jam (The video on Youtube can be found here.). Lesser known works from the 1980s are the live album Jazz Africa and the studio album Village Life (1984), which were recorded with Gambian kora player Foday Musa Suso.[13] Also, in 1985 Hancock performed as a guest on the album So Red The Rose by the Duran Duran offshoot group Arcadia. He also provided introductory and closing comments for the PBS rebroadcast in the United States of the BBC educational series from the mid-1980s, Rockschool (not to be confused with the most recent Gene Simmons' Rock School series).
In 1986, Hancock performed and acted in the film 'Round Midnight. He also wrote the score/soundtrack, for which he won an Academy Award for Original Music Score. Often he would write music for TV commercials. "Maiden Voyage", in fact, started out as a cologne advertisement. At the end of the Perfect Machine tour, Hancock decided to leave Columbia Records after a 15-plus-year relationship.
As of June 2005, almost half of his Columbia recordings have been remastered. The first three US releases, Sextant, Head Hunters and Thrust as well as the last four releases Future Shock, Sound-System, the soundtrack to Round Midnight and Perfect Machine. Everything released in America from Man-Child to Quartet has yet to be remastered. Some albums, made and initially released in the US, were remastered between 1999 and 2001 in other countries such as Magic Windows and Monster. Hancock also re-released some of his Japan-only releases in the West, such as The Piano.
1990s and later[link]
After leaving Columbia, Hancock took a break. Then, with friends Ron Carter, Tony Williams, Wayne Shorter, and Davis admirer Wallace Roney, they recorded A Tribute to Miles, which was released in 1994. The album contained two live recordings and studio recording classics, with Roney playing Davis's part as trumpet player. The album won a Grammy for best group album. He also toured with Jack DeJohnette, Dave Holland and Pat Metheny in 1990 on their Parallel Realities tour, which included a memorable performance at the Montreux Jazz Festival in July 1990.
Hancock's next album, Dis Is Da Drum, released in 1994, saw him return to Acid Jazz. Also in 1994, he appeared on the Red Hot Organization's compilation album Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African-American community, was heralded as "Album of the Year" by Time Magazine.
1995's The New Standard found Hancock and an all-star band including John Scofield, Jack DeJohnette and Michael Brecker interpreting pop songs by Nirvana, Stevie Wonder, The Beatles, Prince, Peter Gabriel and others. A 1997 duet album with Wayne Shorter entitled 1 + 1 was successful, the song "Aung San Suu Kyi" winning the Grammy Award for Best Instrumental Composition. Hancock also achieved great success in 1998 with his album Gershwin's World, which featured inventive readings of George and Ira Gershwin standards by Hancock and a plethora of guest stars, including Stevie Wonder, Joni Mitchell and Shorter. Hancock toured the world in the support of Gershwin's World with a sextet that featured Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson.
In 2001, Hancock recorded Future2Future, which reunited Hancock with Bill Laswell and featured doses of electronica as well as turntablist Rob Swift of The X-Ecutioners. Hancock later toured with the band, and released a live concert DVD with a different lineup which also included the "Rockit" music video. Also in 2001, Hancock partnered with Michael Brecker and Roy Hargrove to record a live concert album saluting Davis and John Coltrane entitled Directions in Music: Live at Massey Hall, recorded live in Toronto. The threesome toured to support the album, and toured on and off through 2005.
The year 2005 saw the release of a duet album called Possibilities. It features duets with Carlos Santana, Paul Simon, Annie Lennox, John Mayer, Christina Aguilera, Sting and others. In 2006, Possibilities was nominated for Grammy awards in two categories: "A Song For You", featuring Christina Aguilera was nominated for a Grammy Award for Best Pop Instrumental Performance, and "Gelo No Montanha", featuring Trey Anastasio on guitar, was nominated for a Grammy Award for Best Instrumental Performance. Neither nomination resulted in an award.
Also in 2005, Hancock toured Europe with a new quartet that included Beninese guitarist Lionel Loueke, and explored textures ranging from ambient to straight jazz to African music. Plus, during the summer of 2005, Hancock re-staffed the famous Headhunters and went on tour with them, including a performance at The Bonnaroo Music & Arts Festival.
File:Herbie Hancock 2005.JPG
Hancock playing at the XM Sonic Stage at The Bonnaroo Music & Arts Festival
However, this lineup did not consist of any of the original Headhunters musicians. The group included Marcus Miller, Terri Lyne Carrington, Lionel Loueke and John Mayer. Hancock also served as the first artist in residence for Bonnaroo that summer.
Also in 2006, Sony BMG Music Entertainment (which bought out Hancock's old label, Columbia Records) released the two-disc retrospective The Essential Herbie Hancock. This two-disc set is the first compilation of Herbie's work at Warner Bros. Records, Blue Note Records, Columbia and at Verve/Polygram. This became Hancock's second major compilation of work since the 2002 Columbia-onlyThe Herbie Hancock Box, which was released at first in a plastic 4x4 cube then re-released in 2004 in a long box set. Hancock also in 2006, recorded a new song with Josh Groban and Eric Mouquet (co-founder of Deep Forest) entitled "Machine". It is featured on Josh Groban's CD Awake. Hancock also recorded and improvised with guitarist Lionel Loueke on Loueke's debut album Virgin Forest on the ObliqSound label in 2006, resulting in two improvisational tracks "Le Réveil des Agneaux (The Awakening of the Lambs)" and "La Poursuite du lion (The Lion's Pursuit)".
Hancock, a longtime associate and friend of Joni Mitchell released a 2007 album, River: The Joni Letters, that paid tribute to her work. Norah Jones and Tina Turner recorded vocals,[14] as did Corinne Bailey Rae, and Leonard Cohen contributed a spoken piece set to Hancock's piano. Mitchell herself also made an appearance. The album was released on September 25, simultaneously with the release of Mitchell's album Shine.[15] "River" was nominated for and won the 2008 Album of the Year Grammy Award, only the second jazz album ever to receive either honor. The album also won a Grammy for Best Contemporary Jazz Album, and the song "Both Sides Now" was nominated for Best Instrumental Jazz Solo.
Recently Hancock performed at the Shriner's Children's Hospital Charity Fundraiser with Sheila E, Jim Brickman, Kirk Whalum and Wendy Alane Wright.
His latest work includes assisting the production of the Kanye West track "RoboCop", found on 808s & Heartbreak.
On June 14, 2008, Hancock performed at Rhythm on the Vine at the South Coast Winery in Temecula, California, for Shriners Hospital for Children. Other performers at the event, that raised $515,000 for Shriners Hospital, were contemporary music artist Jim Brickman, and Sheila E. & the E. Family Band.[16]
On January 18, 2009, Hancock performed at the We Are One concert, marking the start of inaugural celebrations for American President Barack Obama.[17] Hancock also performed the Rhapsody in Blue at the 2009 Classical BRIT Awards with classical pianist Lang Lang. Hancock was named as the Los Angeles Philharmonic's creative chair for jazz for 2010–12.[18] In June 2010, Hancock released his newest album, The Imagine Project.
On June 5, 2010, Hancock received an Alumni Award from his alma mater, Grinnell College.[19]
Discography[link]
Main article: Herbie Hancock discography
| Title | Year | Label | ||
|---|---|---|---|---|
| Takin' Off | 1962 | Blue Note | ||
| My Point of View | 1963 | Blue Note | ||
| Inventions and Dimensions | 1963 | Blue Note | ||
| Empyrean Isles | 1964 | Blue Note | ||
| Maiden Voyage | 1965 | Blue Note | ||
| Blow-Up (Soundtrack) | 1966 | MGM | ||
| Speak Like a Child | 1968 | Blue Note | ||
| The Prisoner | 1969 | Blue Note | ||
| Fat Albert Rotunda | 1969 | Warner Bros. | ||
| Mwandishi | 1970 | Warner Bros. | ||
| He Who Lives In Many Places (with bassist Terry Plumeri) | 1971 | Airborne. | ||
| Crossings | 1972 | Warner Bros. | ||
| Sextant | 1973 | Columbia | ||
| Head Hunters | 1973 | Columbia | ||
| Thrust | 1974 | Columbia | ||
| Death Wish (Soundtrack) | 1974 | Columbia | ||
| Dedication | 1974 | Columbia | ||
| Man-Child | 1975 | Columbia | ||
| Flood (Live album) | 1975 | Columbia | ||
| Secrets | 1976 | Columbia | ||
| VSOP (Live album) | 1976 | Columbia | ||
| Herbie Hancock Trio | 1977 | Columbia | ||
| VSOP: The Quintet (Live album) | 1977 | Columbia | ||
| VSOP: Tempest in the Colosseum (Live album) | 1977 | Columbia | ||
| Sunlight | 1977 | Columbia | ||
| Directstep | 1978 | Columbia | ||
| An Evening with Herbie Hancock & Chick Corea: In Concert (Live album with Chick Corea) | 1978 | Columbia | ||
| The Piano | 1979 | Columbia | ||
| Feets, Don't Fail Me Now | 1979 | Columbia | ||
| VSOP: Live Under the Sky (Live album) | 1979 | Columbia | ||
| CoreaHancock (Live album with Chick Corea) | 1979 | Polydor | ||
| Monster | 1980 | Columbia | ||
| Mr. Hands | 1980 | Columbia | ||
| Herbie Hancock Trio | 1981 | Columbia | ||
| Magic Windows | 1981 | Columbia | ||
| Lite Me Up | 1982 | Columbia | ||
| Quartet (Live album) | 1982 | Columbia | ||
| Future Shock | 1983 | Columbia | ||
| Sound-System | 1984 | Columbia | ||
| Village Life (with Foday Musa Suso) | 1985 | Columbia | ||
| Round Midnight (Soundtrack) | 1986 | Columbia | ||
| Jazz Africa (Live album with Foday Musa Suso) | 1987 | Polygram | ||
| Perfect Machine | 1988 | Columbia | ||
| A Tribute to Miles | 1994 | Qwest/Warner Bros. | ||
| Dis Is Da Drum | 1994 | Verve/Mercury | ||
| The New Standard | 1995 | Verve | ||
| 1 + 1 (with Wayne Shorter) | 1997 | Verve | ||
| Gershwin's World | 1998 | Verve | ||
| Future2Future | 2001 | Transparent | ||
| Directions in Music: Live at Massey Hall (Live album) | 2002 | Verve | ||
| Possibilities | 2005 | Concord/Hear Music | ||
| De Luxe (Unofficial) | 2005 | Leader Music (Argentina) | ||
| River: The Joni Letters | 2007 | Verve | ||
| Then and Now: the Definitive Herbie Hancock | 2008 | Verve | ||
| The Imagine Project | 2010 | Hancock |
Filmography[link]
As a Leader[link]
- 2000: Dejohnette, Hancock, Holland and Metheny – Live in Concert
- 2002: Herbie Hancock Trio: Hurricane! with Ron Carter and Billy Cobham[20]
- 2002: The Jazz Channel Presents Herbie Hancock (BET on Jazz) with Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson (recorded in 2000)
- 2004: Herbie Hancock – Future2Future Live
- 2006: Herbie Hancock – Possibilities with John Mayer, Christina Aguilera, Joss Stone, and more
Awards[link]
Academy Awards[link]
- 1986, Original Soundtrack, for Round Midnight
Grammy Awards[link]
- 1984, Best R&B Instrumental Performance, for Rockit
- 1985, Best R&B Instrumental Performance, for Sound-System
- 1988, Best Instrumental Composition, for Call Sheet Blues
- 1995, Best Jazz Instrumental Performance, Individual Or Group, for A Tribute to Miles
- 1997, Best Instrumental Composition, for Manhattan (Island Of Lights And Love)
- 1999, Best Instrumental Arrangement Accompanying Vocal(s), for St. Louis Blues
- 1999, Best Jazz Instrumental Performance, Individual Or Group, for Gershwin's World
- 2003, Best Jazz Instrumental Album, Individual or Group, for Directions in Music: Live at Massey Hall
- 2003, Best Jazz Instrumental Solo, for My Ship
- 2005, Best Jazz Instrumental Solo, for Speak Like a Child
- 2008, Album of the Year, for River: The Joni Letters
- 2008, Best Contemporary Jazz Album, for River: The Joni Letters
- 2011, Best Improvised Jazz Solo, for A Change Is Gonna Come
- 2011, Best Pop Collaboration with Vocals, for Imagine
Playboy Music Poll[link]
- Best Jazz Group, 1985
- Best Jazz Keyboards, 1985
- Best Jazz Album – Rockit, 1985
- Best Jazz Keyboards, 1986
- Best R&B Instrumentalist, 1987
- Best Jazz Instrumentalist, 1988
Keyboard Magazine's Readers Poll[link]
- Best Jazz & Pop Keyboardist, 1983
- Best Jazz Pianist, 1987
- Best Jazz Keyboardist, 1987
- Best Jazz Pianist, 1988
Other notable awards[link]
- MTV Awards (5 awards in total) – Best Concept Video – Rockit, 1983–84
- Gold Note Jazz Awards – NY Chapter of the National Black MBA Association, 1985
- French Award Officer of the Order of Arts & Letters - Paris, 1985
- BMI Film Music Award Round Midnight, 1986
- U.S. Radio Award "Best Original Music Scoring – Thom McAnn Shoes", 1986
- Los Angeles Film Critics Association "Best Score – Round Midnight", 1986
- BMI Film Music Award Colors, 1989
- Miles Davis Award, granted by the Montreal International Jazz Festival, 1997
- Soul Train Music Award "Best Jazz Album – The New Standard", 1997
- Festival International Jazz de Montreal Prix Miles Davis, 1997
- VH1's 100 Greatest Videos Rockit is "10th Greatest Video", 2001
- NEA Jazz Masters Award, 2004
- Downbeat Magazine Readers Poll Hall of Fame, 2005
References[link]
- ^ "Herbie Hancock (American musician)". Encyclopædia Britannica. http://www.britannica.com/EBchecked/topic/254052/Herbie-Hancock. Retrieved February 1, 2012.
- ^ Reiss, Valerie. "Beliefnet Presents: Herbie Hancock on Buddhism, Buddhist, Jazz, Music". Beliefnet.com. http://www.beliefnet.com/Faiths/Buddhism/2007/10/Herbie-Fully-Buddhist.aspx. Retrieved 2011-10-22.
- ^ Burk, Greg (February 24, 2008). "He's still full of surprises". The Los Angeles Times. http://articles.latimes.com/2008/feb/24/entertainment/ca-hancock24.
- ^ Hentz, Stefan (August 3, 2010). "Herbie Hancock interview". The Daily Telegraph. http://www.telegraph.co.uk/culture/music/worldfolkandjazz/7924263/Herbie-Hancock-interview.html. Retrieved February 1, 2012.
- ^ a b c Dobbins, Bill and Kernfeld, Barry. "Herbie Hancock", Grove Music Online, ed. L. Macy (accessed February 19 2007), grovemusic.com (subscription access).
- ^ Coryell, Julie and Friedman, Laura (2000). Jazz-rock fusion, the people, the music. Hal Leonard Corporation. p. 204. ISBN 0-7935-9941-5. http://books.google.com/books?id=XwWdk3x9u28C.
- ^ "CHRIS ANDERSON". Review of Love Locked Out. Mapleshade Music. http://www.mapleshaderecords.com/cds/56922.php. Retrieved July 1, 2010.
- ^ The tune Dr Honoris Causa written by Joe Zawinul and performed by Cannonball Adderley's quintet is an ironic celebration of the honorary degree.
- ^ Erlewine, Stephen Thomas (2010). "Headhunters Herbie Hancock". Allmusic review of Headhunters. http://www.allmusic.com/album/r140166/review. Retrieved July 1, 2010.
- ^ a b Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 242. ISBN 1-904994-10-5.
- ^ "Herbie Hancock". Warr.org. http://www.warr.org/hancock.html. Retrieved 2011-10-22.
- ^ Brown, T. Kutner, J. & Warwick, N. The Complete Book of the British Charts. Omnibus Press (ISBN 0711990751), 2002, p.447
- ^ http://www.pandora.com/music/artist/3feb50074a703d1a
- ^ Andre Mayer (June 18, 2007). "Key figure: An interview with jazz legend Herbie Hancock". CBC News. http://www.cbc.ca/arts/music/hancock.html. Retrieved September 11, 2007.
- ^ JoniMitchell.com
- ^ Shriners Hospitals for Children, "About Rhythm on the Vine", Rhythm on the Vine, 2008.
- ^ "Obama: People Who Love This Country Can Change It". Foxnews. January 18, 2009. http://www.foxnews.com/politics/2009/01/18/obama-family-arrives-concert-lincoln-memorial/. Retrieved February 9, 2009.
- ^ Haga, E. Herbie Hancock Named L.A. Philharmonic's Next Creative Chair for Jazz, Jazz Times, August 5, 2009.
- ^ Alumni Award: Herbert J. Hancock '60, http://loggia.grinnell.edu/Page.aspx?pid=1098 Hancock received an Alumni Award from Grinnell College at the annual Alumni Assembly June 5, 2010.
- ^ "VIEW DVD Listing". View.com. http://www.view.com/herbie_hancock_trio_hurricane_dvd.aspx. Retrieved 2011-10-22.
- ^ Hancock named Harvard Foundation Artist of the Year – The Harvard University Gazette[dead link]
External links[link]
- Official website of Herbie Hancock
- Official Herbie Hancock MySpace page
- Herbie Hancock at Verve Records
- River:The Joni Letters at Verve Records
- Possibilities Herbie Hancock
- Discography Herbie Hancock Discography
- Interview with Herbie Hancock on music and technology from AppleMatters
- Interview with Herbie Hancock on the "Possibilities" album release from LiveDaily
- Herbie Hancock: Outside The Comfort Zone Herbie Hancock interview from JamBase
- "Herbie Hancock: Essential Recordings" by Ted Gioia (www.jazz.com)
- Herbie Hancock's Grinnell College Alumni Award citation from Grinnell College Alumni Assembly on June 5, 2010.
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| Persondata | |
|---|---|
| Name | Hancock, Herbie |
| Alternative names | Hancock, Herbert Jeffrey |
| Short description | Pianist, composer, and bandleader |
| Date of birth | April 12, 1940 |
| Place of birth | Chicago, Illinois, United States |
| Date of death | |
| Place of death | |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Art Blakey | |
|---|---|
 Blakey |
|
| Background information | |
| Birth name | Arthur Blakey |
| Also known as | Abdullah Ibn Buhaina |
| Born | (1919-10-11)October 11, 1919 Pittsburgh, Pennsylvania United States |
| Died | October 16, 1990(1990-10-16) (aged 71) New York City, New York, U.S. |
| Genres | Hard bop, bebop |
| Occupations | Drummer, bandleader |
| Instruments | Drums, percussion |
| Years active | 1942–1990 |
| Labels | Blue Note |
| Associated acts | Art Blakey & the Jazz Messengers, Art Blakey Quartet, Art Blakey Quintet, Art Blakey & the Afrocuban Boys |
| Website | www.artblakey.com |
Arthur "Art" Blakey (October 11, 1919 – October 16, 1990),[1] 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;[2] Blakey's groups are matched only by those of Miles Davis in this regard.[3]
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.
Contents |
Before the Messengers[link]
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.[4]
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,[5] 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.[4]
The Jazz Messengers[link]
In 1947 Blakey organized the Seventeen Messengers, a rehearsal band, and recorded with an octet called the Jazz Messengers.[6] 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.[1] 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.[1] 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).[citation needed]
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).[4]
Later career[link]
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."[1] 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."[7] 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.[1][7]
Jazz Messengers alumni[link]
![[icon]](http://web.archive.org./web/20121030155912/http://en.wikipedia.org/wiki/File:Wiki_letter_w_cropped.svg){kind=small} |
This section requires expansion. |
- 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
- Drums
Awards[link]
- 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[link]
Main article: Art Blakey discography
References[link]
- ^ a b c d e allmusic Biography
- ^ "Art Blakey, Jazz Great, Is Dead; A Drummer and Band Leader, 71". New York Times article by Peter Watrous. October 17, 1990. http://query.nytimes.com/gst/fullpage.html?res=9C0CE1D61030F934A25753C1A966958260. Retrieved April 25, 2010.
- ^ "Miles Davis III Discography". Miles Davis' biography by Scott Yanow of Allmusic.. http://www.perseusbooksgroup.com/features/miles/bio.html.
- ^ a b c Grove Music Online: The New Grove Dictionary of Music and Musicians, 2nd Edition (2001)
- ^ "Monk's Music". Monkzone.com. 1957-06-26. http://www.monkzone.com/linotes/Monk%27s%20Music%20(Keepnews).htm. Retrieved 2011-10-06.
- ^ Rosenthal, David, H.. Hard Bop: Jazz and Black Music 1955-1965. New York: Oxford University Press. ISBN 0-19-505869-0.
- ^ a b Wynn, Ron (1994), Ron Wynn, ed., All Music Guide to Jazz, M. Erlewine, V. Bogdanov, San Francisco: Miller Freeman, p. 90, ISBN 0-87930-308-5
External links[link]
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Wikimedia Commons has media related to: Art Blakey |
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Wikiquote has a collection of quotations related to: Art Blakey |
| Persondata | |
|---|---|
| Name | Blakey, Art |
| Alternative names | |
| Short description | |
| Date of birth | October 11, 1919 |
| Place of birth | Pittsburgh, Pennsylvania United States |
| Date of death | October 16, 1990 |
| Place of death | New York City, New York, U.S. |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Anthony Braxton | |
|---|---|
 |
|
| Background information | |
| Born | (1945-06-04)June 4, 1945 |
| Origin | Chicago, Illinois, U.S. |
| Genres | Avant-garde, jazz |
| Occupations | Bandleader and composer |
| Instruments | Saxophones, clarinet, flute, piano |
Anthony Braxton (born June 4, 1945) is an American composer, saxophonist, clarinettist, flautist, pianist, and philosopher.[1] Braxton has released well over 100 albums since the 1960s. Among the array of instruments he plays are the flute; the sopranino, soprano, C-melody, F mezzo-soprano, E-flat alto, baritone, bass, and contrabass saxophones; and the E-flat, B-flat, and contrabass clarinets.
Braxton studied philosophy at Roosevelt University. He has taught at Mills College and as of 2012 is Professor of Music at Wesleyan University in Middletown, Connecticut, teaching music composition, music history, and improvisation.
Contents |
Biography[link]
Early in his career, Braxton led a trio with violinist Leroy Jenkins and trumpeter Wadada Leo Smith and was involved with The Association for the Advancement of Creative Musicians, the "AACM", founded in Chicago, Braxton's birthplace.
In 1968, Braxton recorded the double LP For Alto. There had been occasional unaccompanied saxophone recordings previously (notably Coleman Hawkins' "Picasso"), but For Alto was the first full-length album for unaccompanied saxophone. The album's songs were dedicated to Cecil Taylor and John Cage, among others. The album influenced other artists like Steve Lacy (soprano sax) and George Lewis (trombone), who would go on to record their own acclaimed solo albums.
Braxton joined pianist Chick Corea's existing trio with Dave Holland (double bass) and Barry Altschul (drums) to form the short-lived avant garde quartet Circle, around 1970. When Corea broke up the group, forming Return to Forever to pursue a fusion-based style of composition and recording, Holland and Altschul remained with Braxton for much of the 1970s as part of a quartet, with the rotating brass chair variously filled by trumpeter Kenny Wheeler, or trombonists George Lewis or Ray Anderson. This group recorded on Arista Records. The core trio plus saxophonist Sam Rivers recorded Holland's Conference of the Birds (ECM). In the 1970s he also recorded duets with Lewis and with synthesizer player Richard Teitelbaum.
In 1975, he released an album on Muse Records titled Muhal with the Creative Construction Company, a group consisting of Richard Davis (bass), Muhal Richard Abrams (cello), Steve McCall (drums), Muhal Richard Abrams (piano), Wadada Leo Smith (trumpet) and Leroy Jenkins (violin).
In the late 1970s, he recorded two large ensemble recordings, Creative Orchestra Music 1976, inspired by American jazz and marching band traditions, and For Four Orchestras. Both of these records were released on Arista.
Braxton's regular group in the 1980s and early 1990s was a quartet with Marilyn Crispell (piano), Mark Dresser (double bass) and Gerry Hemingway (drums), "his finest and longest standing band".[2]
In 1994, he was granted a MacArthur Fellowship. From 1995 to 2006, Braxton's output as a composer concentrated almost exclusively on what he calls Ghost Trance Music, which introduces a steady pulse to his music and also allows the simultaneous performance of any piece by the performers. Many of the earliest Ghost Trance recordings were released on his own Braxton House label (now defunct). His final Ghost Trance compositions were performed with a "12+1tet" at New York's Iridium club in 2006; the complete four-night residency was recorded and released in 2007 by the Firehouse 12 label.
In addition, during the 1990s and early 2000s, Braxton created a prodigiously large body of jazz standard recordings, often featuring him as a pianist rather than saxophonist. He had frequently performed such material in the 1970s and 1980s, but only recorded it occasionally. Now he began to release multidisc sets of such material, climaxing in two quadruple-CD sets for Leo Records recorded on tour in 2003.
More recently he has created new series of compositions, such as the Falling River Musics that are documented on 2+2 Compositions (482 Music, 2005). In 2005, Braxton was a guest performer with the noise group Wolf Eyes at the FIMAV Festival.[3] A recording of the concert, Black Vomit, is described by critic François Couture[4] as sympathetic and effective collaboration: "something really clicked between these artists, and it was all in good fun."
One of his children, Tyondai Braxton, is also a professional musician. He was a guitarist, keyboardist and vocalist with American math rock band Battles.
Beyond his musical career, Braxton is an avid chess player; for a time in the early 1970s he was a professional chess hustler, playing in New York in Washington Square Park.
Music[link]
Braxton's music is difficult to categorize, and because of this, he likes to reference his works (and the works of his collaborators and students) as simply "creative music".[citation needed] He has claimed in numerous interviews that he is not a jazz musician,[citation needed] though many of his works have been jazz and improvisation oriented, and he has released many albums of jazz standards. In addition to these, Braxton has released an increasing number of works for large-scale orchestras, including two opera cycles.
Braxton's music combines an ecstatic, primal vigor with highly theoretical and mystically influenced systems. He is the author of multiple volumes explaining his theories and pieces, such as the philosophical three-volume Triaxium Writings and the five-volume Composition Notes, both published by Frog Peak Music. While his compositions and improvisations can be characterized as avant-garde, many of his pieces have a swing feel and rhythmic angularity that are overtly indebted to Charlie Parker and the bebop tradition.
Though much of his music can be safely classified as jazz, Braxton has worked in a wide variety of other genres and has sometimes had a prickly relationship with the jazz mainstream. Critic Chris Kelsey writes:
Although Braxton exhibited a genuine — if highly idiosyncratic — ability to play older forms (influenced especially by saxophonists Warne Marsh, John Coltrane, Paul Desmond, and Eric Dolphy), he was never really accepted by the jazz establishment, due to his manifest infatuation with the practices of such non-jazz artists as John Cage and Karlheinz Stockhausen. Many of the mainstream's most popular musicians (Wynton Marsalis among them) insisted that Braxton's music was not jazz at all. Whatever one calls it, however, there is no questioning the originality of his vision; Anthony Braxton created music of enormous sophistication and passion that was unlike anything else that had come before it.[1]
File:ABComp65.gif
The graphical title for Composition No. 65 - the abstract shapes and cryptic letters are typical in such titles
Braxton is notorious for naming his pieces as diagrams, typically labeled with cryptic numbers and letters. Sometimes these diagrams have an obvious relation to the music — for instance, on the album For Trio the diagram-title indicates the physical positions of the performers, but in many cases the diagram-titles remain inscrutable. The titles can themselves be musical notation indicating to the performer how a piece is played. Sometimes the letters are identifiable as the initials of Braxton's friends and musical colleagues.
Braxton has pointedly refused to explain their significance, claiming that he himself is still discovering their meaning.[citation needed] Braxton eventually settled on a system of opus-numbers to make referring to these pieces simpler, and earlier pieces have had opus-numbers retrospectively added to them.
By the mid-to-late 1980s, Braxton's titles had become increasingly complex. They began to incorporate drawings and illustrations, such as in the title of his four act opera cycle, Trillium R. Others began to include life-like images of inanimate objects, namely train cars. The latter was most notably seen after the advent of his Ghost Trance Music system.
In the twenty-first century, he still actively performs with ensembles of varying sizes, and has to date written well over 350 compositions. He has just recently finished the last batch of Ghost Trance Music compositions, and has now shown his interest in three other music systems: The Diamond Curtain Wall Trio, in which Braxton implements the aid of the computer audio programming language SuperCollider; Falling River Musics; and, most recently, Echo Echo Mirror House music, which is meant to hone in many different types of performance arts in addition to music. In addition to their own instruments, musicians playing Echo Echo Mirror House compositions incorporate amplified mp3 players loaded with Braxton's discography to create a unique sound-space.
Discography[link]
Main article: Anthony Braxton discography
References[link]
- ^ a b Biography at Allmusic
- ^ allmusic ((( Quartet (Santa Cruz) 1993 > Review )))
- ^ Nick Cain, "Noise," The Wire Primers: A Guide to Modern Music, Rob Young, ed., London: Verso, 2009, p. 34
- ^ http://www.allmusic.com/album/black-vomit-r840353/review
Bibliography[link]
- Braxton, Anthony - Tri-Axium Writings Volumes 1-3 - 1985.
- Braxton, Anthony - Composition Notes A-E - 1988.
- Ford, Alun - Anthony Braxton (Creative Music Continuum) - Stride, 2004.
- Heffley, Mike - The Music Of Anthony Braxton - Greenwood, 1996.
- Lock, Graham - Forces in Motion: The Music and Thoughts of Anthony Braxton - Da Capo, 1989.
- Lock, Graham - Mixtery (A Festschrift For Anthony Braxton) - Stride, 1995.
- Lock, Graham - Blutopia: Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington, and Anthony Braxton - Duke University, 2000.
- Radano, Ronald Michael - New Musical Figurations (Anthony Braxton's Cultural Critique) - University of Chicago, 1994.
- Sinclair, John and Robert Levin - Introducing Anthony Braxton - Music & Politics - World, 1970
- Wilson, Peter Niklas - Anthony Braxton. Sein Leben. Seine Musik. Seine Schallplatten. - Oreos, 1993.
External links[link]
- Anthony Braxton and the Tri-Centric Foundation: official website
- Frog Peak: Anthony Braxton
- Comprehensive Discography
- Interview-excerpt on restructuralism, stylism & traditionalism
- 'The Third Millennial Interview' by Mike Heffley, 2001 (100+ pages)
- Research papers by Anthony Braxton
- Lovely Music: Anthony Braxton
- : Composite Interview, WKCR, 1993-1995
- [1] Interview for Duo Palindrome (2002) w/ Andrew Cyrille
- Breakfast Conversation in Concert: Anthony Braxton interviewed by Roland Young, Glen Howell, and Sandy Silver, before his concert at the Palace of the Legion of Honor, 10 October 1971.
- Braxton interview concerning the application of his musical language (1985)
- Epitonic.com: Anthony Braxton featuring tracks from 19 Solo Compositions, 1988
- Art of the States: Anthony Braxton Composition No. 186 (1996) and Composition 304 (+ 91, 151, 164) (2002)
- Video of Braxton playing a Contrabass Saxophone at Iridium Jazz Club
- Most of Braxton's recordings for Leo Records are available from emusic. This is no longer the case, but Leo Records has made almost all of Braxton's Leo sessions available as downloads from their own site.
- Anthony Braxton interview at allaboutjazz.com
- Introducing Anthony Braxton by Robert Levin (1970)
| Persondata | |
|---|---|
| Name | Braxton, Anthony |
| Alternative names | |
| Short description | |
| Date of birth | June 4, 1945 |
| Place of birth | |
| Date of death | |
| Place of death | |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
- For other persons named John McLean, see John McLean.
| Jackie McLean | |
|---|---|
| Birth name | John Lenwood McLean |
| Born | (1931-05-17)May 17, 1931 New York City, New York, United States |
| Died | March 31, 2006(2006-03-31) (aged 74) Hartford, Connecticut, United States |
| Genres | Bop Hard bop Modal jazz Progressive jazz Mainstream jazz Post-bop |
| Occupations | Musician, bandleader, composer, educator, community activist |
| Instruments | Alto saxophone |
| Years active | 1951–2004 |
John Lenwood (Jackie) McLean (May 17, 1931 – March 31, 2006) was an American jazz alto saxophonist, composer, bandleader, educator, and is a member of the DownBeat Hall of Fame, born in New York City.[1]
Contents |
Biography[link]
McLean's father, John Sr., played guitar in Tiny Bradshaw's orchestra. After his father's death in 1939, Jackie's musical education was continued by his godfather, his record-store-owning stepfather, and several noted teachers. He also received informal tutoring from neighbors Thelonious Monk, Bud Powell, and Charlie Parker. During high school he played in a band with Kenny Drew, Sonny Rollins, and Andy Kirk Jr. (the tenor saxophonist son of Andy Kirk).
Along with Rollins, he played on Miles Davis' Dig album, when he was 19 years old. As a young man McLean also recorded with Gene Ammons, Charles Mingus on the seminal Pithecanthropus Erectus, George Wallington, and as a member of Art Blakey's Jazz Messengers. McLean joined Blakey after reportedly being punched by the volatile Mingus. Fearing for his life, McLean pulled out a knife and contemplated using it against Mingus in self-defense. He later stated that he was grateful that he did not stab the bassist.[2]
His early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without abandoning his foundation in hard bop. Throughout his career he was known for a distinctive tone, akin to the tenor saxophone and often described with such adjectives as "bitter-sweet", piercing, or searing; a slightly sharp pitch; and a strong foundation in the blues.
McLean was a heroin addict throughout his early career, and the resulting loss of his New York City cabaret card forced him to undertake a large number of recording dates; consequently, he produced an extensive body of recorded work in the 1950s and 1960s. He was under contract with Blue Note Records from 1959 to 1967, having previously recorded for Prestige. Blue Note offered better pay and more artistic control than other labels, and his work for this organization is highly regarded and includes leadership and sideman dates with a wide range of musicians, including Donald Byrd, Sonny Clark, Lee Morgan, Ornette Coleman, Dexter Gordon, Billy Higgins, Freddie Hubbard, Grachan Moncur III, Bobby Hutcherson, Mal Waldron, and many others.
In 1962 he recorded Let Freedom Ring for Blue Note. This album was the culmination of attempts he had made over the years to deal with harmonic problems in jazz, incorporating ideas from the free jazz developments of Ornette Coleman and the "new breed" which inspired his blending of hard bop with the 'new thing': "the search is on, Let Freedom Ring". Emblematic of his stylistic growth is the solo on his piece "Quadrangle" as compared to the version of the same tune on BST 4051, Jackie's Bag, recorded in 1959. Let Freedom Ring began a period in which he performed with avant-garde jazz musicians rather than the veteran hard bop performers he had been playing with previously. His adaptation of modal jazz and free jazz innovations to his vision of hard bop made his recordings from 1962 on distinctive.
McLean recorded with dozens of well-known musicians and had a gift for spotting talent. Saxophonist Tina Brooks, trumpeter Charles Tolliver, pianist Larry Willis, trumpeter Bill Hardman, and tubist Ray Draper were among those who benefited from McLean's support in the 1950s and 1960s. Drummers such as Tony Williams, Jack DeJohnette, Lenny White, Michael Carvin, and Carl Allen gained important early experience with McLean.
In 1967, his recording contract, like those of many other progressive musicians, was terminated by Blue Note's new management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a living, concentrating instead on touring. In 1968, he began teaching at The Hartt School of the University of Hartford. He later set up the university's African American Music Department (now the Jackie McLean Institute of Jazz) and its Bachelor of Music degree in Jazz Studies program. His Steeplechase recording, "New York Calling" showed that by 1980 the assimilation of all influences was complete, in this outstanding recording made with his son, René McLean.
In 1970, he and his wife, Dollie McLean, founded the Artists Collective, Inc. of Hartford, an organization dedicated to preserving the art and culture of the African Diaspora. It provides educational programs and instruction in dance, theatre, music and visual arts. The membership of McLean's later bands were drawn from his students in Hartford, including Steve Davis and his son René, who is a jazz saxophonist and flautist as well as a jazz educator. Also in McLean's Hartford group was Mark Berman, the jazz pianist and broadway conductor of Smokey Joe's Cafe and Rent. In 1979 he reached #53 in the UK Singles Chart with "Doctor Jackyll and Mister Funk".[3]
He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001 and numerous other national and international awards. McLean was the only American jazz musician to found a department of studies at a University and a community based organization almost simultaneously. Each has existed for over three decades.
After a long illness, McLean died on March 31, 2006, in Hartford, Connecticut. In 2006, Jackie McLean was elected to the DownBeat Hall of Fame via the International Critics Poll.
Discography[link]
As leader[link]
- Jubilee
- Presenting Jackie McLean (1955)
- Fat Jazz (1957)
- Prestige
- Lights Out! (1956)
- 4, 5 and 6 (1956)
- Jackie's Pal (1956)
- McLean's Scene (1957)
- Jackie McLean & Co. (1957)
- Makin' the Changes (1957)
- A Long Drink of the Blues (1957)
- Strange Blues (1957)
- Alto Madness (1957)
- Blue Note
- New Soil (1959)
- Swing, Swang, Swingin' (1959)
- Capuchin Swing (1960)
- Jackie's Bag (1959–60)
- Bluesnik (1961)
- A Fickle Sonance (1961)
- Let Freedom Ring (1962)
- Tippin' the Scales (1962)
- Vertigo (1962–63)
- One Step Beyond (1963)
- Destination... Out! (1963)
- It's Time! (1964)
- Action Action Action (1964)
- Right Now! (1965)
- Jacknife (1965)
- Consequence (1965)
- New and Old Gospel (1967)
- 'Bout Soul (1967)
- Demon's Dance (1967)
- One Night with Blue Note Preserved Volume 2 (1985) with Woody Shaw, McCoy Tyner, Cecil McBee and Jack DeJohnette
- It's About Time (1985) with McCoy Tyner
- Hat Trick (1996)
- Fire & Love (1998)
- Nature Boy (2000)
- SteepleChase
- Ode to Super (1973)
- Dr. Jackle (1979; recorded 1966)
- New York Calling (1979)
- Contour (1980)
- Dynasty (1990)
- Others
- The Jackie Mac Attack Live (1991)
- Rhythm Of the Earth (1992) Dreyfus
- The Complete Jubilee Sessions (2008) Lone Hill Jazz
As sideman[link]
With Gene Ammons
- The Happy Blues (1956)
- Jammin' with Gene (1956)
- Funky (1957)
- Jammin' in Hi Fi (1957)
With Art Blakey
- Hard Bop (1956)
- Drum Suite (1956)
- Ritual (1957)
With Kenny Burrell
- 2 Guitars with Jimmy Raney (1957)
With Donald Byrd
- 2 Trumpets with Art Farmer (1956)
- Off to the Races (1958)
- Fuego (1959)
- Byrd in Flight (1960)
With Sonny Clark
- Cool Struttin' (1958)
With Miles Davis
- Dig (1951)
- Quintet / Sextet (1955)
With Walter Davis Jr.
- Davis Cup (1959)
With Kenny Dorham
- Inta Somethin' (1961)
- Matador (1962)
With Ray Draper
- Tuba Sounds (1957)
With Dizzy Gillespie
- Bird Songs: The Final Recordings (Telarc, 1992)
- To Bird with Love (Telarc, 1992)
With Charles Mingus
- Pithecanthropus Erectus (1956)
- Blues and Roots (1958)
With Hank Mobley
- Mobley's Message (1956)
- Hi Voltage (1967)
With Grachan Moncur III
- Evolution (1963)
With Lee Morgan
- Lee-Way (1960)
- Tom Cat (1964)
- Cornbread (1965)
- Infinity (1965)
- Charisma (1966)
- The Sixth Sense (1967)
With Freddie Redd
- The Connection (1960)
- Shades of Redd (1960)
- Redd's Blues (1961)
With Jimmy Smith
- Open House (1960)
- Plain Talk (1960)
With Art Taylor
- Taylors Wailers (1957)
With Mal Waldron
- Mal 2 (1957)
- Like Old Time (1976)
- Left Alone '86 (1986)
With Jack Wilson
- Easterly Winds (1967)
With Michael Carvin
- Antiquity (1975)
Filmography[link]
- The Connection, as himself (Dir. Shirley Clarke)
- Jackie McLean on Mars (1980), as himself (Dir. Ken Levis)
- Ken Burns' Jazz (2000), as himself (Dir. Ken Burns)
References[link]
- ^ Allmusic biography
- ^ Liner notes to the album Dynasty
- ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 341. ISBN 1-904994-10-5.
Further reading[link]
- Derek Ansell, Sugar Free Saxophone: The Life and Music of Jackie McLean. London: Northway Publications, 2012. ISBN 978-0-9557888-6-4
External links[link]
- Jackie McLean complete discography from Music City
- Jackie McLean at Find a Grave
- Allmusic
- MusicWeb
- NEA Jazz Masters
- Official history of the Artists Collective Inc.
- History of the Artists Collective Inc.
- Jackie McLean on the Hard Bop Home Page
- Obituary in The Guardian (London) by John Fordham, April 3, 2006
- "Blues for Jackie," Obituary by Owen McNally in Hartford Courant (Hartford, CT) April 1, 2006
- New England Jazz History Database - Audio Interviews
- Jazz Portraits from the WGBH Archives: Jackie McLean a radio documentary from WGBH Radio Boston
| Persondata | |
|---|---|
| Name | Maclean, Jackie |
| Alternative names | |
| Short description | |
| Date of birth | May 17, 1931 |
| Place of birth | |
| Date of death | March 31, 2006 |
| Place of death | |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Jackie_McLean
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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