Flugelhorn

A standard 3-valved B♭ flugelhorn
Brass instrument
Classification	Wind Brass Aerophone
Hornbostel–Sachs classification	423.232 (Valved aerophone sounded by lip movement)
Developed	Early 19th century
Playing range
(as written; actually sounds a major second lower)
Related instruments
Trumpet Saxhorn Cornet Bass trumpet Flumpet

The flugelhorn ( /ˈfluːɡəl.hɔrn/—also spelled fluegelhorn, flugel horn, or flügelhorn— from German, wing horn, German pronunciation: [ˈflyːɡl̩hɔʁn]) is a brass instrument that resembles a trumpet but has a wider, conical bore. Some consider it a member of the saxhorn family developed by Adolphe Sax (who also developed the saxophone). Other historians assert that it derives from the valve bugle designed by Michael Saurle (father) in Munich in 1832 (Royal Bavarian privilege for a "chromatic Flügelhorn" 1832), which predates Adolphe Sax's work.^[1]

Etymology[link]

The German word Flügel translates into English as wing or flank. The instrument was used on the battlefield to summon the flanks of an army.^[2]

Structure and variants[link]

The flugelhorn is built in the same B♭ pitch as many trumpets and cornets. It usually has three piston valves and employs the same fingering system as other brass instruments, but four piston valve and rotary valve variants also exist. It can thus be played without too much trouble by trumpet and cornet players, though some adaptation to their playing style may be needed. It is usually played with a more deeply conical mouthpiece than either trumpets or cornets (though not as conical as a horn mouthpiece).

Some modern flugelhorns feature a fourth valve that lowers the pitch a perfect fourth (similar to the fourth valve on some euphoniums, tubas, horns, and piccolo trumpets, or the trigger on trombones). This adds a useful low range that, coupled with the flugelhorn's dark sound, extends the instrument's abilities. More often, however, players use the fourth valve in place of the first and third valve combination, which is somewhat sharp (compensated for on trumpets and cornets and some three-valve flugelhorns by a slide for the first or third valve).

Timbre[link]

The tone is "fatter" and usually regarded as more "mellow" and "dark" than the trumpet or cornet. The sound of the flugelhorn has been described as halfway between a trumpet and a French horn, whereas the cornet's sound is halfway between a trumpet and a flugelhorn.^[3] The flugelhorn is as agile as the cornet but more difficult to control in the high register (from approximately written G above the staff), where in general it "slots" or locks onto notes less easily. It is not generally used for aggressive or bright displays as trumpets and cornets often are, but tends more towards a softer and more reflective role.

Use[link]

The flugelhorn appears mainly in jazz, the brass band music, and popular music, though it appears occasionally in orchestral music. Famous orchestral works with flugelhorn include Igor Stravinsky's Threni, Ralph Vaughan Williams's Ninth Symphony, and Michael Tippett's third symphony. The flugelhorn is sometimes substituted for the post horn in Mahler's Third Symphony. In HK Gruber's trumpet concerto Busking (2007) the soloist is directed to play a flugelhorn in the slow middle movement. The flugelhorn figured prominently in many of Burt Bacharach's 1960s pop song arrangements. It is featured in a solo role in Bert Kaempfert's 1962 recording of That Happy Feeling. Flugelhorns have occasionally been used as the alto or low soprano voice in a drum and bugle corps.

Famous players[link]

Joe Bishop, as a member of the Woody Herman band in 1936, was one of the earliest jazz musicians to use the flugelhorn. Shorty Rogers and Kenny Baker began playing it in the early fifties, and Clark Terry used it in Duke Ellington's orchestra in the mid 1950s. Chet Baker recorded several albums on the instrument in the 1950s and 1960s. Miles Davis further popularized the instrument in jazz on the albums Miles Ahead and Sketches of Spain, (both arranged by Gil Evans) though he did not use it much on later projects. Other prominent jazz flugelhorn players include Freddie Hubbard, Lee Morgan, Art Farmer, Roy Hargrove, Hugh Masekela, Tony Guerrero, Jimmy Owens, Maynard Ferguson, Terumasa Hino, Woody Shaw, Guido Basso, Kenny Wheeler, Tom Harrell, Bill Coleman, Thad Jones, Arturo Sandoval, Lee Loughnane of the rock band Chicago, Mike Metheny, and Harry Beckett. Most jazz flugelhorn players use the instrument as an auxiliary to the trumpet, but in the 1970s Chuck Mangione gave up playing the trumpet and concentrated on the flugelhorn alone, notably on "Feels So Good". Mangione, in an interview during an Olympic Games telecast on ABC for which he wrote the theme Give it All You Got, referred to the flugelhorn as "...the right baseball glove."

Pop flugelhorn players include Probyn Gregory (Brian Wilson Band), Rick Braun, Mic Gillette, Jeff Oster, and Zach Condon of Beirut. More recently, in the 1996 film, Brassed Off, the Grimethorpe Colliery Band uses a flugelhorn in the "Adagio" from Rodrigo's Concierto de Aranjuez.

Footnotes[link]

References[link]

• Ralph T. Dudgeon, Franz X. Streitwieser: The Fluegelhorn. Edition Bochinsky, 2004, English/German, ISBN 3-932275-83-7
• "Flugelhorn", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London, 2001)
• "Flugelhorn", The New Grove Dictionary of Jazz, second edition, edited by Barry Kernfeld (London, 2002)
• The Gazette, July 10, 2009, http://www.montrealgazette.com/entertainment/Montreal+International+Jazz+Festival+Beirut+conversation/1779539/story.html

External links[link]

Wikimedia Commons has media related to: Flugelhorn

• An enthusiast's flugelhorn guide with many details of individual makes.
• An overview and brief history of the flugelhorn including a short sound clip.
• How to play a flugelhorn

Randy Brecker
Randy Brecker, Munich July 2001
Background information
Birth name	Randal Edward Brecker
Also known as	Randy Brecker
Born	(1945-11-27) November 27, 1945 (age 66) Cheltenham, Pennsylvania
Origin
Genres	Jazz, Fusion, Funk, R&B, Rock
Instruments	Trumpet and Flugelhorn
Associated acts	Brecker Brothers, Stanley Turrentine, Billy Cobham, Bruce Springsteen, Lou Reed, Sandip Burman, Charles Mingus, Blood, Sweat & Tears, Horace Silver, Frank Zappa, Parliament-Funkadelic, Gary Husband's Force Majeure, Chris Parker, Jaco Pastorius, Dire Straits
Website	http://www.randybrecker.com/

Randal "Randy" Brecker (b. Cheltenham, Pennsylvania, November 27, 1945) is an American trumpeter and flugelhornist. He is a highly sought after performer in the genres of jazz, rock, and R&B, and has performed or recorded with Stanley Turrentine, Billy Cobham, Bruce Springsteen, Lou Reed, Sandip Burman, Charles Mingus, Blood, Sweat & Tears, Horace Silver, Frank Zappa, Parliament-Funkadelic, Chris Parker, Jaco Pastorius, Dire Straits, Todd Rundgren, Blue Öyster Cult, Richard Barone, Spyro Gyra, Barbara Dennerlein and many others. In his formative years, Brecker studied trumpet with Bill Adam at Indiana University.

Career[link]

He played on the first Blood Sweat & Tears album, Child Is Father to the Man, but left the band when founder Al Kooper and trumpeter Jerry Weiss left. Lew Soloff replaced him for the second and subsequent albums. He was a charter member of Larry Coryell's seminal jazz fusion band The Eleventh House in 1973.

He is the older brother of the late jazz saxophonist Michael Brecker (1949–2007). Together they led Dreams and the Brecker Brothers, a popular funk and fusion band which recorded several albums from the 1970s through the 1990s. After the Brecker Brothers disbanded in 1982, Randy recorded and toured as a member of Jaco Pastorius' Word of Mouth big band. It was soon thereafter that he met and later married Brazilian jazz pianist Eliane Elias. Eliane and Randy formed their own band, touring the world several times and recording one album together, Amanda on Passport Records.

In the summer of 2001, Randy reunited with his brother Michael for a Europe tour with an acoustic version of the Brecker Brothers, also promoting songs from Hangin´ In The City. His most recent CD for ESC, 34th N Lex released in April 2003, features eleven new Randy Brecker compositions and arrangements and the "dream horn section" of David Sanborn, Michael Brecker, Fred Wesley and Ronnie Cuber, along with Randy's regular working band and his current wife, the Italian tenor saxophonist Ada Rovatti, whose playing style bears a striking resemblance to Michael Brecker's. He is part of the GRP All-Star Big Band.

Discography[link]

As leader[link]

• Score (1969) Blue Note
• The Brecker Brothers (1975) Arista
• Back to Back - The Brecker Brothers (1976) Arista
• Don't Stop the Music - The Brecker Brothers(1977) Arista
• The Atlantic Family Live in Montreaux (1977)
• Heavy Metal Bebop - The Brecker Brothers (1978) Arista
• Detente - The Brecker Brothers (1980) Arista
• Straphangin' - The Brecker Brothers (1981) Arista
• Amanda(1985) Passport
• In the Idiom (1986) Denon
• Live at Sweet Basil (1988) GNP Crescendo
• Toe to Toe (1990) MCA
• Return of the Brecker Brothers - The Brecker Brothers (1992) GRP
• Out of the Loop - The Brecker Brothers (1994) GRP
• Into the Sun (1995) Concord Jazz
• Katewalk - Lew Del Gatto (1997) Naxos Jazz
• Hangin' in the City (2001) ESC
• 34th N Lex (2003) ESC
• Some Skunk Funk" (2006) BHM
• Some Skunk Funk - with Michael Brecker (2005) Telarc
• Box of Photographs (2005) - Johnny Rodgers & The Johnny Rodgers Band
• Unprecedented Clarity - Pitch Pine Project with Randy Brecker (2007) Challenge Records
• Randy in Brasil (2008) Summit Records/MAMA Records

As sideman[link]

With Arkadia Jazz All Stars

• Thank You, Joe!

With Aerosmith

• Get Your Wings - (1974)

With Patti Austin

• End of a Rainbow (CTI, 1976)

With Gato Barbieri

• Chapter Three: Viva Emiliano Zapata (Impulse!, 1974)

With George Benson

• Good King Bad (CTI, 1975)

With Carla Bley

• Night-Glo (Watt)

With Blood Sweat & Tears

• Child Is Father to the Man - (1968) Columbia

With Ron Carter

• Anything Goes (Kudu, 1975)

With Mark Dimond & Frankie Dante

• Beethoven's V (Cotique, 1975)

With Hubert Laws

• The Chicago Theme (CTI, 1974)

With Yusef Lateef

• In a Temple Garden (CTI, 1979)

With Brother Jack McDuff

• Who Knows What Tomorrow's Gonna Bring? - (1970) Blue Note

With Alphonse Mouzon

• Funky Snakefoot - (1973) Blue Note

With Jaco Pastorius

• Jaco Pastorius - (1976)
• Invitation - (1983)

With Duke Pearson

• Introducing Duke Pearson's Big Band - (1967) Blue Note
• Now Hear This - (1968) Blue Note

With Lou Reed

• Berlin - (1973) RCA

With Todd Rundgren

• Something/Anything? (1972) Bearsville
• A Wizard, a True Star (1973) Bearsville
• Todd (1973) Bearsville

With Don Sebesky

• Giant Box (CTI, 1973)
• The Rape of El Morro (CTI, 1975)

With Horace Silver

• In Pursuit of the 27th Man - (1972) Blue Note
• A Prescription for the Blues - (1997) Impulse!

With Miroslav Vitous

• Universal Syncopations II (1995) ECM

With g.org

• A New Kind of Blue - (2004)

See also[link]

• Brecker Brothers

External links[link]

• Randy Brecker official site
• Randy Brecker at MySpace
• Randy Brecker interview by Mike Brannon
• Interview with Randy Brecker (audio)
• Randy Brecker's recording of 'Ballad of John Henry' for Pioneers For A Cure

David Guetta
David Guetta at the 2011 MuchMusic Video Awards
Background information
Birth name	Pierre David Guetta
Born	(1967-11-07) 7 November 1967 (age 44) Paris, France
Genres	House, electro house, hip house
Occupations	DJ, record producer, songwriter
Years active	1984–present
Labels	EMI Music France, Virgin, Positiva, Astralwerks, Jack Back Records
Website	DavidGuetta.com

Pierre David Guetta (7 November 1967), known professionally as David Guetta (French pronunciation: [daˌvid ɡɛˈta]), is a French house music producer and DJ.^[1] Originally a DJ at nightclubs during the 1980s and 1990s, he co-founded Gum Productions and released his first album, Just a Little More Love, in 2002. Later, he released Guetta Blaster (2004) and Pop Life (2007). His 2009 album One Love included the hit singles "When Love Takes Over" (featuring Kelly Rowland), "Gettin' Over You" (featuring Chris Willis, Fergie & LMFAO) and "Sexy Bitch" (featuring Akon), the last becoming a top five hit in the United States and all three reaching #1 in the United Kingdom, as well as another internationally known single called "Memories" featuring Kid Cudi which became a top five hit in many countries. Guetta has sold over three million albums and 15 million singles worldwide.^[2] He is currently one of the most sought-after music producers.^[3] As at 2012 David Guetta is the world's most popular DJ, claiming the #1 poll position of the DJ Mag 100 popularity poll.^[4]

Biography[link]

1984–2000: Early life and career[link]

At age 17, Guetta began DJing at the Broad Club in Paris.^[5] He first played popular songs, and he discovered house music when he heard a Farley master Funk track on French radio in 1987. The next year, he began hosting his own club nights.^[6] In 1990, he released "Nation Rap", a hip-hop collaboration with French rapper Sidney Duteil.^[7]

In the mid 1990s Guetta played in clubs including Le Centrale, the Rex, Le Boy, and Folies Pigalle.^[5][8] Released in 1994^[7] Guetta's second single, a collaboration with American house vocalist Robert Owens titled "Up & Away", was a minor club hit.^[6] In 1994, David Guetta became the manager of Le Palace nightclub and he continued to organise parties there and in other clubs, such as the "Scream" parties in Les Bains Douches.^[9]

[edit] 2001–2006: Just a Little More Love and Guetta Blaster

In 2001, David Guetta along with Joachim Garraud founded Gum Productions, and in the same year Guetta's first hit single, "Just a Little More Love", featuring American singer Chris Willis was released. Willis was vacationing in France when he met Guetta.^[6] Guetta's debut album Just a Little More Love was released in 2002 on Virgin Records and sold over 300,000 copies. The follow-up singles, ("Love Don't Let Me Go", "People Come People Go" and "Give Me Something"), were released in 2002. Guetta released a compilation, Fuck Me I'm Famous, in 2003, named after his party in Ibiza. It included "Just for One Day (Heroes)", a remix of David Bowie's song "Heroes".^[6] Later in his career, Guetta continued recording compilations under that title.

Guetta's second album, Guetta Blaster, was released in 2004. It released four singles: "Money" and "Stay" featuring Chris Willis and "The World Is Mine" and "In Love With Myself" featuring JD Davis. In 2006 the Just a Little More Love single "Love Don't Let Me Go" was re-released as a mash-up with the Tocadisco remix of "Walking Away" by The Egg. The mash-up single entitled "Love Don't Let Me Go (Walking Away)" was charted higher than the original release of the song.

[edit] 2007–2008: Pop Life

Guetta performing, May 2007

In 2007, Guetta's third album Pop Life was released. The album was successful in the UK and Ireland as well as in mainland Europe. According to EMI in 2010, the album has sold a total of 530,000 copies worldwide. The lead single "Love Is Gone" reached Number 1 on the American Dance Chart and charted on the Billboard Hot 100.

He played in many countries around the world to promote the album. He played in Mauritius in January 2008, accompanied by French rapper JoeyStarr. In the same year, he and his wife Cathy also planned a new event which took place in the Stade de France on 5 July 2008. The event was called "UNIGHTED", he performed with Tiësto, Carl Cox, Joachim Garraud and Martin Solveig in front of a crowd of 40,000.^[10]

In 2009, he was placed third in the "Top 100 DJs" poll by DJ Magazine,^[11] and was elected "Best House DJ" by DJ Awards in 2008. Since April 2009, Guetta had his own radio show on the internet radio station RauteMusik on Saturday evening. The show was afterwards moved into Radio 538, being aired every Friday evening after Tiësto's Club Life. Its name is DJ Mix. Guetta performs a one-hour set of house music, presenting mainly new talents inside.

[edit] 2009–2010: One Love and international breakthrough

David Guetta's fourth studio album, One Love, was released in August 2009. Its first single "When Love Takes Over", which featured Kelly Rowland, peaked at #1 on the UK Singles Chart and topped many other countries worldwide. His second single from the album, "Sexy Bitch" featuring Akon, became his second #1 in the UK. "One Love" featuring Estelle, "Memories" featuring Kid Cudi and "Gettin' Over You" featuring Chris Willis, Fergie and LMFAO followed. As of May 2011 the album had sold three million copies worldwide.^[12] Guetta's fourth studio album One Love was nominated as "Best Electronic/Dance Album" at the 52nd Grammy Awards.^[13] His song "When Love Takes Over" featuring American R&B singer Kelly Rowland received two nominations; Best Dance Recording and Best Remixed Recording, Non-Classical, and won the latter. After conflicts over whether or not an album re-issue should go ahead, One More Love was released on 29 November 2010. First single, titled "Who's That Chick?" featuring Rihanna was released a few weeks prior.^[14]

On 16 June 2009, The Black Eyed Peas released the David Guetta-produced "I Gotta Feeling" as their second single from their fifth studio album, The E.N.D.. It became a worldwide hit topping the charts in seventeen countries. It became the most downloaded song of all-time in the United States with almost 7.5 million downloads and in the United Kingdom selling more than 1 million copies.^[15][16] He was nominated twice for his work with The Black Eyed Peas at the 52nd Grammy Awards; in the category Record of the Year for "I Gotta Feeling" and Album of the Year for their album The E.N.D.. In 2010, David Guetta co-wrote and produced Kelly Rowland's "Commander" from her third album Here I Am. It peaked at number one on Billboard's Hot Dance Club Songs chart in the United States, and reached top ten positions in Belgium and the United Kingdom. Guetta has also co-produced "Forever and a Day", which was Kelly's next UK single from that album.^[17][18] Guetta also produced the singles "Acapella" and "Scream" for American singer-songwriter Kelis's fifth studio album, Flesh Tone, released on 14 May 2010. "Acapella" was released as the lead single on 23 February 2010 and topped the dance charts in the United Kingdom and United States. On 28 June 2010 American rapper Flo Rida released the single "Club Can't Handle Me" featuring David Guetta. The song is included on the soundtrack album to the American 3D dance film Step Up 3D.

Guetta on the One Love Tour, January 2010.

[edit] 2011–present: Nothing But the Beat

Guetta's fifth studio album, Nothing But the Beat was released on August 30, 2011. It was released as a double-disc album; one disc being vocal and the other being electronic.^[19] The French DJ was inspired by rock bands such as Kings of Leon and Coldplay to add rock influences to his dance productions.^[20] "Where Them Girls At" featuring Nicki Minaj and Flo Rida, the first single off the album, was released worldwide on May 2, 2011.^[21][22] "Little Bad Girl" featuring Ludacris and Taio Cruz, was released as the second single on June 28, 2011.^[19][23] The third single "Without You" featuring Usher was released on September 27, 2011. Guetta also released three promotional singles for Nothing But the Beat, "Titanium" featuring Sia, "Lunar" with Afrojack and "Night of Your Life" featuring Jennifer Hudson. The album also features the hit single "Sweat" with Snoop Dogg.

Guetta is also scheduled to perform alongside Nicky Romero and Nervo at London's Alexandra Palace on June 1, 2012.^[24]

Personal life[link]

Guetta and his wife Cathy in January 2012 at the NRJ Music Awards ceremony.

His father was a restaurateur of Moroccan Jewish descent,^[25] and his mother is of Belgian descent.^[26][27][28] He is married to socialite and night club manager Cathy Guetta; they have two children, Tim Elvis Eric (born 2004) and Angie (born 2007).^[29]

Discography[link]

• Just a Little More Love (2002)
• Guetta Blaster (2004)
• Pop Life (2007)
• One Love (2009)
• Nothing but the Beat (2011)

Awards and nominations[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2010)

References[link]

External links[link]

• David Guetta on Myspace
• David Guetta on Twitter
• David Guetta's channel on YouTube
• David Guetta at the Internet Movie Database
• David Guetta official store
• David Guetta information at Ultra Records
• Review of 'Memories' on the Daily Music Guide
• David Jeffries. "David Guetta biography". Allmusic. http://www.allmusic.com/artist/p572357. Retrieved 2008-09-22. 
• David Guetta in PACHA NEWS
• David Guetta at Billboard.com
• Review of 'Gettin Over you' on the Daily Music Guide

Title page of the first (1602) Le Nuove musiche. The new year was observed on various dates in the Italian territories.

Giulio Caccini (8 October 1551 – 10 December 1618), also known as Giulio Romano, was an Italian composer, teacher, singer, instrumentalist and writer of the very late Renaissance and early Baroque eras. He was one of the founders of the genre of opera, and one of the single most influential creators of the new Baroque style. He was also the father of the composer Francesca Caccini.

Life[link]

Little is known about his early life, but he was born in Rome, the son of the carpenter Michelangelo Caccini; he was the older brother of the Florentine sculptor Giovanni Caccini. In Rome he studied the lute, the viol and the harp, and began to acquire a reputation as a singer. In the 1560s, Francesco de' Medici, Grand Duke of Florence, was so impressed with his talent that he took the young Caccini to Florence for further study.

By 1579, Caccini was singing at the Medici court. He was a tenor, and he was able to accompany himself on the viol or the archlute; he sang at various entertainments, including weddings and affairs of state, and took part in the sumptuous intermedi of the time, the elaborate musical, dramatic, visual spectacles which were one of the precursors of opera. Also during this time he took part in the movement of humanists, writers, musicians and scholars of the ancient world who formed the Florentine Camerata, the group which gathered at the home of Count Giovanni de' Bardi, and which was dedicated to recovering the supposed lost glory of ancient Greek dramatic music. With Caccini's abilities as a singer, instrumentalist, and composer added to the mix of intellects and talents, the Camerata developed the concept of monody—an emotionally affective solo vocal line, accompanied by relatively simple chordal harmony on one or more instruments—which was a revolutionary departure from the polyphonic practice of the late Renaissance.

In the last two decades of the 16th century, Caccini continued his activities as a singer, teacher and composer. His influence as a teacher has perhaps been underestimated, since he trained dozens of musicians to sing in the new style, including the castrato Giovanni Gualberto Magli, who sang in the first production of Monteverdi's first opera Orfeo.

Caccini made at least one further trip to Rome, in 1592, as the secretary to Count Bardi. According to his own writings, his music and singing met with an enthusiastic response. However, Rome, the home of Palestrina and the Roman School, was musically conservative, and music following Caccini's stylistic lead was relatively rare there until after 1600.

Caccini's character seems to have been less than perfectly honorable, as he was frequently motivated by envy and jealousy, not only in his professional life but for personal advancement with the Medici. On one occasion, he informed to the Grand Duke Francesco on two lovers in the Medici household—Eleonora, the wife of Pietro de' Medici, who was having an illicit affair with Bernardino Antinori—and his informing led directly to Eleonora's murder by Pietro. His rivalry with both Emilio de' Cavalieri and Jacopo Peri seems to have been intense: he may have been the one who arranged for Cavalieri to be removed from his post as director of festivities for the wedding of Henry IV of France and Maria de' Medici in 1600 (an event which caused Cavalieri to leave Florence in fury), and he also seems to have rushed his own opera Euridice into print before Peri's opera on the same subject could be published, while simultaneously ordering his group of singers to have nothing to do with Peri's production.

After 1605, Caccini was less influential, though he continued to take part in composition and performance of sacred polychoral music. He died in Florence, and is buried in the church of St. Annunziata.

Music and influence[link]

The stile recitativo, as the newly created style of monody was called, proved to be popular not only in Florence, but elsewhere in Italy. Florence and Venice were the two most progressive musical centers in Europe at the end of the 16th century, and the combination of musical innovations from each place resulted in the development of what came to be known as the Baroque style. Caccini's achievement was to create a type of direct musical expression, as easily understood as speech, which later developed into the operatic recitative, and which influenced numerous other stylistic and textural elements in Baroque music.

Caccini's most influential work was a collection of monodies and songs for solo voice and basso continuo, published in 1602, called Le nuove musiche. Although it is often considered the first published collection of monodies, it was actually preceded by the collection by Domenico Melli. In fact, the collection was Caccini's attempt, evidently successful, to situate himself as the inventor and codifier of monody and basso continuo. Although the collection was officially published in 1602, Caccini is careful to maintain the date 1601 in his dedication of the collection to Signor Lorenzo Salviati. This likely explains why the collection is often dated to 1601. Moreover, he explicitly positions himself as the inventor of the style when describing it in the introduction. He writes,

"Having thus seen, as I say, that such music and musicians offered no pleasure beyond that which pleasant sounds could give – solely to the sense of hearing, since they could not move the mind without the words being understood – it occurred to me to introduce a kind of music in which one could almost speak in tones, employing in it (as I have said elsewhere) a certain noble negligence of song, sometimes passing through several dissonances while still maintaining the bass note (save when I wished to do it the ordinary way and play the inner parts on the instrument to express some effect – these being of little other value)." ^[1]

The introduction to this volume is probably the most clearly written description of the purpose, intent, and correct performance of monody from the time. It includes musical examples of ornaments—for example how a specific passage can be ornamented in several different ways, according to the precise emotion that the singer wishes to convey; it also includes effusive praise for the style and amusing disdain for the work of more conservative composers of the period.

The introduction is also important in the history of music theory, as it contains the first attempt to describe the figured bass of the basso continuo style of the seconda prattica. Caccini writes,

"Note that I have been accustomed, in all places that have come from my pen, to indicate with numbers over the bass part the thirds and the sixths – major when there is a sharp, minor when a flat – and likewise when sevenths or other dissonances are to be made in the inner voices as an accompaniment. It remains only to say that ties in the bass part are used thusly by me: after the [initial] chord, one should play again only the notes [of the harmony] indicated [and not the bass note again], this being (if I am not mistaken) most fitting to the proper usage of the archlute (and easiest way to manage and play it), granted that this instrument is more suitable for accompanying the voice, especially the tenor voice, than any other." ^[2]

This passage is often overlooked, as it is brief, located at the very end of the introduction and even indicated by Caccini as a "note," an aside or addendum to the main purpose. It is important to note, however, that the first explanation of this practice is in the context of an essay about vocal expression and intelligibility; in fact, it is largely the aim of textual intelligibility that led to the development of this musical style and the music of the common practice era.

Works[link]

Caccini wrote music for three operas—Euridice (1600), Il rapimento di Cefalo (1600, excerpts published in the first Nuove Musiche), and Euridice (1602), though the first two were collaborations with others (mainly Peri for the first Euridice). In addition he wrote the music for one intermedio (Io che dal ciel cader farei la luna) (1589). No music for multiple voices survives, even though the records from Florence indicate he was involved with polychoral music around 1610.

He was predominantly a composer of monody and solo song accompanied by a chordal instrument (he himself played harp), and it is in this capacity that he acquired his immense fame. He published two collections of songs and solo madrigals, both titled Le nuove musiche, in 1602 (new style) and 1614 (the latter as Nuove Musiche e nuova maniera di scriverle). Most of the madrigals are through-composed and contain little repetition; some of the songs, however, are strophic. Among the most famous and widely disseminated of these is the madrigal Amarilli, mia bella.

Media[link]

 Aria "Amor che attendi" (help·info)

Recordings[link]

• Euridice. Scherzi Musicali with Nicolas Achten, conductor. 2009, Ricercar RIC 269

Notes[link]

References[link]

• Article "Giulio Caccini", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 2001. ISBN 1-56159-174-2
• Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4
• Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947. ISBN 0-393-09745-5
• Giulio Caccini, Le nuove musiche, tr. John Playford and Oliver Strunk, in Source Readings in Music History. New York, W.W. Norton & Co., 1950.

External links[link]

• Free scores by Giulio Caccini at the International Music Score Library Project
• Free scores by Giulio Caccini in the Werner Icking Music Archive (WIMA)
• Free scores by Giulio Caccini in the Choral Public Domain Library (ChoralWiki)

Clark Terry
Clark Terry in New York City, 1976
Background information
Born	(1920-12-14) December 14, 1920 (age 91) St. Louis, Missouri, U.S.
Genres	Swing, bop, jazz
Occupations	Musician
Instruments	Trumpet, flugelhorn
Years active	1940s–present

Clark Terry (born December 14, 1920)^[1] is an American swing and bop trumpeter, a pioneer of the flugelhorn in jazz, educator, NEA Jazz Masters inductee, and recipient of the 2010 Grammy Lifetime Achievement Award. Only three other trumpet players in history have ever received the Grammy Lifetime Achievement Award: Louis Armstrong (Clark's old mentor), Miles Davis (whom Clark mentored), and Dizzy Gillespie (who often described Clark as the greatest jazz trumpet player on earth). Clark Terry is one of the most prolific jazz musicians in history, having appeared on 905 known recording sessions, which makes him the most recorded trumpet player of all time. In comparison, Louis Armstrong performed on 620 sessions, Harry "Sweets" Edison on 563, and Dizzy Gillespie on 501.

He has played with Charlie Barnet (1947), Count Basie (1948–1951),^[1] Duke Ellington (1951–1959)^[1] and Quincy Jones (1960), and has recorded regularly both as a leader and sideman. In all, his career in jazz spans more than sixty years.

Biography[link]

Clark Terry at Monterey Jazz Festival, 1981

Terry was born in St. Louis, Missouri. He attended Vashon High School and began his professional career in the early 1940s playing, in local clubs. He served as a bandsman in the United States Navy during World War II.

Terry's years with Basie and Ellington in the late 1940s and 1950s established him as a world-class jazz artist. Blending the St. Louis tone with contemporary styles, Terry’s sound influenced a generation. During this period, he took part in many of Ellington's suites and acquired a reputation for his wide range of styles (from swing to hard bop), technical proficiency, and good humor. Terry exerted a positive influence on musicians like Miles Davis and Quincy Jones, both of whom acknowledge Clark's influence during the early stages of their careers. Terry had informally taught Davis while they were still in St Louis.

After leaving Ellington, Clark's international recognition soared when he accepted an offer from the National Broadcasting Company (NBC) to become its first African-American staff musician. He appeared for ten years on The Tonight Show as a member of the Tonight Show Band, first led by Skitch Henderson and later by Doc Severinsen, where his unique "mumbling" scat singing became famous when he scored a hit with "Mumbles." A persistent rumor is that Terry was a candidate to lead the band, but for racial skittishness on the part of NBC.

Terry continued to play with musicians such as J. J. Johnson and Oscar Peterson,^[2] and led a group with Bob Brookmeyer that achieved popularity in the early 1960s. In the 1970s, Terry concentrated increasingly on the flugelhorn, which he plays with a full, ringing tone. In addition to his studio work and teaching at jazz workshops, Terry toured regularly in the 1980s with small groups (including Peterson's) and performed as the leader of his Big B-A-D Band (formed about 1970). After financial difficulties forced him to break up the Big B-A-D Band, he performed bands such as the Unifour Jazz Ensemble. His humor and command of jazz trumpet styles are apparent in his "dialogues" with himself, on different instruments or on the same instrument, muted and unmuted. He has occasionally performed solos on a trumpet or flugelhorn mouthpiece.

From the 1970s through the 1990s, Clark performed at Carnegie Hall, Town Hall, and Lincoln Center, toured with the Newport Jazz All Stars and Jazz at the Philharmonic, and he was featured with Skitch Henderson's New York Pops Orchestra. In 1998, Terry recorded George Gershwin's "Let's Call the Whole Thing Off" for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease. In 2001, he again recorded for the Red Hot Organization with artist Amel Larrieux for the compilation album Red Hot + Indigo, a tribute to Duke Ellington.

Prompted early in his career by Dr. Billy Taylor, Clark and Milt Hinton bought instruments for and gave instruction to young hopefuls which planted the seed that became Jazz Mobile in Harlem. This venture tugged at Clark's greatest love: involving youth in the perpetuation of jazz. Between global performances, Clark continues to share wholeheartedly his jazz expertise and encourage students, including up-and-coming young jazz trumpeter, Josh Shpak. Since 2000, Clark has hosted Clark Terry Jazz Festivals on land and sea, held his own jazz camps, and appeared in more than fifty jazz festivals on six continents.

His career as both leader and sideman with more than three hundred recordings demonstrates that he is one of the most prolific luminaries in jazz. Clark composed more than two hundred jazz songs and performed for seven U.S. Presidents.

He also has several recordings with major groups including the London Symphony Orchestra, the Dutch Metropole Orchestra, the Duke Ellington Orchestra and the Chicago Jazz Orchestra, hundreds of high school and college ensembles, his own duos, trios, quartets, quintets, sextets, octets, and two big bands: Clark Terry's Big Bad Band and Clark Terry's Young Titans of Jazz, with the likes of Branford Marsalis, Conrad Herwig, Brad Leali, Stephen Guerra, Adam Schroeder, Frank Greene and Tony Lujan. The Clark Terry Archive at William Paterson University in Wayne, New Jersey, contains instruments, tour posters, awards, original copies of over 70 big band arrangements, recordings and other memorabilia.

Terry was a long-time resident of Bayside, Queens, and Corona, Queens, New York.^[3] He and his wife, Gwen, later moved to Haworth, New Jersey.^[4] They currently reside in Pine Bluff, Arkansas.^[5]

Awards and honors[link]

• Over 250 awards, medals and honors, including:
• The 2010 Grammy Lifetime Achievement Award, two Grammy certificates, three Grammy nominations
• The National Endowment for the Arts Jazz Master Award in 1991
• Sixteen honorary doctorates
• Keys to several cities
• Jazz Ambassador for U.S. State Department tours in the Middle East and Africa
• A knighthood in Germany
• Charles E. Lutton Man of Music Award, presented by Phi Mu Alpha Sinfonia Fraternity in 1985. Terry was awareded honorary membership in the Fraternity by the Beta Zeta Chapter at the College of Emporia in 1968. He was also made an honorary member of the Iota Phi chapter of Kappa Kappa Psi, National Honorary Band Fraternity in 2011.
• The French Order of Arts and Letters (2000)
• A life-sized wax figure for the Black World History Museum in St. Louis
• Inducted into the St. Louis Walk of Fame (1996)^[6]
• NARAS Present's Merit Award (2005)
• Trumpeter of the Year by the Jazz Journalists Association (2005)

Discography[link]

Clark Terry performs with the Great Lakes Navy Band Jazz Ensemble

As leader[link]

• Clark Terry with Quentin Jackson/Martial Solal/Kenny Clarke (Disques Swing, 1955)
• Introducing Clark Terry (EmArcy, 1955)
• Serenade to a Bus Seat (Riverside/OJC, 1957)
• Duke with a Difference (Riverside/OJC, 1957)
• In Orbit (with Thelonious Monk, Riverside/OJC, 1958)
• Out on a Limb with Clark Terry (Argo, 1958)
• Top and Bottom Brass feat. Don Butterfield (Riverside/OJC, 1959)
• Paris (Swing, 1960)
• Color Changes (Candid, 1960)
• Everything's Mellow (Prestige, 1961)
• Mellow Moods (Prestige, 1961)
• All American (Prestige, 1962)
• Plays the Jazz Version of "All American" (Moodsville, 1962)
• The Night Life (Mood, 1962)
• Clark Terry & Bob Brookmeyer (Verve, 1962)
• 3 in Jazz (RCA, 1963)
• More (Cameo, 1963)
• Tread Ye Lightly (Cameo, 1963)
• What Makes Sammy Swing (20th Century, 1963)
• The Happy Horns of Clark Terry (Impulse!, 1964)
• The Power of Positive Swinging (Mainstream, 1964)
• Live 1964 (Emerald, 1964)
• Quintet (Mainstream, 1964)
• Tonight (Mainstream, 1964)
• Clark Terry Tonight (Mainstream, 1964)
• Oscar Peterson Trio Plus One Clark Terry (Mercury, 1964)
• The Trumpet Kings Meet Joe Turner (Pablo, 1974) with Big Joe Turner, Dizzy Gillespie, Harry "Sweets" Edison and Roy Eldridge
• Spanish Rice (Impulse!, 1966)
• Gingerbread Men (Mainstream, 1966)
• Mumbles (Mainstream, 1966)
• Angyumaluma Bongliddleany Nannyany Awhan Yi! (Mainstream, 1966)
• It's What's Happening - The Varitone Sound of CT' (Impulse!, 1967)
• Music in the Garden (Jazz Heritage, 1968)
• At the Montreux Jazz Festival (Polydor, 1969)
• Live on 57th Street (Big Bear, 1969)
• Big B-A-D Band In Concert, Live 1970... (EToile, 1970)
• Live at the Wichita Jazz Festival (Vanguard, 1974)
• Clark Terry and His Jolly Giants (Vanguard, 1975)
• Live at the Wichita Jazz Festival (Vanguard, 1975)
• Oscar Peterson and Clark Terry (Pablo, 1975)
• Oscar Peterson and The Trumpet Kings – Jousts (Pablo, 1975)
• Clark Terry's Big B-A-D Band Live at Buddy's... (Vanguard, 1976)
• Live at the Jazz House (Pausa, 1976)
• Wham (BASF, 1976)
• Squeeze Me (Chiaroscuro, 1976)
• The Globetrotter (Vanguard, 1977)
• Out of Nowhere (Bingow, 1978)
• Brahms Lullabye (Amplitude, 1978)
• Funk Dumplin's (Matrix, 1978)
• Clark After Dark (MPS, 1978)
• Mother______! Mother______! (Pablo, 1979)
• Ain't Misbehavin' (Pablo, 1979)
• Live in Chicago, Vol. 1 (Monad, 1979)
• Live in Chicago, Vol. 2 (Monad, 1979)
• The Trumpet Summit Meets the Oscar Peterson Big 4 (1980)
• Memories of Duke (Pablo/OJC, 1980)
• Yes, the Blues (Pablo/OJC, 1981)
• Jazz at the Philharmonic - Yoyogi National Stadium, Tokyo 1983: Return to Happiness (1983)
• To Duke and Basie (Rhino, 1986)
• Jive at Five (Enja, 1986)
• Metropole Orchestra (Mons, 1988)
• Portraits (Chesky, 1988) - with Don Friedman (p), Victor Gaskin (b) Lewis Nash (d)
• The Clark Terry Spacemen (Chiaroscuro, 1989)
• Locksmith Blues (Concord Jazz, 1989)
• Having Fun (Delos, 1990)
• Live at the Village Gate (Chesky, 1990)
• Live at the Village Gate: Second Set (Chesky, 1990)
• What a Wonderful World: For Lou (Red Baron, 1993)
• Shades of Blues (Challenge, 1994)
• Remember the Time (Mons, 1994)
• With Pee Wee Claybrook & Swing Fever (D' Note, 1995)
• Top and Bottom Brass'[' (Chiaroscuro, 1995)
• Reunion (D'Note, 1995)
• Express (Reference, 1995)
• Good Things in Life (Mons, 1996)
• Ow (E.J.s) 1996)
• The Alternate Blues (Analogue, 1996)
• Ritter der Ronneburg, 1998 (Mons, 1998)
• One on One (Chesky, 2000)
• A Jazz Symphony (Centaur, 2000)
• Herr Ober: Live at Birdland Neuburg (Nagel-Heyer, 2001)
• Live on QE2 (Chiaroscuro, 2001)
• Jazz Matinee (Hanssler, 2001)
• The Hymn (Candid, 2001)
• Clark Terry and His Orchestra Featuring Paul Gonsalves [1959] (Storyville, 2002)
• Live in Concert (Image, 2002)
• Flutin' and Fluglin (Past Perfect, 2002)
• Friendship (Columbia, 2002)
• Live! At Buddy's Place (Universe, 2003)
• Live at Montmarte June 1975 (Storyville, 2003)
• George Gershwin's Porgy & Bess (A440 Music Group, 2004)
• Live at Marian's with the Terry's Young Titan's of Jazz (Chiaroscuro, 2005)

As sideman[link]

Terry performed at the White House with singer Nnenna Freelon in 2006

With Gary Burton

• Who is Gary Burton? (RCA, 1962)

With Tadd Dameron

• The Magic Touch (1962)

With Duke Ellington

• Such Sweet Thunder (1957)
• Ellington at Newport (1958)

With Dizzy Gillespie

• Gillespiana (Verve, 1960)
• Carnegie Hall Concert (Verve, 1961)
• The Trumpet Kings Meet Joe Turner (Pablo, 1974) with Big Joe Turner, Roy Eldridge and Harry "Sweets" Edison
• The Trumpet Summit Meets the Oscar Peterson Big 4 (Pablo, 1980) - with Freddie Hubbard and Oscar Peterson
• The Alternate Blues (Pablo, 1980) - with Freddie Hubbard and Oscar Peterson

With Dave Grusin

• Homage to Duke (1993)

With Lionel Hampton

• You Better Know It!!! (Impulse!, 1965)

With Chico Hamilton

• The Further Adventures of El Chico (Impulse!, 1966)

With Milt Jackson

• Big Bags (Riverside, 1962)
• For Someone I Love (Riverside, 1963)
• Ray Brown / Milt Jackson with Ray Brown (Verve, 1965)

With Elvin Jones

• Summit Meeting (Vanguard, 1976) with James Moody, Bunky Green and Roland Prince

With Gary McFarland

• Tijuana Jazz (Impulse!, 1965)

With Blue Mitchell

• Smooth as the Wind (1961)
• A Sure Thing (1962)

With the Modern Jazz Quartet

• Jazz Dialogue (Atlantic, 1965)

With Oliver Nelson

• Oliver Nelson Plays Michelle (Impulse!, 1966)
• Happenings with Hank Jones (Impulse!, 1966)
• The Spirit of '67 with Pee Wee Russell (Impulse!, 1967)

With Chico O'Farrill

• Nine Flags (Impulse!, 1966)

With Sonny Rollins

• Brass & Trio (1958)

With Lalo Schifrin

• New Fantasy (Verve, 1964)
• Once a Thief and Other Themes (Verve, 1965)

With Cecil Taylor

• New York City R&B (1961)

With Various artists

• The Greatest Jazz Concert in the World (1967)

Bibliography[link]

• Let's Talk Trumpet: From Legit to Jazz
• Interpretation of the Jazz Language
• Clark Terry's System of Circular Breathing for Woodwind and Brass Instruments
• TerryTunes, anthology of 60 original compositions (1st ed., 1972; 2nd ed. w/doodle-tonguing chapter, 2009)
• Ellington, Duke. “Clark Terry,” chapter in Music is My Mistress (Garden City, NY: Doubleday, 1973): 229-230.
• “Clark Terry – Jazz Ambassador: C.T.’s Diary” [cover portrait] Jazz Journal International 31 (May 6, 1978): 7-8.
• Beach, Doug. “Clark Terry and the St. Louis Trumpet Sound,” Instrumentalist 45 (April 1991): 8-12.
• Bernotas, Bob. “Clark Terry,” Jazz Player 1 (October–November 1994): 12-19.
• LaBarbera, John. “Clark Terry: More Than ‘Mumbles’,” ITG Journal [International Trumpet Guild] 19, No. 2 (1994): 36-41.
• Blumenthal, Bob. “Reflections on a Brilliant Career” [reprint of Jazz Times 25, No. 8], Jazz Educators Journal 29, No. 4 (1997): 30-33, 36-37.
• Morgenstern, Dan. “Clark Terry” in Living With Jazz: A Reader (New York: Pantheon, 2004): 196-201. [Reprint of Down Beat 34 (June 1, 1967): 16-18.
• Owens, Thomas. “Trumpeters: Clark Terry” in Bebop: The Music and the Players (New York: Oxford, 1995): 111-113.
• “Jazz for the Record”[Clark Terry Archive at William Paterson University], New York Times (December 11, 2004).
• “Clark: The Autobiography of Clark Terry” (University of California Press: 2011), Review of book

References[link]

External links[link]

Wikimedia Commons has media related to: Clark Terry

• Clark Terry's Official Website
• CLARK: The Autobiography of Clark Terry | by Clark Terry, with Gwen Terry
• Performance images - live at Jazz Alley, Seattle
• Verve Records
• Allmusic
• "Profile: Clark Terry" by Arnold Jay Smith (www.jazz.com)
• Clark Terry's oral history video excerpts at The National Visionary Leadership Project