- published: 22 Nov 2014
- views: 3287416
Out of Nowhere may refer to:
Stanley Getz (February 2, 1927 – June 6, 1991) was an American jazz saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists". Getz went on to perform in bebop, cool jazz and third stream, but is perhaps best known for popularizing bossa nova, as in the worldwide hit single "The Girl from Ipanema" (1964).
Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who emigrated from the Kiev area in 1903. The family later moved to New York City for better employment opportunities. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing eight hours a day.
Charles Parker, Jr. (August 29, 1920 – March 12, 1955), also known as Yardbird and Bird, was an American jazz saxophonist and composer.
Parker acquired the nickname "Yardbird" early in his career and the shortened form, "Bird", which continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise."
Parker was a highly influential jazz soloist and a leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and improvisation. Parker introduced revolutionary harmonic ideas, including rapidly passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber. Many Parker recordings demonstrate virtuosic technique and complex melodic lines, combining jazz with other musical genres, including blues, Latin, and classical.
Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual, rather than an entertainer.