Verve Records is an American jazz record label now owned by Universal Music Group. It was founded by Norman Granz in 1956, absorbing the catalogues of his earlier labels, Clef Records (founded in 1946) and Norgran Records (founded in 1953), and material which had been licensed to Mercury previously.

History[link]

Jazz and folk origins[link]

The Verve catalog grew throughout the 1950s and 1960s to include most of the major figures in jazz. It also recognized the potential of comedy albums, producing Spike Jones' first LP, Dinner Music For People Who Aren't Very Hungry, in 1956 and several best-selling albums featuring live performances by Shelley Berman beginning in 1960.

Granz sold Verve to MGM in 1961 for $3 million. Creed Taylor was appointed as producer, and adopted a more commercial approach, cancelling several contracts. Taylor brought the bossa nova to America with the Stan Getz/Charlie Byrd LP Jazz Samba as well as Getz/Gilberto. Several arrangers of note worked for the Verve label too in the 1960s, including Claus Ogerman and Oliver Nelson. Claus Ogerman, by his own admission in Gene Lees' Jazzletter publication, arranged some 60-70 albums for Verve under Creed Taylor's direction from 1963-1967.[1]

In 1964, Taylor supervised the creation of a folk music subsidiary named Verve Folkways (later renamed Verve Forecast) by Verve executive Jerry Schoenbaum. Taylor left Verve in 1967 to form his own CTI Records. But by now there were fewer new recordings and they would cease altogether in the early 1970s.

Besides its main focus on jazz, Verve did host a handful of rock artists in the 1960s, including The Righteous Brothers, Frank Zappa & The Mothers of Invention, The Velvet Underground, and The Blues Project. These recordings were usually released on blue Verve labels, which helped to distinguish them from Jazz releases, which used black labels.

In the seventies, the label became part of the PolyGram label group, at this point incorporating the Mercury/EmArcy jazz catalog, which Philips, part owners of PolyGram, had earlier acquired. Verve Records became the Verve Music Group after PolyGram was merged with Seagram's Universal Music Group in 1998. The jazz holdings from the merged companies were folded into this sub-group.^[1]

Revival[link]

The label was revived in the mid-1980s for new releases. Yet a more important focus for the new Verve Records was the reissuing of its back catalogue, in ever more imaginative ways. The "Verve By Request" label began to reissue many original Verve bossa nova titles on CD in the late 1990s, and the Elite series revived many obscure albums which had languished for many years.

When Universal and Polygram merged in 1998, Verve's holdings were merged with Universal's GRP Recording Company to become Verve Music Group. This was run by producer Tommy LiPuma. Ron Goldstein was named President of the merged companies.

Since 2002, the label has released a series of Verve Remixed compilation discs where classic tracks by Verve artists are remixed by contemporary electronic music DJs. By the mid-2000s, there was an extensive "Verve Vault" section on iTunes.

Today[link]

Today, Verve is one of the world's leading jazz labels. The GRP imprint mainly releases smooth jazz nowadays along with UMG catalog items not including ABC Records or PolyGram titles.

The Verve imprint itself manages much of the jazz catalog that once belonged to PolyGram (not including recordings by Herb Alpert for his A&M Records label which Alpert acquired in a legal settlement with Universal Music and are licensed to Shout! Factory),^[2] while the Impulse! Records imprint manages the portion of Universal's catalog that was acquired from ABC Records, which itself includes the jazz catalog of the Famous Music Group, once owned by Paramount Pictures/Gulf+Western, but was sold to ABC in 1974. Meanwhile, GRP manages the rest of MCA/Universal's jazz catalog, including releases once issued on the Decca and Chess labels.

The 2001 Movie “The Score” (U.S.A. and Germany) starring Robert De Niro and Marlon Brando has one of the finest recordings of Diana Krall entitled: “I’ll Make It Up As I Go. ” This song accompanies the film’s ending Credits (Chapter 12) and was composed by a fellow Canadian; the celebrated Hollywood Composer-Producer David Foster (together with his daughter Amy Foster-Gilles), and was used in the film courtesy of the Verve Music Group. This song is unique and a real “find” for Diana Krall fans since it does not appear on any of her Albums and it is not listed on David Foster’s (together with Friends) Albums. ^[3]

It was confirmed on December 15, 2011 that David Foster will become Chairman of Verve Music Group. ^[4]

Discography[link]

References[link]

External links[link]

• Official site
• Verve Remixed
• A Few Words About a Living Legend, Creed Taylor

Bill Evans
Bill Evans performing at the Montreux Jazz Festival (Switzerland) with his trio consisting of Marc Johnson, bass & Philly Joe Jones, drums, July 13, 1978. (Photo by Brian McMillen)
Background information
Birth name	William John Evans
Also known as	Bill Evans
Born	(1929-08-16)August 16, 1929 Plainfield, New Jersey, United States
Died	September 15, 1980(1980-09-15) (aged 51) Fort Lee, New Jersey, United States
Genres	Jazz, modal jazz, third stream, cool jazz, post-bop
Occupations	Pianist Composer Arranger
Instruments	Piano
Years active	1950s–1980[1]
Labels	Riverside, Verve, Fantasy
Associated acts	George Russell, Miles Davis, Cannonball Adderley, Philly Joe Jones, Scott LaFaro, Paul Motian, Eddie Gomez, Marty Morell, Tony Bennett, Jim Hall, Monica Zetterlund

William John Evans, known as Bill Evans (August 16, 1929–September 15, 1980) was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists. He is considered by some to be the most influential post-World War II jazz pianist.^[2] Evans had a distinct playing posture in which his neck would often be stooped very low, and his face parallel to the piano.

Evans is an inductee of the Down Beat Jazz Hall of Fame.^[3]

Biography[link]

Early life[link]

Bill Evans was born in Plainfield, New Jersey, United States, to a mother of Rusyn ancestry and a father of Welsh descent.^[4] He received his first musical training at his mother's church. Evans' mother was an amateur pianist with an interest in modern classical composers, and Evans began classical piano lessons at age six. He also became a proficient flautist by age 13 and could play the violin.

At age 12, Evans filled in for his older brother Harry in Buddy Valentino's band.^[5] At this age he was able to interpret classical music, but he couldn't improvise. In the beginning, he played exactly what was written in the sheet, but soon started trying to improvise, while learning about harmonies in the songs and how to alter them. Meanwhile, he was playing dance music (and jazz) at home, in a recording studio he built in his family's basement..^[6] In the late 1940s, Evans played boogie woogie in various New Jersey clubs. He attended Southeastern Louisiana University on a music scholarship, and in 1950 performed Beethoven's Third Piano Concerto on his senior recital there, graduating with a degree in piano performance and teaching. He was also among the founding members of SLU's Delta Omega Chapter of Phi Mu Alpha Sinfonia, and played quarterback for the fraternity's football team, helping them win the school's 1949 intramural tournament.^[6]

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

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

1950s[link]

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

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

Evans's desire to pursue his own projects as a leader (and increasing problems with drug use) led him to leave the Davis sextet in late 1958. Shortly after, he recorded Everybody Digs Bill Evans, documenting the wholly original meditative sound he was exploring at the time. But Evans came back to the sextet at Davis's request to record the jazz classic Kind of Blue in early 1959. Evans's contribution to the album was overlooked for years; in addition to cowriting the song "Blue in Green,"^[7] he had also already developed the ostinato figure from the track "Flamenco Sketches" on the 1958 solo recording "Peace Piece" from his album Everybody Digs Bill Evans. Evans also penned the heralded liner notes for Kind of Blue comparing jazz improvisation to Japanese visual art.^[8] By the fall of 1959, he had started his own trio.

1960s[link]

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

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

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

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

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

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

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

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

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

1970s[link]

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

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

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

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

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

Death[link]

Evans was a heroin addict for much of his career, his health was generally poor, and his financial situation worse, for much of the 1960s. By the end of that decade, he appeared to have succeeded in overcoming his addiction to heroin. However, in the late 1970s, cocaine use became a serious problem for Evans. On September 15, 1980, Bill Evans was accompanied by Joe LaBarbera and his partner Laurie Verchomin, to the Mount Sinai Hospital in New York, where he died that afternoon. ^[9] Evans's friend Gene Lees bleakly summarized Evans's struggle with drugs to Peter Pettinger as "the longest suicide in history.".^[6] Bill Evans is buried at Roselawn Memorial Park and Mausoleum, Baton Rouge, East Baton Rouge Parish, Louisiana (Section #161, Plot K), next to his brother Harry Evans, who died the previous year.

Legacy and influence[link]

Music critic Richard S. Ginell noted, “With the passage of time, Bill Evans has become an entire school unto himself for pianists and a singular mood unto himself for listeners. There is no more influential jazz-oriented pianist—only McCoy Tyner exerts nearly as much pull among younger players and journeymen—and Evans has left his mark on such noted players as: Chick Corea, Herbie Hancock, John McLaughlin, John Taylor, Steve Kuhn, Don Friedman, Marian McPartland, Denny Zeitlin, Bobo Stenson, Warren Bernhardt, Michel Petrucciani and Keith Jarrett, as well as many other musicians worldwide. The music of Bill Evans continues to inspire younger pianists like Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias^[10] and arguably Brad Mehldau ^[11] early in his career.

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

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

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

Tribute albums[link]

The embedded lists in this article may contain items that are not encyclopedic. Please help out by removing such elements and incorporating appropriate items into the main body of the article. (October 2011)

• 1981: Elegy For Bill Evans by Richie Beirach
• 1986: Music of Bill Evans by the Kronos Quartet with Eddie Gomez and Jim Hall.
• 1990: Bill Evans by Paul Motian
• 1991: Bill Evans: A Tribute by Jimmy Rowles, McCoy Tyner, Herbie Hancock, John Lewis, and Dave McKenna (Palo Alto Records)
• 1992: Then Along Came Bill: A Tribute to Bill Evans by Sylvia Syms
• 1993: Time Remembered: John Mclaughlin Plays Bill Evans by John Mclaughlin
• 1994: Now & Then: A Tribute to Bill Evans by Mitchel Forman
• 1994: Your Story: The Music of Bill Evans by Howard Alden
• 1996: Turn Out The Stars - The Songs Of Bill Evans by Dominic Alldis
• 1997: Conversations with Bill Evans by Jean-Yves Thibaudet
• 1998: Evanessence: Tribute to Bill Evans by Fred Hersch
• 1998: I Remember Bill: A Tribute to Bill Evans by Don Sebesky and Larry Coryell
• 2000: Conviction: Thoughts Of Bill Evans by Roseanna Vitro
• 2002: Homage To Bill Evans And Jim Hall by Luigi Tessarollo with Stefano Bollani
• 2002: Play Bill Evans by the Danish Radio Jazz Orchestra & Jim McNeely
• 2003: Bill Evans: Tribute to the Great Post-Bop Pianist by Paul Motian
• 2006: Paz - Niño Josele and the music of Bill Evans by Niño Josele
• 2008: Something for you - Eliane Elias Sings and Plays Bill Evans by Eliane Elias
• 2009: Bill Evans Compositions Vol. 1 & Vol. 2 by Stefano Battaglia

Discography[link]

References[link]

Further reading[link]

• Shadwick, Keith (2002) [2002]. Bill Evans Everything Happens To Me - a musical biography (Paperback ed.). Backbeat Books. ISBN 0-87930-708-0. 
• Verchomin, Laurie (2011) [2010]. The Big Love ~ Life & Death with Bill Evans (Paperback ed.). Amazon. ISBN 978-1-4565-6309-7. 

• Bill Evans - How My Heart Sings (Paperback ed.). 

External links[link]

Wikiquote has a collection of quotations related to: Bill Evans

• Bill Evans at Find A Grave
• Bill Evans entry — Jazz Discography Project
• The Bill Evans Webpages
• Bill Evans: Time Remembered
• "Remembering Bill Evans" by Ted Gioia, Jazz.com, January, 2008.
• Letter From Evans edited by Win Hinkle — newsletter dedicated solely to the music and the life of Bill Evans, published 1989–94. Link is to all issues.
• "Bill Evans: Twelve Essential Recordings by Ted Gioia"
• The Bill Evans Memorial Library
• Jazz wax-Interview with Laurie Verchomin

Kai Winding
Portrait of Kai Winding, New York, N.Y.(?), ca. Jan. 1947 by William P. Gottlieb
Background information
Birth name	Kai Chresten Winding
Born	(1922-05-18)May 18, 1922
Origin	Denmark
Died	May 6, 1983(1983-05-06) (aged 60)
Genres	Jazz
Occupations	Trombonist Composer
Instruments	Trombone
Years active	1940-1983
Associated acts	J. J. Johnson Paul Chambers Benny Goodman

Kai Chresten Winding (May 18, 1922 – May 6, 1983) was a popular Danish-born American trombonist and jazz composer. He is well known for a successful collaboration with fellow trombonist J. J. Johnson.

Biography[link]

Winding was born in Aarhus, Denmark. In 1934 his family immigrated to the United States. He graduated in 1940 from Stuyvesant High School in New York City, plus that same year he began his career as a professional trombonist with Shorty Allen's band. Subsequently, he played with Sonny Dunham and Alvino Rey until he entered the United States Coast Guard during World War II.

After the war, Winding joined Benny Goodman's band, and later moved on to Stan Kenton's orchestra. Winding participated in the first of the Birth of the Cool sessions in 1949, appearing on 4 of the 12 tracks (while Johnson appears on the other eight, having participated on the other two sessions). In 1954, at the urging of producer Ozzie Cadena, he joined forces with Johnson to produce a highly successful series of trombone duet recordings, which were initially on Savoy Records and then on the Columbia Records label. While at Columbia, Winding experimented with different instrumentation in brass ensembles: the 1956 album Jay & Kai + 6 features a trombone octet, as well as Winding and Johnson performing on the trombone-like valved horn called the trombonium. Winding also arranged and/or composed many of the tracks he and Johnson recorded.

During the 1960s, Kai had a long stint at Verve Records and under producer Creed Taylor made some of his most memorable jazz-pop albums. His best-known recording from this period is More, the theme from the movie Mondo Cane. Arranged and conducted by Claus Ogerman, "More" featured what is probably the first appearance of the French electronic music instrument the Ondioline on an American recording. Though Winding himself was credited with playing the Ondioline, guitarist Vinnie Bell, who worked on the session, has said he remembers distinctly that the French electronic-music pioneer Jean-Jacques Perrey was the actual player. He served as Musical Director for the Playboy Club, in the mid-sixties, when rock and roll was beginning to edge out jazz as the fashionable club music.

While at Verve, Kai further experimented with various ensembles, made solo albums, and even an album of country music with the Anita Kerr Singers. In the late 1960s, Kai followed Creed Taylor to his new recording label at A&M/CTI and made at least two more albums with Johnson.

In the 1970s and early 1980s, Kai recorded for a number of independent record labels. During this time, he continued to give clinics, play jazz concerts and even reunited with Johnson for a live concert in Japan. He was a member of the all-star jazz group Giants of Jazz in 1971-2. He also wrote instructional jazz trombone books that included transcribed solos.

Winding died of a brain tumor in New York City in 1983. He was survived at the time by his wife, the accomplished painter Ezshwan Winding, and his son, the session keyboardist Jai Winding.

Discography[link]

(From left:) Eddie Safranski, Kai Winding, Stan Kenton, Pete Rugolo, and Shelly Manne, ca. January 1946.
Photograph by William P. Gottlieb.

Albums with J. J. Johnson as co-leader[link]

• 1954: Jay and Kai Savoy SV0163 (CD)
• 1954: An Afternoon at Birdland
• 1954: Jay and Kai Prestige
• 1955: 'Nuf Said Bethlehem 20-40062 (CD)
• 1955: Trombone for Two Columbia (LP); Collectables (CD)
• 1956: Jay and Kai + 6 Columbia (LP); Collectables (CD)
• 1960: The Great Kai & J. J. Impulse! Records MCAD-42012
• 1966: Dirty Dog Verve
• 1968: Israel (A&M/CTI)
• 1968: Betwixt & Between (A&M/CTI)
• 1969: Stonebone (A&M/CTI (Japan))

Solo albums[link]

• 1960: The Incredible Kai Winding Trombones (Impulse!)
• 1961: Kai Ole
• 1963: The Kai Winding Trombones (Jazz Vault)
• 1965: Rainy Day (verve) V-8620
• 1967: Penny Lane and Time (Verve) V-8691
• 1964/1965 Modern Country (Verve) V6-8602

With Curtis Fuller as co-leader[link]

• 1980: Bone Appétit
• 1980: Giant Bones '80

As sideman[link]

This section requires expansion.

With Paul Desmond

• Summertime (A&M/CTI, 1968)

With The Giants of Jazz

• The Giants of Jazz (Atlantic, 1971) with Art Blakey, Dizzy Gillespie, Al McKibbon, Thelonious Monk and Sonny Stitt

With the Modern Jazz Quartet

• Jazz Dialogue (Atlantic, 1965)

With Lalo Schifrin

• New Fantasy (Verve, 1964)

External links[link]

• Official website
• The Incredible Kai Winding at Trombone Page of the World
• Kai Winding at Allmusic
• Kai Winding discography at Discogs
• Kai Winding at the Internet Movie Database
• Kai Winding at Find a Grave

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2012)

Jamie Cullum
Cullum performing in 2011
Background information
Born	(1979-08-20) 20 August 1979 (age 32) Rochford, Essex, England, UK
Genres	Crossover jazz, power pop, blue-eyed soul, jazz-pop
Occupations	Musician, songwriter
Instruments	Vocals, piano, keyboards, guitar, bass, drums
Labels	UCJ, Candid, Decca, Verve (US), Verve Forecast (US), Deckdisc (BR)
Website	www.jamiecullum.com

Jamie Cullum (born 20 August 1979) is a British pop and jazz-pop singer-songwriter, of Anglo-Burmese and Jewish extraction. Though he is primarily a vocalist/pianist he also accompanies himself on other instruments including guitar and drums. Since April 2010, he has been presenting a weekly jazz show on BBC Radio 2, broadcast on Tuesdays from 19:00.^[1]

Early life[link]

Cullum was born in Rochford, Essex.^[2] He was brought up in Hullavington, Wiltshire.^[3]

His mother, Yvonne, is a secretary of Anglo-Burmese origin, whose family settled in North England after Burma's independence; his father, John Cullum, worked in finance. His paternal grandfather was a British Army officer, while his paternal grandmother was a Jewish refugee from Prussia who sang in Berlin nightclubs.

Education[link]

Cullum was educated at Grittleton House School, an independent school in the village of Grittleton, near the market town of Chippenham in Wiltshire, followed by the sixth form of Sheldon School, a state comprehensive school in the same county. He then rejected a place at the University of Oxford to go on to study English Literature and Film Studies at the University of Reading, where he graduated with First Class Honours.

Musical career[link]

With only £48 to produce it, Cullum released his first album, Jamie Cullum Trio—Heard it All Before, in 1999, of which 500 copies were made.^[4] Due to their rarity, original copies have sold for as much as £600 on eBay.^[5] The success of Heard it All Before resulted in Cullum being invited to appear on Geoff Gascoyne's album Songs of the Summer^{[citation needed]}.

After graduating from Reading University, Cullum released his best-selling album, Pointless Nostalgic, which stirred interest from Michael Parkinson^[6] and Melvyn Bragg.

Just after Cullum made his first television appearance, on Parkinson in April 2003, he signed a £1m contract^[7] for three albums with Universal, who beat Sony in a bidding war. Cullum's second studio album, Twentysomething, released in October 2003, went platinum and became the No. 1 selling studio album by a jazz artist in the United Kingdom. Cullum ended 2003 as the UK's biggest selling jazz artist of all time.^[7]

Although primarily a jazz musician, Cullum performs in a wide range of styles and is generally regarded as a "crossover" artist with his musical roots firmly based in jazz. Cullum draws his inspiration from many different musicians and listens to an eclectic mix of music from Miles Davis^[8] to Tom Waits and many more. Cullum has belonged to several bands, ranging from banging drums in a hip hop group to playing guitar in rock bands such as Raw Sausage and The Mystery Machine, in his teenage youth. Cullum names his elder brother, Ben Cullum, as his biggest musical influence, and the two continue to collaborate extensively.

Cullum is well known not only for his abilities on the piano, but also for his style and charisma^{[citation needed]}. One of the many things that features in Cullum's concerts is the Stomp box (not to be confused with an effect pedal for guitars), made from a small wooden block. The stompbox is used to amplify a musician's tapping foot. Cullum found this in Melbourne, Australia and uses it to enhance upbeat and fast-paced songs such as "Seven Nation Army", originally by The White Stripes and "Gold Digger", originally by Kanye West. He is also often found using a looping machine. This plays a heavy part in Cullum's versions of "Seven Nation Army" and "Teardrop" by Massive Attack. Cullum also beatboxes at most gigs.

As well as The White Stripes and Kanye West, Cullum has performed work by Massive Attack, Pharell, Rihanna, Pussycat Dolls, Radiohead, Gnarls Barkley, Elton John, Justin Timberlake, John Legend, Joy Division, Lady Gaga and many others. He has also performed with Kylie Minogue, Sugababes, Will.i.am, Burt Bacharach and The Heritage Orchestra.

Cullum never works to a set list and on average his gigs last just over two hours. The gigs are largely improvised, rooted in jazz but not solely consisting of jazz music.

Cullum has played at many large music festivals, including Glastonbury Festival (in 2004 and 2009), New Orleans Jazz & Heritage Festival (in 2005), Coachella 2005, 2006 South by Southwest, North Sea Jazz Festival, the Hollywood Bowl (performing with the Count Basie Orchestra) and the 2006 Playboy Jazz Festival. On 30 April 2006 Cullum played his biggest ever crowd on Queensday in the Netherlands.

In February 2012, Germany picked Roman Lob with "Standing Still", a composition by Cullum, along with Steve Robson, and Wayne Hector, as their entry for the Eurovision Song Contest.^[9]

[edit] Pointless Nostalgic

Pointless Nostalgic began life as a self-funded project and eventually got taken on by Candid Records, featuring a mix of standards, originals and contemporary covers. It was recorded in Spring 2001 at Clown's Pocket Studios, Bexley, by Derek Nash and co-produced by Geoff Gascoyne.

On the album, Cullum created covers of old classics with new arrangements of Warren and Burke's Devil May Care, Thelonious Monk's Well You Needn't and Gershwin's It Ain't Necessarily So.

The song as recorded by Cullum ("It Ain't Necessarily So") is also used in the film "The Anatomy Of Hate; A Dialogue To Hope " by Mike Ramsdell.

[edit] Twentysomething

Recorded at London's Mayfair Studio and released in 2004, Twentysomething contains a mix of jazz standards, contemporary tunes and ballads.

Due to the acoustic nature of the music, producer Stewart Levine chose to record and mix Twentysomething entirely on analogue tape. Since the album was recorded almost entirely "live" with no need to correct or improve performances, Levine saw no need for the infinite amount of tracks and computerised digital recording.

The album includes jazz standards "What a Diff'rence a Day Made", "Singin' in the Rain", and Cole Porter's "I Get a Kick out of You", modern takes on My Fair Lady's "I Could Have Danced All Night", Jeff Buckley’s "Lover, You Should Have Come Over", and Jimi Hendrix's "The Wind Cries Mary", as well as new tracks written by Cullum and his brother Ben, including the first single from the album All At Sea and the title track "Twentysomething".

[edit] Catching Tales

Cullum's third major label album, also produced by Stewart Levine, entitled Catching Tales, was released on 26 September 2005, in the United Kingdom and the Netherlands, and two weeks later in the United States, on 11 October. The American and French versions of Catching Tales do not include the track "Fascinating Rhythm", which appears on the European version. The first single released from the album, in the United Kingdom, was "Get Your Way", a collaboration with Dan The Automator that used a sample from the Thad Jones song "Get Out Of My Life, Woman". The second single released, in the United Kingdom and the Netherlands, was "Mind Trick", written by Cullum and his brother Ben. The third single from the album was the self-penned track "Photograph", which Cullum said was written on New Year's Day 2005 after he found a box of old photographs at his parents house.

A special edition version of Catching Tales was released in Europe, featuring a 20-minute documentary, including behind the scenes footage of Cullum recording the album and on the road footage, from across Europe. Catching Tales has also been released on double vinyl, as was the first single, "Get Your Way". A limited edition version of the "Get Your Way" single was released on red vinyl.

Cullum collaborated with Pharrell Williams. They recorded various songs together and it was thought that the track titled "Wifey" would make an appearance on Catching Tales, but this was prevented by legal and contractual problems. Cullum's vocals finally featured on Pharrell's debut solo album, on a track titled "You Can Do It Too", though Cullum is not credited as a featured artist.

Cullum performing at Colours of Ostrava, July 2009

Cullum toured in support of Catching Tales from the end of October 2005 to December 2006.

[edit] The Pursuit

On 4 June 2009, Cullum announced the title of his fourth studio album, The Pursuit. The album, which was released on 10 November 2009, is produced by Greg Wells,^[10] and the first single is "I'm All Over It", written by Deacon Blue frontman, Ricky Ross. The album was recorded at a Los Angeles studio, using songs that Cullum originally recorded at his Shepherd's Bush recording studio, Terrified Studios.^[11]

The Pursuit was recorded in a variety of places; Cullum's kitchen, a studio in L.A. and Terrified Studios (his own in Shepherd's Bush). Various musicians were also used in the recording process. Songs recorded in L.A. mostly used session musicians and sees Greg Wells and Cullum play various instrument including drums and bass. "Don't Stop The Music", the second single from the album (released as a download only in January 2010)^[12] was recorded with Chris Hill and Brad Webb.

From 2003 to 2008, Cullum played consistently with Geoff Gascoyne on bass, and Sebastiaan de Krom on drums. From 2003 until 2004 the trio was joined by Ben Castle on saxophone, John Hoare on trumpet, Barnaby Dickinson on trombone and Malcolm MacFarlane on guitar. Sam Wedgwood (guitarist, bassist and trumpeter) later joined Cullum on tour, for a little over a year. At the end of 2005 Cullum was joined by Tom Richards (saxophonist, occasional guitarist and percussion). Soon after that Sam Wedgwood left to pursue his own solo musical career. At the beginning of 2006 Rory Simmons (trumpeter and guitarist) joined the band as a replacement, bringing the total number of band members (including Cullum himself) to five.

In late 2009 Cullum replaced Geoff Gascoyne (bass) and Sebastiaan de Krom (drums) with Chris Hill (bass) and Brad Webb (drums).

Awards[link]

The British Jazz Awards first recognised Cullum's growing success by awarding him the "Rising Star" award, at the 2003 ceremony in July.^[7] At the 2004 BRIT Awards, Cullum was nominated in the "British Breakthrough Act" category. He performed live in the ceremony at Earl's Court, a duet with Katie Melua of The Cure's "The Lovecats". In the 2005 BRIT Awards, Cullum was nominated for two awards: "Best Male Artist" and "Best Live Act". In 2005 Cullum was nominated for a Grammy while taking BBC Radio 2 "Artist of the Year" honours at the BBC Jazz Awards (as voted for by listeners of Radio 2). In 2007 Cullum won the Ronnie Scotts Jazz Award for "Best British Male". He was also nominated for a Golden Globe Award for Best Original Song for his composition Gran Torino for the Clint Eastwood film Gran Torino.

Projects[link]

Cullum's early music career saw him playing three or four times a week at Pizza Express's restaurants throughout London, gaining exposure and later his big break with Universal. Cullum now supports the "Pizza Express Big Audition with Jamie Cullum" competition which gives singers, song writers and musicians a platform and a chance to win a £5000 prize and a residency at the restaurant chain's Dean Street Jazz Club. In 2011, 7,500 acts entered the competition and the final was held at the Addison's Rooms in Kensington on 23 November. The final was judged by Jamie Cullum himself, Sir Michael Parkinson, M People's Heather Small and other music critics. The winning act was Offbeat South, an urban group of 18-21 year olds from Croydon. The other finalists were Andy Lewis, Elle Watson, Palms 13 and The Yesberger Band.^[13]

Personal life[link]

Cullum married British food critic and former model Sophie Dahl in a private ceremony in England on 9 January 2010.^[14] On 11 September 2010, the couple confirmed that they were expecting a child.^[15] Their daughter, Lyra, was born on 2 March 2011.^[16]

He was the subject of BBC Radio 4's Desert Island Discs on 25 March 2012.

He is a supporter of Swindon Town F.C..^{[citation needed]}

Discography[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Jamie Cullum

• Official website
• Official record label site
• Jamie Cullum at BBC Programmes

Dave Van Ronk
Dave Van Ronk at 1963 Newport Folk Festival
Background information
Born	(1936-06-30)June 30, 1936 Brooklyn, New York
Died	February 10, 2002(2002-02-10) (aged 65)
Genres	Folk, ragtime
Occupations	Singer-songwriter
Instruments	Guitar
Years active	1960s-2002
Labels	Folkways

Dave Van Ronk (June 30, 1936 – February 10, 2002) was an American folk singer, born in Brooklyn, New York, who settled in Greenwich Village, New York, and was eventually nicknamed the "Mayor of MacDougal Street" .

He was an important figure in the acoustic folk revival of the 1960s. His work ranged from old English ballads to Bertolt Brecht, blues, gospel, rock, New Orleans jazz, and swing. He was also known for performing instrumental ragtime guitar music, especially his transcription of St. Louis Tickle and Scott Joplin's Maple Leaf Rag.

Dave Van Ronk was regarded as the friendly uncle of Greenwich Village, presiding over the coffeehouse folk culture and acting as a friend to many up and coming artists, inspiring, aiding and promoting them. Folk performers whom he befriended included Bob Dylan, Tom Paxton, Patrick Sky, Phil Ochs, Ramblin' Jack Elliott, Guthrie Thomas, and Joni Mitchell.

Van Ronk received the Lifetime Achievement Award of the American Society of Composers, Authors and Publishers (ASCAP), in December 1997.

Van Ronk died of cardio-pulmonary failure while undergoing post-operative treatment for colon cancer in a New York hospital.^[1]

Career[link]

Van Ronk moved from Brooklyn to Queens in 1951 and began attending Holy Child Catholic High School (Queens, New York). He had been performing in a barbershop quartet since 1949, but left before finishing high school, and spent the next few years bumming around lower Manhattan, except for shipping out twice with the Merchant Marine.

His first professional gigs were with various traditional jazz bands around the New York area, of which he later observed: "We wanted to play traditional jazz in the worst way...and we did!" The jazz revival did not take off though, and Van Ronk turned to performing blues music he had stumbled across and enjoyed years earlier, by artists like Furry Lewis and Mississippi John Hurt. Van Ronk was not the first white musician to perform African-American blues, but became noted for his interpretation of it in its original context. By about 1958, he was firmly committed to the folk-blues style, accompanying himself with his own acoustic guitar. He performed blues, jazz and folk music, occasionally writing his own songs but generally arranging the work of earlier artists and his folk revival peers.

He became noted both for his large physical stature and his expansive charisma, which bespoke an intellectual, cultured gentleman of many talents. Among his many interests: cooking, science fiction (he was active for some time in science fiction fandom, referring to it as "mind rot",^[2] and contributed to fanzines), world history, and politics. During the 1960s he supported radical left-wing political causes and was a member of the Libertarian League and the Trotskyist American Committee for the Fourth International (ACFI, later renamed the Workers League,^[3] predecessor to the Socialist Equality Party).^[4] Attracted to the commotion from a neighboring bar, and no stranger to police violence, he was at the famous Stonewall Riots during which he was grabbed by police, arrested, briefly jailed and charged with felony assault on a police officer.^[5] In 1974, he appeared at "An Evening For Salvador Allende", a concert organized by Phil Ochs, alongside other performers such as his old friend Bob Dylan, to protest the overthrow of the democratic socialist government of Chile and to aid refugees from the U.S.-backed military junta led by Augusto Pinochet. After Ochs' suicide in 1976, Van Ronk joined the many performers who played at Phil's memorial concert in the Felt Forum at Madison Square Garden, playing his bluesy version of the traditional folk ballad "He Was A Friend Of Mine".^[6]

In 2000, he performed at Blind Willie's in Atlanta, clothed in garish Hawaiian garb, speaking fondly of his impending return to Greenwich Village. He reminisced over tunes like Good Ol Wagon, a song teasing a worn-out lover, which he ruefully remarked had seemed humorous to him back in 1962. He was married to Terri Thal in the 1960s, lived for many years with Joanne Grace, then married Andrea Vuocolo, with whom he spent the rest of his life. He continued to perform for four decades and gave his last concert just a few months before his death. He found it amusing to be called "a legend in his own time".

Van Ronk died before completing work on his memoirs, which were finished by his collaborator, Elijah Wald, and published in 2005 as The Mayor Of MacDougal Street.

In 2004, a section of Sheridan Square, where Barrow Street meets Washington Place, was renamed Dave Van Ronk Street in his memory.^[7]

Cultural impact[link]

Van Ronk has been described^{[by whom?]} as an irreverent and incomparable guitar artist and interpreter of black blues and folk, with an uncannily precise ability at improvisation. Joni Mitchell often said that his rendition of her song "Both Sides Now" (which he called Clouds) was the finest ever.

He is perhaps underestimated as a musician and blues guitarist. His guitar work is noteworthy for both syncopation and precision. In its simplest form, it shows similarities to Mississippi John Hurt's, but Van Ronk's main influence was the Reverend Gary Davis, who conceived the guitar as "a piano around his neck". Van Ronk took this pianistic approach, and added a harmonic sophistication adapted from the band voicings of Jelly Roll Morton and Duke Ellington. He ranks high in bringing blues style to Greenwich Village during the 1960s, as well as introducing the folk world to the complex harmonies of Kurt Weill in his many Brecht-Weill interpretations, and being one of the very few hardcore traditional revivalists to move with the times, bringing old blues and ballads together with the new sounds of Dylan, Mitchell and Leonard Cohen. During this crucial period, he performed with the likes of Bob Dylan and spent many years teaching guitar in Greenwich Village, including to Christine Lavin, David Massengill, Terre Roche and Suzzy Roche. He influenced his protégé Danny Kalb and The Blues Project. The Japanese singer Masato Tomobe, American pop-folk singer Geoff Thais and the musician and writer Elijah Wald learned from him as well. Known for making interesting and memorable observations he once said, "Painting is all about space, and music is all about time."

Thanks to what he had learned from Davis, Van Ronk was among the first to adapt traditional jazz and ragtime to the solo acoustic guitar. His guitar arrangements of such ragtime hits as "St. Louis Tickle", "The Entertainer", "The Pearls" and "Maple Leaf Rag" continue to frustrate and challenge aspiring guitar players. He also did fine compositions of his own in the classic styles, such as "Antelope Rag".

His song "Last Call" is the source of the title of Lawrence Block's book When the Sacred Ginmill Closes.

The Coen brothers are writing a screenplay for a film based on Van Ronk's life called Inside Llewyn Davis.^[8]

Personal characteristics[link]

Van Ronk refused for many years to fly and never learned to drive (he would use trains or buses or, when possible, recruit a girlfriend or young musician as his driver), and he declined to ever move from Greenwich Village for any extended period of time (having stayed in California for a short time in the 1960s).^[9] Van Ronk's trademark stoneware jug of Tullamore Dew was frequently seen on stage next to him in his early days.

Robert Shelton described Van Ronk as, "the musical mayor of MacDougal Street, a tall, garrulous hairy man of three quarters, or, more accurately, three fifths Irish descent. Topped by light brownish hair and a leonine beard, which he smoothed down several times a minute, he resembled an unmade bed strewn with books, record jackets, pipes, empty whiskey bottles, lines from obscure poets, finger picks, and broken guitar strings. He was Bob [Dylan]'s first New York guru. Van Ronk was a walking museum of the blues. Through an early interest in jazz, he had gravitated toward black music - its jazz pole, its jug-band and ragtime center, its blues bedrock... his manner was rough and testy, disguising a warm, sensitive core. Van Ronk retold the blues intimately... for a time, his most dedicated follower was Dylan."

Discography[link]

Van Ronk releases[link]

Studio recordings[link]

• 1959: Van Ronk Sings Ballads, Blues, and a Spiritual (also released as Gambler's Blues and Black Mountain Blues) (Folkways Records)
• 1961: Dave Van Ronk Sings (also released as Dave Van Ronk Sings the Blues and Dave Van Ronk Sings Earthy Ballads and Blues) (Folkways Records)
• 1963: Dave Van Ronk, Folksinger
• 1963: Inside Dave Van Ronk
• 1964: Dave Van Ronk and the Ragtime Jug Stompers
• 1964: In the Tradition
• 1964: Just Dave Van Ronk
• 1966: No Dirty Names
• 1967: Dave Van Ronk and the Hudson Dusters
• 1971: Van Ronk
• 1973: Songs For Ageing Children
• 1976: Sunday Street
• 1980: Somebody Else, Not Me
• 1985: Going Back To Brooklyn
• 1990: Hummin' to Myself
• 1990: Peter and the Wolf
• 1992: Let No One Deceive You: Songs of Bertolt Brecht (Frankie Armstrong & Dave Van Ronk)
• 1994: To All My Friends in Far-Flung Places
• 1995: From... Another Time & Place
• 2001: Sweet & Lowdown
• 2005: The Mayor of MacDougal Street

Live recordings[link]

• 1982: Your Basic Dave Van Ronk
• 1983: St. James Infirmary (released in 1996 as Statesboro Blues)
• 1983: Dave Van Ronk in Rome
• 1997: Live at Sir George Williams University (recorded in 1967)
• 2004: Dave Van Ronk: ...and the tin pan bended and the story ended... (Smithsonian Folkways)
• 2008: On Air (live 1993)

Compilations of previously released material[link]

• 1972: Van Ronk (includes Folksinger and Inside Dave Van Ronk in their entirety. Later released on CD as Inside Dave Van Ronk)
• 1988: Hesitation Blues (compilation)
• 1989: Inside Dave Van Ronk (compilation - includes Folksinger and Inside Dave Van Ronk )
• 1991: The Folkways Years, 1959 - 1961 (Smithsonian Folkways)
• 1992: A Chrestomathy
• 2002: Two Sides of Dave Van Ronk (includes all of In the Tradition and most of Your Basic Dave Van Ronk)

Van Ronk on compilations/other people's albums[link]

• 1958: Skiffle in Stereo (The Orange Blossom Jug Five)
• 1959: Fo'csle Songs and Shanties (by Paul Clayton)^[10] - Van Ronk sings on all songs.

Van Ronk on various artist compilations[link]

• 1959: The Unfortunate Rake^[11]
• 1963: Newport Folk Festival 1963 The Evening Concerts Vol. 2(Various Artists- Van Ronk performs two songs: Candy Man and Hold On)
• 1964: Blues from Newport (Various Artists- Van Ronk performs two songs: That Will Never Happen No More and Gambler's Blues)
• 1964: The Blues Project (Various Artists – Van Ronk performs two songs: Bad Dream Blues and Don't You Leave Me Here)
• 1999: The Man from God Knows Where (Tom Russell- Van Ronk featured performing two songs: The Outcast and The Outcast (revisited))

References[link]

External links[link]

• Dave Van Ronk – The Mayor of MacDougal Street, About the book. ElijahWald.com.
• Dave Walsh (May 7, 1998). "A Conversation with Dave Van Ronk". World Socialist Web Site. Archived from the original on October 19, 1999. http://web.archive.org/web/19991019002848/http://wsws.org/arts/1998/may1998/dvr-m7.shtml. 
• Steven Wirz. Illustrated Dave Van Ronk discography
• Otto Bost (June 30, 2004). Dave Van Ronk Street Renaming Ceremony Photo essay. OttoFocus.net
• Charles Freudenthal (August 2005). Walking Down Dave Van Ronk Street. Anecdotes. e*I*21. (Vol. 4 No. 4)
• Lee Hoffman (2010). Lee Hoffman, My Folknik Days. Anecdotes. Gary Ross Hofmann.
• Dave Van Ronk Discography. Smithsonian Folkways.
• John Pareles (February 12, 2002). Dave Van Ronk, Folk Singer And Iconoclast, Dies at 65. New York Times.