Christian Madden is a keyboardist and composer based in the North of England, currently touring with Liam Gallagher whenever National and International restrictions permit.
Born in the unlikely Northern music hub of Burnley, Lancashire Christian was thrust into Joe Madden's legendary Uptown Band at the age of 15 leading to hundreds of local live performances before moving onto larger stages. In his 20s recording sessions in Manchester introduced Christian to Giles Hatton, John Mark Lapham and later Brandon Carr. Together the four of them formed a transatlantic, psychedelic collective known as the Earlies who released two albums through Warner Brothers imprint Names Records to fervent critical acclaim. In addition the Earlies began to forge a reputation as producers and session players, enhancing albums by Micah P Hinson, King Creosote and Plan B.
As the geography eventually got the better of the Earlies, Madden moved into a steady stream of session work performing and recording with Cherry Ghost, Paul Heaton, King Creosote, Jimi Goodwin (Doves), Liam Frost and many more.In 2017 Christian released his first solo album, the Wrecking Place followed in 2020 by Understand the Rules. Both albums explore his love of keyboard driven instrumentals featuring many of the talented colleagues met throughout 25 years of touring and recording. A third album is nearing completion for release in 2022. https://www.christianmadden.co.uk/about
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Christian Madden es un teclista y compositor afincado en el norte de Inglaterra, que actualmente está de gira con Liam Gallagher siempre que las restricciones nacionales e internacionales lo permiten.
Nacido en el improbable centro musical del norte, Burnley (Lancashire), Christian se incorporó a la legendaria Uptown Band de Joe Madden a la edad de 15 años, lo que le llevó a realizar cientos de actuaciones locales en directo antes de pasar a escenarios más grandes. A los 20 años, las sesiones de grabación en Manchester presentaron a Christian a Giles Hatton, John Mark Lapham y, más tarde, a Brandon Carr. Juntos formaron un colectivo transatlántico y psicodélico conocido como los Earlies, que publicaron dos álbumes a través del sello Names Records de Warner Brothers con gran éxito de crítica. Además, los Earlies comenzaron a forjarse una reputación como productores y músicos de sesión, mejorando los álbumes de Micah P Hinson, King Creosote y Plan B.
A medida que la geografía eventualmente sacó lo mejor de los Earlies, Madden pasó a un flujo constante de trabajo de sesión actuando y grabando con Cherry Ghost, Paul Heaton, King Creosote, Jimi Goodwin (Doves), Liam Frost y muchos más.En 2017 Christian lanzó su primer álbum en solitario, el Wrecking Place seguido en 2020 por Understand the Rules. Ambos álbumes exploran su amor por los instrumentales impulsados por teclados, presentando a muchos de los talentosos colegas conocidos a lo largo de 25 años de giras y grabaciones. Un tercer álbum está a punto de ser lanzado en 2022. https://www.christianmadden.co.uk/about
Review by William Ruhlmann Joe Sample returns to the smooth jazz style of his popular albums Rainbow Seeker, Carmel, and Voices in the Rain on 1983's The Hunter. The keyboardist fills up a studio with like-minded session musicians including trumpeter Tom Browne, horn players Chuck Findley, Jerry Hey, and Ernie Watts, guitarists Dean Parks, David Spinozza, and Phil Upchurch, bassists Abraham Laboriel and Marcus Miller, percussionist Paulinho Da Costa, and drummer Steve Gadd, and sets them loose on some rhythmic tracks with a rock/R&B feel. The beat is paramount, a constant augmented by funky, popping basslines, with guitar solos and horn charts overlaid. And, weaving in and out is Sample, on either acoustic or electric piano, finding room to solo extensively. The solos are more of the rock variety than what a conventional jazz fan would recognize, since they are anchored to the relentless beats. But Sample is one of the more accomplished players in smooth jazz, and his sidemen are able to support him and, when given the chance, match him in their playing. https://www.allmusic.com/album/the-hunter-mw0000196125
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Reseña por William Ruhlmann Joe Sample vuelve al estilo de jazz suave de sus populares álbumes Rainbow Seeker, Carmel y Voices in the Rain en The Hunter de 1983. El teclista llena un estudio con músicos de sesión afines, como el trompetista Tom Browne, los trompetistas Chuck Findley, Jerry Hey y Ernie Watts, los guitarristas Dean Parks, David Spinozza y Phil Upchurch, los bajistas Abraham Laboriel y Marcus Miller, el percusionista Paulinho Da Costa y el baterista Steve Gadd, y los suelta en algunos temas rítmicos con un toque de rock/R&B. El ritmo es primordial, una constante aumentada por líneas de bajo funky y pop, con solos de guitarra y gráficos de trompeta superpuestos. Y Sample entra y sale, tanto en el piano acústico como en el eléctrico, encontrando espacio para un amplio solo. Los solos son más bien de tipo rockero que lo que reconocería un aficionado al jazz convencional, ya que están anclados a los implacables ritmos. Pero Sample es uno de los intérpretes más consumados del smooth jazz, y sus acompañantes son capaces de apoyarle y, cuando se les da la oportunidad, igualarle en su forma de tocar. https://www.allmusic.com/album/the-hunter-mw0000196125
The two-CD set Impressions: The Verve Jazz Sessions salvages Wes Montgomery's straight jazz sessions for Verve, leaving the pop-oriented covers and orchestral sessions to the original albums. There are selected numbers from albums like Movin' Wes, Goin' Out of My Head and California Dreaming, illustrating that those albums were hardly worthless -- each track proves that Montgomery's touch remained elegant and supremely tasteful. The second disc is devoted to the complete sessions for Smokin' at the Half Note, the legendary recording Montgomery made at Van Gelder Studios in 1965 with bassist Paul Chambers, pianist Wynton Kelly and drummer Jimmy Cobb. The music on the record is easily among Montgomery's finest, and this is the first time that all the music from the sessions has been collected in one place. That alone makes it worthwhile for hardcore collectors, but the set also makes an excellent summation of his Verve years for less dedicated fans, since it rounds up his very best work on one attractive set.
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Revisión por Stephen Thomas Erlewine
Impressions: The Verve Jazz Sessions recupera las sesiones de jazz directas de Wes Montgomery para Verve, dejando las portadas orientadas al pop y las sesiones orquestales a los álbumes originales. Hay números seleccionados de álbumes como Movin 'Wes, Goin' Out of My Head y California Dreaming, lo que demuestra que esos discos no valían para nada; cada canción demuestra que el toque de Montgomery sigue siendo elegante y de muy buen gusto. El segundo disco está dedicado a las sesiones completas para Smokin 'at the Half Note, la legendaria grabación que Montgomery realizó en Van Gelder Studios en 1965 con el bajista Paul Chambers, el pianista Wynton Kelly y el baterista Jimmy Cobb. La música en el disco se encuentra fácilmente entre las mejores de Montgomery, y esta es la primera vez que toda la música de las sesiones se recopila en un solo lugar. Eso solo hace que valga la pena para los coleccionistas de hardcore, pero el conjunto también hace un excelente resumen de sus años Verve para los fanáticos menos dedicados, ya que redondea su mejor trabajo en un conjunto atractivo.
This early-'60s date was the second -- and one of the best -- of Memphis Slim's many top-notch Bluesville recordings. Featuring Slim accompanying himself on the piano, All Kinds of Blues is a vintage set of mellow yet deep blues by one of the music's most urbane performers. Whether reveling in his considerable boogie-woogie chops ("Three-in-One-Boogie") or tossing off a wryly sexual romp ("Grinder Man Blues"), Slim always seems to be totally at ease and in command. And while newcomers are advised to start out with one of his early-'50s sets on Chess, this will be one collection no Memphis Slim fan will want to overlook.
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Revisión por Stephen Cook
Esta fecha de principios de los 60 fue la segunda, y una de las mejores, de las muchas grabaciones de primer nivel de Bluesville en Memphis Slim. All Kinds of Blues, con Slim que se acompaña a sí mismo en el piano, es un conjunto vintage de suave y profundo blues de uno de los intérpretes más urbanos de la música. Ya sea que se deleite con sus considerables chuletas de boogie-woogie ("Three-in-One-Boogie") o que lance un jugueteo irónicamente sexual ("Grinder Man Blues"), Slim siempre parece estar totalmente a gusto y al mando. Y aunque se recomienda a los recién llegados que comiencen con uno de sus juegos de principios de los años 50 en el Ajedrez, esta será una colección que ningún fanático de Memphis Slim querrá pasar por alto.
California may be the largest state in the Union, but it's only one state nuzzling one ocean, with only so many people living near the coastline, and a small minority of them have attempted to navigate waves on a board, much less possess the fetching physique to do so in public. Obviously, then, surf music isn't for surfers. If it were, Rhino would put out a greatest-hits EP instead of a four-disc box set. Cowabunga! is all the permanent-wave stuff most people will ever need. The discs are arranged in a curious manner: disc 1, "Ground Swells," chronicles the years from 1960 to 1963; disc 2 features nothing but recordings from '63; the third CD runs from '63 to '67; and the coda captures the postpunk renaissance that began in '77. Curious, isn't it, that there was so little going on in surf between '67 and '77? Maybe Jimi Hendrix almost killed it when he promised (in 1967!), "You'll never hear surf music again" on "Third Stone from the Sun." But Hendrix is dead, and Dick Dale lives! So, too, do the Revels, the Beach Boys, the Surfaris, Annette Funicello, the Ventures, and dozens of others. At least they do in this anthology. By the way, "cowabunga" is "a yell of excitement by a surfer." You learn that from the helpful glossary included in the excellent liner notes by John Blair, leader of Jon & the Nightriders. As to the lasting appeal of surf music, perhaps it has something to do with the fact that it's mostly instrumental. People make jokes about dumb California blonds, but the ones who made most of the classic surf sides knew one thing: it's wise at times to keep your mouth shut and play! --Steven Stolder
California may be the largest state in the Union, but it's only one state nuzzling one ocean, with only so many people living near the coastline, and a small minority of them have attempted to navigate waves on a board, much less possess the fetching physique to do so in public. Obviously, then, surf music isn't for surfers. If it were, Rhino would put out a greatest-hits EP instead of a four-disc box set. Cowabunga! is all the permanent-wave stuff most people will ever need. The discs are arranged in a curious manner: disc 1, "Ground Swells," chronicles the years from 1960 to 1963; disc 2 features nothing but recordings from '63; the third CD runs from '63 to '67; and the coda captures the postpunk renaissance that began in '77. Curious, isn't it, that there was so little going on in surf between '67 and '77? Maybe Jimi Hendrix almost killed it when he promised (in 1967!), "You'll never hear surf music again" on "Third Stone from the Sun." But Hendrix is dead, and Dick Dale lives! So, too, do the Revels, the Beach Boys, the Surfaris, Annette Funicello, the Ventures, and dozens of others. At least they do in this anthology. By the way, "cowabunga" is "a yell of excitement by a surfer." You learn that from the helpful glossary included in the excellent liner notes by John Blair, leader of Jon & the Nightriders. As to the lasting appeal of surf music, perhaps it has something to do with the fact that it's mostly instrumental. People make jokes about dumb California blonds, but the ones who made most of the classic surf sides knew one thing: it's wise at times to keep your mouth shut and play! --Steven Stolder
California may be the largest state in the Union, but it's only one state nuzzling one ocean, with only so many people living near the coastline, and a small minority of them have attempted to navigate waves on a board, much less possess the fetching physique to do so in public. Obviously, then, surf music isn't for surfers. If it were, Rhino would put out a greatest-hits EP instead of a four-disc box set. Cowabunga! is all the permanent-wave stuff most people will ever need. The discs are arranged in a curious manner: disc 1, "Ground Swells," chronicles the years from 1960 to 1963; disc 2 features nothing but recordings from '63; the third CD runs from '63 to '67; and the coda captures the postpunk renaissance that began in '77. Curious, isn't it, that there was so little going on in surf between '67 and '77? Maybe Jimi Hendrix almost killed it when he promised (in 1967!), "You'll never hear surf music again" on "Third Stone from the Sun." But Hendrix is dead, and Dick Dale lives! So, too, do the Revels, the Beach Boys, the Surfaris, Annette Funicello, the Ventures, and dozens of others. At least they do in this anthology. By the way, "cowabunga" is "a yell of excitement by a surfer." You learn that from the helpful glossary included in the excellent liner notes by John Blair, leader of Jon & the Nightriders. As to the lasting appeal of surf music, perhaps it has something to do with the fact that it's mostly instrumental. People make jokes about dumb California blonds, but the ones who made most of the classic surf sides knew one thing: it's wise at times to keep your mouth shut and play! --Steven Stolder
California may be the largest state in the Union, but it's only one state nuzzling one ocean, with only so many people living near the coastline, and a small minority of them have attempted to navigate waves on a board, much less possess the fetching physique to do so in public. Obviously, then, surf music isn't for surfers. If it were, Rhino would put out a greatest-hits EP instead of a four-disc box set. Cowabunga! is all the permanent-wave stuff most people will ever need. The discs are arranged in a curious manner: disc 1, "Ground Swells," chronicles the years from 1960 to 1963; disc 2 features nothing but recordings from '63; the third CD runs from '63 to '67; and the coda captures the postpunk renaissance that began in '77. Curious, isn't it, that there was so little going on in surf between '67 and '77? Maybe Jimi Hendrix almost killed it when he promised (in 1967!), "You'll never hear surf music again" on "Third Stone from the Sun." But Hendrix is dead, and Dick Dale lives! So, too, do the Revels, the Beach Boys, the Surfaris, Annette Funicello, the Ventures, and dozens of others. At least they do in this anthology. By the way, "cowabunga" is "a yell of excitement by a surfer." You learn that from the helpful glossary included in the excellent liner notes by John Blair, leader of Jon & the Nightriders. As to the lasting appeal of surf music, perhaps it has something to do with the fact that it's mostly instrumental. People make jokes about dumb California blonds, but the ones who made most of the classic surf sides knew one thing: it's wise at times to keep your mouth shut and play! --Steven Stolder
What? Machito playing SOUL? The bad news is that there is nothing much to it except the cover of "Green Onions." The good news is that this is a fantastic cover. Many have tried to do justice to the tune, but few if any have succeeded in matching the original. Machito's version does not bend to the visceral and funky style of the MG's but instead zaps it into high-1960s "mod" or "now sound" territory. It has snap, punch, power, and the period sound of such other "mod" monsters as "Soul Bossa Nova." DJs will love it, and the rest of the album will keep Machito fans scratching their heads in utter disbelief.
Artist Biography by Richard S. Ginell
Machito played a huge role in the history of Latin jazz, for his bands of the 1940s were probably the first to achieve a fusion of powerful Afro-Cuban rhythms and jazz improvisation. At its roaring best, the band had a hard-charging sound, loaded with jostling, hyperactive bongos and congas and razor-edged riffing brass. Machito was the front man, singing, conducting, shaking maracas, while his brother-in-law Mario Bauza was the innovator behind the scenes, getting Machito to hire jazz-oriented arrangers. The son of a cigar manufacturer, Machito became a professional musician in Cuba in his teens before he emigrated to America in 1937 as a vocalist with La Estrella Habanera. He worked with several Latin artists and orchestras in the late '30s, recording with the then-dominant Latin bandleader Xavier Cugat. After an earlier aborted attempt to launch a band with Bauza, Machito founded the Afro-Cubans in 1940, taking on Bauza the following year as music director where he remained for 35 years. After making some early 78s for Decca, the Afro-Cubans really began to catch on after the end of World War II, appearing with -- and no doubt influencing -- Stan Kenton's orchestra (Machito played maracas on Kenton's recordings of "The Peanut Vendor" and "Cuban Carnival") and recording some exciting sides for Mercury and Clef. Upon Bauza's urging, Machito's band featured a galaxy of American jazz soloists on its recordings from 1948 to 1960, including Charlie Parker (heard memorably on "No Noise"), Dizzy Gillespie, Flip Phillips, Howard McGhee, Buddy Rich, Harry "Sweets" Edison, Cannonball Adderley, Herbie Mann, Curtis Fuller and Johnny Griffin. Playing regularly at New York's Palladium, Machito's band reached its peak of popularity during the mambo craze of the 1950s, survived the upheavals of the '60s and despite the loss of Bauza in 1976, continued to work frequently in the '60s, '70s, and early '80s when the term "salsa" came into use. The band recorded for Pablo (in tandem with Gillespie) and Timeless in its later years, and was playing Ronnie Scott's club in London in 1984 when Machito suffered a fatal stroke. A documentary film by Carlo Ortiz, Machito: A Latin Jazz Legacy, was released in 1987.
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Revisión por Tony Wilds
¿Qué? ¿Machito tocando SOUL? La mala noticia es que no hay mucho más que la portada de "Green Onions". La buena noticia es que esta es una portada fantástica. Muchos han tratado de hacer justicia a la melodía, pero pocos han logrado igualar el original. La versión de Machito no se inclina por el estilo visceral y funky de los MG, sino que la convierte en un territorio de "mod" o "ahora suena" de los años sesenta. Tiene snap, punch, power y el sonido de la época de otros monstruos "mod" como "Soul Bossa Nova". A los DJs les encantará, y el resto del álbum mantendrá a los fanáticos de Machito rascándose la cabeza con absoluta incredulidad.
Biografía del artista por Richard S. Ginell
Machito jugó un papel muy importante en la historia del jazz latino, ya que sus bandas de la década de 1940 fueron probablemente los primeros en lograr una fusión de poderosos ritmos afrocubanos e improvisación de jazz. En su mejor momento, la banda tenía un sonido de carga dura, cargado con bongos y congas hiperactivos y empujones y riffs de bronce. Machito era el líder, cantaba, dirigía y agitaba a las maracas, mientras que su cuñado, Mario Bauza, era el innovador detrás de escena, logrando que Machito contratara a arreglistas orientados al jazz. Hijo de un fabricante de cigarros, Machito se convirtió en un músico profesional en Cuba en su adolescencia antes de emigrar a Estados Unidos en 1937 como vocalista de La Estrella Habanera. Trabajó con varios artistas y orquestas latinas a finales de los años 30, grabando con el entonces líder de la banda latino Xavier Cugat. Luego de un intento abortado de lanzar una banda con Bauza, Machito fundó los afro-cubanos en 1940, y se convirtió en Bauza al año siguiente como director musical, donde permaneció durante 35 años. Después de llegar a los 78 años de edad para Decca, los afro-cubanos realmente comenzaron a mejorar después de la Segunda Guerra Mundial, apareciendo con, y sin duda influyendo, en la orquesta de Stan Kenton (Machito tocó maracas en las grabaciones de Kenton de "The Peanut Vendor" "y" Carnaval cubano ") y grabando algunos lados emocionantes para Mercury y Clef. A instancias de Bauza, la banda de Machito presentó una galaxia de solistas de jazz estadounidense en sus grabaciones de 1948 a 1960, incluyendo a Charlie Parker (escuchado memorablemente en "No Noise"), Dizzy Gillespie, Flip Phillips, Howard McGhee, Buddy Rich, Harry "Sweets" Edison, Cannonball Adderley, Herbie Mann, Curtis Fuller y Johnny Griffin. Tocando regularmente en el Palladium de Nueva York, la banda de Machito alcanzó su mayor popularidad durante la moda del mambo de la década de 1950, sobrevivió a los trastornos de los años 60 y, a pesar de la pérdida de Bauza en 1976, continuó trabajando con frecuencia en los años 60 y 70. y principios de los 80 cuando el término "salsa" entró en uso. La banda grabó para Pablo (junto con Gillespie) y Timeless en sus últimos años, y estaba tocando en el club de Ronnie Scott en Londres en 1984, cuando Machito sufrió un golpe fatal. Una película documental de Carlo Ortiz, Machito: A Latin Jazz Legacy, fue estrenada en 1987.
An exciting and expressive jazz-influenced blues vocalist, Arbee Stidham also plays alto sax, guitar and harmonica. His father Luddie Stidham worked in Jimme Lunceford's orchestra, while his uncle was a leader of the Memphis Jug Band. Stidham formed the Southern Syncopators and played various clubs in his native Arkansas in the '30s. He appeared on Little Rock radio station KARK and his band backed Bessie Smith on a Southern tour in 1930 and 1931. Stidham frequently performed in Little Rock and Memphis until he moved to Chicago in the '40s. Stidham recorded with Lucky Millinder's Orchestra for Victor in the '40s for Victor. He did his own sessions for Victor, Sittin' In, Checker, Abco, Prestige/Bluesville, Mainstream, and Folkways in the '50s and '60s, and appeared in the film The Bluesman in 1973. Stidham also made many festival and club appearances nationwide and internationally. He did occasional blues lectures at Cleveland State University in the '70s.
Arbee Stidham, una emocionante y expresiva vocalista de blues con influencia del jazz, también toca el saxo alto, la guitarra y la armónica. Su padre, Luddie Stidham, trabajaba en la orquesta de Jimme Lunceford, mientras que su tío era un líder de la Banda de Jug de Memphis. Stidham formó los Southern Syncopators y jugó en varios clubes en su natal Arkansas en los años 30. Apareció en la estación de radio KARK de Little Rock y su banda apoyó a Bessie Smith en una gira por Southern en 1930 y 1931. Stidham actuó con frecuencia en Little Rock y Memphis hasta que se mudó a Chicago en los años 40. Stidham grabó con la orquesta de Lucky Millinder para Victor en los años 40 para Victor. Hizo sus propias sesiones para Victor, Sittin 'In, Checker, Abco, Prestige / Bluesville, Mainstream y Folkways en los años 50 y 60, y apareció en la película The Bluesman en 1973. Stidham también hizo muchas apariciones en festivales y clubes. A nivel nacional e internacional. Hizo conferencias ocasionales de blues en la Universidad Estatal de Cleveland en los años 70.
Biography by Craig Harris
The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.
Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.
An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson.
The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group.
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Biografía de Craig Harris
Dutch Swing College Band ha sufrido numerosos cambios de personal en sus más de cincuenta años de historia como uno de los mejores conjuntos de jazz de los Países Bajos. Aunque no quedan miembros del grupo original, la última alineación continúa honrando el enfoque arraigado por la tradición de los fundadores.
Bob Kaper (1939-) reemplazó al clarinete Peter Schilperoort durante una enfermedad en 1966, y permaneció con la banda; dirigió la Banda Universitaria de Swing de Holanda desde la muerte de Schilperoort en 1990. El cuarto líder en la historia del grupo, Kaper sucede a Frans Vink, Jr. (1945-46), Joop Schrier (1955-60) y Schilperoort (1946-55); 1960-1990). Anteriormente, Kaper dirigió la Beale Street Seven, un grupo que fundó en 1957.
Un grupo amateur desde 1945 hasta que se convirtió en profesional en 1960, el Dutch Swing College Band llegó a su punto más alto a finales de los años 40, cuando fueron elegidos para acompañar a músicos de jazz como Sidney Bechet, Joe Venuti y Teddy Wilson.
La New Melbourne Jazz Band grabó un álbum, A Tribute to the Dutch Swing College Band, con música asociada al grupo con sede en Holanda.
The John Coltrane Church began in 1965, when Franzo and Marina
King attended a performance of the John Coltrane Quartet at San
Francisco's Jazz Workshop and saw a vision of the Holy Ghost as Coltrane
took the bandstand. Celebrating the spirituality of the late jazz
innovator and his music, the storefront church emerged during the demise
of black-owned jazz clubs in San Francisco, and at a time of growing
disillusionment with counter-culture spirituality following the 1978
Jonestown tragedy. For 50 years, the church has effectively fought
redevelopment, environmental racism, police brutality, mortgage
foreclosures, religious intolerance, gender disparity and the
corporatization of jazz. This critical history is the first book-length
treatment of an extraordinary African-American church and community
institution.
The
Latin explosion of Marc Anthony, Ricky Martin, and the Buena Vista
Social Club may look like it came out of nowhere, but the incredible
variety of Latin music has been transforming the United States since the
turn of the century, when Caribbean beats turned New Orleans music into
jazz. In fact, we wouldn't have any of our popular music without it:
Imagine pop sans the mambos of Perez Prado and Tito Puente, the garage
rock of Richie Valens, or even the glitzy croon of Julio Iglesias, not
to mention the psychedelia of Santana and Los Lobos and the underground
cult grooves of newcomers like Bebel Gilberto. The Latin Beat
outlines the musical styles of each country, then traces each form as
it migrates north. Morales travels from the Latin ballad to bossa nova
to Latin jazz, chronicles the development of the samba in Brazil and
salsa in New York, explores the connection between the mambo craze of
the 1950's with the Cuban craze of today, and uncovers the hidden
history of Latinos in rock and hip hop. The Latin Beat is the only book that explores where the music has come from and celebrates all of the directions it is going.
Sex, Drugs, & Rock ‘n’ Roll
analyzes the cultural, political, and social revolution that took place
in the U.S. (and in time the world) after World War II, crystalizing
between 1955 and 1970. During this era, the concept of the American
teenager first came into being, significantly altering the relationship
between young people and adults. As the entertainment industries came
to realize that a youth market existed, providers of music and movies
began to create products specifically for them. While Big Beat music and
exploitation films may have initially been targeted for a marginalized
audience, during the following decade and a half, such offerings
gradually become mainstream, even as the first generation of American
teenagers came of age. As a result the so-called youth culture overtook
and consumed the primary American culture, as records and films once
considered revolutionary transformed into a nostalgia movement, and much
of what had been thought of as radical came to be perceived as
conservative in a drastically altered social context. In this book Douglas Brode offers the first full analysis of how an American youth culture evolved.
Robert Lehman assembled the finest and most comprehensive private
collection of Italian Renaissance majolica in the United States. In this
volume the distinguished scholar Jörg Rasmussen catalogues the 157
majolica objects which since 1975 have been housed, along with more than
2,000 other works of art acquired by Robert Lehman and his father,
Philip Lehman, in the Robert Lehman Wing of The Metropolitan Museum of
Art.
The brilliantly colored jars, jugs, and dishes collected by
Robert Lehman document the history of Italian majolica from the
beginning of the fifteenth century to the 1600s. The collection is most
renowned for a magnificent group of pieces produced in the main Italian
pottery centers during the High Renaissance, the golden age of majolica.
The precious lusterware that was the specialty of Deruta and Gubbio, in
central Italy, accounts for more than a third of the collection. Also
splendidly represented are the neighboring towns of Castel Durante and
Urbino, whose wares perhaps best exemplify the beauty and diversity of
majolica of the early sixteenth century. One of the most extraordinary
of these pieces from the Duchy of Urbino is the bowl presented to Pope
Julius II in 1508, which Rasmussen calls "one of the most beautiful
pieces of majolica ever made." Other istoriato, or
"story-painted," wares were part of large ensembles commissioned by
illustrious patrons: three plates belong to the famous Pucci service
painted by Francesco Xanto Avelli da Rovigo; two others, by the master
majolica painter Nicolo da Urbino, are from the set owned by Isabella
d'Este, marchesa of Mantua; and there are pieces bearing the arms of the
Orsini of Rome, the Salviati of Florence, and Constable Anne de
Montmorency.
The late Jörg Rasmussen was curator at the Museum
fur Kunst und Gewerbe in Hamburg until 1979, when he was named second
director of the Zentralinstitut in Munich. His complete catalogue of the
Italian majolica in the Hamburg museum appeared in 1984, and he
published widely on majolica as well as on sculpture and the applied
arts. His text not only analyzes and classifies the majolica in the
Robert Lehman Collection, providing provenances, bibliographies, and
exhibition histories, but also offers glimpses of the intellectual and
cultural world to which it belonged.
Documental incluido en la edición conmemorativa por los cincuenta años del lanzamiento de Kind of Blue.
Cincuenta y cinco minutos producidos por Nell Mulderry y dirigidos por Chris Lenz en el 2008.
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Documentary included in the commemorative edition for the fiftieth anniversary of the release of Kind of Blue. Fifty-five minutes produced by Nell Mulderry and directed by Chris Lenz in 2008.
Long considered a classic, guitarist Joe Pass' fourth date as a leader finds him performing music that was composed by Django Reinhardt, was part of his repertoire, or is one of two more recent tributes (John Lewis' "Django" and Pass' "For Django"). Pass is joined by the rhythm guitar of John Pisano, bassist Jim Hughart, and drummer Colin Bailey; the quartet would reunite in the 1980s. Although Pass was actually more strongly influenced by Charlie Christian than by Reinhardt and he had already formed his own style, he has no difficulty fitting into the music. Highlights include "Rosetta," "Nuages," and "Limehouse Blues."
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Revisión por Scott Yanow
Considerado como un clásico, el guitarrista Joe Pass en su cuarta cita como líder lo encuentra interpretando música que fue compuesta por Django Reinhardt, formó parte de su repertorio o es uno de los dos tributos más recientes (John Lewis "Django" y Pass '" Para Django "). Pass está acompañado por la guitarra rítmica de John Pisano, el bajista Jim Hughart y el baterista Colin Bailey; El cuarteto se reuniría en los años ochenta. Aunque, en realidad, Pass estaba más fuertemente influenciado por Charlie Christian que por Reinhardt y él ya había formado su propio estilo, pero no tiene dificultad para adaptarse a la música. Los aspectos más destacados incluyen "Rosetta", "Nuages" y "Limehouse Blues".
A very talented tenor saxophonist and arranger, Frank Foster was associated with the Count Basie Orchestra off and on from 1953 to 1995. Early on, he played in Detroit with many talented local players and, after a period in the Army (1951-1953), he joined Basie's big band. Well featured on tenor during his Basie years (1953-1964), Foster also contributed plenty of arrangements and such originals as "Down for the Count," "Blues Backstage," and the standard "Shiny Stockings." In the latter half of the 1960s, Foster was a freelance writer. In addition to playing with Elvin Jones (1970-1972) and occasionally with the Thad Jones/Mel Lewis Orchestra, he led his Loud Minority big band. In 1983, Foster co-led a quintet with Frank Wess and he toured Europe with Jimmy Smith in 1985. Although influenced by John Coltrane in his playing, Foster was able to modify his style when he took over the Count Basie ghost band in 1986, revitalizing it and staying at the helm until 1995. Outside of his Basie dates, Foster led sessions for Vogue, Blue Note (1954 and 1968), Savoy, Argo, Prestige, Mainstream, Denon, Catalyst, Bee Hive, SteepleChase, Pablo, and Concord. Foster suffered a stroke in 2001 that prevented him from playing the saxophone, but he continued to compose and arrange music during the first decade of the new millennium. He died at home in Chesapeake, Virginia in late July 2011; Frank Foster was 82 years old.
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Biografía del artista por Scott Yanow
Frank Foster, un saxofonista y arreglista tenor muy talentoso, se asoció con la Count Basie Orchestra de 1953 a 1995. Al principio, tocó en Detroit con muchos jugadores locales talentosos y, después de un período en el Ejército (1951-1953) , se unió a la big band de basie. Bien presentado en el tenor durante sus años de Basie (1953-1964), Foster también contribuyó con muchos arreglos y originales como "Down for the Count", "Blues Backstage" y el estándar "Shiny Stockings". En la segunda mitad de la década de 1960, Foster fue un escritor independiente. Además de tocar con Elvin Jones (1970-1972) y ocasionalmente con la Orquesta Thad Jones / Mel Lewis, dirigió su big band Loud Minority. En 1983, Foster co-dirigió un quinteto con Frank Wess y él realizó una gira por Europa con Jimmy Smith en 1985. Aunque fue influenciado por John Coltrane en su forma de tocar, Foster pudo modificar su estilo cuando se hizo cargo de la banda de fantasmas de Count Basie en 1986. revitalizándolo y manteniéndose al mando hasta 1995. Fuera de sus citas con Basie, Foster dirigió las sesiones para Vogue, Blue Note (1954 y 1968), Savoy, Argo, Prestige, Mainstream, Denon, Catalyst, Bee Hive, SteepleChase, Pablo, y Concordia. Foster sufrió un derrame cerebral en 2001 que le impidió tocar el saxofón, pero continuó componiendo y arreglando música durante la primera década del nuevo milenio. Murió en su casa en Chesapeake, Virginia a fines de julio de 2011; Frank Foster tenía 82 años.
Focus had well proven their ability to write rocking instrumentals by the time of this release. Their catalog, although consisting of four albums, rarely had a dull moment between them. Hamburger Concerto is equally consistent, much of it being prime Focus material. The Akkerman-written "Birth" and "Early Birth" are examples of Focus fully flexing their muscles, featuring superb guitar work and amazing all-round musicianship, as well as sporting some superb riffs. The usual lengthy instrumentals are present also, as well as some manic vocals from the manic but genius Thijs Van Leer. Although Hamburger Concerto is not as unerring as Moving Waves or Focus III, anyone who enjoyed the previous releases would undoubtedly find great satisfaction from this album.
Artist Biography by Jason Ankeny
Best remembered for their bizarre chart smash "Hocus Pocus," Dutch progressive rock band Focus was formed in Amsterdam in 1969 by vocalist/keyboardist/flutist Thijs van Leer, bassist Martin Dresden, and drummer Hans Cleuver. With the subsequent addition of guitarist Jan Akkerman, the group issued its debut LP, In and Out of Focus, in 1970, earning a European cult following thanks to the single "House of the King." Dresden and Cleuver were replaced by bassist Cyril Havermanns and drummer Pierre Van der Linden for the English-language follow-up, Moving Waves; the record generated the hit "Hocus Pocus," a hallucinatory epic distinguished by Akkerman's guitar pyrotechnics and van Leer's demented yodeling. Easily one of the flat-out strangest songs ever to crack the American pop charts, the single peaked at number nine in the spring of 1973, by which time Focus had already exchanged Havermanns for bassist Bert Ruiter and issued their third album, Focus III, which yielded the minor hit "Sylvia." In the wake of 1974's Hamburger Concert, the band streamlined the classical aspirations of earlier efforts to pursue a more pop-oriented approach on records like Ship of Memories and Mother Focus; though roster changes regularly plagued Focus throughout the period, none was more pivotal than the 1976 exit of Akkerman, who was replaced by guitarist Philip Catherine for 1978's Focus con Proby, cut with British pop singer P.J. Proby. Focus then disbanded, with the original lineup reuniting in 1990 for a Dutch television special. After splitting again, they reunited for one-offs in 1995 and in 1999. In 2002, Van Leer reformed Focus with a new line-up releasing the albums Focus 8 (2002), Focus 9 / New Skin (2006), and Focus X (2012). In 2010, Nike used "Hocus Pocus" in its Word Cup commerical, Write The Future, renewing global interest in the band. In 2016, Van Leer shifted personnel again to include drummer Pierre van der Linden, guitarist Menno Gootjes, and bassist Udo Pannekeet and released the studio album Focus 8.5 / Beyond the Horizon and Live In England. A year later, Cherry Red issued The Focus Family Album compilation.
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Revisión por Ben Davies
En el momento de este lanzamiento, Focus había demostrado su capacidad para escribir instrumentales de rock. Su catálogo, aunque consta de cuatro álbumes, rara vez tuvo un momento aburrido entre ellos. El Concierto para hamburguesas es igualmente consistente, y gran parte de él es el material principal de Focus. El "nacimiento" y el "nacimiento prematuro", escritos por Akkerman, son ejemplos de Focus que flexiona completamente sus músculos, con un excelente trabajo de guitarra y una sorprendente maestría musical, además de lucir excelentes riffs. También están presentes los largos instrumentos habituales, así como algunas voces maníacas del genio pero genio Thijs Van Leer. Aunque Hamburger Concerto no es tan infalible como Moving Waves o Focus III, cualquiera que haya disfrutado de los lanzamientos anteriores sin duda encontraría una gran satisfacción con este álbum.
Biografía del artista por Jason Ankeny
Mejor recordado por su estrafalario gráfico "Hocus Pocus", la banda holandesa de rock progresivo Focus se formó en Amsterdam en 1969 por el vocalista / teclista / flautista Thijs van Leer, el bajista Martin Dresden y el baterista Hans Cleuver. Con la incorporación posterior del guitarrista Jan Akkerman, el grupo lanzó su primer LP, In and Out of Focus, en 1970, ganando un culto europeo gracias al sencillo "House of the King". Dresden y Cleuver fueron reemplazados por el bajista Cyril Havermanns y el baterista Pierre Van der Linden para el seguimiento en inglés, Moving Waves; el disco generó el éxito "Hocus Pocus", una epopeya alucinatoria que se distingue por la pirotecnia de la guitarra de Akkerman y el yodeling demente de van Leer. Fácilmente una de las canciones más extrañas de todos los tiempos para romper las listas de éxitos estadounidenses, el sencillo llegó al número nueve en la primavera de 1973, momento en el que Focus ya había cambiado Havermanns por el bajista Bert Ruiter y lanzó su tercer álbum, Focus III. Lo que produjo el éxito menor "Sylvia". A raíz del Hamburger Concert de 1974, la banda racionalizó las aspiraciones clásicas de los esfuerzos anteriores para buscar un enfoque más orientado al pop en discos como Ship of Memories y Mother Focus; aunque los cambios en la lista regularmente afectaron a Focus durante todo el período, ninguno fue más crucial que la salida de Akkerman en 1976, quien fue reemplazado por el guitarrista Philip Catherine para el Focus con Proby de 1978, cortado con el cantante pop británico P.J. Proby. Focus luego se disolvió, con la formación original reunida en 1990 para un especial de televisión holandés. Después de dividirse de nuevo, se reunieron por una sola vez en 1995 y en 1999. En 2002, Van Leer reformó Focus con una nueva formación que lanzó los álbumes Focus 8 (2002), Focus 9 / New Skin (2006) y Focus X (2012). En 2010, Nike usó "Hocus Pocus" en su comercial Word Cup, Write The Future, que renueva el interés global en la banda. En 2016, Van Leer cambió de personal nuevamente para incluir al baterista Pierre van der Linden, al guitarrista Menno Gootjes y al bajista Udo Pannekeet y lanzó el álbum de estudio Focus 8.5 / Beyond the Horizon y Live In England. Un año más tarde, Cherry Red lanzó la compilación del álbum de la familia Focus.
As lead singer and songwriter for the Velvet Underground and a
renowned solo artist, Lou Reed invented alternative rock. His music, at
once a source of transcendent beauty and coruscating noise, violated all
definitions of genre while speaking to millions of fans and inspiring
generations of musicians.
But while his iconic status may be
fixed, the man himself was anything but. Lou Reed's life was a
transformer's odyssey. Eternally restless and endlessly hungry for new
experiences, Reed reinvented his persona, his sound, even his sexuality
time and again. A man of contradictions and extremes, he was fiercely
independent yet afraid of being alone, artistically fearless yet deeply
paranoid, eager for commercial success yet disdainful of his own
triumphs. Channeling his jagged energy and literary sensibility into
classic songs - like "Walk on the Wild Side" and "Sweet Jane" - and
radically experimental albums alike, Reed remained desperately true to
his artistic vision, wherever it led him.
Now, just a few years after Reed's death, Rolling Stone
writer Anthony DeCurtis, who knew Reed and interviewed him extensively,
tells the provocative story of his complex and chameleonic life. With
unparalleled access to dozens of Reed's friends, family, and
collaborators, DeCurtis tracks Reed's five-decade career through the
accounts of those who knew him and through Reed's most revealing
testimony, his music. We travel deep into his defiantly subterranean
world, enter the studio as the Velvet Underground record their
groundbreaking work, and revel in Reed's relationships with such
legendary figures as Andy Warhol, David Bowie, and Laurie Anderson.
Gritty, intimate, and unflinching, Lou Reed is an illuminating tribute to one of the most incendiary artists of our time.
Since 1960, with the advent of musical electronics, composers and
musicians have been using ever more sophisticated machines to create
sonic material that presents innovation, color and new styles:
electro-acoustic, electro, house, techno, etc. music. The music of
Pierre Henry, Kraftwerk, Pink Floyd, Daft Punk and many others has
introduced new sounds, improbable rhythms and a unique approach to
composition and notation.
Electronic machines have become
essential: they have built and influenced the music of the most recent
decades and set the trend for future productions.
This book
explores the theory and practice related to the different machines which
constitute the universe of musical electronics, omitting synthesizers
which are treated in other works. Sequencers, drum machines, samplers,
groove machines and vocoders from 1960 to today are studied in their
historical, physical and theoretical context. More detailed approaches
to the Elektron Octatrack sequencer-sampler and the Korg Electribe 2
groove machine are also included.
Biography by Scott Yanow A fixture in New Orleans for many decades, Godfrey Hirsch was a fine vibraphonist whose main influence was Lionel Hampton. He started playing drums when he was 15 and studied percussion. Most of his gigs through the years were low-profile engagements but Hirsch did tour with Louis Prima for a year and Richard Himber's big band for three. After being part of the Dave Roberts Trio in 1943, he spent time in the Army. Following his discharge, the versatile Hirsch spent 15 years on the staff of WWL-CBS. In 1960 he joined Pete Fountain's band in New Orleans, playing vibes exclusively. Hirsch appeared on many of Fountain's Coral records and was associated with the clarinetist until his retirement. Godfrey Hirsch had one opportunity to lead his own record date, an album recorded during 1964-65 on Coral, At Pete's Place. https://www.allmusic.com/artist/godfrey-hirsch-mn0000669529/biography
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Biografía por Scott Yanow Godfrey Hirsch, que fue un fijo en Nueva Orleans durante muchas décadas, fue un excelente vibrafonista cuya principal influencia fue Lionel Hampton. Empezó a tocar la batería a los 15 años y estudió percusión. La mayoría de sus actuaciones a lo largo de los años fueron compromisos de bajo perfil, pero Hirsch estuvo de gira con Louis Prima durante un año y con la big band de Richard Himber durante tres. Tras formar parte del Dave Roberts Trio en 1943, pasó un tiempo en el ejército. Tras su licenciamiento, el versátil Hirsch pasó 15 años en la plantilla de la WWL-CBS. En 1960 se unió a la banda de Pete Fountain en Nueva Orleans, tocando exclusivamente el vibráfono. Hirsch apareció en muchos de los discos de Coral de Fountain y estuvo asociado con el clarinetista hasta su jubilación. Godfrey Hirsch tuvo una oportunidad de liderar su propia cita discográfica, un álbum grabado durante 1964-65 en Coral, At Pete's Place. https://www.allmusic.com/artist/godfrey-hirsch-mn0000669529/biography
This excellent CD reissue features the ill-fated vibraphonist Lem Winchester teamed up with tenor saxophonist Benny Golson, pianist Tommy Flanagan, bassist Wendell Marshall and drummer Art Taylor for three standards, an obscurity and two of the leader's originals. The music falls between bop and hard bop with consistently swinging solos that are generally fairly inventive. This was one of Winchester's three recordings for the New Jazz label; all are easily recommended to straightahead jazz fans.
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Revisión por Scott Yanow
Esta excelente reedición del CD presenta al malvado vibrafonista Lem Winchester junto con el saxofonista tenny Benny Golson, el pianista Tommy Flanagan, el bajista Wendell Marshall y el baterista Art Taylor por tres estándares, una oscuridad y dos de los originales del líder. La música cae entre el bop y el hard bop con solos de swing constante que generalmente son bastante inventivos. Esta fue una de las tres grabaciones de Winchester para el sello New Jazz; Todos son fácilmente recomendados para los fanáticos del jazz.
Born Thomas Wade Vaughn on October 14, 1936 in Benton, Kentucky, young Tom Vaughn began his music study on the piano around the age of five under the tutelage of his mother, Elizabeth. The piano was the instrument of choice for their family. Robert Wade, an uncle, was employed as a pianist by the New York and San Francisco ballet companies.
At age 10, his family, which also included four girls, relocated to Pontiac, Michigan, near Detroit. During his adolescence, he studied classical music with Harold Deremier. At age 12, Vaughn experienced the genius of Art Tatum, who was visiting Deremier. Vaughn stated, "I hadn't been exposed to music like that before." "That was amazing" and shifted his focus to jazz. In his mid-teens he was jamming in Detroit with other young musicians including Kenny Burrell, Paul Chambers, and Elvin Jones.
Vaughn graduated from Eureka College in Illinois with a degree in history while playing piano in area clubs. He and his sweetheart Beverle Jean were married, and the couple started a family when Sheila Denise was born in 1961. Two other children followed: Tom, Jr. in 1963; and Angela Suzanne in 1965. A strong interest in religion led him to enroll in Yale Divinity School, where he earned a doctorate in theology.
He entered the Episcopal priesthood, and in 1964 his first position was assistant to the rector at St. John's Episcopal Church in Midland, Michigan, two hours north of Detroit. Vaughn still played concerts at colleges and clubs sporadically, but the 8am Sunday service limited his travel. That same year Father Tom sat in with Gene Krupa's quartet in Detroit, where he caught the attention of producer George Wein.
One year later, Wein brought Vaughn to New York City, where he recorded Jazz In Concert At The Village Gate with Art Davis on double bass and Elvin Jones on drums. Vaughn was a featured performer at the 1966 Newport Jazz Festival, opening for Miles Davis.
Father Vaughn left St. John's Church in Midland in 1967, deciding that Los Angeles would be more conducive to his two passions, music and the ministry. Cornbread (Meat Loaf, Greens & Devilled Eggs) was recorded and released, followed by Motor City Soul in 1968. He played in festivals and concerts during the late 1960s and early 1970s, and appeared on local television and national talk shows, including Johnny Carson, Steve Allen and Merv Griffin. All this was done around his church responsibilities.
Vaughn joined St. Martin-in-the-Fields Episcopal Church in Winnetka, California in 1968. Three years later, he performed a jazz concert in the parish hall to raise funds for the "Fireside Room", then began serving as assistant rector. When St. Martin's celebrated their 25th anniversary with a big barbecue, music and dancing, Father Tom played during the 1974 festivities. He was installed as rector in 1976, the year he recorded his last album, Joyful Jazz. He stayed busy with the parish and raising his three children until 1984, when he needed hip replacement—both—and retired from active ministry. After that, he served as a Supply Priest, officiating services at churches when the rector was absent. "The bishop of the diocese advised me to retire, but I'm still an available priest. I do weddings, funerals, counseling."
Father Tom Vaughn reappeared publicly in 1990, conducting the memorial service for singer June Christy at the Forest Lawn Memorial Park (Hollywood Hills). As part of the service, he invited a quartet of eminent musicians to play in her honor, but did not join the group himself, instead opting to listen and enjoy the music as a spectator.
By the early 1990s, his children were grown and Vaughn played at local clubs a few times each year; a 1990 performance at the Millennium Biltmore Hotel received positive reviews. He also hosted a public-access television cable show, "All That Jazz", and was considering a return to the recording studio.
Vaughn was interviewed by the Los Angeles Times in 1991 and asked why he chose to remain a priest rather than accept fame and fortune as a touring musician.
Nothing can move me at the deepest spiritual level like music can, (but) music was never completely satisfying. Music was something that came to me as a pure gift. Maybe it came too easily. The clergy came to me through hard work and learning. I felt called to the inquiries of the mind. Tom Vaughn didn't want musical notoriety. I've never made much of a fuss over it myself.
After turning 60, Vaughn further reduced his public performances to perhaps once a year. He remained married to wife, Bev, and practiced for three or four hours most mornings for his own enjoyment.
That feeling, when it's right, there's nothing better – carnality, food, throw it all out the window. When I get in a groove, I'm detached, almost like losing consciousness, like flying some sort of super aircraft. It's close to an out-of-body experience.
At an interview in 1996, he acknowledged splitting piano time between playing the classics (Bach, Beethoven & Chopin) and improvising jazz with touches of blues and bebop.
Vaughn died March 4, 2011, according to comments posted on a YouTube video of Vaughn's recording of "Battle Hymn of the Republic".
Today, Vaughn's version of Battle Hymn of the Republic can be heard every Saturday night at 9:00 pm EST on WABE 90.1 in Atlanta. The song have provided the introduction to H. Johnson's "Jazz Classics" radio show, for 21 of more than 26 years that the show has aired.
All of Vaughn's records have been out of print for many years, but his three children began compiling their father's work into digital form in 2006
Nacido Thomas Wade Vaughn el 14 de octubre de 1936 en Benton, Kentucky, el joven Tom Vaughn comenzó su estudio de música para piano a la edad de cinco años bajo la tutela de su madre, Elizabeth. El piano fue el instrumento de elección para su familia. Robert Wade, un tío, fue empleado como pianista por las compañías de ballet de Nueva York y San Francisco.
A los 10 años, su familia, que también incluía a cuatro niñas, se mudó a Pontiac, Michigan, cerca de Detroit. Durante su adolescencia, estudió música clásica con Harold Deremier. A los 12 años, Vaughn experimentó el genio de Art Tatum, quien visitaba Deremier. Vaughn dijo: "No había estado expuesto a música como esa antes". "Eso fue increíble" y cambió su enfoque hacia el jazz. En su adolescencia estaba en Detroit con otros músicos jóvenes, como Kenny Burrell, Paul Chambers y Elvin Jones.
Vaughn se graduó de Eureka College en Illinois con un título en historia mientras tocaba el piano en clubes de la zona. Él y su novia Beverle Jean se casaron, y la pareja formó una familia cuando Sheila Denise nació en 1961. Le siguieron otros dos hijos: Tom, Jr. en 1963; y Angela Suzanne en 1965. Un fuerte interés en la religión lo llevó a inscribirse en la Escuela de Divinidad de Yale, donde obtuvo un doctorado en teología.
Ingresó en el sacerdocio episcopal, y en 1964 su primer puesto fue asistente del rector en la Iglesia Episcopal de St. John en Midland, Michigan, dos horas al norte de Detroit. Vaughn aún tocaba conciertos en colegios y clubes de forma esporádica, pero el servicio del domingo a las 8 am limitó sus viajes. Ese mismo año, el padre Tom participó en el cuarteto de Gene Krupa en Detroit, donde llamó la atención del productor George Wein.
Un año más tarde, Wein trajo a Vaughn a la ciudad de Nueva York, donde grabó Jazz In Concert en The Village Gate con Art Davis en contrabajo y Elvin Jones en batería. Vaughn fue un actor destacado en el Festival de Jazz de Newport de 1966, que abrió para Miles Davis.
El padre Vaughn dejó la Iglesia de San Juan en Midland en 1967, y decidió que Los Ángeles sería más propicio para sus dos pasiones, la música y el ministerio. Cornbread (Meat Loaf, Greens & Devilled Eggs) fue grabado y lanzado, seguido de Motor City Soul en 1968. Tocó en festivales y conciertos a fines de la década de los 60 y principios de los 70, y apareció en la televisión local y en programas nacionales de entrevistas, incluido Johnny Carson. , Steve Allen y Merv Griffin. Todo esto se hizo en torno a las responsabilidades de su iglesia.
Vaughn se unió a la Iglesia Episcopal St. Martin-in-the-Fields en Winnetka, California, en 1968. Tres años más tarde, realizó un concierto de jazz en el salón parroquial para recaudar fondos para la "Sala Fireside", luego comenzó a servir como rector asistente. Cuando San Martín celebró su 25 aniversario con una gran barbacoa, música y baile, el Padre Tom tocó durante las festividades de 1974. Fue instalado como rector en 1976, el año en que grabó su último álbum, Joyful Jazz. Se mantuvo ocupado con la parroquia y criando a sus tres hijos hasta 1984, cuando necesitaba un reemplazo de cadera (ambos) y se retiró del ministerio activo. Después de eso, se desempeñó como sacerdote de suministros, oficiando servicios en iglesias cuando el rector estaba ausente. "El obispo de la diócesis me aconsejó que me retirara, pero sigo siendo un sacerdote disponible. Hago bodas, funerales, asesoramiento".
El padre Tom Vaughn reapareció públicamente en 1990, dirigiendo el servicio conmemorativo de la cantante June Christy en el Forest Lawn Memorial Park (Hollywood Hills). Como parte del servicio, invitó a un cuarteto de músicos eminentes a tocar en su honor, pero no se unió al grupo, sino que optó por escuchar y disfrutar la música como espectador.
A principios de la década de 1990, sus hijos crecieron y Vaughn jugó en clubes locales varias veces al año; Una actuación de 1990 en el Millennium Biltmore Hotel recibió críticas positivas. También presentó un programa de televisión por cable de acceso público, "All That Jazz", y estaba considerando regresar al estudio de grabación.
Vaughn fue entrevistado por el Los Angeles Times en 1991 y le preguntó por qué decidió seguir siendo sacerdote en lugar de aceptar la fama y la fortuna como músico de gira.
Nada puede conmoverme en el nivel espiritual más profundo como lo puede hacer la música, pero la música nunca fue completamente satisfactoria. La música fue algo que me vino como un puro regalo. Tal vez fue demasiado fácil. El clero vino a mí a través del trabajo duro y el aprendizaje. Me sentí llamado a las preguntas de la mente. Tom Vaughn no quería la notoriedad musical. Yo nunca he hecho mucho escándalo por eso.
Después de cumplir 60 años, Vaughn redujo aún más sus actuaciones públicas a quizás una vez al año. Permaneció casado con su esposa, Bev, y practicó durante tres o cuatro horas casi todas las mañanas para su propio disfrute.
Ese sentimiento, cuando es correcto, no hay nada mejor: carnalidad, comida, tirarlo todo por la ventana. Cuando me meto en un surco, me separo, casi como perdiendo la conciencia, como volando una especie de súper avión. Es cerca de una experiencia extracorpórea.
En una entrevista en 1996, reconoció dividir el tiempo de piano entre tocar los clásicos (Bach, Beethoven y Chopin) e improvisar jazz con toques de blues y bebop.
Vaughn murió el 4 de marzo de 2011, según los comentarios publicados en un video de YouTube de la grabación de Vaughn de "El himno de batalla de la República".
Hoy en día, la versión de Vaughn de Battle Hymn of the Republic se puede escuchar todos los sábados por la noche a las 9:00 pm EST en WABE 90.1 en Atlanta. La canción ha proporcionado la introducción al programa de radio "Jazz Classics" de H. Johnson, durante 21 de los más de 26 años que el programa se ha emitido.
Todos los registros de Vaughn han estado agotados durante muchos años, pero sus tres hijos comenzaron a compilar el trabajo de su padre en forma digital en 2006.
