- published: 02 May 2012
- views: 107567
- author: uvisninew
Vimeo results:
Youtube results:
Home
Menu
Playlist
Videos
open all
add
add longest videos
Loading...
Open Collage in a new Window
Email the Collage
- Loading...
Loading suggestions ...
- Afro-Classic
- Airto Moreira
- Alice Coltrane
- All Blues (album)
- Andrew Hill
- Astrud Gilberto
- Austin Peralta
- Betwixt & Between
- Big Bags
- Bill Frisell
- Billy Cobham
- Billy Higgins
- Black Lion Records
- Black Star (group)
- Blue Moses
- Blue Note Records
- Blues Farm
- Bob Brookmeyer
- Bobby Hutcherson
- Bobby Timmons
- Cedar Walton
- Cellist
- Cello
- Charles Tolliver
- Charlie Persip
- Chico Hamilton
- Christian McBride
- Clinician
- Coleman Hawkins
- Components (album)
- Concierto
- Contours (album)
- Crying Song (album)
- CTI Records
- Dave Holland
- Don Ellis
- Don Sebesky
- Donald Byrd
- Double bass
- Double-bassist
- Duke Ellington
- Duke Pearson
- Eddie Harris
- Electric bass
- Electric Byrd
- Eli Degibri
- Embryo Records
- Empyrean Isles
- Eric Dolphy
- Excursions (album)
- Expansions (album)
- Far Cry (album)
- Ferndale, Michigan
- First Take (album)
- Fly with the Wind
- Four & More
- Freddie Hubbard
- Free (Airto album)
- Fuchsia Swing Song
- Gary McFarland
- Gato Barbieri
- Gene Harris
- George Benson
- George Duvivier
- Giant Box
- Gil Scott-Heron
- Got to Get It!
- Grace Slick
- Gula Matari
- Gábor Szabó
- Hank Jones
- Harry Connick, Jr.
- Helen Merrill
- Henry Butler
- Herbie Hancock
- Herbie Mann
- Hermeto Pascoal
- Horace Silver
- Houston Person
- Hubert Laws
- Hurricane Katrina
- Inner City Blues
- Israel (album)
- J. J. Johnson
- Jackie and Roy
- Jaki Byard
- Jazz
- Jazz musician
- Jim Hall (musician)
- Joe Henderson
- Johnny Frigo
- Juilliard School
- Kai Winding
- Kansas City (film)
- Kenny Barron
- Kenny Burrell
- Kofi (album)
- Kokopelli Records
- Laws' Cause
- Lee Morgan
- Leroy Vinnegar
- Lewis Nash
- Live at Village West
- Livingston Taylor
- Lou Donaldson
- Mainstream jazz
- Mal Waldron
- Manhole (album)
- Marlena Shaw
- McCoy Tyner
- Mean Greens
- Michigan
- Miles Davis
- Miles in the Sky
- Miles Smiles
- Milestone Records
- Milt Hinton
- Milt Jackson
- Mizrab (album)
- Music genre
- My Funny Valentine
- Olinga (album)
- Oliver Nelson
- Orchestral jazz
- Passing Ships
- Pastels (album)
- Paul Desmond
- Payton Crossley
- Peg leg (album)
- Phoebe Snow
- Piccolo (album)
- Piccolo bass
- Pieces of a Man
- Plug Me In (album)
- Prestige Records
- Professor
- Professor Emeritus
- Ptah, the El Daoud
- Pure Desmond
- Quiet Fire
- Quincy Jones
- Randy Weston
- Ray Brown (musician)
- Red Garland
- Red Garland's Piano
- Red Hot + Indigo
- Red Hot Organization
- Robert Altman
- Roberta Flack
- Roger Squitero
- Ron Carter
- Roy Haynes
- Sam Rivers
- Second Childhood
- Shirley Scott
- Silver 'n Brass
- Silver 'n Percussion
- Silver 'n Voices
- Silver 'n Wood
- Slaves Mass
- So Much Guitar
- Solitude
- Sophisticated Lou
- Soul Box
- Sound Pieces
- Spanish Blue (album)
- Speak No Evil
- Spellbinder (album)
- Stan Getz
- Stanley Turrentine
- Stereotype
- Steve Kuhn
- Stonebone
- Supertrios
- Sweet Honey Bee
- Tadd Dameron
- The All Seeing Eye
- The Chicago Theme
- The Hardbop Grandpop
- The In Sound
- The Low End Theory
- The Magic Touch
- The October Suite
- The Quest (album)
- The Rape of El Morro
- The Real McCoy
- The Soul Man!
- The Tender Storm
- Third Plane
- Third Stream
- Third stream
- Time & Love
- Time Magazine
- Toshiko Akiyoshi
- Treme (TV series)
- United States
- Uptown Conversation
- VSOP (album)
- Water Babies (album)
- Wayne Shorter
- Wes Montgomery
- Wikipedia Persondata
- Wild Flower (album)
- A Tribe Called Quest
- Airto Moreira
- Alice Coltrane
- Andrew Hill
- Astrud Gilberto
- Austin Peralta
- Bill Frisell
- Billy Cobham
- Billy Higgins
- Bob Brookmeyer
- Bobby Hutcherson
- Bobby Timmons
- Cedar Walton
- Charles Tolliver
- Charlie Persip
- Chico Hamilton
- Christian McBride
- Coleman Hawkins
- Dave Holland
- Don Ellis
- Don Sebesky
- Donald Byrd
- Duke Ellington
- Duke Pearson
- Eddie Harris
- Eli Degibri
- Eric Dolphy
- Freddie Hubbard
- Gary McFarland
- Gato Barbieri
- Gene Harris
- George Benson
- George Duvivier
- Grace Slick
- Gábor Szabó
- Hank Jones
- Helen Merrill
- Henry Butler
- Herbie Hancock
- Herbie Mann
- Hermeto Pascoal
- Horace Silver
- Houston Person
- Hubert Laws
- Jaki Byard
- Joe Henderson
- Johnny Frigo
- Kai Winding
- Kenny Barron
- Kenny Burrell
- Lee Morgan
- Leroy Vinnegar
- Lewis Nash
- Livingston Taylor
- Lou Donaldson
- Mal Waldron
- Marlena Shaw
- McCoy Tyner
- Miles Davis
- Milt Hinton
- Milt Jackson
- Oliver Nelson
- Paul Desmond
- Phoebe Snow
- Quincy Jones
- Randy Weston
- Red Garland
- Robert Altman
- Roberta Flack
- Ron Carter
- Roy Haynes
- Sam Rivers
- Shirley Scott
- Stan Getz
- Stanley Turrentine
- Steve Kuhn
- Tadd Dameron
- Toshiko Akiyoshi
- Wayne Shorter
- Wes Montgomery
- Wikipedia Persondata
Carter, Ron Filmography
- The Miles Davis Documentary (2013)
- What Happens in Vegas (2008)
- Miles Electric: A Different Kind of Blue (2004)
- Keeping Time: The Life, Music & Photography of Milt Hinton (2004)
- Jane Monheit: Live at the Rainbow Room (2003)
- Water Tower Drive (2002)
- The Miles Davis Story (2001)
- The Black Press: Soldiers Without Swords (1999)
- Blind Faith (1998)
- Blue Note - A Story of Modern Jazz (1997)
- Kansas City (1996)
- Antonio Carlos Jobim: An All-Star Tribute (1995)
- Stolen Moments.: Red Hot+Cool (1994)
- Ron Carter & Art Farmer: Live at Sweet Basil (1991)
- La passion Béatrice (1987)
- A Gathering of Old Men (1987)
- The 28th Annual Grammy Awards (1986)
- Sun City: Artists United Against Apartheid (1986)
- 'Round Midnight (1986)
- One Night with Blue Note (1985)
- Na Boca da Noite (1971)
- Desperate Characters (1971)
Carter, Ron Filmography
Carter, Ron Filmography
Famous quotes by Ron Carter:
"We've got 1,000 homes that are going to be built near the Square. They're going to want quality entertainment and be able to walk to it."
"The kids did a great job; I'm real happy."
"We never dreamed they would need our church for an emergency so far away, but we are glad we can help. If you look at the images on TV, I think everybody is moved to compassion."
"Hopefully we'll have enough to last through the night but we might run out."
"My interests were also a little more honed than the other guys - black politics and all those groups that had a different view of politics than was in the newspapers."
"I was the most responsible I guess,"
"I am from the planet of elegance."
"A good bassist determines the direction of any band."
"I felt a responsibility to present a viable alternative to the popular electric sound."
"Education has always served to increase my awareness. Teaching helps me better understand what it is that I do."
RELEASE
ALBUMS
- Caravan
- The Eternal Triangle
- Pork Chop
- Opus 15 (Theme For C.B.)
- Con Alma
- Sail Away
- Opus One
- Sweet Emma
- Saint Louis Blues
- Line For Lyons
- Footprints
- The Golden Striker
- Loose Change
- Gone
- Seven Steps to Heaven
- My Funny Valentine
- Bag's Groove
- Someday My Prince Will Come
- Cut and Paste
- Stella by Starlight
- As Time Goes By
- Bye Bye Blackbird
- 595
- Eighty-One
- You Are My Sunshine
- Worse and Worse
- Raise Four
- Pretty Polly
- On the Street Where You Live
- Monroe
- Introduction
- Misterioso
- I'm So Lonesome, I Could Cry
- Body and Soul
- Harrisburg Address
- Easy Living
- I'll Remember April
- Star Eyes
- Third Plane
- Blues for Happy People
- The Golden Striker
- On And On
- N.Y. Slick
- Concierto de Aranjuez (Adagio Theme)
- Cedar Tree
- A Quick Sketch
- Parade
- A Theme in 3/4
- Autumn Leaves
- Bahia Com H
- Insensatez
- Desafinado
- Sorriu Para Mim
- A Primeira Vez
- Garota de Ipanema
- Por Causa de Voce
- Caminhos Cruzados
- Feitio de Oracao
- Eu Sei Que Vou Te Amar
- O Grande Amor
- Heart and Soul
- Django
- Frankie and Johnnie
- Little Waltz
- Telephone
- My Funny Valentine
- Back to Bologna
- Beautiful Friendship
- St. Thomas
- Alone Together
- Receipt, Please
- I'll Remember April
- Softly, as in a Morning Sunrise
- Whose Blues
- Prelude to a Kiss
- Autumn Leaves
- Minuet in Central Park (Liebesleid)
- Minor Mood (Vocalise)
- Friends
- D'Jango
- Freefall (Gymnopedie)
- The Beginning (Prelude #4 in E minor)
- Ack,Vermeland Du Sköna
- Opus One Point Five
- Vagabond Vision (Après un Rêve-After a Dream)
- "Air" from the Orchestral Suite No. 3 in D Major
- "Crist lag in Todesbanden"
- "Wachet auf, ruft unse die Stimme"
- Arioso
- "Jesu Joy of Man's Desiring"
- "Es woll uns Gott genadig sein"
- Gavotte en Rondeau
- Prelude, Interlude, and Fugue
- Siciliano
- Praeludium, Interlude, Praeludium
- "Komm susser Tod, komm sel'ge Ruh"
- The Imperial March (Darth Vader's Theme)
- The Asteroid Field
- Han Solo and the Princess (Love Theme)
- Lando's Palace
- Yoda's Theme
- Uptown Conversation
- Ten Strings
- Half a Row
- R.J.
- Little Waltz
- Einbahnstrasse
- Doom
- Einbahnstrasse
- Doom
- So What
- You'd Be So Nice to Come Home To
- It's About Time
- My Foolish Heart
- Hi-Fly
- More Days
- Eddie's Theme
- The Third Plane
- Summer in Central Park
- Spleen
- Doom
- Allée des Brouillards
- A Small Ballad
- Portrait of Jennie
- Ballade Pour Marion
- Little Waltz
- Des Voiliers
- Tamalpais
- The Man I Love
- Nearly
- Bohemia After Dark
- Tail Feathers
- Blues in the Closet
- That's Deep
- Stardust
- Bags' Groove
- All the Things You Are
- Blue Monk
- New Waltz
- Down From Antigua
- Summer Night
- St. Thomas
- Embraceable You
- Laverne Walk
- Baubles, Bangles and Beads
- Brandenburg Concerto No. 3
- Pavane
- Joc Cu Bata
- Aria (From Aus Holberg Zeit)
- Vientos Del Desierto
- Ombra Mai Fu
- Tenaj
- Receipt, Please
- Willow Weep for Me
- Yellow & Green
- Opus 1.5
- Epistrophy
- Receipt, Please (alt)
- Yellow & Green (alt)
select all
add to playlist
Houston Person & Ron Carter - The Complete Muse Sessions (Something in Common)
- Blue Seven
- I Thought About You
- Mack the Knife
- Joy Spring
- Good Morning Heartache
- Anthropology
- Once in a While
- Blues for Two
- You & the Night & the Music
- Someday My Prince Will Come
- Blues for D.P.
- The Shadow of Your Smile
- Mr. Bow-Tie
- Double Bass
- I Remember Clifford
Send this Playlist by SMS
Email this Page
http://wn.com/Nišville_2013_Earth_Sky_stages_Ron_Carter_Golden_Striker_Trio
Ron Carter Trio - Jazzwoche Burghausen 2006
- Order: Reorder
- Duration: 99:40
- Updated: 19 Aug 2013
Ron Carter Trio - Jazzwoche Burghausen 2006 DVD - http://rutracker.org/forum/viewtopic.php?t=4045082 - Laverne Walk - Cedar Tree - Candle Light - Parade - My...
http://wn.com/Ron_Carter_Trio_Jazzwoche_Burghausen_2006
Ron Carter Trio - Jazzwoche Burghausen 2006 DVD - http://rutracker.org/forum/viewtopic.php?t=4045082 - Laverne Walk - Cedar Tree - Candle Light - Parade - My...
Hank Jones And Ron Carter - Great Jazz In Kobe 1996
- Order: Reorder
- Duration: 108:45
- Updated: 17 Aug 2013
HANK JONES- piano RON CARTER- bass STEPHEN SCOTT- piano SANTI DEBRIANO- bass LEWIS NASH- drums JIMMIE SMITH- drums STEVE KROON- percussion SHIGEKO SUZUKI- vo...
http://wn.com/Hank_Jones_And_Ron_Carter_Great_Jazz_In_Kobe_1996
HANK JONES- piano RON CARTER- bass STEPHEN SCOTT- piano SANTI DEBRIANO- bass LEWIS NASH- drums JIMMIE SMITH- drums STEVE KROON- percussion SHIGEKO SUZUKI- vo...
- published: 23 Mar 2013
- views: 19826
- author: JazzPianoGiants
Ron Carter solo - willow weep for me
- Order: Reorder
- Duration: 7:17
- Updated: 15 Aug 2013
Switserland / 1984.
http://wn.com/Ron_Carter_solo_willow_weep_for_me
Masterclass - Ron Carter
- Order: Reorder
- Duration: 57:48
- Updated: 17 Aug 2013
Legendary bassist Ron Carter gives a special masterclass for Jazz students at Loyola New Orleans.
http://wn.com/Masterclass_Ron_Carter
Legendary bassist Ron Carter gives a special masterclass for Jazz students at Loyola New Orleans.
- published: 19 Jul 2011
- views: 76779
- author: thecfmae
Ron Carter - Jazz sous les Pommiers 2011
- Order: Reorder
- Duration: 53:49
- Updated: 17 Aug 2013
Ron Carter - Jazz sous les Pommiers 2011 RON CARTER - bass MULGREW MILLER - piano BOBBY BROOM - guitar Tracks: 1. Cedar Tree 2. Parade 3. The Golden Striker.
http://wn.com/Ron_Carter_Jazz_sous_les_Pommiers_2011
Ron Carter - Jazz sous les Pommiers 2011 RON CARTER - bass MULGREW MILLER - piano BOBBY BROOM - guitar Tracks: 1. Cedar Tree 2. Parade 3. The Golden Striker.
- published: 18 Dec 2011
- views: 86982
- author: TheUtubejazz
Jazz Conversation: Ron Carter
- Order: Reorder
- Duration: 71:26
- Updated: 08 Aug 2013
The Library's Larry Appelbaum talks with legendary jass bassist Ron Carter. For captions, transcript, and more information visit http://www.loc.gov/today/cyb...
http://wn.com/Jazz_Conversation_Ron_Carter
The Library's Larry Appelbaum talks with legendary jass bassist Ron Carter. For captions, transcript, and more information visit http://www.loc.gov/today/cyb...
- published: 13 May 2013
- views: 585
- author: LibraryOfCongress
Jazz Legend Ron Carter Discusses a Life in the Music Business
- Order: Reorder
- Duration: 49:13
- Updated: 15 Aug 2013
In this clip from www.artistshousemusic.org - Legendary jazz bassist Ron Carter discusses his career and the state of the music business with ArtistsHouse's ...
http://wn.com/Jazz_Legend_Ron_Carter_Discusses_a_Life_in_the_Music_Business
In this clip from www.artistshousemusic.org - Legendary jazz bassist Ron Carter discusses his career and the state of the music business with ArtistsHouse's ...
- published: 21 May 2012
- views: 5016
- author: ArtistsHouseMusic
Miles Davis Quintet feat. Ron Carter solo live '64
- Order: Reorder
- Duration: 7:31
- Updated: 07 Aug 2013
Live from Milan, Italy. This is part two of "Autumn Leaves" and features solos by Wayne (end of pt 1 solo), Herbie and Ron. The '64 quintet was: Miles (trump...
http://wn.com/Miles_Davis_Quintet_feat_Ron_Carter_solo_live_'64
Live from Milan, Italy. This is part two of "Autumn Leaves" and features solos by Wayne (end of pt 1 solo), Herbie and Ron. The '64 quintet was: Miles (trump...
- published: 05 Oct 2009
- views: 13032
- author: ricksuchow
Ron Carter - The Shadow Of Your Smile
- Order: Reorder
- Duration: 7:09
- Updated: 19 Aug 2013
Ron Carter (born May 4, 1937) is an American jazz double-bassist. His appearances on over 2500 albums make him one of the most-recorded bassists in jazz his...
http://wn.com/Ron_Carter_The_Shadow_Of_Your_Smile
Ron Carter (born May 4, 1937) is an American jazz double-bassist. His appearances on over 2500 albums make him one of the most-recorded bassists in jazz his...
- published: 21 Jun 2011
- views: 327437
- author: daou007
Herbie Hancock, Ron Carter and Billy Cobham - Walkin'
- Order: Reorder
- Duration: 7:48
- Updated: 16 Aug 2013
Herbie Hancock, Ron Carter and Billy Cobham playing "Walkin'" (Composition by R. Carpenter). Recorded at Palazzo dei Congressie, Lugano January 26, 1983.
http://wn.com/Herbie_Hancock,_Ron_Carter_and_Billy_Cobham_Walkin'
Herbie Hancock, Ron Carter and Billy Cobham playing "Walkin'" (Composition by R. Carpenter). Recorded at Palazzo dei Congressie, Lugano January 26, 1983.
- published: 01 Nov 2010
- views: 67110
- author: Miguel Tuna
Ron Carter Trio Autumn Leaves
- Order: Reorder
- Duration: 9:56
- Updated: 16 Aug 2013
Russell Malone Jacky Terrasson.
http://wn.com/Ron_Carter_Trio_Autumn_Leaves
RON CARTER-A SONG FOR YOU
- Order: Reorder
- Duration: 8:07
- Updated: 10 Aug 2013
LINDO.
http://wn.com/RON_CARTER-A_SONG_FOR_YOU
Ron Carter Quintet (1/2)
- Order: Reorder
- Duration: 45:21
- Updated: 26 Jul 2013
Ron Carter Stephen Scott Guilherme Monteiro Payton Crossley Rolando Morales-Matos Festival de Jazz de San Javier - 09 09 2009.
http://wn.com/Ron_Carter_Quintet_1_2
Ron Carter Stephen Scott Guilherme Monteiro Payton Crossley Rolando Morales-Matos Festival de Jazz de San Javier - 09 09 2009.
- published: 20 Oct 2012
- views: 2414
- author: JazzPianoGiants
An Afternoon With Ron Carter
- Order: Reorder
- Duration: 6:58
- Updated: 12 Aug 2013
Nick Epifani and Matthew Garrison welcomed legendary bass player and Epifani's endorsee RON CARTER during his recent visit to ShapeShifter LAB, Brooklyn NY.
http://wn.com/An_Afternoon_With_Ron_Carter
Nick Epifani and Matthew Garrison welcomed legendary bass player and Epifani's endorsee RON CARTER during his recent visit to ShapeShifter LAB, Brooklyn NY.
- published: 02 May 2013
- views: 596
- author: EpifaniChannel
Ron Carter: Every Note Counts
- Order: Reorder
- Duration: 57:49
- Updated: 07 Aug 2013
Jazz bassist, historian, and educator, Jonah Jonathan sits down for and interview with Grammy Award winning NEA Jazz Master Ron Carter. He mentions, Every No...
http://wn.com/Ron_Carter_Every_Note_Counts
Jazz bassist, historian, and educator, Jonah Jonathan sits down for and interview with Grammy Award winning NEA Jazz Master Ron Carter. He mentions, Every No...
- published: 04 Dec 2012
- views: 3409
- author: JonahJonathan
Ron Carter - I Remember Clifford
- Order: Reorder
- Duration: 10:24
- Updated: 01 May 2013
The Bass and I, 1997 Bassist Ron Carter is joined by pianist Stephen Scott, drummer Lewis Nash, and percussionist Steve Kroon.
http://wn.com/Ron_Carter_I_Remember_Clifford
The Bass and I, 1997 Bassist Ron Carter is joined by pianist Stephen Scott, drummer Lewis Nash, and percussionist Steve Kroon.
- published: 02 Oct 2012
- views: 905
- author: oboedio0oboedio
How Ron Carter Played it Cool with Miles Davis
- Order: Reorder
- Duration: 2:27
- Updated: 15 Aug 2013
Complete video at: http://fora.tv/2010/10/18/Jazz_Legacies_A_Conversation_with_Ron_Carter Jazz bassist Ron Carter recalls when Miles Davis asked him to join ...
http://wn.com/How_Ron_Carter_Played_it_Cool_with_Miles_Davis
Complete video at: http://fora.tv/2010/10/18/Jazz_Legacies_A_Conversation_with_Ron_Carter Jazz bassist Ron Carter recalls when Miles Davis asked him to join ...
- published: 25 Mar 2011
- views: 8245
- author: ForaTv
Miles Davis - Herbie Hancock - Wayne Shorter - Ron Carter -
- Order: Reorder
- Duration: 4:48
- Updated: 18 Aug 2013
Miles Davis - Herbie Hancock - Wayne Shorter - Ron Carter - tony williams Stockholm 1963.
http://wn.com/Miles_Davis_Herbie_Hancock_Wayne_Shorter_Ron_Carter_-
Miles Davis - Herbie Hancock - Wayne Shorter - Ron Carter - tony williams Stockholm 1963.
- published: 20 Feb 2007
- views: 1237556
- author: giovanni grimaldi
Nišville 2013 - Earth & Sky stages (Ron Carter Golden Striker Trio)
- Order: Reorder
- Duration: 2:23
- Updated: 19 Aug 2013
http://wn.com/Nišville_2013_Earth_Sky_stages_Ron_Carter_Golden_Striker_Trio
Ron Carter - Where?
- Order: Reorder
- Duration: 6:02
- Updated: 02 Aug 2013
Ron Carter - Where? Year: 1961 Label: New Jazz Bass, Cello: Ron Carter Bass Clarinet, Alto Sax, Flute: Eric Dolphy Piano: Mal Waldron Drums: Charlie Persip B...
http://wn.com/Ron_Carter_Where?
Ron Carter - Where? Year: 1961 Label: New Jazz Bass, Cello: Ron Carter Bass Clarinet, Alto Sax, Flute: Eric Dolphy Piano: Mal Waldron Drums: Charlie Persip B...
- published: 05 Oct 2011
- views: 4402
- author: jazzforinterplay
Herbie Hancock - Ron Carter y Billy Cobham - Toys
- Order: Reorder
- Duration: 8:23
- Updated: 16 Jul 2013
Herbie Hancock- Ron Carter y Billy Cobham - "Toys" (Composition by Herbie Hancock, included in the album "Speak Like a Child"). Recorded at Palazzo dei Congr...
http://wn.com/Herbie_Hancock_Ron_Carter_y_Billy_Cobham_Toys
Herbie Hancock- Ron Carter y Billy Cobham - "Toys" (Composition by Herbie Hancock, included in the album "Speak Like a Child"). Recorded at Palazzo dei Congr...
- published: 01 Nov 2011
- views: 723
- author: Daniel Shocrón
Ron Carter Trio - I Can't Get Started
- Order: Reorder
- Duration: 8:21
- Updated: 18 Aug 2013
Ron Carter (b) Mulgrew Miller (p) Russell Malone (g) Album："Ron Carter / It's The Time" Recorded： New York City, June 15,2007.
http://wn.com/Ron_Carter_Trio_I_Can't_Get_Started
Ron Carter (b) Mulgrew Miller (p) Russell Malone (g) Album："Ron Carter / It's The Time" Recorded： New York City, June 15,2007.
- published: 24 Oct 2012
- views: 4162
- author: rujazzka
Ron Carter en Córdoba, Argentina, 01 Oct 2013, "Ola de Mar" ("Wave")
- Order: Reorder
- Duration: 8:39
- Updated: 02 Oct 2013
El mítico Ron Carter, figura emblema de la Historia del Jazz de todos los tiempos, comienza su gira en Argentina por la ciudad de Córdoba, presentándose en el Teatro Libertador de esa ciudad acompañado por los brillantes Donald Vega (piano) y Rusell Malone (guitarra). Para muchos de los que estábamos allí, un Sueño
http://wn.com/Ron_Carter_en_Córdoba,_Argentina,_01_Oct_2013,_Ola_de_Mar_Wave
El mítico Ron Carter, figura emblema de la Historia del Jazz de todos los tiempos, comienza su gira en Argentina por la ciudad de Córdoba, presentándose en el Teatro Libertador de esa ciudad acompañado por los brillantes Donald Vega (piano) y Rusell Malone (guitarra). Para muchos de los que estábamos allí, un Sueño
- published: 02 Oct 2013
- views: 125
Send this Playlist by SMS
Email this Page
http://wn.com/Bobby_Hebb_Ron_Carter_Sunny_Live_1972
Ron Carter Quartet "Dear Miles" live @ Salzburg 2010
- Order: Reorder
- Duration: 16:28
- Updated: 04 Aug 2013
Ron Carter Quartet "Dear Miles" live @ Salzburg 2010.
http://wn.com/Ron_Carter_Quartet_Dear_Miles_live_@_Salzburg_2010
Ron Carter Quartet "Dear Miles" live @ Salzburg 2010.
- published: 30 Mar 2012
- views: 7787
- author: dutz93
Ron Carter - Little Walts
- Order: Reorder
- Duration: 7:49
- Updated: 17 Aug 2013
Live at the Bird in Yokohama Japan 1990 Ron Carter:piccolo bass,Stephen Scott:piano,Leon Malson:contrabass, Steven Kroon:percussion,Lewis Hash:drums.
http://wn.com/Ron_Carter_Little_Walts
Live at the Bird in Yokohama Japan 1990 Ron Carter:piccolo bass,Stephen Scott:piano,Leon Malson:contrabass, Steven Kroon:percussion,Lewis Hash:drums.
- published: 19 Aug 2008
- views: 103706
- author: cminor7add9th
Ron Carter Trio - Jazzaldia 2010
- Order: Reorder
- Duration: 77:29
- Updated: 18 Aug 2013
RON CARTER - bass MULGREW MILLER - piano RUSSELL MALONE - guitar.
http://wn.com/Ron_Carter_Trio_Jazzaldia_2010
RON CARTER - bass MULGREW MILLER - piano RUSSELL MALONE - guitar.
- published: 29 Oct 2012
- views: 8173
- author: JazzPianoGiants
Ron Carter Quintet 1990
- Order: Reorder
- Duration: 42:08
- Updated: 19 Aug 2013
Ron Carter quintet 1990 France festival jazz La ciotat 1990 diffusion M6 TV 1993.
http://wn.com/Ron_Carter_Quintet_1990
Ron Carter quintet 1990 France festival jazz La ciotat 1990 diffusion M6 TV 1993.
- published: 17 Oct 2012
- views: 1245
- author: wontolla28
BOBBY HEBB & RON CARTER - SUNNY.LIVE ACOUSTIC TV PERFROMANCE 1972
- Order: Reorder
- Duration: 4:35
- Updated: 18 Aug 2013
CLASSIC SOUL.
http://wn.com/BOBBY_HEBB_RON_CARTER_SUNNYLIVE_ACOUSTIC_TV_PERFROMANCE_1972
Ron Carter - My Funny Valentine
- Order: Reorder
- Duration: 11:34
- Updated: 05 Aug 2013
Ron Carter & Art Farmer - Live At Sweet Basil 1990.
http://wn.com/Ron_Carter_My_Funny_Valentine
Ron Carter & Art Farmer - Live At Sweet Basil 1990.
- published: 04 Nov 2012
- views: 613
- author: Lavthao
Bobby Hebb & Ron Carter - Sunny - Live 1972
- Order: Reorder
- Duration: 4:35
- Updated: 16 Jul 2013
http://wn.com/Bobby_Hebb_Ron_Carter_Sunny_Live_1972
- published: 16 Jul 2013
- views: 119
Ron Carter Trio Live @ Burghausen 2006 "Eddie's Theme"
- Order: Reorder
- Duration: 8:48
- Updated: 12 Aug 2013
Ron Carter Trio: Ron Carter, double bass Jacky Terrasson, piano Russell Malone, guitar Live @ Burghausen Jazzwoche, Germany 2006 Tune: Eddie's Theme.
http://wn.com/Ron_Carter_Trio_Live_@_Burghausen_2006_Eddie's_Theme
Ron Carter Trio: Ron Carter, double bass Jacky Terrasson, piano Russell Malone, guitar Live @ Burghausen Jazzwoche, Germany 2006 Tune: Eddie's Theme.
- published: 11 Aug 2013
- views: 155
- author: Soren Hansen
Ron Carter Quartet- Live, Romania, Ploiesti, 05.13.2012 HD
- Order: Reorder
- Duration: 8:16
- Updated: 01 May 2013
Ron Carter Quartet Live @ Romania, Ploiesti - International Jazz Festival 2012 - Toma Caragiu Theatre 05.13.2012 Ron Carter - Double bass Donald Vega - Piano...
http://wn.com/Ron_Carter_Quartet_Live,_Romania,_Ploiesti,_05132012_HD
Ron Carter Quartet Live @ Romania, Ploiesti - International Jazz Festival 2012 - Toma Caragiu Theatre 05.13.2012 Ron Carter - Double bass Donald Vega - Piano...
- published: 14 May 2012
- views: 3552
- author: EPurpl3
MY FUNNY VALENTINE. Ron Carter Trio 17/03/2013
- Order: Reorder
- Duration: 12:14
- Updated: 31 Mar 2013
Ron Carter: Contrabajo Donald Vega :Piano Rusell Malone: Guitar.
http://wn.com/MY_FUNNY_VALENTINE_Ron_Carter_Trio_17_03_2013
Ron Carter: Contrabajo Donald Vega :Piano Rusell Malone: Guitar.
- published: 30 Mar 2013
- views: 396
- author: geniajazz
Jim Hall & Ron Carter - Alone Together (live)
- Order: Reorder
- Duration: 5:55
- Updated: 16 Aug 2013
Alone Together (1972) - Track 2 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...
http://wn.com/Jim_Hall_Ron_Carter_Alone_Together_live
Alone Together (1972) - Track 2 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...
- published: 25 Jan 2013
- views: 926
- author: Joe Pass
Ron Carter Quartet - My Funny Valentine - Live Sao Paulo
- Order: Reorder
- Duration: 9:58
- Updated: 18 Aug 2013
21/10/2011.
http://wn.com/Ron_Carter_Quartet_My_Funny_Valentine_Live_Sao_Paulo
MC Solaar & Ron Carter - Un Angel En Danger - LIVE 1994 (Red, Hot & Cool pt 3)
- Order: Reorder
- Duration: 6:42
- Updated: 06 Aug 2013
Third segment from the 1994 documentary Red, Hot & Cool on the impact of HIV/AIDS on the African American community. In this section, pioneering French rappe...
http://wn.com/MC_Solaar_Ron_Carter_Un_Angel_En_Danger_LIVE_1994_Red,_Hot_Cool_pt_3
Third segment from the 1994 documentary Red, Hot & Cool on the impact of HIV/AIDS on the African American community. In this section, pioneering French rappe...
- published: 08 Jun 2009
- views: 29255
- author: AfricansArise
Ron Carter - Round About Midnight
- Order: Reorder
- Duration: 8:40
- Updated: 08 Aug 2013
Live at the Bird in Yokohama Japan 1990 Ron Carter:piccolo bass,Stephen Scott:piano,Leon Malson:contrabass, Steven Kroon:percussion,Lewis Hash:drums.
http://wn.com/Ron_Carter_Round_About_Midnight
Live at the Bird in Yokohama Japan 1990 Ron Carter:piccolo bass,Stephen Scott:piano,Leon Malson:contrabass, Steven Kroon:percussion,Lewis Hash:drums.
- published: 19 Aug 2008
- views: 52905
- author: cminor7add9th
Jim Hall & Ron Carter - Autumn Leaves (live)
- Order: Reorder
- Duration: 6:56
- Updated: 29 Jul 2013
Alone Together (1972) - Track 8 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...
http://wn.com/Jim_Hall_Ron_Carter_Autumn_Leaves_live
Alone Together (1972) - Track 8 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...
- published: 25 Jan 2013
- views: 2377
- author: Joe Pass
Ron Carter Live In Ploiesti, Romania, May 2012
- Order: Reorder
- Duration: 10:00
- Updated: 25 Jun 2013
Ron Carter Live In Ploiesti, Romania, May 2012 Teatrul Toma Caragiu.
http://wn.com/Ron_Carter_Live_In_Ploiesti,_Romania,_May_2012
Ron Carter Live In Ploiesti, Romania, May 2012 Teatrul Toma Caragiu.
- published: 06 Jun 2013
- views: 25
- author: EliteClips
Ron Carter & Art Farmer - Live At Sweet Basil
- Order: Reorder
- Duration: 1:01
- Updated: 16 Jan 2013
http://www.qleap.co.uk/product.asp?pID=711&cID;=29 Great jazz bassist Carter and trumpeter Art Farmer, with Billy Higgins and Cedar Walton, live from new York...
http://wn.com/Ron_Carter_Art_Farmer_Live_At_Sweet_Basil
http://www.qleap.co.uk/product.asp?pID=711&cID;=29 Great jazz bassist Carter and trumpeter Art Farmer, with Billy Higgins and Cedar Walton, live from new York...
- published: 02 Jul 2010
- views: 4712
- author: theQuantumLeapGroup
Jim Hall & Ron Carter - Softly, As In A Morning Sunrise (live)
- Order: Reorder
- Duration: 2:56
- Updated: 08 Aug 2013
Alone Together (1972) - Track 5 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...
http://wn.com/Jim_Hall_Ron_Carter_Softly,_As_In_A_Morning_Sunrise_live
Alone Together (1972) - Track 5 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...
- published: 25 Jan 2013
- views: 513
- author: Joe Pass
Send this Playlist by SMS
Email this Page
http://wn.com/Interview_of_Ronald_L_Carter
Ron Carter - The Suite
- Order: Reorder
- Duration: 20:08
- Updated: 18 Aug 2013
Fragile ～ Patchouli ～ Can't We Be Friends? ～ The Last Resort ～ Patchouli Ron Carter (b) Stephen Scott (p) Payton Crossley (ds) Rolando Morales-Matos (per) Re...
http://wn.com/Ron_Carter_The_Suite
Fragile ～ Patchouli ～ Can't We Be Friends? ～ The Last Resort ～ Patchouli Ron Carter (b) Stephen Scott (p) Payton Crossley (ds) Rolando Morales-Matos (per) Re...
- published: 03 Apr 2012
- views: 2340
- author: rujazzka
Ron Carter Quintet (2/2)
- Order: Reorder
- Duration: 28:48
- Updated: 18 Jul 2013
Ron Carter Stephen Scott Guilherme Monteiro Payton Crossley Rolando Morales-Matos Festival de Jazz de San Javier - 09 09 2009.
http://wn.com/Ron_Carter_Quintet_2_2
Ron Carter Stephen Scott Guilherme Monteiro Payton Crossley Rolando Morales-Matos Festival de Jazz de San Javier - 09 09 2009.
- published: 21 Oct 2012
- views: 578
- author: JazzPianoGiants
Ron Carter - Double Bass, Part 1
- Order: Reorder
- Duration: 32:30
- Updated: 05 Oct 2013
Ron Carter - Double Bass, Part 1
http://wn.com/Ron_Carter_Double_Bass,_Part_1
Ron Carter - Double Bass, Part 1
- published: 05 Oct 2013
- views: 12
Ron Carter @ SESC Pinheiros
- Order: Reorder
- Duration: 61:40
- Updated: 04 Apr 2013
Como forma de celebrar a inauguração da exposição "Queremos Miles!", organizada pelo museu Cité de la Musique, de Paris, no SESC Pinheiros, Ron Carter, que f...
http://wn.com/Ron_Carter_@_SESC_Pinheiros
Como forma de celebrar a inauguração da exposição "Queremos Miles!", organizada pelo museu Cité de la Musique, de Paris, no SESC Pinheiros, Ron Carter, que f...
- published: 24 Oct 2011
- views: 721
- author: eyeducation
Loyola University Forum with Legendary Jazz Bassist Ron Carter
- Order: Reorder
- Duration: 40:04
- Updated: 07 Jun 2013
In this clip from www.artistshousemusic.org - Legendary jazz bassist Ron Carter sits down with two students at Loyola University, New Orleans, for a frank di...
http://wn.com/Loyola_University_Forum_with_Legendary_Jazz_Bassist_Ron_Carter
In this clip from www.artistshousemusic.org - Legendary jazz bassist Ron Carter sits down with two students at Loyola University, New Orleans, for a frank di...
- published: 21 May 2012
- views: 201
- author: ArtistsHouseMusic
The Pace Report: "Ron Carter at 75: A Life in Music" The Ron Carter Interview wsg Benny Golson
- Order: Reorder
- Duration: 28:12
- Updated: 07 Aug 2013
Bassist, composer, educator, and NEA Jazz Master Ron Carter is one of the most important music icons of the generation. At age 75, Mr. Carter as played on we...
http://wn.com/The_Pace_Report_Ron_Carter_at_75_A_Life_in_Music_The_Ron_Carter_Interview_wsg_Benny_Golson
Bassist, composer, educator, and NEA Jazz Master Ron Carter is one of the most important music icons of the generation. At age 75, Mr. Carter as played on we...
- published: 25 Apr 2012
- views: 1247
- author: Brian Pace
Ron Carter Quartet no Imperator (08/08/12) - Parte 1
- Order: Reorder
- Duration: 29:51
- Updated: 26 Oct 2012
Primeira parte da apresentação do lendário contrabaixista na reformada casa de shows que fica no Méier - Rio de Janeiro. Músicos: RON CARTER - contra baixo R...
http://wn.com/Ron_Carter_Quartet_no_Imperator_08_08_12_Parte_1
Primeira parte da apresentação do lendário contrabaixista na reformada casa de shows que fica no Méier - Rio de Janeiro. Músicos: RON CARTER - contra baixo R...
- published: 09 Aug 2012
- views: 500
- author: lacumbuca
Paul Brown Show with guest Dr. Ron Carter
- Order: Reorder
- Duration: 28:53
- Updated: 17 Jun 2013
Dr. Ronald L. Carter, a native of High Point, N.C., became the 13th president of Johnson C. Smith University (Charlotte, N.C.) on July 1, 2008. With more tha...
http://wn.com/Paul_Brown_Show_with_guest_Dr_Ron_Carter
Dr. Ronald L. Carter, a native of High Point, N.C., became the 13th president of Johnson C. Smith University (Charlotte, N.C.) on July 1, 2008. With more tha...
- published: 17 Nov 2012
- views: 299
- author: Paul Brown
Sir Ron Carter
- Order: Reorder
- Duration: 21:07
- Updated: 22 Jun 2013
Sir Ron Carter has charted a successful career which has reshaped the entire engineering sector and seen his advice and expertise sought by government and in...
http://wn.com/Sir_Ron_Carter
Sir Ron Carter has charted a successful career which has reshaped the entire engineering sector and seen his advice and expertise sought by government and in...
- published: 22 Jun 2013
- views: 2
- author: From The Top Channel
Ron Carter and Luns Richardson - 10/23/02
- Order: Reorder
- Duration: 25:36
- Updated: 19 Mar 2012
Carolina People - Ron Carter and Luns Richardson - 10/23/02.
http://wn.com/Ron_Carter_and_Luns_Richardson_10_23_02
Carolina People - Ron Carter and Luns Richardson - 10/23/02.
- published: 21 Feb 2012
- views: 11
- author: CarolinaPeople
Ron Carter Quartet no Imperator (08/08/12) - Parte 2
- Order: Reorder
- Duration: 25:45
- Updated: 13 May 2013
Segunda parte da apresentação do lendário contrabaixista na reformada casa de shows que fica no Méier - Rio de Janeiro. Músicos: RON CARTER - contra baixo RE...
http://wn.com/Ron_Carter_Quartet_no_Imperator_08_08_12_Parte_2
Segunda parte da apresentação do lendário contrabaixista na reformada casa de shows que fica no Méier - Rio de Janeiro. Músicos: RON CARTER - contra baixo RE...
- published: 09 Aug 2012
- views: 136
- author: lacumbuca
Interview of Ronald L. Carter
- Order: Reorder
- Duration: 36:09
- Updated: 26 Jul 2013
http://wn.com/Interview_of_Ronald_L_Carter
Ron Carter & Randy Gerber - 02/27/03
- Order: Reorder
- Duration: 27:28
- Updated: 13 Aug 2011
Carolina People - Ron Carter & Randy Gerber - 02/27/03.
http://wn.com/Ron_Carter_Randy_Gerber_02_27_03
Carolina People - Ron Carter & Randy Gerber - 02/27/03.
- published: 05 Aug 2011
- views: 45
- author: CarolinaPeople's channel
Send this Playlist by SMS
Email this Page
Ron Carter interview 1/2
- Order: Reorder
- Duration: 9:25
- Updated: 14 Aug 2013
A conversation with Ron Carter 1 http://www.roncarter.net http://www.myspace.com/roncarterofficial.
http://wn.com/Ron_Carter_interview_1_2
A conversation with Ron Carter 1 http://www.roncarter.net http://www.myspace.com/roncarterofficial.
- published: 30 Jan 2010
- views: 10563
- author: underyourskindvd
Ron Carter Interview
- Order: Reorder
- Duration: 3:28
- Updated: 24 Feb 2013
Watch history experience lifestyles journey.
http://wn.com/Ron_Carter_Interview
iBass Magazine: Ron Carter Interview
- Order: Reorder
- Duration: 5:09
- Updated: 18 Jul 2013
From his early days amid New York's free jazz boom in the 60s, to his famed partnership with Miles Davis, Ron Carter has performed with such an array of infl...
http://wn.com/iBass_Magazine_Ron_Carter_Interview
From his early days amid New York's free jazz boom in the 60s, to his famed partnership with Miles Davis, Ron Carter has performed with such an array of infl...
- published: 24 Sep 2012
- views: 508
- author: ibassmag
PreViews - Ron Carter Interview
- Order: Reorder
- Duration: 8:00
- Updated: 03 Jul 2013
In a career spanning more than half a century, National Endowment for the Arts Jazz Master Ron Carter has been so continually in demand that he's performed o...
http://wn.com/PreViews_Ron_Carter_Interview
In a career spanning more than half a century, National Endowment for the Arts Jazz Master Ron Carter has been so continually in demand that he's performed o...
- published: 01 Nov 2012
- views: 379
- author: Center for the Performing Arts at Penn State
POTC Interviews - Ron Carter Part I
- Order: Reorder
- Duration: 4:15
- Updated: 27 Aug 2011
The legendary double bass player, Ron Carter (Miles Davis, George Benson, Billy Cobham ...), gives us a unique interview, talking about his career, his playi...
http://wn.com/POTC_Interviews_Ron_Carter_Part_I
The legendary double bass player, Ron Carter (Miles Davis, George Benson, Billy Cobham ...), gives us a unique interview, talking about his career, his playi...
- published: 04 Feb 2011
- views: 1498
- author: thepartyofthecentury
Ron Carter interview 2- "Finding the right notes"
- Order: Reorder
- Duration: 6:14
- Updated: 14 Aug 2013
A conversation with Ron Carter 2 http://www.roncarter.net http://www.myspace.com/roncarterofficial.
http://wn.com/Ron_Carter_interview_2_Finding_the_right_notes
A conversation with Ron Carter 2 http://www.roncarter.net http://www.myspace.com/roncarterofficial.
- published: 30 Jan 2010
- views: 13534
- author: underyourskindvd
Blue Note Jazz Festival: Interview with Ron Carter
- Order: Reorder
- Duration: 2:00
- Updated: 06 Jun 2011
Conversation with Ron Carter before his performance with Jim Hall at the Blue Note Jazz Club as part of the Blue Note Jazz Festival. For more information on ...
http://wn.com/Blue_Note_Jazz_Festival_Interview_with_Ron_Carter
Conversation with Ron Carter before his performance with Jim Hall at the Blue Note Jazz Club as part of the Blue Note Jazz Festival. For more information on ...
- published: 06 Jun 2011
- views: 450
- author: BlueNoteJazzFestival
Ron Carter interview- "Berkshire Soundstage" preview
- Order: Reorder
- Duration: 1:14
- Updated: 05 Jun 2012
Here is a short clip of an interview I conducted with jazz great Ron Carter back in 2004. Ron was nice enough to allow me to record part of his performance- ...
http://wn.com/Ron_Carter_interview_Berkshire_Soundstage_preview
Here is a short clip of an interview I conducted with jazz great Ron Carter back in 2004. Ron was nice enough to allow me to record part of his performance- ...
- published: 05 Sep 2006
- views: 6276
- author: Jeremy Clowe
16:28
Ron Carter Quartet "Dear Miles" live @ Salzburg 2010
Ron Carter Quartet "Dear Miles" live @ Salzburg 2010....
published: 30 Mar 2012
author: dutz93
Ron Carter Quartet "Dear Miles" live @ Salzburg 2010
Ron Carter Quartet "Dear Miles" live @ Salzburg 2010
Ron Carter Quartet "Dear Miles" live @ Salzburg 2010.- published: 30 Mar 2012
- views: 7787
- author: dutz93
7:49
Ron Carter - Little Walts
Live at the Bird in Yokohama Japan 1990 Ron Carter:piccolo bass,Stephen Scott:piano,Leon M...
published: 19 Aug 2008
author: cminor7add9th
Ron Carter - Little Walts
Ron Carter - Little Walts
Live at the Bird in Yokohama Japan 1990 Ron Carter:piccolo bass,Stephen Scott:piano,Leon Malson:contrabass, Steven Kroon:percussion,Lewis Hash:drums.- published: 19 Aug 2008
- views: 103706
- author: cminor7add9th
77:29
Ron Carter Trio - Jazzaldia 2010
RON CARTER - bass MULGREW MILLER - piano RUSSELL MALONE - guitar....
published: 29 Oct 2012
author: JazzPianoGiants
Ron Carter Trio - Jazzaldia 2010
Ron Carter Trio - Jazzaldia 2010
RON CARTER - bass MULGREW MILLER - piano RUSSELL MALONE - guitar.- published: 29 Oct 2012
- views: 8173
- author: JazzPianoGiants
42:08
Ron Carter Quintet 1990
Ron Carter quintet 1990 France festival jazz La ciotat 1990 diffusion M6 TV 1993....
published: 17 Oct 2012
author: wontolla28
Ron Carter Quintet 1990
Ron Carter Quintet 1990
Ron Carter quintet 1990 France festival jazz La ciotat 1990 diffusion M6 TV 1993.- published: 17 Oct 2012
- views: 1245
- author: wontolla28
4:35
BOBBY HEBB & RON CARTER - SUNNY.LIVE ACOUSTIC TV PERFROMANCE 1972
CLASSIC SOUL....
published: 05 Feb 2011
author: raresoulfilms
BOBBY HEBB & RON CARTER - SUNNY.LIVE ACOUSTIC TV PERFROMANCE 1972
BOBBY HEBB & RON CARTER - SUNNY.LIVE ACOUSTIC TV PERFROMANCE 1972
CLASSIC SOUL.- published: 05 Feb 2011
- views: 763627
- author: raresoulfilms
8:48
Ron Carter Trio Live @ Burghausen 2006 "Eddie's Theme"
Ron Carter Trio: Ron Carter, double bass Jacky Terrasson, piano Russell Malone, guitar Liv...
published: 11 Aug 2013
author: Soren Hansen
Ron Carter Trio Live @ Burghausen 2006 "Eddie's Theme"
Ron Carter Trio Live @ Burghausen 2006 "Eddie's Theme"
Ron Carter Trio: Ron Carter, double bass Jacky Terrasson, piano Russell Malone, guitar Live @ Burghausen Jazzwoche, Germany 2006 Tune: Eddie's Theme.- published: 11 Aug 2013
- views: 155
- author: Soren Hansen
8:16
Ron Carter Quartet- Live, Romania, Ploiesti, 05.13.2012 HD
Ron Carter Quartet Live @ Romania, Ploiesti - International Jazz Festival 2012 - Toma Cara...
published: 14 May 2012
author: EPurpl3
Ron Carter Quartet- Live, Romania, Ploiesti, 05.13.2012 HD
Ron Carter Quartet- Live, Romania, Ploiesti, 05.13.2012 HD
Ron Carter Quartet Live @ Romania, Ploiesti - International Jazz Festival 2012 - Toma Caragiu Theatre 05.13.2012 Ron Carter - Double bass Donald Vega - Piano...- published: 14 May 2012
- views: 3552
- author: EPurpl3
12:14
MY FUNNY VALENTINE. Ron Carter Trio 17/03/2013
Ron Carter: Contrabajo Donald Vega :Piano Rusell Malone: Guitar....
published: 30 Mar 2013
author: geniajazz
MY FUNNY VALENTINE. Ron Carter Trio 17/03/2013
MY FUNNY VALENTINE. Ron Carter Trio 17/03/2013
Ron Carter: Contrabajo Donald Vega :Piano Rusell Malone: Guitar.- published: 30 Mar 2013
- views: 396
- author: geniajazz
5:55
Jim Hall & Ron Carter - Alone Together (live)
Alone Together (1972) - Track 2 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prom...
published: 25 Jan 2013
author: Joe Pass
Jim Hall & Ron Carter - Alone Together (live)
Jim Hall & Ron Carter - Alone Together (live)
Alone Together (1972) - Track 2 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...- published: 25 Jan 2013
- views: 926
- author: Joe Pass
9:58
Ron Carter Quartet - My Funny Valentine - Live Sao Paulo
21/10/2011....
published: 15 Dec 2011
author: Artur Meireles
Ron Carter Quartet - My Funny Valentine - Live Sao Paulo
Ron Carter Quartet - My Funny Valentine - Live Sao Paulo
21/10/2011.- published: 15 Dec 2011
- views: 5185
- author: Artur Meireles
6:42
MC Solaar & Ron Carter - Un Angel En Danger - LIVE 1994 (Red, Hot & Cool pt 3)
Third segment from the 1994 documentary Red, Hot & Cool on the impact of HIV/AIDS on the A...
published: 08 Jun 2009
author: AfricansArise
MC Solaar & Ron Carter - Un Angel En Danger - LIVE 1994 (Red, Hot & Cool pt 3)
MC Solaar & Ron Carter - Un Angel En Danger - LIVE 1994 (Red, Hot & Cool pt 3)
Third segment from the 1994 documentary Red, Hot & Cool on the impact of HIV/AIDS on the African American community. In this section, pioneering French rappe...- published: 08 Jun 2009
- views: 29255
- author: AfricansArise
8:40
Ron Carter - Round About Midnight
Live at the Bird in Yokohama Japan 1990 Ron Carter:piccolo bass,Stephen Scott:piano,Leon M...
published: 19 Aug 2008
author: cminor7add9th
Ron Carter - Round About Midnight
Ron Carter - Round About Midnight
Live at the Bird in Yokohama Japan 1990 Ron Carter:piccolo bass,Stephen Scott:piano,Leon Malson:contrabass, Steven Kroon:percussion,Lewis Hash:drums.- published: 19 Aug 2008
- views: 52905
- author: cminor7add9th
Vimeo results:
3:05
Ron Carter's compilation reel
Edited from shows for which I was Director of Photography (lit or supervised the lighting ...
published: 17 Feb 2011
author: Ron Carter
Ron Carter's compilation reel
Edited from shows for which I was Director of Photography (lit or supervised the lighting plan, did shot planning) and / or operated in.
60:00
Roulette TV: JOEY BARON
Avant-garde jazz drummer Joey Baron has worked with an impressive list of musicians, inclu...
published: 20 Apr 2010
author: Roulette Intermedium
Roulette TV: JOEY BARON
Avant-garde jazz drummer Joey Baron has worked with an impressive list of musicians, including everyone from Bill Frisell, Stan Getz, and Tony Bennett to John Zorn, Laurie Anderson, Fred Frith, and Tim Berne. His own groups he has led include the "Down Home Group", Barondown, and Killer Joey and was a member of "Naked City" (with John Zorn, Bill Frisell, Fred Frith and Wayne Horvitz) and of Zorn's group Masada (Dave Douglas and Greg Cohen). Joey Baron was born 1955 in Richmond ,Va. He started drumming at age 9, performing profesionally the following year. His early musical education included private drum lessons as well as the wide genre radio programing of the 1960s. After finishing high school early through a special accelerated program, Mr. Baron spent time in Boston attending the Berklee School of Music.He settled in Los Angeles,California in 1975 to realize a dream of playing with the great jazz musician Carmen McRae,consequently becoming a much sought after singer's drummer. Since moving to New York City in 1983, Mr. Baron has continued to expand his scope and develope his musical ideas through collaborations with various artists including Red Rodney, Bill Frisell, Tim Berne, Ron Carter, and John Zorn ,with whom the collaboration continues to the present. Current projects include solo concert tours, duo concerts with Lee Konitz, Bill Frisell, his own band, "Killer Joey",The John Abercrombie Quartet, and the Schulkowsky, Studer, Baron drum trio.
6:28
Ron Carter
Bass Legend Ron Carter and WDR Big Band
Kölner Philharmonie Jan. 25th 2013
Dennis Mackrel,...
published: 10 Jun 2013
author: Jochen Renz
Ron Carter
Bass Legend Ron Carter and WDR Big Band
Kölner Philharmonie Jan. 25th 2013
Dennis Mackrel, conductor
Robert M. Freedman, arrangements
Thomas Bialek + Niklas Bott, camera
Jochen Renz, production + screendesign
57:47
Masterclass - Ron Carter
Legendary bassist Ron Carter gives a special masterclass for Jazz students at Loyola New O...
published: 19 Jul 2011
author: Loyola University
Masterclass - Ron Carter
Legendary bassist Ron Carter gives a special masterclass for Jazz students at Loyola New Orleans.
Youtube results:
6:56
Jim Hall & Ron Carter - Autumn Leaves (live)
Alone Together (1972) - Track 8 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prom...
published: 25 Jan 2013
author: Joe Pass
Jim Hall & Ron Carter - Autumn Leaves (live)
Jim Hall & Ron Carter - Autumn Leaves (live)
Alone Together (1972) - Track 8 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...- published: 25 Jan 2013
- views: 2377
- author: Joe Pass
10:00
Ron Carter Live In Ploiesti, Romania, May 2012
Ron Carter Live In Ploiesti, Romania, May 2012 Teatrul Toma Caragiu....
published: 06 Jun 2013
author: EliteClips
Ron Carter Live In Ploiesti, Romania, May 2012
Ron Carter Live In Ploiesti, Romania, May 2012
Ron Carter Live In Ploiesti, Romania, May 2012 Teatrul Toma Caragiu.- published: 06 Jun 2013
- views: 25
- author: EliteClips
1:01
Ron Carter & Art Farmer - Live At Sweet Basil
http://www.qleap.co.uk/product.asp?pID=711&cID;=29 Great jazz bassist Carter and trumpeter ...
published: 02 Jul 2010
author: theQuantumLeapGroup
Ron Carter & Art Farmer - Live At Sweet Basil
Ron Carter & Art Farmer - Live At Sweet Basil
http://www.qleap.co.uk/product.asp?pID=711&cID;=29 Great jazz bassist Carter and trumpeter Art Farmer, with Billy Higgins and Cedar Walton, live from new York...- published: 02 Jul 2010
- views: 4712
- author: theQuantumLeapGroup
2:56
Jim Hall & Ron Carter - Softly, As In A Morning Sunrise (live)
Alone Together (1972) - Track 5 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prom...
published: 25 Jan 2013
author: Joe Pass
Jim Hall & Ron Carter - Softly, As In A Morning Sunrise (live)
Jim Hall & Ron Carter - Softly, As In A Morning Sunrise (live)
Alone Together (1972) - Track 5 Jim Hall (guitar), Ron Carter (bass) Jim Hall rose to prominence in the early 60's, and was well regarded for his smooth tona...- published: 25 Jan 2013
- views: 513
- author: Joe Pass
20:08
Ron Carter - The Suite
Fragile ～ Patchouli ～ Can't We Be Friends? ～ The Last Resort ～ Patchouli Ron Carter (b) St...
published: 03 Apr 2012
author: rujazzka
Ron Carter - The Suite
Ron Carter - The Suite
Fragile ～ Patchouli ～ Can't We Be Friends? ～ The Last Resort ～ Patchouli Ron Carter (b) Stephen Scott (p) Payton Crossley (ds) Rolando Morales-Matos (per) Re...- published: 03 Apr 2012
- views: 2340
- author: rujazzka
28:48
Ron Carter Quintet (2/2)
Ron Carter Stephen Scott Guilherme Monteiro Payton Crossley Rolando Morales-Matos Festival...
published: 21 Oct 2012
author: JazzPianoGiants
Ron Carter Quintet (2/2)
Ron Carter Quintet (2/2)
Ron Carter Stephen Scott Guilherme Monteiro Payton Crossley Rolando Morales-Matos Festival de Jazz de San Javier - 09 09 2009.- published: 21 Oct 2012
- views: 578
- author: JazzPianoGiants
61:40
Ron Carter @ SESC Pinheiros
Como forma de celebrar a inauguração da exposição "Queremos Miles!", organizada pelo museu...
published: 24 Oct 2011
author: eyeducation
Ron Carter @ SESC Pinheiros
Ron Carter @ SESC Pinheiros
Como forma de celebrar a inauguração da exposição "Queremos Miles!", organizada pelo museu Cité de la Musique, de Paris, no SESC Pinheiros, Ron Carter, que f...- published: 24 Oct 2011
- views: 721
- author: eyeducation
40:04
Loyola University Forum with Legendary Jazz Bassist Ron Carter
In this clip from www.artistshousemusic.org - Legendary jazz bassist Ron Carter sits down ...
published: 21 May 2012
author: ArtistsHouseMusic
Loyola University Forum with Legendary Jazz Bassist Ron Carter
Loyola University Forum with Legendary Jazz Bassist Ron Carter
In this clip from www.artistshousemusic.org - Legendary jazz bassist Ron Carter sits down with two students at Loyola University, New Orleans, for a frank di...- published: 21 May 2012
- views: 201
- author: ArtistsHouseMusic
28:12
The Pace Report: "Ron Carter at 75: A Life in Music" The Ron Carter Interview wsg Benny Golson
Bassist, composer, educator, and NEA Jazz Master Ron Carter is one of the most important m...
published: 25 Apr 2012
author: Brian Pace
The Pace Report: "Ron Carter at 75: A Life in Music" The Ron Carter Interview wsg Benny Golson
The Pace Report: "Ron Carter at 75: A Life in Music" The Ron Carter Interview wsg Benny Golson
Bassist, composer, educator, and NEA Jazz Master Ron Carter is one of the most important music icons of the generation. At age 75, Mr. Carter as played on we...- published: 25 Apr 2012
- views: 1247
- author: Brian Pace
29:51
Ron Carter Quartet no Imperator (08/08/12) - Parte 1
Primeira parte da apresentação do lendário contrabaixista na reformada casa de shows que f...
published: 09 Aug 2012
author: lacumbuca
Ron Carter Quartet no Imperator (08/08/12) - Parte 1
Ron Carter Quartet no Imperator (08/08/12) - Parte 1
Primeira parte da apresentação do lendário contrabaixista na reformada casa de shows que fica no Méier - Rio de Janeiro. Músicos: RON CARTER - contra baixo R...- published: 09 Aug 2012
- views: 500
- author: lacumbuca
28:53
Paul Brown Show with guest Dr. Ron Carter
Dr. Ronald L. Carter, a native of High Point, N.C., became the 13th president of Johnson C...
published: 17 Nov 2012
author: Paul Brown
Paul Brown Show with guest Dr. Ron Carter
Paul Brown Show with guest Dr. Ron Carter
Dr. Ronald L. Carter, a native of High Point, N.C., became the 13th president of Johnson C. Smith University (Charlotte, N.C.) on July 1, 2008. With more tha...- published: 17 Nov 2012
- views: 299
- author: Paul Brown
21:07
Sir Ron Carter
Sir Ron Carter has charted a successful career which has reshaped the entire engineering s...
published: 22 Jun 2013
author: From The Top Channel
Sir Ron Carter
Sir Ron Carter
Sir Ron Carter has charted a successful career which has reshaped the entire engineering sector and seen his advice and expertise sought by government and in...- published: 22 Jun 2013
- views: 2
- author: From The Top Channel
25:36
Ron Carter and Luns Richardson - 10/23/02
Carolina People - Ron Carter and Luns Richardson - 10/23/02....
published: 21 Feb 2012
author: CarolinaPeople
Ron Carter and Luns Richardson - 10/23/02
Ron Carter and Luns Richardson - 10/23/02
Carolina People - Ron Carter and Luns Richardson - 10/23/02.- published: 21 Feb 2012
- views: 11
- author: CarolinaPeople
25:45
Ron Carter Quartet no Imperator (08/08/12) - Parte 2
Segunda parte da apresentação do lendário contrabaixista na reformada casa de shows que fi...
published: 09 Aug 2012
author: lacumbuca
Ron Carter Quartet no Imperator (08/08/12) - Parte 2
Ron Carter Quartet no Imperator (08/08/12) - Parte 2
Segunda parte da apresentação do lendário contrabaixista na reformada casa de shows que fica no Méier - Rio de Janeiro. Músicos: RON CARTER - contra baixo RE...- published: 09 Aug 2012
- views: 136
- author: lacumbuca
36:09
Interview of Ronald L. Carter
...
published: 08 Mar 2013
author: Dan Morrill
Interview of Ronald L. Carter
27:28
Ron Carter & Randy Gerber - 02/27/03
Carolina People - Ron Carter & Randy Gerber - 02/27/03....
published: 05 Aug 2011
author: CarolinaPeople\'s channel
Ron Carter & Randy Gerber - 02/27/03
Ron Carter & Randy Gerber - 02/27/03
Carolina People - Ron Carter & Randy Gerber - 02/27/03.- published: 05 Aug 2011
- views: 45
- author: CarolinaPeople\'s channel
Vimeo results:
3:05
Ron Carter's compilation reel
Edited from shows for which I was Director of Photography (lit or supervised the lighting ...
published: 17 Feb 2011
author: Ron Carter
Ron Carter's compilation reel
Edited from shows for which I was Director of Photography (lit or supervised the lighting plan, did shot planning) and / or operated in.
60:00
Roulette TV: JOEY BARON
Avant-garde jazz drummer Joey Baron has worked with an impressive list of musicians, inclu...
published: 20 Apr 2010
author: Roulette Intermedium
Roulette TV: JOEY BARON
Avant-garde jazz drummer Joey Baron has worked with an impressive list of musicians, including everyone from Bill Frisell, Stan Getz, and Tony Bennett to John Zorn, Laurie Anderson, Fred Frith, and Tim Berne. His own groups he has led include the "Down Home Group", Barondown, and Killer Joey and was a member of "Naked City" (with John Zorn, Bill Frisell, Fred Frith and Wayne Horvitz) and of Zorn's group Masada (Dave Douglas and Greg Cohen). Joey Baron was born 1955 in Richmond ,Va. He started drumming at age 9, performing profesionally the following year. His early musical education included private drum lessons as well as the wide genre radio programing of the 1960s. After finishing high school early through a special accelerated program, Mr. Baron spent time in Boston attending the Berklee School of Music.He settled in Los Angeles,California in 1975 to realize a dream of playing with the great jazz musician Carmen McRae,consequently becoming a much sought after singer's drummer. Since moving to New York City in 1983, Mr. Baron has continued to expand his scope and develope his musical ideas through collaborations with various artists including Red Rodney, Bill Frisell, Tim Berne, Ron Carter, and John Zorn ,with whom the collaboration continues to the present. Current projects include solo concert tours, duo concerts with Lee Konitz, Bill Frisell, his own band, "Killer Joey",The John Abercrombie Quartet, and the Schulkowsky, Studer, Baron drum trio.
6:28
Ron Carter
Bass Legend Ron Carter and WDR Big Band
Kölner Philharmonie Jan. 25th 2013
Dennis Mackrel,...
published: 10 Jun 2013
author: Jochen Renz
Ron Carter
Bass Legend Ron Carter and WDR Big Band
Kölner Philharmonie Jan. 25th 2013
Dennis Mackrel, conductor
Robert M. Freedman, arrangements
Thomas Bialek + Niklas Bott, camera
Jochen Renz, production + screendesign
57:47
Masterclass - Ron Carter
Legendary bassist Ron Carter gives a special masterclass for Jazz students at Loyola New O...
published: 19 Jul 2011
author: Loyola University
Masterclass - Ron Carter
Legendary bassist Ron Carter gives a special masterclass for Jazz students at Loyola New Orleans.
9:25
Ron Carter interview 1/2
A conversation with Ron Carter 1 http://www.roncarter.net http://www.myspace.com/roncarter...
published: 30 Jan 2010
author: underyourskindvd
Ron Carter interview 1/2
Ron Carter interview 1/2
A conversation with Ron Carter 1 http://www.roncarter.net http://www.myspace.com/roncarterofficial.- published: 30 Jan 2010
- views: 10563
- author: underyourskindvd
3:28
Ron Carter Interview
Watch history experience lifestyles journey....
published: 19 Jan 2013
author: Arthur Davis
Ron Carter Interview
Ron Carter Interview
Watch history experience lifestyles journey.- published: 19 Jan 2013
- views: 107
- author: Arthur Davis
5:09
iBass Magazine: Ron Carter Interview
From his early days amid New York's free jazz boom in the 60s, to his famed partnership wi...
published: 24 Sep 2012
author: ibassmag
iBass Magazine: Ron Carter Interview
iBass Magazine: Ron Carter Interview
From his early days amid New York's free jazz boom in the 60s, to his famed partnership with Miles Davis, Ron Carter has performed with such an array of infl...- published: 24 Sep 2012
- views: 508
- author: ibassmag
8:00
PreViews - Ron Carter Interview
In a career spanning more than half a century, National Endowment for the Arts Jazz Master...
published: 01 Nov 2012
PreViews - Ron Carter Interview
PreViews - Ron Carter Interview
In a career spanning more than half a century, National Endowment for the Arts Jazz Master Ron Carter has been so continually in demand that he's performed o...- published: 01 Nov 2012
- views: 379
- author: Center for the Performing Arts at Penn State
4:15
POTC Interviews - Ron Carter Part I
The legendary double bass player, Ron Carter (Miles Davis, George Benson, Billy Cobham ......
published: 04 Feb 2011
author: thepartyofthecentury
POTC Interviews - Ron Carter Part I
POTC Interviews - Ron Carter Part I
The legendary double bass player, Ron Carter (Miles Davis, George Benson, Billy Cobham ...), gives us a unique interview, talking about his career, his playi...- published: 04 Feb 2011
- views: 1498
- author: thepartyofthecentury
6:14
Ron Carter interview 2- "Finding the right notes"
A conversation with Ron Carter 2 http://www.roncarter.net http://www.myspace.com/roncarter...
published: 30 Jan 2010
author: underyourskindvd
Ron Carter interview 2- "Finding the right notes"
Ron Carter interview 2- "Finding the right notes"
A conversation with Ron Carter 2 http://www.roncarter.net http://www.myspace.com/roncarterofficial.- published: 30 Jan 2010
- views: 13534
- author: underyourskindvd
2:00
Blue Note Jazz Festival: Interview with Ron Carter
Conversation with Ron Carter before his performance with Jim Hall at the Blue Note Jazz Cl...
published: 06 Jun 2011
author: BlueNoteJazzFestival
Blue Note Jazz Festival: Interview with Ron Carter
Blue Note Jazz Festival: Interview with Ron Carter
Conversation with Ron Carter before his performance with Jim Hall at the Blue Note Jazz Club as part of the Blue Note Jazz Festival. For more information on ...- published: 06 Jun 2011
- views: 450
- author: BlueNoteJazzFestival
1:14
Ron Carter interview- "Berkshire Soundstage" preview
Here is a short clip of an interview I conducted with jazz great Ron Carter back in 2004. ...
published: 05 Sep 2006
author: Jeremy Clowe
Ron Carter interview- "Berkshire Soundstage" preview
Ron Carter interview- "Berkshire Soundstage" preview
Here is a short clip of an interview I conducted with jazz great Ron Carter back in 2004. Ron was nice enough to allow me to record part of his performance- ...- published: 05 Sep 2006
- views: 6276
- author: Jeremy Clowe
Vimeo results:
3:05
Ron Carter's compilation reel
Edited from shows for which I was Director of Photography (lit or supervised the lighting ...
published: 17 Feb 2011
author: Ron Carter
Ron Carter's compilation reel
Edited from shows for which I was Director of Photography (lit or supervised the lighting plan, did shot planning) and / or operated in.
60:00
Roulette TV: JOEY BARON
Avant-garde jazz drummer Joey Baron has worked with an impressive list of musicians, inclu...
published: 20 Apr 2010
author: Roulette Intermedium
Roulette TV: JOEY BARON
Avant-garde jazz drummer Joey Baron has worked with an impressive list of musicians, including everyone from Bill Frisell, Stan Getz, and Tony Bennett to John Zorn, Laurie Anderson, Fred Frith, and Tim Berne. His own groups he has led include the "Down Home Group", Barondown, and Killer Joey and was a member of "Naked City" (with John Zorn, Bill Frisell, Fred Frith and Wayne Horvitz) and of Zorn's group Masada (Dave Douglas and Greg Cohen). Joey Baron was born 1955 in Richmond ,Va. He started drumming at age 9, performing profesionally the following year. His early musical education included private drum lessons as well as the wide genre radio programing of the 1960s. After finishing high school early through a special accelerated program, Mr. Baron spent time in Boston attending the Berklee School of Music.He settled in Los Angeles,California in 1975 to realize a dream of playing with the great jazz musician Carmen McRae,consequently becoming a much sought after singer's drummer. Since moving to New York City in 1983, Mr. Baron has continued to expand his scope and develope his musical ideas through collaborations with various artists including Red Rodney, Bill Frisell, Tim Berne, Ron Carter, and John Zorn ,with whom the collaboration continues to the present. Current projects include solo concert tours, duo concerts with Lee Konitz, Bill Frisell, his own band, "Killer Joey",The John Abercrombie Quartet, and the Schulkowsky, Studer, Baron drum trio.
6:28
Ron Carter
Bass Legend Ron Carter and WDR Big Band
Kölner Philharmonie Jan. 25th 2013
Dennis Mackrel,...
published: 10 Jun 2013
author: Jochen Renz
Ron Carter
Bass Legend Ron Carter and WDR Big Band
Kölner Philharmonie Jan. 25th 2013
Dennis Mackrel, conductor
Robert M. Freedman, arrangements
Thomas Bialek + Niklas Bott, camera
Jochen Renz, production + screendesign
57:47
Masterclass - Ron Carter
Legendary bassist Ron Carter gives a special masterclass for Jazz students at Loyola New O...
published: 19 Jul 2011
author: Loyola University
Masterclass - Ron Carter
Legendary bassist Ron Carter gives a special masterclass for Jazz students at Loyola New Orleans.
photo: US Army / Specialist Michelle C. Lawrence
02 Nov 2013
Article by WN.com Correspondent Dallas Darling. "Our country! In her intercourse with foreign nations may she always be in the right; but. our country, right or wrong!" -Stephen Decatur, U.S. Naval Officer. In the First U.S.-Barbary States War, on October 31, 1803, Commodore Stephen Decatur devised a secret plan to sail into Tripoli's harbor and either salvage or set ablaze the USS Philadelphia ... U.S ... As the U.S ... slavery and the slave trade....(size: 7.6Kb)
photo: AP / Ishtiaq Mehsud
02 Nov 2013
The Pakistan Taliban is expected to announce a new chief after its leader for the past four years was killed in a CIA drone strike – a move that will likely complicate efforts to hold peace between Pakistan’s government and the militant outfit ... Mr Mehsud’s cousin, uncle and one of his guards were among those said to have also been killed ... Mr Mehsud was widely reported to have been killed in 2010, only for him to later emerge alive ... ....(size: 3.8Kb)
photo: AP
02 Nov 2013
TAMI ABDOLLAH. Associated Press= LOS ANGELES (AP) â A man carrying a note that said he wanted to "kill TSA" pulled a semi-automatic rifle from a bag and shot his way past a security checkpoint at Los Angeles International Airport on Friday, killing one Transportation Security Administration officer and wounding two others, authorities said ... His condition was not disclosed ... He had apparently been living in Los Angeles ... --- ... World news....(size: 6.1Kb)
photo: AP / Michael Sohn
03 Nov 2013
Obama adviser and heads of House and Senate intelligence signal hard line despite European support for whistleblower. Edward Snowden with Hans-Christian Stroebele. Photo. Irina Oho/HO/EPA. The White House and leading lawmakers have rejected Edward Snowden's plea for clemency and said he should return to the United States to face trial ... He also asked for international help to lobby the US to drop the charges against him ... Photo ... He added ... ....(size: 4.6Kb)
« back to news headlines
Edit
Indianapolis Star
04 Nov 2013
Councilman Ron Carter, an avid biker and supporter of the citys desire to be more bike-friendly, authored the ordinance ... In an interview with The Star, Carter called the ordinance a recognition that there is a balance of rights of motorists and bicyclists, and pedestrians and that bikers have ability and right to use public space, just as cars do....(size: 3.1Kb)
Edit
Indianapolis Star
04 Nov 2013
Councilman Ron Carter, an avid biker and supporter of the citys desire to be more bike-friendly, authored the ordinance ... In an interview with The Star, Carter called the ordinance a recognition that there is a balance of rights of motorists and bicyclists and pedestrians, and that bikers have ability and right to use public space, just as cars do....(size: 3.1Kb)
Edit
The Charlotte Observer
04 Nov 2013
Democratic U.S. Rep ... But Watt expressed frustration with what he called “inertia” at the U.S ... Smith University, where he was joined by school President Ron Carter ... At the news conference, Carter said only 27 percent of applicants at historically black colleges were approved for a PLUS loan last year ... “The policy actually works to decrease the number of poor students attending college,” Carter said ... ....(size: 3.1Kb)
Edit
Indianapolis Star
02 Nov 2013
Carmel residents wanting a wintertime shot of fresh vegetables, organic dairy products and an occasional bag of caramel corn will have go underground this year ... Its out of the elements, said Deborah Schmitz, volunteer chair of the markets vendor relations committee ... We are very excited about them because they will be bringing organic vegetables all winter, along with fresh tilapia said Ron Carter, who oversees the market....(size: 2.4Kb)
Edit
noodls
01 Nov 2013
(Source. University of Pittsburgh). GERI ALLEN ... Allen was one of the first to graduate from Howard University with a Bachelor of Arts degree in jazz studies ... NATHAN DAVIS ... Geri Allen, who was Davis' first choice as his successor, has performed and collaborated with a long list of jazz greats including the Ornette Coleman Quartet, Ron Carter, Tony Williams, Betty Carter, Charles Lloyd, Marcus Belgrave, and many others ... distributed by....(size: 5.4Kb)
Edit
The Hollywood Reporter
01 Nov 2013
0. 0. 0. 0. 0. Email Print Comments. Dietmar Quistorf/University of Southern California. John beamed during a Sept. 16 performance at USC, No. 2 on THR’s list. The Berklee College of Music tops THR's inaugural ranking, with professional programs packed with Grammy, Emmy and Oscar winners vying against the world's great traditional conservatories. This story first appeared in the Nov ... Jimmy Iovine and Dr ... 1 ... 2 ... Ron Carter, Jeff Beal, Renee Fleming ... ....(size: 9.6Kb)
Edit
The New York Times
31 Oct 2013
Full reviews of recent jazz performances. nytimes.com/jazz. A searchable guide to these and other shows is at nytimes.com/events. Connect With Us on Twitter. Follow @nytimesarts for arts and entertainment news. Arts Twitter List ... Ron Carter Nonet (Friday and Saturday) The bassist Ron Carter, now in his mid-70s and a National Endowment for the Arts Jazz Master, has come to project a professorial erudition along with his steady virtuosity ... ....(size: 13.3Kb)
Edit
The New York Times
24 Oct 2013
Full reviews of recent jazz performances. nytimes.com/jazz. A searchable guide to these and other shows is at nytimes.com/events. Connect With Us on Twitter. Follow @nytimesarts for arts and entertainment news. Arts Twitter List ... Ron Carter Nonet (Tuesday through Nov. 2) The bassist Ron Carter, now in his mid-70s and a National Endowment for the Arts Jazz Master, has come to project a professorial erudition along with his steady virtuosity....(size: 6.9Kb)
Edit
Cheat Sheet: Why are jerky treats killing pets?; India girl set on fire after gang rape; new 'Fifty Shades' casting!
Indianapolis Star24 Oct 2013
Happy Thursday! Its October 24, 2013. We might see precipitation in the form of a few flurries today, says Paul Poteet. You want sprinkles on that? Also possible. Some sun might peek through the clouds in the afternoon, he says. The high will be 45. Gardeners, take note ... 1 ... Carmel has really high architectural standards, with a really high look and feel to it that people have moved here for and enjoy, said City Councilman Ron Carter ... ....(size: 4.1Kb)
Edit
Cheat Sheet: Obamcare site testimony; was baby cured of HIV?; India girl set on fire after gang rape; new 'Fifty Shades' casting!
Indianapolis Star24 Oct 2013
Happy Thursday! Its October 24, 2013. We might see precipitation in the form of a few flurries today, says Paul Poteet. You want sprinkles on that? Also possible. Some sun might peek through the clouds in the afternoon, he says. The high will be 45. Gardeners, take note ... 1 ... Carmel has really high architectural standards, with a really high look and feel to it that people have moved here for and enjoy, said City Councilman Ron Carter....(size: 8.5Kb)
Edit
Indianapolis Star
23 Oct 2013
CARMEL — A new business sign in the heart of downtown Carmel has some city officials seeing red or in this case, pink ... Carmel has really high architectural standards, with a really high look and feel to it that people have moved here for and enjoy, said City Councilman Ron Carter ... Carter spoke out about the sign during the Council meeting Monday. At least one other councilor, Sue Finkam, said she agrees with Carter....(size: 2.2Kb)
Edit
Indianapolis Star
23 Oct 2013
CARMEL — A new business sign in the heart of downtown Carmel has some city officials seeing red or in this case, pink ... Carmel has really high architectural standards, with a really high look and feel to it that people have moved here for and enjoy, said City Councilman Ron Carter ... Carter spoke out about the sign during the Council meeting Monday. At least one other councilor, Sue Finkam, said she agrees with Carter....(size: 2.2Kb)
Edit
Indianapolis Star
22 Oct 2013
Its a done issue, Councilman Ron Carter said today. Carter chairs the parks committee that discussed the proposal last week ... 4 ... Carter said rules put in place by the Carmel Clay Parks Department prohibit the horses on the Monon Trail, although they are not expressly prohibited on other public multi-purpose paths and city streets....(size: 1.6Kb)
For the basketball player, see Ron Carter (basketball). For the ice hockey player, see Ron Carter (ice hockey).
| Ron Carter | |
|---|---|
 Ron Carter performing at the European Jazz Expò 2007 |
|
| Background information | |
| Born | (1937-05-04) May 4, 1937 (age 75) |
| Origin | Ferndale, Michigan, U.S. |
| Genres | Orchestral jazz Mainstream jazz Third Stream |
| Occupations | Professor Clinician Jazz musician |
| Instruments | Double bass Cello Piccolo bass Electric bass |
| Years active | 1960–present |
Ron Carter (born May 4, 1937) is an American jazz double-bassist. His appearances on over 2,500 albums make him one of the most-recorded bassists in jazz history, along with Milt Hinton, Ray Brown and Leroy Vinnegar. Carter is also an acclaimed cellist who has recorded numerous times on that instrument.[1]
Contents |
Biography[link]
Carter was born in Ferndale, Michigan. He started to play cello at the age of 10, but when his family moved to Detroit, he ran into difficulties regarding the racial stereotyping of classical musicians and instead moved to bass. He attended the historic Cass Technical High School in Detroit, and, later, the Eastman School of Music, where he played in its Philharmonic Orchestra. He gained his bachelor's degree at Eastman in 1959, and in 1961 a master's degree in double bass performance from the Manhattan School of Music.
His first jobs as a jazz musician were with Jaki Byard and Chico Hamilton. His first records were made with Eric Dolphy (another former member of Hamilton's group) and Don Ellis, in 1960. His own first date as leader, Where?, with Dolphy and Mal Waldron and a date also with Dolphy called Out There with George Duvivier and Roy Haynes and Carter on cello; its advanced harmonies and concepts were in step with the third stream movement.
Carter came to fame via the second great Miles Davis quintet in the early 1960s, which also included Herbie Hancock, Wayne Shorter and Tony Williams. Carter joined Davis's group in 1963, appearing on the album Seven Steps to Heaven and the follow-up E.S.P., the latter being the first album to feature only the full quintet. It also featured three of Carter's compositions (the only time he contributed compositions to Davis's group). He stayed with Davis until 1968 (when he was replaced by Dave Holland), and participated in a couple of studio sessions with Davis in 1969 and 1970. Although he played electric bass occasionally during this period, he has subsequently eschewed that instrument entirely, and now plays only acoustic bass. Carter was close to Davis and even revealed to an interviewer in 1966 that the famous trumpeter's favorite color was fuchsia.[2]
Carter also performed on some of Hancock, Williams and Shorter's recordings during the sixties for Blue Note Records. He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver and others.
After leaving Davis, Carter was for several years a mainstay of CTI Records, making albums under his own name and also appearing on many of the label's records with a diverse range of other musicians. Notable musical partnerships in the 70's and 80's included Joe Henderson, Houston Person, Hank Jones, and Cedar Walton. During the 1970s he was a member of the New York Jazz Quartet.
He appears on the alternative hip-hop group A Tribe Called Quest's influential album The Low End Theory on a track called "Verses from the Abstract". He also appears as a member of the jazz combo the Classical Jazz Quartet.
In 1994, Carter appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time Magazine. In 2001, Carter collaborated with Black Star and John Patton to record "Money Jungle" for the Red Hot Organization's compilation album, Red Hot + Indigo, a tribute to Duke Ellington.
Carter was Distinguished Professor Emeritus of the Music Department of The City College of New York, having taught there for twenty years,[3] and received an honorary Doctorate from the Berklee College of Music, in Spring 2005 [4]. He joined the faculty of the Juilliard School in New York City in 2008, teaching bass in the school's Jazz Studies program.
Carter made a notable appearance in Robert Altman's 1996 film Kansas City. The end credits feature him and fellow bassist Christian McBride duetting on "Solitude".
Ron Carter sits on the Advisory Committee of the Board of Directors of The Jazz Foundation of America as well as the Honorary Founder's Committee.[5] Ron has worked with the Jazz Foundation since its inception to save the homes and the lives of America's elderly jazz and blues musicians including musicians that survived Hurricane Katrina.[6]
Carter appeared as himself in an episode of the HBO series Treme entitled "What Is New Orleans."
Carter's authorized biography, "Ron Carter: Finding the Right Notes," by Dan Ouellette was published by ArtistShare in 2008.
Discography[link]
As leader[link]
- 1961: Where? (Prestige Records) with Eric Dolphy, Charlie Persip, Mal Waldron, George Duvivier
- 1966: Out Front (Prestige)
- 1969: Uptown Conversation (Embryo Records)
- 1973: Blues Farm (CTI)
- 1973: All Blues (CTI)
- 1974: Spanish Blue (CTI)
- 1975: Anything Goes (Kudu)
- 1976: Yellow & Green (CTI)
- 1976: Pastels (Milestone)
- 1977: Piccolo (Milestone)
- 1977: Third Plane (Milestone)
- 1978: 1+3 (JVC) trio live with Hank Jones or Herbie Hancock and Tony Williams
- 1978: Peg Leg (Milestone)
- 1978: Standard Bearers
- 1979: Parade
- 1980: New York Slick (Milestone)
- 1980: Patrao
- 1980: Empire Jazz
- 1980: Pick 'Em (Milestone)
- 1981: Super Strings (Milestone)
- 1990: Carnaval
- 1991: Meets Bach (Blue Note)
- 1992: Friends (Blue Note)
- 1994: Jazz, My Romance (Blue Note)
- 1995: Mr. Bow Tie (Blue Note)
- 1995: Brandenburg Concerto (Blue Note)
- 1997: The Bass and I
- 1998: So What (Blue Note) trio with Kenny Barron and Lewis Nash
- 1999: Orfeu (Blue Note)
- 2001: When Skies Are Grey (Blue Note)
- 2002: Stardust (Blue Note)
- 2003: The Golden Striker (Blue Note)
- 2003: Eight Plus
- 2003: Ron Carter Plays Bach
- 2006: Live at The Village Vanguard
- 2007: Dear Miles featuring his quartet Stephen Scott, piano, Payton Crossley, drums and Roger Squitero, percussion
- 2008: Jazz and Bossa
As sideman[link]
With Toshiko Akiyoshi
- Toshiko at Top of the Gate (1968)
With Gato Barbieri
- Chapter Three: Viva Emiliano Zapata (Impulse!, 1974)
- Chapter Four: Alive in New York (Impulse!, 1975)
With George Benson
- Giblet Gravy (1968)
With Bob Brookmeyer
- Bob Brookmeyer and Friends (1962)
With Kenny Burrell
- God Bless the Child (CTI, 1971)
With Henry Butler
- The Village (Impulse!, 1987)
With Donald Byrd
- Electric Byrd (Blue Note, 1970)
- Kofi (Blue Note, 1969–70)
With Billy Cobham
- Spectrum (1973)
With Alice Coltrane
- Ptah, The El Daoud (Impulse!, 1970)
With Harry Connick, Jr.
- Harry Connick Jr. (1987)
With Tadd Dameron
- The Magic Touch (Riverside 1962)
With Miles Davis
- Quiet Nights (Columbia, 1962)
- Four & More
- My Funny Valentine
- Live at the Plugged Nickel
- Miles Smiles
- ESP
- Miles in the Sky
- Seven Steps to Heaven
- Sorcerer
- Filles de Kilimanjaro
- Water Babies
- Nefertiti
With Eli Degibri
- Israeli Song (2010)
With Paul Desmond
- Summertime (A&M/CTI, 1968)
- From the Hot Afternoon (A&M/CTI, 1969)
- Bridge Over Troubled Water (A&M/CTI, 1970)
- Skylark (CTI, 1973)
- Pure Desmond (CTI, 1975)
With Eric Dolphy
With Lou Donaldson
- Lush Life (1967)
- Sophisticated Lou (1973)
With Roberta Flack
- First Take (1970)
- Quiet Fire (1971)
- Killing Me Softly (1973)
With Bill Frisell
- Bill Frisell, Ron Carter, Paul Motian (Nonesuch, 2006)
With Johnny Frigo
With Red Garland
- Red Garland's Piano (1957)
With Stan Getz
- Voices (1967)
With Astrud Gilberto
- Gilberto with Turrentine with Stanley Turrentine (CTI, 1971)
With Giorgio
- Party Of The Century (2010)
With Jim Hall
- Concierto (CTI, 1975)
- Live at Village West (1984)
- Telephone (1985)
- Alone Together (1986)
With Chico Hamilton
- The Further Adventures of El Chico (Impulse!, 1966)
With Herbie Hancock
- Empyrean Isles (Blue Note)
- Maiden Voyage (Blue Note)
- Speak Like a Child (Blue Note)
- VSOP (Columbia)
- Quartet (Columbia, 1981)
With Eddie Harris
- The In Sound (Atlantic, 1965)
- Mean Greens (Atlantic, 1966)
- The Tender Storm (Atlantic, 1966)
- Plug Me In (Atlantic, 1968)
- Excursions (Atlantic, 1966-73)
- How Can You Live Like That? (Atlantic, 1976)
With Gene Harris
- Gene Harris of the Three Sounds (Blue Note, 1972)
With Coleman Hawkins
- Night Hawk (1961)
With Joe Henderson
- Power to the People (Milestone)
- The State of the Tenor, Vols. 1 & 2 (Blue Note)
With Andrew Hill
- Grass Roots (Blue Note, 1968)
- Lift Every Voice (Blue Note, 1969)
- Passing Ships (Blue Note, 1969)
With Freddie Hubbard
- Red Clay (CTI, 1970)
- Straight Life (CTI, 1970)
- First Light (CTI, 1971)
With Bobby Hutcherson
- Components (Blue Note, 1965)
With Jackie and Roy
- Time & Love (CTI, 1972)
With Milt Jackson
- Big Bags (Riverside, 1962)
- Invitation (Riverside, 1962)
- Milt Jackson at the Museum of Modern Art (Limelight, 1965)
- Milt Jackson and the Hip String Quartet (Verve, 1968)
- Sunflower (CTI, 1972)
- Goodbye (CTI, 1973)
- Olinga (CTI, 1974)
With Quincy Jones
- Gula Matari (CTI, 1970)
With Steve Kuhn and Gary McFarland
- The October Suite (Impulse!, 1966)
With Hubert Laws
- Laws' Cause (Atlantic, 1968)
- Crying Song (CTI, 1969)
- Afro-Classic (CTI, 1970)
- The Rite of Spring (CTI, 1971)
- Wild Flower (Atlantic, 1972)
- Morning Star (CTI, 1972)
- Carnegie Hall (CTI, 1973)
- In the Beginning (CTI, 1974)
- The Chicago Theme (CTI, 1974)
With Herbie Mann
- Glory of Love (CTI, 1967)
With Helen Merrill
- Duets (1987)
With Wes Montgomery
- So Much Guitar (1961)
- Tequila
- California Dreaming
With Airto Moreira
- Free (CTI, 1972)
With Oliver Nelson
- Sound Pieces (1966)
- Happenings (1966)
- Mr. Gentle Mr. Cool : A Tribute To Duke Ellington (1994, Kokopelli Records)
With the New York Jazz Quartet
- In Concert in Japan (1975)
With Hermeto Pascoal
- Hermeto (1971)
- Slaves Mass (1976)
With Duke Pearson
- Sweet Honey Bee (Blue Note, 1966)
With Austin Peralta
- Maiden Voyage (2006)
With Sam Rivers
- Fuchsia Swing Song (Blue Note, 1964)
- Contours (Blue Note, 1965)
With Shirley Scott
- On a Clear Day (1966)
With Gil Scott-Heron
- Pieces of a Man (1972)
With Don Sebesky
- Giant Box (CTI, 1973)
- The Rape of El Morro (CTI, 1975)
With Marlena Shaw
- From the Depths of My Soul (1973)
With Wayne Shorter
- Speak No Evil (Blue Note, 1964)
- The All Seeing Eye (Blue Note, 1965)
With Horace Silver
- Silver 'n Brass (Blue Note, 1975)
- Silver 'n Wood (Blue Note, 1976)
- Silver 'n Voices (Blue Note, 1976)
- Silver 'n Percussion (Blue Note, 1977)
- Silver 'n Strings Play the Music of the Spheres (Blue Note, 1978)
- The Hardbop Grandpop (1996)
- A Prescription for the Blues (1997)
With Grace Slick
- Manhole (1973)
With Phoebe Snow
- Second Childhood (1976)
With Gábor Szabó
- Spellbinder (Impulse!, 1966)
- Mizrab (CTI, 1972)
With Livingston Taylor
- In Harmony (1980)
With Bobby Timmons
- In Person (1961)
- Born to Be Blue! (1963)
- The Soul Man! (1966)
- Got to Get It! (1967)
With Charles Tolliver
- Paper Man (1969) - Black Lion Records
With A Tribe Called Quest
- The Low End Theory (1991)
With McCoy Tyner
- The Real McCoy (Blue Note)
- Expansions (Blue Note)
- Trident (Milestone)
- Counterpoints (Milestone)
- Fly with the Wind (Milestone)
- Supertrios
- Extensions
With Mal Waldron
- The Quest (1961)
- Inner City Blues (Kudu, 1971)
- All the King's Horses (Kudu, 1972)
- Soul Box (Kudu, 1973)
With Randy Weston
- Blue Moses (CTI, 1972)
With Kai Winding
- The Incredible Kai Winding Trombones (Impulse!, 1960)
- Israel (A&M/CTI, 1968) with J. J. Johnson
- Betwixt & Between (A&M/CTI, 1969) with J. J. Johnson
- Stonebone (A&M/CTI (Japan), 1969) with J. J. Johnson
Filmography[link]
- 2003: Ron Carter & Art Farmer: Live at Sweet Basil with Cedar Walton and Billy Higgins[7]
- 2002: Herbie Hancock Trio: Hurricane! with Ron Carter and Billy Cobham[8]
References[link]
- ^ Allmusic biography
- ^ http://danouellette.artistshare.com/default.aspx
- ^ Ron Carter Official Website
- ^ [1]
- ^ jerryjazzmusician.com. 2009-13-10. URL: http://www.jerryjazzmusician.com/mainHTML.cfm?page=storfer.html. Accessed: 2009-13-10. (Archived by jerryjazzmusician.com at http://www.jerryjazzmusician.com/mainHTML.cfm?page=storfer.html)
- ^ ireport.com. 2009-13-10. URL: http://www.ireport.com/docs/DOC-337150. Accessed: 2009-13-10. (Archived by ireport.com at http://www.ireport.com/docs/DOC-337150)
- ^ VIEW DVD Listing
- ^ VIEW DVD Listing
External links[link]
- Ron Carter Official Website
- Interview with Ron Carter
- 2006 Interview with Ron Carter
- Interview with Ron Carter (2007)
- Ron Carter at All About Jazz
- Bassist Ron Carter, an Interview With Editor Jake Kot
- Ron Carter's dedicated page on the Party Of The Century project
- Video interview with Ron Carter at allaboutjazz.com
| Persondata | |
|---|---|
| Name | Carter, Ron |
| Alternative names | |
| Short description | |
| Date of birth | May 4, 1937 |
| Place of birth | |
| Date of death | |
| Place of death | |
http://wn.com/Ron_Carter
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Ron_Carter
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.
| Hank Jones | |
|---|---|
 Photo by Ed Newman |
|
| Background information | |
| Birth name | Henry Jones |
| Born | (1918-07-31)July 31, 1918 Vicksburg, Mississippi, United States |
| Died | May 16, 2010(2010-05-16) (aged 91) Manhattan, New York, United States |
| Genres | Bebop Jazz |
| Occupations | Musician Bandleader Composer |
| Instruments | Piano |
| Years active | 1944–2010 |
| Labels | Verve, Savoy, Epic, Capitol, Argo, Impulse, Concord, Chesky, Sony |
| Associated acts | Ella Fitzgerald Charlie Haden Nancy Wilson Charlie Parker Salena Jones Roberta Gambarini |
| Website | Hank Jones official site |
Henry "Hank" Jones (July 31, 1918 – May 16, 2010)[1] was an American jazz pianist, bandleader, arranger, and composer. Critics and musicians described Jones as eloquent, lyrical, and impeccable.[2] In 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award.[3] He was also honored in 2003 with the American Society of Composers, Authors, and Publishers (ASCAP) Jazz Living Legend Award.[4] 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.
Jones recorded over sixty albums under his own name, and countless others as a sideman.[5]
Contents |
Biography[link]
Born in Vicksburg, Mississippi, Henry "Hank" Jones moved to Pontiac, Michigan, where his father, Henry Jones Sr. a Baptist deacon and lumber inspector, bought a three-story brick home. One of seven children, Jones was raised in a musical family. His mother Olivia Jones sang; his two older sisters studied piano; and his two younger brothers—Thad, a trumpeter, and Elvin, a drummer—also became prominent jazz musicians.[6] He studied piano at an early age and came under the influence of Earl Hines, Fats Waller, Teddy Wilson, and Art Tatum. By the age of 13 Jones was performing locally in Michigan and Ohio. While playing with territory bands in Grand Rapids and Lansing in 1944 he met Lucky Thompson, who invited Jones to work in New York City at the Onyx Club with Hot Lips Page.[7]
In New York, Jones regularly listened to leading bop musicians, and was inspired to master the new style. While practicing and studying the music he worked with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine. In autumn 1947, he began touring in Norman Granz's Jazz at the Philharmonic package, and from 1948 to 1953 he was accompanist for Ella Fitzgerald, and accompanying her in England in the Fall of 1948,[8] developed a harmonic facility of extraordinary taste and sophistication. During this period he also made several historically important recordings with Charlie Parker, which included "The Song Is You", from the Now's the Time album, recorded in December 1952, with Teddy Kotick on bass and Max Roach on drums.
Engagements with Artie Shaw and Benny Goodman followed, and recordings with artists such as Lester Young, Cannonball Adderley, and Wes Montgomery, in addition to being for a time, 'house pianist' on the Savoy label. From 1959 through 1975 Jones was staff pianist for CBS studios.[9] This included backing guests like Frank Sinatra on The Ed Sullivan Show.[10] He played the piano accompaniment to Marilyn Monroe as she sang "Happy Birthday Mr. President" to John F. Kennedy on May 19, 1962.[1] By the late 1970s, his involvement as pianist and conductor with the Broadway musical Ain't Misbehavin' (based on the music of Fats Waller) had informed a wider audience of his unique qualities as a musician.
During the late 1970s and the 1980s, Jones continued to record prolifically, as an unaccompanied soloist, in duos with other pianists (including John Lewis and Tommy Flanagan), and with various small ensembles, most notably the Great Jazz Trio. The group took this name in 1976, by which time Jones had already begun working at the Village Vanguard with its original members, Ron Carter and Tony Williams (it was Buster Williams rather than Carter, however, who took part in the trio's first recording session in 1976); by 1980 Jones' sidemen were Eddie Gomez and Al Foster, and in 1982 Jimmy Cobb replaced Foster. The trio also recorded with other all-star personnel, such as Art Farmer, Benny Golson, and Nancy Wilson. In the early 1980s Jones held a residency as a solo pianist at the Cafe Ziegfeld and made a tour of Japan, where he performed and recorded with George Duvivier and Sonny Stitt. Jones' versatility was more in evidence with the passage of time. He collaborated on recordings of Afro-pop with an ensemble from Mali and on an album of spirituals, hymns and folksongs with Charlie Haden called Steal Away (1995).
Some of his later recordings are For My Father (2005) with bassist George Mraz and drummer Dennis Mackrel, a solo piano recording issued in Japan under the title Round Midnight (2006), and as a side man on Joe Lovano's Joyous Encounter (2005). Jones made his debut on Lineage Records, recording with Frank Wess and with the guitarist Eddie Diehl, but also appeared on West of 5th (2006) with Jimmy Cobb and Christian McBride on Chesky Records. He also accompanied Diana Krall for "Dream a Little Dream of Me" on the album compilation, We all Love Ella (Verve 2007). He is one of the musicians who test and talk about the piano in the documentary Note by Note: The Making of Steinway L1037, released in November 2007.
In early 2000, the Hank Jones Quartet accompanied jazz singer Salena Jones at the Lionel Hampton Jazz Festival in Idaho, and in 2006 at the Monterey Jazz Festival with both jazz singer Roberta Gambarini and the Oscar Peterson Trio.
Hank Jones lived in upstate New York and in Manhattan. He died at a hospice in Manhattan, New York, on May 16, 2010. He is survived by his wife Theodosia.
Awards and recognitions[link]
- Grammy history
- Career Wins: 2009: Lifetime Achievement Grammy
- Career Nominations: 5[11]
| Hank Jones Grammy Awards History | |||||
| Year | Category | Title | Genre | Label | Result |
|---|---|---|---|---|---|
| 1977 | Best Jazz Instrumental Performance - Soloist | "Bop Redux" | Jazz | Muse | Nominee |
| 1980 | Best Jazz Instrumental Performance - Soloist | "I Remember You" | Jazz | Black & Blue | Nominee |
| 1980 | Best Jazz Instrumental Performance - Group | "I Remember You" | Jazz | Black & Blue | Nominee |
| 1995 | Best Jazz Instrumental Solo | "Go Down Moses" | Jazz | Verve | Nominee |
| 1995 | Best Jazz Instrumental Performance - Individual or Group | "Steal Away" | Jazz | Verve | Nominee |
Discography[link]
As leader[link]
| Year | Title | Personnel | Label | Notes |
|---|---|---|---|---|
| 1950 | Hank Jones Piano | Mercury | ||
| 1956 | Urbanity | Clef | ||
| 1958 | The Talented Touch | Capitol Records | ||
| 1966 | Happenings | with Oliver Nelson and Orchestra | Impulse | |
| 1975 | Hanky Panky | Trio with Ron Carter and Grady Tate | Inner City / East Wind | |
| 1976 | Hank (Hank Jones Solo Piano) | Jazz Alliance / All Art Jazz | Original LP : Satin Doll | |
| 1976 | Rockin' In Rhythm | Trio with Ray Brown and Jimmie Smith | Concord | |
| 1976 | Arigato | With Ray Rivera, Jay Leonhart or Richard Davis and Ronnie Bedford | Progressive | Reissued on CD with bonus tracks. |
| 1977 | Bop Redux | Trio with George Duvivier and Ben Riley | Muse | |
| 1977 | I Remember You | Trio with George Duvivier and Oliver Jackson | Black & Blue | |
| 1977 | Just for Fun | With Ray Brown, Shelly Manne and Howard Roberts | Galaxy | |
| 1978 | Our Delights | Piano duo with Tommy Flanagan | Galaxy | |
| 1978 | Ain't Misbehavin' | Richard Davis, Roy Haynes, Bob Ojeda, Teddy Edwards, and Kenny Burrell | Galaxy | |
| 1978 | Groovin' High | Quintet with Sam Jones, Mickey Roker, Thad Jones, and Charlie Rouse | Muse | |
| 1995 | Steal Away | Duo with Charlie Haden | Verve | |
| 2003 | Porgy & Bess | Toshiba EMI | ||
| 2004 | Satin Doll | Absord Japan | ||
| 2005 | My Funny Valentine | Sony/CBS | ||
| 2006 | Round Midnight | Sony | ||
| 2006 | West of 5th | With Jimmy Cobb and Christian McBride | Chesky | |
| 2006 | Hank and Frank | Lineage | ||
| 2009 | Hank and Frank II | Frank Wess, Ilya Lushtak, Marion Cowings, John Webber, and Mickey Roker. | Lineage | |
| 2009 | Pleased to Meet You | Oliver Jones, Brandi Disterheft and Jim Doxas | Justin Time Records | |
| 2009 | Trio Hank Jones | George Mraz, Willie Jones | Multisonic | Live |
| 2011 | Trio Hank Jones | George Mraz, Willie Jones | Marecam | DVD from concert published on CD in 2009 by Multisonic |
| 2012 | Come Sunday | Duo with Charlie Haden | EmArcy |
With Great Jazz Trio[link]
| Year | Title | Personnel | Label | Notes |
|---|---|---|---|---|
| 1976 | Love for Sale | with Buster Williams and Tony Williams | East Wind Records | |
| 1977 | Direct From L.A. | East Wind | ||
| 1977 | Kindness, Joy, Love & Happiness | East Wind | ||
| 1977 | At the Village Vanguard Vols. 1 & 2 | with Ron Carter and Tony Williams | East Wind | Live |
| 1978 | New Wine in Old Bottles | with Jackie Mclean, Ron Carter and Tony Williams | East Wind | |
| 1978 | Milestones | with Jackie Mclean, Ron Carter and Tony Williams | East Wind | |
| 1982 | Threesome | with Eddie Gomez and Jimmy Cobb | East World | |
| 1984 | Monk's Mood | with Eddie Gomez, Jimmy Cobb and Terumasa Hino | Dennon |
As sideman[link]
- 1956: Milt Jackson - Opus de Jazz (Savoy)
- 1956: Milt Jackson - The Jazz Skyline (Savoy)
- 1957: Curtis Fuller - New Trombone
- 1957: Paul Chambers - Bass on Top
- 1957: Milt Jackson - Bags & Flutes (Atlantic)
- 1958: Cannonball Adderley - Somethin' Else (Blue Note)
- 1960: John Coltrane - Bags & Trane (Atlantic)
- 1960: Dizzy Gillespie - A Portrait of Duke Ellington (Verve)
- 1961: Wes Montgomery - So Much Guitar
- 1962: Elvin Jones - Elvin! (Riverside)
- 1962: Shelly Manne - 2-3-4
- 1962: Milt Jackson - Statements
- 1962: Ella Fitzgerald - Rhythm Is My Business
- 1962: Milt Jackson - Big Bags (Riverside)
- 1962: Curtis Fuller - Cabin in the Sky
- 1963: Johnny Hartman - I Just Dropped By to Say Hello (Impulse!)
- 1963: Milt Jackson - For Someone I Love (Riverside)
- 1963: Milt Jackson - Milt Jackson Quintet Live at the Village Gate (Riverside)
- 1964: Ray Brown - Much in Common with Milt Jackson (Verve)
- 1964: Ben Webster - See You at the Fair
- 1964: Johnny Hartman - The Voice That Is! (Impulse!)
- 1965: Milt Jackson - Ray Brown / Milt Jackson with Ray Brown (Verve)
- 1965: Elvin Jones - And Then Again (Atlantic)
- 1965: Lionel Hampton: You Better Know It!!! (Impulse!)
- 1965: Elvin Jones - Dear John C. (Impulse!)
- 1966: Oliver Nelson - Oliver Nelson Plays Michelle (Impulse!)
- 1967: Oliver Nelson - The Spirit of '67 with Pee Wee Russell (Impulse!)
- 1967: Oliver Nelson - The Kennedy Dream (Impulse!)
- 1969: Nancy Wilson - But Beautiful
- 1971: Bobbi Humphrey - Flute In (Blue Note)
- 1972: Dexter Gordon - Ca' Purange
- 1975: Dizzy Gillespie, Sonny Stitt, Percy Heath and Max Roach - The Bop Session (Sonet)
- 1978: Ron Carter - Carnaval
- 1986: Bob Stewart - Welcome to the Club
- 2004: Bob Stewart -Talk of The Town
- 2004: Joe Lovano - I'm All For You
- 2005: Joe Lovano - Joyous Encounters
References[link]
- ^ a b Thedeadrockstarsclub.com - accessed May 2010
- ^ According to Arnold Jay Smith (in "The Impeccable Hank Jones", Down Beat, July 31, 1976), Jones was branded "the impeccable one" by WRVR-FM jazz historian Ed Beach.
- ^ National Endowment for the Arts: Henry "Hank" Jones
- ^ 2003 ASCAP Jazz Living Legend Award
- ^ Jazz Review: Hank Jones
- ^ Henry "Hank" Jones bio
- ^ Larkin, Colin. The Guinness Encyclopedia of Popular Music, Guinness, page 2206, (1995) - ISBN 1-56159-176-9
- ^ Feather, Leonard. Inside Jazz, Da Capo Press, page 89, (2997) - ISBN 0-306-80076-4
- ^ Village Voice Interview
- ^ Harvard: Hank Jones
- ^ Grammy Awards Database for Hank Jones
External links[link]
 |
Wikimedia Commons has media related to: Hank Jones |
- Hank Jones official home page
- Hank Jones at the Internet Movie Database
- Hank Jones complete discography
- "Profile: Hank Jones" by Arnold Jay Smith (Jazz.com)
- Obituary - New York Times
- "Magic Numbers," an essay on Hank Jones, Ron Carter, and Tony Williams
| Persondata | |
|---|---|
| Name | Jones, Hank |
| Alternative names | |
| Short description | |
| Date of birth | July 31, 1918 |
| Place of birth | Vicksburg, Mississippi, United States |
| Date of death | May 16, 2010 |
| Place of death | Manhattan, New York, United States |
http://wn.com/Hank_Jones
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Hank_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.
 |
This article's lead section may not adequately summarize its contents. Please consider expanding the lead to provide an accessible overview of the article's key points. (March 2012) |
| Miles Davis | |
|---|---|
 Photo of Davis in 1955 taken by Tom Palumbo |
|
| Background information | |
| Birth name | Miles Dewey Davis III |
| Born | (1926-05-26)May 26, 1926 Alton, Illinois, United States |
| Died | September 28, 1991(1991-09-28) (aged 65) Santa Monica, California, United States |
| Genres | Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk, jazz rap[1][2] |
| Occupations | Bandleader, composer, trumpeter, artist |
| Instruments | Trumpet, flugelhorn, piano, organ |
| Years active | 1944–1975, 1980–1991 |
| Labels | Capitol Jazz/EMI, Columbia/CBS, Warner Bros. |
| Associated acts | Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans |
| Website | www.milesdavis.com |
Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century,[3] Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.
Biography[link]
Early life (1926–44)[link]
Miles Dewey Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.
Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis' knuckles every time he started using heavy vibrato.[4] Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything."[5] Clark Terry was another important early influence.[citation needed]
By age 16, Davis was a member of the music society and playing professionally when not at school. At 17, he spent a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis' mother insisted that he finish his final year of high school. He graduated from East St. Louis Lincoln High School in 1944.
In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was brought in on third trumpet for a couple of weeks because the regular player, Buddy Anderson, was out sick. Even after this experience, once Eckstine's band left town, Davis' parents were still keen for him to continue formal academic studies.
New York and the bebop years begin (1944–48)[link]
.jpg)
In the fall of 1944, following graduation from high school, Davis moved to New York City to study at the Juilliard School of Music.
Upon arriving in New York, he spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.[4]
Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton's Playhouse and Monroe's. The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants.
Davis dropped out of Juilliard, after asking permission from his father. In his autobiography, Davis criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. However, he also acknowledged that, while greatly improving his trumpet playing technique, Juilliard helped give him a grounding in music theory that would prove valuable in later years.
Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered a recording studio for the first time, as a member of Herbie Fields's group. This was the first of many recordings to which Davis contributed in this period, mostly as a sideman. He finally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers.[6] In these early years, recording sessions where Davis was the leader were the exception rather than the rule; his next date as leader would not come until 1947.
Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie's replacement in his quintet, which also featured Max Roach on drums, Al Haig (replaced later by Sir Charles Thompson and Duke Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) on bass.
.jpg)
With Parker's quintet, Davis went into the studio several times, already showing hints of the style for which he would become known. On an oft-quoted take of Parker's signature song, "Now's the Time", Davis takes a melodic solo, whose unbop-like quality anticipates the "cool jazz" period that would follow. The Parker quintet also toured widely. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine's California tour, which eventually brought him back to New York.[7] In 1948, Parker returned to New York, and Davis rejoined his group.
.jpg)
The relationships within the quintet, however, were growing tense. Parker's erratic behavior (attributable to his well-known drug addiction) and artistic choices (both Davis and Roach objected to having Duke Jordan as a pianist[4] and would have preferred Bud Powell) became sources of friction. In December 1948, disputes over money (Davis claims he was not being paid) began to strain their relationship even further. Davis finally left the group following a confrontation with Parker at the Royal Roost.
For Davis, his departure from Parker's group marked the beginning of a period in which he worked mainly as a freelancer and as a sideman in some of the most important combos on the New York jazz scene.
Birth of the Cool (1948–49)[link]
In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' basement apartment had become the meeting place for several young musicians and composers such as Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene. Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the "tuba band" moniker that was to be associated with the combo).
Davis took an active role in the project,[8] so much so that it soon became "his project". The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations.
The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing the performance gave a surprising prominence to the role of the arrangers: "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". It was, in fact, so unusual that Davis had to persuade the Roost's manager, Ralph Watkins, to allow the sign to be worded in this way; he prevailed only with the help of Monte Kay, the club's artistic director.
The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time), Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass. Singer Kenny Hagood was added for one track during the recording
The presence of white musicians in the group angered some black jazz players, many of whom were unemployed at the time, but Davis rebuffed their criticisms.[9]
A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950. The material they recorded was released in 1956 on an album whose title, Birth of the Cool, gave its name to the "cool jazz" movement that developed at the same time and partly shared the musical direction begun by Davis' group.
For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a job with Duke Ellington's orchestra.[4]
The importance of the nonet experience would become clear to critics and the larger public only in later years, but, at least commercially, the nonet was not a success. The liner notes of the first recordings of the Davis Quintet for Columbia Records call it one of the most spectacular failures of the jazz club scene. This was bitterly noted by Davis, who claimed the invention of the cool style and resented the success that was later enjoyed—in large part because of the media's attention—by white "cool jazz" musicians (Mulligan and Dave Brubeck in particular).
This experience also marked the beginning of the lifelong friendship between Davis and Gil Evans, an alliance that would bear important results in the years to follow.
Hard bop and the "Blue Period" (1950–54)[link]
The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco.
Many of his new and old friends (Davis, in his autobiography, mentions Clarke) tried to persuade him to stay in France, but Davis decided to return to New York. Back in the States, he began to feel deeply depressed. The depression was due in part to his separation from Gréco, in part to his feeling underappreciated by the critics (who were hailing Davis' former collaborators as leaders of the cool jazz movement), and in part to the unraveling of his liaison with a former St. Louis schoolmate who was living with him in New York and with whom he had two children.
These are the factors to which Davis traces a heroin habit that deeply affected him for the next four years. Though Davis denies it in his autobiography, it is also likely that the environment in which he was living played a role. Most of Davis' associates at the time, some of them perhaps in imitation of Charlie Parker, had drug addictions of their own (among them, sax players Sonny Rollins and Dexter Gordon, trumpeters Fats Navarro and Freddie Webster, and drummer Art Blakey). For the next four years, Davis supported his habit partly with his music and partly by living the life of a hustler.[10] By 1953, his drug addiction was beginning to impair his ability to perform. Heroin had killed some of his friends (Navarro and Freddie Webster). He himself had been arrested for drug possession while on tour in Los Angeles, and his drug habit had been made public in a devastating interview that Cab Calloway gave to Down Beat.[11]
Realizing his precarious condition, Davis tried several times to end his drug addiction, finally succeeding in 1954 after returning to his father's home in St. Louis for several months and literally locking himself in a room until he had gone through a painful withdrawal. During this period he avoided New York and played mostly in Detroit and other midwestern towns, where drugs were then harder to come by. A widely-related story, attributed to Richard (Prophet) Jennings[12][13] was that Davis, while in Detroit playing at the Blue Bird club as a guest soloist in Billy Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad Jones, Curtis Fuller and Donald Byrd stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford Brown in the midst of performing Sweet Georgia Brown by beginning to play My Funny Valentine, and then, after finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.[14]
Despite all the personal turmoil, the 1950–54 period was actually quite fruitful for Davis artistically. He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively severed his stylistic ties with bebop.[15]
In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis' style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that grew to be his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. This sound was to become so characteristic that the use of the Harmon mute by any jazz trumpet player since immediately conjures up Miles Davis.
The most important Prestige recordings of this period (Dig, Blue Haze, Bags' Groove, Miles Davis and the Modern Jazz Giants, and Walkin') originated mostly from recording sessions in 1951 and 1954, after Davis' recovery from his addiction. Also of importance are his five Blue Note recordings, collected in the Miles Davis Volume 1 album.
With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues.[16] A few critics[5] go as far as to call Walkin' the album that created hard bop, but the point is debatable, given the number of musicians who were working along similar lines at the same time (and of course many of them recorded or played with Davis).
Also in this period Davis gained a reputation for being distant, cold, and withdrawn and for having a quick temper. Among the several factors that contributed to this reputation were his contempt for the critics and specialized press and some well-publicized confrontations with the public and with fellow musicians. (One occasion, in which he had a near fight with Thelonious Monk during the recording of Bags' Groove, received wide exposure in the specialized press.)[17]
The "nocturnal" quality of Davis' playing and his somber reputation, along with his whispering voice,[18] earned him the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.[19]
First great quintet and sextet (1955–58)[link]
Main article: Miles Davis Quintet
Back in New York and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance (and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the "return of Miles Davis". At the same time, Davis recruited the players for a formation that became known as his "first great quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.
None of these musicians, with the exception of Davis, had received a great deal of exposure before that time; Chambers, in particular, was very young (19 at the time), a Detroit player who had been on the New York scene for only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to recruit alto saxophonist Julian "Cannonball" Adderley.
The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era, and some traditional tunes.[20] The prevailing style of the group was a development of the Davis experience in the previous years—Davis playing long, legato, and essentially melodic lines, while Coltrane, who during these years emerged as a leading figure on the musical scene, contrasted by playing high-energy solos.
With the new formation also came a new recording contract. In Newport, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received 'Round About Midnight. Before leaving Prestige, however, Davis had to fulfill his obligations during two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums: Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Cookin' with the Miles Davis Quintet. While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several first takes on each album. The records became almost instant classics and were instrumental in establishing Davis' quintet as one of the best on the jazz scene.
The quintet was disbanded for the first time in 1957, following a series of personal problems that Davis blames on the drug addiction of the other musicians.[21] Davis played some gigs at the Cafe Bohemia with a short-lived formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the score to Louis Malle's film Ascenseur pour l'échafaud. With the aid of French session musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke, he recorded the entire soundtrack with an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising.
Returning to New York in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis recorded Milestones, an album anticipating the new directions he was preparing to give to his music.
Almost immediately after the recording of Milestones, Davis fired Garland and, shortly afterward, Jones, again for behavioral problems; he replaced them with Bill Evans——a young white pianist with a strong classical background——and drummer Jimmy Cobb. With this revamped formation, Davis began a year during which the sextet performed and toured extensively and produced a record (1958 Miles, also known as 58 Sessions). Evans had a unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis. But after only eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a player who brought to the sextet a swinging, bluesy approach that contrasted with Evans' more delicate playing.
Recordings with Gil Evans (1957–63)[link]
In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing flugelhorn as well as trumpet. The first, Miles Ahead (1957), showcased his playing with a jazz big band and a horn section arranged by Evans. Songs included Dave Brubeck's "The Duke," as well as Léo Delibes's "The Maids of Cadiz," the first piece of European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages that Evans had devised as transitions between the different tracks, which were joined together with the innovative use of editing in the post-production phase, turning each side of the album into a seamless piece of music.[22]
In 1958, Davis and Evans were back in the studio to record Porgy and Bess, an arrangement of pieces from George Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe Jones, and Julian "Cannonball" Adderley. Davis called the album one of his favorites.[citation needed]
Sketches of Spain (1959–1960) featured songs by contemporary Spanish composer Joaquin Rodrigo and also Manuel de Falla, as well as Gil Evans originals with a Spanish flavor. Miles Davis at Carnegie Hall (1961) includes Rodrigo's Concierto de Aranjuez, along with other compositions recorded in concert with an orchestra under Evans' direction.
Sessions with Davis and Evans in 1962 resulted in the album Quiet Nights, a short collection of bossa novas that was released against the wishes of both artists: Evans stated it was only half an album, and blamed the record company; Davis blamed producer Teo Macero, whom he didn't speak to for more than two years.[23] This was the last time Evans and Davis made a full album together; despite the professional separation, however, Davis noted later that "my best friend is Gil Evans."[24]
[edit] Kind of Blue (1959–64)
In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans' piano style.[25] Both Davis and Evans were personally acquainted with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in 1956.[26] Davis, however, had neglected to inform current pianist Kelly of Evans' role in the recordings; Kelly subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album.[27] "So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for the first time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has proven to be both highly popular and enormously influential. According to the RIAA, Kind of Blue is the best-selling jazz album of all time, having been certified as quadruple platinum (4 million copies sold). .[28]In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.[29][30]
The trumpet Davis used on the recording is currently displayed in the music building on the campus of the University of North Carolina at Greensboro. It was donated to the school by Arthur "Buddy" Gist, who met Davis in 1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the "Miles Davis Jazz Studies Program."[31]
In 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing a 27 minute recording for the armed services, Davis took a break outside the club. As he was escorting an attractive blonde woman across the sidewalk to a taxi, Davis was told by Patrolman Gerald Kilduff to "move on."[32] Davis explained that he worked at the nightclub and refused to move.[33] The officer said that he would arrest Davis and grabbed him as Davis protected himself.[32] Witnesses said that Kilduff punched Davis in the stomach with his nightstick without provocation.[32] Two nearby detectives held the crowd back as a third detective, Don Rolker, approached Davis from behind and beat him about the head. Davis was then arrested and taken to jail where he was charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five stitches for a wound on his head.[32] Davis attempted to pursue the case in the courts, before eventually dropping the proceedings in a plea bargain in order to recover his suspended Cabaret Card, enabling him to return to work in New York clubs.
Davis persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis' 1961 album Someday My Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco. Stitt's playing with the group is found on a recording made in Olympia, Paris (where Davis and Coltrane had played a few months before) and the Live in Stockholm album.
In 1963, Davis' longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later, seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven.
The rhythm players melded together quickly as a section and with the horns. The group's rapid evolution can be traced through the Seven Steps to Heaven album, In Europe (July 1963), My Funny Valentine (February 1964), and Four and More (also February 1964). The quintet played essentially the same repertoire of bebop tunes and standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom and, in the case of the up-tempo material, breakneck speed.
Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony Williams. Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; this configuration can be heard on Miles in Tokyo! (July 1964).
By the end of the summer, Davis had persuaded Wayne Shorter to leave Art Blakey's Jazz Messengers and join the quintet. Shorter became the group's principal composer, and some of his compositions of this era (including "Footprints" and "Nefertiti") have become standards. While on tour in Europe, the group quickly made their first official recording, Miles in Berlin (September 1964). On returning to the United States later that year, ever the musical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting The Byrds signed to Columbia Records.[citation needed]
Second great quintet (1964–68)[link]
|
||||
By the time of E.S.P. (1965), Davis's lineup consisted of Wayne Shorter, Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). The last of his acoustic bands, this group is often referred to as the second great quintet.
A two-night Chicago performance in late 1965 is captured on The Complete Live at the Plugged Nickel 1965, released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes. It is reasonable to point out, though, that while some of the titles remain the same as the tunes employed by the 1950s quintet, the speed and distance of departure from the framework of the standards bears no comparison. It could even be said that the listening experience to these standards as live performances is as much of a radical take on the jazz of the time as the new compositions of the studio albums listed below.
The recording of Live at the Plugged Nickel was not issued anywhere in the 1960s, first appearing as a Japan-only partial issue in the late 1970s, then as a double-LP in the USA and Europe in 1982. It was followed by a series of studio recordings: Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968). The quintet's approach to improvisation came to be known as "time no changes" or "freebop," because they abandoned the more conventional chord-change-based approach of bebop for a modal approach. Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of demarcation. Davis's bands would continue to perform in this way until his retirement in 1975.
Miles in the Sky and Filles de Kilimanjaro, on which electric bass, electric piano, and electric guitar were tentatively introduced on some tracks, pointed the way to the subsequent fusion phase of Davis's career. Davis also began experimenting with more rock-oriented rhythms on these records. By the time the second half of Filles de Kilimanjaro had been recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock would occasionally contribute to future recording sessions. Davis soon began to take over the compositional duties of his sidemen.
Electric Miles (1968–75)[link]
The guru-manipulator shifted gears at will in his early-'70s music, orchestrating moods and settings to subjugate the individual musical inspirations of his young close-enough-for-funk subgeniuses to the life of a single palpitating organism that would have perished without them—no arrangements, little composition, and not many solos either, although at any moment a player could find himself left to fly off on his own.
Davis's influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi Hendrix,[36] many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded in February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette.
Six months later an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976. This album and In a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz-rock fusion. During this period, Davis toured with Shorter, Corea, Holland, and DeJohnette. The group's repertoire included material from Bitches Brew, In a Silent Way, and the 1960s quintet albums, along with an occasional standard.[citation needed]
In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally."[37] His recordings and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and by Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music."[38][39] Both Bitches Brew and In a Silent Way feature "extended" (more than 20 minutes each) compositions that were never actually "played straight through" by the musicians in the studio.[citation needed] Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version. Bitches Brew made use of such electronic effects as multi-tracking, tape loops, and other editing techniques.[40] Both records, especially Bitches Brew, proved to be big sellers. Starting with Bitches Brew, Davis's albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, Grateful Dead, Neil Young, and Santana[citation needed]. Several live albums were recorded during the early 1970s at these performances: Live at the Fillmore East, March 7, 1970: It's About That Time (March 1970), Black Beauty (April 1970), and Miles Davis at Fillmore: Live at the Fillmore East (June 1970).[36]
By the time of Live-Evil in December 1970, Davis's ensemble had transformed into a much more funk-oriented group. Davis began experimenting with wah-wah effects on his horn. The ensemble with Gary Bartz, Keith Jarrett, and Michael Henderson, often referred to as the "Cellar Door band" (the live portions of Live-Evil were recorded at a Washington, DC, club by that name), never recorded in the studio, but is documented in the six-CD box set The Cellar Door Sessions, which was recorded over four nights in December 1970.[citation needed] In 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis's own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him.[citation needed] The resulting album, 1971's A Tribute to Jack Johnson, contained two long pieces that featured musicians (some of whom were not credited on the record) including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock on a Farfisa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of the Mahavishnu Orchestra in 1971.
As Davis stated in his autobiography, he wanted to make music for the young African-American audience. On the Corner (1972) blended funk elements with the traditional jazz styles he had played his entire career. The album was highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his autobiography, Davis stated that critics could not figure out how to categorize it, and he complained that the album was not promoted by the "traditional" jazz radio stations.[citation needed] After recording On the Corner, Davis put together a new group, with only Michael Henderson, Carlos Garnett, and percussionist Mtume returning from the previous band. It included guitarist Reggie Lucas, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. It was unusual in that none of the sidemen were major jazz instrumentalists; as a result, the music emphasized rhythmic density and shifting textures instead of individual solos. This group, which recorded in Philharmonic Hall for the album In Concert (1972), was unsatisfactory to Davis. Through the first half of 1973, he dropped the tabla and sitar, took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster ensemble would remain virtually intact over the next two years. Initially, Dave Liebman played saxophones and flute with the band; in 1974, he was replaced by Sonny Fortune.
|
||||
Big Fun (1974) was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, Get Up With It (1974) collected recordings from the previous five years. Get Up With It included "He Loved Him Madly", a tribute to Duke Ellington, as well as one of Davis's most lauded pieces from this era, "Calypso Frelimo". It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis albums: Dark Magus, Agharta, and Pangaea. Dark Magus captures a 1974 New York concert; the latter two are recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only Agharta was available in the US; Pangaea and Dark Magus were initially released only by CBS/Sony Japan. All three feature at least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic distortion devices; Dominique Gaumont is a third guitarist on Dark Magus), electric bass, drums, reeds, and Davis on electric trumpet and organ. These albums were the last he was to record for five years. Davis was troubled by osteoarthritis (which led to a hip replacement operation in 1976, the first of several), sickle-cell anemia, depression, bursitis, ulcers, and a renewed dependence on alcohol and drugs (primarily cocaine), and his performances were routinely panned by critics throughout late 1974 and early 1975. By the time the group reached Japan in February 1975, Davis was nearing a physical breakdown and required copious amounts of alcohol and narcotics to make it through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, during these concerts his trumpet playing "is of the highest and most adventurous order."[citation needed]
After a Newport Jazz Festival performance at Avery Fisher Hall in New York on July 1, 1975, Davis withdrew almost completely from the public eye for six years. As Gil Evans said, "His organism is tired. And after all the music he's contributed for 35 years, he needs a rest."[citation needed] In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as a hermit, his house as a wreck, and detailing his drug and sex addictions.[4] In 1976, Rolling Stone reported rumors of his imminent demise. Although he stopped practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at recording during his exile from performing; these sessions (one with the assistance of Paul Buckmaster and Gil Evans, who left after not receiving promised compensation) bore little fruit and remain unreleased. In 1979, he placed in the yearly top-ten trumpeter poll of Down Beat. Columbia continued to issue compilation albums and records of unreleased vault material to fulfill contractual obligations. During his period of inactivity, Davis saw the fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from retirement, Davis's musical descendants would be in the realm of New Wave rock, and in particular the styling of Prince.
Last decade (1981–91)[link]
By 1979, Davis had rekindled his relationship with actress Cicely Tyson. With Tyson, Davis would overcome his cocaine addiction and regain his enthusiasm for music. As he had not played trumpet for the better part of three years, regaining his famed embouchure proved to be particularly arduous. While recording The Man with the Horn (sessions were spread sporadically over 1979–1981), Davis played mostly wahwah with a younger, larger band.
The initial large band was eventually abandoned in favor of a smaller combo featuring saxophonist Bill Evans and bass player Marcus Miller, both of whom would be among Davis's most regular collaborators throughout the decade. He married Tyson in 1981; they would divorce in 1988. The Man with the Horn was finally released in 1981 and received a poor critical reception despite selling fairly well. In May, the new band played two dates as part of the Newport Jazz Festival. The concerts, as well as the live recording We Want Miles from the ensuing tour, received positive reviews.
By late 1982, Davis's band included French percussionist Mino Cinelu and guitarist John Scofield, with whom he worked closely on the album Star People. In mid-1983, while working on the tracks for Decoy, an album mixing soul music and electronica that was released in 1984, Davis brought in producer, composer and keyboardist Robert Irving III, who had earlier collaborated with him on The Man with the Horn. With a seven-piece band, including Scofield, Evans, keyboardist and music director Irving, drummer Al Foster and bassist Darryl Jones (later of The Rolling Stones), Davis played a series of European gigs to positive receptions. While in Europe, he took part in the recording of Aura, an orchestral tribute to Davis composed by Danish trumpeter Palle Mikkelborg.
You're Under Arrest, Davis's next album, was released in 1985 and included another brief stylistic detour. Included on the album were his interpretations of Cyndi Lauper's ballad "Time After Time", and "Human Nature" from Michael Jackson. Davis considered releasing an entire album of pop songs and recorded dozens of them, but the idea was scrapped. Davis noted that many of today's accepted jazz standards were in fact pop songs from Broadway theater, and that he was simply updating the "standards" repertoire with new material. 1985 also saw Davis guest-star on the TV show Miami Vice as pimp and minor criminal Ivory Jones in the episode titled "Junk Love" (first aired November 8, 1985).[43]
You're Under Arrest also proved to be Davis's final album for Columbia. Trumpeter Wynton Marsalis publicly dismissed Davis's more recent fusion recordings as not being "'true' jazz", comments Davis initially shrugged off, calling Marsalis "a nice young man, only confused". This changed after Marsalis appeared, unannounced, onstage in the midst of Davis's performance at the inaugural Vancouver International Jazz Festival in 1986. Marsalis whispered into Davis's ear that "someone" had told him to do so; Davis responded by ordering him off the stage.[44]
Davis grew irritated at Columbia's delay releasing Aura. The breaking point in the label-artist relationship appears to have come when a Columbia jazz producer requested Davis place a goodwill birthday call to Marsalis. Davis signed with Warner Bros. Records shortly thereafter.
Davis collaborated with a number of figures from the British new wave movement during this period, including Scritti Politti.[45] At the invitation of producer Bill Laswell, Davis recorded some trumpet parts during sessions for Public Image Ltd.'s Album, according to Public Image's John Lydon in the liner notes of their Plastic Box box set. In Lydon's words, however, "strangely enough, we didn't use (his contributions)." (Also according to Lydon in the Plastic Box notes, Davis favorably compared Lydon's singing voice to his trumpet sound.)[46]
Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, Tutu (1986), would be his first to use modern studio tools—programmed synthesizers, samples and drum loops—to create an entirely new setting for his playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches of Spain and won a Grammy in 1987.
He followed Tutu with Amandla, another collaboration with Miller and George Duke, plus the soundtracks to four movies: Street Smart, Siesta, The Hot Spot (with bluesman John Lee Hooker), and Dingo. He continued to tour with a band of constantly rotating personnel and a critical stock at a level higher than it had been for 15 years. His last recordings, both released posthumously, were the hip hop-influenced studio album Doo-Bop and Miles & Quincy Live at Montreux, a collaboration with Quincy Jones for the 1991 Montreux Jazz Festival in which Davis performed the repertoire from his 1940s and 1950s recordings for the first time in decades.
In 1988 he had a small part as a street musician in the film Scrooged, starring Bill Murray. In 1989, Davis was interviewed on 60 Minutes by Harry Reasoner. Davis received the Grammy Lifetime Achievement Award in 1990.
In early 1991, he appeared in the Rolf de Heer film Dingo as a jazz musician. In the film's opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the stunned locals. The performance was one of Davis's last on film.
Miles Davis died on September 28, 1991 from the combined effects of a stroke, pneumonia and respiratory failure in Santa Monica, California at the age of 65.[36] He is buried in Woodlawn Cemetery in The Bronx.[47]
Legacy and influence[link]
Miles Davis is regarded as one of the most innovative, influential and respected figures in the history of music. He has been described as “one of the great innovators in jazz”.[48] The Rolling Stone Encyclopedia of Rock & Roll noted "Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock. Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as music".[49] His album Kind of Blue is the best-selling album in the history of jazz music. On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the United States House of Representatives to recognize and commemorate the album on its 50th anniversary. The measure also affirms jazz as a national treasure and "encourages the United States government to preserve and advance the art form of jazz music."[50] It passed, unanimously, with a vote of 409–0 on December 15, 2009.[51]
Many well-known musicians rose to prominence as members of Davis's ensembles, including saxophonists Gerry Mulligan, John Coltrane, Cannonball Adderley, George Coleman, Wayne Shorter, Dave Liebman, Branford Marsalis and Kenny Garrett; trombonist J. J. Johnson; pianists Horace Silver, Red Garland, Wynton Kelly, Bill Evans, Herbie Hancock, Joe Zawinul, Chick Corea, Keith Jarrett and Kei Akagi; guitarists John McLaughlin, Pete Cosey, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus Miller and Darryl Jones; and drummers Elvin Jones, Philly Joe Jones, Jimmy Cobb, Tony Williams, Billy Cobham, Jack DeJohnette, and Al Foster.[citation needed]
As an innovative bandleader and composer, Miles Davis has influenced many notable musicians and bands from diverse genres. These include Wayne Shorter,[52] Cannonball Adderley,[53] Herbie Hancock,[54] Cassandra Wilson,[55] Lalo Schifrin,[56] Tangerine Dream,[57] Brand X, Mtume, Benny Bailey, Joe Bonner, Don Cherry, Urszula Dudziak, Sugizo, Bill Evans, Bill Hardman, The Lounge Lizards, Hugh Masekela, John McLaughlin, King Crimson, Steely Dan, Frank Zappa, Nile Rodgers, Duane Allman, Pink Floyd, Neil Young, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting,[58] Lonnie Liston Smith, Jiří Stivín, Tim Hagans, Julie Christensen, Jerry Garcia, David Grisman, Vassar Clements, Snooky Young, Prince, and Christian Scott.
Miles' influence on the people who played with him has been described by music writer and author Christopher Smith as follows:
Miles Davis' artistic interest was in the creation and manipulation of ritual space, in which gestures could be endowed with symbolic power sufficient to form a functional communicative, and hence musical, vocabulary. [...] Miles' performance tradition emphasized orality and the transmission of information and artistic insight from individual to individual. His position in that tradition, and his personality, talents, and artistic interests, impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of improvised performance.
His approach, owing largely to the African American performance tradition that focused on individual expression, emphatic interaction, and creative response to shifting contents, had a profound impact on generations of jazz musicians.[59]
In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music.[60] Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. In 2010, Moldejazz premiered a play called Driving Miles, which focused on a landmark concert Davis performed in Molde, Norway, in 1984.
Awards[link]
- Winner; Down Beat Reader's Poll Best Trumpet Player 1955
- Winner; Down Beat Reader's Poll Best Trumpet Player 1957
- Winner; Down Beat Reader's Poll Best Trumpet Player 1961
- Grammy Award for Best Jazz Composition Of More Than Five Minutes Duration for Sketches of Spain (1960)
- Grammy Award for Best Jazz Performance, Large Group Or Soloist With Large Group for Bitches Brew (1970)
- Grammy Award for Best Jazz Instrumental Performance, Soloist for We Want Miles (1982)
- Sonning Award for Lifetime Achievement In Music (1984; Copenhagen, Denmark)
- Doctor of Music, honoris causa (1986; New England Conservatory)
- Grammy Award for Best Jazz Instrumental Performance, Soloist for Tutu (1986)
- Grammy Award for Best Jazz Instrumental Performance, Soloist for Aura (1989)
- Grammy Award for Best Jazz Instrumental Performance, Big Band for Aura (1989)
- Grammy Lifetime Achievement Award (1990)
- Australian Film Institute Award for Best Original Music Score for Dingo, shared with Michel Legrand (1991)
- Knighted into the Legion of Honor (July 16, 1991; Paris)
- Grammy Award for Best R&B Instrumental Performance for Doo-Bop (1992)
- Grammy Award for Best Large Jazz Ensemble Performance for Miles & Quincy Live at Montreux (1993)
- Hollywood Walk of Fame Star (February 19, 1998)
- Rock and Roll Hall of Fame Induction (March 13, 2006)
- Hollywood's Rockwalk Induction (September 28, 2006)
- RIAA Quadruple Platinum for Kind of Blue
- St. Louis Walk of Fame
Discography[link]
Main article: Miles Davis discography
Filmography[link]
| Year | Film | Credited as | Role | Notes | ||
|---|---|---|---|---|---|---|
| Composer | Performer | Actor | ||||
| 1958 | Elevator to the Gallows | Yes | Yes | — | ||
| 1972 | Imagine | Yes | Himself | Cameo, uncredited | ||
| 1985 | Miami Vice | Yes | Ivory Jones | TV series (1 episode - "Junk Love") | ||
| 1986 | Crime Story | Yes | Jazz musician | Cameo, TV series (1 episode - "The War") | ||
| 1987 | Siesta | Yesa | Yes | — | ||
| 1988 | Scrooged | Yes | Yes | Street musician | Cameo | |
| 1992 | Dingo | Yesb | Yes | Yes | Billy Cross | One of Davis' last performances on film |
^a Only one song is composed by Miles Davis in cooperation with Marcus Miller ("Theme For Augustine").
^b Soundtrack is composed by Miles Davis in cooperation with Michel Legrand.
References[link]
- ^ Fadoir, Nick, "Jazz and Hip Hop: You Know, for Kids", The Big Green, Michigan State University, October 15, 2009.
- ^ Considine, J.D., "Jazz And Rap A Jarring Mix", The Baltimore Sun, July 6, 1992
- ^ Gerald Lyn, Early (1998). Ain't but a place: an anthology of African American writings about St. Louis. Missouri History Museum. p. 205. ISBN 1-883982-28-6.
- ^ a b c d e Miles Davis and Quincy Troupe, Miles: The Autobiography, Simon and Schuster, 1989, ISBN 0-671-63504-2.
- ^ a b Kahn, Ashley, Kind of Blue: The Making of the Miles Davis Masterpiece, Da Capo Press, 2001.
- ^ "See the Plosin session database". Plosin.com. 1946-10-18. http://www.plosin.com/milesAhead/Sessions.aspx?s=461018. Retrieved 2011-07-18.
- ^ On this occasion, Mingus bitterly criticized Davis for abandoning his "musical father" (see Autobiography).
- ^ "Miles, the bandleader. He took the initiative and put the theories to work. He called the rehearsals, hired the halls, called the players, and generally cracked the whip." Gerry Mulligan "I hear America singing"
- ^ "So I just told them that if a guy could play as good as Lee Konitz played—that's who they were mad about most, because there were a lot of black alto players around—I would hire him every time, and I wouldn't give a damn if he was green with red breath. I'm hiring a motherfucker to play, not for what color he is." Miles Davis, Autobiography
- ^ In his autobiography Davis recalls exploiting prostitutes and getting money from most of his friends.
- ^ In his autobiography, Davis says he never forgave Calloway for that interview. He also says that African Americans were being unfairly singled out as drug users among the larger community of jazz musicians who used drugs at the time.
- ^ Crawford, Mark, "Miles Davis: Evil genius of jazz", ''Ebony'' (January 1961) pp.69–74. Books.google.com. http://books.google.com/books?id=GyvbN5PqVCAC&pg=PA74&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=UGxITf-0Ooeg9ASw7vTXCA&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEUQ6AEwBA#v=onepage&q=Miles%20Davis%20Baker's%20Keyboard%20Lounge&f=false. Retrieved 2011-07-18.
- ^ Neisenson, Eric, ''Round About Midnight: A Portrait of Miles Davis'' Da Capo Press, 1996 ISBN 0-306-80684-3, ISBN 978-0-306-80684-1 pp 88–89. Books.google.com. http://books.google.com/books?id=_-MMx7OGSrQC&pg=PA88&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=jWVITc-lDInE8ASAg-ThCA&sa=X&oi=book_result&ct=result&resnum=2&ved=0CDQQ6AEwAQ#v=onepage&q&f=false. Retrieved 2011-07-18.
- ^ Davis, Miles and Troup, Quincy, ''Miles, the Autobiography'', Simon and Schuster, 1990 ISBN 0-671-72582-3, ISBN 978-0-671-72582-2 pp 173–174. Books.google.com. http://books.google.com/books?id=xgAVXHhuNYgC&pg=PA173&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=jWVITc-lDInE8ASAg-ThCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CC4Q6AEwAA#v=onepage&q&f=false. Retrieved 2011-07-18.
- ^ "Back in bebop, everybody used to play real fast. But I didn't ever like playing a bunch of scales and shit. I always tried to play the most important notes in the chord, to break it up. I used to hear all them musicians playing all them scales and notes and never nothing you could remember." Miles Davis, The Autobiography.
- ^ Open references to the blues in jazz playing were fairly recent. Until the middle of the 1930s, as Coleman Hawkins declared to Alan Lomax (The Land Where the Blues Began. New York: Pantheon, 1993), African American players working in white establishments would avoid references to the blues altogether.
- ^ Davis had asked Monk to "lay off" (stop playing) while he was soloing. In the autobiography, Davis says that Monk "could not play behind a horn". Charles Mingus reported this, and more, in his "Open Letter to Miles Davis".
- ^ Acquired by shouting at a record producer while still ailing after a recent operation to the throat – Autobiography
- ^ Davis began to be referred to as "the Prince of Darkness" in liner notes of the records of this period, and the moniker persists to this day; see, for instance, his obituary in The Nation, and countless references in DVD [1], movies [2] and print articles [3].
- ^ Some inspired by Ahmad Jamal: see, for instance, the performance of "Billy Boy" on Milestones.
- ^ Especially Jones and Coltrane, whom Davis both fired. Davis – Autobiography.
- ^ Cook, op. cit.
- ^ Carr, Ian (1999). Miles Davis: the definitive biography. Thunder's Mouth Press. pp. 192–93. ISBN 978-1-56025-241-2. http://books.google.com/books?id=BmtRIbly1RIC&pg=PA192.
- ^ Lees, Gene. You Can't Steal a Gift: Dizzy, Clark, Milt, and Nat. Yale University Press (2001), p. 24
- ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, p. 95.
- ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, , pp. 29–30, 74.
- ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, p. 95.
- ^ RIAA database – Gold & Platinum search item Kind of Blue. Recording Industry Association of America. Retrieved on October 17, 2008.
- ^ US politicians honour Miles Davis album. Radio Netherlands Worldwide
- ^ "US House of Reps honours Miles Davis album – ABC News (Australian Broadcasting Corporation)". Australian Broadcasting Corporation. December 16, 2009. http://www.abc.net.au/news/stories/2009/12/16/2773218.htm. Retrieved January 6, 2011.
- ^ "Taking care of Buddy : News-Record.com : Greensboro & the Triad's most trusted source for local news and analysis". News-Record.com. http://www.news-record.com/content/2009/10/17/article/taking_care_of_buddy. Retrieved January 6, 2011.
- ^ a b c d "Was Miles Davis beaten over blonde?". Baltimore Afro-American. September 1, 1959. http://news.google.com/newspapers?id=5JslAAAAIBAJ&sjid=SfUFAAAAIBAJ&dq=was%20miles%20davis%20beaten%20over%20blonde&pg=3151%2C5145962. Retrieved August 27, 2010.
- ^ "Jazz Trumpeter Miles Davis In Joust With Cops". Sarasota Journal. August 26, 1959. http://news.google.com/newspapers?id=3PQeAAAAIBAJ&sjid=4ooEAAAAIBAJ&pg=2499,2153156&dq=miles-davis+arrested&hl=en. Retrieved August 27, 2010.
- ^ Waters, Keith (2011). The Studio Recordings of the Miles Davis Quintet, 1965–68. Oxford University Press. pp. 257–258. ISBN 978-0-19-539383-5.
- ^ Christgau, Robert. Robert Christgau: CG: Miles Davis. Robert Christgau. Retrieved on 2011-07-03.
- ^ a b c "Miles Davis". The Rock and Roll Hall of Fame. The Rock and Roll Hall of Fame and Museum, Inc.. http://www.rockhall.com/inductee/miles-davis. Retrieved June 29, 2009.
- ^ Chambers, J. K. (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. pp. 246.. ISBN 0-306-80849-8.
- ^ Carr, Ian (1998). Miles Davis: The Definitive Biography. Thunder's Mouth Press. pp. 284, 303, 304, 306. ISBN 1-56025-241-3.
- ^ Tingen, Paul (Thursday, April 17, 2008 5:02:21 pm). "Miles Beyond: The Making of Bitches Brew". http://www.miles-beyond.com/bitchesbrew.htm. Retrieved June 29, 2009.
- ^ Freeman, Philip (November 1, 2005). Running the Voodoo Down: The Electric Music of Miles Davis. San Francisco, CA: Backbeat Books. pp. 83–84. ISBN 978-0-87930-828-5.
- ^ Kolosky, Walter (December 31, 2008). Miles Davis: Go Ahead John (part two C) – Jazz.com | Jazz Music – Jazz Artists – Jazz News. Jazz.com. Retrieved on April 3, 2011.
- ^ Freeman, Phil (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard Corporation. p. 92. ISBN 0-87930-828-1.
- ^ "Miami Vice" Junk Love (1985) at the Internet Movie Database
- ^ Miles: The Autobiography, Picador, p. 364.
- ^ Intro.de article (in German).
- ^ "Fodderstompf". Fodderstompf. March 10, 2009. http://www.fodderstompf.com/DISCOGRAPHY/LP/3albumLP.html. Retrieved January 6, 2011.
- ^ Latest activity 5 hours ago. "Dark Magus: The Jekyll and Hyde Life of Miles Davis (9780879308759): Gregory Davis, Les Sussman, Clark Terry: Books". Amazon.com. http://www.amazon.com/dp/0879308753. Retrieved January 6, 2011.
- ^ The Complete Jack Johnson Sessions Review. BBC
- ^ Miles David Biography. Rolling Stone Magazine
- ^ Associated Press article published December 15, 2009[dead link]
- ^ "House Resolution H.RES.894". Clerk.house.gov. 2009-12-15. http://clerk.house.gov/evs/2009/roll971.xml. Retrieved 2011-07-18.
- ^ Wayne Shorter: Artist Profile. Rolling Stone
- ^ Cannonball Adderley: Artist Profile. Rolling Stone
- ^ Herbie Hancock: Artist Profile. Rolling Stone
- ^ Traveling Miles. Jazz Times
- ^ Lalo Schifrin Biography. Allmusic
- ^ Tangerine Dream Biography. Allmusic
- ^ Sting Biography. Allmusic
- ^ Christopher Smith, "A Sense of the Possible. Miles Davis and the Semiotics of Improvised Performance". TDR, Vol. 39, No. 3 (Autumn, 1995), pp. 41–55.
- ^ NEC Honorary Doctor of Music Degree. New England Conservatory
Bibliography[link]
- Carr, Ian. Miles Davis. ISBN 0-00-653026-5.
- Chambers, Jack. Milestones: The Music and Times of Miles Davis. ISBN 0-306-80849-8.
- Cole, George. The Last Miles: The Music of Miles Davis 1980–1991. ISBN 1-904768-18-0.
- Cook, Richard (2007). "It's About That Time: Miles Davis On and Off Record". Oxford University Press. ISBN 978-0-19-532266-8
- Cook, Richard, and Brian Morton. Entry "Miles Davis" in Penguin Guide to Jazz, Penguin, ISBN 0-14-017949-6.
- Davis, Miles & Troupe, Quincy. Miles: The Autobiography. ISBN 0-671-63504-2.
- Davis, Gregory. Dark Magus: The Jekyll & Hyde Life of Miles Davis. ISBN 978-0-87930-875-9.
- Early, Gerald. Miles Davis and American Culture. ISBN 1-883982-37-5 cloth, ISBN 1-883982-38-3, paper.
- Szwed, John. So What: The Life of Miles Davis. ISBN 0-434-00759-5.
- Tingen, Paul. Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991. ISBN 0-8230-8360-8. [4]
- Mandel, Howard (2007). Miles, Ornette, Cecil: Jazz Beyond Jazz. Routledge. ISBN 0-415-96714-7.
External links[link]
 |
Wikiquote has a collection of quotations related to: Miles Davis |
|
Wikimedia Commons has media related to: Miles Davis |
- Miles Davis at Find A Grave
- Miles Davis – official website.
- Miles Davis – official Sony Music website.
- Miles Davis at Allmusic
- Miles Davis collected news and commentary at The New York Times
- Miles Davis collected news and commentary at The Guardian
- Works by or about Miles Davis in libraries (WorldCat catalog)
- Miles Davis's '70s: The Excitement! The Terror! — Robert Christgau, The Village Voice
|
||||||||
|
|||||||||||
| Persondata | |
|---|---|
| Name | Davis, Miles Dewey Davis III |
| Alternative names | |
| Short description | Jazz trumpeter |
| Date of birth | May 26, 1926 |
| Place of birth | Alton, Illinois |
| Date of death | September 28, 1991 |
| Place of death | Santa Monica, California |
http://wn.com/Miles_Davis
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Miles_Davis
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.
For other uses, see Shadow (disambiguation).
 |
This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (March 2012) |
| The Shadow | |
|---|---|
|
"Who knows what evil lurks...?" The Shadow as depicted on the cover of the July 15, 1939 issue of The Shadow Magazine. The story, "Death from Nowhere," was one of the magazine plots adapted for the legendary radio drama. |
|
| Publication information | |
| Publisher | Street & Smith Condé Nast |
| First appearance | Detective Story Hour (July 31, 1930)[1] (radio) "The Living Shadow" (April 1, 1931)[1] (print) |
| Created by | Walter B. Gibson |
| In-story information | |
| Alter ego | Kent Allard (print) Lamont Cranston (radio and film) |
| Notable aliases | Lamont Cranston (print) |
| Abilities |
In print: Able to make himself nearly invisible to the naked eye Can alter and control a person's thoughts and perceptions |
The Shadow is a collection of serialized dramas, originally in pulp magazines, then on 1930s radio and then in a wide variety of media, that follow the exploits of the title character, a crimefighting vigilante in the pulps, which carried over to the airwaves as a "wealthy, young man about town" with psychic powers.[2] One of the most famous pulp heroes of the 20th century, The Shadow has been featured in comic books, comic strips, television, video games, and at least five motion pictures. The radio drama is well-remembered for those episodes voiced by Orson Welles.
Introduced as a mysterious radio narrator by David Chrisman, William Sweets and Harry Engman Charlot for Street and Smith Publications, The Shadow was fully developed and transformed into a pop culture icon by pulp writer Walter B. Gibson.
The Shadow debuted on July 31, 1930, as the mysterious narrator of the Street and Smith radio program Detective Story Hour.[3] After gaining popularity among the show's listeners, the narrator became the star of The Shadow Magazine on April 1, 1931, a pulp series created and primarily written by the prolific Gibson.
Over the years, the character evolved. On September 26, 1937, The Shadow radio drama officially premiered with the story "The Deathhouse Rescue", in which the character had "the power to cloud men's minds so they cannot see him." This was a contrivance for the radio; in the magazine stories, The Shadow did not have the ability to become literally invisible.
The introduction from The Shadow radio program, long-intoned by actor Frank Readick Jr., has earned a place in the American idiom: "Who knows what evil lurks in the hearts of men? The Shadow knows!" These words were accompanied by an ominous laugh and a musical theme, Camille Saint-Saëns' Le Rouet d'Omphale ("Omphale's Spinning Wheel", composed in 1872). At the end of each episode, The Shadow reminded listeners, "The weed of crime bears bitter fruit. Crime does not pay.... The Shadow knows!"
Contents |
Publication history[link]
Detective Story Hour[link]
In order to boost the sales of their Detective Story Magazine, Street and Smith Publications hired David Chrisman of the Ruthrauff & Ryan advertising agency and writer-director William Sweets to adapt the magazine's stories into a radio series. Chrisman and Sweets felt the upcoming series should be narrated by a mysterious storyteller with a sinister voice, and began searching for a suitable name. One of their scriptwriters, Harry Engman Charlot, suggested various possibilities, such as "The Inspector" or "The Sleuth."[4] Charlot then proposed the ideal name for the phantom announcer: "... The Shadow."[4]
Thus, beginning on July 31, 1930,[1][5] "The Shadow" was the name given to the mysterious narrator of the Detective Story Hour. The narrator was voiced by James LaCurto[5] and, later, Frank Readick. The episodes were drawn from the Detective Story Magazine issued by Street and Smith, "the nation's oldest and largest publisher of pulp magazines."[5] Although the latter company had hoped the radio broadcasts would boost the declining sales of the Detective Story Magazine, the result was quite different. Listeners found the sinister announcer much more compelling than the unrelated stories. They soon began asking newsdealers for copies of "that Shadow detective magazine," even though it did not exist.[5]
Development[link]
Recognizing the demand and responding promptly, circulation manager Henry William Ralston of Street & Smith commissioned Walter B. Gibson to begin writing stories about "The Shadow." Using the pen name of Maxwell Grant and claiming that the stories were "from The Shadow's private annals as told to" him, Gibson wrote 282 out of 325 tales over the next 20 years: a novel-length story twice a month (1st and 15th). The first story produced was "The Living Shadow", published April 1, 1931.[5]
Gibson initially fashioned the character as a man with villainous characteristics, who used them to battle crime, and in this was the very first superhero in the modern century for modern times complete with a stylized imagery, a stylized name, sidekicks, supervillains, and a secret identity. Clad in black, The Shadow operated mainly after dark, burglarizing in the name of justice, and terrifying criminals into vulnerability before he or someone else gunned them down. The character was a film noir antihero in every sense; Gibson himself claimed the literary inspirations for The Shadow were Bram Stoker's Dracula and Edward Bulwer-Lytton's The House and the Brain.[4]
Because of the great effort involved in writing two full-length novels every month, several guest writers were hired to write occasional installments in order to lighten Gibson's work load. These guest writers included Lester Dent — who penned the Doc Savage stories — and Theodore Tinsley. In the late 1940s, mystery novelist Bruce Elliott (also a magician) would temporarily replace Gibson as the primary author of the pulp series.[6] Richard Edward Wormser, a reader for Street & Smith, wrote two Shadow stories.[7]
The Shadow Magazine ceased publication with the Summer 1949 issue, but Walter B. Gibson wrote three new "official" stories between 1963 and 1980. The first of these began a new series of nine updated Shadow novels from Belmont Books, starting with Return of The Shadow under his own by-line. But the remaining eight, The Shadow Strikes, Beware Shadow, Cry Shadow, The Shadow's Revenge, Mark of The Shadow, Shadow Go Mad, Night of The Shadow, and The Shadow, Destination: Moon, were not penned by Gibson but by Dennis Lynds under the "Maxwell Grant" byline. In these last eight novels, The Shadow was given psychic powers, including the radio character's ability "to cloud men's minds" so that he effectively became invisible, and was more of a spymaster than crime fighter.
Publications[link]
See List of The Shadow stories
Character development[link]
The character and look of The Shadow gradually evolved over his lengthy fictional existence.
As depicted in the pulps, The Shadow wore a black slouch hat and a black, crimson-lined cloak with an upturned collar over a standard black business suit. In the 1940s comic books, the later comic book series, and the 1994 film starring Alec Baldwin, he wore either the black slouch hat or a wide-brimmed, black fedora and a crimson scarf just below his nose and across his mouth and chin. Both the cloak and scarf covered either a black doubled-breasted trench coat or regular black suit. As seen in some of the later comics series, the hat and scarf would also be worn with either a black Inverness coat or Inverness cape.
But in the radio drama, which debuted in 1937, The Shadow became an invisible avenger who had learned, while "traveling through East Asia," "the mysterious power to cloud men's minds, so they could not see him." This revision of the character was born out of necessity: Time constraints of 1930s radio made it difficult to explain to listeners where The Shadow was hiding and how he was remaining concealed. Thus, the character was given the power to escape human sight. Voice effects were added to suggest The Shadow's seeming omnipresence.
In order to explain this power, The Shadow was described as a master of hypnotism, as explicitly stated in several radio episodes.
Background[link]
File:Shadow1livingshadow.JPG
"The Living Shadow" from The Shadow #1 (April 7, 1931)
In print, The Shadow's real name is Kent Allard, and he was a famed aviator who fought for the French during World War I. He became known by the alias of The Black Eagle, according to The Shadow's Shadow, 1933, although later stories revised this alias as The Dark Eagle beginning with The Shadow Unmasks, 1937. After the war, Allard seeks a new challenge and decides to wage war on criminals. Allard fakes his death in the South American jungles, then returns to the United States. Arriving in New York City, he adopts numerous identities to conceal his existence.
One of these identities—indeed, the best known—is Lamont Cranston, a "wealthy young man about town." In the pulps, Cranston is a separate character; Allard frequently disguises himself as Cranston and adopts his identity ("The Shadow Laughs," 1931). While Cranston travels the world, Allard assumes his identity in New York. In their first meeting, Allard/The Shadow threatens Cranston, saying that he has arranged to switch signatures on various documents and other means that will allow him to take over the Lamont Cranston identity entirely unless Cranston agrees to allow Allard to impersonate him when he is abroad. Terrified, Cranston agrees. The two men sometimes meet in order to impersonate each other ("Crime over Miami," 1940). Apparently, the disguise works well because Allard and Cranston bear something of a resemblance to each other ("Dictator of Crime," 1941).
His other disguises include businessman Henry Arnaud, who first appeared in Green Eyes, Oct. 1932, elderly gentleman Isaac Twambley, who first appeared in No Time For Murder, and Fritz, who first appeared in The Living Shadow, Apr. 1931; in this last disguise, he pretends to be a doddering old janitor who works at Police Headquarters in order to listen in on conversations.
The Shadow appears as Henry Arnaud in "Atoms of Death," "Buried Evidence," "Death Jewels," "Death Premium," "Death Ship," "Green Eyes," "House of Silence," "Murder Trail," "Quetzal," "Realm of Doom," "The Black Master," "The Blue Sphinx," "The Case of Congressman Coyd," "The Circle of Death," "The City of Doom," "The Condor," "The Embassy Murders," "The Five Chameleons," "The Ghost Murders," "The Man From Shanghai," "The Plot Master," "The Radium Murders," "The Romanoff Jewels," "The Seven Drops of Blood," "The Shadow Unmasks," "The Shadow's Shadow," and "Wizard of Crime."
The Shadow appears as Isaac Twambley in "No Time for Murder," "Guardians of Death," "Death Has Grey Eyes," "The Stars Promise Death," "Dead Man's Chest, and "The Magigal's Mystery."
The Shadow appears as Fritz in at least 23 Shadow novels: "The Living Shadow," "Hidden Death," "The Ghost Makers," "The Crime Clinic," "Crime Circus," "The Chinese Disks," "The Dark Death," "The Third Skull," "The Black Master," "The Voodoo Master," "The Third Shadow," "The Circle of Death," "The Sledge Hammer Crimes," "The Golden Masks," "The Ghost Murders," "Hills of Death," "The Hand," "The Racket's King," "The Green Hoods," "The Crime Ray," "The Getaway Ring," "Masters of Death," and "The Crystal Skull."
For the first half of The Shadow's tenure in the pulps, his past and identity are ambiguous, supposedly an intentional decision on Gibson's part. In The Living Shadow, a thug claims to have seen The Shadow's face, and thought he saw "a piece of white that looked like a bandage." In "The Black Master" and "The Shadow's Shadow," the villains both see The Shadow's true face, and they both remark that The Shadow is a man of many faces with no face of his own. It was not until the August 1937 issue, "The Shadow Unmasks," that The Shadow's real name is revealed.
Kent Allard appears as himself in at least twenty-eight Shadow novels: "The Shadow Unmasks," "The Yellow Band," "Death Turrets," "The Sealed Box," "The Crystal Buddha," "Hills of Death," "The Murder Master," "The Golden Pagoda," "Face of Doom," "The Racket's King," "Murder for Sale," "Death Jewels," "The Green Hoods," "Crime Over Boston," "The Dead Who Lived," "Shadow Over Alcatraz," "Double Death," "Silver Skull," "The Prince of Evil," "Masters of Death," "Xitli, God of Fire," "The Green Terror," "The Wasp Returns," "The White Column," "Dictator of Crime," "Crime out of Mind," "Crime Over Casco," and "Dead Man's Chest."
In the radio drama, the Allard secret identity was dropped for simplicity's sake. On the radio, The Shadow was only Lamont Cranston; he had no other aliases or disguises.
Supporting characters[link]
The Shadow has a network of agents who assist him in his war on crime. These include:
- Harry Vincent, an operative whose life he saved when Vincent tried to commit suicide.
- Moses "Moe" Shrevnitz, aka "Shrevvy," a cab driver who doubles as his chauffeur.
- Margo Lane, a socialite created for the radio drama and later introduced into the pulps.
- Clyde Burke, a newspaper reporter.
- Burbank, a radio operator who maintains contact between The Shadow and his agents.
- Cliff Marsland, a wrongly convicted ex-con who infiltrates gangs using his crooked reputation.
- Dr. Rupert Sayre, The Shadow's personal physician.
- Jericho Druke, a giant, immensely strong black man.
- Slade Farrow, who works with The Shadow to rehabilitate criminals.
- Miles Crofton, who sometimes pilots The Shadow's autogyro.
- Rutledge Mann, a stock-broker who collects information.
- Claude Fellows, the only agent of The Shadow ever to be killed, which he was in Gangdom's Doom, 1931.
- Hawkeye, a reformed underworld snoop who trails gangsters and other criminals.
- Myra Reldon, a female operative who uses the alias of Ming Dwan when in Chinatown.
- Dr. Roy Tam, The Shadow's contact man in New York's Chinatown.
Though initially wanted by the police, The Shadow also works with and through them; notably gleaning information from his many chats with Commissioners Ralph Weston and Wainright Barth (who is also Cranston's uncle), while at the Cobalt Club. Weston believes that Cranston is merely a rich playboy who dabbles in detective work. Another police contact is Detective Joe Cardona, a key character in many Shadow novels.
In contrast to the pulps, The Shadow radio drama limited the cast of major characters to The Shadow, Commissioner Weston, and Margo Lane, the last of whom was created specifically for the radio series, as it was believed the abundance of agents would make it difficult to distinguish between characters.[8] Clyde Burke and Moe Shrevnitz (identified only as "Shrevvy") made occasional appearances, but not as agents of The Shadow. Shrevvy was merely an acquaintance of Cranston and Lane, and occasionally Cranston's chauffeur.
Enemies[link]
The Shadow also faces a wide variety of enemies, ranging from kingpins and mad scientists to international spies and "super-villains," many of whom were predecessors to the rogues's galleries of comic super-heroes. Among The Shadow's recurring foes are Shiwan Khan (The Golden Master, Shiwan Khan Returns, and The Invincible Shiwan Khan)--who appears in the feature film portrayed by John Lone--The Voodoo Master (The Voodoo Master, The City of Doom, and Voodoo Trail), The Prince of Evil (The Prince of Evil, The Murder Genius, The Man Who Died Twice, and The Devil's Paymaster, all written by Theodore Tinsley), and The Wasp (The Wasp and The Wasp Returns).
The series also featured a myriad of one-shot villains, including The Red Envoy, The Death Giver, Gray Fist, The Black Dragon, Silver Skull, The Red Blot, The Black Falcon, The Cobra, Zemba, The Black Master, Five-Face, The Gray Ghost, and Dr. Z.
The Shadow also battles collectives of criminals, such as The Silent Seven, The Hand, The Salamanders, and The Hydra.
Radio program[link]
Orson Welles was the voice of The Shadow from September 1937 to October 1938. He was succeeded by Bill Johnstone.
In early 1930, Street & Smith Publications hired David Chrisman and Bill Sweets to adapt the Detective Story Magazine to radio format. Chrisman and Sweets felt the program should be introduced by a mysterious storyteller. A young scriptwriter, Harry Charlot, suggested the name of "The Shadow."[4] Thus, "The Shadow" premiered over CBS airwaves on July 31, 1930,[1] as the host of the Detective Story Hour,[5] narrating "tales of mystery and suspense from the pages of the premier detective fiction magazine."[5] The narrator was first voiced by James LaCurto,[5] but became a national sensation when radio veteran Frank Readick, Jr. assumed the role and gave it "a hauntingly sibilant quality that thrilled radio listeners."[5]
Early years[link]
Following a brief tenure as narrator of Street & Smith's Detective Story Hour, "The Shadow" character was used to host segments of The Blue Coal Radio Revue, playing on Sundays at 5:30 p.m. Eastern Standard Time. This marked the beginning of a long association between the radio persona and sponsor Blue Coal.
While functioning as a narrator of The Blue Coal Radio Revue, the character was recycled by Street & Smith in October 1931, to oddly serve as the storyteller of Love Story Hour.
In October 1932, the radio persona temporarily moved to NBC. Frank Readick again played the role of the sinister-voiced host on Mondays and Wednesdays, both at 6:30 p.m., with LaCurto taking occasional turns as the title character.
Readick returned as The Shadow to host a final CBS mystery anthology that fall. The series disappeared from CBS airwaves on March 27, 1935, due to Street & Smith's insistence that the radio storyteller be completely replaced by the master crime-fighter described in Walter B. Gibson's ongoing pulps.
Radio drama[link]
Street & Smith entered into a new broadcasting agreement with Blue Coal in 1937, and that summer Gibson teamed with scriptwriter Edward Hale Bierstadt to develop the new series. As such, The Shadow returned to network airwaves on September 26, 1937, over the new Mutual Broadcasting System. Thus began the "official" radio drama that many Shadow fans know and love, with 22-year-old Orson Welles starring as Lamont Cranston, a "wealthy young man about town." Once The Shadow joined Mutual as a half-hour series on Sunday evenings, the program did not leave the air until December 26, 1954.
Welles did not speak the signature line of "Who knows what evil lurks in the hearts of men?". Instead, Readick did, using a water glass next to his mouth for the echo effect. The famous catch phrase was accompanied by the strains of an excerpt from Opus 31 of the Camille Saint-Saëns classical composition, Le Rouet d'Omphale.
After Welles departed the show in 1938, Bill Johnstone was chosen to replace him and voiced the character for five seasons. Following Johnstone's departure, The Shadow was portrayed by such actors as Bret Morrison (the longest tenure, with 10 years in two separate runs), John Archer, and Steve Courtleigh.
The Shadow also inspired another radio hit, The Whistler, whose protagonist likewise knows "many things, for I walk by night. I know many strange tales, many secrets hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak".
Margo Lane[link]
Main article: Margo Lane
The radio drama also introduced female characters into The Shadow's realm, most notably Margo Lane (played by Agnes Moorehead, among others) as Cranston's love interest, crime-solving partner and the only person who knows his identity as The Shadow.[9] Four years later, the character was introduced into the pulp novels. Her sudden, unexplained appearance in the pulps annoyed readers and generated a flurry of hate mail printed in The Shadow Magazine's letters page.[9]
Lane was described as Cranston's "friend and companion" in later episodes, although the exact nature of their relationship was unclear. In the early scripts of the radio drama the character's name was spelled "Margot." The name itself was originally inspired by Margot Stevenson,[9] the Broadway ingénue who would later be chosen to voice Lane opposite Welles' Shadow during "the 1938 Goodrich summer season of the radio drama."[10] In the 1994 film in which Penelope Ann Miller portrayed the character, she is characterized as a telepath.
Comic strips, comic books, and graphic novels[link]
File:Shadowverngreene1.jpg
Walter Gibson's and Vernon Greene's The Shadow (August 12, 1940).
The Shadow has been adapted for the comics quite a few times; his first appearance was on June 17, 1940 as a syndicated daily newspaper comic strip offered by the Ledger Syndicate. The strip's story continuity was written by Walter B. Gibson, with plot lines adapted from the Shadow pulps, and the strip was illustrated by Vernon Greene. Due to pulp paper shortages and the growing amount of space required for war news from the European and Pacific fronts, the strip was canceled June 13, 1942. The Shadow daily was collected decades later in two comic book series from two different publishers (see below), first in 1988 and again in 1999.
To both cross-promote The Shadow and attract a younger audience to their other pulp magazines, Street & Smith published 101 issues of the comic book Shadow Comics from Vol. 1, #1 - Vol. 9, #5 (March 1940 - Sept. 1949).[11] A Shadow story led off each issue, with the remainder of the stories being strips based on other Street & Smith pulp heroes.
In Mad #4 (April–May 1953), The Shadow was spoofed by Harvey Kurtzman and Will Elder. Their character was called the Shadow' (with an apostrophe), which is short for Lamont Shadowskeedeeboomboom. In this satire, Margo Pain gets Shad, as she calls him, into various predicaments, including fights with gangsters and a piano falling on him from above. At the conclusion of the tale, after Margo is tricked into going inside an outhouse surrounded by wired-up dynamite, Shad is seen gleefully pushing down a detonator's plunger.
During the superhero revivial of the 1960s, Archie Comics published an eight-issue series, The Shadow (Aug. 1964 - Sept. 1965), under the company's Mighty Comics imprint. In the first issue, The Shadow depicted was loosely based on the radio version, but with blond hair. In issue #2 (Sept. 1964), the character was transformed into a campy, heavily muscled, green and blue costume-wearing superhero by writer Robert Bernstein (Jerry Siegel) and artist John Rosenberger.[12]
During the mid-1970s, DC Comics published an "atmospheric interpretation" of the character by writer Dennis O'Neil and artist Michael Kaluta[13] in a 12-issue series (Nov. 1973 - Sept. 1975). Kaluta drew issues 1-4 and 6 and was followed by Frank Robbins and then E. R. Cruz. Faithful to both the pulp-magazine and radio-drama character, the series guest-starred fellow pulp fiction hero The Avenger in issue #11.[14] The Shadow also appeared in DC's Batman #253 (Nov. 1973), in which Batman teams with an aging Shadow and calls the famous crime fighter his "greatest inspiration". In Batman #259 (Dec. 1974), Batman again meets The Shadow, and we learn The Shadow saved Bruce Wayne's life when the future Batman was a boy.
File:TheShadowComic01.jpg
DC Comics' The Shadow #1 (Nov. 1973). Cover art by Michael Kaluta.
The Shadow is also referenced in DC's Detective Comics #446 (1975), page 4, panel 2: Batman, out of costume and in disguise as an older night janitor, makes a crime fighting acknowledgement, in a (thought balloon) to the Shadow.
In 1986, another DC incarnation was created by Howard Chaykin. This four issue mini-series, also collected as a one-shot graphic novel (Shadow: Blood and Judgement), brought The Shadow into modern-day New York. While initially successful,[15] this version proved unpopular with traditional Shadow fans[16] because it depicted The Shadow using Uzi submachine guns and rocket launchers, as well as featuring a strong strain of black comedy and extreme violence throughout.[17]
The Shadow, set in our modern era, was continued the following year, in 1987, as a monthly DC comics series by writer Andy Helfer (editor of the mini-series), and was drawn primarily by artists Bill Sienkiewicz (issues 1-6) and Kyle Baker (issues 8-19 and two Shadow Annuals).
In 1988, O'Neil and Kaluta, with inker Russ Heath, returned to The Shadow with the Marvel Comics graphic novel The Shadow 1941: Hitler's Astrologer, set during World War II. This one-shot appeared in both hardcover and trade paperback editions.
The Vernon Greene/Walter Gibson Shadow newspaper comic strip from the early 1940s was finally collected by Malibu Graphics (Malibu Comics) under their Eternity Comics imprint, beginning with the first issue of Crime Classics dated July, 1988. Each cover was illustrated by Greene and colored by one of Eternity's colorists. A total of 13 issues appeared featuring just the black-and-white daily until the final issue, dated November, 1989. Some of the Shadow story lines were contained in one issue, while others were continued over into the next. When a Shadow story ended, another tale would begin in the same issue. This back-to-back format continued until the final 13th issue, when the strip story lines ended.
Dave Stevens' nostalgic comics series The Rocketeer contains a great number of pop culture references to the 1930s. Various characters from the Shadow pulps make appearances in the story line published in the Rocketeer Adventure Magazine, including The Shadow's famous alter ego Lamont Cranston. Two issues were published by Comico Comics in 1988 and 1989, but the third and final installment did not appear until years later, finally appearing in 1995 from Dark Horse Comics. All three issues were then collected by Dark Horse into a slick trade paperback titled The Rocketeer: Cliff's New York Adventure (ISBN 1-56971-092-9).
From 1989 to 1992, DC published a new Shadow series, The Shadow Strikes, written by Gerard Jones and Eduardo Barreto. This series was set in the 1930s and returned The Shadow to his pulp origins. During its run, it featured The Shadow's first team-up with Doc Savage, another very popular hero of the pulp magazine era. Both characters appeared together in a four-issue story line that crossed back and forth between each character's DC comic series. "The Shadow Strikes" often led The Shadow into encounters with well-known celebrities of the 1930s, such as Albert Einstein, Amelia Earhart, Charles Lindbergh, union organizer John L. Lewis, and Chicago gangsters Frank Nitti and Jake Guzik. In issue #7, The Shadow meets a radio announcer named Grover Mills — a character based on the young Orson Welles — who has been impersonating The Shadow on the radio. The character's name is taken from Grover's Mill, New Jersey, the name of the small town where the Martians land in Welles' famous 1938 radio broadcast of The War of the Worlds. When Shadow rights holder Conde Nast increased its licensing fee, DC concluded the series after 31 issues and one Annual; it became the longest running Shadow comic series since Street and Smith's original 1940s series.
During the early-to-mid-1990s, Dark Horse Comics acquired the comics rights to the Shadow from Conde Nast. It published the Shadow miniseries In The Coils of Leviathan (four issues) in 1993, and Hell's Heat Wave (three issues) in 1995. In the Coils of the Leviathan was later collected and issued by Dark Horse in 1994 as a trade paperback graphic novel. Both series were written by Joel Goss and Michael Kaluta, and drawn by Gary Gianni. A one-shot Shadow issue The Shadow and the Mysterious Three was also published by Dark Horse in 1994, again written by Joel Goss and Michael Kaluta, with Stan Manoukian and Vince Roucher taking over the illustration duties but working over Kaluta's layouts. A comics adaptation of the 1994 film The Shadow was published in two issues by Dark Horse as part of the movie's merchandising campaign. The script was by Goss and Kaluta and once again drawn from cover to cover by Kaluta. It was collected and published in England by Boxtree as a graphic novel tie-in for the film's British release. Emulating DC's earlier team-up, Dark Horse also published a two-issue mini-series in 1995 called The Shadow and Doc Savage. It was written by Steve Vance, and illustrated once again by Manoukian and Roucher. Of special note, both issues' covers were drawn by Rocketeer creator Dave Stevens. The final Dark Horse Shadow team-up was published in 1995. It was a single issue of Ghost and the Shadow, written by Doug Moench, pencilled by H. M. Baker, and inked by Bernard Kolle.
The Shadow made an uncredited cameo appearance in issue #2 of DC's 1996 four issue mini-series Kingdom Come. Those four issues were then collected into a single graphic novel in 1997. The Shadow appears in the nightclub scene standing in the background next to The Question and Rorschach.
The early 1940s Shadow newspaper daily strip was again put back into print, this time by Avalon Communications under their ACG Classix imprint. The Shadow daily began appearing in the first issue of Pulp Action comics. It carries no monthly date or issue number on the cover, only a 1999 copyright and a "Pulp Action #1" notation at the bottom of the inside cover. Each issue's cover is a colorized, partial comics panel blow-up, taken from one of the reprinted strips. The eighth issue uses for its cover a partial Shadow serial black-and-white movie still, with several hand-drawn alterations added. The first issue of Pulp Action is devoted entirely to reprinting the Shadow daily, but subsequent issues began offering back-up, non-Shadow stories of various page lengths in every issue. These Shadow strip reprints stopped with Pulp Action's eighth issue, never completing the daily's story lines; that last issue carries a 2000 copyright date.
In August 2011 Newsarama reported that Dynamite Entertainment had licensed the Shadow from Conde Nast and would be developing a new comic book series around the character.[18] The series, which is written by Garth Ennis and illustrated by Aaron Campbell, debuted on April 19, 2012 in comics shops and was also available for sale through various website sales outlets like eBay and Amazon.com; the Ennis story arc, set during the Shadow's original 1930s time period, will be featured in the first six issues. The first Dynamite issue was published with four different color covers and 8 special variants; including Retailer Incentive versions, regional comic shop specials, and even two offering limited, hand-drawn original cover sketches. This first issue was drawn by artists Alex Ross, Jae Lee, Howard Chaykin, and John Cassaday.[19]
Films[link]
The character has been adapted for several motion pictures.
[edit] The Shadow Strikes (1937)
The film The Shadow Strikes was released in 1937, starring Rod La Rocque in the title role. Lamont Cranston assumes the secret identity of "The Shadow" in order to thwart an attempted robbery at an attorney's office. Both The Shadow Strikes (1937) and its sequel, International Crime (1938), were released by Grand National Pictures.
[edit] International Crime (1938)
La Rocque returned the following year in International Crime. In this version, reporter Lamont Cranston is an amateur criminologist and detective who uses the name of "The Shadow" as a radio gimmick. Thomas Jackson portrayed Police Commissioner Weston, and Astrid Allwyn was cast as Phoebe Lane, Cranston's assistant.
[edit] The Shadow (1940)
A 15-chapter serial produced by Columbia Studios starring Victor Jory premiered in 1940. The Black Tiger is a criminal mastermind who has been sabotaging rail lines and factories across the United States, and Lamont Cranston must become his shadowy alter ego to uncover the fiend and halt his schemes.
[edit] The Shadow Returns (1946)
Low-budget motion picture studio Monogram produced a trio of films in 1946 starring Kane Richmond: The Shadow Returns, Behind the Mask and The Missing Lady. Richmond's Shadow wore a black face-mask similar to the type worn by the serial hero The Masked Marvel instead of his signature red scarf.
[edit] The Shadow (1994)
File:Shadowpost.jpg
Poster for The Shadow
Main article: The Shadow (1994 film)
In 1994 the character was adapted once again into a feature film, The Shadow, starring Alec Baldwin as Lamont Cranston, alongside Penelope Ann Miller as Margo Lane. As the film opens, Cranston has become the evil and corrupt Ying-Ko (literally "Eagle's Beak"), a brutal warlord and opium smuggler in early 1930s Mongolia. Ying Ko is kidnapped by agents of the mysterious tulku, who then begins to reform the warlord using the psychic power of his evolved mind to restore Cranston's humanity. The tulku also teaches him the ability to "cloud men's minds" using psychic power in order to fight evil in the world. Cranston eventually returns to his native New York City and takes up the guise of the mysterious Shadow, in payment to humanity for his past evil misdeeds: "Who knows what evil lurks in the hearts of men? The Shadow knows..."
His nemesis in the film is adapted from the pulp series' long-running Asian villain (and for the film, a fellow telepath), the evil Shiwan Khan (John Lone), the last descendant of Genghis Khan. He seeks to finish his ancestors' legacy of conquering the world by first destroying New York City, using a newly developed atomic bomb, in a show of his power. Khan nearly succeeds but is thwarted by the Shadow in a final psychic duel of death: Cranston imposes his Will and defeats Khan during a telekinetically enhanced battle in a mirrored room, which suddenly explodes into thousands of flying mirror fragments. Focusing his mind's telekinatic power, Cranston flips a flying piece of jagged mirror shard midair, and hurls it directly at Khan's forehead; this doesn't kill him, it only renders Khan unconscious. To both save the warlord and the world, the Shadow has arranged with one of his operatives, an administrative doctor at an unidentified New York asylum for the criminally insane, to have Khan locked away in a padded cell. Khan's mirror shard-damaged frontal lobe, which controlled his powers, has been surgically removed; he is now under the Shadow's control forever.
The film combined elements from the Shadow pulp novels and comic books with the aforementioned ability to cloud minds, described only on the radio show. The Shadow wears a large, red-lined black cloak, a long, red mouth and chin scarf, a black trench coat, and a wide-brimmed fedora; he is armed with dual .45 semi-automatic pistols, as in the pulps and the comics. The film also displays Cranston's ability to conjure a false face whenever he is in his Shadow guise, in keeping with his physical portrayal in the novels and the comics.
Upcoming film[link]
On December 11, 2006, the website SuperHero Hype reported that director Sam Raimi and Michael Uslan will co-produce a new Shadow film for Columbia Pictures.[20] After failing to gain the rights in the late 1980s, Raimi instead created an original character for the 1990 feature film, Darkman.
On October 16, 2007, Raimi stated that: "I don't have any news on 'The Shadow' at this time, except that the company that I have with Josh Donen, my producing partner, we've got the rights to 'The Shadow.' I love the character very much and we're trying to work on a story that'll do justice to the character."[21]
On January 29, 2010, it was reported[by whom?] that Sam Raimi was searching for a new project after it was announced that the Spider-Man movie franchise would be rebooted without him. The Shadow was said to be at the top of his list. Recently, it was incorrectly rumoured that David Slade will direct the upcoming film, with a release date of 2012.
On Thursday, August 5, 2010, it was reported that Quentin Tarantino - who was attached as a co-writer for the script - had been attached to direct as well.[22] However this would later be denied by an official representative of Tarantino who informed MTV News that "There is no truth to this story"[23]
TV series[link]
Two attempts were made to make a television series based on the character. The first in 1954 was called The Shadow, starring Tom Helmore as Lamont Cranston.
The second attempt in 1958 was called The Invisible Avenger, which compiled the first two unaired episodes and was released theatrically instead. This film was later re-released in 1962 as Bourbon Street Shadows, with additional footage meant to appeal to "adult" audiences.[citation needed] Starring Richard Derr as The Shadow, The Invisible Avenger centers upon Lamont Cranston investigating the murder of a New Orleans bandleader. The film is notable as the second directorial effort of James Wong Howe (one of the two episodes only).
Influence on superheroes[link]
Characters such as Batman[24] and the Green Hornet resemble Lamont Cranston's alter ego. Both characters operate mostly by night, and the Green Hornet in particular operates outside the law, insinuating himself into criminal plots in order to put an end to the activities of master criminals. But whereas the Shadow carries a real gun, the Green Hornet carries only a lightweight pistol that fires non-lethal gas.
When Bob Kane and Bill Finger first conceived of the "Bat-Man", Finger suggested they pattern the character after pulp mystery men such as the Shadow.[25] Finger then used "Partners of Peril"[26]—a Shadow pulp written by Theodore Tinsley—as the basis for Batman's debut story, "The Case of the Chemical Syndicate."[27] Finger later publicly acknowledged that "my first Batman script was a take-off on a Shadow story"[28] and that "Batman was originally written in the style of the pulps."[29] This influence was further evident with Batman showing little remorse over killing or maiming criminals and was not above using firearms.[29]
Alan Moore has credited The Shadow as one of the key influences for the creation of V, the title character in his DC Comics miniseries V for Vendetta,[30][31] that later became a big-budget film release in 2005 from Warner Bros.
See also[link]
- Condé Nast Publications, owner of The Shadow intellectual property
- Doctor Sax
- List of The Shadow episodes
Notes[link]
- ^ a b c d "History of The Shadow". http://www.fortunecity.com/meltingpot/kes/350/history.html. Retrieved 2008-01-11.
- ^ Stedman, Raymond William (1977). Serials: Suspense and Drama By Installment. University of Oklahoma Press. p. 154. ISBN 978-0-8061-1695-2. "The definite article in The Shadow's name was always capitalized in the pulp adventures"
- ^ "The Shadow: A Short Radio History". http://www.old-time.com/sights/shadow.html. Retrieved 2008-03-23.
- ^ a b c d Anthony Tollin. "Foreshadowings," The Shadow #5: The Salamanders and The Black Falcon; February 2007, Nostalgia Ventures.
- ^ a b c d e f g h i Tollin, Anthony (2006-06). "Spotlight on The Shadow". The Shadow #1: the Golden Vulture and Crime Insured (Nostalgia Ventures): 4–5.
- ^ "The Shadow in Review". http://www.spaceports.com/~deshadow/reviews/shadow321.html. Retrieved 2008-02-02.
- ^ p.28 Wormser, Richard & Skutch, Ira How to Become a Complete Non-Entity: A Memoir 2006 iUniverse
- ^ Tollin, Anthony (2007-02). "The Shadow on the Radio". The Shadow (Nostalgia Ventures) (#5: The Salamanders and The Black Falcon).
- ^ a b c Will Murray. "Introducing Margo Lane", p. 127, The Shadow #4: Murder Master and The Hydra; January 2007, Nostalgia Ventures.
- ^ Anthony Tollin. "Voices from the Shadows," p. 120, The Shadow #5: The Salamanders and The Black Falcon; February 2007, Nostalgia Ventures.
- ^ Grand Comics Database: Shadow Comics
- ^ Grand Comics Database: The Shadow (1964 series)
- ^ McAvennie, Michael; Dolan, Hannah, ed. (2010). "1970s". DC Comics Year By Year A Visual Chronicle. Dorling Kindersley. p. 157. ISBN 978-0-7566-6742-9. "Writer Denny O'Neil and artist Mike Kaluta presented their interpretation of writer Walter B. Gibson's pulp-fiction mystery man of the 1930s"
- ^ Grand Comics Database: The Shadow (1973 series)
- ^ "the series sold well -- earning an early graphic novel treatment and leading to an ongoing series by Andy Helfer, Bill Sienkiewicz and Kyle Baker". Kiel Phegley, Howard Chaykin: The Art of The Shadow. In Comic Book Resources, Feb. 28, 2012, page found 2012-03-30.
- ^ "... Simply for bucks because he has confessed in interviews that he never cared a gram about the character, auteur Howard Chaykin has taken The Shadow and turned him, in a four-issue mini-series, into a sexist, calloused, clearly psychopathic obscenity. Rather than simply ignoring characters from the Shadow's past, Chaykin has murdered them in full view... And when Mr. Chaykin was asked why he had this penchant for drawing pictures of thugs jamming .45's into the mouths of terrified women, Mr. Chaykin responded that the only readers who might object to this bastardization of a much-beloved fictional character were 'forty-year-old boys'. These comics bear the legend FOR MATURE READERS. For MATURE read DERANGED." Harlan Ellison, essay titled "In Which Youth Goeth Before A Fall", in The Magazine of Fantasy & Science Fiction, August 1986.
- ^ Chaykin, in an interview after the book came out, had this to say: "I thought the book was well received by the people I cared about. Comic book fandom is evenly divided between people who like comics in a general way and are fans of comics in general, and then there's an entire spade of juvenilists who attach themselves to the old joke about the Golden Age of comics. 'What's the Golden Age of comics? 12!' There's this tremendous idea that their tastes were formed and refined at 12, and frankly, I'm not interested in supporting that sensibility. By the same token, if I'm going to be doing a mature readers product, I don't feel the need to stand by the standards of a 12-year-old sensibility. I certainly feel the pain of the people who were offended by the material, but fuck 'em. Life is hard all over. I was hired to do a job, and I feel I did a pretty damn good job with the material I had to work with. I'm happy with the work. I know that I antagonize and piss people off, but it's fine. Who cares?" Kiel Phegley, Howard Chaykin: The Art of The Shadow. In Comic Book Resources, Feb. 28, 2012, page found 2012-03-30.
- ^ Siegel, Lucas (August 17, 2011). "Dynamite Returns THE SHADOW to Comics After 16-Year Hiatus" Newsarama.
- ^ Webb, Charles (January 19, 2012). "Interview: Garth Ennis and Aaron Campbell On Bringing 'The Shadow' To Dynamite". MTV Geek.
- ^ Columbia & Raimi Team Up on The Shadow
- ^ Rotten, Ryan (2007-10-16). "Sam Raimi on Spider-Man 4 and The Shadow". Superherohype.com. Coming Soon Media, ltd.. http://www.superherohype.com/news/topnews.php?id=6410. Retrieved 2008-07-28.
- ^ http://aintitcool.com/node/46041
- ^ http://splashpage.mtv.com/2010/08/04/is-quentin-tarantino-directing-the-shadow/
- ^ Boichel, Bill (1991). "Batman: Commodity as Myth." The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. London: Routledge. pp. 6–7. ISBN 0-85170-276-7.
- ^ Secret Origins of Batman (Part 1 of 3) - Retrieved on January 13, 2008.
- ^ The Shadow Vol. 9 - "Foreshadowing The Batman" - Retrieved on January 13, 2008.
- ^ Secret Origins of Batman (Part 2 of 3) - Retrieved on January 13, 2008.
- ^ Steranko, James (1972). The Steranko History of Comics. Crown Publishing Group. ISBN 0-7851-2116-1.
- ^ a b Daniels, Les (1999). Batman: The Complete History. Chronicle Books. p. 25. ISBN 0-8118-4232-0.
- ^ Moore, Alan (1990). V for Vendetta: Behind the Painted Smile. DC Comics.
- ^ Boudreaux, Madelyn (2006-10-17). "Annotation of References in Alan Moore's V For Vendetta". http://madelyn.utahunderground.net/vendetta/vendetta1.html. Retrieved 2008-07-28.
References[link]
- Cox, J. Randolph. Man of Magic & Mystery, A Guide to the Work of Walter B. Gibson, Scarecrow Press, 1998. ISBN 0-8108-2192-3. (Comprehensive history and career bibliography of Gibson's works.)
- Eisgruber, Jr., Frank. Gangland's Doom, The Shadow of the Pulps, Starmont House, 1985. ISBN 0-930261-74-7.
- Gibson, Walter B., Tollin, Anthony. The Shadow Scrapbook, Harcourt Brace Jovanovich, 1979. ISBN 0-15-681475-7. (Comprehensive history of The Shadow in all media forms up through the late 1970s.)
- Goulart, Ron. Cheap Thrills: An Informal History of the Pulp Magazine, Arlington House, 1972. ISBN 08700017228.
- Murray, Will. Duende History of the Shadow Magazine, Odyssey Publications, 1980. ISBN 0-933752-21-0.
- Overstreet, Robert. The Official Overstreet Comic Book Price Guide, 35th Edition., House of Collectibles, 2005. ISBN 0-375-72107-X. (Lists all Shadow comics published to date.)
- Sampson, Robert. The Night Master, Pulp Press, 1982. ISBN 0-934498-08-3.
- Shimfield, Thomas J. Walter B. Gibson and The Shadow. McFarland & Company, 2003. ISBN 0-7864-1466-9. (Comprehensive Walter Gibson biography with an emphasis on The Shadow.)
- Steranko, James. Steranko's History of the Comics, Vol. 1, Supergraphics, 1970. No ISBN.
- Steranko, James, (1972), Steranko's History of the Comics, Vol. 2, Supergraphics, 1972. No ISBN.
- Steranko, James. Unseen Shadows, Supergraphics, 1978. No ISBN. (Collection of Steranko's detailed black-and-white cover roughs, including alternate/unused versions, done for the Shadow novel reprints from Pyramid Books and Jove/HBJ.)
- Van Hise, James. The Serial Adventures of the Shadow, Pioneer Books, 1989. No ISBN.
External links[link]
- The Shadow: Master of Darkness
- The Shadow in Review
- The Shadow at the Internet Movie Database
- The Shadow at the Comic Book DB
|
|||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
http://wn.com/The_Shadow
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/The_Shadow
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.
| Herbie Hancock | |
|---|---|
 Hancock in concert at the Nice Jazz Festival 2010 |
|
| Background information | |
| Birth name | Herbert Jeffrey Hancock |
| Also known as | Herbie Hancock |
| Born | (1940-04-12) April 12, 1940 (age 72) Chicago, Illinois, United States |
| Genres | Jazz, bebop, post bop, jazz fusion, hard bop, jazz-funk, funk, R&B, electro funk, classical |
| Occupations | Musician, composer, bandleader |
| Instruments | Piano, synthesizer, organ, clavinet, keytar, vocoder |
| Years active | 1961–present |
| Labels | Columbia, Blue Note, Verve, Warner Bros. |
| Associated acts | Miles Davis Quintet, Jaco Pastorius, Joni Mitchell, Stevie Wonder |
| Website | www.herbiehancock.com |
Herbert Jeffrey "Herbie" Hancock (born April 12, 1940) is an American pianist, keyboardist, bandleader and composer.[1] As part of Miles Davis's Second Great Quintet, Hancock helped to redefine the role of a jazz rhythm section and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace music synthesizers and funk music (characterized by syncopated drum beats). Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel.
Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit". His 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award after Getz/Gilberto in 1965.
Hancock is a member of Sōka Gakkai International.[2][3]
On July 22, 2011 at a ceremony in Paris, Hancock was named UNESCO Goodwill Ambassador for the promotion of Intercultural Dialogue.
Contents |
Early life and career[link]
Hancock was born in Chicago, Illinois. Like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early. Considered a child prodigy,[4] he played the first movement of Mozart's Piano Concerto No. 5 at a young people's concert with the Chicago Symphony at age eleven.[5]
Through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the vocal group the Hi-Lo's. He reported that:
the time I actually heard the Hi-Lo's, I started picking that stuff out; my ear was happening. I could hear stuff and that's when I really learned some much farther-out voicings -like the harmonies I used on 'Speak Like a Child' -just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... He and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it came from.[6]
In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student.[7] Hancock often mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University. (He later graduated from Grinnell with degrees in electrical engineering and music. Grinnell also awarded him an honorary Doctor of Fine Arts degree in 1972).[5][8] Donald Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" (from Takin' Off) was to provide Mongo Santamaría with a hit single, but more importantly for Hancock, Takin' Off caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, a member of the new band.
Miles Davis quintet and Blue Note[link]
Hancock received considerable attention when, in May 1963,[5] he joined Miles Davis's Second Great Quintet. Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Tony Williams, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet would gel with Wayne Shorter on tenor saxophone. This quintet is often regarded as one of the finest jazz ensembles, and the rhythm section has been especially praised for its innovation and flexibility.
The second great quintet was where Hancock found his own voice as a pianist. Not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a unique taste for "orchestral" accompaniment – using quartal harmony and Debussy-like harmonies, with stark contrasts then unheard of in jazz. With Williams and Carter he wove a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes. In the later half of the sixties their approach became so sophisticated and unorthodox that conventional chord changes would hardly be discernible; hence their improvisational concept would become known as "Time, No Changes".
While in Davis's band, Hancock also found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Wayne Shorter, Tony Williams, Grant Green, Bobby Hutcherson, Sam Rivers, Donald Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard.
His albums Empyrean Isles (1964) and Maiden Voyage (1965) were to be two of the most famous and influential jazz LPs of the sixties, winning praise for both their innovation and accessibility (the latter demonstrated by the subsequent enormous popularity of the Maiden Voyage title track as a jazz standard, and by the jazz rap group US3 having a hit single with "Cantaloop" (derived from "Cantaloupe Island" on Empyrean Isles) some twenty five years later). Empyrean Isles featured the Davis rhythm section of Hancock, Carter and Williams with the addition of Freddie Hubbard on cornet, while Maiden Voyage also added former Davis saxophonist George Coleman (with Hubbard remaining on trumpet). Both albums are regarded as among the principal foundations of the post-bop style. Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles – My Point of View (1963), Speak Like a Child (1968) and The Prisoner (1969) featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of almost entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo "Chihuahua" Martinez.
During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup, the first of many soundtracks he recorded in his career.
Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted quickly to the new instruments, which proved to be instrumental in his future artistic endeavors.
Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, Hancock, despite his departure from the working band, continued to appear on Miles Davis records for the next few years. Noteworthy appearances include In a Silent Way, A Tribute to Jack Johnson and On the Corner.
[edit] Fat Albert and Mwandishi
Hancock left Blue Note in 1969, signing up with Warner Bros. Records. In 1969, Hancock composed the soundtrack for the Bill Cosby animated children's television show Fat Albert and the Cosby Kids. Titled Fat Albert Rotunda, the album was mainly an R&B-influenced album with strong jazz overtones. One of the jazzier songs on the record, "Tell Me A Bedtime Story", was later re-worked as a more electronic sounding song for the Quincy Jones album, Sounds...and Stuff Like That.
Hancock became fascinated with accumulating musical gadgets and toys. Together with the profound influence of Davis's Bitches Brew, this fascination would culminate in a series of albums in which electronic instruments are coupled with acoustic instruments.
Hancock's first ventures into electronic music started with a sextet comprising Hancock, bassist Buster Williams and drummer Billy Hart, and a trio of horn players: Eddie Henderson (trumpet), Julian Priester (trombone), and multireedist Bennie Maupin. Dr. Patrick Gleeson was eventually added to the mix to play and program the synthesizers. In fact, Hancock was one of the first jazz pianists to completely embrace electronic keyboards.[citation needed]
The sextet, later a septet with the addition of Gleeson, made three experimental albums under Hancock's name: Mwandishi (1971), Crossings (1972) (both on Warner Bros. Records), and Sextant (1973) (released on Columbia Records); two more, Realization and Inside Out, were recorded under Henderson's name with essentially the same personnel. The music often had very free improvisations and showed influence from the electronic music of some contemporary classical composers.
Synthesizer player Patrick Gleeson, one of the first musicians to play synthesizer on any jazz recording, introduced the instrument on Crossings, released in 1972, one of a handful of influential electronic jazz/fusion recordings to feature synthesizer that same year. On Crossings (as well as on I Sing the Body Electric), the synthesizer is used more as an improvisatory global orchestration device than as a strictly melodic instrument. This reflected Gleeson's (and Powell's) interest in contemporary European electronic music techniques and in the West Coast synthesis techniques of Morton Subotnick and other contemporaries, several of whom were resident at one time or another, as was Gleeson, at The Mills College Tape Music Center. An early review of Crossings in Downbeat magazine complained about the synthesizer, but a few years later the magazine noted in a cover story on Gleeson that he was "a pioneer" in the field of electronics in jazz. Gleeson used a modular Moog III for the recording of the album, but used an ARP 2600 synthesizer, and occasionally an ARP Soloist for the group's live performances. On Sextant Gleeson used the more compact ARP synthesizers instead of the larger Moog III for both studio and live performances. In the albums following The Crossings, Hancock started to play synth himself and unlike Gleeson, he plays it as a melodical and rhythm instrument just like electric pianos.
Hancock's three records released in 1971–1973, became later known as the "Mwandishi" albums, so-called after a Swahili name Hancock sometimes used during this era (Mwandishi is Swahili for writer). The first two, including Fat Albert Rotunda were made available on the 2-CD set Mwandishi: the Complete Warner Bros. Recordings, released in 1994, but are now sold as individual CD editions. Of the three electronic albums, Sextant is probably the most experimental since the Arp synthesizers are used extensively, and some advanced improvisation ("post-modal free impressionism") is found on the tracks "Hornets" and "Hidden Shadows" (which is in the meter 19/4). "Hornets" was later revised on the 2001 album Future2Future as "Virtual Hornets".
Among the instruments Hancock and Gleeson used were Fender Rhodes piano, ARP Odyssey, ARP 2600, ARP Pro Soloist Synthesizer, a Mellotron and the Moog synthesizer III.
All three Warner Bros. albums Fat Albert Rotunda, Mwandishi, and Crossings, were remastered in 2001 and released in Europe but were not released in the U.S.A. as of June 2005. In the Winter of 2006–7 a remastered edition of Crossings was announced and scheduled for release in the Spring.
[edit] Headhunters and Death Wish
See also: Head Hunters
After the sometimes "airy" and decidedly experimental "Mwandishi" albums, Hancock was eager to perform more "earthy" and "funky" music. The Mwandishi albums – though these days seen as respected early fusion recordings – had seen mixed reviews and poor sales, so it is probable that Hancock was motivated by financial concerns as well as artistic restlessness.[citation needed] Hancock was also bothered by the fact that many people did not understand avant-garde music. He explained that he loved funk music, especially Sly Stone's music, so he wanted to try to make funk himself.
He gathered a new band, which he called The Headhunters, keeping only Maupin from the sextet and adding bassist Paul Jackson, percussionist Bill Summers, and drummer Harvey Mason. The album Head Hunters, released in 1973, was a major hit and crossed over to pop audiences, though it prompted criticism from some jazz fans. Head Hunters was recorded at Different Fur studios.
Despite charges of "selling out", Stephen Erlewine of Allmusic positively reviewed the album among other friendly critics, saying, "Head Hunters still sounds fresh and vital three decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop."[9]
Mason was replaced by Mike Clark, and the band released a second album, Thrust, the following year. (A live album from a Japan performance, consisting of compositions from those first two Head Hunters releases was released in 1975 as Flood. The record has since been released on CD in Japan.) This was almost as well received as its predecessor, if not attaining the same level of commercial success. The Headhunters made another successful album (called Survival of the Fittest) without Hancock, while Hancock himself started to make even more commercial albums, often featuring members of the band, but no longer billed as The Headhunters. The Headhunters reunited with Hancock in 1998 for Return of the Headhunters, and a version of the band (featuring Jackson and Clark) continues to play live and record.
In 1973, Hancock composed his second masterful soundtrack to the controversial film The Spook Who Sat By The Door. Then in 1974, he also composed the soundtrack to the first Death Wish film. One of his memorable songs, "Joanna's Theme", would later be re-recorded in 1997 on his duet album with Wayne Shorter 1 + 1.
Hancock's next jazz-funk albums of the 1970s were Man-Child (1975), and Secrets (1976), which point toward the more commercial direction Hancock would take over the next decade. These albums feature the members of the 'Headhunters' band, but also a variety of other musicians in important roles.
[edit] Back to the basics: VSOP and Future Shock
During late 1970s and early 1980s, Hancock toured with his "V.S.O.P." quintet, which featured all the members of the 1960s Miles Davis quintet except Davis, who was replaced by trumpet giant Freddie Hubbard. There was constant speculation that one day Davis would reunite with his classic band, but he never did so. VSOP recorded several live albums in the late 1970s, including VSOP (1976), and VSOP: The Quintet (1977).
In 1978, Hancock recorded a duet with Chick Corea, who had replaced him in the Miles Davis band a decade earlier. He also released a solo acoustic piano album titled The Piano (1978), which, like so many Hancock albums at the time, was initially released only in Japan. (It was finally released in the US in 2004.) Several other Japan-only releases have yet to surface in the US, such as Dedication (1974), VSOP: Tempest in the Colosseum (1977), and Direct Step (1978). Live Under the Sky was a VSOP album remastered for the US in 2004, and included an entire second concert from the July 1979 tour.
From 1978–1982, Hancock recorded many albums consisting of jazz-inflected disco and pop music, beginning with Sunlight (featuring guest musicians including Tony Williams and Jaco Pastorius on the last track) (1978). Singing through a vocoder, he earned a British hit,[10] "I Thought It Was You", although critics were unimpressed.[11] This led to more vocoder on the 1979 follow-up, Feets, Don't Fail Me Now, which gave him another UK hit in "You Bet Your Love".[10] Albums such as Monster (1980), Magic Windows (1981), and Lite Me Up (1982) were some of Hancock's most criticized and unwelcomed albums, the market at the time being somewhat saturated with similar pop-jazz hybrids from the likes of former bandmate Freddie Hubbard. Hancock himself had quite a limited role in some of those albums, leaving singing, composing and even producing to others. Mr. Hands (1980) is perhaps the one album during this period that was critically acclaimed. To the delight of many fans, there were no vocals on the album, and one track featured Jaco Pastorius on bass. The album contained a wide variety of different styles, including a disco instrumental song, a Latin-jazz number and an electronic piece in which Hancock plays alone with the help of computers.
Hancock also found time to record more traditional jazz while creating more commercially oriented music. He toured with Tony Williams and Ron Carter in 1981, recording Herbie Hancock Trio, a five-track live album released only in Japan. A month later, he recorded Quartet with Wynton Marsalis, released in the US the following year. Hancock, Williams and Carter toured internationally with Wynton and his brother Branford Marsalis in what was affectionately known as "VSOP II". This quintet can be heard on Marsalis' debut album on Columbia (1981). In 1982 he contributed to the Simple Minds album New Gold Dream (81,82,83,84), playing a synthesizer solo on the track "Hunter and The Hunted".
In 1983, Hancock had a mainstream hit with the Grammy-award winning instrumental single "Rockit" from the album Future Shock. It was perhaps the first mainstream single to feature scratching, and also featured an innovative animated music video which was directed by Godley and Creme and showed several robot-like artworks by Jim Whiting. The video was a hit on MTV and reached No.8 in the UK.[12] The video won five different categories at the inaugural MTV Video Music Awards. This single ushered in a collaboration with noted bassist and producer Bill Laswell. Hancock experimented with electronic music on a string of three LPs produced by Laswell: Future Shock (1983), Sound-System (1984) and Perfect Machine (1988). Despite the success of "Rockit", Hancock's trio of Laswell-produced albums (particularly the latter two) are among the most critically derided of his entire career, perhaps even more so than his erstwhile pop-jazz experiments. Hancock's level of actual contribution to these albums was also questioned, with some critics contending that the Laswell albums should have been labelled "Bill Laswell featuring Herbie Hancock".
During this period, he appeared onstage at the Grammy awards with Stevie Wonder, Howard Jones, and Thomas Dolby, in a famous synthesizer jam (The video on Youtube can be found here.). Lesser known works from the 1980s are the live album Jazz Africa and the studio album Village Life (1984), which were recorded with Gambian kora player Foday Musa Suso.[13] Also, in 1985 Hancock performed as a guest on the album So Red The Rose by the Duran Duran offshoot group Arcadia. He also provided introductory and closing comments for the PBS rebroadcast in the United States of the BBC educational series from the mid-1980s, Rockschool (not to be confused with the most recent Gene Simmons' Rock School series).
In 1986, Hancock performed and acted in the film 'Round Midnight. He also wrote the score/soundtrack, for which he won an Academy Award for Original Music Score. Often he would write music for TV commercials. "Maiden Voyage", in fact, started out as a cologne advertisement. At the end of the Perfect Machine tour, Hancock decided to leave Columbia Records after a 15-plus-year relationship.
As of June 2005, almost half of his Columbia recordings have been remastered. The first three US releases, Sextant, Head Hunters and Thrust as well as the last four releases Future Shock, Sound-System, the soundtrack to Round Midnight and Perfect Machine. Everything released in America from Man-Child to Quartet has yet to be remastered. Some albums, made and initially released in the US, were remastered between 1999 and 2001 in other countries such as Magic Windows and Monster. Hancock also re-released some of his Japan-only releases in the West, such as The Piano.
1990s and later[link]
After leaving Columbia, Hancock took a break. Then, with friends Ron Carter, Tony Williams, Wayne Shorter, and Davis admirer Wallace Roney, they recorded A Tribute to Miles, which was released in 1994. The album contained two live recordings and studio recording classics, with Roney playing Davis's part as trumpet player. The album won a Grammy for best group album. He also toured with Jack DeJohnette, Dave Holland and Pat Metheny in 1990 on their Parallel Realities tour, which included a memorable performance at the Montreux Jazz Festival in July 1990.
Hancock's next album, Dis Is Da Drum, released in 1994, saw him return to Acid Jazz. Also in 1994, he appeared on the Red Hot Organization's compilation album Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African-American community, was heralded as "Album of the Year" by Time Magazine.
1995's The New Standard found Hancock and an all-star band including John Scofield, Jack DeJohnette and Michael Brecker interpreting pop songs by Nirvana, Stevie Wonder, The Beatles, Prince, Peter Gabriel and others. A 1997 duet album with Wayne Shorter entitled 1 + 1 was successful, the song "Aung San Suu Kyi" winning the Grammy Award for Best Instrumental Composition. Hancock also achieved great success in 1998 with his album Gershwin's World, which featured inventive readings of George and Ira Gershwin standards by Hancock and a plethora of guest stars, including Stevie Wonder, Joni Mitchell and Shorter. Hancock toured the world in the support of Gershwin's World with a sextet that featured Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson.
In 2001, Hancock recorded Future2Future, which reunited Hancock with Bill Laswell and featured doses of electronica as well as turntablist Rob Swift of The X-Ecutioners. Hancock later toured with the band, and released a live concert DVD with a different lineup which also included the "Rockit" music video. Also in 2001, Hancock partnered with Michael Brecker and Roy Hargrove to record a live concert album saluting Davis and John Coltrane entitled Directions in Music: Live at Massey Hall, recorded live in Toronto. The threesome toured to support the album, and toured on and off through 2005.
The year 2005 saw the release of a duet album called Possibilities. It features duets with Carlos Santana, Paul Simon, Annie Lennox, John Mayer, Christina Aguilera, Sting and others. In 2006, Possibilities was nominated for Grammy awards in two categories: "A Song For You", featuring Christina Aguilera was nominated for a Grammy Award for Best Pop Instrumental Performance, and "Gelo No Montanha", featuring Trey Anastasio on guitar, was nominated for a Grammy Award for Best Instrumental Performance. Neither nomination resulted in an award.
Also in 2005, Hancock toured Europe with a new quartet that included Beninese guitarist Lionel Loueke, and explored textures ranging from ambient to straight jazz to African music. Plus, during the summer of 2005, Hancock re-staffed the famous Headhunters and went on tour with them, including a performance at The Bonnaroo Music & Arts Festival.
File:Herbie Hancock 2005.JPG
Hancock playing at the XM Sonic Stage at The Bonnaroo Music & Arts Festival
However, this lineup did not consist of any of the original Headhunters musicians. The group included Marcus Miller, Terri Lyne Carrington, Lionel Loueke and John Mayer. Hancock also served as the first artist in residence for Bonnaroo that summer.
Also in 2006, Sony BMG Music Entertainment (which bought out Hancock's old label, Columbia Records) released the two-disc retrospective The Essential Herbie Hancock. This two-disc set is the first compilation of Herbie's work at Warner Bros. Records, Blue Note Records, Columbia and at Verve/Polygram. This became Hancock's second major compilation of work since the 2002 Columbia-onlyThe Herbie Hancock Box, which was released at first in a plastic 4x4 cube then re-released in 2004 in a long box set. Hancock also in 2006, recorded a new song with Josh Groban and Eric Mouquet (co-founder of Deep Forest) entitled "Machine". It is featured on Josh Groban's CD Awake. Hancock also recorded and improvised with guitarist Lionel Loueke on Loueke's debut album Virgin Forest on the ObliqSound label in 2006, resulting in two improvisational tracks "Le Réveil des Agneaux (The Awakening of the Lambs)" and "La Poursuite du lion (The Lion's Pursuit)".
Hancock, a longtime associate and friend of Joni Mitchell released a 2007 album, River: The Joni Letters, that paid tribute to her work. Norah Jones and Tina Turner recorded vocals,[14] as did Corinne Bailey Rae, and Leonard Cohen contributed a spoken piece set to Hancock's piano. Mitchell herself also made an appearance. The album was released on September 25, simultaneously with the release of Mitchell's album Shine.[15] "River" was nominated for and won the 2008 Album of the Year Grammy Award, only the second jazz album ever to receive either honor. The album also won a Grammy for Best Contemporary Jazz Album, and the song "Both Sides Now" was nominated for Best Instrumental Jazz Solo.
Recently Hancock performed at the Shriner's Children's Hospital Charity Fundraiser with Sheila E, Jim Brickman, Kirk Whalum and Wendy Alane Wright.
His latest work includes assisting the production of the Kanye West track "RoboCop", found on 808s & Heartbreak.
On June 14, 2008, Hancock performed at Rhythm on the Vine at the South Coast Winery in Temecula, California, for Shriners Hospital for Children. Other performers at the event, that raised $515,000 for Shriners Hospital, were contemporary music artist Jim Brickman, and Sheila E. & the E. Family Band.[16]
On January 18, 2009, Hancock performed at the We Are One concert, marking the start of inaugural celebrations for American President Barack Obama.[17] Hancock also performed the Rhapsody in Blue at the 2009 Classical BRIT Awards with classical pianist Lang Lang. Hancock was named as the Los Angeles Philharmonic's creative chair for jazz for 2010–12.[18] In June 2010, Hancock released his newest album, The Imagine Project.
On June 5, 2010, Hancock received an Alumni Award from his alma mater, Grinnell College.[19]
Discography[link]
Main article: Herbie Hancock discography
| Title | Year | Label | ||
|---|---|---|---|---|
| Takin' Off | 1962 | Blue Note | ||
| My Point of View | 1963 | Blue Note | ||
| Inventions and Dimensions | 1963 | Blue Note | ||
| Empyrean Isles | 1964 | Blue Note | ||
| Maiden Voyage | 1965 | Blue Note | ||
| Blow-Up (Soundtrack) | 1966 | MGM | ||
| Speak Like a Child | 1968 | Blue Note | ||
| The Prisoner | 1969 | Blue Note | ||
| Fat Albert Rotunda | 1969 | Warner Bros. | ||
| Mwandishi | 1970 | Warner Bros. | ||
| He Who Lives In Many Places (with bassist Terry Plumeri) | 1971 | Airborne. | ||
| Crossings | 1972 | Warner Bros. | ||
| Sextant | 1973 | Columbia | ||
| Head Hunters | 1973 | Columbia | ||
| Thrust | 1974 | Columbia | ||
| Death Wish (Soundtrack) | 1974 | Columbia | ||
| Dedication | 1974 | Columbia | ||
| Man-Child | 1975 | Columbia | ||
| Flood (Live album) | 1975 | Columbia | ||
| Secrets | 1976 | Columbia | ||
| VSOP (Live album) | 1976 | Columbia | ||
| Herbie Hancock Trio | 1977 | Columbia | ||
| VSOP: The Quintet (Live album) | 1977 | Columbia | ||
| VSOP: Tempest in the Colosseum (Live album) | 1977 | Columbia | ||
| Sunlight | 1977 | Columbia | ||
| Directstep | 1978 | Columbia | ||
| An Evening with Herbie Hancock & Chick Corea: In Concert (Live album with Chick Corea) | 1978 | Columbia | ||
| The Piano | 1979 | Columbia | ||
| Feets, Don't Fail Me Now | 1979 | Columbia | ||
| VSOP: Live Under the Sky (Live album) | 1979 | Columbia | ||
| CoreaHancock (Live album with Chick Corea) | 1979 | Polydor | ||
| Monster | 1980 | Columbia | ||
| Mr. Hands | 1980 | Columbia | ||
| Herbie Hancock Trio | 1981 | Columbia | ||
| Magic Windows | 1981 | Columbia | ||
| Lite Me Up | 1982 | Columbia | ||
| Quartet (Live album) | 1982 | Columbia | ||
| Future Shock | 1983 | Columbia | ||
| Sound-System | 1984 | Columbia | ||
| Village Life (with Foday Musa Suso) | 1985 | Columbia | ||
| Round Midnight (Soundtrack) | 1986 | Columbia | ||
| Jazz Africa (Live album with Foday Musa Suso) | 1987 | Polygram | ||
| Perfect Machine | 1988 | Columbia | ||
| A Tribute to Miles | 1994 | Qwest/Warner Bros. | ||
| Dis Is Da Drum | 1994 | Verve/Mercury | ||
| The New Standard | 1995 | Verve | ||
| 1 + 1 (with Wayne Shorter) | 1997 | Verve | ||
| Gershwin's World | 1998 | Verve | ||
| Future2Future | 2001 | Transparent | ||
| Directions in Music: Live at Massey Hall (Live album) | 2002 | Verve | ||
| Possibilities | 2005 | Concord/Hear Music | ||
| De Luxe (Unofficial) | 2005 | Leader Music (Argentina) | ||
| River: The Joni Letters | 2007 | Verve | ||
| Then and Now: the Definitive Herbie Hancock | 2008 | Verve | ||
| The Imagine Project | 2010 | Hancock |
Filmography[link]
As a Leader[link]
- 2000: Dejohnette, Hancock, Holland and Metheny – Live in Concert
- 2002: Herbie Hancock Trio: Hurricane! with Ron Carter and Billy Cobham[20]
- 2002: The Jazz Channel Presents Herbie Hancock (BET on Jazz) with Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson (recorded in 2000)
- 2004: Herbie Hancock – Future2Future Live
- 2006: Herbie Hancock – Possibilities with John Mayer, Christina Aguilera, Joss Stone, and more
Awards[link]
Academy Awards[link]
- 1986, Original Soundtrack, for Round Midnight
Grammy Awards[link]
- 1984, Best R&B Instrumental Performance, for Rockit
- 1985, Best R&B Instrumental Performance, for Sound-System
- 1988, Best Instrumental Composition, for Call Sheet Blues
- 1995, Best Jazz Instrumental Performance, Individual Or Group, for A Tribute to Miles
- 1997, Best Instrumental Composition, for Manhattan (Island Of Lights And Love)
- 1999, Best Instrumental Arrangement Accompanying Vocal(s), for St. Louis Blues
- 1999, Best Jazz Instrumental Performance, Individual Or Group, for Gershwin's World
- 2003, Best Jazz Instrumental Album, Individual or Group, for Directions in Music: Live at Massey Hall
- 2003, Best Jazz Instrumental Solo, for My Ship
- 2005, Best Jazz Instrumental Solo, for Speak Like a Child
- 2008, Album of the Year, for River: The Joni Letters
- 2008, Best Contemporary Jazz Album, for River: The Joni Letters
- 2011, Best Improvised Jazz Solo, for A Change Is Gonna Come
- 2011, Best Pop Collaboration with Vocals, for Imagine
Playboy Music Poll[link]
- Best Jazz Group, 1985
- Best Jazz Keyboards, 1985
- Best Jazz Album – Rockit, 1985
- Best Jazz Keyboards, 1986
- Best R&B Instrumentalist, 1987
- Best Jazz Instrumentalist, 1988
Keyboard Magazine's Readers Poll[link]
- Best Jazz & Pop Keyboardist, 1983
- Best Jazz Pianist, 1987
- Best Jazz Keyboardist, 1987
- Best Jazz Pianist, 1988
Other notable awards[link]
- MTV Awards (5 awards in total) – Best Concept Video – Rockit, 1983–84
- Gold Note Jazz Awards – NY Chapter of the National Black MBA Association, 1985
- French Award Officer of the Order of Arts & Letters - Paris, 1985
- BMI Film Music Award Round Midnight, 1986
- U.S. Radio Award "Best Original Music Scoring – Thom McAnn Shoes", 1986
- Los Angeles Film Critics Association "Best Score – Round Midnight", 1986
- BMI Film Music Award Colors, 1989
- Miles Davis Award, granted by the Montreal International Jazz Festival, 1997
- Soul Train Music Award "Best Jazz Album – The New Standard", 1997
- Festival International Jazz de Montreal Prix Miles Davis, 1997
- VH1's 100 Greatest Videos Rockit is "10th Greatest Video", 2001
- NEA Jazz Masters Award, 2004
- Downbeat Magazine Readers Poll Hall of Fame, 2005
References[link]
- ^ "Herbie Hancock (American musician)". Encyclopædia Britannica. http://www.britannica.com/EBchecked/topic/254052/Herbie-Hancock. Retrieved February 1, 2012.
- ^ Reiss, Valerie. "Beliefnet Presents: Herbie Hancock on Buddhism, Buddhist, Jazz, Music". Beliefnet.com. http://www.beliefnet.com/Faiths/Buddhism/2007/10/Herbie-Fully-Buddhist.aspx. Retrieved 2011-10-22.
- ^ Burk, Greg (February 24, 2008). "He's still full of surprises". The Los Angeles Times. http://articles.latimes.com/2008/feb/24/entertainment/ca-hancock24.
- ^ Hentz, Stefan (August 3, 2010). "Herbie Hancock interview". The Daily Telegraph. http://www.telegraph.co.uk/culture/music/worldfolkandjazz/7924263/Herbie-Hancock-interview.html. Retrieved February 1, 2012.
- ^ a b c Dobbins, Bill and Kernfeld, Barry. "Herbie Hancock", Grove Music Online, ed. L. Macy (accessed February 19 2007), grovemusic.com (subscription access).
- ^ Coryell, Julie and Friedman, Laura (2000). Jazz-rock fusion, the people, the music. Hal Leonard Corporation. p. 204. ISBN 0-7935-9941-5. http://books.google.com/books?id=XwWdk3x9u28C.
- ^ "CHRIS ANDERSON". Review of Love Locked Out. Mapleshade Music. http://www.mapleshaderecords.com/cds/56922.php. Retrieved July 1, 2010.
- ^ The tune Dr Honoris Causa written by Joe Zawinul and performed by Cannonball Adderley's quintet is an ironic celebration of the honorary degree.
- ^ Erlewine, Stephen Thomas (2010). "Headhunters Herbie Hancock". Allmusic review of Headhunters. http://www.allmusic.com/album/r140166/review. Retrieved July 1, 2010.
- ^ a b Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 242. ISBN 1-904994-10-5.
- ^ "Herbie Hancock". Warr.org. http://www.warr.org/hancock.html. Retrieved 2011-10-22.
- ^ Brown, T. Kutner, J. & Warwick, N. The Complete Book of the British Charts. Omnibus Press (ISBN 0711990751), 2002, p.447
- ^ http://www.pandora.com/music/artist/3feb50074a703d1a
- ^ Andre Mayer (June 18, 2007). "Key figure: An interview with jazz legend Herbie Hancock". CBC News. http://www.cbc.ca/arts/music/hancock.html. Retrieved September 11, 2007.
- ^ JoniMitchell.com
- ^ Shriners Hospitals for Children, "About Rhythm on the Vine", Rhythm on the Vine, 2008.
- ^ "Obama: People Who Love This Country Can Change It". Foxnews. January 18, 2009. http://www.foxnews.com/politics/2009/01/18/obama-family-arrives-concert-lincoln-memorial/. Retrieved February 9, 2009.
- ^ Haga, E. Herbie Hancock Named L.A. Philharmonic's Next Creative Chair for Jazz, Jazz Times, August 5, 2009.
- ^ Alumni Award: Herbert J. Hancock '60, http://loggia.grinnell.edu/Page.aspx?pid=1098 Hancock received an Alumni Award from Grinnell College at the annual Alumni Assembly June 5, 2010.
- ^ "VIEW DVD Listing". View.com. http://www.view.com/herbie_hancock_trio_hurricane_dvd.aspx. Retrieved 2011-10-22.
- ^ Hancock named Harvard Foundation Artist of the Year – The Harvard University Gazette[dead link]
External links[link]
- Official website of Herbie Hancock
- Official Herbie Hancock MySpace page
- Herbie Hancock at Verve Records
- River:The Joni Letters at Verve Records
- Possibilities Herbie Hancock
- Discography Herbie Hancock Discography
- Interview with Herbie Hancock on music and technology from AppleMatters
- Interview with Herbie Hancock on the "Possibilities" album release from LiveDaily
- Herbie Hancock: Outside The Comfort Zone Herbie Hancock interview from JamBase
- "Herbie Hancock: Essential Recordings" by Ted Gioia (www.jazz.com)
- Herbie Hancock's Grinnell College Alumni Award citation from Grinnell College Alumni Assembly on June 5, 2010.
|
|||||||||||||||||||||||||||||||||||
|
||||||||
|
||||||||||||||||||
| Persondata | |
|---|---|
| Name | Hancock, Herbie |
| Alternative names | Hancock, Herbert Jeffrey |
| Short description | Pianist, composer, and bandleader |
| Date of birth | April 12, 1940 |
| Place of birth | Chicago, Illinois, United States |
| Date of death | |
| Place of death | |
http://wn.com/Herbie_Hancock
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Herbie_Hancock
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.
