Oscar Pettiford born in Okmulgee, Oklahoma, was a double bassist, cellist and composer known particularly for his pioneering work in bebop.
Pettiford's mother was Choctaw and his father was half Cherokee and half African American. Like many African Americans with Native American ancestry, his Native heritage was not generally known except to a few close friends (which included David Amram).
In 1942 he joined the Charlie Barnet band and in 1943 gained wider public attention after recording with Coleman Hawkins on his "The Man I Love." He also recorded with Earl Hines and Ben Webster around this time. He and Dizzy Gillespie led a bop group in 1943. in 1945 Pettiford went with Hawkins to California, where he appeared in The Crimson Canary, a mystery movie known for its jazz soundtrack. He then worked with Duke Ellington from 1945 to 1948 and for Woody Herman in 1949 before working mainly as a leader in the 1950s.
As a leader he inadvertently discovered Cannonball Adderley. After one of his musicians had tricked him into letting Adderley, an unknown music teacher, onto the stand, he had Adderley solo on a demanding piece, on which Adderley performed impressively.
Pettiford is considered the pioneer of the cello as a solo instrument in jazz music. In 1949, after suffering a broken arm, Pettiford found it impossible to play his bass, so he experimented with a cello a friend had lent him. Tuning it in fourths, like a double bass, but one octave higher, Pettiford found it possible to perform during his rehabilitation (during which time his arm was in a sling) and made his first recordings with the instrument in 1950. The cello thus became his secondary instrument, and he continued to perform and record with it throughout his career.
He recorded extensively during the 1950s for the Debut, Bethlehem and ABC Paramount labels among others, and for European companies after he moved to Copenhagen in 1958.
His best known compositions include "Tricrotism" (frequently misspelled "Tricotism"), "Laverne Walk," "Bohemia After Dark," and "Swingin' Till the Girls Come Home."
Oscar Pettiford died of what doctors described as a "Polio- like virus".
https://www.allaboutjazz.com/musicians/oscar-pettiford/
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Oscar Pettiford, nacido en Okmulgee (Oklahoma), fue un contrabajista, violonchelista y compositor conocido sobre todo por su labor pionera en el bebop.
La madre de Pettiford era choctaw y su padre medio cherokee y medio afroamericano. Al igual que muchos afroamericanos con ascendencia nativa americana, su herencia nativa no era generalmente conocida salvo por unos pocos amigos íntimos (entre los que se encontraba David Amram).
En 1942 se unió a la banda de Charlie Barnet y en 1943 ganó una mayor atención pública tras grabar con Coleman Hawkins en su «The Man I Love». También grabó con Earl Hines y Ben Webster por esa época. Él y Dizzy Gillespie lideraron un grupo de bop en 1943. En 1945 Pettiford se fue con Hawkins a California, donde apareció en The Crimson Canary, una película de misterio conocida por su banda sonora de jazz. A continuación trabajó con Duke Ellington de 1945 a 1948 y para Woody Herman en 1949 antes de trabajar principalmente como líder en la década de 1950.
Como líder descubrió sin querer a Cannonball Adderley. Después de que uno de sus músicos le engañara para que dejara subir al atril a Adderley, un profesor de música desconocido, hizo que Adderley tocara en solitario una pieza exigente, en la que Adderley actuó de forma impresionante.
Pettiford está considerado el pionero del violonchelo como instrumento solista en la música de jazz. En 1949, tras sufrir una fractura de brazo, a Pettiford le resultaba imposible tocar su bajo, así que experimentó con un violonchelo que le había prestado un amigo. Afinándolo en cuartas, como un contrabajo, pero una octava más alto, Pettiford pudo tocar durante su rehabilitación (durante la cual tuvo el brazo en cabestrillo) y realizó sus primeras grabaciones con el instrumento en 1950. El violonchelo se convirtió así en su instrumento secundario, con el que siguió actuando y grabando durante toda su carrera.
Durante la década de 1950 realizó numerosas grabaciones para los sellos Debut, Bethlehem y ABC Paramount, entre otros, y para compañías europeas tras su traslado a Copenhague en 1958.
Sus composiciones más conocidas incluyen «Tricrotism» (a menudo mal escrito «Tricotism»), «Laverne Walk», «Bohemia After Dark» y «Swingin' Till the Girls Come Home».
Oscar Pettiford murió de lo que los médicos describieron como un «virus similar a la polio».
https://www.allaboutjazz.com/musicians/oscar-pettiford/
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Se te cortó la traducción.
ReplyDeleteLo que no dice el texto original es por qué el cello no se usa en el jazz. Obliga a una posición sentada, su resonancia es menor que la del bajo (si se usa como pizzicato) y, lo que es peor, al ser el mástil menor, la posibilidad de errar es mayor. El bajo permite menor precisión en la digitación.
Muchas gracias por tu comentario, la traducción ya fue solucionada.
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Hi.
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