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Detroit
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New York
New York (; locally or ) is a state in the Northeastern region of the United States. It is the nation's third most populous state. New York is bordered by New Jersey and Pennsylvania to the south, and by Connecticut, Massachusetts and Vermont to the east. The state has a maritime border with Rhode Island east of Long Island, as well as an international border with the Canadian provinces of Ontario to the north and west, and Quebec to the north. New York is often referred to as New York State to distinguish it from New York City.
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Pontiac, Michigan
Pontiac is a city in the U.S. state of Michigan named after the Ottawa Chief Pontiac. As of the 2000 census, the city had a total population of 66,337. It is the county seat of Oakland County. Considered a satellite city of Detroit, it is surrounded by affluent Metro Detroit suburbs.
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Al Dailey
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Andrew Hill
Andrew Hill (June 30, 1931 – April 20, 2007) was an American jazz pianist and composer.
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Ari Brown
Ari Brown (born February 1, 1944) is an American jazz tenor saxophonist and pianist.
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Art Davis
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Art Farmer
Arthur Stewart "Art" Farmer (August 21, 1928, Council Bluffs, Iowa – October 4, 1999) was an American jazz trumpeter and flugelhorn player. He also played flumpet, a trumpet/flugelhorn combination designed for him by David Monette. His identical twin brother, Addison Farmer was a bassist.
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Bennie Green
Bennie Green (April 16, 1923 – March 23, 1977) was an American jazz trombonist.
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Benny Goodman
In the mid-1930s, Benny Goodman (May 30, 1909 - June 13, 1986) led one of the most popular musical groups in America. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music."
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Bill Evans
William John Evans, known as Bill Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists including: Chick Corea, Herbie Hancock, John Taylor, Steve Kuhn, Don Friedman, Marian McPartland, Denny Zeitlin, Bobo Stenson, Michel Petrucciani and Keith Jarrett, as well as many other musicians world-wide. The music of Bill Evans continues to inspire younger pianists like Marcin Wasilewski, Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias and arguably Brad Mehldau, early in his career. He is considered by some to be the most influential post World War II jazz pianist.
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Bill Frisell
William Richard "Bill" Frisell (born March 18, 1951) is an American guitarist and composer.
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Billy Taylor
Billy Taylor (born July 24, 1921 in Greenville, North Carolina) is an American jazz pianist, composer, and educator. He is currently the Robert L. Jones Distinguished Professor of Music at East Carolina University in Greenville. Since 1994, he has been the artistic director for jazz at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
http://wn.com/Billy_Taylor -
Blue Mitchell
Richard Allen (Blue) Mitchell (March 13, 1930 – May 21, 1979) was an American jazz, rhythm and blues, soul, rock, and funk trumpeter, known for many albums recorded as leader and sideman for Riverside, Blue Note and then Mainstream Records.
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Bob Brookmeyer
Robert Brookmeyer (born December 19, 1929) is an American jazz valve trombonist, pianist, and arranger.
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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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Bunky Green
Bunky Green (born April 23, 1935) is an American jazz alto saxophonist and educator.
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Candido Camero
Candido de Guerra Camero, also known simply as Candido (born April 22, 1921) is a Cuban percussionist (mainly conga and bongo) who backed many Afro-Cuban jazz and straightforward jazz acts since the 1950s. Although he has been credited as the first person to use the congas in jazz music, it is well known that at least Diego Iborra preceded him with Dizzy Gillespie by the mid 1940s as well as Luciano "Chano" Pozo Gonzales in 1947 also with Dizzy Gillespie at Carnegie Hall and an European tour.
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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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Charles Mingus
Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz musician, composer, bandleader, and civil rights activist.
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Charlie Mariano
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Charlie Parker
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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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Chip Jackson
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Clark Terry
Clark Terry (born December 14, 1920) is an American swing and bop trumpeter, a pioneer of the fluegelhorn in jazz, educator, and NEA Jazz Masters inductee.
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Curtis Fuller
Curtis DuBois Fuller (born in Detroit, December 15, 1934) is an American jazz trombonist, known as a member of Art Blakey's Jazz Messengers and contributor to many classic jazz recordings.
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Delfeayo Marsalis
Delfeayo Marsalis (Born July 28, 1965 in New Orleans, Louisiana) is an American jazz trombonist and record producer.
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Don Friedman
Don Friedman (born May 4, 1935 in San Francisco) is a jazz pianist. He has played with, among others, Dexter Gordon, Chet Baker, Buddy DeFranco and Ornette Coleman on the West Coast before moving to New York. There, he led his own trio in addition to playing in Pepper Adams's, Booker Little's and Jimmy Giuffre's bands in the sixties. He was also a part of Clark Terry's big band. He currently works in New York as a pianist and jazz educator. He has many fans in Japan, and has recently toured in the country.
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Don Moore
Don Moore (b. 1938, Philadelphia, Pennsylvania) is an American jazz double-bassist.
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Elvin Jones
Elvin Ray Jones (September 9, 1927 – May 18, 2004) was a jazz drummer of the post-bop era. He showed interest in drums at a young age, watching the circus bands march by his family's home in Pontiac, Michigan.
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Frank Wess
Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.
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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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Gene Perla
Gene Perla (b. May 1, 1940, Woodcliff Lake, New Jersey) is an American jazz bassist.
http://wn.com/Gene_Perla -
George Coleman
George Edward Coleman (born March 8, 1935 in Memphis, Tennessee) is an American hard bop saxophonist, bandleader, and composer, known chiefly for his work with Miles Davis and Herbie Hancock in the 1960s.
http://wn.com/George_Coleman -
George Mraz
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Gil Evans
Gil Evans (born 13 May 1912 in Toronto, Canada, died 20 March 1988 in Cuernavaca, Mexico) was a jazz pianist, arranger, composer and bandleader, active in the United States. He played an important role in the development of cool jazz, modal jazz, free jazz and jazz fusion, and collaborated extensively with Miles Davis.
http://wn.com/Gil_Evans -
Grant Green
Grant Green (St. Louis, Missouri, June 6, 1935 – New York, January 31, 1979; some sources erroneously give the birth year as 1931) was a jazz guitarist and composer.
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Hank Jones
Henry "Hank" Jones (July 31, 1918 – May 16, 2010) was an American jazz pianist, bandleader, and composer. Critics and musicians described Jones as eloquent, lyrical, and impeccable. In 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award. He was also honored in 2003 with the American Society of Composers, Authors, and Publishers (ASCAP) Jazz Living Legend Award. In 2008, he was awarded the National Medal of Arts. On April 13, 2009, the University of Hartford presented Jones with a Doctorate Degree for his musical accomplishments.
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Hank Mobley
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J. J. Johnson
J. J. Johnson (born James Louis Johnson) in Indianapolis, Indiana, (January 22, 1924 - February 4, 2001) was a United States jazz trombonist, composer and arranger. He was sometimes credited as Jay Jay Johnson.
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Jan Hammer
Jan Hammer () (born 17 April 1948, in Prague, then Czechoslovakia, today the Czech Republic) is a composer, pianist and keyboardist. He is probably best known for playing keyboards with the Mahavishnu Orchestra in the early 70s, as well as his "Miami Vice Theme" and "Crockett's Theme", from the popular 1980s US television program, Miami Vice.
http://wn.com/Jan_Hammer -
Javon Jackson
Javon (Anthony) Jackson (born June 16, 1965, Carthage, Missouri) is an American jazz tenor saxophonist. He played in Art Blakey's Jazz Messengers from 1987 until Blakey's death in 1990, and has also played with the Harper Brothers, Benny Green, Freddie Hubbard and Elvin Jones. In his solo career, his music has been a mix of hard bop with soul and funk influences.
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Jean-Paul Bourelly
Jean-Paul Bourelly (born November 23, 1960) is an American jazz fusion guitarist.
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Jimi Hendrix
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Jimmy Forrest
Jimmy Forrest (January 24, 1920 - August 26, 1980) was an African American jazz musician who played tenor saxophone throughout his career.
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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.
http://wn.com/Joe_Henderson -
Joe Lovano
Joseph Salvatore "Joe" Lovano (born December 29, 1952) is a post bop jazz saxophonist, alto clarinetist, flautist, and drummer. Since the late 1980s, Lovano has been one of the world's premiere tenor saxophone players, earning a Grammy award and several nods on Down Beat magazine's critics' and readers' polls. He is married to jazz singer Judi Silvano.
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John Coltrane
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John Hicks
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Joshua Redman
Joshua Redman (born February 1, 1969) is an American jazz saxophonist and composer who records for Nonesuch Records. He won the Thelonious Monk International Jazz Saxophone Competition in 1991.
http://wn.com/Joshua_Redman -
Junie Booth
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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.
http://wn.com/Kenny_Barron -
Kenny Burrell
Kenneth Earl "Kenny" Burrell (born July 31, 1931) is an American jazz guitarist. His playing is grounded in bebop and blues; he has performed and recorded with a wide range of jazz musicians.
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Kenny Kirkland
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Kent Jordan
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Kevin Mahogany
Kevin Mahogany (born July 30, 1958, in Kansas City, Missouri) is an American jazz vocalist who became prominent in the 1990's. He is known for his scat singing, and his singing style has been compared with jazz singers Joe Williams and Johnny Hartman.
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Lee Konitz
Lee Konitz (born October 13, 1927) is an American jazz composer and alto saxophonist born in Chicago, Illinois.
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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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Lew Soloff
Lew Soloff (born February 20, 1944 in New York City) is a jazz trumpeter, composer and actor. He studied trumpet at the Eastman School of Music and the Juilliard School. He is likely best known for his work with Blood, Sweat & Tears from 1968 to 1973. Prior to this, he worked with Machito, Gil Evans, Tony Scott, and Tito Puente.
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Louis Armstrong
http://wn.com/Louis_Armstrong -
Mal Waldron
http://wn.com/Mal_Waldron -
Marvin Peterson
Hannibal Marvin Peterson, born in Smithville, Texas, United States, November 11, 1948; later Hannibal Lokumbe, is an American jazz trumpeter and composer.
http://wn.com/Marvin_Peterson -
Michael Brecker
Michael Leonard Brecker (March 29, 1949 – January 13, 2007) was an American jazz saxophonist and composer. Acknowledged as "a quiet, gentle musician widely regarded as the most influential tenor saxophonist since John Coltrane," he has been awarded 15 Grammy Awards as both performer and composer and was inducted into Down Beat Jazz Hall of Fame in 2007.
http://wn.com/Michael_Brecker -
Michael Stuart
Michael Stuart (born January 9, 1975) is an American salsa singer and actor of Puerto Rican descent.
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Miles Davis
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Milt Hinton
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Mitch Mitchell
John "Mitch" Mitchell (9 July 1947 – 12 November 2008) was an English drummer, best known for his work in The Jimi Hendrix Experience.
http://wn.com/Mitch_Mitchell -
Nicholas Payton
Nicholas Payton (born September 26, 1973) is a jazz trumpet player from New Orleans, Louisiana.
http://wn.com/Nicholas_Payton -
Ornette Coleman
Ornette Coleman (born March 9, 1930) is an American saxophonist, violinist, trumpeter and composer. He was one of the major innovators of the free jazz movement of the 1960s.
http://wn.com/Ornette_Coleman -
Pat LaBarbera
http://wn.com/Pat_LaBarbera -
Pepper Adams
http://wn.com/Pepper_Adams -
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."
http://wn.com/Pharoah_Sanders -
Philly Joe Jones
:For other persons named Joseph Jones, see Joseph Jones
http://wn.com/Philly_Joe_Jones -
Quincy Jones
http://wn.com/Quincy_Jones -
Ravi Coltrane
Ravi Coltrane (b. August 6, 1965 in Long Island, New York) is an American post-bop jazz saxophonist. Co-owner of the record label RKM Music, he has produced artists such as pianist Luis Perdomo, guitarist David Gilmore and trumpeter Ralph Alessi.
http://wn.com/Ravi_Coltrane -
Ray Brown (musician)
Raymond Matthews Brown (October 13, 1926 – July 2, 2002) was an American jazz double bassist.
http://wn.com/Ray_Brown_(musician) -
Robin Eubanks
Robin Eubanks (b. October 25, 1955 in Philadelphia, Pennsylvania) is an American jazz slide trombonist, the brother of guitarist Kevin Eubanks and trumpeter Duane Eubanks,
http://wn.com/Robin_Eubanks -
Roland Hanna
Roland Hanna (February 10, 1932 in Detroit, Michigan – November 13, 2002 in Hackensack, New Jersey) was an American Jazz pianist.
http://wn.com/Roland_Hanna -
Roland Kirk
http://wn.com/Roland_Kirk -
Ryo Kawasaki
Ryo Kawasaki (, Kawasaki Ryo) (born February 25, 1947) chose a career as a jazz fusion guitarist after spending some years studying as a scientist. During the 60s he played with various Japanese jazz groups and also formed his own bands. In the early 70s he came to New York where he settled and found steady work in very distinguished company, including the bands of Gil Evans, Elvin Jones, Chico Hamilton, Ted Curson and Joanne Brackeen. In the mid-80s, Kawasaki drifted out of performing music in favour of writing music software programmes for computers. He also produced several techno dance singles, forming his own company, Satellites Records, for their release.
http://wn.com/Ryo_Kawasaki -
Shirley Horn
http://wn.com/Shirley_Horn -
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.
http://wn.com/Sonny_Fortune -
Sonny Rollins
Theodore Walter "Sonny" Rollins (born September 7, 1930 in New York City) is a Grammy-winning American jazz tenor saxophonist. Rollins is widely recognized as one of the most important and influential jazz musicians. A number of his compositions, including "St. Thomas", "Oleo", "Doxy", and "Airegin", have become jazz standards.
http://wn.com/Sonny_Rollins -
Sonny Sharrock
Warren Harding "Sonny" Sharrock (August 27, 1940 – May 26, 1994) was an American jazz guitarist. He was once married to singer Linda Sharrock, with whom he sometimes recorded and performed.
http://wn.com/Sonny_Sharrock -
Sonny Simmons
Huey "Sonny" Simmons (b. August 4, 1933, Sicily Island, Louisiana) is an American jazz musician.
http://wn.com/Sonny_Simmons -
Stan Getz
http://wn.com/Stan_Getz -
Steve Lacy
This article is about the jazz musician. For the CEO of Meredith, see Steve Lacy (businessman).
http://wn.com/Steve_Lacy -
Terumasa Hino
http://wn.com/Terumasa_Hino -
Thad Jones
http://wn.com/Thad_Jones -
Tommy Flanagan
Thomas Lee Flanagan (16 March 1930, – 16 November 2001, New York City) was an American jazz pianist born in Detroit, Michigan, particularly remembered as an accompanist of Ella Fitzgerald.
http://wn.com/Tommy_Flanagan -
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.
http://wn.com/Wayne_Shorter -
Wilbur Little
http://wn.com/Wilbur_Little -
Wynton Kelly
Wynton Kelly (December 2, 1931 – April 12, 1971) was an American jazz pianist, who spent his career in the United States. He is perhaps best known for working with trumpeter Miles Davis in the 1950s.
http://wn.com/Wynton_Kelly -
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 -
Yusef Lateef
Dr. Yusef Lateef (born William Emanuel Huddleston, October 9, 1920) is an American jazz multi-instrumentalist, composer and educator and a renowned spokesman for the Ahmadiyya Community after his conversion to Ahmadiyya religion in 1950.
http://wn.com/Yusef_Lateef
Jones, Elvin Filmography
RELEASE
ALBUMS
- Sweet Mama
- Passion Flower
- Zange
- Tin Tin Deo
- Pitter Pat
- The Witching Hour
- E.J. Blues (live)
- A Love Supreme (medley)
- Necessary Evil
- October's Child
- Harmonique
- Whatever Possessed Me
- Familiar Ground
- Why Try to Change Me Now
- Minor Blues
- Brother John
- At This Point in Time
- Currents/Pollen
- The Prime Element
- Whims of Bal
- Pauke Tanz
- The Unknighted Nations
- Don't Cry
- Green Chimneys
- A Lullabby of Itsugo Village
- It Don't Mean a Thing
- Lush Life
- Zenzo's Spirit
- A Flower Is a Lovesome Thing, Ask Me Now
- Bopsy
- Fatima's Waltz
- A Change Is Gonna Come
- Three Card Molly
- Is Seeing Believing?
- The Top of the Middle
- Earth Jones
- Never Let Me Go
- Day and Night
- Reza
- Sweet Little Maia
- Keiko's Birthday March
- Village Greene
- Jay-Ree
- For Heaven's Sake
- Ginger Bread Boy
- No Tonic Pres
- Once in a While
- From Bechet, Byas and Fats
- Mystical Dream
- Rip, Rig & Panic
- Black Diamond
- Slippery, Hippery, Flippery
- Dear John C.
- Ballade
- Love Bird
- Everything Happens to Me
- Smoke Rings
- This Love of Mine
- Anthropology
- Feeling Good
- Fantazm
- That Five-Four Bag
- Not Yet
- Have You Seen Elveen?
- Angel Eyes
- Ding-A-Ling-A-Ling
- Lady Luck
- The Biscuit Man
- Body and Soul
- Strange
- My Romance
- Youngblood
Born: 1927-09-09
Died: 2004-05-18
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Elvin Jones Drum Solo Demonstration
- Order: Reorder
- Duration: 3:55
- Published: 18 Aug 2008
- Updated: 22 Jul 2012
Elvin Jones circa 1979
http://wn.com/Elvin_Jones_Drum_Solo_Demonstration
Elvin Jones Quartet -Three Card Molly
- Order: Reorder
- Duration: 8:55
- Published: 08 Jun 2009
- Updated: 16 Jul 2012
Circa 1979 Pat La Barbera - Sax Ryo Kawasaki - Guitar David Williams - Bass
http://wn.com/Elvin_Jones_Quartet_-Three_Card_Molly
Elvin Jones Trio - Night in Tunisia
- Order: Reorder
- Duration: 9:00
- Published: 02 May 2008
- Updated: 21 Jul 2012
Elvin Jones - drums Bireli Lagrene - Guitar Joey Defrancesco - Hammond organ Marciac Sweet 1999.
http://wn.com/Elvin_Jones_Trio_Night_in_Tunisia
elvin jones max roach art blakey drum battle part 1c
- Order: Reorder
- Duration: 6:09
- Published: 26 May 2007
- Updated: 20 Jul 2012
elvin jones max roach art blakey drum battle
http://wn.com/elvin_jones_max_roach_art_blakey_drum_battle_part_1c
John Coltrane's Drummer Elvin Jones Live in Italy - 80s
- Order: Reorder
- Duration: 18:11
- Published: 17 Oct 2006
- Updated: 17 Jul 2012
Elvin Jones will always be best-known for his association with the classic John Coltrane Quartet (1960-1965) but he also had a notable career as a bandleader and continued to be a major influence in music. One of the all-time great drummers (bridging the gap between advanced hard bop and the avant-garde), Jones is the younger brother of a remarkable musical family that also includes Hank and Thad Jones. After spending time in the Army (1946-1949), he was a part of the very fertile Detroit jazz scene of the early '50s. He moved to New York in 1955, worked with Teddy Charles and the Bud Powell Trio, and recorded with Miles Davis and Sonny Rollins (the latter at his famous Village Vanguard session). After stints with JJ Johnson (1956-1957), Donald Byrd (1958), Tyree Glenn, and Harry "Sweets" Edison, Jones became an important member of John Coltrane's Quartet, pushing the innovative saxophonist to remarkable heights and appearing on most of his best recordings. When Coltrane added Rashied Ali to his band in late 1965 as second drummer, Jones was reportedly not pleased and soon departed. He went on a European tour with the Duke Ellington Orchestra and then started leading his own groups, which in the '90s became known as Elvin Jones' Jazz Machine. He remained active well into the 2000s and continued to push himself musically with the Jazz Machine, inviting young lions into the fold and touring regularly. Among his sidemen were saxophonists Frank Foster, Joe Farrell, George <b>...</b>
http://wn.com/John_Coltrane's_Drummer_Elvin_Jones_Live_in_Italy_80s
Elvin Jones and James Cobb on John Coltrane
- Order: Reorder
- Duration: 7:11
- Published: 27 Mar 2011
- Updated: 20 Jul 2012
source: The Coltrane Legacy (1:00:53) video.google.com
http://wn.com/Elvin_Jones_and_James_Cobb_on_John_Coltrane
Elvin Jones- Big Solo
- Order: Reorder
- Duration: 8:00
- Published: 25 Sep 2007
- Updated: 21 Jul 2012
elvin jones solo
http://wn.com/Elvin_Jones_Big_Solo
Elvin Jones drum solo
- Order: Reorder
- Duration: 2:25
- Published: 03 Feb 2010
- Updated: 18 Jul 2012
Elvin Jones Jazz Machine 03/1991 at Theatherhaus, Stuttgart, Germany with Sonny Fortune(tenor sax, flute), Ravi Coltrane(tenor, soprano saxes), Willie Pickins(piano), Chip Jackson(bass)
http://wn.com/Elvin_Jones_drum_solo
McCoyTyner/Freddie Hubbard/Ron Carter/Elvin Jones
- Order: Reorder
- Duration: 7:10
- Published: 30 Dec 2008
- Updated: 17 Jul 2012
Playboy Jazz Festival 1982
http://wn.com/McCoyTyner_Freddie_Hubbard_Ron_Carter_Elvin_Jones
Elvin Jones Trio 1968 Copenhagen Joe Farrel Jimmy Garrison
- Order: Reorder
- Duration: 10:00
- Published: 30 Dec 2009
- Updated: 12 Jul 2012
Elvin Jones Trio 1968 Copenhagen Joe Farrel Jimmy Garrison
http://wn.com/Elvin_Jones_Trio_1968_Copenhagen_Joe_Farrel_Jimmy_Garrison
Elvin Jones shootings in Zachariah (1971)
- Order: Reorder
- Duration: 4:34
- Published: 07 Aug 2010
- Updated: 19 Jul 2012
bjazz.unblog.fr This movie extract features drummer Elvin Jones (Job Cain), a former John Coltrane sideman. Job Cain plays gun & sticks. He shot a guy and plays a drums solo. Zachariah (1971) abc Pictures Corp., produced and directed by George Englund Starring, John Rubinstein : Zachariah Pat Quinn : Belle Starr Don Johnson : Matthew Country Joe and the Fish : The Crackers Elvin Jones : Job Cain The James Gang : Job Cain's Band Doug Kershaw : The Fiddler William Challee : Old Man White Lightnin' : Old Man's Band Dick Van Patten : The Dude Robert Ball : Stage Manager The New York Rock Ensemble : Belle Starr's Band www.datday.com
http://wn.com/Elvin_Jones_shootings_in_Zachariah_1971
Elvin Jones Trio England 1968 Joe Farrel Jimmy Garrison
- Order: Reorder
- Duration: 5:23
- Published: 30 Dec 2009
- Updated: 16 Jul 2012
Elvin Jones Trio England 1968 Joe Farrel Jimmy Garrison
http://wn.com/Elvin_Jones_Trio_England_1968_Joe_Farrel_Jimmy_Garrison
Elvin Jones - Ray-El
- Order: Reorder
- Duration: 8:05
- Published: 02 Dec 2009
- Updated: 11 Jul 2012
Another Burnin' Track by Elvin Jones.
http://wn.com/Elvin_Jones_Ray-El
Elvin Jones - New Breed
- Order: Reorder
- Duration: 12:07
- Published: 14 Sep 2010
- Updated: 18 Jul 2012
Artist: Elvin Jones. Album: Live at the Lighthouse Vol.1 Year: 1972 Credits: Elvin Jones (Drums), David Liebman (Sax), Steve Grossman (Sax), Gene Perla (Bass) Remember, always buy the stuff that you enjoy!!
http://wn.com/Elvin_Jones_New_Breed
Elvin Jones Trio - ' Gingerbread boy ' - Copenhagen 1968 with Joe Farrel e Jimmy Garrison
- Order: Reorder
- Duration: 5:16
- Published: 28 Aug 2011
- Updated: 05 Jul 2012
Elvin Jones Trio - ' Gingerbread boy ' - Copenhagen 1968 with Joe Farrel e Jimmy Garrison
http://wn.com/Elvin_Jones_Trio_'_Gingerbread_boy_'_Copenhagen_1968_with_Joe_Farrel_e_Jimmy_Garrison
Elvin Jones Jazz Machine Vienne 2000 Doll of the bride
- Order: Reorder
- Duration: 10:00
- Published: 30 Dec 2009
- Updated: 24 Jun 2012
Elvin Jones Jazz Machine Vienne, France, 2000 == Elvin Jones dms, Eric Lewis piano, Steve Kirby bass, Darren Barrett tpt, Antoine Roney sx
http://wn.com/Elvin_Jones_Jazz_Machine_Vienne_2000_Doll_of_the_bride
John McLaughlin: tones for Elvin Jones
- Order: Reorder
- Duration: 9:59
- Published: 19 Jul 2006
- Updated: 19 Jul 2012
from the crossroads guitar festival. Featuring Zakir Hussein and Dennis Chambers.
http://wn.com/John_McLaughlin_tones_for_Elvin_Jones
Elvin Jones - Someone's Rocking My Jazzboat
- Order: Reorder
- Duration: 6:52
- Published: 27 Apr 2010
- Updated: 14 Jul 2012
Elvin Jones (drums), Dave Williams (bass), Roland Prince (guitar), Frank Ippolito (percussion), Kenny Barron (piano), Frank Foster, Steve Grossman (sax) Album: New Agenda (1975)
http://wn.com/Elvin_Jones_Someone's_Rocking_My_Jazzboat
Elvin Jones A Different Drummer pt1
- Order: Reorder
- Duration: 7:28
- Published: 27 Apr 2011
- Updated: 19 Jul 2012
Documentary based on Elvin's Life.
http://wn.com/Elvin_Jones_A_Different_Drummer_pt1
Elvin Jones Quartet 1973 - The Children/Merry-Go-Round
- Order: Reorder
- Duration: 13:18
- Published: 20 Dec 2011
- Updated: 12 Jul 2012
Elvin Jones - Drums Dave Liebman - Saxophones, Flute Steve Grossman - Saxophones Gene Perla - Bass Enjoy!
http://wn.com/Elvin_Jones_Quartet_1973_The_Children_Merry-Go-Round
Elvin Jones/Jimmy Garrison Sextet - Half and Half
- Order: Reorder
- Duration: 6:25
- Published: 07 Feb 2010
- Updated: 19 Jul 2012
ELVIN JONES; drums PRINCE LASHA; clarinet and flute SONNY SIMMONS; alto sax and English horn JIMMY GARRISON; bass CHARLES DAVIS; baritone sax McCOY TYNER; piano
http://wn.com/Elvin_Jones_Jimmy_Garrison_Sextet_Half_and_Half
Elvin Jones at Umbria Jazz
- Order: Reorder
- Duration: 3:50
- Published: 09 Jun 2007
- Updated: 23 Jun 2012
A short clip of Elvin Jones 6 months before he died.
http://wn.com/Elvin_Jones_at_Umbria_Jazz
Sunny Murray,Elvin Jones&Art; Blakey 1968
- Order: Reorder
- Duration: 3:08
- Published: 04 May 2006
- Updated: 03 Jul 2012
tulututute
http://wn.com/Sunny_Murray,Elvin_Jones&Art;_Blakey_1968
Photo: AP / Yomiuri Shimbun, Masataka Morita
17 Aug 2012
Japan is preparing to deport a group of 14 Chinese, including activists, boat crew and journalists, who sailed to disputed islands, reports say. Police have questioned the group and they are being...
Photo: AP / Mikhail Metzel
18 Aug 2012
The two-year prison sentence for Russian punk band Pussy Riot has drawn worldwide condemnation. Politicians and human rights activists see the verdict as being politically motivated and way too harsh....
Photo: AP / Ariel Schalit
18 Aug 2012
They have recently been issued with documents labelling them as South Sudanese – despite holding passports showing they were born in areas that remain in Sudan. Four migrants from the Republic of...
Photo: AP / Evan Vucci
18 Aug 2012
Article by WN.com Correspondent Dallas Darling "No society can surely be flourishing and happy, of which the far greater part of the members are poor and miserable." -Adam Smith The Republicans and...
Photo: AP / Evan Schneider
17 Aug 2012
These jihadists, who have gravitated to Syria from Britain, Libya, Tunisia, Egypt, Yemen, Iraq, among other countries, are directed by Washington, London and Paris in time-honoured fashion of these...
Elvin Jones - - the Legendary Jazz Drummer
04 May 2012
All Africa
[Daily Observer] The evolution of Jazz spanned...(size: 0.3Kb)
Jazz: Remembering Elvin Jones
02 Jun 2004
International Herald Tribune
PARIS Elvin Jones, who died of heart failure on May 18 at 76, revolutionized modern drumming with a style that was described as "surging," "multidirectional," "volcanic" and, by the critic Leonard Feather, as a "continuum in which no beat of the bar was necessarily...(size: 5.5Kb)
Letter: Elvin Jones
25 May 2004
The Guardian
Elvin Jones (obituary, May 20) "arrived" in 1959 with Sonny Rollins. Live at the Village Vanguard, in New York, he and the tenor saxophonist shaped almost two CDs worth of...(size: 1.2Kb)
Elvin Jones drummed up admiration
24 May 2004
Indianapolis Star
Hail, Elvin Jones. Jazz's great drummer, who died last week at 76 in New York, was one of the most loved and respected musicians in any genre. Gleeful, uncompromising, Jones was a model of intensity and conviction. His unbeatable rhythms -- loose and swirling -- defined and fueled the John Coltrane...(size: 4.2Kb)
Baltimore Sun
Drummer Elvin Jones was the great propelling force that drove the John Coltrane quartet into vast new territories of jazz, territories that new generations of musicians are still exploring . He was a drummer of inexhaustible energy - physically, emotionally and spiritually - which was a very good...(size: 3.3Kb)
Elvin Jones
20 May 2004
The Guardian
Now that jazz has developed so many tributaries, its African roots are discussed less, but in the 1950s and 1960s it could be a matter for heated argument as to whether or not you needed to be black to play proper jazz at all. If jazz music's celebration of intuition and the symbiosis of the...(size: 7.9Kb)
Obituaries: Elvin Jones, drummer with Coltrane group; June Taylor, choreographer; Arnold Beckman
20 May 2004
International Herald Tribune
Elvin Jones, whose explosive drumming powered the John Coltrane Quartet, the most influential and controversial jazz ensemble of the 1960s, died Tuesday in New York. He was 76 and lived in Manhattan and Nagasaki, Japan. Jones's death, which followed several months of failing health, was announced by...(size: 3.4Kb)
Yahoo Daily News
NEW YORK (Reuters) - Jazz drummer Elvin Jones, who rose to fame as a driving force behind the John Coltrane Quintet ensemble of the 1960s, has died of heart failure, his wife said on Wednesday. He was 76. Keiko Jones, who was married to the drummer for 38 years and also served as his business...(size: 2.6Kb)
International Herald Tribune
Elvin Jones, whose explosive drumming powered the John Coltrane Quartet, the most influential and controversial jazz ensemble of the 1960s, died Tuesday in New York. He was 76 and lived in Manhattan and Nagasaki, Japan. Jones' death, which came after several months of failing health, was announced...(size: 2.2Kb)
Jazz Drummer Elvin Jones Dies
19 May 2004
Billboard
Elvin Jones, arguably the most influential drummer of the modern jazz era, died yesterday (May 18) in Englewood, N.J., reportedly of heart problems. He was 76. Jones is best remembered as the polyrhythmic driving force in the John Coltrane Quartet, the most lauded jazz group of the 1960s. That unit...(size: 3.4Kb)
| Elvin Jones | |
|---|---|
 Elvin Jones in 1976 |
|
| Background information | |
| Birth name | Elvin Ray Jones |
| Born | (1927-09-09)September 9, 1927 |
| Origin | Pontiac, Michigan, U.S. |
| Died | May 18, 2004(2004-05-18) (aged 76) |
| Genres | Modal jazz, avant-garde jazz, hard bop, mainstream jazz, post-bop |
| Occupations | Drummer, bandleader |
| Instruments | Drums |
| Associated acts | John Coltrane, Charles Mingus, Thad Jones, Hank Jones |
Elvin Ray Jones (September 9, 1927 – May 18, 2004) was a jazz drummer of the post-bop era.[1] He showed interest in drums at a young age, watching the circus bands march by his family's home in Pontiac, Michigan.
He served in the United States Army from 1946 to 1949 and subsequently played in a Detroit houseband led by Billy Mitchell. He moved to New York in 1955 and worked as a sideman for Charles Mingus, Teddy Charles, Bud Powell and Miles Davis.[1]
From 1960 to 1966 he was a member of the John Coltrane quartet (along with Jimmy Garrison on bass and McCoy Tyner on Piano), a celebrated recording phase, appearing on such albums as A Love Supreme. Following his work with John Coltrane, Jones led several small groups, some under the name The Elvin Jones Jazz Machine. He recorded with both of his brothers during his career, jazz musicians Hank Jones and Thad Jones.[1]
Contents |
Biography[link]
Early life[link]
Elvin Jones was born in Pontiac, Michigan to parents Henry and Olivia Jones who moved to Michigan from Vickisburg, Mississippi. By age two he said he knew he held a fascination for drums. He would watch the circus marching band parades go by his home as a boy, particularly fascinated by the drummers. Following his early passion, Elvin joined his high school's black marching band, where he developed his foundation in rudiments. Jones began service in the United States Army in 1946. He was discharged in 1949, and returned home penniless. Jones said he borrowed thirty-five dollars from his sister when he got back to buy his first drumset.[2]
Elvin began his professional career in 1949 with a short-lived gig in Detroit's Grand River Street club. Eventually he went on to play with artists such as Miles Davis and Wardell Gray. In 1955, after a failed audition for the Benny Goodman band, he found work in New York, joining Charles Mingus's band, and releasing a record called J is for Jazz.
1960–1966: John Coltrane and beyond[link]
In 1960, he joined with the classic John Coltrane Quartet, which also included bassist Jimmy Garrison and pianist McCoy Tyner. Jones and Coltrane often played extended duet passages. This band is widely considered to have redefined "swing" (the rhythmic feel of jazz) in much the same way that Louis Armstrong, Charlie Parker, and others did during earlier stages of jazz's development. He stayed with Coltrane until 1966. By that time, Jones was not entirely comfortable with Coltrane's new direction and his polyrhythmic style clashed with the "multidirectional" approach of the group's second drummer, Rashied Ali.
Jones remained active after leaving the John Coltrane group, and led several bands in the late sixties and seventies that are considered highly influential groups. Notable among them was a trio formed with saxophonist and multi-instrumentalist Joe Farrell and (ex-Coltrane) bassist Jimmy Garrison, with whom he recorded the Blue Note album Puttin' It Together. Jones recorded extensively for Blue Note under his own name in the late sixties and early seventies, with groups that featured prominent as well as up and coming greats. The two volume Live at The Lighthouse showcases a 21- and 26-year-old Steve Grossman and Dave Liebman, respectively. Other musicians of note who made significant contributions to Elvin's music during this period were baritone saxophonist Pepper Adams, tenor saxophonists George Coleman and Frank Foster, trumpeter Lee Morgan, bassist Gene Perla, keyboardist Jan Hammer and Jazz - World Music group Oregon.
Late career[link]
Elvin Jones' sense of timing, polyrhythms, dynamics, timbre, and legato phrasing brought the drumset to the foreground. Jones was touted by Life Magazine as "the world's greatest rhythmic drummer", and his free-flowing style was a major influence on many leading drummers, including Christian Vander, Mitch Mitchell (whom Jimi Hendrix called "my Elvin Jones") and Ginger Baker. He appeared as the villain Job Cain in the 1971 off-beat Western film Zachariah, in which he performed a drum solo after winning a saloon gunfight. In 1999, Jones worked with Our Lady Peace on their album Happiness...Is Not a Fish That You Can Catch. He was featured playing drums on the song "Stealing Babies", which was also featured on their 2009 compilation album The Very Best of Our Lady Peace.
Jones performed and recorded with his own group, the Elvin Jones Jazz Machine, whose line up changed through the years. Sonny Fortune and Ravi Coltrane, John Coltrane's son, both played saxophone with the Jazz Machine in the early 1990s, appearing together with Jones on In Europe on Enja Records in 1991. Jones, who taught regularly, often took part in clinics, played in schools, and gave free concerts in prisons. His lessons emphasized music history as well as drumming technique.
Elvin Jones died of heart failure in Englewood, New Jersey on May 18, 2004. He is survived by his first wife Shirley and his second, albeit common-law, wife Keiko (Elvin married Keiko before divorcing Shirley, meaning that legally he and Keiko were not married). Elvin Jones is survived by his son Elvin Nathan Jones of California and daughter Rose-Marie Rosie Nyberg of Sweden.
Discography[link]
As leader[link]
| Year of recording | Album | Personnel | Label |
|---|---|---|---|
| 1961 | Together! | Philly Joe Jones, Blue Mitchell, Curtis Fuller, Hank Mobley, Wynton Kelly, Paul Chambers | Atlantic |
| 1961 | Elvin! | Frank Wess, Frank Foster, Art Davis, Hank Jones, Thad Jones | Riverside |
| 1963 | Illumination! | Jimmy Garrison, Prince Lasha, Sonny Simmons, Charles Davis, McCoy Tyner | Impulse! |
| 1965 | Dear John C. | Richard Davis, Hank Jones, Roland Hanna, Charlie Mariano | Impulse! |
| 1965 | And Then Again | J. J. Johnson, Frank Wess, Charles Davis, Don Friedman, Paul Chambers, Thad Jones, Hank Jones, Art Davis | Atlantic |
| 1966 | Midnight Walk | Thad Jones, Hank Mobley, Dollar Brand, Steve James, Don Moore | Atlantic |
| 1967 | Heavy Sounds | Richard Davis, Frank Foster, Billy Greene | Impulse! |
| 1968 | Live at the Village Vanguard | Wilbur Little, George Coleman, Marvin Peterson | Enja |
| 1968 | Puttin' It Together | Joe Farrell, Jimmy Garrison | Blue Note |
| 1968 | The Ultimate | Jimmy Garrison, Joe Farrell | Blue Note |
| 1969 | Poly-Currents | George Coleman, Joe Farrell, Pepper Adams, Wilbur Little, Candido Camero, Fred Tompkins | Blue Note |
| 1970 | Coalition | George Coleman, Frank Foster, Wilbur Little, Candido Camero, | Blue Note |
| 1971 | Genesis | Gene Perla, Frank Foster, Dave Liebman, Joe Farrell | Blue Note |
| 1971 | Merry-Go-Round | Dave Liebman, Steve Grossman, Joe Farrell, Chick Corea, Jan Hammer, Don Alias, Gene Perla | Blue Note |
| 1972 | Mr. Jones | Joe Farrell, Pepper Adams, Dave Liebman, Jan Hammer, Gene Perla | Blue Note |
| 1972 | Live at the Lighthouse | Dave Liebman, Steve Grossman, Gene Perla | Blue Note |
| 1973 | At This Point in Time | Steve Grossman, Pepper Adams, Jan Hammer | Blue Note |
| 1969-1973 | The Prime Element | George Coleman, Joe Farrell, Lee Morgan, Pepper Adams, Steve Grossman, Frank Foster | Blue Note |
| 1975 | Mr. Thunder | Steve Grossman, Roland Prince, Milton Suggs, Luis Agudo, Sjunne Ferger | East West |
| 1975 | Elvin Jones is "On the Mountain" | Jan Hammer, Gene Perla | PM |
| 1975 | New Agenda | Steve Grossman, Roland Prince, Dave Williams | Vanguard |
| 1976 | The Main Force | Ryo Kawasaki, Al Dailey, Dave Liebman | Vanguard |
| 1976 | Summit Meeting | James Moody, Clark Terry, Bunky Green, Roland Prince | Vanguard |
| 1977 | Time Capsule | Bunky Green, Kenny Barron, Angel Allende, Ryo Kawasaki, Frank Wess, Milt Hinton, Frank Foster, George Coleman, Junie Booth | Vanguard |
| 1978 | Remembrance | Pat LaBarbera, Michael Stuart, Roland Prince, Andy McCloud III | MPS |
| 1978 | Elvin Jones Music Machine | Frank Foster, Pat LaBarbera, Roland Prince, Andy McCloud III | Mark Levison (Japan) |
| 1978 | Live in Japan 1978: Dear John C. | Frank Foster, Pat LaBarbera, Roland Prince, Andy McCloud III | Trio (Japan) |
| 1978 | Elvin Jones Jazz Machine Live in Japan Vol. 2 | Frank Foster, Pat LaBarbera, Roland Prince, Andy McCloud III | Trio (Japan) |
| 1979 | Very R.A.R.E. | Art Pepper, Frank Foster, Pat LaBarbera | Trio (Japan) |
| 1980 | Soul Train | Andrew White, Richard "Ari" Brown, Marvin Horne, Andy McCloud III | Denon |
| 1980 | Heart to Heart | Tommy Flanagan, Richard Davis | Denon |
| 1982 | Earth Jones | Kenny Kirkland, Dave Liebman, Terumasa Hino, George Mraz | Palo Alto |
| 1982 | Love & Peace | McCoy Tyner, Pharoah Sanders, Jean-Paul Bourelly, Richard Davis | Trio (Japan) |
| 1982 | Brother John | Kenny Kirkland, Reggie Workman, Pat LaBarbera | Palo Alto |
| 1984 | Live at the Village Vanguard Volume One | Frank Foster, Pat LaBarbera, Fumio Karashima, Chip Jackson | Landmark |
| 1985 | Elvin Jones Jazz Machine Live at Pit Inn | Sonny Fortune, Pat LaBarbera, Fumio Karashima, Richard Davis | Polydor (Japan) |
| 1990 | Power Trio | John Hicks, Cecil McBee | Novus |
| 1990 | When I Was at Aso-Mountain | Sonny Fortune, Takehisa Tanaka, Cecil McBee | Enja |
| 1991 | In Europe | Sonny Fortune, Ravi Coltrane, Willie Pickens, Chip Jackson | Enja |
| 1992 | Youngblood | Joshua Redman, Javon Jackson, Nicholas Payton, George Mraz | Enja |
| 1992 | Going Home | Willie Pickens, Ravi Coltrane, Kent Jordan, Brad Jones, Nicholas Payton | Enja |
| 1992 | Tribute to John Coltrane "A Love Supreme" | Wynton Marsalis, Marcus Roberts, Reginald Veal | Columbia (Japan) |
| 1993 | It Don't Mean a Thing | Nicholas Payton, Sonny Fortune, Delfeayo Marsalis, Willie Pickens, Cecil McBee, Kevin Mahogany | Enja |
| 1998 | Momentum Space | Cecil Taylor, Dewey Redman | Verve |
| 1999 | The Truth: Heard Live at the Blue Note | Darren Barrett, Robin Eubanks, Carlos McKinney, Michael Brecker | Half Note |
As sideman[link]
| Date (of recording) | Album | Leader | Label |
|---|---|---|---|
| 1948 | Swing...Not Spring! | Billy Mitchell | Savoy Records |
| 1955 | Blue Moods | Miles Davis | Prestige Records |
| 1956 | Farmer's Market | Art Farmer | New Jazz |
| 1956 | J is for Jazz | J. J. Johnson | Columbia Records |
| 1956-57 | The Jones Boys | Quincy Jones | Everest Recordings |
| 1957 | Paul Chambers Quintet | Paul Chambers | Blue Note |
| 1957 | Night at the Village Vanguard | Sonny Rollins | Blue Note |
| 1957 | Blue Moods | Kenny Burrell | Prestige (7088) |
| 1958 | Mal/3: Sounds | Mal Waldron | Prestige (8201) |
| 1958 | Reflections | Steve Lacy | New Jazz (8206) |
| 1958 | Soul Stirrin' | Bennie Green | Blue Note (1599) |
| 1959 | All the Gin Is Gone | Jimmy Forrest | Delmark |
| 1959 | Black Forrest | Jimmy Forrest | Delmark |
| 1959 | Great Jazz Standards | Gil Evans | World Pacific |
| 1959 | Sketches of Spain | Miles Davis | Columbia |
| 1960 | Coltrane Plays the Blues | John Coltrane | Atlantic |
| 1960 | Coltrane's Sound | John Coltrane | Atlantic |
| 1960 | My Favorite Things | John Coltrane | Atlantic |
| 1961 | Coltrane Jazz (only on 1 track) | John Coltrane | Atlantic |
| 1961 | Africa/Brass | John Coltrane | Impulse! |
| 1961 | Live! at the Village Vanguard | John Coltrane | Impulse! |
| 1961 | Into Something | Yusef Lateef | New Jazz |
| 1961 | Motion | Lee Konitz | Verve |
| 1962 | Ready for Freddie | Freddie Hubbard | Blue Note |
| 1962 | Duke Ellington & John Coltrane | Duke Ellington, John Coltrane | Impulse! |
| 1962 | Ballads | John Coltrane | Impulse! |
| 1962 | Coltrane | John Coltrane | Impulse! |
| 1962 | Inception | McCoy Tyner | Impulse! |
| 1963 | Today and Tomorrow | McCoy Tyner | Impulse! |
| 1963 | Impressions | John Coltrane | Impulse! |
| 1963 | John Coltrane and Johnny Hartman | John Coltrane | Impulse! |
| 1963 | Live at Birdland | John Coltrane | Impulse! |
| 1964 | Crescent | John Coltrane | Impulse! |
| 1964 | A Love Supreme | John Coltrane | Impulse! |
| 1964 | Judgment! | Andrew Hill | Blue Note |
| 1964 | Stan Getz & Bill Evans | Stan Getz, Bill Evans | Verve |
| 1964 | Bob Brookmeyer and Friends | Bob Brookmeyer | Verve |
| 1964 | Night Dreamer | Wayne Shorter | Blue Note |
| 1964 | JuJu | Wayne Shorter | Blue Note |
| 1964 | Speak No Evil | Wayne Shorter | Blue Note |
| 1964 | McCoy Tyner Plays Ellington | McCoy Tyner | Impulse! |
| 1964 | Matador | Grant Green | Blue Note |
| 1964 | Street of Dreams | Grant Green | Blue Note |
| 1964 | Solid | Grant Green | Blue Note |
| 1964 | Talkin' About! | Grant Green | Blue Note |
| 1964 | In 'N Out | Joe Henderson | Blue Note |
| 1964 | Inner Urge | Joe Henderson | Blue Note |
| 1964 | Into Somethin' | Larry Young | Blue Note |
| 1964 | The Individualism of Gil Evans | Gil Evans | Verve |
| 1965 | Unity | Larry Young | Blue Note |
| 1965 | Rip, Rig and Panic | Roland Kirk | Limelight |
| 1965 | I Want to Hold Your Hand | Grant Green | Blue Note |
| 1965 | The John Coltrane Quartet Plays | John Coltrane | Impulse! |
| 1965 | Om | John Coltrane | Impulse! |
| 1965 | New Thing at Newport | John Coltrane | Impulse! |
| 1965 | Gleanings | John Coltrane | Impulse! |
| 1965 | Transition | John Coltrane | Impulse! |
| 1965 | First Meditations | John Coltrane | Impulse! |
| 1965 | Living Space | John Coltrane | Impulse! |
| 1965 | Sun Ship | John Coltrane | Impulse! |
| 1965 | Meditations | John Coltrane | Impulse! |
| 1965 | Kulu Sé Mama | John Coltrane | Impulse! |
| 1965 | Live at the Half Note: One Down, One Up | John Coltrane | Impulse! |
| 1966 | Live In Seattle | John Coltrane | Impulse! |
| 1966 | East Broadway Run Down | Sonny Rollins | Impulse! |
| 1966 | Blue Spirits | Freddie Hubbard | Blue Note |
| 1967 | The Lee Konitz Duets | Lee Konitz | Milestone |
| 1967 | The Real McCoy | McCoy Tyner | Blue Note |
| 1968 | New York Is Now! | Ornette Coleman | Blue Note |
| 1968 | Love Call | Ornette Coleman | Blue Note |
| 1970 | Extensions | McCoy Tyner | Blue Note |
| 1971 | Outback | Joe Farrell | CTI |
| 1975 | Trident | McCoy Tyner | Milestone |
| 1976 | Together | Oregon | Vanguard |
| 1977 | Well Water | Frank Foster | Piadrum (released 2007) |
| 1977 | Something For Lester | Ray Brown | OJC |
| 1987 | But Beautiful | Lew Soloff | King Records |
| Jun 26, 1987[3] | Magical Trio 1 | James Williams | Emarcy |
| Sep 2, 1988[4] | Meet the Magical Trio | James Williams | Emarcy |
| 1990 | Special Quartet | David Murray | DIW/Columbia |
| 1991 | Ask the Ages | Sonny Sharrock | Axiom Records |
| 1995 | After the Rain | John McLaughlin | Verve |
| 1995 | The Main Ingredient | Shirley Horn | Verve |
| 1998 | Trio Fascination: Edition One | Joe Lovano | Blue Note |
| 1999 | Jones for Elvin - Volumes 1 and 2 | Steve Griggs | Hip City Music |
| 1999 | Time is of the Essence | Michael Brecker | Verve |
| 2001 | With Dave Holland and Elvin Jones | Bill Frisell | Nonesuch |
Filmography[link]
- 1979 A Different Drummer (Rhapsody)[1]
- 1996 Elvin Jones: Jazz Machine (VIEW)[5]
- 1971 Zachariah MGM DVD
References[link]
- ^ a b c d Yanow, Scott. "Elvin Jones". AllMusic. http://www.allmusic.com/artist/p6844. Retrieved 2011-10-19.
- ^ Gross, Terry. "Elvin Jones NPR interview". http://www.npr.org/templates/story/story.php?storyId=1905210. Retrieved 2007-05-30.
- ^ Allmusic Magical Trio 1 review
- ^ Allmusic Meet the Magical Trio review
- ^ Jones, Elvin. "VIEW DVD Listing". View.com. http://www.view.com/elvin_jones_jazz_machine_dvd.aspx. Retrieved 2011-10-19.
External links[link]
 |
Wikimedia Commons has media related to: Elvin Jones |
- Official website
- Elvin Jones at drummerworld.com
- NEA Jazz Masters video biography of Elvin Jones narrated by Billy Taylor
- Elvin Jones interview from NEA Jazz Masters
- Elvin Jones with the John Coltrane Quartet performing Afro Blue on Ralph Gleason's "Jazz Casual", 1963
| Persondata | |
|---|---|
| Name | Jones, Elvin |
| Alternative names | |
| Short description | |
| Date of birth | September 9, 1927 |
| Place of birth | |
| Date of death | May 18, 2004 |
| Place of death | |
http://wn.com/Elvin_Jones
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Elvin_Jones
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.
| Max Roach | |
|---|---|
 Max Roach, Amsterdam 1979 |
|
| Background information | |
| Birth name | Maxwell Lemuel Roach |
| Born | (1924-01-10)January 10, 1924 |
| Origin | Township of Newland, North Carolina, United States |
| Died | August 16, 2007(2007-08-16) (aged 83) |
| Genres | Jazz |
| Occupations | Musician, composer |
| Instruments | Drums, percussion |
| Years active | 1944–2002 |
| Associated acts | M'Boom |
Maxwell Lemuel "Max" Roach (January 10, 1924 – August 16, 2007) was an American jazz percussionist, drummer, and composer.
A pioneer of bebop, Roach went on to work in many other styles of music, and is generally considered alongside the most important drummers in history.[1][2] He worked with many famous jazz musicians, including Coleman Hawkins, Dizzy Gillespie, Charlie Parker, Miles Davis, Duke Ellington, Thelonious Monk, Charles Mingus, Billy Eckstine, Stan Getz, Sonny Rollins, Clifford Brown, Eric Dolphy and Booker Little.
Roach also led his own groups, and made numerous musical statements relating to the civil rights movement of African Americans.
Contents |
Biography[link]
Early life and career[link]
Roach was born in the Township of Newland, Pasquotank County, North Carolina, which borders the southern edge of the Great Dismal Swamp, to Alphonse and Cressie Roach. Many confuse this with Newland Town in Avery County. Although Roach's birth certificate lists his date of birth as January 10, 1924,[3] Roach has been quoted by Phil Schaap as having stated that his family believed he was born on January 8, 1925. Roach's family moved to the Bedford-Stuyvesant neighborhood of Brooklyn, New York when he was 4 years old. He grew up in a musical home, his mother being a gospel singer. He started to play bugle in parade orchestras at a young age. At the age of 10, he was already playing drums in some gospel bands. As an eighteen year-old fresh out of Boys High School in Brooklyn, (1942) he was called to fill in for Sonny Greer, and play with the Duke Ellington Orchestra performing at the Paramount Theater.
In 1942, Roach started to go out in the jazz clubs of the 52nd Street and at 78th Street & Broadway for Georgie Jay's Taproom (playing with schoolmate Cecil Payne).[4]
Roach's most significant innovations came in the 1940s, when he and jazz drummer Kenny Clarke devised a new concept of musical time. By playing the beat-by-beat pulse of standard 4/4 time on the "ride" cymbal instead of on the thudding bass drum, Roach and Clarke developed a flexible, flowing rhythmic pattern that allowed soloists to play freely. The new approach also left space for the drummer to insert dramatic accents on the snare drum, "crash" cymbal and other components of the trap set.
By matching his rhythmic attack with a tune's melody, Roach brought a newfound subtlety of expression to his instrument. He often shifted the dynamic emphasis from one part of his drum kit to another within a single phrase, creating a sense of tonal color and rhythmic surprise.[1] The idea was to shatter musical conventions and take full advantage of the drummer's unique position. "In no other society", Roach once observed, "do they have one person play with all four limbs."[5]
While that approach is common today, when Clarke and Roach introduced the new style in the 1940s it was a revolutionary musical advance. "When Max Roach's first records with Charlie Parker were released by Savoy in 1945," jazz historian Burt Korall wrote in the Oxford Companion to Jazz, "drummers experienced awe and puzzlement and even fear." One of those awed drummers, Stan Levey, summed up Roach's importance: "I came to realize that, because of him, drumming no longer was just time, it was music."[1]
He was one of the first drummers (along with Kenny Clarke) to play in the bebop style, and performed in bands led by Dizzy Gillespie, Charlie Parker, Thelonious Monk, Coleman Hawkins, Bud Powell, and Miles Davis. Roach played on many of Parker's most important records, including the Savoy November 1945 session, a turning point in recorded jazz.
1950s[link]
Roach studied classical percussion at the Manhattan School of Music from 1950–53, working toward a Bachelor of Music degree (the School was to award him an Honorary Doctorate in 1990).
In 1952, Roach co-founded Debut Records with bassist Charles Mingus. This label released a record of a May 15, 1953 concert, billed as 'the greatest concert ever', which came to be known as Jazz at Massey Hall, featuring Charlie Parker, Dizzy Gillespie, Bud Powell, Mingus and Roach. Also released on this label was the groundbreaking bass-and-drum free improvisation, Percussion Discussion.[6]
In 1954, he formed a quintet featuring trumpeter Clifford Brown, tenor saxophonist Harold Land, pianist Richie Powell (brother of Bud Powell), and bassist George Morrow, though Land left the following year and Sonny Rollins soon replaced him. The group was a prime example of the hard bop style also played by Art Blakey and Horace Silver. Tragically, this group was to be short-lived; Brown and Powell were killed in a car accident on the Pennsylvania Turnpike in June 1956. The first album Roach recorded after their deaths was Max Roach + 4. After Brown and Powell's deaths, Roach continued leading a similarly configured group, with Kenny Dorham (and later the short-lived Booker Little) on trumpet, George Coleman on tenor and pianist Ray Bryant. Roach expanded the standard form of hard-bop using 3/4 waltz rhythms and modality in 1957 with his album Jazz in 3/4 time. During this period, Roach recorded a series of other albums for the EmArcy label featuring the brothers Stanley and Tommy Turrentine.[7]
In 1955, he was the drummer for vocalist Dinah Washington at several live appearances and recordings. Appearing at the Newport Jazz Festival with her in 1958 which was filmed and the 1954 live studio audience recording of Dinah Jams, considered to be one of the best and most overlooked vocal jazz albums of its genre.[8]
1960s-1970s[link]
In 1960 he composed the We Insist! - Freedom Now suite with lyrics by Oscar Brown Jr., after being invited to contribute to commemorations of the hundredth anniversary of Abraham Lincoln's Emancipation Proclamation. In 1962, he recorded the album Money Jungle, a collaboration with Mingus and Duke Ellington. This is generally regarded as one of the very finest trio albums ever made.[9]
In 1966, with his album Drums Unlimited (which includes several tracks that are entirely drums solos) he demonstrated that drums can be a solo instrument able to play theme, variations, rhythmically cohesive phrases. He described his approach to music as "the creation of organized sound."[10]
During the 1970s, Roach formed a musical organization—"M'Boom"—a percussion orchestra. Each member of this unit composed for it and performed on many percussion instruments. Personnel included Fred King, Joe Chambers, Warren Smith, Freddie Waits, Roy Brooks, Omar Clay, Ray Mantilla, Francisco Mora, and Eli Fountain.[10]
1980s-1990s[link]
File:Max Roach Keystone 1979.jpg
Keystone Korner, San Francisco, 1979
In the early 1980s, he began presenting entire concerts solo, proving that this multi-percussion instrument could fulfill the demands of solo performance and be entirely satisfying to an audience. He created memorable compositions in these solo concerts; a solo record was released by Baystate, a Japanese label, just about impossible to obtain. One of these solo concerts is available on video, which also includes a filming of a recording date for "Chattahoochee Red," featuring his working quartet, Odean Pope, Cecil Bridgewater and Calvin Hill.
He embarked on a series of duet recordings. Departing from the style of presentation he was best known for, most of the music on these recordings is free improvisation, created with the avant-garde musicians Cecil Taylor, Anthony Braxton, Archie Shepp, and Abdullah Ibrahim. He created duets with other performers: a recorded duet with the oration by Martin Luther King, "I Have a Dream"; a duet with video artist Kit Fitzgerald, who improvised video imagery while Roach spontaneously created the music; a classic duet with his life-long friend and associate Dizzy Gillespie; a duet concert recording with Mal Waldron.
He wrote music for theater, such as plays written by Sam Shepard, presented at La Mama E.T.C. in New York City.
He found new contexts for presentation, creating unique musical ensembles. One of these groups was "The Double Quartet." It featured his regular performing quartet, with personnel as above, except Tyrone Brown replacing Hill; this quartet joined with "The Uptown String Quartet," led by his daughter Maxine Roach, featuring Diane Monroe, Lesa Terry and Eileen Folson.
Another ensemble was the "So What Brass Quintet," a group comprising five brass instrumentalists and Roach, no chordal instrument, no bass player. Much of the performance consisted of drums and horn duets. The ensemble consisted of two trumpets, trombone, French horn and tuba. Musicians included Cecil Bridgewater, Frank Gordon, Eddie Henderson, Rod McGaha, Steve Turre, Delfeayo Marsalis, Robert Stewart, Tony Underwood, Marshall Sealy, Mark Taylor and Dennis Jeter.
Roach presented his music with orchestras and gospel choruses. He performed a concerto with the Boston Symphony Orchestra. He wrote for and performed with the Walter White gospel choir and the John Motley Singers. Roach performed with dancers: the Alvin Ailey American Dance Theater, the Dianne McIntyre Dance Company, the Bill T. Jones/Arnie Zane Dance Company.
Roach surprised his fans by performing in a hip hop concert, featuring the artist-rapper Fab Five Freddy and the New York Break Dancers. He expressed the insight that there was a strong kinship between the outpouring of expression of these young black artists and the art he had pursued all his life.[11]
Not content to expand on the musical territory he had already become known for, Roach spent the decades of the 1980s and 1990s continually finding new forms of musical expression and presentation. Though he ventured into new territory during a lifetime of innovation, he kept his contact with his musical point of origin. He performed with the Beijing Trio, with pianist Jon Jang and erhu player Jeibing Chen. His last recording, Friendship, was with trumpet master Clark Terry, the two long-standing friends in duet and quartet. His last performance was at the 50th anniversary celebration of the original Massey Hall concert, in Toronto, where he performed solo on the hi-hat.[12]
In 1994, Roach also appeared on Rush drummer Neil Peart's Burning For Buddy performing "The Drum Also Waltzes", Part 1 and 2 on Volume 1 of the Volume 2 series during the 1994 All-Star recording sessions.[13]
Death[link]
Max Roach died in the early morning on August 16, 2007 in Manhattan.[14] He was survived by five children: sons Daryl and Raoul, and daughters Maxine, Ayo and Dara. Over 1,900 people attended his funeral at Riverside Church in Manhattan, New York City on August 24, 2007. Max Roach was interred at the Woodlawn Cemetery, Bronx, NY.
In a funeral tribute to Roach, then-Lieutenant Governor of New York David Paterson compared the musician's courage to that of Paul Robeson, Harriet Tubman and Malcolm X, saying that "No one ever wrote a bad thing about Max Roach's music or his aura until 1960, when he and Charlie Mingus protested the practices of the Newport Jazz Festival."[15]
Personal life[link]
Two children, son Daryl Keith and daughter Maxine, were born from his first marriage with Mildred Roach. In 1956 he met singer Barbara Jai (Johnson) and had another son, Raoul Jordu. He continued to play as a freelance while studying composition at the Manhattan School of Music. He graduated in 1952. During the period 1962–1970, Roach was married to the singer Abbey Lincoln, who had performed on several of Roach's albums. Twin daughters, Ayodele Nieyela and Dara Rashida, were later born to Roach and his third wife, Janus Adams Roach. He has four grandchildren, Kyle Maxwell Roach, Kadar Elijah Roach, Maxe Samiko Hinds and Skye Sophia Sheffield. Long involved in jazz education, in 1972 he joined the faculty of the University of Massachusetts Amherst in Amherst. In the early 2000s, Roach became less active from the onset of hydrocephalus-related complications.
From the 1970s through the mid-1990s Roach taught at the University of Massachusetts Amherst.[16]
Honors[link]
He was given a MacArthur Foundation "genius" grant in 1988, cited as a Commander of the Order of Arts and Letters in France (1989),[17] twice awarded the French Grand Prix du Disque, elected to the International Percussive Art Society's Hall of Fame and the Downbeat Magazine Hall of Fame, awarded Harvard Jazz Master, celebrated by Aaron Davis Hall, given eight honorary doctorate degrees, including degrees awarded by Medgar Evers College, CUNY, the University of Bologna, Italy and Columbia University.[18] While spending the later years of his life at the Mill Basin Sunrise assisted living home, in Brooklyn, Max was honored with a proclamation honoring his musical achievements by Brooklyn borough president Marty Markowitz.[19]
In 1986 the London borough of Lambeth named a park in Brixton after him.[20][21] - Roach was able to officially open it when he visited the UK that year.
Discography[link]
As leader[link]
- 1953 : Max Roach Quartet (Fantasy)
- 1953 : Max Roach and his Sextet (Debut)
- 1953 : Max Roach Quartet featuring Hank Mobley (Debut)
- 1956 : Max Roach + 4 (EmArcy)
- 1957 : Jazz in ¾ Time
- 1958 : Max Roach/Art Blakey (with Art Blakey)
- 1958 : Max Roach Plus Four on the Chicago Scene (Mercury)
- 1958 : Max Roach Plus Four at Newport (Mercury)
- 1958 : Max Roach with the Boston Percussion Ensemble (EmArcy)
- 1958 : Deeds not Words (aka Conversation) (Riverside)
- 1958 : Max Roach/Bud Shank - Sessions (with Bud Shank)
- 1958 : The Defiant Ones (with Booker Little)
- 1958 : Deeds, Not Words (with all new cast Ray Draper, Booker Little, George Coleman)
- 1959 : Rich Versus Roach (with Buddy Rich)
- 1961 : Percussion Bitter Sweet (Impulse! Records)(with Mal Waldron)
- 1962 : Speak, Brother, Speak!
- 1962 : It's Time (Impulse! Records)(with Mal Waldron)
- 1964 : Live in Europe: Freedom Now Suite (with Abbey Lincoln)
- 1964 : The Max Roach Trio Featuring the Legendary Hasaan (with Hasaan ibn Ali)
- 1966 : Drums Unlimited (Atlantic) (Leader, with James Spaulding, Freddie Hubbard, Ronnie Mathews, Jymie Merritt, Roland Alexander)
- 1968 : Sound as Roach (Atlantic)
- 1968 : Members, Don't Git Weary (Atlantic)
- 1971 : Lift Every Voice and Sing (with J.C. White Singers)
- 1976 : Force: Sweet Mao-Suid Afrika '76 (duo with Archie Shepp)
- 1976 : Nommo (Victor)
- 1977 : Max Roach Quartet Live in Tokyo (Denon)
- 1977 : The Loudstar (Horo)
- 1977 : Max Roach Quartet Live In Amsterdam - It's Time (Baystate)
- 1977 : Solos (Baystate)
- 1977 : Streams of Consciousness - duo with Dollar Brand
- 1978 : Confirmation (Fluid Records)
- 1978 : Birth and Rebirth - duo with Anthony Braxton (Black Saint)
- 1979 : The Long March - duo with Archie Shepp (Hathut)
- 1979 : Historic Concerts - duo with Cecil Taylor (Black Saint)
- 1979 : One in Two - Two in One - duo with Anthony Braxton (Hathut)
- 1979 : Pictures in a Frame (Soul Note)
- 1980 : Chattahoochee Red (Columbia)
- 1982 : Swish - duo with Connie Crothers (New Artists)
- 1982 : In the Light (Soul Note)
- 1983 : Live at Vielharmonie (Soul Note)
- 1984 : Scott Free (Soul Note)
- 1984 : It's Christmas Again (Soul Note)
- 1984 : Survivors (Soul Note)
- 1985 : Easy Winners (Soul Note)
- 1986 : Bright Moments (Soul Note)
- 1989 : Max + Dizzy: Paris 1989 - duo with Dizzy Gillespie (A&M)
- 1989 : Homage to Charlie Parker (A&M)
- 1991 : To the Max! (Enja)
- 1995 : Max Roach With The New Orchestra Of Boston And The So What Brass Quintet (Blue Note)
- 1999 : Beijing Trio (Asian Improv)
- 2002 : Friendship - with Clark Terry) (Columbia)
With Clifford Brown
- 1954 : Brown And Roach Incorporated
- 1954 : Clifford Brown and Max Roach
- 1954 : Study in Brown
- 1954 : More Study in Brown
- 1955 : Clifford Brown with Strings
- 1956 : Clifford Brown and Max Roach at Basin Street
- 1957 : Clifford Brown with Strings
- 1979 : Live at the Bee Hive (Columbia Records)
With M'Boom
- 1973 : Re: Percussion (Strata-East Records)
- 1979 : M'Boom (Columbia)
- 1984 : Collage (Soul Note)
- 1992 : Live at S.O.B.'s New York (Blue Moon Records)
As sideman[link]
- 1944 : Rainbow Mist (with Coleman Hawkins)
- 1944 : Coleman Hawkins and His All Stars (with Coleman Hawkins)
- 1945 : Town Hall, New York, June 22, 1945 (with Dizzy Gillespie and Charlie Parker)
- 1945 - 1948: The Complete Savoy Studio Recordings (with Charlie Parker)
- 1946 : Mad Be Bop (with J.J. Johnson)
- 1946 : Opus BeBop (with Stan Getz)
- 1946 : Savoy Jam Party (Don Byas Quartet)
- 1946 : The Hawk Flies (with Coleman Hawkins)
- 1947 : The Bud Powell Trip (with Bud Powell)
- 1947 : Lullaby in Rhythm (with Charlie Parker)
- 1947 : Charlie Parker on Dial (with Charlie Parker)
- 1948 : The Band that Never Was (with Charlie Parker)
- 1948 : Bird on 52nd Street (with Charlie Parker)
- 1948 : Bird at the Roost (with Charlie Parker)
- 1949 : Birth of the Cool (with Miles Davis)
- 1949 - 1953: Charlie Parker – Complete Sessions on Verve (with Charlie Parker)
- 1949 : Charlie Parker in France (with Charlie Parker)
- 1949 : Genesis (with Sonny Stitt)
- 1949 : The Stars of Modern Jazz at Carnegie Hall
- 1950 : The McGhee-Navarro Sextet (with Howard McGhee)
- 1951 : The Amazing Bud Powell (with Bud Powell)
- 1951 : The George Wallington Trip and Septet (with George Wallington)
- 1951 : Conception (with Miles Davis)
- 1952 : New Faces, New Sounds (with Gil Melle)
- 1952 : The Complete Genius (with Thelonious Monk)
- 1952 : Live at Rockland Palace (with Charlie Parker)
- 1953 : The Metronome All Starss. MGM (with Billy Eckstine)
- 1953 : Mambo Jazz (with Joe Holiday)
- 1953 : Yardbird: DC-53 (with Charlie Parker)
- 1953 : Cohn's Tones (with Al Cohn)
- 1953 : Diz and Getz (with Dizzy Gillespie and Stan Getz)
- 1954 : Daahoud (Mainstream Records)
- 1954 : Dinah Jams Featuring Dinah Washington
- 1955 : Relaxed Piano Moods (with Hazel Scott)
- 1955 : Introducing Jimmy Cleveland And His All Stars (EmArcy)
- 1955 : New Piano Expressions (with John Dennis)
- 1955 : Herbie Nichols Trio (with Herbie Nichols)
- 1955 : Work Time (with Sonny Rollins)
- 1955 : The Charles Mingus Quartet plus Max Roach (with Charles Mingus)
- 1956 : Sonny Rollins Plus 4 (with Sonny Rollins)
- 1956 : Introducing Johnny Griffin (with Johnny Griffin)
- 1956 : The Magnificent Thad Jones (with Thad Jones)
- 1956 : Brilliant Corners (with Thelonious Monk)
- 1956 : Tour de Force (with Sonny Rollins)
- 1956 : The Music of George Gershwin: I Sing of Thee (with Joe Wilder)
- 1956 : Rollins Plays for Bird (Sonny Rollins Quintet)
- 1956 : Saxophone Colossus (with Sonny Rollins)
- 1957 : First Place (with J.J. Johnson)
- 1957 : Sonny Clark Trio
- 1957 : Jazz Contrasts (with Kenny Dorham)
- 1958 : Freedom Suite (with Sonny Rollins)
- 1958 : Shadow Waltz (with Sonny Rollins)
- 1958 : Award-Winning Drummer (Time T)
- 1959 : A Little Sweet (aka. The Many Sides of Max )(Mercury)
- 1959 : Moon-Faced and Starry-Eyed (Mercury)
- 1960 : Quiet as it's Kept (Mercury)
- 1960 : Tommy Turrentine (with Tommy Turrentine)
- 1960 : Stan 'The Man' Turrentine
- 1960 : Again! (Affinity)
- 1960 : Parisian Sketches (Mercury)
- 1960 : We Insist! - Freedom Now (Candid)
- 1960 : Long as You're Living (Enja)
- 1960 : Uhuru Afrika (with Randy Weston)
- 1960 : Sonny Clark Trio (with Sonny Clark)
- 1961 : Straight Ahead (with Abbey Lincoln)
- 1961 : Out Front (with Booker Little)
- 1961 : Paris Blues (with Duke Ellington)
- 1962 : Money Jungle (with Duke Ellington and Charles Mingus)
- 1962 : Drum Suite (with Slide Hampton)
- 1966 : Stuttgart 1963 Concert (with Sonny Rollins)
- 1972 : Newport in New York ‘72 (Roach on 2 tracks only)
- 1975 : The Bop Session (with Dizzy Gillespie, Sonny Stitt, John Lewis, Hank Jones and Percy Heath)
References[link]
- ^ a b c Schudel, Matt (August 16, 2007). "Jazz Musician Max Roach Dies at 83". The Washington Post. http://www.washingtonpost.com/wp-dyn/content/article/2007/08/16/AR2007081601092.html. Retrieved May 12, 2010.
- ^ Up for Discussion Jump to Forums (1924-01-10). "Legendary Jazz Drummer Max Roach Dies At 83". Billboard.com. http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003627038#/bbcom/news/article_display.jsp?vnu_content_id=1003627038. Retrieved 2011-03-21.
- ^ MADISON magazine: Max Roach and James Woods[dead link]
- ^ Roach's account of Georgie Jay's Taproom, excerpted from Swing to Bop: An Oral History of the Transition in Jazz in the 1940s, page 77. Books.google.com. http://books.google.com/books?id=5WF-uzhaLU4C&pg=PA77&lpg=PA77&dq=Georgie+Jay%27s+Taproom&source=bl&ots=VUu2VDDr4T&sig=xbdb64bXpMxEjPzZgkRn38668x4&hl=en&ei=EJrnSqnbIYjyMdvD2aQI&sa=X&oi=book_result&ct=result&resnum=8&ved=0CBoQ6AEwBw#v=onepage&q=Georgie%20Jay%27s%20Taproom&f=false. Retrieved 2011-03-21.
- ^ The Week August 31, 2007 page 32.
- ^ "www.historyexplorer.net "History Explorer > Jazz History Timeline > 1952 - 1961"". Historyexplorer.net. http://www.historyexplorer.net/?Jazz_History_Timeline:1952_-_1961. Retrieved 2011-03-21.
- ^ "www.jazzitude.com "History of Jazz Part 6: Hard Bop"". Jazzitude.com. 2007-04-11. http://www.jazzitude.com/hardbophist.htm. Retrieved 2011-03-21.
- ^ "Hipjazz.com "Joy Spring"". Hipjazz.com. http://www.hipjazz.com/joy_spring.htm. Retrieved 2011-10-26.
- ^ www.inkblotmagazine.com "Duke Ellington Money Jungle Blue Note, Recorded 1962"[dead link]
- ^ a b "Max Roach Biography". www.allaboutjazz.com. http://www.allaboutjazz.com/php/musician.php?id=10725. Retrieved 2008-04-23.
- ^ Up for Discussion Jump to Forums (1924-01-10). "www.billboard.com "Legendary Jazz Drummer Max Roach Dies At 83"". Billboard.com. http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003627038. Retrieved 2011-03-21.
- ^ "Friendship". Allaboutjazz.com. 2003-07-25. http://www.allaboutjazz.com/php/article.php?id=12055. Retrieved 2011-03-21.
- ^ "www.beachwoodreporter.com "The Friday Papers"". Beachwoodreporter.com. 2007-08-27. http://www.beachwoodreporter.com/. Retrieved 2011-03-21.
- ^ Keepnews, Peter (August 16, 2007). "Max Roach, Master of Modern Jazz, Dies at 83". New York Times. http://www.nytimes.com/2007/08/16/arts/music/16cnd-roach.html?ei=5090&en=48adf94b947bc225&ex=1344916800&emc=rss&pagewanted=all. Retrieved 2007-08-17. "Max Roach, a founder of modern jazz who rewrote the rules of drumming in the 1940s and spent the rest of his career breaking musical barriers and defying listeners’ expectations, died early yesterday in Manhattan. He was 83."
- ^ Paterson, David (2008-03-13). "David Paterson Invokes Paul Robeson, Harriet Tubman, Malcolm X in Remembrance of Jazz Legend Max Roach (Eulogy transcript)". Democracy Now. http://www.democracynow.org/2008/3/13/david_paterson_invokes_paul_robeson_harriet. Retrieved 2008-03-18.
- ^ Palpini, Kristin (17 August 2007). Jazz great, UMass prof Max Roach dies. United States: Amherst Bulletin
- ^ Video: medals ceremony From Ina (French).
- ^ "University to Award 8 Honorary Degrees at Graduation on May 16". Columbia University Record. April 9, 2001. http://www.columbia.edu/cu/record/archives/vol26/vol26_iss20/2620_8_Honorary_Degrees.html. Retrieved 2007-08-16.
- ^ "Brooklyn Borough President". Brooklyn-usa.org. http://www.brooklyn-usa.org/Press/2006/mar24.htm. Retrieved 2011-03-21.
- ^ "Max Roach Park". Allaboutjazz.com. 2006-10-28. http://www.allaboutjazz.com/php/article.php?id=23560. Retrieved 2011-03-21.
- ^ "London Borough of Lambeth | Max Roach Park". Lambeth.gov.uk. http://www.lambeth.gov.uk/Services/Environment/ParksGreenSpaces/Parks/MaxRoachPark.htm. Retrieved 2011-03-21.
External links[link]
- Max Roach 1924-2007: Thousands Pay Tribute to the Legendary Jazz Drummer, Educator, Activist
- Max Roach at the Hard Bop Homepage
- Discography at Discogs
- Discography and Sessionography
- New York Times obituary
- New York Sun Obituary
- Obituary and Public Tributes
- Slate Magazine Article
- Max Roach Multimedia Directory
| Persondata | |
|---|---|
| Name | Roach, Max |
| Alternative names | |
| Short description | |
| Date of birth | January 10, 1924 |
| Place of birth | |
| Date of death | August 16, 2007 |
| Place of death | |
http://wn.com/Max_Roach
Related pages:
http://it.wn.com/Max Roach
http://es.wn.com/Max Roach
http://ru.wn.com/Роуч, Макс
http://fr.wn.com/Max Roach
http://de.wn.com/Max Roach
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Max_Roach
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]
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- 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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| 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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"Coltrane" redirects here. For other uses, see Coltrane (disambiguation).
| John Coltrane | |
|---|---|
 John Coltrane, live at Birdland |
|
| Background information | |
| Birth name | John William Coltrane |
| Also known as | "Trane" |
| Born | (1926-09-23)September 23, 1926 Hamlet, North Carolina, US |
| Died | July 17, 1967(1967-07-17) (aged 40) Huntington, New York, US |
| Genres | Avant-garde jazz, bebop, hard bop, post-bop, modal jazz, free jazz |
| Occupations | Saxophonist, composer, bandleader |
| Instruments | Tenor, soprano, and alto saxophone, bass clarinet, flute |
| Years active | 1946–1967 |
| Labels | Prestige, Blue Note, Atlantic, Impulse!, Pablo |
| Associated acts | Alice Coltrane, Miles Davis Quintet, Thelonious Monk, Pharoah Sanders, Eric Dolphy |
| Website | johncoltrane.com |
| Saint John William Coltrane | |
|---|---|
| Born | (1926-09-23)September 23, 1926 Hamlet, North Carolina, US |
| Died | July 17, 1967(1967-07-17) (aged 40) Huntington, New York, US |
| Honored in | African Orthodox Church |
| Patronage |
All Artists Information about Coltrane's canonization |
John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and later was at the forefront of free jazz. He organized at least fifty recording sessions as a leader during his recording career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk.
As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. His second wife was pianist Alice Coltrane, and their son Ravi Coltrane is also a saxophonist. Coltrane influenced innumerable musicians, and remains one of the most significant tenor saxophonists in jazz history. He received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane. In 2007, Coltrane was awarded the Pulitzer Prize Special Citation for his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz."[1]
Biography[link]
Early life and career (1926–1954)[link]
John Coltrane was born in Hamlet, North Carolina on September 23, 1926, and grew up in High Point, NC, attending William Penn High School (now Penn-Griffin School for the Arts). Beginning in December 1938 Coltrane's aunt, grandparents, and father all died within a few months of each other, leaving John to be raised by his mother and a close cousin.[2] In June 1943 he moved to Philadelphia, Pennsylvania. He enlisted in the Navy in 1945, and played in the Navy jazz band once he was stationed in Hawaii. Coltrane returned to civilian life in 1946 and began jazz theory studies with Philadelphia guitarist and composer Dennis Sandole. Coltrane continued under Sandole's tutelage until the early 1950s. Originally an altoist,[3] during this time Coltrane also began playing tenor saxophone with the Eddie Vinson Band. Coltrane later referred to this point in his life as a time when "a wider area of listening opened up for me. There were many things that people like Hawk, and Ben, and Tab Smith were doing in the '40s that I didn't understand, but that I felt emotionally."[4]
An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a DownBeat article in 1960 he recalled: "the first time I heard Bird play, it hit me right between the eyes."[3] Parker became an early idol, and they played together on occasion in the late 1940s.
Contemporary correspondence shows that Coltrane was already known as "Trane" by this point, and that the music from some 1946 recording sessions had been played for Miles Davis—possibly impressing the latter.[5]
There are recordings of Coltrane from as early as 1945. He was a member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early- to mid-1950s.
Miles and Monk period (1955–1957)[link]
Coltrane was freelancing in Philadelphia in the summer of 1955 while studying with guitarist Dennis Sandole when he received a call from trumpeter Miles Davis. Davis, whose success during the late forties had been followed by several years of decline in activity and reputation, due in part to his struggles with heroin, was again active, and was about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet" - along with Paul Chambers on bass, Philly Joe Jones on drums, and Red Garland on piano - to distinguish it from Davis's later group with Wayne Shorter) from October 1955 through April 1957 (with a few absences), a period during which Davis released several influential recordings which revealed the first signs of Coltrane's growing ability. This First Quintet, represented by two marathon recording sessions for Prestige in 1956 that resulted in the albums Cookin', Relaxin', Workin', and Steamin', disbanded in mid April due partly to Coltrane's heroin addiction.[5]
During the later part of 1957 Coltrane worked with Thelonious Monk at New York’s Five Spot, a legendary jazz club, and played in Monk's quartet (July–December 1957), but owing to contractual conflicts took part in only one official studio recording session with this group. A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records in 1993 as Live at the Five Spot-Discovery!. More significantly, a high-quality tape of a concert given by this quartet in November 1957 surfaced, and in 2005 Blue Note made it available on CD. Recorded by Voice of America, the performances confirm the group's reputation, and the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie Hall, is widely acclaimed.
Blue Train, Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original Coltrane compositions, and the title track, "Moment's Notice," and "Lazy Bird", have become standards. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes.[5]
Davis and Coltrane again[link]
Coltrane rejoined Davis in January 1958. In October of that year, jazz critic Ira Gitler coined the term "sheets of sound" to describe the style Coltrane developed during his stint with Monk and was perfecting in Davis' group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. He stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in the Davis sessions Milestones and Kind of Blue, and the live recordings Miles & Monk at Newport and Jazz at the Plaza.[5]
At the end of this period Coltrane recorded his first album for Atlantic Records, Giant Steps, made up exclusively of his own compositions. The album's title track is generally considered to have the most complex and difficult chord progression of any widely-played jazz composition. Giant Steps utilizes Coltrane changes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he would continue throughout his career.[5]
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First albums as leader[link]
Coltrane formed his first group, a quartet, in 1960 for an appearance at the Jazz Gallery in New York City. After moving through different personnel including Steve Kuhn, Pete La Roca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men long had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions were the later released albums Coltrane's Sound and Coltrane Plays the Blues.
Still with Atlantic Records, for whom he had recorded Giant Steps, his first record with his new group was also his debut playing the soprano saxophone, the hugely successful My Favorite Things. Around the end of his tenure with Davis, Coltrane had begun playing soprano saxophone, an unconventional move considering the instrument's near obsolescence in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Miles Davis claimed to have given Coltrane his first soprano saxophone. The new soprano sound was coupled with further exploration. For example, on the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement (Coltrane changes) used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26–2," "Satellite," "Body and Soul", and "The Night Has a Thousand Eyes".
First years with Impulse Records (1960–1962)[link]
In May 1961, Coltrane's contract with Atlantic was bought out by the newly formed Impulse! Records label.[6] An advantage to Coltrane recording with Impulse! was that it would enable him to work again with engineer Rudy Van Gelder, who had taped both his and Davis's Prestige sessions, as well as Blue Train. It was at Van Gelder's new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label.
By early 1961, bassist Davis had been replaced by Reggie Workman while Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he'd played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. John Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!"[7] The most celebrated of the Vanguard tunes, the 15-minute blues, "Chasin' the 'Trane", was strongly inspired by Gilmore's music.[8]
During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was famously booed during his final tour with Davis. In 1961, Down Beat magazine indicted Coltrane, along with Eric Dolphy, as players of "Anti-Jazz" in an article that bewildered and upset the musicians.[9] Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also known as "Free Jazz" and "Avant-Garde") movement led by Ornette Coleman, which was also denigrated by some jazz musicians (including Miles Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being".[10]
Classic Quartet period (1962–1965)[link]
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In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk about You."
The criticism of the quintet with Dolphy may have had an impact on Coltrane. In contrast to the radicalism of Trane's 1961 recordings at the Village Vanguard, his studio albums in 1962 and 1963 (with the exception of Coltrane, which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative and accessible. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album Duke Ellington and John Coltrane and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The Impulse compilation Coltrane for Lovers is largely drawn from these three albums. The album Ballads is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember". Despite a more polished approach in the studio, in concert the quartet continued to balance "standard" and its own more exploratory and challenging music, as can be seen on the Impressions album (two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues), Coltrane at Newport (where he plays "My Favorite Things") and Live at Birdland both from 1963. Coltrane later said he enjoyed having a "balanced catalogue."
The Classic Quartet produced their most famous record, A Love Supreme, in December 1964. It is reported that Coltrane, who struggled with repeated drug addiction, derived inspiration for A Love Supreme through a near overdose in 1957 which galvanized him to spirituality.[11] A culmination of much of Coltrane's work up to this point, this four-part suite is an ode to his faith in and love for God. These spiritual concerns would characterize much of Coltrane's composing and playing from this point onwards, as can be seen from album titles such as Ascension, Om and Meditations. The fourth movement of A Love Supreme, "Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. Despite its challenging musical content, the album was a commercial success by jazz standards, encapsulating both the internal and external energy of the quartet of Coltrane, Tyner, Jones and Garrison. The album was composed at Coltrane's home in Dix Hills on Long Island.
The quartet only played A Love Supreme live once—in July 1965 at a concert in Antibes, France. By then, Coltrane's music had grown even more adventurous, and the performance provides an interesting contrast to the original.
Avant-garde jazz and the second quartet (1965–1967)[link]
In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. Coltrane championed many younger free jazz musicians, (notably Archie Shepp), and under his influence Impulse! became a leading free jazz record label.
After A Love Supreme was recorded, Ayler's apocalyptic style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space, Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965).
In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute long piece that included adventurous solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965.
While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. The more Coltrane played with Sanders, the more he gravitated to Sanders' unique sound.
Adding to the quartet[link]
By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free-jazz form's intensity into their own solo projects.
There are speculations that in 1965 Coltrane may have begun using LSD[12][13]—informing the sublime, "cosmic" transcendence of his late period. After Jones's and Tyner's departures, Coltrane led a quintet with Pharoah Sanders on tenor saxophone, his second wife Alice Coltrane on piano, Jimmy Garrison on bass, and Rashied Ali on drums. Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". When touring, the group was known for playing very lengthy versions of their repertoire, many stretching beyond 30 minutes and sometimes even being an hour long. Concert solos for band members regularly extended beyond fifteen minutes in duration.
The group can be heard on several live recordings from 1966, including Live at the Village Vanguard Again! and Live in Japan. In 1967, Coltrane entered the studio several times; though pieces with Sanders have surfaced (the unusual "To Be", which features both men on flutes), most of the recordings were either with the quartet minus Sanders (Expression and Stellar Regions) or as a duo with Ali. The latter duo produced six performances which appear on the album Interstellar Space.
Death and funeral[link]
Coltrane died from liver cancer at Huntington Hospital on Long Island on July 17, 1967, at the age of 40. His funeral was held on Friday, July 21 at St. Peters Lutheran Church in New York City. The Albert Ayler Quartet and The Ornette Coleman Quartet respectively opened and closed the service. He is buried at Pinelawn Cemetery in Farmingdale, N.Y.
Biographer Lewis Porter has suggested, somewhat controversially, that the cause of Coltrane's illness was hepatitis, although he also attributed the disease to Coltrane's heroin use.[14] In a 1968 interview Albert Ayler claimed that Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, though Alice Coltrane later denied this.
His death surprised many in the musical community who were not aware of his condition. Miles Davis commented: "Coltrane's death shocked everyone, took everyone by surprise. I knew he hadn't looked too good... But I didn't know he was that sick—or even sick at all."[15]
The Coltrane family reportedly remains in possession of much more as-yet-unreleased music, mostly mono reference tapes made for the saxophonist and, as with the 1995 release Stellar Regions, master tapes that were checked out of the studio and never returned.[citation needed] The parent company of Impulse!, from 1965 to 1979 known as ABC Records, purged much of its unreleased material in the 1970s.[16] Lewis Porter has stated that Alice Coltrane, who died in 2007, intended to release this music, but over a long period of time; her son Ravi Coltrane, responsible for reviewing the material, is also pursuing his own career.[citation needed]
Instruments[link]
Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the instrument he became known for playing primarily.[5] Coltrane's preference for playing melody higher on the range of the tenor saxophone (as compared to Coleman Hawkins or Lester Young) is attributed to his start and training on the alto horn and clarinet; his "sound concept" (manipulated in ones vocal tracts- tongue, throat) of the tenor sax was set higher than the normal range of the instrument.[17]
In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well. The cover of his album My Favorite Things features Coltrane playing soprano.[5] Toward the end of his career, he experimented with flute in his live performances and studio recordings.
Religious beliefs[link]
Coltrane was born and raised in a Christian home, and was influenced by religion and spirituality from childhood. His maternal grandfather, the Reverend William Blair, was a preacher at an African Methodist Episcopal Zion Church[18][19] in High Point, North Carolina, and John's paternal grandfather, Reverend William H. Coltrane, was an A.M.E. Zion minister in Hamlet, North Carolina.[18] John's parents met through church affiliation, and married in 1925.[18] John was born in 1926. As a youth, John practiced music in the southern African-American church. In A Night in Tunisia: Imaginings of Africa in Jazz, Norman Weinstein notes the parallel between Coltrane's music and his experience in the southern church.[20]
In 1955, Coltrane married Juanita Naima Grubbs, a Muslim convert, for whom he later wrote the piece "Naima", and came into contact with Islam.[21] Coltrane explored Hinduism, the Kabbalah, Jiddu Krishnamurti, African history, and the philosophical teachings of Plato and Aristotle.[22] Coltrane also became interested in Zen Buddhism and, later in his career, visited Buddhist temples during his 1966 tour of Japan.[23]
Since 1948, Coltrane had struggled with heroin addiction[24][25] as well as alcoholism.[25] In 1957, Coltrane had a religious experience which may have been what finally led him to overcome his addictions to alcohol and heroin.[26] In the liner notes of A Love Supreme (released in 1965) Coltrane states "[d]uring the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music." In his 1965 album Meditations, Coltrane wrote about uplifting people, "...To inspire them to realize more and more of their capacities for living meaningful lives. Because there certainly is meaning to life."[27]
John and Naima Coltrane had no children together and were separated by the summer of 1963, and not long after that John met pianist Alice McLeod (who soon became Alice Coltrane).[28] John and Alice moved in together and had two sons before he was "officially divorced from Naima in 1966, at which time John and Alice were immediately married."[29] John Jr. was born in 1964, Ravi was born in 1965, and Oranyan (Oran) was born in 1967.[29] According to Lavezzoli, "Alice brought happiness and stability to John's life, not only because they had children, but also because they shared many of the same spiritual beliefs, particularly a mutual interest in Indian philosophy. Alice also understood what it was like to be a professional musician".[29]
Moustafa Bayoumi, an associate professor of English at Brooklyn College, City University of New York, argues that Coltrane's A Love Supreme (recorded in December 1964 and released in 1965) features Coltrane chanting, "Allah Supreme."[30] However, in Lewis Porter's book John Coltrane: His Life and Music (2000), on page 242, he describes the lyrics this way: "Coltrane and another voice—probably himself overdubbed—chant the words 'a love supreme' in unison with the bass ostinato". In Peter Lavezzoli's book The Dawn of Indian Music in the West: Bhairavi (2006), on page 283, he says, "Certainly in his opening solo in "Acknowledgment," with his constant modulations of the same phrase in different keys, Coltrane assumes the role of the preacher. After stating the theme in every possible key, Coltrane concludes his solo and quietly begins to chant, "A love supreme ... a love supreme," singing the same four notes played by Garrison on the bass. After chanting "A love supreme" sixteen times, Coltrane and the band shift from F minor down to E flat minor, and the chant slowly tapers off." Whatever the case may be, the liner notes to A Love Supreme appear to mention God in a Universalist sense, and do not advocate one religion over another.[31] Further evidence of this universal view regarding spirituality can be found in the liner notes of Meditations (1965), in which Coltrane declares, "I believe in all religions."[29]
Lavezzoli points out that "After A Love Supreme, most of Coltrane's song and album titles had spiritual implications: Ascension, Om, Selflessness, Meditations, "Amen," "Ascent," "Attaining," "Dear Lord," "Prayer and Meditation Suite," and the opening movement of Meditations, "The Father and the Son and the Holy Ghost," the most obvious Christian reference in any of Coltrane's work."[29] Coltrane's collection of books included The Gospel of Sri Ramakrishna, the Bhagavad Gita, Paramahansa Yogananda's Autobiography of a Yogi, which, Lavezzoli points out, "recounts Yogananda's search for universal truth, a journey that Coltrane had also undertaken. Yogananda believed that both Eastern and Western spiritual paths were efficacious, and wrote of the similarities between Krishna and Christ. This openness to different traditions resonated with Coltrane, who studied the Qur'an, the Bible, Kabbalah, and astrology with equal sincerity."[32]
In October 1965, Coltrane recorded Om, referring to the sacred syllable in Hinduism, which symbolizes the infinite or the entire Universe. Coltrane described Om as the "first syllable, the primal word, the word of power". The 29-minute recording contains chants from the Bhagavad Gita[33], a Hindu holy book, as well as Coltrane and Pharoah Sanders chanting from a Buddhist text, The Tibetan Book of the Dead,[34] and reciting a passage describing the primal verbalization "om" as a cosmic/spiritual common denominator in all things.
Coltrane's spiritual journey was interwoven with his investigation into world music. He believed not only in a universal musical structure which transcended ethnic distinctions, but in being able to harness the mystical language of music itself. Coltrane's study of Indian music led him to believe that certain sounds and scales could "produce specific emotional meanings." According to Coltrane, the goal of a musician was to understand these forces, control them, and elicit a response from the audience. Coltrane said: "I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured; when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed."[35]
Legacy[link]
The influence Coltrane has had on music spans many different genres and musicians. Coltrane's massive influence on jazz, both mainstream and avant-garde, began during his lifetime and continued to grow after his death. He is one of the most dominant influences on post-1960 jazz saxophonists and has inspired an entire generation of jazz musicians. In 1965, he was inducted into the Down Beat Jazz Hall of Fame. In 1972, A Love Supreme was certified gold by the RIAA for selling over half a million copies in Japan. This album, as well as My Favorite Things, was certified gold in the United States in 2001. In 1982 Coltrane was awarded a posthumous Grammy for "Best Jazz Solo Performance" on the album Bye Bye Blackbird, and in 1997, was awarded the Grammy Lifetime Achievement Award.[4]
His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in 2007. Coltrane's son, Ravi Coltrane, named after the great Indian sitarist Ravi Shankar, who was greatly admired by Coltrane, has followed in his father's footsteps and is a prominent contemporary saxophonist.
A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999. His last home, the John Coltrane Home in the Dix Hills neighborhood of Huntington, New York, where he resided from 1964 until his death in 1967, was added to the National Register of Historic Places on June 29, 2007.
His revolutionary use of multi-tonic systems in jazz has become a widespread composition and reharmonization technique known as "Coltrane changes".
In 2002, scholar Molefi Kete Asante listed John Coltrane on his list of 100 Greatest African Americans.[36]
Coltrane's tenor (Selmer Mark VI, serial number 125571, dated 1965) and soprano (Selmer Mark VI, serial number 99626, dated 1962) saxophones were auctioned on February 20, 2005 to raise money for the John Coltrane Foundation. The soprano raised $70,800 but the tenor remained unsold.[37]
Religious figure[link]
File:JohnColtraneWiki.jpg
Coltrane icon at St. John Coltrane African Orthodox Church
After Coltrane's death, congregants at the Yardbird Temple, in San Francisco, began worshipping Coltrane as God incarnate. The Temple was named for Charlie Parker, who they equated to John the Baptist.[38] The St. John Will-I-Am Coltrane African Orthodox Church, San Francisco, which is fondly known as the "Coltrane church", is the only African Orthodox Church which incorporates Coltrane's music and his lyrics as prayers in its liturgy.[39] In order to become affiliated with the AOC, Coltrane was "demoted" from being God to a saint.[38]
In 1996, documentary filmmaker Alan Klingenstein made a short (26 minute) film called The Church of Saint Coltrane.[40][41] Another documentary on Coltrane, featuring the church and presented by Alan Yentob, was produced for the BBC in 2004.[42] Samuel G. Freedman writes in his New York Times article "Sunday Religion Inspired By Saturday Nights", December 1, 2007,
... the Coltrane church is not a gimmick or a forced alloy of nightclub music and ethereal faith. Its message of deliverance through divine sound is actually quite consistent with Coltrane’s own experience and message.
In the same article, he comments on John Coltrane's place in the canon of American music.
In both implicit and explicit ways, Coltrane also functioned as a religious figure. Addicted to heroin in the 1950s, he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. In 1964, he recorded A Love Supreme, an album of original praise music in a free-jazz mode... In 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, "A saint."[38]
John Coltrane is depicted as one of the ninety saints in the monumental Dancing Saints icon of St. Gregory of Nyssa Episcopal Church in San Francisco. The Dancing Saints icon is a 3,000-square-foot (280 m2) painting rendered in the Byzantine iconographic style that wraps around the entire church rotunda. The icon was executed by iconographer Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church, who has painted other icons of Coltrane for the Coltrane Church.[43] Saint Barnabas Episcopal Church in Newark, New Jersey included Coltrane on their list of historical black saints and made a "case for sainthood" for him in an article on their former website.[44]
Discography[link]
Main article: John Coltrane discography
Discography below lists albums conceived and approved by Coltrane as a leader during his lifetime. It does not include his many releases as a sideman, sessions assembled into albums by various record labels after Coltrane's contract expired, sessions with Coltrane as a sideman later reissued with his name featured more prominently, or posthumous compilations except for the one which he approved before his death. See main discography link above for full list.
Prestige and Blue Note Records[link]
- Coltrane (debut solo LP) (1957)
- Blue Train (1957)
- John Coltrane with the Red Garland Trio (1958)
- Soultrane (1958)
Atlantic Records[link]
- Giant Steps (first album entirely of Coltrane compositions) (1960)
- Coltrane Jazz (first appearance by McCoy Tyner and Elvin Jones) (1961)
- My Favorite Things (1961)
- Olé Coltrane (features Eric Dolphy, compositions by Coltrane and Tyner) (1961)
Impulse! Records[link]
- Africa/Brass (brass arranged by Tyner and Dolphy) (1961)
- Live! at the Village Vanguard (features Dolphy, first appearance by Jimmy Garrison) (1962)
- Coltrane (first album to solely feature the "classic quartet") (1962)
- Ballads (1963)
- John Coltrane and Johnny Hartman (1963)
- Impressions (1963)
- Duke Ellington & John Coltrane (1964)
- Live at Birdland (1964)
- Crescent (1964)
- A Love Supreme (1965)
- The John Coltrane Quartet Plays (1965)
- Ascension (1966)
- New Thing at Newport (live with Archie Shepp) (1966)
- Kulu Se Mama (1966)
- Meditations (quartet plus Pharoah Sanders and Rashied Ali) (1966)
- Expression (posthumous and final Coltrane-approved release; one track features Coltrane on flute) (1967)
References[link]
- ^ "The 2007 Pulitzer Prize Winners Special Awards and Citations". Pulitzer Prize Committee. Thursday, June 25, 2009 1:51:03 pm. http://www.pulitzer.org/citation/2007-Special-Awards-and-Citations. Retrieved June 29, 2009.
- ^ Porter, Lewis (January 28, 2000). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. pp. 15–17. ISBN 978-0-472-08643-6. http://books.google.com/?id=OsiDu2wDVXgC&dq=john+coltrane&printsec=frontcover.
- ^ a b John Coltrane "Coltrane on Coltrane", Down Beat, September 29, 1960
- ^ a b "John Coltrane Biography". The John Coltrane Foundation. Friday, May 11, 2007 3:11:27 am. http://www.johncoltrane.com/swf/main.htm. Retrieved June 29, 2009.
- ^ a b c d e f g allmusic Biography
- ^ Ratliff, Ben (2007). Coltrane: The Story of a Sound. New York: Farrar, Straus & Giroux. ISBN 0-374-12606-2.
- ^ Corbett, John. "John Gilmore: The Hard Bop Homepage". Eric B. Olsen. Down Beat. http://members.tripod.com/~hardbop/gilmore.html. Retrieved December 8, 2007.
- ^ Kofsky, Frank (1970). Black Nationalism and the Revolution in Music: John Coltrane: An Interview. Pathfinder Press. p. 235.
- ^ Kofsky, Frank (1970). Black Nationalism and the Revolution in Music: John Coltrane: An Interview. Pathfinder Press. pp. 235–236.
- ^ Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. pp. 179. ISBN 0-306-80644-4.
- ^ "A Love Supreme". http://www.abbeville.com/jazz/160.asp.
- ^ Porter 1998, pp. 265–266.
- ^ Mandel, Howard (January 30, 2008). "John Coltrane: Divine Wind". The Wire (221). http://www.thewire.co.uk/articles/539/?pageno=5. Retrieved June 29, 2009.
- ^ Porter, Lewis (January 28, 2000). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. pp. 292. ISBN 978-0-472-08643-6.
- ^ Porter, Lewis (January 28, 2000). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. p. 290
- ^ "ABC-Paramount Records Story", by David Edwards, Patrice Eyries, and Mike Callahan, Both Sides Now website, retrieved January 29, 2007.
- ^ [1]/ Secret of John Coltrane's high notes revealed, Roger Highfield, The Telegragh, Sunday June 12, 2011
- ^ a b c Porter, Lewis (January 28, 2000). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. pp. 5–6. ISBN 978-0-472-08643-6. http://books.google.com/?id=OsiDu2wDVXgC&dq=john+coltrane&printsec=frontcover.
- ^ The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 270 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5. )
- ^ A Night in Tunisia: Imaginings of Africa in Jazz by Norman C. Weinstein, page 61 (1993, Hal Leonard Corporation . ISBN 0-87910-167-9. )
- ^ Jessie Carney Smith, ed. "John Coltrane". Gale (Cengage). http://www.gale.cengage.com/free_resources/bhm/bio/coltrane_j.htm. Retrieved June 26, 2009.
- ^ Emmett G. Price III. "John Coltrane, "A Love Supreme" and GOD". allaboutjazz.com. http://www.allaboutjazz.com/coltrane/article_003.htm. Retrieved October 9, 2008.
- ^ The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, pages 286–287 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5. )
- ^ Porter, Lewis (January 28, 2000). John Coltrane: His Life and Music. Ann Arbor, Michigan: University of Michigan Press. pp. 61. ISBN 978-0-472-08643-6. http://books.google.com/?id=OsiDu2wDVXgC&dq=john+coltrane&printsec=frontcover.
- ^ a b The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 271 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5. )
- ^ The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, pages 272–273 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5. )
- ^ Scott Anderson (Spring 1996). "John Coltrane, Avant Garde Jazz, and the Evolution of My Favorite Things". room34.com. http://room34.com/coltrane/thesis. Retrieved October 9, 2008.
- ^ The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 281 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5. )
- ^ a b c d e The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 286 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5. )
- ^ Jonathan Curiel (August 15, 2004). "Muslim roots of the blues: The music of famous American blues singers reaches back through the South to the culture of West Africa". San Francisco Chronicle. http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2004/08/15/INGMC85SSK1.DTL. Retrieved October 9, 2008.
- ^ John Coltrane's liner notes to A Love Supreme, December 1964
- ^ The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, pages 280–281 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5. )
- ^ The Dawn of Indian Music in the West: Bhairavi by Peter Lavezzoli, page 285 (2006, Continuum International Publishing Group . ISBN 0-8264-1815-5. ) "Coltrane and one or two other musicians begin and end the piece by chanting in unison a verse from chapter nine ("The Yoga of Mysticism") of the Bhagavad Gita: Rites that the Vedas ordain, and the rituals taught by the scriptures: all these I am, and the offering made to the ghosts of the fathers, herbs of healing and food, the mantram, the clarified butter. I the oblation, and I the flame into which it is offered. I am the sire of the world, and this world's mother and grandsire. I am he who awards to each the fruit of his action. I make all things clean. I am Om!"
- ^ Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. pp. 183. ISBN 0-306-80644-4.
- ^ Porter 1998, p. 211
- ^ Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical Encyclopedia. Amherst, New York. Prometheus Books. ISBN 1-57392-963-8.
- ^ "John Coltrane's Saxophones/ Benefit Auction /see description below". drrick.com. http://drrick.com/trane/trane.htm. Retrieved April 7, 2011.
- ^ a b c Samuel G. Freedman, "Sunday Religion, Inspired by Saturday Nights", New York Times (December 1, 2007).
- ^ Article "The Jazz Church" by Gordon Polatnick at www.elvispelvis.com
- ^ "The Church of Saint Coltrane (1996)". New York Times. http://movies.nytimes.com/movie/436615/The-Church-of-Saint-Coltrane/overview. Retrieved 2012-04-16.
- ^ "Alan Klingenstein". Huffingtonpost.com. 2008-02-05. http://www.huffingtonpost.com/alan-klingenstein. Retrieved 2012-04-16.
- ^ 2004 BBC documentary on the Saint John Coltrane African Orthodox Church at www.diverse.tv
- ^ Saint Gregory's of Nyssa Episcopal Church web site
- ^ "John Coltrane The Case for Sainthood". St. Barnabas Episcopal Church website.
Sources[link]
- Kahn, Ashley (2003) [2002]. A Love Supreme: The Story of John Coltrane's Signature Album. Elvin Jones. Penguin Books. ISBN 0-14-200352-2.
- Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group. ISBN 0-8264-1815-5.
- Nisenson, Eric (1995). Ascension: John Coltrane and His Quest. Da Capo Press. ISBN 0-306-80644-4.
- Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. ISBN 0-472-08643-X.
- Ratliff, Ben (2007). Coltrane: The Story of a Sound. New York: Farrar, Straus & Giroux. ISBN 0-374-12606-2.
- Simpkins, Cuthbert (1989) [1975]. Coltrane: A Biography. New York: Herndon House Publishers. ISBN 0-915542-82-X.
- Thomas, J.C. (1975). Chasin' the Trane. New York: Da Capo. ISBN 0-306-80043-8.
- Woideck, Carl (1998). The John Coltrane Companion. New York: Schirmer Books. ISBN 0-02-864790-4.
External links[link]
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Images and media from Commons |
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Quotations from Wikiquote |
- Official Website
- Coltrane Church Website
- 1957 Carnegie Hall Performance in Transcription and Analysis
- "John Coltrane". Find a Grave. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=218. Retrieved March 31, 2008.
- Infography about John Coltrane
- "John Coltrane: Images of Trane", Jazz Times, June 1997, Lee Tanner
- Discography
| Persondata | |
|---|---|
| Name | Coltrane, John William |
| Alternative names | Trane |
| Short description | Jazz saxophonist |
| Date of birth | September 23, 1926 |
| Place of birth | Hamlet, North Carolina, United States |
| Date of death | July 17, 1967, liver cancer |
| Place of death | Long Island, New York, United States |
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| Freddie Hubbard | |
|---|---|
 in Rochester, New York, 1976 |
|
| Background information | |
| Birth name | Frederick Dewayne Hubbard |
| Born | (1938-04-07)April 7, 1938 |
| Origin | Indianapolis, Indiana, U.S. |
| Died | December 29, 2008(2008-12-29) (aged 70) Sherman Oaks, California, U.S. |
| Genres | Jazz Bebop Hard bop Post bop |
| Occupations | Musician Bandleader Composer |
| Instruments | Trumpet Flugelhorn Cornet French horn mellophone |
| Years active | 1958–2008 |
| Labels | Atlantic, Columbia, CTI, Blue Note |
Frederick Dewayne "Freddie" Hubbard (April 7, 1938 – December 29, 2008)[1] 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.[2]
Contents |
Biography[link]
Early career[link]
Hubbard started playing the mellophone and trumpet in his school band at Arsenal Technical High School in Indianapolis, Indiana. Trumpeter Lee Katzman, former sideman with Stan Kenton, recommended that he begin studying at the Arthur Jordan Conservatory of Music (now the Jordan College of Fine Art at Butler University) with Max Woodbury, the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis.
In December 1960, Hubbard was invited to play on Ornette Coleman's Free Jazz after Coleman had heard him playing with Don Cherry.[3]
Then in May 1961, Hubbard played on Olé Coltrane, John Coltrane's final recording session with Atlantic Records. Together with Eric Dolphy, Hubbard was the only 'session' musician who appeared on both Olé and Africa/Brass, Coltrane's first album with ABC/Impulse! Later, in August 1961, Hubbard made one of his most famous records, Ready for Freddie, which was also his first collaboration with saxophonist Wayne Shorter. Hubbard joined Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers. He played on several Blakey recordings, including Caravan, Ugetsu, Mosaic, and Free For All. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, pianist Kenny Barron and drummer Louis Hayes.
It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.[4]
Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including, Oliver Nelson's The Blues and the Abstract Truth, Eric Dolphy's Out to Lunch, Herbie Hancock's Maiden Voyage, and Wayne Shorter's Speak No Evil.[5] He recorded extensively for Blue Note Records in the 1960s: eight albums as a bandleader, and twenty-eight as a sideman.[6] Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp".[7] Though he never fully embraced the free jazz of the 1960s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension, as well as on Sonny Rollins' 1966 'New Thing' track East Broadway Run Down with Elvin Jones and Jimmy Garrison.
Later career[link]
Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson.[8] Although his early 1970s jazz albums Red Clay, First Light, Straight Life, and Sky Dive were particularly well received and considered among his best work, the albums he recorded later in the decade were attacked by critics for their commercialism. First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira.[9] In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light.[10]
In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of this group were released as VSOP, VSOP: The Quintet, VSOP: Tempest in the Colosseum (all 1977) and VSOP: Live Under the Sky (1979).[2]
Hubbard's trumpet playing was featured on the track "Zanzibar", on the 1978 Billy Joel album 52nd Street (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An "unfaded" version was released on the 2004 Billy Joel box set My Lives.
In the 1980s Hubbard was again leading his own jazz group, attracting very favorable reviews, playing at concerts and festivals in the USA and Europe, often in the company of Joe Henderson, playing a repertory of Hard-bop and modal-jazz pieces. Hubbard played at the legendary Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson). He played with Woody Shaw, recording with him in 1985, and two years later recorded Stardust with Benny Golson. In 1988 he teamed up once more with Blakey at an engagement in Holland, from which came Feel the Wind. In 1990 he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, and Rufus Reid, with jazz and vocalist Salena Jones. He also performed at the Warsaw Jazz Festival at which Live at the Warsaw Jazz Festival (Jazzmen 1992) was recorded.[2]
Following a long setback of health problems and a serious lip injury in 1992 where he ruptured his upper lip and subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the high level that he set for himself during his earlier career.[11] His best records ranked with the finest in his field.[12]
In 2006, The National Endowment for the Arts honored Hubbard with its highest honor in jazz, the NEA Jazz Masters Award.
On December 29, 2008, Hubbard's hometown newspaper, The Indianapolis Star, reported that Hubbard had died from complications from a heart attack suffered on November 26.[13] Billboard magazine reported that Hubbard died in Sherman Oaks, California.[14]
Freddie Hubbard had close ties to the Jazz Foundation of America in his later years. Freddie is quoted as saying, “When I had congestive heart failure and couldn't work, The Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people."[15] The Jazz Foundation of America’s Musicians' Emergency Fund took care of him during times of illness. After his death, Hubbard’s estate requested that tax-deductible donations be made in his name to the Jazz Foundation of America.[16]
Discography[link]
As leader[link]
| Title | Year | Label | ||
|---|---|---|---|---|
| Open Sesame | 1960 | Blue Note | ||
| Goin' Up | 1960 | Blue Note | ||
| Hub Cap | 1961 | Blue Note | ||
| Ready for Freddie | 1961 | Blue Note | ||
| The Artistry of Freddie Hubbard | 1962 | Impulse! | ||
| Hub-Tones | 1962 | Blue Note | ||
| Here to Stay | 1962 | Blue Note | ||
| The Body & the Soul | 1963 | Impulse! | ||
| Breaking Point | 1964 | Blue Note | ||
| Blue Spirits | 1965 | Blue Note | ||
| The Night of the Cookers | 1965 | Blue Note | ||
| Jam Gems: Live at the Left Bank | 2001 | Label M | ||
| Backlash | 1966 | Atlantic | ||
| High Blues Pressure | 1968 | Atlantic | ||
| A Soul Experiment | 1969 | Atlantic | ||
| The Black Angel | 1970 | Atlantic | ||
| The Hub of Hubbard | 1970 | MPS | ||
| Red Clay | 1970 | CTI | ||
| Straight Life | 1970 | CTI | ||
| Sing Me a Song of Songmy | 1971 | Atlantic | ||
| First Light | 1971 | CTI | ||
| Sky Dive | 1973 | CTI | ||
| Freddie Hubbard/Stanley Turrentine In Concert Volume One | 1974 | CTI | ||
| In Concert Volume Two | 1974 | CTI | ||
| Keep Your Soul Together | 1974 | CTI | ||
| Polar AC | 1975 | CTI | ||
| High Energy | 1974 | Columbia | ||
| Gleam | 1975 | Sony (Japan) | ||
| Liquid Love | 1975 | Columbia | ||
| Windjammer | 1976 | Columbia | ||
| Bundle of Joy | 1977 | Columbia | ||
| Super Blue | 1978 | Columbia | ||
| The Love Connection | 1979 | Columbia | ||
| Skagly | 1980 | Columbia | ||
| Live at the North Sea Jazz Festival | 1980 | Pablo | ||
| Mistral with Art Pepper | 1981 | Liberty | ||
| Outpost | 1981 | Enja | ||
| Splash | 1981 | Fantasy | ||
| Rollin' | 1982 | MPS | ||
| Keystone Bop Vol. 2: Friday & Saturday | 1996 | Prestige | ||
| Keystone Bop: Sunday Night | 1982 | Prestige | ||
| Born to Be Blue | 1982 | Pablo | ||
| Ride Like the Wind | 1982 | Elektra/Asylum | ||
| Above & Beyond | 1982 | Metropolitan | ||
| Back to Birdland | 1982 | Real Time | ||
| Sweet Return | 1983 | Atlantic | ||
| The Rose Tattoo | 1983 | Baystate (Japan) | ||
| Double Take with Woody Shaw | 1985 | Blue Note | ||
| Life Flight | 1987 | Blue Note | ||
| The Eternal Triangle with Woody Shaw | 1987 | Blue Note | ||
| Feel the Wind with Art Blakey | 1988 | Timeless | ||
| Times are Changing | 1989 | Blue Note | ||
| Topsy - Standard Book | 1989 | Alpha/Compose | ||
| Bolivia | 1991 | Music Masters | ||
| At Jazz Jamboree Warszawa '91: A Tribute to Miles | 2000 | Starburst | ||
| Live at Fat Tuesday's | 1992 | Music Masters | ||
| Blues for Miles | 1992 | Evidence | ||
| MMTC: Monk, Miles, Trane & Cannon | 1995 | Music Masters | ||
| New Colors | 2001 | Hip Hop Essence | ||
| On The Real Side (70th Birthday Celebration) | 2008 | Times Square Records |
As sideman[link]
With Roberto Ávila & Sarava
- Come to Brazil (1989)
With George Benson
- The Other Side of Abbey Road (A&M/CTI, 1969)
With Art Blakey
- Mosaic (1961)
- Buhaina's Delight (1961)
- A Jazz Hour with Art Blakey's Jazz Messengers: Blues March (1961)
- Three Blind Mice (1962)
- Caravan (1962)
- Ugetsu (1963)
- Free For All (1964)
- Kyoto (1964)
With Tina Brooks
- True Blue (Blue Note, 1960)
With Kenny Burrell
- God Bless the Child (CTI, 1971)
With George Cables
- Cables' Vision (1979)
With Ornette Coleman
- Free Jazz: A Collective Improvisation (Atlantic, 1960)
With John Coltrane
- Olé Coltrane (1961)
- Africa/Brass (1961)
- Ascension (1965)
With Eric Dolphy
- Outward Bound (1960)
- Out to Lunch! (1964)
With Kenny Drew
- Undercurrent (Blue Note, 1960)
With Charles Earland
- Leaving This Planet (1973)
With Bill Evans
- Interplay (Riverside, 1962)
With Curtis Fuller
- Soul Trombone (Impulse!, 1961)
- Cabin in the Sky (Impulse!, 1962)
With Dizzy Gillespie, Clark Terry and Oscar Peterson
- The Trumpet Summit Meets the Oscar Peterson Big 4 (Pablo, 1980)
- The Alternate Blues (Pablo, 1980)
With Dexter Gordon
- Doin' Allright (1961)
- Clubhouse (1964)
- The Other Side of Round Midnight (1986)
With Herbie Hancock
- Takin' Off (1962)
- Empyrean Isles (1964)
- Maiden Voyage (1965)
- Blow-Up (Soundtrack) (1966)
- VSOP (1977)
- VSOP: The Quintet (1977)
- VSOP: Tempest in the Colosseum (1977)
- VSOP: Live Under the Sky (1979)
- Round Midnight (Soundtrack) (1986)
With Milt Jackson
- Sunflower (CTI, 1973)
With Billy Joel
- 52nd Street (1978)
With Quincy Jones
- Walking in Space (A&M/CTI, 1969)
With Kirk Lightsey
- Temptation (1991)
With Jackie McLean
- Bluesnik (1961)
With Alphonse Mouzon
- By All Means (1980)
With Oliver Nelson
- The Blues and the Abstract Truth (Impulse!, 1961)
With Oscar Peterson
- Face to Face (1982)
With Wayne Shorter
- Wayning Moments (1962)
- Speak No Evil (1964)
- The Soothsayer (1965)
- The All Seeing Eye (1965)
With Andrew Hill
- Pax (1965)
- Compulsion!!!!! (1965)
With Joe Henderson
- Big Band (1996)
With Bobby Hutcherson
- Dialogue (Blue Note, 1965)
- Highway One (Columbia, 1978)
With Wes Montgomery
- Fingerpickin' (1958)
- Road Song (1968)
With Duke Pearson
- Dedication! (1961)
- Sweet Honey Bee (Blue Note, 1966)
- The Right Touch (Blue Note, 1967)
With Sam Rivers
- Contours (Blue Note, 1965)
With Sonny Rollins
- East Broadway Run Down (Impulse!, 1966)
With Rufus
- Numbers (1979)
With Poncho Sanchez
- Cambios (1991)
With Don Sebesky
- Giant Box (CTI, 1973)
With Lalo Schifrin
- Once a Thief and Other Themes (Verve, 1965)
With Leon Thomas
- A Piece of Cake (Palcoscenico Records)
With Stanley Turrentine
- Sugar (CTI, 1970)
With McCoy Tyner
- Together (1978)
- Quartets 4 X 4 (1980)
With Randy Weston
- Blue Moses (CTI, 1972)
Filmography[link]
- 1981 Studiolive (Sony)[17]
- 2004 Live at the Village Vanguard (Immortal)[18]
- 2005 All Blues (FS World Jazz)[19]
- 2009 Freddie Hubbard: One of a Kind
References[link]
- ^ Obituary in Down Beat Magazine (online version)
- ^ a b c Allmusic Biography
- ^ Martin Williams, sleevenotes to "Free Jazz" (1960)
- ^ 2006 Fellowship Recipient: Freddie Hubbard
- ^ Larkin, Colin. The Guinness Encyclopedia of Popular Music, Guinness, page 2018-2019, (1995) - ISBN 1-56159-176-9
- ^ Freddie Hubbard: The Blue Note Years 1960-1965
- ^ Berendt, Joachim E (1976). The Jazz Book. Paladin. pp. 191.
- ^ Scott Yanow Jazz on Record: The First Sixty Years, 2003, Backbeat Books, ISBN 0-87930-755-2, page 821
- ^ Allmusic.com: First Light
- ^ gopammusic
- ^ .Freddie Hubbard at All About Jazz
- ^ Yanow, Scott. Jazz: A Regional Exploration, Greenwood Press, page 184, (2005) - ISBN 0-313-32871-4
- ^ Indy jazz trumpeter Freddie Hubbard dies
- ^ Jazz Trumpeter Freddie Hubbard Dies
- ^ jazzfoundation.org. 2009-13-10. URL: http://www.jazzfoundation.org/testimonials808.swf. Accessed: 2009-13-10. (Archived by jazzfoundation.org at http://www.jazzfoundation.org/testimonials808.swf )
- ^ freddiehubbardmusic.com. 2009-13-10. URL: http://www.freddiehubbardmusic.com/index2.html. Accessed: 2009-13-10. (Archived by freddiehubbardmusic.com at http://www.freddiehubbardmusic.com/index2.html )
- ^ AMG
- ^ AMG
- ^ AMG
External links[link]
- Bio at Jazztrumpetsolos.com
- Freddie Hubbard's Website
- Bio and Selected Recordings at Grove Music Online
- Interview with Downbeat Magazine
- The Freddie Hubbard Discography
- "Randy Brecker Selects Twelve Essential Freddie Hubbard Tracks", (Jazz.com)
- for a feature on his 2008 album
- AP Obituary in the LA Times
- Freddie Hubbard Remembered at NPR Music
- Live. Cantaloupe Island. Freddie Hubbard live with Herbie Hancock, Joe Henderson, Tony Williams, Ron Carter. At the Birdland (jazz club).
- Video: Freddie Hubbard performs "Cherokee"
| Persondata | |
|---|---|
| Name | Hubbard, Freddie |
| Alternative names | |
| Short description | |
| Date of birth | April 7, 1938 |
| Place of birth | |
| Date of death | December 29, 2008 |
| Place of death | Sherman Oaks, California, U.S. |
http://wn.com/Freddie_Hubbard
Related pages:
http://ru.wn.com/Фредди Хаббард
http://it.wn.com/Freddie Hubbard
http://de.wn.com/Freddie Hubbard
http://fr.wn.com/Freddie Hubbard
http://es.wn.com/Freddie Hubbard
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Freddie_Hubbard
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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