Frank Wess • Jazz Is Busting Out All Over

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.
https://musicians.allaboutjazz.com/frankwess

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Frank Wess es un maestro del jazz del NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz estadounidense, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Comenzó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al trasladarse a Washington, D. C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se vería interrumpida durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese periodo. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Modern School Of Music de la ciudad. A partir de 1953 se unió a la banda de Count Basie, tocando la flauta y el saxo tenor. Volvió a tocar el saxo alto a finales de los 50, y dejó la banda de Basie en 1964. Entre 1959 y 1964 ganó la encuesta de la crítica de Down Beat para la flauta. Desde entonces, ha participado en diversos programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007, Wess fue nombrado "NEA Jazz Master" por el Fondo Nacional de las Artes de Estados Unidos.
https://musicians.allaboutjazz.com/frankwess

John Coltrane • Wheelin & Dealin

John William Coltrane was born on September 23, 1926 in Hamlet, North Carolina. At the age of three his family moved to High Point, NC, where young Coltrane spent his early years. His father, John Robert Coltrane, died in 1939, leaving twelve year-old John and his mother on their own.

His mother, Alice Blair Coltrane, moved to New Jersey to work as a domestic while John completed high school. John played first the clarinet, then alto saxophone in his high school band. His first musical influence was the tenor saxophonist Lester Young of Count Basie's band. In June of 1943, after graduation, Coltrane moved to Philadelphia to be closer to his mother.

After a yearlong stint in the Navy (1945-46), Coltrane began playing gigs in and around Philadelphia. During this time he became involved in drug and alcohol use, vices that would follow him throughout his career and ultimately lead to his death.

In late 1949 Coltrane was invited to play alto sax with Dizzy Gillespie's band; the first recording session was on November 21 of that year. When the big band broke up in May of 1950 Coltrane moved to the tenor saxophone and played with Gillespie's small band until May of the next year. Coltrane played with Earl Bostic's group in 1952, switching to the band of his early idol Johnny Hodges in 1953.

Problems with drug and alcohol abuse, however, forced Coltrane out of the group in 1954. Miles Davis called upon Coltrane in the summer of 1955 to join a group he was forming. The Miles Davis quintet's first recording was made in October of 1955, the same month in which Coltrane was married to Naima Grubbs. The quintet was comprised of Davis on trumpet, Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on the drums. It was in his years with this quintet that Coltrane's abilities were truly recognized and appreciated.

In April 1957, though, Coltrane was again forced to take a break from playing to deal with his substance abuse problems; Davis replaced him with Sonny Rollins. He played briefly with Thelonious Monk in late 1957 before rejoining the Miles Davis quintet in January 1958. Coltrane played with this group until April 1960, when he set out to form his own group.

The John Coltrane quartet first formed in April of 1960 with Coltrane playing tenor saxophone, McCoy Tyler on piano, Elvin Jones on drums, and Jimmy Harrison on bass. It was during the first years of this group that Coltrane graduated from an above-average tenor saxophonist to an elite bandleader, composer, and improvisor. "My Favorite Things", the epic album featuring "Every Time We Say Goodbye", "Summertime", "But Not For Me", and the title track, was recorded in 1960. This was undoubtedly Coltrane's most successful and popular album, and granted him the commercial success that had eluded him thus far in his career.

Perhaps due to this success, Coltrane's approach to his music began to shift during 1961-62, moving towards a more experimental, improvisational style. This "free-jazz" alienated many of the fans Coltrane had collected after "My Favorite Things", but at the same time expanded the horizons and definition of jazz. Among the more popular recordings of the quartet in the following years were "Africa Brass" (1961), "Ballads" (1962), "A Love Supreme" (1964), and "Meditations" (1965), as well as concerts recorded at The Village Vanguard (NYC) in 1961 and at Birdland, also in New York, in 1963.

Coltrane's continuing desire to break new boundaries with his music, though, led to the end of the group in January 1966. During the mid-1960's the turmoil in Coltrane's professional life was mirrored by disruptions in his personal life. In the summer of 1963 he moved out of the house he shared with his wife, Naima, and moved in with Alice McLeod. Coltrane had met Alice, a pianist, in 1960, and they had been friends since then.

A son, John Coltrane Jr., was born to Coltrane and Alice on August 8, 1964; this was followed on August 6, 1965 by a second son, Ravi. A year later Coltrane divorced Naima and married Alice. A final son, Oran, was born to Coltrane and Alice on March 19, 1967. On July 17, 1967,

John Coltrane died due to complications arising from his years of alcohol and drug abuse.
https://www.allaboutjazz.com/musicians/john-coltrane/

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John William Coltrane nació el 23 de septiembre de 1926 en Hamlet, Carolina del Norte. A la edad de tres años, su familia se mudó a High Point, Carolina del Norte, donde el joven Coltrane pasó sus primeros años. Su padre, John Robert Coltrane, murió en 1939, dejando solos a John, de doce años, y a su madre.

Su madre, Alice Blair Coltrane, se mudó a Nueva Jersey para trabajar como empleada doméstica mientras John completaba la escuela secundaria. John tocó primero el clarinete y luego el saxofón alto en la banda de su escuela secundaria. Su primera influencia musical fue el saxofonista tenor Lester Young de la banda de Count Basie. En junio de 1943, después de graduarse, Coltrane se mudó a Filadelfia para estar más cerca de su madre.

Después de un período de un año en la Marina (1945-46), Coltrane comenzó a tocar en Filadelfia y sus alrededores. Durante este tiempo se involucró en el consumo de drogas y alcohol, vicios que lo seguirían a lo largo de su carrera y finalmente lo llevarían a la muerte.

A finales de 1949 Coltrane fue invitado a tocar el saxo alto con la banda de Dizzy Gillespie; la primera sesión de grabación fue el 21 de noviembre de ese año. Cuando la big band se disolvió en mayo de 1950, Coltrane se pasó al saxofón tenor y tocó con la pequeña banda de Gillespie hasta mayo del año siguiente. Coltrane tocó con el grupo de Earl Bostic en 1952, cambiando a la banda de su ídolo Johnny Hodges en 1953.

Sin embargo, los problemas con el abuso de drogas y alcohol obligaron a Coltrane a abandonar el grupo en 1954. Miles Davis llamó a Coltrane en el verano de 1955 para unirse a un grupo que estaba formando. La primera grabación del quinteto de Miles Davis se realizó en octubre de 1955, el mismo mes en que Coltrane se casó con Naima Grubbs. El quinteto estaba compuesto por Davis a la trompeta, Coltrane al saxo tenor, Red Garland al piano, Paul Chambers al bajo y Philly Joe Jones a la batería. Fue en sus años con este quinteto que las habilidades de Coltrane fueron verdaderamente reconocidas y apreciadas.

Sin embargo, en abril de 1957, Coltrane se vio obligado nuevamente a dejar de tocar para lidiar con sus problemas de abuso de sustancias; Davis lo reemplazó con Sonny Rollins. Tocó brevemente con Thelonious Monk a fines de 1957 antes de reincorporarse al quinteto de Miles Davis en enero de 1958. Coltrane tocó con este grupo hasta abril de 1960, cuando se propuso formar su propio grupo.

El cuarteto John Coltrane se formó por primera vez en abril de 1960 con Coltrane tocando el saxofón tenor, McCoy Tyler al piano, Elvin Jones a la batería y Jimmy Harrison al bajo. Fue durante los primeros años de este grupo que Coltrane se graduó de saxofonista tenor por encima del promedio a líder de banda, compositor e improvisador de élite. "My Favorite Things", el álbum épico con "Every Time We Say Goodbye", "Summertime", "But Not For Me" y la canción principal, se grabó en 1960. Este fue sin duda el álbum más exitoso y popular de Coltrane, y le otorgó el éxito comercial que le había eludido hasta ahora en su carrera.

Quizás debido a este éxito, el enfoque de Coltrane hacia su música comenzó a cambiar durante 1961-62, moviéndose hacia un estilo más experimental e improvisado. Este " free-jazz "alienó a muchos de los fanáticos que Coltrane había reunido después de" My Favorite Things", pero al mismo tiempo amplió los horizontes y la definición del jazz. Entre las grabaciones más populares del cuarteto en los años siguientes se encuentran" Africa Brass " (1961)," Ballads " (1962)," A Love Supreme "(1964) y" Meditations " (1965), así como conciertos grabados en Village Vanguard (NYC) en 1961 y en Birdland, también en Nueva York, en 1963.

Sin embargo, el continuo deseo de Coltrane de romper nuevos límites con su música llevó al final del grupo en enero de 1966. A mediados de la década de 1960, la agitación en la vida profesional de Coltrane se reflejó en interrupciones en su vida personal. En el verano de 1963 se mudó de la casa que compartía con su esposa, Naima, y se mudó con Alice McLeod. Coltrane había conocido a Alice, pianista, en 1960, y habían sido amigos desde entonces.

Un hijo, John Coltrane Jr., nació de Coltrane y Alice el 8 de agosto de 1964; a esto le siguió el 6 de agosto de 1965 un segundo hijo, Ravi. Un año después, Coltrane se divorció de Naima y se casó con Alice. Un último hijo, Oran, nació de Coltrane y Alice el 19 de marzo de 1967. El 17 de julio de 1967,

John Coltrane murió debido a complicaciones derivadas de sus años de abuso de alcohol y drogas.
https://www.allaboutjazz.com/musicians/john-coltrane/

www.johncoltrane.com ...

 

Elvin Jones • Time Capsule

 

A real standout in the 70s catalog of Elvin Jones – for a number of key reasons! First up, the set's got more of an electric vibe than usual – thanks to Fender Rhodes from Kenny Barron and guitar from Ryo Kawasaki, who really help shape the sound of the set!

Second, production is by Ed Bland – who does a masterful job of blending soul, spirit, and harder-edged jazz modes – on tunes that often have a nice modal vibe at the core! The group also features excellent alto work from Bunky Green – who really sparkles strongly throughout, and who also wrote more than half the material on the album.
https://www.jazzmessengers.com/en/88757/elvin-jones/time-capsule


Review by Scott Yanow
Drummer Elvin Jones' Vanguard recordings of 1975-77, of which this was the final one, generally found him playing with all-stars or augmenting his band with guests. The five obscurities on this LP (three by altoist Bunky Green, who emerges as the date's top soloist) matches Jones with Green, tenor saxophonist George Coleman, the electric piano of Kenny Barron, bassist Junie Booth, guitarist Ryo Kawasaki, and percussionist Angel Allende. Two of the songs ("Frost Bite" and "Digital Display") have bassist Milt Hinton and flutist Frank Wess; the latter piece also adds the soprano of Frank Foster. Overall, the music is worthwhile, although not quite adding up to the sum of its many parts; the set has very little unity despite some individual fireworks.
https://www.allmusic.com/album/time-capsule-mw0000659850

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Un disco realmente destacado en el catálogo de los años 70 de Elvin Jones, ¡por varias razones clave! En primer lugar, el disco tiene un aire más eléctrico de lo habitual, gracias al Fender Rhodes de Kenny Barron y a la guitarra de Ryo Kawasaki, que realmente ayudan a dar forma al sonido del disco.

En segundo lugar, la producción corre a cargo de Ed Bland, que hace un trabajo magistral mezclando el soul, el espíritu y los modos más duros del jazz, en temas que a menudo tienen una agradable vibración modal en su núcleo. El grupo también cuenta con el excelente trabajo como contralto de Bunky Green, que realmente brilla con fuerza en todo el disco y que también escribió más de la mitad del material del álbum.
https://www.jazzmessengers.com/en/88757/elvin-jones/time-capsule


Reseña de Scott Yanow
Las grabaciones de Vanguard del baterista Elvin Jones entre 1975 y 1977, de las cuales ésta fue la última, generalmente lo encontraron tocando con estrellas o aumentando su banda con invitados. Las cinco oscuridades de este LP (tres de ellas del contralto Bunky Green, que se convierte en el mejor solista de la fecha) emparejan a Jones con Green, el saxofonista tenor George Coleman, el piano eléctrico de Kenny Barron, el bajista Junie Booth, el guitarrista Ryo Kawasaki y el percusionista Angel Allende. Dos de las canciones («Frost Bite» y «Digital Display») cuentan con el bajista Milt Hinton y el flautista Frank Wess; esta última pieza añade además la soprano de Frank Foster. En general, la música merece la pena, aunque no llega a ser la suma de sus muchas partes; el conjunto tiene muy poca unidad a pesar de algunos fuegos artificiales individuales.
https://www.allmusic.com/album/time-capsule-mw0000659850

 

Thad Jones & The Prestige All Stars • Olio-After Hours

 

 

Thad Jones & The Prestige All Stars • Olio / After Hours 

 

Harry 'Sweets' Edison • Swing Summit

 

 

Review from AllMusic (by Scott Yanow): Trumpeter Harry "Sweets" Edison was 74 at the time of this live set, but he still sounds in pretty good form. He is teamed with fellow Basie veterans Buddy Tate, who splits his time almost evenly between tenor and clarinet, and tenor saxophonist Frank Wess, while the rhythm section swings in a Basie vein. The sextet plays five veteran standards and two original blues, Edison's familiar "Centerpiece" and Tate's "Blue Creek".

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Resena de AllMusic (por Scott Yanow): El trompetista Harry "Sweets" Edison tenia 74 anos cuando se grabo esta presentacion en vivo y aun sonaba en buena forma. Lo acompanan el veterano de Basie Buddy Tate, que alterna entre saxo tenor y clarinete, y el saxofonista tenor Frank Wess, junto con una seccion ritmica que toca con el estilo de Basie. El sexteto interpreta cinco standards y dos blues originales, el conocido "Centerpiece" de Edison y "Blue Creek" de Tate. 

 

Dorothy Ashby • The Jazz Harpist

Biography

(as published on www.myspace.com/dorothyashby)

Dorothy Ashby (born August 6, 1932 in Detroit, Michigan, died April 13, 1986 in Santa Monica, California) was a Hebrew jazz harpist and composer.

"She was able to play incredible bebop on her instrument." There had been jazz harpists prior to Ashby, like Adele Girard, but no one else had adapted the harp to jazz so successfully nor had integrated into such a broad array of musical styles. Her influence certainly opened doors

she grew up around music in Detroit where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, Dorothy would provide support and background to their music by playing the piano. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.

in Detroit she studied piano and music education. After she graduated, she began playing the piano in the jazz scene in Detroit, though by 1952 she had made the harp her main instrument. perceived as an instrument of classical music and also somewhat ethereal in sound Ashby overcame their initial resistance and built up support for the harp as a jazz instrument by organizing free shows and playing at dances and weddings with her trio. She recorded with Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess and others in the late 1950s and early 1960s. During the 1960s, she also had her own radio show in Detroit.

Ashby's trio, including her husband John Ashby on drums, regularly toured the country, recording albums for several different record labels. . In 1962's annual polls the best jazz performers included Ashby. Extending her range of interests and talents, she also worked with her husband on a theater company, the Ashby Players, which her husband founded in Detroit, and for which Dorothy often wrote the scores.

Dorothy was called upon for a number of studio sessions playing for such popular recording artists as Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, and Barry Manilow. Her harp playing is featured in the song "Come Live With Me' which is on the soundtrack for the 1967 movie, Valley of the Dolls , playing the harp on the song "If It's Magic" on Stevie Wonder's 1976 album Songs in the Key of Life.

Her albums include The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove , I dont remember which . Between 1956-1970, she recorded 10 albums for such labels as Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland and Atlantic. On her "Rubaiyat" album, Ashby played the Japanese musical instrument, the koto, demonstrating her talents successfully "

sources : http://www.answers.com/topic/dorothy-ashby

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Biografía

(publicado en www.myspace.com/dorothyashby)

Dorothy Ashby (nacida el 6 de agosto de 1932 en Detroit, Michigan, fallecida el 13 de abril de 1986 en Santa Mónica, California) era arpista y compositora de jazz hebreo.

"Ella fue capaz de tocar el increíble bebop con su instrumento." Había habido arpistas de jazz antes de Ashby, como Adele Girard, pero nadie más había adaptado el arpa al jazz con tanto éxito ni se había integrado en una gama tan amplia de estilos musicales. Su influencia ciertamente abrió las puertas

se crió alrededor de la música en Detroit, donde su padre, el guitarrista Wiley Thompson, a menudo traía a casa a sus compañeros músicos de jazz. Ya de niña, Dorothy les daba apoyo y apoyo a su música tocando el piano. Mientras estaba en la escuela secundaria tocó varios instrumentos (incluyendo el saxofón y el bajo de cuerdas) antes de tocar el arpa.

en Detroit estudió piano y educación musical. Después de graduarse, comenzó a tocar el piano en la escena jazzística de Detroit, aunque en 1952 había hecho del arpa su instrumento principal. Percibida como un instrumento de música clásica y también algo etérea en el sonido, Ashby superó su resistencia inicial y construyó un apoyo para el arpa como instrumento de jazz organizando espectáculos libres y tocando en bailes y bodas con su trío. Grabó con Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess y otros a finales de los años 50 y principios de los 60. Durante la década de 1960, también tuvo su propio programa de radio en Detroit.

El trío de Ashby, incluyendo a su esposo John Ashby en la batería, viajó regularmente por el país, grabando álbumes para varios sellos discográficos diferentes. . En las encuestas anuales de 1962, los mejores intérpretes de jazz incluían a Ashby. Extendiendo su gama de intereses y talentos, también trabajó con su esposo en una compañía de teatro, los Ashby Players, que su esposo fundó en Detroit, y para la cual Dorothy escribió las partituras con frecuencia.

Dorothy fue convocada para varias sesiones de estudio tocando para artistas tan populares como Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, y Barry Manilow. Su arpa aparece en la canción "Come Live With Me" que está en la banda sonora de la película de 1967, Valley of the Dolls, tocando el arpa en la canción "If It's Magic" del álbum de Stevie Wonder de 1976, Songs in the Key of Life.

Sus álbumes incluyen The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove, I dont remember which . Entre 1956-1970, grabó 10 álbumes para sellos como Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland y Atlantic. En su álbum "Rubaiyat", Ashby tocó el instrumento musical japonés, el koto, demostrando sus talentos con éxito.

fuentes http://www.answers.com/topic/dorothy-ashby
 

 

Woody Shaw • Rosewood

 

J.J. Johnson • Broadway Express

  

J.J. Johnson is an NEA Jazz Master Considered by many to be the finest jazz trombonist of all time, J.J. Johnson somehow transferred the innovations of Charlie Parker and Dizzy Gillespie to his more awkward instrument, playing with such speed and deceptive ease that at one time some listeners assumed he was playing valve (rather than slide) trombone! Johnson toured with the territory bands of Clarence Love and Snookum Russell during 1941-42 and then spent 1942-45 with Benny Carter's big band.

He made his recording debut with Carter (taking a solo on "Love for Sale" in 1943) and played at the first JATP concert (1944). Johnson also had led plenty of solo space during his stay with Count Basie's Orchestra (1945-46). During 1946-50, he played with all of the top bop musicians including Charlie Parker (with whom he recorded in 1947), the Dizzy Gillespie big band, Illinois Jacquet (1947-49) and the Miles Davis Birth of the Cool Nonet. His own recordings from the era included such sidemen as Bud Powell and a young Sonny Rollins. J.J., who also recorded with the Metronome All-Stars, played with Oscar Pettiford (1951) and Miles Davis (1952) but then was outside of music, working as a blueprint inspector for two years (1952-54).

His fortunes changed when in August 1954 he formed a two -trombone quintet with Kai Winding that became known as Jay and Kai and was quite popular during its two years. After J.J. and Kai went their separate ways (they would later have a few reunions), Johnson led a quintet that often included Bobby Jaspar.

He began to compose ambitious works starting with 1956's "Poem for Brass" and including "El Camino Real" and a feature for Dizzy Gillespie, "Perceptions"; his "Lament" became a standard. Johnson worked with Miles Davis, during part of 1961-62, led some small groups of his own, and by the late '60s was kept busy writing television and film scores. J.J. Johnson was so famous in the jazz world that he kept on winning DOWN BEAT polls in the 1970s even though he was not playing at all! However, starting with a Japanese tour in 1977, J.J. gradually returned to a busy performance schedule, leading a quintet in the 1980s that often featured Ralph Moore.
https://www.allaboutjazz.com/musicians/jj-johnson/

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J. J. Johnson es un Maestro del Jazz NEA Considerado por muchos como el mejor trombonista de jazz de todos los tiempos. ¡J. J. Johnson transfirió de alguna manera las innovaciones de Charlie Parker y Dizzy Gillespie a su instrumento más incómodo, tocando con tanta velocidad y facilidad engañosa que en un momento algunos oyentes asumieron que estaba tocando trombón de válvula (en lugar de slide)! Johnson realizó una gira con las bandas territoriales de Clarence Love y Snookum Russell durante 1941-42 y luego pasó 1942-45 con la big band de Benny Carter.

Hizo su debut discográfico con Carter (haciendo un solo en" Love for Sale " en 1943) y tocó en el primer concierto de JATP (1944). Johnson también había liderado mucho espacio en solitario durante su estadía con la Orquesta de Count Basie(1945-46). Durante 1946-50, tocó con todos los mejores músicos de bop, incluido Charlie Parker (con quien grabó en 1947), la Dizzy Gillespie big band, Illinois Jacquet (1947-49) y Miles Davis Birth of the Cool Nonet. Sus propias grabaciones de la época incluían acompañantes como Bud Powell y un joven Sonny Rollins. J. J., quien también grabó con Metronome All-Stars, tocó con Oscar Pettiford (1951) y Miles Davis (1952), pero luego estuvo fuera de la música, trabajando como inspector de planos durante dos años (1952-54).

Su suerte cambió cuando en agosto de 1954 formó un quinteto de dos trombones con Kai Winding que se conoció como Jay y Kai y fue bastante popular durante sus dos años. Después de que J. J. y Kai tomaran caminos separados (más tarde tendrían algunas reuniones), Johnson dirigió un quinteto que a menudo incluía a Bobby Jaspar.

Comenzó a componer obras ambiciosas a partir de "Poem for Brass" de 1956 e incluyendo "El Camino Real" y un largometraje para Dizzy Gillespie, "Perceptions"; su "Lamento" se convirtió en un estándar. Johnson trabajó con Miles Davis, durante parte de 1961-62, dirigió algunos pequeños grupos propios y, a fines de los 60, se mantuvo ocupado escribiendo partituras para televisión y cine. ¡J. J. Johnson era tan famoso en el mundo del jazz que siguió ganando en las encuestas A LA BAJA en la década de 1970 a pesar de que no tocaba en absoluto! Sin embargo, comenzando con una gira japonesa en 1977, J. J. poco a poco volvió a una apretada agenda de presentaciones, liderando un quinteto en la década de 1980 que a menudo presentaba a Ralph Moore.
https://www.allaboutjazz.com/musicians/jj-johnson/

Les McCann • Another Beginning

 

Biography

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic.

McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra.

McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records.

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Biografía

Les McCann alcanzó la cima de su carrera en el Festival de Jazz de Montreux de 1969, grabando "Compared to What" y "Cold Duck Time" para Atlantic (Swiss Movement) con Eddie Harris y Benny Bailey. Aunque desde entonces ha hecho algunos trabajos que valen la pena, muchos de ellos han sido anticlimáticos.

McCann ganó cierta fama en 1956 cuando ganó un concurso de talentos en la Marina como cantante que resultó en una aparición en televisión en el programa The Ed Sullivan Show. Después de ser dado de alta, formó un trío en Los Ángeles. McCann rechazó una invitación para unirse al Quinteto Cannonball Adderley para poder trabajar en su propia música. Firmó un contrato con Pacific Jazz y en 1960 ganó algo de fama con sus álbumes Les McCann Plays the Truth y The Shout. Su estilo soul y funk en el piano fue influyente y el canto de McCann fue en gran parte secundario hasta mediados de los años 60. Grabó muchos álbumes para Pacific Jazz durante 1960-1964, principalmente con su trío, pero también con Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, los Jazz Crusaders y la Orquesta de Gerald Wilson.

McCann cambió a Limelight durante 1965-1967 y luego firmó con Atlantic en 1968. Después del éxito del Movimiento Suizo, McCann enfatizó su canto a expensas de su forma de tocar y comenzó a utilizar los teclados eléctricos, sobre todo en las Capas de 1972. Sus grabaciones se volvieron menos interesantes para los aficionados al jazz tradicional a partir de ese momento, y después de que su contrato con Atlantic se agotara en 1976, McCann apareció en discos con mucha menos frecuencia. Sin embargo, se mantuvo popular y una gira de reunión de 1994 con Eddie Harris fue bastante exitosa. Un derrame cerebral a mediados de los 90 lo dejó fuera de combate durante un tiempo y debilitó su capacidad de tocar el teclado (su banda comenzó a llevar un teclista adicional) pero Les McCann volvió a un horario más activo durante 1996 y seguía siendo un cantante poderoso. Su regreso se solidificó con Pump It Up de 2002, una celebración del funk y el jazz lanzada por ESC Records.

 

 

Milt Jackson • Bags & Flutes

Biography by Scott Yanow
Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity. In its essence, Jackson did for the vibes what Dizzy Gillespie did for the trumpet -- revolutionize its approach. He slowed the speed on the instrument's oscillator, changed its vibrato and perfected slow, cleverly paced blues solos. His floating solos with long, sustained notes and darting rhythms became a bop staple. A former singer, guitarist and pianist, Jackson was an extremely versatile player, cutting big-band dates, working with orchestras, and fighting to maintain a successful solo career yet retain his ties with the Modern Jazz Quartet, the group he co-founded with pianist John Lewis in 1952.

Milt Jackson started on guitar when he was seven, and piano at 11; a few years later, he switched to vibes. He actually made his professional debut singing in a touring gospel quartet. After Dizzy Gillespie discovered him playing in Detroit, he offered him a job with his sextet and (shortly after) his innovative big band (1946). Jackson recorded with Gillespie, and was soon in great demand. During 1948-1949, he worked with Charlie Parker, Thelonious Monk, Howard McGhee, and the Woody Herman Orchestra. After playing with Gillespie's sextet (1950-1952), which at one point included John Coltrane, Jackson recorded with a quartet comprised of John Lewis, Percy Heath, and Kenny Clarke (1952), which soon became a regular group called the Modern Jazz Quartet. Although he recorded regularly as a leader (including dates in the 1950s with Miles Davis and/or Thelonious Monk, Coleman Hawkins, John Coltrane, and Ray Charles), Milt Jackson stayed with the MJQ through 1974, becoming an indispensable part of their sound. By the mid-'50s, Lewis became the musical director and some felt that Bags was restricted by the format, but it actually served him well, giving him some challenging settings. And he always had an opportunity to jam on some blues numbers, including his "Bags' Groove." However, in 1974, Jackson felt frustrated by the MJQ (particularly financially) and broke up the group. He recorded frequently for Pablo in many all-star settings in the 1970s, and after a seven-year vacation, the MJQ came back in 1981. In addition to the MJQ recordings, Milt Jackson cut records as a leader throughout his career for many labels including Savoy, Blue Note (1952), Prestige, Atlantic, United Artists, Impulse, Riverside, Limelight, Verve, CTI, Pablo, Music Masters, and Qwest. He died of liver cancer on October 9, 1999, at the age of 76.
https://www.allmusic.com/artist/milt-jackson-mn0000489845#biography

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Biografía de Scott Yanow
Antes de Milt Jackson, sólo había dos grandes vibrafonistas: Lionel Hampton y Red Norvo. Jackson pronto superó a ambos en importancia y, a pesar del auge de otros intérpretes (entre ellos Bobby Hutcherson y Gary Burton), siguió ganando las encuestas de popularidad a lo largo de las décadas. Jackson (o «Bags», como se le llamó durante mucho tiempo) estuvo en la cima de su campo durante 50 años, tocando bop, blues y baladas con igual habilidad y sensibilidad. En esencia, Jackson hizo por el vibráfono lo que Dizzy Gillespie hizo por la trompeta: revolucionar su enfoque. Redujo la velocidad del oscilador del instrumento, cambió su vibrato y perfeccionó los solos de blues lentos y de ritmo inteligente. Sus solos flotantes con notas largas y sostenidas y ritmos vertiginosos se convirtieron en un elemento básico del bop. Jackson, que había sido cantante, guitarrista y pianista, era un músico extremadamente versátil, que tocaba con big bands, trabajaba con orquestas y luchaba por mantener una exitosa carrera en solitario y, al mismo tiempo, conservar sus vínculos con el Modern Jazz Quartet, el grupo que cofundó con el pianista John Lewis en 1952.

Milt Jackson empezó a tocar la guitarra a los siete años y el piano a los once; unos años más tarde, se pasó al vibráfono. En realidad, debutó profesionalmente cantando en un cuarteto de gospel de gira. Cuando Dizzy Gillespie le descubrió tocando en Detroit, le ofreció trabajar con su sexteto y (poco después) con su innovadora big band (1946). Jackson grabó con Gillespie y pronto estuvo muy solicitado. Durante 1948-1949, trabajó con Charlie Parker, Thelonious Monk, Howard McGhee y la Woody Herman Orchestra. Después de tocar con el sexteto de Gillespie (1950-1952), que en un momento dado incluyó a John Coltrane, Jackson grabó con un cuarteto formado por John Lewis, Percy Heath y Kenny Clarke (1952), que pronto se convirtió en un grupo fijo llamado Modern Jazz Quartet. Aunque grabó regularmente como líder (incluyendo fechas en los años 50 con Miles Davis y/o Thelonious Monk, Coleman Hawkins, John Coltrane y Ray Charles), Milt Jackson permaneció con el MJQ hasta 1974, convirtiéndose en una parte indispensable de su sonido. A mediados de los 50, Lewis se convirtió en el director musical y algunos pensaron que Bags se veía limitado por el formato, pero en realidad le servía bien, ya que le ofrecía algunos escenarios desafiantes. Y siempre tenía la oportunidad de improvisar en algunos números de blues, incluyendo su «Bags' Groove». Sin embargo, en 1974, Jackson se sintió frustrado por el MJQ (sobre todo económicamente) y disolvió el grupo. En la década de 1970 grabó con frecuencia para Pablo en muchos grupos de estrellas y, tras unas vacaciones de siete años, el MJQ regresó en 1981. Además de las grabaciones del MJQ, Milt Jackson grabó discos como líder a lo largo de su carrera para muchos sellos, como Savoy, Blue Note (1952), Prestige, Atlantic, United Artists, Impulse, Riverside, Limelight, Verve, CTI, Pablo, Music Masters y Qwest. Murió de cáncer de hígado el 9 de octubre de 1999, a la edad de 76 años.
https://www.allmusic.com/artist/milt-jackson-mn0000489845#biography

 

 

Count Basie And His Orchestra • April In Paris

Jimmy McGriff • Funkiest Little Band In The Land / Tribute To Basie - 2 CDs

Tal Farlow • The Guitar Artistry Of Tal Farlow

Artist Biography by Scott Yanow

Nearly as famous for his reluctance to play as for his outstanding abilities, guitarist Tal Farlow did not take up the instrument until he was already 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams' band. While with the Red Norvo Trio (which originally included Charles Mingus) from 1949-1953, Farlow became famous in the jazz world. His huge hands and ability to play rapid yet light lines made him one of the top guitarists of the era. After six months with Artie Shaw's Gramercy Five in 1953, Farlow put together his own group, which for a time included pianist Eddie Costa. Late in 1958, Farlow settled on the East Coast, became a sign painter, and just played locally. He only made one record as a leader during 1960-1975, but emerged a bit more often during 1976-1984, recording for Concord fairly regularly before largely disappearing again. Profiled in the definitive documentary Talmage Farlow, the guitarist can be heard on his own records for Blue Note (1954), Verve, Prestige (1969), and Concord. He died of cancer July 25, 1998, at age 77.

https://www.allmusic.com/artist/tal-farlow-mn0000790227/biography

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Biografía del artista por Scott Yanow

Casi tan famoso por su renuencia a tocar como por sus extraordinarias habilidades, el guitarrista Tal Farlow no tomó el instrumento hasta que ya tenía 21 años, pero al cabo de un año ya estaba tocando profesionalmente y en 1948 estaba con la banda de Marjorie Hyams. Mientras que con el Trío Red Norvo (que originalmente incluía a Charles Mingus) de 1949 a 1953, Farlow se hizo famoso en el mundo del jazz. Sus enormes manos y su habilidad para tocar líneas rápidas pero ligeras lo convirtieron en uno de los mejores guitarristas de la época. Después de seis meses con Gramercy Five de Artie Shaw en 1953, Farlow formó su propio grupo, que por un tiempo incluyó al pianista Eddie Costa. A finales de 1958, Farlow se estableció en la costa este, se convirtió en pintor de signos y sólo tocaba localmente. Sólo hizo un disco como líder durante 1960-1975, pero emergió un poco más a menudo durante 1976-1984, grabando para Concord con bastante regularidad antes de volver a desaparecer en gran medida. Perfilado en el documental definitivo Talmage Farlow, el guitarrista puede ser escuchado en sus propios discos para Blue Note (1954), Verve, Prestige (1969) y Concord. Murió de cáncer el 25 de julio de 1998, a la edad de 77 años.

https://www.allmusic.com/artist/tal-farlow-mn0000790227/biography

  

VA • 70 Sax Classic Jazz - CD#5

 

Frank Wess • Flute Of The Loom

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

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Frank Wess es un Maestro de Jazz de NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz americano, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Empezó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al mudarse a Washington D.C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se interrumpiría durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese período. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Escuela de Música Moderna de la ciudad. Desde 1953 se unió a la banda de Count Basie, tocando flauta y saxo tenor. Volvió al saxo alto a finales de los 50, y dejó la banda de Basie en 1964. De 1959 a 1964 ganó la encuesta de críticos de Down Beat para la flauta. Desde entonces ha hecho una variedad de programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007 Wess fue nombrado un Maestro de Jazz de la NEA por la Fundación Nacional de las Artes de EE.UU.

Dexter Gordon - Sophisticated Giant

 

Frank Wess Quartet • Menage A Bleu

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

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Frank Wess es un Maestro de Jazz de NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz americano, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Empezó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al mudarse a Washington D.C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se interrumpiría durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese período. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Escuela de Música Moderna de la ciudad. Desde 1953 se unió a la banda de Count Basie, tocando flauta y saxo tenor. Volvió al saxo alto a finales de los 50, y dejó la banda de Basie en 1964. De 1959 a 1964 ganó la encuesta de críticos de Down Beat para la flauta. Desde entonces ha hecho una variedad de programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007 Wess fue nombrado un Maestro de Jazz de la NEA por la Fundación Nacional de las Artes de EE.UU.

VA • Impulse! 6 Great Jazz Collection

 

 
John Coltrane Quartet: Ballads 
John Coltrane (tenor sax), McCoy Tyner (piano), Jimmy Garrison & Reggie Workman (bass), Elvin Jones (drums)

Sonny Rollins: On Impulse! 
Sonny Rollins (tenor sax), Ray Bryant (piano), Walter Booker (bass), Mickey Roker (drums)

Roy Haynes Quartet: Out of the afternoon 
Roy Haynes (drums), Roland Kirk (tenor sax, flute), Tommy Flanagan (piano), Henry Grimes (bass)

Oliver Nelson: The Blues and the Abstract Truth 
Oliver Nelson (alto sax & tenor sax), Eric Dolphy (alto sax & flute), Freddie Hubbard (trumpet), George Barrow (baritone sax), Bill Evans (piano), Paul Chambers (bass), Roy Haynes (drums)

Count Basie: Count Basie and the Kansas City 7 
Count Basie (piano, organ), Thad Jones (trumpet), Frank Wess (flute), Frank Foster (tenor sax, flute), Eric Dixon (tenor sax, flute), Freddie Green (guitar), Ed Jones (bass), Sonny Payne (drums)

John Coltrane and Johnny Hartman: John Coltrane and Johnny Hartman 
John Coltrane (tenor sax), McCoy Tyner (piano), Jimmy Garrison (bass), Elvin Jones (drums), Johnny Hartman (vocals)

 

Hank Jones & Frank Wess • Hank and Frank

 

Review by Scott Yanow
Pianist Hank Jones and Frank Wess (doubling on tenor and flute) first recorded together in the mid-'50s. A half-century later, they are both still in their musical prime. On this straight-ahead date, they are joined quite ably by the fine guitar soloist Ilya Lushtak, bassist John Webber, and veteran drummer Mickey Roker. The quintet performs three Wess originals, Jones' lowdown blues "A Hankerin'," and five jazz standards. Few surprises occur, but it does not matter because all of the musicians play at a high level and good vibes dominate during this timeless set. 
https://www.allmusic.com/album/hank-and-frank-mw0000722212

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Review by Scott Yanow
Pianist Hank Jones and Frank Wess (doubling on tenor and flute) first recorded together in the mid-'50s. A half-century later, they are both still in their musical prime. On this straight-ahead date, they are joined quite ably by the fine guitar soloist Ilya Lushtak, bassist John Webber, and veteran drummer Mickey Roker. The quintet performs three Wess originals, Jones' lowdown blues "A Hankerin'," and five jazz standards. Few surprises occur, but it does not matter because all of the musicians play at a high level and good vibes dominate during this timeless set. 
https://www.allmusic.com/album/hank-and-frank-mw0000722212

VA • Jazz Dispensary Night Lights