name	Toni Frissell
birth date	March 10, 1907
birth place	Manhattan, New York
death date	April 17, 1988
death place	Long Island, New York
occupation	Photographer
spouse	Francis M. Bacon, III
children	}}

Toni Frissell, or Antoinette Frissell Bacon, (March 10, 1907 - April 17, 1988) was an American photographer, known for her fashion photography, World War II photographs, portraits of famous Americans and Europeans, children, and women from all walks of life.

Pre-war career

Antoinette Frissell was born in 1907 in New York City, New York, but took photos under the name Toni Frissell, even after her marriage to Manhattan socialite McNeil Bacon. She worked with many famous photographers of the day, as an apprentice to Cecil Beaton, and with advice from Edward Steichen. Her initial job, as a fashion photographer for Vogue in 1931, was due to Condé Montrose Nast personally. She later took photographs for Harper's Bazaar. Her fashion photos, even of evening gowns and such, were often notable for their outdoor settings, emphasizing active women.

World War II

In 1941, Frissell volunteered her photographic services to the American Red Cross. Later she worked for the Eighth Army Air Force and became the official photographer of the Women's Army Corps. On their behalf, she took thousands of images of nurses, front-line soldiers, WACs, African-American airmen, and orphaned children. She traveled to the European front twice. Her moving photographs of military women and African American fighter pilots in the elite 332d Fighter Group (the "Tuskegee Airmen") were used to encourage public support for women and African Americans in the military.

After the war

In the 1950s, she took informal portraits of the famous and powerful in the United States and Europe, including Winston Churchill, Eleanor Roosevelt, and John F. and Jacqueline Kennedy, and worked for Sports Illustrated and Life magazines. Continuing her interest in active women and sports, she was the first woman on the staff of Sports Illustrated in 1953, and continued to be one of very few female sport photographers for several decades.

In later work she concentrated on photographing women from all walks of life, often as a commentary on the human condition.

Books

Her photographs illustrated:

A Child's Garden of Verses (1944)

Bermuda:The Happy Island (1946)

Mother Goose (1948)

The King Ranch, 1939-1944 (1965)

Tethered, by Amy MacKinnon (August 2008)

Personal

Daughter of Lewis Fox Frissell and Antoinette Wood Montgomery, Granddaughter of Algernon Sydney Frissell; founder and president of the Fifth Avenue Bank of New York, Great-Granddaughter of Mary Whitney Phelps and Governor of Missouri; John S. Phelps. Descendant (GG Granddaughter) of Elisha Phelps: US Representative from Connecticut (1819–21, 1825–29). Descendant (GGG Granddaughter) of Maj. Gen. Noah Phelps: Revolutionary War hero. Sister of Phelps Montgomery Frissell and Filmmaker Lewis Varick Frissell who was killed in Newfoundland during the filming of “The Viking” in 1931.

Toni Frissell died of Alzheimer's disease on April 17, 1988, in a Long Island nursing home. Her husband, Francis M. Bacon 3rd, of Bacon, Stevenson & Company, predeceased her. She is survived by a daughter, Sidney Bacon Stafford; a son, Varick Bacon; grandchildren Montgomery Bacon Brookfield, Susan Brent Loyer, and Alexandra Bacon; and great-grandchildren Montgomery Bacon Brookfield, Jr., Samuel Huntington Brookfield, Holly Brent Brookfield, Gregory Vanderbilt Brookfield, Cadence Frissell Brookfield, Laura Loyer, Varick Loyer, and Margot Loyer.

External links

Toni Frissell (1907-1988) at About.com

Toni Frissell, 81, Dies; A Noted Photographer Obituary from the New York Times

Library of Congress

The Library of Congress has a large collection of her photographs on pages about her, but apparently no single list of all of them.

Toni Frissell Collection:Prints and Photographs Division Even more photos are not yet digitized

Endless Summer (Imagination): American Treasures of the Library of Congress

Toni Frissell - Women Come to the Front (Library of Congress Exhibition) World War II photographs

Toni Frissell Collection (Prints and Photographs Reading Room, Library of Congress)

Category:1907 births Category:1988 deaths Category:American photographers Category:Women photographers

af:Toni Frissell cs:Toni Frissellová de:Toni Frissell fr:Toni Frissell it:Toni Frissell he:טוני פריסל mk:Тони Фрисел nl:Toni Frissell ru:Фрисселл, Тони tr:Toni Frissell zh:托尼·弗里塞尔

name	Bill Evans
background	non_vocal_instrumentalist
birth name	William John Evans
alias	Bill Evans
birth date	August 16, 1929
Birth place	Plainfield, New Jersey, United States
death date	September 15, 1980
Death place	Fort Lee, New Jersey, United States
instrument	Vocals, violin, guitar
birth date	August 16, 1929
death date	September 15, 1980
instrument	Piano
genre	Jazz, modal jazz, third stream, cool jazz, post-bop
occupation	PianistComposerArranger
years active	1950s–1980
label	Riverside, Verve, Fantasy
associated acts	George Russell, Miles Davis, Cannonball Adderley, Philly Joe Jones, Scott LaFaro, Paul Motian, Eddie Gomez, Marty Morell, Tony Bennett, Jim Hall, Monica Zetterlund
notable instruments	}}

William John Evans, known as Bill Evans (August 16, 1929–September 15, 1980) was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists. He is considered by some to be the most influential post-World War II jazz pianist. Evans had a distinct playing style in which his neck would often be stooped very low, and his face parallel to the piano.

Evans is an inductee of the ''Down Beat'' Jazz Hall of Fame.

Biography

Early life

Bill Evans was born in Plainfield, New Jersey, United States, to a mother of Rusyn ancestry and a father of Welsh descent. He received his first musical training at his mother's church. Evans's mother was an amateur pianist with an interest in modern classical composers, and Evans began classical piano lessons at age six. He also became a proficient flautist by age 13 and could play the violin.

At age 12, Evans filled in for his older brother Harry in Buddy Valentino's band. At this age he was able to interpret classical music, but he couldn't improvise. In the beginning, he played exactly what was written in the sheet, but soon started trying to improvise, while learning about harmonies in the songs and how to alter them. Meanwhile, he was playing dance music (and jazz) at home, in a recording studio he built in his family's basement.. In the late 1940s, Evans played boogie woogie in various New Jersey clubs. He attended Southeastern Louisiana University on a music scholarship, and in 1950 performed Beethoven's Third Piano Concerto on his senior recital there, graduating with a degree in piano performance and teaching. He was also among the founding members of SLU's Delta Omega Chapter of Phi Mu Alpha Sinfonia, and played quarterback for the fraternity's football team, helping them win the school's 1949 intramural tournament.

Evans's first professional job was with sax player Herbie Fields's band, based in Chicago. During the summer of 1950, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and at Washington D.C.'s Howard Theater. In addition to Fields and Evans, the band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon its return to Chicago, Evans and Aton worked as a duo in Chicago clubs, often backing singer Lurlean Hunter. Shortly thereafter, Evans received his draft notice and entered the U.S. Army.

After his army service, Evans returned to New York and worked at nightclubs with jazz clarinetist Tony Scott and other leading players. Later, he took postgraduate studies in composition at the Mannes College of Music, where he also mentored younger music students.

1950s

Working in New York in the 1950s, Evans gained recognition as a sideman in traditional and so-called Third Stream jazz groups. During this period he had the opportunity to record in many different contexts with some of the best jazz musicians of the time. Seminal recordings made with composer/theoretician George Russell, including "Concerto for Billy the Kid" and "All About Rosie," are notable for Evans's solo work. Evans also appeared on notable albums by Charles Mingus, Oliver Nelson, Tony Scott, and Art Farmer. In 1956, he made his debut album, ''New Jazz Conceptions'', featuring the original version of "Waltz for Debby," for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans by a demo tape guitarist Mundell Lowe played to him over the phone.

In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis's famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans's introspective approach to improvisation deeply influenced Davis's style. Davis wrote in his autobiography, "Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got, was like crystal notes or sparkling water cascading down from some clear waterfall." Additionally, Davis said, "I've sure learned a lot from Bill Evans. He plays the piano the way it should be played."

Evans's desire to pursue his own projects as a leader (and increasing problems with drug use) led him to leave the Davis sextet in late 1958. Shortly after, he recorded ''Everybody Digs Bill Evans'', documenting the wholly original meditative sound he was exploring at the time. But Evans came back to the sextet at Davis's request to record the jazz classic ''Kind of Blue'' in early 1959. Evans's contribution to the album was overlooked for years; in addition to cowriting the song "Blue in Green," he had also already developed the ostinato figure from the track "Flamenco Sketches" on the 1958 solo recording "Peace Piece" from his album ''Everybody Digs Bill Evans''. Evans also penned the heralded liner notes for ''Kind of Blue'' comparing jazz improvisation to Japanese visual art. By the fall of 1959, he had started his own trio.

1960s

At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to become one of the most acclaimed piano trios — and jazz bands in general — of all time. With this group, Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation, blurring the line between soloist and accompanist. The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable level of musical empathy. The trio recorded four albums: ''Portrait in Jazz'' (1959); and ''Explorations'', ''Sunday at the Village Vanguard'', and ''Waltz for Debby,'' all recorded in 1961. The last two albums are live recordings from the same recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were collected on the three-CD set ''The Complete Village Vanguard Recordings, 1961''. There is also a lesser-known recording of this trio, ''Live at Birdland'', taken from radio broadcasts in early 1960, though the sound quality is poor.

In addition to introducing a new freedom of interplay within the piano trio, Evans began (in performances such as "My Foolish Heart" from the Vanguard sessions) to explore extremely slow ballad tempos and quiet volume levels, which had been virtually unknown in jazz. His chordal voicings became more impressionistic, reminiscent of classical composers such as Debussy, Ravel, Scriabin, and Satie, and he moved away from the thick block chords he had often used with Davis. His sparse left-hand voicings supported his lyrical right-hand lines, reflecting the influence of jazz pianist Bud Powell.

Like Davis, Evans was a pioneer of modal jazz, favoring harmonies that helped avoid some of the idioms of bebop and other earlier jazz. In tunes like ''Time Remembered'', the chord changes more or less absorbed the derivative styles of bebop and instead relied on unexpected shifts in color. It was still possible (and desirable) to make these changes swing, and a certain spontaneity appeared in expert solos that were played over the new sound. Most composers refer to the style of ''Time Remembered'' as "plateau modal," because of its frequent juxtaposition of harmony.

LaFaro's death at age 25 in a car accident, ten days after the Vanguard performances, devastated Evans. He did not record or perform in public again for several months. His first recording after LaFaro's death was the duet album ''Undercurrent'', with guitarist Jim Hall, released on United Artist Jazz records in 1963. Recorded in two sessions on April 24 and May 14, 1962, it is now widely regarded as a classic jazz piano-guitar duet recording. The album is also notable for its striking cover image, "Weeki Wachee Spring, Florida" by photographer Toni Frissell. The original LP and the first CD reissue featured a cropped, blue-tinted version, overlaid with the title and the Blue Note logo; but for the most recent (24-bit remastered) CD reissue, the image has been restored to its original black-and-white coloration and size, without lettering.

When he re-formed his trio in 1962, Evans replaced LaFaro with bassist Chuck Israels, initially keeping Motian on the drums. Two albums, ''Moon Beams'' and ''How My Heart Sings!'', resulted. In 1963, after having switched from Riverside to the much more widely distributed Verve, he recorded ''Conversations With Myself'', an innovative album on which he employed overdubbing, layering up to three individual tracks of piano for each song. The album won him his first Grammy award, for Best Instrumental Jazz Performance — Soloist or Small Group.

Though his time with Verve was prolific in terms of recording, his artistic output was uneven. Despite Israels's fast development and the creativity of new drummer Grady Tate, they were ill-represented by the rather perfunctory album ''Bill Evans Trio with Symphony Orchestra'', with the piece ''Pavane'' by Gabriel Fauré remarkably reinvented with improvisations by Evans. Some unique contexts were attempted, such as a big-band live album at Town Hall, recorded but never issued due to Evans's dissatisfaction with it (although the jazz trio portion of the Pavane concert was made into its own somewhat successful release), and an album with a symphony orchestra, not warmly received by critics.

During this time, Helen Keane, Evans's manager, began having an important influence. One of the first women in her field, she significantly helped to maintain the progress (or prevent the deterioration) of Evans's career in spite of his self-destructive lifestyle.

In 1966, Evans discovered the remarkable young Puerto Rican bass player Eddie Gomez. In what turned out to be an eleven-year stay, the sensitive and creative Gomez sparked new developments in both Evans's playing and his trio conception. One of the most significant releases during this period is ''Bill Evans at the Montreux Jazz Festival'', from 1968. Although it was the only album Evans made with drummer Jack DeJohnette, it has remained a critical and fan favorite, due to the trio's remarkable energy and interplay.

Other highlights from this period include "Solo — In Memory of His Father" from ''Bill Evans at Town Hall'' (1966), which introduced the famous theme "Turn Out the Stars," a second successful pairing with guitarist Jim Hall; ''Intermodulation'' (1966); and the subdued, crystalline solo album ''Alone'' (1968), featuring a 14-minute-plus version of "Never Let Me Go." In 1969, Evans visited Ilkka Kuusisto's home in Helsinki and was interviewed about jazz before performing.

1970s

In 1968, Marty Morell joined the trio on drums and remained until 1975, when he retired to family life. This was Evans's most stable, longest-lasting group. Evans had kicked his heroin habit and was entering a period of personal stability as well. The group made several albums, including ''From Left to Right'' (1970), which features Evans's first use of electric piano; ''The Bill Evans Album'' (1971), which won two Grammies; ''The Tokyo Concert'' (1973); ''Since We Met'' (1974); and ''But Beautiful'' (1974), featuring the trio plus legendary tenor saxophonist Stan Getz in live performances from Holland and Belgium, released posthumously in 1996. Morell was an energetic, straight-ahead drummer, unlike many of the trio's former percussionists, and many critics feel that this was a period of little growth for Evans. After Morell left, Evans and Gomez recorded two duo albums, ''Intuition'' and ''Montreux III''.

In 1974, Bill Evans recorded a multimovement jazz concerto specifically written for him by Claus Ogerman entitled ''Symbiosis'', originally released on the MPS Records label. The 1970s also saw Evans collaborate with the singer Tony Bennett on 1975's ''The Tony Bennett/Bill Evans Album'' and 1977's ''Together Again''.

On September 13, 1975, Evans's son, Evan, was born. Evan Evans did not often see his always-touring father. A child prodigy, he embarked on a career in film scoring, ambitiously attending college courses in 20th-century composition, instrumentation, and electronic composition at the age of ten. He also studied with many of his father's contemporaries, including Lalo Schifrin and harmony specialist Bernard Maury.

In 1976, Marty Morell was replaced on drums by Eliot Zigmund. Several interesting collaborations followed, and it was not until 1977 that the trio was able to record an album together. Both ''I Will Say Goodbye'' (Evans's last album for Fantasy Records) and ''You Must Believe in Spring'' (for Warner Bros., released posthumously) highlighted changes that would become significant in the last stage of Evans's career. A greater emphasis was placed on group improvisation and interaction, Evans was reaching new expressive heights in his soloing, and new experiments with harmony and keys were attempted.

Gomez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones, the drummer he considered his "all-time favorite drummer" and with whom he had recorded his second album in 1957, to fill in. Several bassists were tried, with Michael Moore staying the longest. Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums. This trio was Evans's last.

Death

Evans was a heroin addict for much of his career, his health was generally poor, and his financial situation worse, for much of the 1960s. By the end of that decade, he appeared to have succeeded in overcoming his addiction to heroin. However, in the late 1970s, cocaine use became a serious problem for Evans. On September 15, 1980, Bill Evans was accompanied by Joe LaBarbera and his partner Laurie Verchomin, to the Mount Sinai Hospital in New York, where he died that afternoon. Evans's friend Gene Lees bleakly summarized Evans's struggle with drugs to Peter Pettinger as "the longest suicide in history.". Bill Evans is buried at Roselawn Memorial Park and Mausoleum, Baton Rouge, East Baton Rouge Parish, Louisiana (Section #161, Plot K), next to his brother Harry Evans, who died the previous year.

Legacy and influence

Music critic Richard S. Ginell noted, “With the passage of time, Bill Evans has become an entire school unto himself for pianists and a singular mood unto himself for listeners. There is no more influential jazz-oriented pianist—only McCoy Tyner exerts nearly as much pull among younger players and journeymen—and Evans has left his mark on such noted players as: Chick Corea, Herbie Hancock, John Taylor, Steve Kuhn, Don Friedman, Marian McPartland, Denny Zeitlin, Bobo Stenson, Warren Bernhardt, Michel Petrucciani and Keith Jarrett, as well as many other musicians worldwide. The music of Bill Evans continues to inspire younger pianists like Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias and arguably Brad Mehldau early in his career.

''Conversations with Myself'' and ''Further Conversations with Myself'' were innovative solo performances involving multiple overdubs of Evans.

Many of his tunes, such as "Waltz for Debby," "Turn Out the Stars," "Very Early," and "Funkallero," have become often-recorded jazz standards. Many tribute recordings featuring his compositions and favorite tunes have been released in the years following his passing as well as tribute compositions. Pat Metheny's "September 15th" is one such recording.

During his lifetime, Evans was honored with 31 Grammy nominations and seven Awards. In 1994, he was posthumously honored with the Grammy Lifetime Achievement Award.

Tribute albums

1981: ''Elegy For Bill Evans'' by Richie Beirach

1986: ''Music of Bill Evans'' by the Kronos Quartet with Eddie Gomez and Jim Hall.

1990: ''Bill Evans'' by Paul Motian

1991: ''Bill Evans: A Tribute'' by Jimmy Rowles, McCoy Tyner, Herbie Hancock, John Lewis, and Dave McKenna (Palo Alto Records)

1992: ''Then Along Came Bill: A Tribute to Bill Evans'' by Sylvia Syms

1993: ''Time Remembered: John Mclaughlin Plays Bill Evans'' by John Mclaughlin

1994: ''Now & Then: A Tribute to Bill Evans'' by Mitchel Forman

1994: ''Your Story: The Music of Bill Evans'' by Howard Alden

1996: ''Turn Out The Stars - The Songs Of Bill Evans'' by Dominic Alldis

1997: ''Conversations with Bill Evans'' by Jean-Yves Thibaudet

1998: ''Evanessence: Tribute to Bill Evans'' by Fred Hersch

1998: ''I Remember Bill: A Tribute to Bill Evans'' by Don Sebesky and Larry Coryell

2000: ''Conviction: Thoughts Of Bill Evans'' by Roseanna Vitro

2002: ''Homage To Bill Evans And Jim Hall'' by Luigi Tessarollo with Stefano Bollani

2002: ''Play Bill Evans'' by the Danish Radio Jazz Orchestra & Jim McNeely

2003: ''Bill Evans: Tribute to the Great Post-Bop Pianist'' by Paul Motian

2006: ''Paz - Niño Josele and the music of Bill Evans'' by Niño Josele

2008: ''Something for you - Eliane Elias Sings and Plays Bill Evans'' by Eliane Elias

2009: ''Bill Evans Compositions Vol. 1 & Vol. 2'' by Stefano Battaglia

Discography

References

Further reading

* *

External links

Bill Evans entry — Jazz Discography Project

The Bill Evans Webpages

Bill Evans: Time Remembered

"Remembering Bill Evans" by Ted Gioia, Jazz.com, January, 2008.

Letter From Evans edited by Win Hinkle — newsletter dedicated solely to the music and the life of Bill Evans, published 1989–94. Link is to all issues.

"Bill Evans: Twelve Essential Recordings by Ted Gioia"

The Bill Evans Memorial Library

Jazz wax-Interview with Laurie Verchomin

Category:Third Stream pianists Category:1929 births Category:1980 deaths Category:Post-bop pianists Category:American jazz pianists Category:Deaths from cirrhosis Category:Cool jazz pianists Category:Hard bop pianists Category:Jazz bandleaders Category:Jazz composers Category:Miles Davis Category:Musicians from New Jersey Category:People from Fort Lee, New Jersey Category:People from North Plainfield, New Jersey Category:People from Plainfield, New Jersey Category:American people of Welsh descent Category:American people of Rusyn descent Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Verve Records artists Category:Riverside Records artists Category:Milestone Records artists Category:Concord Records artists Category:Fantasy Records artists Category:Warner Bros. Records artists Category:Southeastern Louisiana University alumni

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name	Joe Bonamassa
background	solo_singer
birth date	May 08, 1977New Hartford, New YorkUnited States
instrument	Vocals, guitar, theremin
genre	Blues rock, hard rock, rock and roll
occupation	Musician, singer-songwriter
years active	1989–present
label	J&R; Adventures
associated acts	Bloodline, Black Country Communion, Beth Hart
website
notable instruments	Gibson Les PaulGibson Lucille }}

Joe Bonamassa (born May 8, 1977) is an American blues rock guitarist and singer.

Early life

Bonamassa was born and raised in New Hartford, New York. His parents owned and ran a guitar shop. He is a fourth-generation musician; with a great-grandfather and grandfather who both played trumpet, and a father who plays guitar, Bonamassa credits his parents with fostering an appreciation of music in his life as early as he can remember. When he was a young child, he would listen to his parents' large record collection. He recalls at age 7, sitting with his parents on Saturdays and listening to Guitar Slim, Bonnie Raitt, Crosby, Stills, Nash, and Young, Eric Clapton, and Jethro Tull. Thus, he sees his music as an amalgam of all the various rock and blues he heard as a child.

He received his first guitar from his father at the age of 4, and by age 7 he was playing Stevie Ray Vaughan and Jimi Hendrix tunes note for note. At the age of 11, during a short period of being mentored by Danny Gatton, he learned such styles as country and jazz as well as Polka. During this time with Gatton, Bonamassa sat in with Gatton's band whenever they played in New York. He first opened for B. B. King at 12 years of age. At 14, he was invited to attend a Fender guitar event; during that trip to the West Coast he met Berry Oakley, Jr. Bonamassa and Berry founded the group Bloodline with Miles Davis's son Erin and Robby Krieger's son Waylon. They released one album which produced two chart singles — "Stone Cold Hearted", and "Dixie Peach." He has since played with Buddy Guy, Foreigner, Robert Cray, Stephen Stills, Joe Cocker, Gregg Allman, Steve Winwood, Paul Jones, Ted Nugent, Warren Haynes, Eric Clapton, Derek Trucks, and Jack Bruce.

Influences

Unlike other successful blues-rock guitarists, Bonamassa cited his influences as being British and Irish blues acts, rather than American artists. Within the blues genre, hearing the traditional blues players, as with Guitar Slim, Robert Johnson, Muddy Waters, and all the traditional American blues players, (with the exception of B.B. King), comparing the music in the United States to the "European" versions of the blues, Bonamassa found the English blues, fostered by the Jeff Beck Group, Eric Clapton and the Irish blues player Rory Gallagher, to be far more interesting to him than the original Delta blues players. which debuted at #1 on the ''Billboard'' Blues Charts and #38 on the Billboard 200.

In May 2010, Ian Anderson guested at his concert at London's Hammersmith Apollo, and they played "A New Day Yesterday" along with "Locomotive Breath". At the end of 2010, Bowles announced his departure and Tal Bergman took over as touring drummer.

The Bonamassa, Glenn Hughes, Jason Bonham, Derek Sherinian supergroup is now called Black Country Communion. The band were forced to add 'Communion' to their original name Black Country after another band with the same name raised an objection.

In March 2011, Bonamassa released his eleventh full-length solo album, ''Dust Bowl'', followed in September of the same year by a collaboration with Beth Hart called "Don't Explain".

In early 2012, Bonamassa completed the recording of his twelfth studio album. The title was confirmed by Bonamassa in a post on his official Facebook page on March 12 2012 as Driving Towards The Daylight. Bonamassa debuted the title track during his UK Tour in the same month

Discography

;Solo studio albums

''A New Day Yesterday'' (2000)

''So, It's Like That'' (2002)

''Blues Deluxe'' (2003)

''Had to Cry Today'' (2004)

''You & Me'' (2006)

''Sloe Gin'' (2007)

''The Ballad of John Henry'' (2009)

''Black Rock'' (2010)

''Dust Bowl'' (2011)

''Driving Towards The Daylight'' (2012)

;Collaboration albums

''Don't Explain'' (2011) (with Beth Hart)

;Black Country Communion albums

''Black Country'' (2010)

''2'' (2011)

;Guest appearances

Joe Lynn Turner – ''Holy Man'' (2000)

Joe Lynn Turner – ''JLT'' (2003)

Walter Trout and the Radicals – ''Full Circle'' (2006)

Carl Verheyen Band – ''Trading 8s'' (2009)

Shannon Curfman – ''What You're Getting Into'' (2010)

Sandi Thom – ''Merchants and Thieves'' (2010)

Healing Sixes – ''Blue Jay'' (2010)

Lee Ritenour – ''6 String Theory'' (2010)

Henrik Freischlader – ''Still Frame Replay'' (2011)

Don Airey – ''All Out'' (2011)

Derek Sherinian – ''Oceana'' (2011)

Leslie West – ''Unusual Suspects'' (2011)

Jim Suhler & Monkey Beat - ''Tijuana Bible'' (2009)

Europe - ''Bag of Bones'' (2012)

DVDs

''Live at the Rockpalast'' was released in 2005, and recorded at the Burg Satzvey in Mechernich, Germany.

A live DVD titled ''A New Day Yesterday, Live'' was given away for a short period of time with ''So, It's Like That''. This concert was later re-released as a full CD and DVD.

An instructional DVD, ''Signature Sounds, Styles and Techniques'', was released in 2006.

A live DVD, ''Joe Bonamassa: Live From Royal Albert Hall'' was released in September 2009.

Bonamassa's performance with pedal-steel guitarist Robert Randolph, Randolph's ''Family Band'' and Pino Daniele at the 2010 edition of Crossroads Guitar Festival appears on the ''Crossroads 2010'' DVD. The song they played is ''Going Down''.

A live DVD, "Joe Bonamassa Live from New York Beacon Theatre" was released in 2012.

References

External links

Joe Bonamassa Experience official website

Joe Bonamassa Official Fan Website

European Joe Bonamassa Website

Category:1977 births Category:Living people Category:People from Utica, New York Category:Lead guitarists Category:Slide guitarists Category:American blues guitarists Category:American rock guitarists Category:American blues singers Category:American rock singers Category:Blues rock musicians Category:Electric blues musicians Category:American musicians of Italian descent Category:Black Country Communion members Category:Epic Records artists

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name	Gary Peacock
background	non_vocal_instrumentalist
birth name	Gary Peacock
birth date	May 12, 1935
Birth place	Burley, Idaho, United States
instrument	Double bass
genre	Jazz
occupation	Double bassist
website	}}

Gary Peacock (born May 12, 1935 in Burley, Idaho) is an American jazz double-bassist.

Biography

After military service in Germany, in the early sixties he worked on the west coast with Barney Kessel, Bud Shank, Paul Bley and Art Pepper, then moved to New York. He worked there with Bley, the Bill Evans trio (with Paul Motian), and Albert Ayler's trio with Sunny Murray. There were also some live dates with Miles Davis, as a temporary substitute for Ron Carter.

Peacock spent time in Japan in the late 1960s, abandoning music temporarily and studying Zen philosophy. After returning to the United States in 1972, he studied Biology at the University of Washington in Seattle, and taught music theory at Cornish College of the Arts from 1976 to 1983.

In 1983 he joined Keith Jarrett's "Standards Trio" with Jack DeJohnette (the three musicians had previously recorded ''Tales of Another'' in 1977 for ECM Records, under Peacock's leadership). Among the trios albums are ''Standards, Vol. 1'' and ''Standards, Vol. 2'' and ''Standards Live''. The trio continues to perform and record all around the world. Playing together for nearly 25 years now, Jarrett, Peacock and DeJohnette have developed a reputation as one of the most preeminent jazz trios of our time.

Was previously married to fellow musician Annette Peacock.

Discography

As leader

''Tales of Another'' (ECM, 1977)

''December Poems'' (ECM; 1978) with Jan Garbarek

''Shift in the Wind'' (ECM; 1980) with Art Lande, Eliot Zigmund

''Voice from the Past - Paradigm'' (ECM, 1981) with Tomasz Stanko, Jan Garbarek, Jack DeJohnette

''Guamba'' (ECM, 1987) with Palle Mikkelborg, Jan Garbarek, Peter Erskine

''Oracle'' (ECM, 1993) with Ralph Towner

''Just So Happen'' (Postcards Records, 1994) with Bill Frisell

''A Closer View'' (ECM, 1995 [1998]) with Ralph Towner

As sideman

With Albert Ayler

''Spiritual Unity'' (ESP-Disk, 1964)

With Paul Bley

''Paul Bley with Gary Peacock'' (ECM, 1970)

''In the Evenings Out There'' (ECM, 1991)

''Not Two, Not One'' (ECM, 1998)

With Bill Connors

''Of Mist and Melting'' (ECM, 1977)

With Marilyn Crispell

''Nothing Ever Was, Anyway: Music of Annette Peacock'' (ECM, 1997)

''Amaryllis'' (ECM, 2000)

With [Bill Evans]

''Trio 64 Bill Evans'' (Verve, 1963)

With Keith Jarrett

''Standards, Vol. 1'' (ECM, 1983)

''Standards, Vol. 2'' (ECM, 1983)

''Changes'' (ECM, 1983)

''Standards Live'' (ECM, 1985)

''Still Live'' (ECM, 1986)

''Changeless'' (ECM, 1987)

''Standards in Norway'' (ECM, 1989)

''Tribute'' (ECM, 1989)

''The Cure'' (ECM, 1990)

''Bye Bye Blackbird'' (ECM, 1991)

''At the Deer Head Inn'' (ECM, 1992)

''Keith Jarrett at the Blue Note'' (ECM, 1994)

''Tokyo '96'' (ECM, 1996)

''Whisper Not'' (ECM, 1999)

''Inside Out'' (ECM, 2000)

''Mostly Martha'' (ECM, 2001)

''Yesterdays'' (ECM, 2001)

''Always Let Me Go'' (ECM, 2001)

''My Foolish Heart'' (ECM, 2001)

''The Out-of-Towners'' (ECM, 2001)

''Up for It'' (ECM, 2002)

With Don Pullen

''New Beginnings'' (Blue Note, 1988)

With John Surman

''Adventure Playground'' (ECM, 1991)

With Ralph Towner

''City of Eyes'' (ECM, 1988)

With Mal Waldron

''First Encounter'' (RCA Victor (Japan), 1971)

With Tony Williams

''Life Time'' (Blue Note, 1964)

Filmography

Film

;Composer ''New York Eye and Ear Control''

Year !! Title !! Credit !! Notes
1961	''Toys on a Field of Blue''	composer >
1964	|	composer	short

;Performer

himself (bass) ''The Keith Jarrett Trio: Live at Open Theatre East''

Year !! Title !! Credit !! Notes
1985	Standards Live>Keith Jarrett: Standards''	| video documentary
1993	|	himself (bass)	video documentary

;Soundtrack

Year !! Title !! Credit !! Notes
2001	Mostly Martha (film)#Soundtrack>Mostly Martha''	"Never Let Me Go" & "U Dance" performed by: (credited w/Keith Jarrett & Jack DeJohnette)

Television

;Performer

Year !! Title !! Credit !! Notes
1962	''Frankly Jazz''

References

External links

Gary Peacock on ECM Records

Category:Avant-garde jazz musicians Category:1935 births Category:Living people Category:American double-bassists Category:Jazz double-bassists Category:Double-bassists Category:American jazz double-bassists Category:People from Burley, Idaho Category:People from Cassia County, Idaho Category:ECM artists Category:Postcards Records artists Category:Cornish College of the Arts faculty

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