Stanley William Tracey, CBE (Londres, 30 de diciembre de 1926 – 6 de diciembre de 2013),1 fue un pianista y compositor de jazz británico influenciado por Duke Ellington y Thelonious Monk.
Biografía
La Segunda Guerra Mundial representó para Tracey la ruptura de su educación formal, convirtiéndose a los 16 años en músico profesional como miembro de la Entertainments National Service Association tocando el acordeón en giras de conciertos. A los 19 años se unió al Gang Show de Ralph Reader mientras servía en la RAF, donde conoce al cómico Tony Hancock.
A principios de la década de 1950 formó parte de conjuntos musicales a bordo de cruceros como el Queen Mary y el Cardonia y efectuó giras de conciertos por el Reino Unido junto a Cab Calloway. En esa época tocaba el vibráfono, instrumento que luego abandonó. Realizó conciertos junto a músicos como Tony Crombie (batería), Vic Ash (clarinete), Kenny Graham (saxofonista y arreglador) y Dizzy Reece (trompeta).
En febrero de 1957 realiza una gira por Estados Unidos con el conjunto de Ronnie Scott, y en setiembre se une a la orquesta de Ted Heath por dos años, época que incluyó giras con la cantante Carmen McRae como arreglador y pianista. Aunque a Tracey le disgustaba el estilo de Heath, el trabajo le permitió un ingreso económico regular. Al año siguiente grabó su primer álbum, Showcase, para el sello británico de Heath, Decca Records, y en 1959 Little Klunk.
En Ronnie's y el disco Under Milk Wood
Desde marzo de 19602 hasta cerca de 19673 Tracey fue el pianista del club de jazz de Ronnie Scott en el Soho de Londres, donde tuvo la oportunidad de acompañar a la mayoría de los principales solistas de Estados Unidos que visitaban el club. Algunas grabaciones de estas interpretaciones aparecieron en discos larga duración, y otras se han editado en años recientes con sello de Jazz House o Harkit, con producción del periodista Les Tomkins, sin calidad de sonido profesional.
En este contexto se ganó varios admiradores de alto perfil como Sonny Rollins quien dijo en uno de sus conciertos: ¿Hay alguna persona aquí que sabe cuan bueno es?" Es Tracey en el piano a quien los espectadores escuchan detrás de Rollins en la banda sonora de la versión de Michael Caine para Alfie.
La experiencia de trabajar en el club de Scott arruinó sin embargo la salud de Tracey: las largas horas de actuación lo llevaron a ingerir estimulantes, y los bajos salarios hacían que debiera tomar el bus para regresar a su casa a las 3 de la mañana.
Al mismo tiempo comenzó a trabajar en el proyecto Jazz Departures de Michael Horovitz, cuya meta era mezclar lecturas poéticas con jazz, interactuando espontáneamente con las palabras.4 El grupo grabó un álbum en 1964, que fue no sólo el primero de estilo clásico de Tracey, sino el primero que grabó con el saxofonista Bobby Wellins, con quien se ha asociado hasta nuestros días. Ambos contribuyeron con composiciones originales. La pieza de «Culloden Moor» de Wellins precedesora de la banda de sonido de la película Battle of Culloden de Peter Watkins es especialmente memorable.
El álbum de 1965 titulado Jazz Suite inspired by Dylan Thomas’ «Under Milk Wood» es una de las grabaciones de jazz más celebradas en el Reino Unido. Tracy se inspiró para componer la Suite escuchando la transmisión original de la BBC de 1953 en un LP que había comprado su esposa Jackie. La pieza «Starless and Bible Black», una cita del monólogo de apertura es probablemente la mejor muestra del lirismo de Wellins y el brillo de Tracey como compositor. Tanto ha sido el aprecio por esta obra que Tracey debió grabarla en reiteradas oportunidads, algo inusual para un músico de jazz británico. A Under Milk Wood le siguió Alice in Jazzland, un álbum para big band el año siguiente. Posteriormente en la misma década Tracey hizo los arreglos para una obra de Acker Bilk, Blue Acker y su primer álbum dedicado a obras de Duke Ellington, conmemornado el 70º aniversario del nacimiento del artista.
Experimentación y consolidación
A principios del decenio de 1970 se inició una época sombría para Tracey. Llegó a trabajar como cartero para poder obtener los beneficios de una pensión, pero poco después su carrera comenzó a recuperarse.
Comenzó a trabajar con músicos de la última generación, del jazz libre o la vanguardia, incluyendo a Mike Osborne, Keith Tippett y John Surman. Continuó en este estilo con Evan Parker y el festival de Jazz de Appleby por varios años, pero siempre como un tema marginal para él, que llegó a decir «toco más jazz libre en la corriente de moda, que lo que hago de moda en el jazz libre».5
A mediados de la década de 1970 fundó su propio sello, Steam, y a través de él reeditó Under Milk Wood, porque el sello principal que poseía los derechos de autor había cerrado. En la década siguiente usó la empresa para editar grabaciones de cierta cantidad de encargos de Suites, incluyendo The Salisbury Suite (1978), The Crompton Suite (1981) and The Poets Suite (1984).
Dirigió su propio octeto entre 1976 y 1985, y formó un sexteto en 1979, llamado Hexad, realizando giras hasta el Medio Oriente e India. En esa época mantuvo una larga relación artística con el saxofonista Art Themen y su propio hijo, el percusionista Clark Tracey.
https://es.wikipedia.org/wiki/Stan_Tracey
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Stanley William Tracey CBE (30 December 1926 – 6 December 2013) was a British jazz pianist and composer, whose most important influences were Duke Ellington and Thelonious Monk. Tracey's best known recording is the 1965 album Jazz Suite Inspired by Dylan Thomas's "Under Milk Wood", which is based on the BBC radio drama Under Milk Wood, by Dylan Thomas.
Early career
The Second World War meant that Tracey had a disrupted formal education, and he became a professional musician at the age of sixteen as a member of an ENSA touring group playing the accordion, his first instrument. He joined Ralph Reader's Gang Shows at the age of nineteen, while in the RAF and formed a brief acquaintance with the comedian Tony Hancock. Later, in the early 1950s, he worked in groups on the transatlantic liners Queen Mary and Caronia and toured the UK in 1951 with Cab Calloway. By the mid-1950s, he had also taken up the vibraphone, but later ceased playing it. At this time he worked widely with leading British modernists, including drummer Tony Crombie, clarinettist Vic Ash, the saxophonist-arranger Kenny Graham and trumpeter Dizzy Reece.
In February 1957, he toured the United States with Ronnie Scott's group, and became the pianist with Ted Heath's Orchestra in September for two years (1958–59), including a US tour with singer Carmen McRae. Although Tracey disliked Heath's music, he gained a regular income and was well featured as a soloist on both piano and vibes, and contributed compositions and arrangements that stayed in the Heath book for many years. The following year he recorded his first album as leader, Showcase, for English Decca (also Heath's label) and Little Klunk in 1959; he had first recorded in 1952 with the trumpeter Kenny Baker. At Decca Records, Tracey met his future wife, Jackie Buckland (3 April 1929 – 13 August 2009); the couple had two children Clark and Sarah.
At Ronnie's and the Under Milk Wood LP
From March 1960 until about 1967 (some sources give 1968), Tracey was the house pianist at Ronnie Scott's Jazz Club in Soho, London, and he had the opportunity to accompany many of the leading musicians from the US who visited the club. Recordings of some of these performances appeared on LP and others have appeared in recent years on the Jazz House and Harkit labels, recorded by the journalist Les Tomkins, but with non-professional sound quality. In this context he gained some high-profile admirers; Sonny Rollins asserted at one concert: "Does anyone here know how good he is?". It is Tracey on piano that film viewers hear behind Rollins on the soundtrack of the Michael Caine version of Alfie (1966).
However, the experience of working in Scott's club affected Tracey's health; the long hours led to him taking various illicit stimulants, and the low wages also meant that he had to take the workman's bus back home to Streatham at 3 am.
At the same time he became active in Michael Horovitz's New Departures project, mixing poetry performances with jazz, where the musicians interacted spontaneously with the words. The New Departures group recorded an album in 1964 with saxophonist Bobby Wellins, a partnership that continued for several decades. Both men contributed original compositions to the album.
Tracey's 1965 album (its full title is Jazz Suite Inspired by Dylan Thomas's "Under Milk Wood") is one of the most celebrated jazz recordings made in the United Kingdom. Tracey was inspired to compose the suite by hearing the original 1953 BBC broadcast on an LP his wife Jackie had acquired. The track "Starless and Bible Black", a quote from the opening monologue, is probably the best demonstration of Wellins' lyricism and the highlight of Tracey's whole career. Such is the affection with which these pieces are held that Tracey has re-recorded them on several occasions, something that is unusual for British jazz musicians to do. Under Milk Wood was followed by Alice in Jazzland, an album for big band, the next year featuring many of his former Ted Heath colleagues. Later in the decade, Tracey made the arrangements for an Acker Bilk record, Blue Acker, and his first album dedicated to Duke Ellington compositions (both recorded in 1968), in this case to commemorate Ellington's 70th birthday the following year.
Experimentation and consolidation
The early 1970s were a bleak time for Tracey. Around 1970, he almost chose to retrain as a postman under pressure from the Unemployment Benefits' office – "I would have quite a good pension by now" he quips – but his wife, formerly involved in public relations, took a more direct role in the development of Tracey's career.
He began to work with musicians of a later generation, who worked in a free or avant-garde style, including Mike Osborne, Keith Tippett and John Surman. Tracey continued to work in this idiom with Evan Parker at the UK's Appleby Jazz Festival for several years, but this was always more of a sideline for Tracey, who said that he "took more out of free music into the mainstream than I did from mainstream into free". Neil Ferber founder and organiser of the Appleby Jazz Festival built the festival around Stan Tracey and the musicians who worked with him, booking Stan to appear at every festival for the 18 years that it existed.
In the mid-1970s he formed his own record label, Steam, and through it reissued Under Milk Wood (the major label that held the rights to it had allowed it to fall out of print). Over the next decade he also used the outlet to issue recordings of a number of commissioned suites. These included The Salisbury Suite (1978), The Crompton Suite (1981) and The Poets Suite (1984).
He led his own octet from 1976 to 1985 and formed a sextet in 1979 (later called Hexad), touring widely in the Middle East and India. In this context he had a longstanding performance partnership from 1978 with saxophonist (and physician) Art Themen, and his own son, the percussionist Clark Tracey. He was able to share the billing with arranger Gil Evans in a 1978 concert at the Royal Festival Hall, such was Tracey's pre-eminence in the UK. In private, he played Ellington recordings for Evans that the latter had not previously heard. Tracey continued to record with American musicians on occasion as well, with dates taking place with Sal Nistico in 1985 and Monk associate, Charlie Rouse in 1987.
The Steam label ceased trading in the early 1990s, reportedly because of difficulties caused by the retail trade's need for its inventory to carry a barcode. However, in 1992 Tracey benefited from Blue Note's brief interest in UK musicians, leading to the Portraits Plus album and the commercial issue of the BBC's recording of the concert commemorating the 50th anniversary of Tracey's first professional gig, as well as Under Milk Wood′s debut on CD.
In 1995 his new quartet featuring Gerard Presencer recorded the For Heaven's Sake album and also performed gigs together. In 2003 Tracey was the subject of a BBC Television documentary Godfather of British Jazz, a rare accolade nowadays for any jazz musician, let alone one from Britain. Tracey's catalogue from the LP era is being reissued on ReSteamed Records.
Already an Officer of the Order of the British Empire (OBE), he was appointed Commander of the Order of the British Empire (CBE) in the 2008 New Year Honours.
Tracey died of cancer on 6 December 2013; he was survived by his son, Clark Tracey; his daughter died in 2012.
https://en.wikipedia.org/wiki/Stan_Tracey
Colaborador / Contribuitor: boppinbob
Tracklist:
1 - Alice In Jazz Land - 4:56
2 - Afro-Charlie Meets The White Rabbit - 5:07
3 - Fantasies In Bloom - 4:47
4 - Summer Hallucinations - 2:58
5 - Teatime Gavotte - 4:19
6 - Murdering The Time - 4:00
7 - Pig And Pepper - 5:17
8 - Portrait Of A Queen - 4:30
Credits:
Alto Saxophone – Alan Branscombe
Alto Saxophone, Clarinet – Ronnie Baker
Baritone Saxophone – Harry Klein
Double Bass – Jeff Clyne
Drums – Ronnie Stephenson
Piano – Stan Tracey
Producer – Bob Barratt
Tenor Saxophone – Bobby Wellins (tracks: 3, 4, 5, 6, 7, 8), Ronnie Scott, Tubby Hayes (tracks: 1 & 2)
Trombone – Chris Smith, Keith Christie, Wally Smith
Trumpet – Eddie Blair (tracks: 1, 3, 4, 5, 6, 7, 8), Ian Hamer, Kenny Baker, Kenny Wheeler (tracks: 2), Les Condon
Notes:
Recording Produced by Bob Barratt
Recorded Abbey Road Studios, London, 8 March 1966
Label: Columbia – SX 6051
Country: UK
Released: 1966
Genre: Jazz
2 - Afro-Charlie Meets The White Rabbit - 5:07
3 - Fantasies In Bloom - 4:47
4 - Summer Hallucinations - 2:58
5 - Teatime Gavotte - 4:19
6 - Murdering The Time - 4:00
7 - Pig And Pepper - 5:17
8 - Portrait Of A Queen - 4:30
Credits:
Alto Saxophone – Alan Branscombe
Alto Saxophone, Clarinet – Ronnie Baker
Baritone Saxophone – Harry Klein
Double Bass – Jeff Clyne
Drums – Ronnie Stephenson
Piano – Stan Tracey
Producer – Bob Barratt
Tenor Saxophone – Bobby Wellins (tracks: 3, 4, 5, 6, 7, 8), Ronnie Scott, Tubby Hayes (tracks: 1 & 2)
Trombone – Chris Smith, Keith Christie, Wally Smith
Trumpet – Eddie Blair (tracks: 1, 3, 4, 5, 6, 7, 8), Ian Hamer, Kenny Baker, Kenny Wheeler (tracks: 2), Les Condon
Notes:
Recording Produced by Bob Barratt
Recorded Abbey Road Studios, London, 8 March 1966
Label: Columbia – SX 6051
Country: UK
Released: 1966
Genre: Jazz
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