Jazz Pianists

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Bill Evans

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Bill Evans Bill Evans

Bill Evans — pianist.

Background information Birth name

William John Evans

Born

August 16, 1929

Origin

Plainfield, New Jersey, U.S.

Died

September 15, 1980 (aged 51)

Genre(s)

Jazz, modal jazz, hard bop, Third stream, Cool Jazz

Occupation(s)

Pianist Composer Arranger

Instrument(s)

Piano

Label(s)

Riverside Records Verve Records Fantasy Records

Associated acts

George Russell Miles Davis Cannonball Adderley Philly Joe Jones Scott LaFaro Paul Motian Eddie Gomez Marty Morell

William John Evans (better known as Bill Evans) (August 16, 1929 – September 15, 1980) was one of the most famous and influential American jazz pianists of the 20th century. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists, including → Herbie Hancock, → Chick Corea, Denny Zeitlin,[1] and → Keith Jarrett, as well as as guitarists Lenny Breau and Pat Metheny. The music of Bill Evans continues to inspire younger pianists like Fred Hersch, Bill Charlap, Geoffrey Keezer, Lyle Mays, and Eliane Elias[2] .

Evans is an inductee of the Down Beat Jazz Hall of Fame.

Bill Evans

Early life Bill Evans was born in Plainfield, New Jersey, to a mother of Rusyn ancestry and a father of Welsh descent. His father was an alcoholic. Young Bill Evans received his first musical training at his mother's church.

His mother was an amateur pianist with an interest in modern classical composers; this led to Evans' initial musical training in classical piano at age six. He also became proficient at the flute by age 13 and could play the violin. Evans was left-handed, which could explain the rich low end in his sound.

At 12, Bill filled in for his older brother Harry in Buddy Valentino's band.[3] He had already been playing dance music (and jazz) at home for some time ("How My Heart Sings," Peter Pettinger, 1999). In the late 1940s, he played boogie woogie in various New York City clubs. He went on to receive a music scholarship to Southeastern Louisiana University, and in 1950, he performed Beethoven's Third Piano Concerto at his senior recital and graduated with a degree in piano performance and teaching. Also while at SLU in 1949, he was among the founding members of the Delta Omega Chapter of Phi Mu Alpha Sinfonia. He also played quarterback for the school's football team, helping them win the championship that year (Pettinger, 1999). After some time in the U.S. Army, he returned to New York and worked at nightclubs with jazz clarinetist Tony Scott and other leading players. Later, he took postgraduate studies in composition at the Mannes College of Music, where he also mentored younger music students.

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

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

Evans' desire to pursue his own projects as a leader (and increasing problems with drug use) led him to leave the Davis sextet in late 1958. Shortly after, he recorded Everybody Digs Bill Evans, documenting the previously unheard-of meditative sound he was exploring at the time. However, he came back to the sextet at Davis' request to record the jazz classic Kind of Blue in early 1959. Evans' contribution to the album was overlooked for years; in

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Bill Evans addition to cowriting the song "Blue in Green,"[4] he had also already developed the ostinato figure from the track "Flamenco Sketches" on the 1958 solo recording "Peace Piece" from his album Everybody Digs Bill Evans. Evans also penned the heralded liner notes for Kind of Blue, comparing the improvisation of jazz to Zen art.[5] By the fall of 1959, he had started his own trio.

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

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

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

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

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

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

During this time, Helen Keane, Evans' manager, began having an important influence.

Apart from being one of the first women in her field, she significantly helped maintain the progress (or prevented the deterioration) of Evans' career in spite of his self-damaging lifestyle.

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

Other highlights from this period include the "Solo—In Memory of His Father" from Bill Evans at Town Hall (1966), which introduced the famous theme "Turn Out the Stars," a second successful pairing with guitarist Jim Hall; Intermodulation (1966); and the subdued, crystalline solo album Alone (1968), featuring a 14-minute-plus version of "Never Let Me Go."

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

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Bill Evans 1970s also saw Evans collaborate with the singer Tony Bennett on 1975's The Tony Bennett/Bill Evans Album and 1977's Together Again.

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

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

Gomez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones, the drummer Evans considered to be his "all-time favorite drummer" and with whom he had recorded his second album in 1957, to fill in. Several bassists were tried, with the remarkable Michael Moore staying the longest. His six months with the trio were frustrating due to Jones's rushing of the tempo and overplaying. Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums. This trio was to be Evans' last. Although they released only one record prior to Evans' death in 1980 (The Paris Concert, Edition One and Edition Two, 1979), they rivaled (and, arguably, exceeded) the first trio in their powerful group interactions. Evans stated that this was possibly his best trio, a claim that has been supported by the many recordings that have since surfaced, each documenting the remarkable musical journey of his final year. The Debussylike impressionism of the first trio had given way to a dark and urgent yet undeniably compelling, deeply moving (if not mesmerizing) romantic expressionism.

Evans' own Russian ancestry is often reflected in the late Rachmaninoff pianism of his brooding constructions and the Shostakovich "Danse Macabre" modal explorations of "Nardis," the piece he reworked each time it served as the finale of his performances. But most notably, the "anticipatory meter" that Evans deliberately perfected with his last trio reflects late Ravel, especially the controversial second half of the French composer's dark and turbulent La Valse. The recording documenting Evans' playing during the week preceding his death is a valedictory entitled "The Last Waltz." Many albums and compilations have been released in recent years, including three multidisc boxed sets: Turn Out the Stars (Warner Bros.), The Last Waltz, and Consecration. The Warner Bros. set is a selection of material from Evans' final residency at New York's Village Vanguard club, nearly two decades after his classic performances there with the La Faro/Motian trio; the other two are drawn from his performances at San Francisco's Keystone Korner the week before his death. A particularly revealing comparison of early and late Evans (1966, 1980) is a 2007 DVD of two previously unreleased telecasts, The Oslo Concerts.

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Bill Evans

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Death Evans' drug addiction most likely began during his stint with Miles Davis in the late 1950s.

A heroin addict for much of his career, his health was generally poor, and his financial situation worse, for most of the 1960s. By the end of that decade, he appeared to have succeeded in overcoming heroin, but during the 1970s, cocaine became a serious and eventually fatal issue for Evans. His body finally gave out in September 1980, when—ravaged by psychoactive drugs, a perforated liver, and a lifelong battle with hepatitis—he died in New York City of a bleeding ulcer, cirrhosis of the liver, and bronchial pneumonia.

Historical impact Bill Evans' musicianship has been a model for many pianists in various genres. Although the circumstances of his life were often difficult, Evans' music always displayed his creative mastery of harmony, rhythm, and interpretive jazz conception. His work fused elements from jazz, classical, and ethnic music. In his duos and trios, Bill Evans developed a unique conception of ensemble performance and a classical sense of form and conceptual scale in unprecedented ways. His '60s recordings titled Conversations with Myself and Further Conversations with Myself were innovative solo performances involving multiple layers of music (overdubbing) recorded in the studio by Evans himself.

The works of Bill Evans continue to influence pianists, guitarists, composers, and interpreters of jazz music around the world. Many of his tunes, such as "Waltz For Debby," "Turn Out the Stars," "Very Early," and "Funkallero," have become often-recorded jazz standards. Although some critics have surmised that Brad Mehldau had been significantly influenced by Bill Evans[6] , Mehldau has denied the assertion by saying that he has his own style which at times shows characteristics present in Bill's play[7] .

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

Discography Further reading • Pettinger, Peter (2002). Bill Evans: How My Heart Sings (New Ed ed.). Yale University Press. ISBN 0300097271.

External links • • • •

billevans.net Detailed Discography [8] Bill Evans entry — Jazz Discography Project The Bill Evans Webpages [10] Bill Evans: Time Remembered [11]

[9]

• The Work of Claus Ogerman [12] — Bill Evans' work with composer/arranger/conductor Claus Ogerman is documented here in a pictorial discography of original albums and compilations, many with explanatory liner notes.

• "Remembering Bill Evans" [15]

[13]

by Ted Gioia, Jazz.com

[14]

, January, 2008.

• Letter from Evans — newsletter dedicated solely to the music and the life of Bill Evans, published 1989–94. Link is to all issues.

Bill Evans

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• "Bill Evans: Twelve Essential Recordings by Ted Gioia"

[16]

External links [1] Denny Zeitlin's video titled "Three musical giants" (http:/ / www. dennyzeitlin. com/ DZ_Biography. php) [2] All About Jazz on Eliane Elias. (http:/ / www. allaboutjazz. com/ php/ article. php?id=28148) [3] Simpson, Joel. Bill Evans. Biography. (http:/ / www. allaboutjazz. com/ php/ musician. php?id=6592) [4] The liner notes to Bill Evans - The Complete Riverside Recordings, published in 1984, give credit to both Evans and Davis ((Davis-Evans) Jazz Horn Music/Warner-Tamerlane Publ. — BMI).

[5] http:/ / www. billevanswebpages. com/ kindblue. html [6] Brad Mehldau was influenced by Bill Evans according to Answers.com (http:/ / www. answers. com/ topic/ brad-mehldau?cat=entertainment) [7] Article by Kristen MacKenzie on Brad Meldhau (pp. 4 and 18) (http:/ / www. bradmehldau. com/ content/ music/ pdf/ mackenzie. pdf) [8] http:/ / www. billevans. net [9] http:/ / www. jazzdisco. org/ evans/ cat/ a/ [10] http:/ / www. billevanswebpages. com/ [11] http:/ / www. billevans. nl [12] http:/ / bjbear71. com/ Ogerman/ Claus. html [13] http:/ / www. jazz. com/ jazz-blog/ 2008/ 1/ 29/ remembering-bill-evans [14] http:/ / www. jazz. com [15] http:/ / www. scribd. com/ people/ documents/ 918307/ folder/ 31679?secret_password=swwf9hatass6ld6lnrk [16] http:/ / www. jazz. com/ dozens/ the-dozens-essential-bill-evans Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=273444243 Contributors: AVM, Aaaaalias, Airproofing, Alexius08, Allenstone, Alma Pater, Aspensequence, Aussie Ausborn, Bagatellen, Black Falcon, Brianga, Captain panda, Cdg1072, Cosprings, Daveman 84, Dbtjazz, Diloretojazz, Dina, DooDooNation, Dr Notes, Dr. Shaggeman, Dunks58, FloydRTurbo, Gabbe, Galo1969X, Gareth E Kegg, Gesmer, Gratford, Herbythyme, Jazzeur, John, John Link, Jpgordon, Jppigott, Kimchi.sg, Kippenburger, Knucmo2, Kuzzer, Leifbk, Llwitt, Lugnuts, Mind meal, Monegasque, Morphinea, Mynameissamdelgado, Mysloop, NathanBeach, Ndorward, NoVomit, Petershank, Prodego, Professor marginalia, Rich Farmbrough, Robrijn, Ronaldomundo, SchuminWeb, Slpknt2, Sluzzelin, Spellmaster, Squandermania, Ssg263, Steveshelokhonov, T. Anthony, Tjmayerinsf, Viriditas, Vsb, Xy7, Zone46, 82 anonymous edits

Herbie Hancock Herbie Hancock

Herbie Hancock

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Herbie Hancock live in concert.

Background information Born

April 12, 1940

Genre(s)

Jazz, Post Bop, Jazz fusion, Hard Bop, Jazz-Funk, Funk, R&B, Electro funk

Occupation(s)

Jazz pianist and composer

Instrument(s)

Piano, Synthesizer, Organ, Clavinet, Vocoder

Years active

1961–present

Herbert Jeffrey "Herbie" Hancock (born April 12, 1940) is a jazz pianist and composer.

He embraces elements of rock and soul while adopting freer stylistic elements from jazz.

As part of Miles Davis's "second great quintet", Hancock helped redefine the role of a jazz rhythm section, and was one of the primary architects of the "post-bop" sound. Later, he was one of the first jazz musicians to embrace synthesizers and funk. Yet for all his restless experimentalism, Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences.

Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaria), "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 to win the award.

Early life and career Like many jazz pianists, Hancock started with a classical music education; Hancock studied from age seven. His talent was recognized early, and he played the first movement of Mozart's Piano Concerto No. 5 in D Major at a young people's concert with the Chicago Symphony at age eleven.[1] Through his teens, Hancock never had a jazz teacher. Instead, around high school age, Hancock grew to like jazz after hearing some Oscar Peterson and George Shearing recordings, which he transcribed in his own time, and which developed his ear and sense of harmony. He was also influenced by records of the vocal group the Hi-Lo's: ..by 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 →

Herbie Hancock Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it really came from. Almost all of the harmony that I play can be traced to one of those four people and whoever their influences were.[2] Hancock also listened to other pianists, including Don Goldberg (also a prodigy and a Hyde Park High School classmate), → McCoy Tyner, and Wynton Kelly, and studied recordings by Miles Davis, John Coltrane and Lee Morgan.

Hancock began his studies as an engineering major at Grinnell College, but switched to music after two years. In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student [3]. Hancock often mentions Anderson as his harmonic guru.

Hancock left Grinnell one course short of graduation in 1961, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University. (Grinnell awarded Hancock an honorary Doctor of Fine Arts degree in 1972).[1] [4] Donald Byrd was attending 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 Santamaria with a hit single, but crucially Takin' Off was to catch 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 Hancock received considerable attention when, in May 1963,[1] he joined Miles Davis' "second great quintet." This new band was essentially Miles Davis surrounded by fresh, new talent. 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, seventeen year old drummer Tony Williams, and Hancock on piano. After George Coleman and Sam Rivers each taking turns 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 unique voice as a master of jazz piano. Not only did he find new ways to use common chords, he also popularized chords then rarely used in jazz. Hancock also developed a unique taste for "orchestral" accompaniment - using fourths and Debussy-like harmonies, with stark contrasts then unheard of in jazz.

With Williams and Carter he would weave a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes. In the later half of the sixties their approach would be 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 the Davis 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.

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Herbie Hancock 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 (and had Freddie Hubbard 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 Martinez.

During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup which was to be the first of many soundtracks he would record 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 Hancock returned late from a honeymoon in Brazil, he was kicked out of Davis' band. So in the summer of 1968 Hancock formed his own sextet. (Davis would soon disband his quintet to search for a new sound.) Hancock though, 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.

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 TV 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 was 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 adventurous 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.

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.

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Herbie Hancock 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 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 2006-2007 a remastered edition of Crossings was announced and scheduled for release in the Spring.

Head Hunters and Death Wish See also: The Headhunters 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. 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.

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Herbie Hancock 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", later ears have regarded the album well: "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." Allmusic.com entry [5]

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, Hancock 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.

Back to the Basics: VSOP and the 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). One of his songs, "Clutch", which was recorded in studio in 1980, was featured on the 2001 anime movie Cowboy Bebop: The Movie and its soundtrack Future Blues. He multitracked a steam wind organ called a calliope in the background for ambience. On his later album A Tribute to Miles, the song was retitled "Calliope" itself.

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.

13

Herbie Hancock From 1978-1982, Hancock recorded many albums consisting of jazz-inflected disco and pop music, beginning with Sunlight (featuring guest musicians like Tony Williams and Jaco Pastorius on the last track) (1978). Singing through a vocoder, he earned a British hit, "I Thought It Was You", although critics were unimpressed. [6]. 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." 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 contains 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 whilst 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.

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. The video won 5 different categories at the inaugural MTV Video Music Awards, including the category for Video Of The Year. 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 ) [7].

Lesser known works from the 80s are the live album Jazz Africa and the studio album Village Life (1984) which were recorded with Gambian kora player Foday Musa Suso. [8] Also, in 1985 he performed as a guest on the album So Red The Rose by the Duran Duran shoot off 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, Rock School (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.

14

Herbie Hancock

15

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 After leaving Columbia, Hancock took a break. In 1991, three years after Perfect Machine was released, his mentor Miles Davis, died. Along 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.

Herbie Hancock performing at The XM Sonic Stage at The Bonnaroo Music & Arts Festival on June 12, 2005.

Hancock's next album, Dis Is Da Drum released in 1994 saw him return to Acid Jazz. 1995's The New Standard found him 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 titled 1 + 1 was successful, the song "Aung San Suu Kyi" winning the Grammy Award for Best Instrumental Composition, and Hancock also achieved great success in 1998 with his album Gershwin's World which featured inventive readings of George & Ira Gershwin standards by Hancock and a plethora of guest stars including Stevie Wonder, Joni Mitchell and Shorter.

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 called Directions in Music: Live at Massey Hall recorded live in Toronto. The threesome then toured together, and have toured on and off through 2005.

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 in the Best Pop Collaboration With Vocals category, and "Gelo No Montanha", featuring Trey Anastasio on guitar was nominated in the Best Pop Instrumental Performance category. Neither nomination resulted in an award.

Herbie Hancock

16

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 Head Hunters and went on tour with them, including a performance 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-only "The 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) titled "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 [9] on the ObliqSound label in 2006, resulting in two improvisational tracks "Le RĂŠveil 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,[10] 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.[11] "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 was assisting the production of the Kanye West track "Robocop", found on 808s and Heartbreak.

On January 18, 2009, Hancock performed at the We Are One concert, marking the start of inaugural celebrations for American President Barack Obama.[12]

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

Herbie Hancock

17

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

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

Herbie Hancock

18

Gershwin's World

1998

Verve

Future2Future

2001

Transparent

Directions in Music: Live at Massey Hall (Live album)

2002

Verve

Possibilities

2005

Concord/Hear Music

River: The Joni Letters

2007

Verve

Awards Academy Awards • 1986, Original Soundtrack, for Round Midnight

Grammy Awards 1.

2.

3.

4.

5.

6.

7.

1983, 1984, 1987, 1994, 1996, 1998, 1998,

Best Best Best Best Best Best Best

R&B Instrumental Performance, for Rockit R&B Instrumental Performance, for Sound-System Instrumental Composition, for Call Sheet Blues Jazz Instrumental Performance, Individual Or Group, for A Tribute to Miles Instrumental Composition, for Manhattan (Island Of Lights And Love) Instrumental Arrangement Accompanying Vocal(s), for St. Louis Blues Jazz Instrumental Performance, Individual Or Group, for Gershwin's World

8. 2002, Best Jazz Instrumental Album, Individual or Group, for Directions in Music: Live at Massey Hall 9. 2002, Best Jazz Instrumental Solo, for My Ship 10. 2004, Best Jazz Instrumental Solo, for Speak Like a Child 11. 2008, Best Contemporary Jazz Album, for River: The Joni Letters 12. 2008, Album of the Year, for River: The Joni Letters

Playboy Music Poll • Best Jazz Group, 1985 • • • • •

Best Best Best Best Best

Jazz Keyboards, 1985 Jazz Album - Rockit, 1985 Jazz Keyboards, 1986 R&B Instrumentalist, 1987 Jazz Instrumentalist, 1988

Herbie Hancock

19

Keyboard Magazine's Readers Poll • • • •

Best Best Best Best

Jazz Jazz Jazz Jazz

& Pop Keyboardist, 1983 Pianist, 1987 Keyboardist, 1987 Pianist, 1988

Other notable awards • • • • • • • • • •

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 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 Album of the Year, 2007 Harvard Foundation Artist of the Year, 2008[13]

External links • • • • • •

Official website of Herbie Hancock [14] Official Herbie Hancock MySpace page [15] Herbie Hancock at Verve Records [16] River:The Joni Letters at Verve Records [17] Possibilities [18] Herbie Hancock Discography [19] Herbie Hancock Discography

• Herbie Hancock [20] at Allmusic • Interview with Herbie Hancock [21] on music and technology from AppleMatters • Interview with Herbie Hancock

[23]

[22]

on the "Possibilities" album release from LiveDaily

[24]

• Herbie Hancock: Outside The Comfort Zone

[25]

Herbie Hancock interview from JamBase

[26]

• "Herbie Hancock: Essential Recordings"

[27]

by Ted Gioia (www.jazz.com

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

[28]

)

Herbie Hancock

External links [1] Dobbins, Bill and Kernfeld, Barry. "Herbie Hancock", Grove Music Online, ed. L. Macy (accessed 19 February 2007), grovemusic.com (http:/ / www. grovemusic. com/ ) (subscription access).

[2] Julie Coryell & Laura Friedman "Jazz-Rock Fusion. The People, The Music", A Delta Special 1978, ISBN 0-440-04187-2, page 161-162".

[3] http:/ / www. mapleshaderecords. com/ cds/ 56922. php [4] The tune Dr Honoris Causa written by Joe Zawinul and performed by Cannonball Adderley's quintet is an ironic celebration of the honorary degree.

[5] http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=10:3y61mped9f5o~T1 [6] http:/ / www. warr. org/ hancock. html [7] http:/ / it. youtube. com/ watch?v=ZZEGHnAxEpo [8] http:/ / www. pandora. com/ music/ artist/ 3feb50074a703d1a [9] http:/ / www. obliqsound. com/ releases/ virgin_forest. html [10] Andre Mayer (June 18, 2007). "Key figure: An interview with jazz legend Herbie Hancock" (http:/ / www. cbc. ca/ arts/ music/ hancock. html). http:/ / www. cbc. ca/ arts/ music/ hancock. html. Retrieved on 2007-09-11.

[11] JoniMitchell.com (http:/ / www. jonimitchell. com/ news/ index. cfm) [12] "Obama: People Who Love This Country Can Change It" (http:/ / www. foxnews. com/ politics/ 2009/ 01/ 18/ obama-family-arrives-concert-lincoln-memorial/ ). Foxnews. http:/ / www. foxnews. com/ politics/ 2009/ 01/ 18/ obama-family-arrives-concert-lincoln-memorial/ . Retrieved on 2009-02-09.

[13] Hancock named Harvard Foundation Artist of the Year — The Harvard University Gazette (http:/ / www. news. harvard. edu/ gazette/ 2008/ 02. 28/ 99-culturalrhythms. html) [14] http:/ / www. herbiehancock. com/ [15] http:/ / www. myspace. com/ herbiehancock [16] http:/ / vervemusicgroup. com/ artist. aspx?ob=pri& src=wiki& aid=2846 [17] http:/ / vervemusicgroup. com/ product. aspx?ob=n& src=art& pid=11770 [18] http:/ / www. herbiehancock. com/ music/ [19] http:/ / www. stamil. homepage. t-online. de/ hhdisco. htm [20] http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:ugfe4j470wal [21] http:/ / applematters. com/ index. php/ section/ comments/ the_applematters_interview_herbie_hancock/ [22] http:/ / www. applematters. com [23] http:/ / www. livedaily. com/ interviews/ liveDaily_Interview_Herbie_Hancock-8360. html [24] http:/ / www. livedaily. com/ [25] http:/ / www. jambase. com/ headsup. asp?storyID=11098& disp=all [26] http:/ / www. jambase. com/ [27] http:/ / www. jazz. com/ dozens/ the-dozens-twelve-essential-herbie-hancock-performances [28] http:/ / www. jazz. com Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=273346268 Contributors: 428CobraJet, Aaton77, Acalamari, Accurizer, Aitias, Ammosh11, Aspects, Benjiboi, Betacommand, Binary TSO, Charlieax8114, ClydeC, Colonies Chris, Cosprings, Count de Ville, Countedx58, DISEman, DJBullfish,

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Herbie Hancock Dan56, Danaimband, Darev, Dissolve, Dondeestamimente, Dureo, Dycedarg, Elagatis, Evanreyes, Fru1tbat, Funk Junkie, Gcb in perth, Geach, Gimmetrow, Globe199, Gogo Dodo, Good Olfactory, Gthelleloid, Harold Wienstein, Hatto, Heroin pete, Hhbruun, Hornbuckle, Hungery deer, Jafeluv, Jazzeur, Jbossbarr, Jmrowland, John, Johnpacklambert, KConWiki, Kaptain amerika, Karenjc, Kintetsubuffalo, Klutzy, KnowledgeOfSelf, Koavf, Kukini, Lame Name, Maarten de Haan, Mandtplatt, Marcus Brute, Martin451, Matt.kaner, MegaMergatroid, Mfitzhenry, Mind meal, Mmalis, MrFunkster, MrShamrock, Nabokov, Nikoffm, Nsmartinsfm, Oda Mari, Philip Cross, Philip Trueman, Pigsonthewing, PinkCornflake, Polly, Pugetbill, Purples, Rajah, Res2216firestar, Ricegator, RyanCross, SaintGunner, SchuminWeb, Seaaron, Shoemortgage, Spellcast, Spellmaster, Stonedonald1994, Tassedethe, Teiladnam, The-G-Unit-Boss, Thingg, Tiddly Tom, Tobias Conradi, Tombonet, Trevor MacInnis, Twsx, VanPelt101, Viriditas, Vonbontee, Vytal, W guice, WPisFascist, Wickethewok, William Avery, Zagmac, Zazil991, Zimbabweed, 178 anonymous edits

Michel Petrucciani Michel Petrucciani (December 28, 1962, Orange, France – January 6, 1999, New York City, USA), was a French Jazz pianist.

Michel Petrucciani came from an Italo-French family with a musical background. His father Tony played guitar and his brother Louis played bass. Michel was born with osteogenesis imperfecta which is a genetic disease that causes brittle bones and in his case short stature. It is also often linked to pulmonary ailments. In his early career his father and brother occasionally carried him, literally, because he could not walk far on his own unaided. In certain respects though he considered it an advantage as it got rid of distractions, like sports, that other boys tended to become involved in.[1] At an early age he became an enthusiast of Duke Ellington and wished to become a pianist like him. Although he trained for years as a classical pianist, jazz remained his main interest. He gave his first professional concert at 13. At this point in his life he was still quite fragile and had to be carried to and from the piano. His size meant that he required aids to reach the piano's pedals, but his hands were average in length. This had its advantages however, at the start of his career Petrucciani's manager would often smuggle him into hotel rooms in a suitcase in a bid to save money. By the age of 18 he was part of a successful trio. He moved to the US in 1982, where he successfully encouraged Charles Lloyd to resume playing actively and in 1986 he recorded a live album with Wayne Shorter and Jim Hall. He also played with diverse figures in the US jazz scene including Dizzy Gillespie.[2] In 1994 he was granted a Légion d'honneur in Paris.

His own style was initially influenced by → Bill Evans although some compare him to → Keith Jarrett. He is often deemed to be among the best jazz pianists to ever come from France.

On the personal side he had three significant relationships. His first marriage to Italian pianist Gilda Buttà ended in divorce. He also fathered two children, one being a son named Alexandre. One of these children inherited his condition. He also had a stepson named Rachid Roperch.[3] Michel Petrucciani died just after his 36th birthday from a pulmonary infection. He was interred in Le Père Lachaise Cemetery in Paris.

21

Michel Petrucciani

22

Discography • Flash (1980) • Michel Petrucciani Trio (1981) • Date with Time (1981) • Michel Petrucciani (1981) • Estate (1982) • Oracle's Destiny (1982) • Toot Sweet (1982) • 100 Hearts (1983) • Live at the Village Vanguard (1984) • Note'n Notes (1984) • • • • •

Michel Petrucciani's tomb

Cold Blues (1985) Pianism (1985) Power of Three (1986) with Wayne Shorter and Jim Hall Michel plays Petrucciani (1987) Music (1989)

• The Manhattan Project (1990) with Wayne Shorter, Stanley Clarke, Lenny White, Gil Goldstein and Pete Levin • Playground (1991) • Live (1991) • From the Soul (1991) on Dec 28, 1991 with Joe Lovano • Promenade with Duke (1993) • The Blue Note Years (1993) • Marvelous (1994) • Conference De Presse (with Eddie Louiss) (1994) • Au Theatre Des Champs-Élysées (1994) • Darn that Dream (1996) • Flamingo (with Stephane Grappelli) (1996) • • • • • • •

Solo Live (1999) Live in Germany (1998) Both Worlds (1998) Trio in Tokyo (1999) Bob Malach & Michel Petrucciani (2000) Concerts Inedits /Live (2000) Conversation (2001)

Michel Petrucciani

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Tributes • A mosaic in honor of Michel Petrucciani has been in the 18th district of Paris since July, 2003. It was done by Édouard Detmer.

• A song on the Finnish jazz Trio Töykeät's album Kudos is titled "Waltz For Michel Petrucciani" and is dedicated to him.

• Christian Jacob's album Contradictions does his interpretation of eleven of Petrucciani's compositions as a kind of tribute.[4]

External links • • • • •

A Tribute To Michel Petrucciani [5] Artist site [6] Interview (In French) [7] "Mezzo" documentary on Petrucciani with interview Photo of Petrucciani [9] at Find A Grave

[8]

External links [1] International Herald Tribune's obituary (http:/ / www. iht. com/ articles/ 1999/ 01/ 12/ michel. t. php) [2] Jazz Professional (http:/ / www. jazzprofessional. com/ profiles/ Michel Petrucciani. htm) [3] Sunny Side Records on Petrucciani (http:/ / www. sunnysiderecords. com/ artist. php?id=185) [4] http:/ / www. allaboutjazz. com/ php/ article_email. php?id=22974 [5] http:/ / www. michel-petrucciani. de [6] http:/ / www. dreyfusrecords. com/ discs_ns. php?& a=16& l=0 [7] http:/ / www. jazzmagazine. com/ Interviews/ Dauj/ petrucciani/ petru. htm [8] http:/ / video. google. com/ videoplay?docid=-1172784483135614308 [9] http:/ / www. findagrave. com/ cgi-bin/ fg. cgi?page=gr& GRid=7755 Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=267442647 Contributors: BD2412, Bokkeveltkamp, Craigiskowitz, Dogru144, Ekko, Exclaim, Gareth E Kegg, Herrnstadt, Jwillbur, Lazulilasher, MBisanz, Rjwilmsi, Rothorpe, SvNH, T. Anthony, TubularWorld, TurnMagic, Wiki-99mhf, Xezbeth, 13 anonymous edits

Keith Jarrett Keith Jarrett

Background information

Keith Jarrett

24

Born

May 8, 1945 Allentown, Pennsylvania, U.S.

Genre(s)

Free Jazz, Mainstream jazz, Avant-garde jazz, Jazz fusion, Post bop, Classical, Contemporary jazz

Occupation(s)

Pianist

Instrument(s)

Piano

Years active

1966-present

Keith Jarrett (born May 8, 1945 in Allentown, Pennsylvania) is an American pianist, composer and jazz icon.

His career started with Art Blakey, Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success in both classical music and jazz, as a group leader and a solo performer. His improvisation technique combines not only jazz, but also other forms of music, especially classical, gospel, blues and ethnic folk music.

In 2003 he received the Polar Music Prize, being the first (and to this day only) recipient not sharing the prize with anyone else.

In 2008 he was inducted into the prestigious Downbeat Hall of Fame by the Downbeat Magazine 73rd Annual Jazz Readers Poll.

Early years Jarrett grew up in suburban Allentown, Pennsylvania with a significant exposure to music.

He displayed prodigious talents as a young child and possessed absolute pitch or perfect pitch. He played his first formal public concert to paying customers at the age of six and it ended with two of his own compositions.[1] He took intensive classical lessons, and particularly enjoyed playing compositions by Bartok. In his teens, as a student at Emmaus High School, he learned jazz and quickly became proficient in it. At one point, he had an offer to study composition with the legendary Nadia Boulanger in Paris; this was amiably turned down by Jarrett and his mother. In his early teens, he developed a stronger interest in the contemporary jazz scene: he recalls a Dave Brubeck show as an early inspiration.

Following his graduation from Emmaus High School in 1963[2] , Jarrett moved from Allentown to Boston, Massachusetts, where he attended the Berklee College of Music and played cocktail piano. Jarrett then moved to New York City, where he played at the renowned Village Vanguard club.

In New York, Art Blakey hired him to play with his Jazz Messengers band, and he subsequently became a member of the Charles Lloyd Quartet (a group which included Jack DeJohnette, a frequent musical partner throughout Jarrett's career). The Lloyd quartet's 1966 album Forest Flower was one of the most successful jazz recordings of the late 1960s.

Jarrett also started to record as a leader at this time, in a trio with Charlie Haden and Paul Motian. Jarrett's first album as a leader, Life Between The Exit Signs (1967), appeared around this time on the Vortex label, to be followed by Restoration Ruin (1968), which is easily the most bizarre entry in the Jarrett catalog. Not only does Jarrett barely touch the piano, he plays all the other instruments on what is essentially a folk-rock album, and even does all the singing. Another trio album with Haden and Motian followed later in 1968, this one recorded live for the Atlantic label and called Somewhere Before.

Keith Jarrett

Miles Davis When the Charles Lloyd quartet came to an end, Jarrett was asked to join the Miles Davis group after Miles heard Jarrett in a New York City club. During his tenure with Davis, he played both Fender Contempo electronic organ and Fender Rhodes electric piano, alternating with → Chick Corea; after Corea left, he often played the two simultaneously.

Despite Jarrett's dislike of amplified music and electric instruments, he stayed on out of his respect for Davis and his wish to work again with DeJohnette. Jarrett can be heard on five of Davis's albums, Miles Davis at Fillmore: Live at the Fillmore East, The Cellar Door Sessions (recorded December 16–December 19, 1970 at a club in Washington, DC) and Live-Evil, which was largely composed of heavily-edited Cellar Door recordings. The extended sessions from these recordings can be heard on The Complete Cellar Door Sessions. He also plays electric organ on Get Up with It; the song he features on, "Honky Tonk", is an edit of a track available in full on The Complete Jack Johnson Sessions. In addition, part of a track called "Konda" (rec. on May 21st, 1970) was released during Davis' late-70's retirement on an album called Directions (1976). The track features an extended Fender-Rhodes piano introduction by Jarrett and was released in full on 2003's The Complete Jack Johnson Sessions[3] Officially released Miles Davis recordings on which Jarrett appeared: • At Fillmore (double LP issued in 1971, recorded June 1970, taken from four consecutive nights at the Fillmore East).

• Live-Evil (1970).

• Get Up With It (1974).

• Directions (1980) (a release of previously unavailable recordings).

• The Columbia Years: 1955-1985 (1990) (mainly a collection of previously issued recordings; includes some of the above cited Jack Johnson outtakes).

• Miles Electric: A Different Kind of Blue (2004) (a 1970 performance at the Isle of Wight festival, released on DVD in 2004).

• The Cellar Door Sessions (2005) (complete recordings of live sessions that produced the live segments of Live-Evil).

1970s quartets From 1971 to 1976, Jarrett added saxophonist Dewey Redman to the existing trio with Haden and Motian. The "American Quartet" was often supplemented by an extra percussionist, such as Danny Johnson, Guilherme Franco, or Airto Moreira, and occasionally by guitarist Sam Brown. The members would also play a variety of instruments, with Jarrett often being heard on soprano saxophone and percussion as well as piano, Redman on musette, a Chinese double-reed instrument, and Motian and Haden on a variety of percussion. Haden also produces a variety of unusual plucked and percussive sounds with his acoustic bass, even running it through a wah-wah pedal for one track ("Mortgage On My Soul," on the album Birth). The group recorded for Atlantic Records, Columbia Records, Impulse! Records and ECM. The group's recordings include: • Birth, El Juicio (The Judgement) and The Mourning of a Star (all 1971), recorded at the same sessions, though Redman does not appear on the latter; these albums were issued

by Atlantic Records

25

Keith Jarrett • Expectations (1972), Jarrett's only album for Columbia, an ambitious, wide-ranging session that included rock-influenced guitar by Sam Brown as well as string and brass arrangements, and for which his contract with Columbia was immediately terminated • Fort Yawuh (1973), recorded live at the Village Vanguard in New York City; his first album on Impulse! Records • Backhand (1974) • Treasure Island (1974) • Death and the Flower (1974) • Shades (1975) • Mysteries (1975) • The Survivors' Suite (1976) • Eyes of the Heart (1976), a live recording originally released as a three-sided LP by ECM, with the fourth side containing blank grooves.

• Byablue (1976) • Bop-Be (1977) The last two albums, both recorded for Impulse!, primarily feature the compositions of the other band members, as opposed to Jarrett's own which dominate the previous albums.

Jarrett's compositions and the strong musical identities of the group members gave this group a very distinctive sound. The group's music was an interesting and exciting amalgam of free jazz, straight-ahead post-bop, gospel music, and exotic Middle-Eastern-sounding improvisations.

In the mid and late 1970s Jarrett led a "European Quartet" concurrently with the above discussed "American Quartet", which was recorded by ECM. This combo consisted of saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen.

Albums recorded by this group include: • • • •

Belonging (1974) My Song (1978) Personal Mountains (1979, live in Tokyo, released a decade later) Nude Ants (1979, live at the Village Vanguard in New York)

This ensemble played music in a similar style to that of the American Quartet, but with many of the avant-garde and "Americana" elements replaced by the European folk influences that characterized ECM artists of the time.

Following the release of the album Gaucho by the US jazz/rock band Steely Dan in 1980, Jarrett became involved in a legal wrangle over the title track. Arguably intended as a tribute to Jarrett, the song was credited only to Donald Fagen and Walter Becker, despite its undeniable resemblance to the Jarrett composition "Long As You Know You're Living Yours," from the "Belonging" album. Jarrett threatened legal action, and Becker and Fagen were then forced to add his name to the credits and to include him in future royalties.[4]

26

Keith Jarrett

Solo piano Jarrett's first album for ECM, called Facing You (1971) was a solo piano date recorded in the studio. He has continued to record solo piano albums in the studio intermittently throughout his career, including Staircase (1976), The Moth and the Flame (1981), and The Melody At Night, With You (1999). Book of Ways (1986) is a studio recording of clavichord solos.

The studio albums are modestly successful entries in the Jarrett catalog, but in 1973, Jarrett also began playing totally improvised solo concerts, and it is the voluminous recordings of these concerts that have made him one of the best-selling jazz artists in history. Albums recorded at these concerts include: • Solo Concerts: Bremen/Lausanne (1973). Recorded in Bremen and Lausanne these concerts were originally released as a three-LP set • The Köln Concert (1975), one of the best-selling jazz albums of all time • Sun Bear Concerts (1976), five complete Japanese concert recordings, originally released as a ten-LP set • Concerts (Bregenz/München) (1981), originally released as a three-LP set, only the Bregenz concert is included on the single CD release. The München concert (more than an hour and a half long) has not yet been reissued on CD, apart from a ten minute section on the :rarum collection which was compiled by Jarrett himself. According to the ECM website however, a reissue is in the works.

• Dark Intervals (1988) recorded in Japan, it is the first of Jarrett's live solo albums to feature shorter, more concise improvised pieces rather than the more familiar extended improvisations of his earlier solo albums.

• Paris Concert (1990) featuring a 38 minute improvisation, a composition (The Wind) and a blues.

• Vienna Concert (1991), which Jarrett has stated is his finest solo concert recording • La Scala (1997), which was the first ever non classical concert in Milan's La Scala Opera House • Radiance (2005) • The Carnegie Hall Concert (2006) Jarrett has commented that his best performances were during the times where he had the least amount of preconception of what he was going to play at the next moment. An apocryphal account of one such performance had Jarrett staring at the piano for several minutes without playing; as the audience grew increasingly uncomfortable, one member shouted to Jarrett, "D sharp!", to which the pianist responded, "Thank you!," and launched into an improvisation at speed.

Jarrett's 100th solo performance in Japan was captured on DVD at Suntory Hall Tokyo on April 14th 1987 and released the same year. The DVD was titled Solo Tribute.

A DVD entitled Last Solo was released in 1987 from a live solo concert at Kan-i Hoken hall, Tokyo recorded in Januuary 25th 1984.

Another of his solo concerts, Dark Intervals (1987, Tokyo), has less of a freeform improvisation feel to it due to the brevity of the pieces. Sounding more like a set of short compositions, these pieces are nonetheless entirely improvised. In addition to the shorter form, they lack the 'jazzy' feel associated with the above concerts.

27

Keith Jarrett In the late 1990s, Jarrett was diagnosed with chronic fatigue syndrome (CFS) and was confined to his home for long periods of time. It was during this period that he recorded The Melody at Night, With You, a solo piano record consisting of jazz standards presented with very little of the reinterpretation in which he usually engages. The album had originally been a Christmas Day gift to his second wife, Rose Anne.

By 2000, he had returned to touring, both solo and with the Standards Trio. Two 2002 solo concerts in Japan, Jarrett's first solo piano concerts following his illness, were released on the 2005 CD Radiance (a complete concert in Osaka, and excerpts from one in Tokyo), and the 2006 DVD Tokyo Solo (the entire Tokyo performance). In contrast with previous concerts (which were generally a pair of 30-40 minute continuous improvisations), the 2002 concerts consist of a linked series of shorter improvisations (some as short as a minute and a half, a few of fifteen or twenty minutes).

In September 2005 at Carnegie Hall Jarrett performed his first solo concert in North America in more than ten years, released a year later as a double CD set (The Carnegie Hall Concert).

In December 2008 he performed solo in the Royal Festival Hall, playing solo in London for the first time in seventeen years.

In January 2009 he again performed solo at Carnegie Hall in New York. The concert was recorded for possible future CD release.

The Standards Trio In 1983, Jarrett asked bassist Gary Peacock and drummer Jack DeJohnette, with whom he had worked on Peacock's 1977 album Tales of Another, to record an album of jazz standards, simply entitled Standards, Volume 1. Standards, Volume 2 and Changes, both recorded at the same session, followed soon after. The success of these albums and the group's ensuing tour, which came as traditional acoustic post-bop was enjoying an upswing in the early 1980s, led to this new "Standards Trio" becoming one of the premier working groups in jazz, and certainly one of the most enduring, continuing to record and perform live over more than twenty years.

The trio has recorded numerous live and studio albums consisting primarily of jazz repertory material. They each list Ahmad Jamal as a major influence in their musical development for both his use of melodical and multi-tonal lines. They are: • • • • • • •

Standards, Vol. 1 (January 1983; studio recording) Standards, Vol. 2 (January 1983; studio recording) Changes (January 1983; studio recording) Standards Live (July 1985; live recording) Still Live (July 1986; live recording) Changeless (October 1987; live recording), a record of free improvisation Standards in Norway (October 1989; live recording)

• Tribute (October 1989; live recording), which consists of songs played in tribute to various jazz figures associated with them • The Cure (April 1990; live recording) • Bye Bye Blackbird (October 1991; studio recording), a tribute to the recently deceased Miles Davis • At the Deer Head Inn (1992; live recording)

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Keith Jarrett • At the Blue Note (June 1994; live recording), a six-disc boxed set that documents three nights (six sets) in the famous New York City nightclub • Tokyo '96 (March 1996; live recording) • Whisper Not — Live in Paris 1999 (July 1999; live recording) • Inside Out (July 2000; live recording), a record of free improvisation • Always Let Me Go (April 2001; live recording), a double album of free improvisation • The Out-of-Towners (July 2001; live recording) • Up for It - Live in Juan-les-Pins, July 2002 (July 2002; live recording) • My Foolish Heart - Live at Montreux [5] (July 2001; a double album of a live recording, Montreux Jazz Festival 2001) • Setting Standards - New York Sessions [6] (2008; 3CD set of the first three albums by the trio: Standards1, Standards2, Changes from 1983) • Yesterdays (2009) The trio has also released videos of performances in Japan, which are available on DVD, including: • Standards (February 1985; live recording) • Standards II (October 1986; live recording) • Live at Open Theater East (July 1993; live recording) • Tokyo 1996 (March 1996; live recording), a video document of the same concert which was released on CD as Tokyo '96 The Jarrett/Peacock/DeJohnette trio has also produced recordings that consist largely of challenging original material, most notably 1987's Changeless. (These recordings are noted above.) Several of the standards albums contain an original track or two, some attributed to Jarrett but mostly group improvisations. The live recordings Inside Out and Always Let Me Go (both released in 2001) marked a renewed interest by the trio in wholly improvised free jazz. By this point in their history, the musical communication among these three men had become all but telepathic, and their group improvisations frequently take on a complexity that sounds almost composed. The Standards Trio undertakes frequent world tours of recital halls (the only venues in which Jarrett, a notorious stickler for acoustic sound, will play these days) and is one of the few truly lucrative jazz groups to play both "straight-ahead" (as opposed to smooth) and free jazz.

A related recording, At the Deer Head Inn (1992), is a live album of standards recorded with Paul Motian replacing DeJohnette, at the venue in Jarrett's hometown where he had his first employment as a jazz pianist. It was the first time Jarrett and Motian had played together since the demise of the American quartet sixteen years earlier, and also reunited the drummer and bassist who had backed → Bill Evans on his album Trio 64 (1963).

Classical music Since the early 1970s, Jarrett's success as a jazz musician has enabled him to maintain a parallel career as a classical composer and pianist, recording almost exclusively for ECM Records.

1973's In The Light album consists of short pieces for solo piano, strings, and various chamber ensembles, including a string quartet, a brass quintet, and a piece for cellos and trombones. This collection demonstrates a young composer's affinity for a variety of classical styles, with varying degrees of success.

29

Keith Jarrett Luminessence (1974) and Arbour Zena (1975) both combine composed pieces for strings with improvising jazz musicians, including Jan Garbarek and Charlie Haden. The strings here have a moody, contemplative feel that is characteristic of the "ECM sound" of the 1970s, and is also particularly well-suited to Garbarek's keening saxophone improvisations.

From an academic standpoint, these compositions are dismissed by many classical music aficionados as lightweight, but Jarrett appeared to be working more towards a synthesis between composed and improvised music at this time, rather than the production of formal classical works. From this point on, however, his classical work would adhere to more conventional disciplines.

Ritual (1977) is a composed solo piano piece recorded by Dennis Russell Davies that is somewhat reminiscent of Jarrett's own solo piano recordings.

The Celestial Hawk (1980) is a piece for orchestra, percussion, and piano that Jarrett performed and recorded with the Syracuse Symphony under Christopher Keene. This piece is the largest and longest of Jarrett's efforts as a classical composer.

Bridge of Light (1993) is the last recording of classical compositions to appear under Jarrett's name. The album contains three pieces written for a soloist with orchestra, and one for violin and piano. The pieces date from 1984 and 1990.

In 1988 New World Records released the CD Lou Harrison Piano Concerto & Suite for Violin, Piano and small orchestra, featuring Jarrett on piano with Naoto Otomo conducting the piano concerto with the New Japan Philharmonic. Robert Hughes conducted the Suite for Violin, Piano and Small Orchestra. 1992 also saw the release of Jarrett's performance of Peggy Granville-Hicks Etruscan Concerto with Dennis Russell Davies conducting The Brooklyn Philharmonic Orchestra. This was released on Music Masters Classics with pieces

by Lou Harrison and Terry Riley. In 1995 the record label Music Masters Jazz released a CD on which one track featured Jarrett performing the exquisite solo piano part in Lousadzak, a 17-minute piano concerto by American composer Alan Hovhaness. The conductor was Dennis Russell Davies. Most of Jarrett's classical recordings are of older repertoire, but Jarrett may have been introduced to this modern work by his one-time manager George Avakian, who was a friend of the composer.

In addition to his classical work as a composer, Jarrett has also performed and recorded classical music for ECM's New Series since the mid-1980s, including the following: • • • •

Arvo Pärt, Fratres on Tabula Rasa with Gidon Kremer (1984) Johann Sebastian Bach, Das wohltemperierte Klavier, Book 1 (1987) Johann Sebastian Bach, Goldberg Variations (1989) Johann Sebastian Bach, Das wohltemperierte Klavier, Book 2 (1990)

• Georg Friedrich Händel, Six Sonatas for Recorder and Harpsichord with Michala Petri (1990) • Dmitri Shostakovich, 24 Preludes and Fugues (1991) • Johann Sebastian Bach, 3 Sonaten für Viola da Gamba und Cembalo (1991) • Johann Sebastian Bach, The French Suites (1991) • Georg Friedrich Händel, Suites for Keyboard (1995) • Wolfgang Amadeus Mozart, Piano Concertos, Masonic Funeral Music and Symphony in G Minor (1994) • Wolfgang Amadeus Mozart, Piano Concertos and Adagio and Fugue (1996) In 2004, Jarrett was awarded the Léonie Sonning Music Prize. The prestigious award usually associated with classical musicians and composers has only previously been given

30

Keith Jarrett to one other jazz musician — Miles Davis. The first person to receive the award was Igor Stravinsky in 1959.

Other works Jarrett also plays harpsichord, clavichord, organ, soprano saxophone, drums and many other instruments. He often played saxophone and various forms of percussion in the American quartet, though his recordings since the breakup of that group have rarely featured other instruments. In the last twenty years, the majority of his recordings have been on the acoustic piano only. He has spoken with some regret of his decision to give up playing the saxophone, in particular. Some of Jarrett's other albums, many of which contain examples of his instrumental diversity are: • Gary Burton & Keith Jarrett (1971), Burton receives top billing at this early date, but all of the compositions except one are Jarrett's. Jarrett plays some electric piano.

• Ruta and Daitya (1972), an album of duets with Jack DeJohnette, both fresh from Miles Davis' band and demonstrating his influence. In addition to acoustic piano, Jarrett plays electric piano and organ, the only time he would ever do so on an ECM recording.

• Hymns/Spheres (1976), improvisations recorded on an 18th century pipe organ of the Ottobeuren Abbey, a Benedictine abbey in Germany.

• Invocations/The Moth and the Flame (1981), partially recorded on the same organ as Hymns/Spheres and also featuring Jarrett improvising on saxophone in the extraordinarily resonant abbey.

• Spirits (1986), a collection of "back to basics" multitracked home recordings, performed mainly on a variety of wind instruments • Spheres (1986), Shortened, one-disc re-release of Hymns/Spheres.

There are several compilations and collections covering various aspects of Jarrett's career: • Foundations, a two-CD compilation of early work, from the Jazz Messengers and Charles Lloyd to the trio with Haden and Motian • The Impulse Years, 1973-1974, the albums Fort Yawuh, Treasure Island, Death and the Flower and Backhand, with outtakes • Mysteries: The Impulse Years, 1975-1976, the albums Shades, Mysteries, Byablue and Bop-Be, with outtakes • Silence (1977), a CD reissue of the Byablue and Bop-Be albums, with three tracks omitted to fit on a single CD • Works, an ECM compilation, covering the years 1972-1981.

• :rarum, a two-CD ECM compilation, chosen by Jarrett himself, and intended to highlight aspects of his ECM catalogue (Spirits, Book of Ways, the organ improvisations) which he felt had been neglected, as well as the more well-known work with the European quartet, the standards trio, and solo.

After leaving Miles Davis, Jarrett did not often work as a sideman, but he did appear on a few other musician's albums, including the following: • Paul Motian: Conception Vessel (1972) • Airto: Free (1972) • Freddie Hubbard: Sky Dive (1972) • Kenny Wheeler: Gnu High (1975) • Charlie Haden: Closeness (1976) • Scott Jarrett: Without Rhyme or Reason

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Keith Jarrett On April 15, 1978, Jarrett was the musical guest on Saturday Night Live. His music also has been featured on many television shows, including The Sopranos on HBO.

Idiosyncrasies One of Jarrett's trademarks is his frequent, highly audible vocalization (grunting, groaning, and tuneless singing), similar to that of Glenn Gould, Thelonious Monk, Erroll Garner, and Oscar Peterson. Jarrett is also physically active while playing, writhing, gyrating, and almost dancing on the piano bench. These behaviors occur in his jazz and improvised solo performances, but are for the most part absent whenever he plays classical repertory.

Jarrett has noted his vocalizations are based on involvement, not content, and are more of an interaction than a reaction.[citation needed] Jarrett is notoriously intolerant of audience noise, including coughing and other involuntary sounds, especially during solo improvised performances. He feels that extraneous noise affects his musical inspiration. As a result, cough drops are routinely supplied to Jarrett's audiences in cold weather, and he has even been known to stop playing and lead the crowd in a "group cough." This intolerance was made clear during a concert on October 31, 2006, at the restored Salle Pleyel in Paris. After making an impassioned plea to the audience to stop coughing, Jarrett walked out of the concert during the first half, refusing at first to continue, although he did subsequently return to the stage to finish the first half, and also the second. A further solo concert three days later went undisturbed, following an official announcement beforehand urging the audience to minimize extraneous noise. In 2008, during the first half of another Paris concert, Jarrett complained to the audience about the quality of the piano which he had been given, walking off between solos and remonstrating with staff at the venue. Following an extended interval, the piano was replaced. In 2007, in concert in Perugia, angered by photographers, Jarrett implored the audience: 'I do not speak Italian, so someone who speaks English, can tell all these assholes with cameras to turn them fucking off right now. Right now! No more photographs, including that red light right there. If we see any more lights, I reserve the right (and I think the privilege is yours to hear us), but I reserve the right and Jack and Gary reserve the right to stop playing and leave the goddamn city'. This caused the organizers of Umbria Jazz Festival to declare that they will never invite him again.[7] Jarrett is also extremely protective over the quality of recordings of his concerts. In 1992, a trio concert at the Royal Festival Hall in London was temporarily stopped as he thought he had identified someone in the audience with a recording device. It turned out to be a light on the mixing desk and the concert resumed after an apology. [citation needed] Jarrett has been known for many years to be strongly opposed to electronic instruments and equipment. His liner notes for the 1973 album Solo Concerts: Bremen / Lausanne states: "I am, and have been, carrying on an anti-electric-music crusade of which this is an exhibit for the prosecution. Electricity goes through all of us and is not to be relegated to wires." He has largely eschewed electric or electronic instruments since his time with Miles Davis.

Jarrett has been known to write back disdainful letters to critics who have negatively reviewed his music. [citation needed] For many years he has been a follower of the teachings of metaphysician and mystic G. I. Gurdjieff. In 1980 he recorded an album of Gurdjieff's compositions, called Sacred Hymns of G. I. Gurdjieff, for ECM.

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Keith Jarrett

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Personal Jarrett's younger brother, Chris Jarrett, is also a pianist and his other brother Scott Jarrett is a producer/songwriter.

Sources • Carr, Ian. Keith Jarrett: The Man and His Music. 1992 ISBN 0586092196 • Ian Carr, Digby Fairweather, Brian Priestley. 'The Rough Guide To Jazz'. 2003 ISBN 1-84353-256-5

External links • Art of the States: Keith Jarrett [8] performing Lousadzak, op. 48 (1944) by Alan Hovhaness • Keith Jarrett at Yahoo!Groups [9].

• Keith Jarrett fansite [10].

• Keith Jarrett on ECM Records [11].

• Keith Jarrett by Otacílio Melgaço [12] • Keith Jarrett: a short biography (fan site).

[13]

• "Keith Jarrett Standards Trio Celebrates Its 25th Anniversary" [15] .

• Keith Jarrett on Marian McPartland's Piano Jazz (NPR). [16] • Recent Interview [17]

[14]

by Ted Gioia Jazz.com

• [http:/ / query. nytimes. com/ gst/ fullpage. html?res=9C00E0DD153DF93AA35751C0A961958260 1997 New York Times profile of Jarrett] • AllAboutJazz review of Spheres [18] • A detailed review of Spheres [19] • The Keith Jarrett Discography [20]

External links [1] Keith Jarrett Information Page (http:/ / www. perfectpitchpeople. com/ jarrett. htm) [2] http:/ / www. mcall. com/ news/ local/ all-a1_5jarrett. 6572968sep14,0,4716330. story?page=2 [3] Davis, Miles. The Complete Jack Johnson Sessions. Columbia/Legacy, 2003 [4] | Don't Mess With Steely Dan (http:/ / www. postgazette. com/ pg/ 06216/ 711039-153. stm) [5] http:/ / www. allaboutjazz. com/ php/ article. php?id=29368 [6] http:/ / www. allaboutjazz. com/ php/ article. php?id=31238 [7] Keith Jarrett Officially Banned from Umbria Jazz Festival After Outburst, JazzTimes Magazine, July 16, 2007. (http:/ / jazztimes. com/ columns_and_features/ news/ detail. cfm?article=11168) [8] http:/ / artofthestates. org/ cgi-bin/ performer. pl?perf=691 [9] http:/ / launch. groups. yahoo. com/ group/ keithjarrett/ [10] http:/ / www. keithjarrett. org [11] http:/ / www. ecmrecords. com/ Catalogue/ ECM/ 1900/ 1900. php?lvredir=712& cat=%2FArtists%2FJarrett+ Keith%23%23Keith+ Jarrett& catid=0& doctype=Catalogue&

Keith Jarrett order=releasedate& rubchooser=901& mainrubchooser=9 [12] http:/ / keithjarrett. vilabol. uol. com. br [13] http:/ / www. lynndavidnewton. com/ music/ kj/ JarrettSketch. html [14] http:/ / www. jazz. com/ jazz-blog/ 2008/ 2/ 4/ keith-jarrett-standards-trio-celebrates-its-25th-anniversary [15] http:/ / www. jazz. com [16] http:/ / www. npr. org/ programs/ pianojazz/ previousguests/ winter2007/ jarrett. html [17] http:/ / www. culturekiosque. com/ jazz/ portrait/ keith_jarrett. html#hp/ [18] http:/ / www. allaboutjazz. com/ php/ article. php?id=26093 [19] http:/ / www. thegline. com/ disc-of-the-week/ 2006/ 09-28-2006. htm [20] http:/ / home. ica. net/ ~blooms/ jarretthome. html Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=273323254 Contributors: Afterwriting, Alansohn, Anastrophe., BD2412, BrianTung, Cosprings, Crddjd, DISEman, David Gerard, Diloretojazz, Dogru144, Dot Hook, Emerson7, Fisherjs, Frankenab, Gabbe, Gaius Cornelius, Georgeny1, Huberman, Iridescent, Joek Roex, Joncaire, Jujimufu, Kaffi, Kimse, Kleinzach, Lacatosias, LeoNomis, Lion-hearted II, Lipilee, Martinevans123, Mbonetti, Mendali, Mind meal, Moonriddengirl, Munci, NuclearWarfare, PAWiki, Paul210, Polly, Richardrj, S vatev, Secret, Skorpan, Sluzzelin, Slysplace, Super-Magician, Tassedethe, Thefellswooper, Tjmayerinsf, Ventris Arden, Village Explainer, Woohookitty, Zerkalox, 115 anonymous edits

Duke Jordan Irving Sidney Jordan (April 1, 1922–August 8, 2006[1] ) was an American jazz pianist.

An imaginative and gifted pianist, he was also a regular member of Charlie Parker's so-called "classic quintet" (1947-48), featuring Miles Davis. For example he participated in the Parker Dial session that produced "Dewey Square", "Bongo Bop", "Bird of Paradise", and the ballad "Embraceable You". A number of these performances are featured on Charlie Parker on Dial.[2] He had a long solo career from the mid-1950s onwards, after periods accompanying Sonny Stitt and Stan Getz, he performed and recorded in the trio format. His most notable composition, "Jordu", became a jazz standard when trumpeter Clifford Brown adopted it into his repertoire.

From 1978 he was resident in Copenhagen, Denmark, having begun recording an extensive sequence of albums for the Steeplechase label in 1973. Some of his best live recordings are available on the Steeplechase or the Japanese Marshmallow label.

From 1952-62 he was married to the Jazz singer Sheila Jordan.

External links • Duke Jordan Discography [3]

External links [1] Weiner, Tim (2006-08-13). "Duke Jordan, 84, jazz pianist who helped build bebop" (http:/ / www. indystar. com/ apps/ pbcs. dll/ article?AID=/ 20060813/ NEWS06/ 608130424/ 1012). IndyStar.com. New York Times. http:/ / www. indystar. com/ apps/ pbcs. dll/ article?AID=/ 20060813/ NEWS06/ 608130424/ 1012. Retrieved on 2006-08-13.

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Duke Jordan

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[2] Â Charlie Parker on Dial: The Complete Sessions (http:/ / allmusic. com/ cg/ amg. dll?p=amg& sql=10:difyxq8rldhe) at Allmusic [3] Â http:/ / www. jazzdisco. org/ jordan/ Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=236298583 Contributors: Allansutherland, Mind meal, Moonriddengirl, Pegship, Philip Cross, Technopat

Chick Corea Chick Corea

Chick Corea in concert (1992) Background information Birth name

Armando Anthony Corea

Born

June 12, 1941

Origin

Chelsea, Massachusetts, U.S.

Genre(s)

Jazz Jazz fusion Post bop Contemporary jazz

Occupation(s)

Pianist Keyboardist Composer Bandleader

Instrument(s)

Piano, keyboards, organ, drums

Years active

1966 - Present

Label(s)

ECM, Polydor, Stretch

Associated acts

Return to Forever

Website

http:/ / www. chickcorea. com

Armando Anthony "Chick" Corea (born June 12, 1941)[1] is a multiple Grammy Award winning American jazz pianist, keyboardist, drummer, and composer.

He is known for his work during the 1970s in the genre of jazz fusion. He participated in the birth of the electric fusion movement as a member of Miles Davis' band in the 1960s, and in the 1970s formed Return to Forever.[1] He continued to pursue other collaborations and explore various musical styles throughout the 1980s and 1990s. He is also known for promoting Scientology.[2]

Chick Corea

Life and career Youth Corea was born in Chelsea, Massachusetts. He is of Italian descent. His mother’s parents come from Sicily and his father’s parents come from Colossia, which is in the south of Italy.

Armando, his father, a jazz trumpet player who had led a Dixieland band in the Boston area in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument.

His Boston area heritage can be heard in his introduction of "Nefertiti" on Circle - Paris Concert as a Wayne Shorter composition.

Corea developed his piano skills by exploring music on his own. A notable influence was concert pianist Salvatore Sullo from whom Corea started taking lectures at age eight, who introduced him to classical music, helping spark his interest in musical composition. He also spent several years as a performer and soloist for The Knights of St. Rose, a Drum & Bugle Corp based in Chelsea.[citation needed] Given a black tuxedo by his father, he started doing gigs when in high school. He enjoyed listening to Herb Pomeroy's band at the time, and had a trio which would play Horace Silver's music at a local jazz club. He collaborated with Portuguese bandleader and trumpet player Phil Barboza, and with conga drummer Bill Fitch who introduced him to Latin music: I liked the "extraversion" of Latin music, especially the dance and salsa style music - bands like Tito Puente's band and Machito's band. The Cuban dance music was a great kind of antidote to some of the more serious, heady jazz that I was into. I liked the "outgoingness" and exuberance of the music. I just stayed interested in all kinds of Latin music. Then I discovered Spanish Latin music, which is flamenco.

He eventually decided to move to New York where he took up musical education for one month at Columbia University and six months at The Juilliard School (among his Juilliard teachers was Peter Schickele, who described Chick as "the most awake student [he] ever taught"). He quit after finding both disappointing, but liked the atmosphere of New York where the musical scene became the starting point for his professional career.

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Chick Corea

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Early career Corea started his professional career in the '60s playing with trumpeter Blue Mitchell and Latin greats such as Herbie Mann, Willie Bobo and Mongo Santamaria. One of the earliest recordings of his playing is with Blue Mitchell's quintet on The Thing To Do. This album features his composition "Chick's Tune", a clever retooling of "You Stepped Out of a Dream" that demonstrates the angular melodies and Latin-and-swing rhythms that characterize, in part, Corea's personal style. (Incidentally, the same tune features a drum solo by a very young Al Foster.)

His first album as a leader was Tones For Joan's Bones

Now He Sings, Now He Sobs (1968)

in 1966, two years before the release of his album Now He Sings, Now He Sobs, with Roy Haynes on drums, and Miroslav Vitouš on bass.[1] He made another sideman appearance with Stan Getz on 1967's Sweet Rain (Verve Records).[1]

Avant garde period From 1968 to 1971 Chick Corea had associations with avant garde players; and his solo style revealed a dissonant, avant garde orientation. His avant garde playing can be heard on his solo works of the period, his solos in live recordings under the leadership of Miles Davis, his recordings with Circle, and his playing on Joe Farrell, "Song of the Wind", on the CTI label.

In September 1968, Corea replaced → Herbie Hancock in the piano chair in Davis' band and appeared on landmark albums such as Filles de Kilimanjaro, In a Silent Way and Bitches Brew. In concert, Davis' rhythm section of Corea, Dave Holland and Jack DeJohnette combined elements of free jazz improvisation and rock music. With the Davis band, Corea experimented using electric instruments, mainly the Fender Rhodes electric piano.

In live performance he often used ring modulation of the electric piano, producing overtones reminiscent of Karlheinz Stockhausen. Using this style, he appeared on multiple Davis albums, including Black Beauty: Miles Davis at Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. His live performances with the Miles Davis band continued into 1970.[1] Holland and Corea left to form their own group, Circle, active between 1970-1971. This free jazz group featured multi-reed player Anthony Braxton, bassist Dave Holland and drummer Barry Altschul. This band was documented on Blue Note and ECM. Aside from soloing in an atonal style, Corea sometimes reached in the body of the piano and plucked the strings. In 1971 or 1972, Corea struck out on his own.

"The concept of communication with an audience became a big thing for me at the time.

The reason I was using that concept so much at that point in my life –in 1968, 1969 or sowas because it was a discovery for me. I grew up kind of only thinking how much fun it was to tinkle on the piano and not noticing that what I did had an effect on others. I did not even think about a relationship to an audience, really, until way later."[3]

Chick Corea

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Jazz fusion In the early 1970s, Corea took a profound stylistic turn from avant garde playing to a crossover jazz fusion style that incorporated Latin jazz elements. In 1971, he founded Return to Forever. This band had a fusion sound, that while relying on electronic instrumentation, drew more on Brazilian and Spanish-American musical styles than on rock music. On its first two records, Return to Forever featured Flora Purim's vocals, the Fender Rhodes electric piano, and Joe Farrell's flute and soprano saxophone. Airto Moreira played drums.

Corea's compositions for this group often had a Brazilian tinge. In 1972, Corea played many of the early Return to Forever songs in a group he put together for Stan Getz; this group, with Stanley Clarke on bass and Tony Williams on drums, recorded the Columbia label album Captain Marvel under Getz's name.

Posing in a stylish outfit on the cover of the Spanish-flaired 1976 album My Spanish Heart.

In the next year, the band moved more in the direction of rock music influenced by the Mahavishnu Orchestra. Only Clarke remained from the group's first lineup; Bill Connors played electric guitar and Lenny White played drums. No one replaced vocalist Purim.

(Briefly, in 1977, Corea's wife, Gayle Moran, served as vocalist in the band.) In 1974 Al Di Meola joined the band, replacing Connors. In this second version of Return to Forever, Corea extended the use of synthesizers, particularly Moogs. The group released its final studio record in 1977. Thereafter, Corea focused on solo projects.[1] Corea's composition "Spain" first appeared on the 1972 Return to Forever album Light as a Feather. This is probably his most popular piece, and it has been recorded by a variety of artists (notably Al Jarreau). There are also a variety of subsequent recordings by Corea himself in various contexts, including an arrangement for piano and symphony orchestra that appeared in 1999. Corea usually performs "Spain" with a prelude based on Joaquin Rodrigo's Concierto de Aranjuez (1940), which earlier received a jazz orchestration on Miles Davis' and Gil Evans' "Sketches of Spain".

In 1976 he issued My Spanish Heart, influenced by Latin American music and featuring vocalist Moran and electronic violinist Jean-Luc Ponty.

Duet projects In the 1970s, Corea started working occasionally with vibraphonist Gary Burton, with whom he recorded several duet albums on ECM, including 1972's Crystal Silence. They reunited in 2006 for a concert tour. A new record called The New Crystal Silence (which has received 3 nominations for the 51st Grammy Awards) was issued shortly into 2008. The package includes a disc of duets and another disc featuring the Sydney Symphony.

Later, toward the end of the 1970's, Corea embarked on a series of concerts and two albums with Herbie Hancock. These concerts were presented in elegant settings with both pianists formally dressed, and performing on Yamaha concert grand pianos. The two jazz greats traded playing each other's compositions, as well as pieces by other composers such as Bela Bartok.

Chick Corea

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In December 2007, Corea recorded a duet album, The Enchantment, with banjoist Bela Fleck [4] . Fleck and Corea toured extensively behind the album in 2007. Fleck was nominated in the Best Instrumental Composition category at the 49th Grammy Awards for the track "Spectacle."[5] In 2008, Corea collaborated with Japanese pianist Hiromi Uehara on the live album Duet (Chick Corea and Hiromi). The duo played a concert at Tokyo's Budokan arena on April 30.[6]

Later work His other bands include the Elektric Band, the Akoustic Band, and Origin.

The Akoustic Band released a self-titled album in 1989, and featured John Patitucci on bass and Dave Weckl on drums. It marked a turn back toward traditional jazz in Corea's career, and the bulk of his subsequent recordings have been acoustic ones. The Akoustic Band also provided the music for the 1986 Pixar short Luxo Jr. with their song The Game Maker.

Corea performs with Béla Fleck, March 1, 2008

In 1992, he started his own record label, Stretch Records.[1] In 2001, the Chick Corea New Trio, with Avishai Cohen and Jeff Ballard on bass and drums respectively, released the album Past, Present & Futures. Notably, the 11-song album includes only one standard composition (Fats Waller's "Jitterbug Waltz"). The rest of the tunes are Corea originals.

He also participated in 1998's Like Minds, which features Gary Burton on vibes, Pat Metheny on guitar, Dave Holland on bass and Roy Haynes on drums.

Recent years have also seen Corea's rising interest in contemporary classical music. He composed his first piano concerto — and an adaptation of his signature piece, Spain for a full symphony orchestra — and performed it in 1999 with the London Philharmonic Orchestra. Five years later he composed his first work not to feature any keyboards: His String Quartet No. 1, specifically written for and performed by the highly acclaimed Orion String Quartet on 2004's Summerfest.

Corea has continued releasing jazz fusion concept albums such as To the Stars (2004) and Ultimate Adventure (2006). The latter album won the Grammy Award for Best Jazz Instrumental Album, Individual or Group.

In 2008, the second version of Return to Forever (Corea, keyboards; Stanley Clarke, bass; Lenny White, drums; Al di Meola, guitar) reunited for a worldwide tour. The reunion received positive reviews from most jazz and mainstream publications[7] . Most of the group's studio recordings were re-released on the compilation Return to Forever: The Anthology to coincide with the tour. A concert DVD recorded during the tour will be released in late 2008.

A new group, the 5 Peace Band, for which Corea will collaborate with guitarist John McLaughlin will mount a world tour beginning in October 2008. Corea previously worked with McLaughlin in Miles Davis' late-1960s bands, including the group that recorded Davis' album Bitches Brew. Joining Corea and McLaughlin in the 5 Peace Band will be saxophonist

Chick Corea

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Kenny Garrett, bassist Christian McBride, and drummer Vinnie Colaiuta.

Scientology Under the "special thanks" notes, found in all of his later albums, Corea mentions that L. Ron Hubbard, founder of Scientology, has been a continual source of inspiration. In 1968 Corea discovered Dianetics, Hubbard's principal work, and in the early 1970s developed an interest in Hubbard's science fiction novels. The two exchanged letters until Hubbard's death in 1986, and Corea even had three guest appearances on Hubbard's 1982 album Space Jazz: The Soundtrack of the Book Battlefield Earth, noting, "[Hubbard] was a great composer and keyboard player as well. He did many, many things. He was a true Renaissance Man."[2] Corea claimed that Scientology became a profound influence on his musical direction in the early 1970s: I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean something to people. (Down Beat, October 21, 1976, p.47) Corea created some of his Return to Forever compositions in collaboration with Neville Potter, a friend whom he had met through Scientology. Some of the other members of Return to Forever also took Scientology courses, and the name Return to Forever itself was, in Corea's words, "definitely influenced by the Hubbard's philosophy of the spirit. [...] It sort of nailed the spiritual intent of the music, [that it should] be pure."[cite this quote] Many of his songs contain explicit references to Scientology and various works by Hubbard.

For example, "What Game Shall We Play Today?" refers to the philosophical concept in Scientology that life consists of "games" in which the objective is to extract joy and satisfaction. His 2004 album To the Stars is a tone poem based on Hubbard's science fiction novel of the same name. His album The Ultimate Adventure, is also based on a Hubbard novel.

In 1998 Chick Corea and fellow entertainers Anne Archer, Isaac Hayes, and Haywood Nelson attended the 30th anniversary of Freedom Magazine, the Church of Scientology's investigative news journal, at the National Press Club in Washington, DC, to honor 11 human rights activists.[8] Not all musicians he has collaborated with have been content with his views. Reportedly, Joe Farrell once told him not to "lay that Scientology shit" on him.[9] In addition, it is speculated that Stanley Clarke's leaving of Scientology led to the breakup of Return to Forever.[10] Corea also appears in the Scientology film Orientation, giving a testimonial on how Scientology has helped him.

Awards Over the years, he has been nominated for 45 Grammy Awards out of which he has won 14: Year

Award

Album/song

1976

Best jazz instrumental performance, group

No Mystery (with Return to Forever)

1977

Best arrangement of an instrumental recording

"Leprechaun's Dream", The Leprechaun

Chick Corea

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1977

Best jazz instrumental performance, group

The Leprechaun

1979

Best jazz instrumental performance, group

Friends

1980

Best jazz instrumental performance, group

Duet (with Gary Burton)

1982

Best jazz instrumental performance, group

In Concert, Zürich, October 28, 1979 (with Gary Burton)

1989

Best R&B instrumental performance

"Light Years", GRP Super Live In Concert (with Elektric Band)

1990

Best jazz instrumental performance, group

Akoustic Band (with Akoustic Band)

2000

Best instrumental solo

"Rhumbata", Native Sense (with Gary Burton)

2001

Best jazz instrumental performance

Like Minds (with Gary Burton, Pat Metheny, Roy Haynes and Dave Holland)

2002

Best instrumental arrangement

"Spain for Sextet & Orchestra", Corea.Concerto

2004

Best jazz instrumental solo

"Matrix"

2007

Best jazz instrumental performance, group

"The Ultimate Adventure"

His 1968 album Now He Sings, Now He Sobs was inducted in the Grammy Hall of Fame in 1999.

Discography As leader • Tones for Joan's Bones (1966) • Now He Sings, Now He Sobs (1968) • Is (1969) • • • • • • • • • • • • • • • • • •

Sundance (1969) The Song of Singing (1970) Piano Improvisations Vol. 1 (1971) Piano Improvisations Vol. 2 (1971) Inner Space (1973) Round Trip (1974, Sadao Watanabe, Chick Corea, Miroslav Vitous, Jack DeJohnette) Chick Corea (1975) The Leprechaun (1976) My Spanish Heart (1976) Chick Corea/Herbie Hancock/Keith Jarret/McCoy Tyner (1976) The Mad Hatter (1978) An Evening With Herbie Hancock & Chick Corea: In Concert (1978) Secret Agent (1978) Friends (1978) Delphi I (1979) CoreaHancock (1979) Delphi II & III (1980) Tap Step (1980)

Chick Corea • • • • • • • • • • • • • • • • •

Live in Montreux (1981) Three Quartets (1981) Touchstone (1982) Trio Music (1982) Chick Corea Compact Jazz (1987) Again & Again (1983) On two pianos (1983, with Nicolas Economou) The Meeting (Chick Corea and Friedrich Gulda album) (1983, with Friedrich Gulda) Children's Songs (1984) Fantasy for Two Pianos with Friedrich Gulda (1984) Voyage - with Steve Kujala (1984) Septet (1985) Trio Music Live in Europe (1987) Chick Corea Featuring Lionel Hampton (1988) Happy Anniversary Charlie Brown (1989) Play (1992, with Bobby McFerrin) Seabreeze (1993)

• • • • • • • • • • • • •

Expressions (1993) Time Warp (1995) The Mozart Sessions (1996, with Bobby McFerrin) Live From the Country Club (1996) From Nothing (1996) Remembering Bud Powell (1997) Like Minds (1998, Gary Burton, Chick Corea, Pat Metheny, Roy Haynes, Dave Holland) Corea Concerto (1999) Solo Piano - Originals (2000) Solo Piano - Standards (2000) New Trio: Past, Present & Futures (2001) Selected Recordings (2002) Rendezvous In New York (2003)

• • • • • • • •

Rhumba Flamenco (2005) The Ultimate Adventure (2006) The Enchantment (2007, with Béla Fleck) 5trios - 1. Dr. Joe (with Antonio Sanchez, John Patitucci )(2007) 5trios - 2. From Miles (with Eddie Gomez, Jack de Johnette )(2007) 5trios - 3. Chillin' in Chelan (with Christian Mc Bride, Jeff Ballard ))(2007) 5trios - 4. The Boston Three Party (with Eddie Gomez, Airto Moreira )(2007) 5trios - 5. Brooklyn, Paris to Clearwater (with Hadrien Feraud, Richie Barshay)(2007)

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Chick Corea

As sideman With Gary Burton • • • • • •

Crystal Silence (1972) Duet (1979) In Concert, Zürich (1980) Lyric Suite for Sextet (1982) Native Sense - The New Duets (1997) The New Crystal Silence (2008)

With Circle • • • • • • •

Circulus (1970) Early Circle(1970) Circle Gathering (1970) Circle Live in Germany (1970) Circling In (1970) ARC (1970) Circle - Paris Concert (1971)

With Return to Forever With Chick Corea Elektric Band • • • • • • • •

Chick Corea Elektric Band (1986) Light Years (1987) Eye of the Beholder (1988) Inside Out (1990) Beneath the Mask (1991) Elektric Band II: Paint the World (1993) Live From Elario's (First Gig) (1996) To the Stars (2004)

With Chick Corea & Origin • • • •

Live at the Blue Note (1998) A Week at The Blue Note (1998) Change (1999) corea.concerto (1999)

With Chick Corea's Akoustic Band • • • •

Summer Night - live (1987) Chick Corea Akoustic Band (1989) Alive (1991) Live from Blue Note Tokyo (1996)

With Wayne Shorter • Moto Grosso Feio (1970)

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Chick Corea

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See also • • • • •

Jazz fusion Miles Davis Bitches Brew Analog synthesizer Chelsea, Massachusetts

External links • • • • • •

Official site [11] Jazzreview.com biography [12] Verve Records [13] biography and discography Interview with Chick Corea by Michael J Stewart [14] Herzig, Monika (October 1999). Chick Corea - A Style Analysis [15] Polydor Promo 1/73 (from The Boston Music Encyclopedia Project)

[16]

• All Music Guide to Jazz - 4th Edition, Backbeat Books, November 1, 2002, ISBN 0-87930-717-X • DeBarros, Paul (1998). "Reissuing Light as a Feather", Light as a Feather CD booklet • Nicholson, Stuart (1999). "Reissuing My Spanish Heart", My Spanish Heart CD booklet • Zwerin, Mike (February 2, 2000). Chick Corea: The Chameleon [17] • Murph, John (December 2, 2004). Chick Corea Reaching for the Stars [18]. BET Jazz.

• Digital Interviews: Chick Corea [19] (1999) • Talking to Les Tomkins in 1972 [20]. Jazz Professional.

• Chick Corea's 1997 Commencement Address to the Berklee College of Music [21] • An Interview with Chick Corea [22] by Bob Rosenbaum, July 1974 (PDF file) 'You put these notes together and you come out with that sound, and isn’t it beautiful. So what?

What does it do to another person? What does it do to your neighborhood?'

• New England Jazz History Database [23] • "In Conversation with Chick Corea" [24] by Patrick Spurling, (Jazz.com [25]) • "Return to Forever: Twelve Historic Tracks" [26] by Walter Kolosky,

External links [1] allmusic Biography (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:gvfyxqt5ld0e~T1) [2] "All About Jazz" (http:/ / www. allaboutjazz. com/ php/ article. php?id=15351). http:/ / www. allaboutjazz. com/ php/ article. php?id=15351. Retrieved on 2008-03-24.

[3] "Chick Corea Interview on ArtistInterviews" (http:/ / www. artistinterviews. eu/ ?page_id=6& parent_id=22). http:/ / www. artistinterviews. eu/ ?page_id=6& parent_id=22. Retrieved on 2008-03-28.

[4] Levine, Doug (24 April 2007). " Chick Corea, Bela Fleck Collaborate On New CD (http:/ / www. voanews. com/ english/ archive/ 2007-04/ 2007-04-24-voa68. cfm)". VOA News (Voice of America). http:/ / www. voanews. com/ english/ archive/ 2007-04/ 2007-04-24-voa68. cfm. Retrieved on 1 January 2009.

[5] http:/ / www. concordmusicgroup. com/ news/ concord-music-group-garners-28-grammy-nominations/ [6] http:/ / www. nme. com/ video/ id/ S2m4Oy9TWmo/ search/ flh [7] http:/ / www. nytimes. com/ 2008/ 08/ 03/ arts/ music/ 03chin. html

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[8] Haywood You Remember Garden City Park (http:/ / antonnews. com/ mineolaamerican/ 1998/ 10/ 23/ news/ ) [9] Zwerin, Mike (1998-05-14). "Sons of Miles: Chick Corea: The Chameleon" (http:/ / www. culturekiosque. com/ jazz/ miles/ rhemiles7. htm). JazzNet: Special Series - Sons of Miles. Culturekiosque Publications. http:/ / www. culturekiosque. com/ jazz/ miles/ rhemiles7. htm. Retrieved on 2007-03-13.

[10] "Chick Corea left the group Return to Forever because of Scientology" (http:/ / www. religio. de/ publik/ arsreview/ 150996. html). http:/ / www. religio. de/ publik/ arsreview/ 150996. html. Retrieved on 2008-03-28.

[11] http:/ / www. chickcorea. com/ [12] http:/ / www. jazzreview. com/ articledetails. cfm?ID=498 [13] http:/ / www. vervemusicgroup. com/ artist. aspx?aid=2713 [14] http:/ / www. imageandmusic. co. uk/ corea. htm [15] http:/ / www. acmerecords. com/ chickpaper. html [16] http:/ / www. dirtywater. com/ a2z/ c/ corea/ index. html [17] http:/ / www. mikezwerin. com/ news/ fullstory. php/ aid/ 51/ The_Chameleon. html [18] http:/ / www. tothestars. com/ ttsbet/ tts_bet. htm [19] [20] [21] [22] [23]

http:/ / www. digitalinterviews. com/ digitalinterviews/ views/ corea. shtml http:/ / www. jazzprofessional. com/ interviews/ Chick%20Corea_1. htm http:/ / www. berklee. edu/ commencement/ past/ corea. html http:/ / www. bobrosenbaum. com/ transcripts/ corea1. pdf http:/ / www. jazzhistorydatabase. com/ collections-old/ williamson-interviews. html

[24] http:/ / www. jazz. com/ features-and-interviews/ 2008/ 5/ 30/ in-conversation-with-chick-corea [25] http:/ / www. jazz. com [26] http:/ / www. jazz. com/ dozens/ the-dozens-return-to-forever Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=273335619 Contributors: Alton, Angr, Artrush, Aspects, Atsirk20, Berkir, Bkirsh, Bobo192, Cdl obelix, Cdlilie, Chase me ladies, I'm the Cavalry, Cirt, Classicalgenius, Corpx, Cosprings, Cricket02, Cultural, Dadude3320, DirectorG, Dominic R., Euphrosyne, Explosius, Fernyherny, Fru1tbat, GentlemanGhost, Hmrox, J.delanoy, Jafeluv, Jeandré du Toit, Joao Xavier, John, Maarten de Haan, Marcoscm, MarkBuckles, Mike R, Mind meal, MinorContributor, Neil916, Niayre, Oda Mari, Paul210, Primarycontrol, Ragesoss, Redgolpe, Refsworldlee, Rmwrites, S. M. Sullivan, Satan165, Slakr, SlubGlub, Sluzzelin, Slysplace, Soundgarden, Tassedethe, Ten of Swords, Treybien, UhOhFeeling, WereSpielChequers, WichitaQ, Witchwooder, WuSchell, YourLinesEngaged, 84 anonymous edits

McCoy Tyner McCoy Tyner

McCoy Tyner

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McCoy Tyner in 1973 Background information Birth name

McCoy Tyner

Born

December 11th, 1938

Origin

Philadelphia, Pennsylvania

Genre(s)

Hard bop Modern Creative Afro-Cuban jazz Modal jazz Mainstream jazz Post bop

Occupation(s)

Musician, Soloist, Composer, Band Leader

Instrument(s)

Piano

Years active

46

Label(s)

Telarc, Impulse!, Blue Note

Associated acts

John Coltrane

Website

http:/ / mccoytyner. com

Alfred McCoy Tyner (born 11 December,1938[1] ) is a jazz pianist from Philadelphia, Pennsylvania, known for his work with the John Coltrane Quartet and a long solo career.[2]

Biography Early life Tyner was born in Philadelphia as the oldest of three children. He was encouraged to study piano by his mother. He finally began studying the piano at age 13 and within two years, music had become the focal point in his life. His early influences included Bud Powell, a Philadelphia neighbor.

Among many other things, Tyner's playing can be distinguished by a low bass left hand, in which he tends to raise his arm relatively high above the keyboard for an emphatic attack, creating at times a veritable tsunami of sound[vague]. Tyner's unique right hand soloing is recognizable for a detached, or staccato quality, and descending arpeggios, both of a triadic shape and in other patterns. His unique approach to chord voicing (most characteristically by fourths) has influenced a wide array of contemporary jazz pianists.

His brother, Jarvis Tyner, was a high official in the leadership of the American Communist Party.

McCoy Tyner

Early career Tyner's first main exposure came with Benny Golson being the first pianist in Golson's and Art Farmer's legendary Jazztet (1960). After departing the Jazztet, Tyner joined Coltrane's group in 1960. (Coltrane had known Tyner for a while, and featured one of the pianist's compositions, "The Believer", as early as 1958.) He appeared on the saxophonist's popular recording of "My Favorite Things" for Atlantic Records. The Coltrane Quartet, which consisted of Coltrane on tenor sax, Tyner, Jimmy Garrison on bass, and Elvin Jones on drums, toured almost non-stop between 1961 and 1965 and recorded a number of classic albums, including Live at the Village Vanguard, Ballads, Live at Birdland, Crescent, A Love Supreme, and The John Coltrane Quartet Plays ..., on the Impulse! label.

Tyner has recorded a number of highly influential albums in his own right. While in Coltrane's group, he recorded a series of important albums (primarily in the piano trio [1] format) for Impulse! Records.

The pianist also appeared as a sideman in many of the highly acclaimed Blue Note Records albums of the 1960s.[1]

Post-Coltrane After leaving Coltrane's group, Tyner began a series of post-bop albums released on Blue Note Records, in the 1967–1970 time frame (The Real McCoy, (1967); Tender Moments, (1967); Expansions, (1968); and Extensions, (1970). Soon thereafter he moved to the Milestone label and recorded many influential albums, including Sahara (1972), Enlightenment (1973), and Fly with the Wind (1976), which featured flautist Hubert Laws, drummer Billy Cobham, and a string orchestra. His music for Blue Note and Milestone often took the Coltrane quartet's music as a point of departure and also incorporated African and East Asian musical elements. On Sahara, for instance, Tyner plays koto, in addition to piano, flute, and percussion. These albums are often cited as examples of vital, innovative jazz from the 1970s that was neither fusion nor free jazz. Trident (1975) is notable for featuring Tyner on harpsichord (rarely heard in jazz) and celeste, in addition to his primary instrument, piano.

Tyner still records and tours regularly and played from the 1980s through '90s with a trio that included Avery Sharpe on bass and Aaron Scott on drums. He made a trio of mature yet vibrant solo recordings for Blue Note, starting with Revelations (1988) and culminating with Soliloquy (1991). Today Tyner records for the Telarc label and has been playing with different trios, one of which has included Charnett Moffett on bass and Eric Harland on drums. In 2008, Tyner toured with The McCoy Tyner Quartet, which featured legendary jazz saxophonist Gary Bartz with Gerald Cannon (bass) and Eric Kamau Gravatt (drums).

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McCoy Tyner

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Discography As leader • Inception - 1962 - Impulse!

• Reaching Impulse!

Fourth

-

1963

-

• Nights of Ballads & Blues 1964 - Impulse!

• Today and Tomorrow - 1964 Impulse!

• Live at Impulse!

Newport

-

1964

-

• McCoy Tyner Plays Ellington 1964 - Impulse!

• The Real McCoy - 1967 - Blue Note

With Ravi Coltrane

• Tender Moments - 1967 - Blue Note • Time for Tyner - 1968 - Blue Note • Expansions - 1968 - Blue Note • Cosmos - 1976 - Blue Note • • • • • • •

Extensions - 1970 - Blue Note Asante - 1970 - Blue Note Sahara - 1972 - Milestone/OJC Song for My Lady - 1972 - Milestone/OJC Echoes of a Friend - 1972 - Milestone/OJC Song of the New World - 1973 - Milestone/OJC Enlightenment - 1973 - Milestone/OJC

• Sama Layuca - 1974 - Milestone/OJC • • • • • • • • • • • • • •

Atlantis - 1974 - Milestone/OJC Trident - 1975 - Milestone/OJC Fly with the Wind - 1976 - Milestone/OJC Focal Point - 1976 - Milestone Supertrios - 1977 - Milestone Inner Voices - 1977 - Milestone The Greeting - 1978 - Milestone Passion Dance - 1978 - Milestone Counterpoints - 1978 - Milestone (Released 2004) Together - 1978 - Milestone Horizon - 1979 - Milestone Quartets 4 X 4 - 1980 - Milestone 13th House - 1981 - Milestone La Leyenda de La Hora - 1981 - Columbia

• Looking Out - 1982 - Columbia • Love & Peace (with Elvin Jones also released as Reunited) - 1982 - Trio (Japan) • Dimensions - Elektra - 1984

McCoy Tyner • • • • •

It's About Time (with Jackie McLean) - 1985 - Blue Note Double Trios - 1986 - Denon Major Changes (with Frank Morgan) - 1987 - Contemporary Bon Voyage - 1987 - Timeless Blues for Coltrane - 1987 - Impulse!

• Live at the Musicians Exchange Cafe (also released as What's New?) - 1987 - Who's Who In Jazz • Revelations - 1988 - Blue Note • Uptown/Downtown - 1988 - Milestone • Live at Sweet Basil, Vol. 1 - 1989 - KING Records • Live at Sweet Basil, Vol. 2 - 1989 - KING Records • Things Ain't What They Used to Be - 1989 - Blue Note • Soliloquy - 1991 - Blue Note • Remembering John - 1991 - Enja • New York Reunion - 1991 - Chesky • 44th Street Suite - 1991 - Red Baron • Key of Soul - 1991 - Sweet Basil • • • • • • • • • • • • •

The Turning Point - 1991 - Verve Warsaw Concert 1991 Fresh Sounds (Released 2004) Just Feelin' - 1991 - Palo Alto Hot Licks: Giant Steps - 1993 - Sound Solutions Journey - 1993 - Verve Manhattan Moods - 1993 - Blue Note Solar: McCoy Tyner Trio Live at Sweet Basil - 1993 - Compose Prelude and Sonata - 1994 - Milestone Infinity - 1995 - Impulse!

Live in Warsaw - 1995 - Who's Who In Jazz Autumn Mood - 1997 - Delta What the World Needs Now: The Music of Burt Bacharach - 1997 - GRP McCoy Tyner & the Latin All-Stars - 1999 - Telarc

• • • • • • • • • • • • • • •

McCoy Tyner with Stanley Clarke & Al Foster - 2000 - Telarc Immortal Concerts: Beautiful Love - 2000 - Giants of Jazz At the Warsaw Jamboree - 2000 - Starburst Jazz Roots: McCoy Tyner Honors Jazz Piano Legends of the 20th Century - 2000 - Telarc McCoy Tyner Plays John Coltrane: Live at the Village Vanguard - 2001 - Impulse!

Live in Warsaw: Lady From Caracas - 2001 - TIM Port au Blues - 2002 - Past Perfect Suddenly - 2002 - Past Perfect Land of Giants - 2003 - Telarc Hip Toe: Live at the Musicians Exchange Cafe 1987 - 2004 - Universe Modern Jazz Archive [live] - 2004 - Membran International Illuminations - 2004 - Telarc Quartet - 2007 - McCoy Tyner Music Afro Blue - 13 November, 2007 - Telarc Guitars - 2008 - McCoy Tyner Music

49

McCoy Tyner

50

As a sideman

Please help improve this section talk page. (February 2009)

[3]

by expanding it. Further information might be found on the

++NS not implemented++ with George Benson: • Tenderly (1989) with Art Blakey: • A Jazz Message (1964) with Donald Byrd: • Mustang! (1966) with John Coltrane: • Like Sonny (1960) • Coltrane Jazz (only on 1 track) (February 1961) • My Favorite Things (March 1961) • Olé Coltrane (February 1962) • • • • • • • • • • • • • • • • •

Coltrane Plays the Blues (July 1962) Coltrane's Sound (June 1964) The Coltrane Legacy (April 1970) Africa/Brass (1961) Ballads (released 1962) Live! at the Village Vanguard (1961) Coltrane (1962) John Coltrane and Johnny Hartman (1963) Impressions (1963) Live at Birdland (1963) Crescent (1964) A Love Supreme (1964) To the Beat of a Different Drum (1965) The John Coltrane Quartet Plays (1965) Ascension (1965) New Thing at Newport (1965) Kulu Sé Mama (1965)

McCoy Tyner • • • • • •

51

Meditations (1965) Om (1965) Gleanings (1965) Transition (1970) Sun Ship (1971) First Meditations (1977)

with Curtis Fuller: • Images of Curtis Fuller (1960) with Grant Green: • Solid (1964) with Joe Henderson: • Page One (1963) • In 'N Out (1964) • Inner Urge (1964) with Freddie Hubbard: • Open Sesame (1960) • Goin' Up (1960) • Ready for Freddie (1961) with Milt Jackson: • In A New Setting (1964) • Spanish Fly (1964) with Hank Mobley: • A Slice of the Top (1966) with Lee Morgan: • Tom Cat (1964) • Delightfulee (1966) with Wayne Shorter: • Night Dreamer (1964) • JuJu (1964) • The Soothsayer (1965)

External links • • • • • • •

NEA Jazz Masters video biography narrated by Billy Taylor McCoy Tyner Official Homepage [5] McCoy Tyner at Jazz Resource Center [6] McCoy Tyner Sessionography [7] NEA Jazz Masters Biography [8] McCoy Tyner recent live concert review [9] The McCoy Tyner Discography [10]

[4]

McCoy Tyner

52

External links [1] Allmusic Biography (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:kxftxqe5ldte~T1) [2] McCoy tyner Biography (http:/ / www. mccoytyner. com/ bio. shtml) [3] http:/ / en. wikipedia. org/ wiki/ Mccoy_tyner [4] http:/ / stream. realimpact. net/ rihurl. ram?file=realimpact/ iaje/ nea2002/ tyner/ bio_tyner. rm [5] http:/ / www. mccoytyner. com/ [6] http:/ / www. jazzcenter. org/ tyner/ [7] http:/ / www. kyushu-ns. ac. jp/ ~allan/ Documents/ Mcoy%20Tyner. html [8] http:/ / www. iaje. org/ bio. asp?ArtistID=63 [9] http:/ / www. jazzchicago. net/ reviews/ mccoytyner. html [10] http:/ / home. ica. net/ ~blooms/ tynerhome. html Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=273664085 Contributors: Aaroscot, Aspensequence, Cakeshakelake, Cdg1072, Chubbles, Cosprings, DISEman, Dissolve, Dr. Shaggeman, Ecf912, Epistemenical, Gaius Cornelius, JayJasper, Jazzeur, Jazzzguy, Karaboom, Little Savage, Longhair, Mind meal, Redsxfenway, SchuminWeb, Sluzzelin, Softlyasinamorningtrane, Super Rad!, Tabletop, Tellagorri, Tergler, Tp243, Versus22, ‫ה'צנינ‬, 30 anonymous edits

Joe Sample Joe Sample

Photo by Tom Beetz Background information Birth name

Joseph Leslie Sample

Born

February 1, 1939

Origin

United States

Genre(s)

Jazz

Instrument(s)

Piano

Label(s)

Blue Thumb, MCA, GRP, Warner Bros., Verve, ABC Records

Joe Sample Joseph Leslie "Joe" Sample (born February 1, 1939 in Houston, Texas) is an American pianist, keyboard player and composer. He was one of the founding members of the Jazz Crusaders, the band which became simply The Crusaders in 1971, and remained a part of the group until its final album in 1991 (not including the 2003 reunion album Rural Renewal).

Sample began playing the piano when he was five years old. Since the early 1980's, he has enjoyed a successful solo career and has guested on many recordings by other performers and groups, including Miles Davis, George Benson, Jimmy Witherspoon, B. B. King, Eric Clapton and Steely Dan. Although it received less radio airplay than several of his other releases, Invitation is considered by many to be his finest solo recording to date.[citation needed]

Joe Sample is a pianist of great energy, versatility, and enterprise. He has constantly sought out novel directions to express his ideas. Since his days with the Jazz Crusaders to his multiple solo efforts and countless sideman sessions, though never seeking the spotlight, is recognized by both his peers and the knowing public as a first class musical artist.

Joe Sample grew up in a fertile musical Creole neighborhood hearing zydeco and Louis Armstrong.[citation needed] He incorporated a range of local traditions into his music: jazz, gospel, blues, and even Latin and classical forms.

In high school in the 1950s, Sample teamed up with two friends, saxophonist Wilton Felder and drummer "Stix" Hooper, to form a group called the Swingsters. While studying piano at Texas Southern University, Sample met and added trombonist Wayne Henderson and several other players to the Swingsters, which became the Modern Jazz Sextet and then the Jazz Crusaders, in emulation of one of the leading progressive jazz bands of the day, Art Blakey's Jazz Messengers. Sample never took a degree from the university; instead in 1960, he and the Jazz Crusaders made the move from Houston to Los Angeles.

The group quickly found opportunities on the West Coast, making its first recording, Freedom Sounds in 1961 and releasing up to four albums a year over much of the 1960s.

The Jazz Crusaders played at first in the dominant hard bop style of the day, standing out by virtue of their unusual front-line combination of saxophone (played by Wilton Felder) and Henderson's trombone. Another distinctive quality was the funky, rhythmically appealing acoustic piano playing of Sample, who helped steer the group's sound into a fusion between jazz and soul in the late 1960s. The Jazz Crusaders became a strong concert draw during those years.

While Sample and his band mates continued to work together, he and the other band members pursued individual work as well. In 1969 Sample made his first recording under his own name; Fancy Dance featured the pianist as part of a jazz trio. In the 1970s, as the Jazz Crusaders became simply the Crusaders and branched out into popular sounds, Sample became known as a L.A. studio musician, appearing on recordings by the likes of Joni Mitchell, Marvin Gaye, Tina Turner, B. B. King, Joe Cocker, Minnie Riperton and Anita Baker. In 1975 he went into the studios with jazz legends Ray Brown on bass, and drummer Shelly Manne to produce a then state-of-the-art recording direct to disc entitled The Three.

About this time Blue Note reissued some of the early work by the Jazz Crusaders as “The Young Rabbits.� This was a compilation of their recordings done between 1962-68.

The electric keyboard was fairly new at the time, and Sample became one of the instrument's pioneers. He switched to electric keyboard for his recordings with the Crusaders themselves, and the group hit a commercial high-water mark with the hit single

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Joe Sample

54

"Street Life" and the album of the same name in 1979. In 1978 he did a joint session with guitarist David T. Walker, Swing Street CafĂŠ, which had all the feel of a live set done in a back street joint in Texas.

The Crusaders, after losing several key members, broke up after recording Life in the Modern World for the GRP label in 1987. Despite the disbanding of the Crusaders, the members would join each other to record periodically over the years; releasing Healing the Wounds in the early '90s. Felder, Hooper, and Sample recorded their first album, called Rural Renewal, as the reunited Crusaders group in 2003 and did a live concert in Japan in 2004.

Since Sample's Fancy Dance (1969), he has recorded several solo albums, including the George Duke produced Sample This.

GRP also released Joe Sample Collection, and a three disc Crusaders Collection, as testament to Sample's enduring legacy. The pianist's most recent recordings are The Song Lives On (1999), featuring duets with singer Lalah Hathaway, and The Pecan Tree (2002), a tribute to his hometown of Houston, where he relocated in 1994. His 2004 album on Verve, Soul Shadows, paid tribute to Duke Ellington and Jelly Roll Morton, and pre-jazz bandleader James Reese Europe. In 2007 he recorded Feeling Good with vocalist Randy Crawford.

Some of his works are featured on The Weather Channel's "Local On The 8s" segments and his song "Rainbow Seeker" is included in their 2008 compilation release, The Weather Channel Presents: Smooth Jazz II. Nicole Kidman sang his song "One Day I'll Fly Away" in the Baz Luhrmann film Moulin Rouge!.

Discography Full albums Title

Year of Release

Label

Fancy Dance

1969

Gazell

Rainbow Seeker

1978

ABC, Blue Thumb

Carmel

1979

ABC, Blue Thumb

Voices In The Rain

1980

MCA Jazz

The Hunter

1982

MCA Jazz

Roles

1983

MCA Jazz

Oasis

1985

MCA Jazz

Spellbound

1989

Warner Bros.

Ashes To Ashes

1990

Warner Bros.

Invitation

1993

Warner Bros.

Did You Feel That?

1994

Warner Bros.

Old Places Old Faces

1996

Warner Bros.

Sample This

1997

Warner Bros.

The Song Lives On (with Lalah Hathaway)

1999

GRP

The Pecan Tree

2002

Verve

Soul Shadows

2004

Verve

Joe Sample

55

Creole Love Call (with Nils Landgren)

2006

ACT music

Feeling Good (with Randy Crawford)

2007

PRA

No Regrets (with Randy Crawford)

2008

PRA

Compilations Title

Year of Release

Label

Collection

1991

GRP

The Best Of Joe Sample

1998

Warner Bros.

External links • Yahoo! Music - Joe Sample Albums • Biography at Verve Records [2]

[1]

External links [1] http:/ / music. yahoo. com/ ar-263171-discography--Joe-Sample [2] http:/ / www. vervemusicgroup. com/ artist. aspx?aid=2691 Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=271610248 Contributors: Andros 1337, Bencherlite (AWB), Bluesrains, Blutfink, Brianreading, Contontos, Cricket02, David Gerard, Garion96, Mbrstooge, Mind meal, Technopat, 23 anonymous edits

Makoto Ozone Makoto Ozone (小曽根真 Ozone Makoto?, born March 25, 1961 in Kobe) is a Japanese jazz pianist.

He began playing organ at two and by seven was an improviser. He appeared on Japanese television with his father from 1968 to 1970. At twelve he switched to piano after being impressed by albums by Oscar Peterson. In 1980 he entered the Berklee College of Music and later worked with Gary Burton. He also had his debut in 1983 before returning to his native Japan.[1] Ozone has collaborated with vocalist Kimiko Itoh. They appeared as a duo at the Montreux Jazz Festival[2] , and he produced her album Kimiko, which won the 2000 Swing Journal jazz disk grand prix for Japanese vocalist[3] .

Makoto Ozone

56

External links • All Music [4] • NPR profile [5] • Makoto Ozone's official webpage

[6]

External links [1] Verve profile (http:/ / www. vervemusicgroup. com/ artist. aspx?ob=per& src=prd& aid=2967) [2] Montreux duo (http:/ / www. montreuxsounds. com/ detail2006. php?fiche=1939) [3] Swing Journal awards (http:/ / jazzcd. jp/ award/ 2000. htm) [4] http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:yijxlfhe5cqu~T1 [5] http:/ / www. npr. org/ programs/ jazzset/ shows/ makoto2005. html [6] http:/ / www. makotoozone. com/ eng/ Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=243159478 Contributors: Asakura Akira, Closedmouth, Fg2, 1 anonymous edits

Sonny Clark Sonny Clark Birth name

Conrad Yeatis Clark

Born

July 21, 1931 Herminie, Pennsylvania, U.S.

Died

January 13, 1963 (aged 31) New York, New York, U.S.

Genre(s)

Hard bop

Occupation(s)

Pianist

Instrument(s)

Piano

Years active

1953 - 1962

Label(s)

Blue Note

Conrad Yeatis "Sonny" Clark (July 21, 1931 – January 13, 1963) was an American hard bop pianist. An underappreciated jazz artist during his time, Clark's work has become much more widely known after his death. Strongly influenced by Bud Powell, Clark is known for his unique touch, sense of melody and complex, hard-swinging style.

Biography Clark was born and raised in Herminie, Pennsylvania, a coal mining town southeast of Pittsburgh. At age 12, he moved to Pittsburgh. When visiting an aunt in California at age 20, Clark decided to stay and began working with saxophonist Wardell Gray. Clark went to San Francisco with Oscar Pettiford and after a couple months, was working with clarinetist Buddy DeFranco in 1953. Clark toured the U.S. and Europe with DeFranco until January 1956, when he joined The Lighthouse All-Stars, led by bassist Howard Rumsey.

Sonny Clark

57

Wanting to get back to the east coast, Clark served as accompanist for singer Dinah Washington in February 1957 in order to relocate to New York City at age 25. In New York, Clark, a master comper, was often requested as a sideman by many musicians and became one of the most recorded jazz musicians. He frequently recorded for Blue Note Records, on which he played as a sideman with many of the most important hard bop players, including: Kenny Burrell, Donald Byrd, Paul Chambers, John Coltrane, Dexter Gordon, Art Farmer, Curtis Fuller, Grant Green, Philly Joe Jones, Clifford Jordan, Jackie McLean, Hank Mobley, Art Taylor, and Wilbur Ware. He also recorded sessions with jazz luminaries Charles Mingus, Sonny Rollins, Billie Holiday, Stanley Turrentine, and Lee Morgan.

As a band leader, Clark's albums Sonny Clark Trio (1957), with Paul Chambers and Philly Joe Jones, and Cool Struttin' (1958), are often considered his masterpieces. Sonny Clark Trio (1960) with George Duvivier and Max Roach is also considered among his finest.

Although his compositions were relatively rare, the few that were recorded have achieved a cult following, most notably among Japanese jazz enthusiasts. A drug addict, Clark died of a heroin overdose in New York City. Close friend and fellow jazz pianist → Bill Evans dedicated the composition "NYC's No Lark" (an anagram of "Sonny Clark") to him after his death, included on Evans' Conversations with Myself (1963).

Discography As leader • • • • • • • • • • •

Oakland, 1955 (1955), Uptown Dial "S" for Sonny (1957), Blue Note Sonny Clark Trio (1957), Blue Note Sonny Clark Quintet (1957), Blue Note Cool Struttin' (1958), Blue Note Blues in the Night (1958), Blue Note Standards (1958), Blue Note My Conception (1959), Blue Note Sonny's Crib (1959), Blue Note Sonny Clark Trio (1960), Time/Bainbridge - with Max Roach and George Duvivier Leapin' and Lopin' (1961), Blue Note

As sideman With Dexter Gordon • Go (1962) • A Swingin' Affair (1962)

References • Feather, Leonard (2002). Sonny Clark Trio [CD liner notes]. Blue Note Records.

• Palmer, Robert (March 18 1987). "The Pop Life; Recalling Sonny Clark York Times. Retrieved on September 1 2007.

[1]

". The New

Sonny Clark

58

External links • Sonny Clark Discography at Jazz Discography Project • Lee Bloom & Michael Waters' Sonny Clark Project [3] • Lee Bloom's Sonny Clark Discography [4]

[2]

External links [1] http:/ / query. nytimes. com/ gst/ fullpage. html?res=9B0DE5DC1030F93BA25750C0A961948260 [2] http:/ / www. jazzdisco. org/ clark/ [3] http:/ / www. leebloom. com/ sonnyclark. html [4] http:/ / www. leebloom. com/ discography. htm Source: http:/ / en. wikipedia. org/ w/ index. php? oldid=269174786 Contributors: Chasingsol, Cosprings, DISEman, Dissolve, Edward Tambling, Good Olfactory, Hmains, Lentes, Mind meal, Moonriddengirl, Technopat, 5 anonymous edits

License License Version 1.2, November 2002 Copyright (C) 2000,2001,2002 Free Software Foundation, Inc. 51 Franklin St, Fifth Floor, Boston, MA 02110-1301 USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed.

0. PREAMBLE

The purpose of this License is to make a manual, textbook, or other functional and useful document "free" in the sense of freedom: to assure everyone the effective freedom to copy and redistribute it, with or without modifying it, either commercially or noncommercially. Secondarily, this License preserves for the author and publisher a way to get credit for their work, while not being considered responsible for modifications made by others.

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License J.

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In the combination, you must combine any sections Entitled "History" in the various original documents, forming one section Entitled "History"; likewise combine any sections Entitled "Acknowledgements", and any sections Entitled "Dedications". You must delete all sections Entitled "Endorsements."

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You may make a collection consisting of the Document and other documents released under this License, and replace the individual copies of this License in the various documents with a single copy that is included in the collection, provided that you follow the rules of this License for verbatim copying of each of the documents in all other respects.

You may extract a single document from such a collection, and distribute it individually under this License, provided you insert a copy of this License into the extracted document, and follow this License in all other respects regarding verbatim copying of that document.

7. AGGREGATION WITH INDEPENDENT WORKS

A compilation of the Document or its derivatives with other separate and independent documents or works, in or on a volume of a storage or distribution medium, is called an "aggregate" if the copyright resulting from the compilation is not used to limit the legal rights of the compilation's users beyond what the individual works permit. When the Document is included in an aggregate, this License does not apply to the other works in the aggregate which are not themselves derivative works of the Document.

If the Cover Text requirement of section 3 is applicable to these copies of the Document, then if the Document is less than one half of the entire aggregate, the Document's Cover Texts may be placed on covers that bracket the Document within the aggregate, or the electronic equivalent of covers if the Document is in electronic form. Otherwise they must appear on printed covers that bracket the whole aggregate.

8. TRANSLATION

Translation is considered a kind of modification, so you may distribute translations of the Document under the terms of section 4. Replacing Invariant Sections with translations requires special permission from their copyright holders, but you may include translations of some or all Invariant Sections in addition to the original versions of these Invariant Sections. You may include a translation of this License, and all the license notices in the Document, and any Warranty Disclaimers, provided that you also include the original English version of this License and the original versions of those notices and disclaimers. In case of a disagreement between the translation and the original version of this License or a notice or disclaimer, the original version will prevail.

If a section in the Document is Entitled "Acknowledgements", "Dedications", or "History", the requirement (section 4) to Preserve its Title (section 1) will typically require changing the actual title.

9. TERMINATION

You may not copy, modify, sublicense, or distribute the Document except as expressly provided for under this License. Any other attempt to copy, modify, sublicense or distribute the Document is void, and will automatically terminate your rights under this License. However, parties who have received copies, or rights, from you under this License will not have their licenses terminated so long as such parties remain in full compliance.

10. FUTURE REVISIONS OF THIS LICENSE The Free Software Foundation may publish new, revised versions of the GNU Free Documentation License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. See http:/ / www. gnu. org/ copyleft/ .

Each version of the License is given a distinguishing version number. If the Document specifies that a particular numbered version of this License "or any later version" applies to it, you have the option of following the terms and conditions either of that specified version or of any later version that has been published (not as a draft) by the Free Software Foundation. If the Document does not specify a version number of this License, you may choose any version ever published (not as a draft) by the Free Software Foundation.

How to use this License for your documents To use this License in a document you have written, include a copy of the License in the document and put the following copyright and license notices just after the title page: Copyright (c) YEAR YOUR NAME. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled "GNU Free Documentation License".

If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts, replace the "with...Texts." line with this: with the Invariant Sections being LIST THEIR TITLES, with the Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST. If you have Invariant Sections without Cover Texts, or some other combination of the three, merge those two alternatives to suit the situation.

If your document contains nontrivial examples of program code, we recommend releasing these examples in parallel under your choice of free software license, such as the GNU General Public License, to permit their use in free software.

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