Tony Scott • Both Sides Of Tony Scott

Both Sides Of Tony Scott songs Records by clarinetist Tony Scott are mostly quite scarce, including this long out-of-print LP. Both Sides Of Tony Scott album Scott, whose cool tone and boppish solos made him a standout (and an alternative to the rapid playing of Buddy DeFranco) in the 1950s, was always an adventurous player, although his groundings were in bop. This particular album features him with two different pianoless rhythm sections (with Mundell Lowe or Dick Garcia on guitar, Teddy Kotick or Milt Hinton on bass, and Shadow Wilson or Osie Johnson on drums) performing six lyrical ballads (including "Cry Me a River," "Star Dust," and "More Than You Know" ), plus two lengthy originals. The latter were freely improvised at the studio, and they are quite unpredictable while being melodic and ultimately logical. An intriguing and well-rounded album, well worth searching for. Hopefully someday RCA will reissue this little-known but valuable music. ~ Scott Yanow

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Los discos de las canciones de Both Sides Of Tony Scott del clarinetista Tony Scott son en su mayoría bastante escasos, incluyendo este largo LP agotado. El álbum Both Sides Of Tony Scott Scott, cuyo tono fresco y solos boppish lo hicieron destacar (y una alternativa a la rápida interpretación de Buddy DeFranco) en la década de 1950, siempre fue un jugador aventurero, aunque su base era el bop. Este álbum en particular lo presenta con dos secciones rítmicas sin piano diferentes (con Mundell Lowe o Dick García en la guitarra, Teddy Kotick o Milt Hinton en el bajo, y Shadow Wilson u Osie Johnson en la batería) interpretando seis baladas líricas (incluyendo "Cry Me a River", "Star Dust" y "More Than You Know" ), además de dos largos originales. Estas últimas fueron improvisadas libremente en el estudio, y son bastante impredecibles mientras que son melódicas y finalmente lógicas. Un álbum intrigante y bien redondeado, que vale la pena buscar. Con suerte, algún día la RCA reeditará esta música poco conocida pero valiosa. ~ Scott Yanow

 

 

 

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/

Shirley Scott • For Members Only

 

Review by Scott Yanow

During the 1960's, Shirley Scott's Impulse albums were often split between big band selections (with orchestras arranged by Oliver Nelson) and trio features. This CD reissue from 1989 includes all of the contents from two of Scott's better Impulse albums, Great Scott and For Members Only. In general the eight trio numbers are the most rewarding performances on the disc since the material is fairly superior while the big band tracks emphasize then-current show and movie tunes. Overall this generous CD gives one a good overview of Shirley Scott's playing talents.

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Traducción Automática:

Revisión por Scott Yanow

Durante la década de 1960, los álbumes de Shirley Scott's Impulse a menudo se dividían entre selecciones de grandes bandas (con orquestas organizadas por Oliver Nelson) y trío. Esta reedición de CD de 1989 incluye todos los contenidos de dos de los mejores álbumes de Scott Impulse, Great Scott y For Members Only. En general, los ocho números de trío son las interpretaciones más gratificantes del disco, ya que el material es bastante superior, mientras que las pistas de big band enfatizan las melodías de películas y espectáculos actuales. En general, este generoso CD ofrece una buena descripción de los talentos de Shirley Scott.

 

Herbie Mann • Plays The Roar of the Greasepaint & The Smell of the Crowd

Review by Scott Yanow

On this out of print LP, flutist Herbie Mann performs 11 songs from a famous Leslie Bricusse-Anthony Newley musical. Joined by an orchestra arranged by Ray Ellis (and including either Chick Corea or Roger Kellaway on piano), Mann plays well enough. However, the only one of the 11 songs remembered today is "Who Can I Turn To," and the renditions of the material are so brief (only two songs are longer than three minutes) as to be unadventurous and rather superficial. One of Mann's less significant projects of the '60s.

https://www.allmusic.com/album/the-roar-of-the-greasepaint-the-smell-of-the-crowd-mw0000901394

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Reseña de Scott Yanow

En este LP agotado, el flautista Herbie Mann interpreta 11 canciones de un famoso musical de Leslie Bricusse-Anthony Newley. Acompañado por una orquesta arreglada por Ray Ellis (e incluyendo a Chick Corea o Roger Kellaway en el piano), Mann toca bastante bien. Sin embargo, la única de las 11 canciones que se recuerdan hoy en día es "Who Can I Turn To", y las interpretaciones del material son tan breves (sólo dos canciones duran más de tres minutos) que no son aventureras y son bastante superficiales. Uno de los proyectos menos significativos de Mann de los años 60.

https://www.allmusic.com/album/the-roar-of-the-greasepaint-the-smell-of-the-crowd-mw0000901394

 

 

 

Johnny Hodges & Wild Bill Davis • Blue Rabbit

 

One of altoist Johnny Hodges' many solo records in the 60's away from Duke Ellington's Orchestra, this out-of-print LP features him in two separate but similar settings. The great saxophonist is joined by either Wild Bill Davis or (on four of the nine songs) the obscure organist Ray Jackson, either Kenny Burrell or Mundell Lowe on guitar, Wendell Marshall, Jack Lesberg or Richard Davis on bass, and Bobby Donaldson or Osie Johnson on drums. The music is fairly typical for a Hodges date, with four Ellington standards, some blues and some basic originals. In a few spots, the organists really do a good job of filling in for the Ellington Orchestra. Tasty and swinging music. ~ Scott Yanow, AMG.

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Uno de los muchos discos en solitario del altoista Johnny Hodges en los años 60, lejos de la Orquesta de Duke Ellington, este LP agotado lo presenta en dos escenarios separados pero similares. Al gran saxofonista se le unen Wild Bill Davis o (en cuatro de las nueve canciones) el oscuro organista Ray Jackson, Kenny Burrell o Mundell Lowe en la guitarra, Wendell Marshall, Jack Lesberg o Richard Davis en el bajo, y Bobby Donaldson u Osie Johnson en la batería. La música es bastante típica para una cita de Hodges, con cuatro estándares de Ellington, algo de blues y algunos originales básicos. En unos pocos puntos, los organistas hacen un buen trabajo reemplazando a la Orquesta de Ellington. Música sabrosa y swing. ~ Scott Yanow, AMG.

Mundell Lowe • Souvenirs

 

Mundell Lowe (nacido el 21 de abril 1922) es un americano de jazz guitarrista , compositor y director de orquesta que ha tocado con muchos músicos de jazz notable y populares. Produjo música para películas y televisión en la década de 1970, como el Billy Jack banda sonora y música para Starsky y Hutch , y trabajó con André Previn Trio 's en la década de 1990.

Lowe nació en Laurel , Mississippi , el 21 de abril de 1922 En la década de 1930 interpretó la música country y el jazz de Dixieland. Más tarde jugó con grandes bandas y orquestas, y en la televisión en la ciudad de Nueva York . En la década de 1960, Lowe compuesto música para cine y televisión en la ciudad de Nueva York y Los Angeles. Ha actuado y / o grabado con Billie Holiday , Bobby Darin , Lester Young , Charlie Parker , Bill Evans , Helen Humes , Roy Buchanan , Charles Mingus , Stan Getz , Doc Severinsen , Kai Winding , Sarah Vaughan , Carmen McRae , Benny Carter , Herb Ellis , Tal Farlow , Barry Manilow , André Previn , Ray Brown , Kiri Te Kanawa , Tete Montoliu , Harry Belafonte y otros. Lowe fue el encargado de presentar el pianista Bill Evans al productor Orrin Keepnews resultando en primeras grabaciones de Evan bajo su propio liderazgo.

Lowe es un actor destacado regular en el anual WC Handy Music Festival y miembro del WC Handy Jazz All-Stars .

Durante la década de 1970 y principios de 1980 Lowe era también un profesor muy respetado en el Dick Grove Music Workshop, más tarde la Escuela arboleda de la música, en Studio City, California, una de las mejores escuelas de música de nivel profesional en el mundo. Él enseñó guitarra, así como música de cine.

En 1998, fue incluido en el Music Hall de la Fama de Mississippi, y en 1999, Millsaps College en Jackson, confirió un doctorado honorario de las Artes en el Sr. Lowe, en reconocimiento a toda una vida de logros musicales sobresalientes.

El 17 de julio de 2009, Mundell Lowe volvió a casa a Laurel, la ciudad se escapó de en 1938 en reconocimiento a toda una vida de logros musicales se le dio la llave de la ciudad y honrado por el alcalde, Melvin Mack, quien proclamó julio 18, 2009, Mundell Lowe Día en Laurel. Mundell Lowe, Lloyd Wells, y Jim Ferguson presentaron un espectáculo matinal y un espectáculo nocturno en el Little Theatre Laurel a grandes audiencias entusiastas. Artistas Mississippi Bill Clark (quien produjo el espectáculo), los Azulejos de Cee, Bob Saxton, y Staci Stringer, también lo honraron a través de presentaciones musicales. 

Nota: Mundell Lowe fallleció el 2 de diciembre de 2017.

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Mundell Lowe (born April 21, 1922) is an American jazz guitarist, composer, and conductor who has performed with many notable jazz and popular musicians. He produced film and TV scores in the 1970s, such as the Billy Jack soundtrack and music for Starsky and Hutch, and worked with André Previn's Trio in the 1990s.

Lowe was born in [Shady Grove], Mississippi just outside Laurel, Mississippi, on April 21, 1922. In the 1930s he played country music and Dixieland jazz. He later played with big bands and orchestras, and on television in New York City. In the 1960s, Lowe composed music for films and television in New York City and Los Angeles. He has performed and/or recorded with Billie Holiday, Bobby Darin, Lester Young, Charlie Parker, Bill Evans, Helen Humes, Roy Buchanan, Charles Mingus, Stan Getz, Doc Severinsen, Kai Winding, Ella Fitzgerald, Sarah Vaughan, Carmen McRae, Peggy Lee, Dizzy Gillespie, Benny Carter, Herb Ellis, Tal Farlow, Barry Manilow, André Previn, Ray Brown, Kiri Te Kanawa, Tete Montoliu, Harry Belafonte, Lloyd Wells, Jim Ferguson and many others. Lowe was responsible for introducing the pianist Bill Evans to producer Orrin Keepnews resulting in Evan's first recordings under his own leadership.

Lowe is a regular featured performer at the annual W. C. Handy Music Festival and a member of the W. C. Handy Jazz All-Stars.

During the late 1970s and early 1980s Lowe was also a well-respected teacher at Dick Grove Music Workshop, later the Grove School of Music, in Studio City, California, one of the top professional level music schools in the world. He also taught twelve-tone composition at the Guitar Institute of Technology (GIT) in Hollywood California during the same period of time, as well as guitar and film scoring.

In 1998, he was inducted into the Mississippi Music Hall of Fame, and in 1999, Millsaps College in Jackson, conferred an honorary Doctorate of Arts on Mr. Lowe in recognition of his lifetime of outstanding musical accomplishments.

On July 17, 2009, Mundell Lowe returned home to Laurel, the city he ran away from in 1938. In recognition of a lifetime of musical achievement he was given a key to the city and honored by the Mayor, Melvin Mack, who proclaimed July 18, 2009, Mundell Lowe Day in Laurel. Mundell Lowe, Lloyd Wells, and Jim Ferguson presented a matinee show and an evening show at the Laurel Little Theater to a large enthusiastic audiences. Mississippi artists Bill Clark (who produced the show), the Cee Jays, Bob Saxton, and Staci Stringer also honored him through musical presentations.

Note: Mundell Lowe passed away on 2 December 2017.

Mundell Lowe • Themes From Mr. Lucky The Untouchables And Other TV Action Jazz

 

 

Born in Laurel, Mississippi, Mundell left home at the age of thirteen. After working in Nashville, he found his way to Bourbon Street in New Orleans and the beginning of his jazz career. While serving in World War Il, he met the influential John Hammond, who introduced him to Ray McKinley. Mundell worked with McKinley’s band for a year and a half, developing his distinctive instrumental style, and then moved on to work in New York at Café Society and stints at the Village Vanguard and The Embers, among others. Mundell worked with Billie Holiday, Lester Young, Charlie Parker, Helen Humes and Charles Mingus, to name but a few. These gigs overlapped with an early morning TV show at NBC with Cy Coleman, “A Date in Manhattan,” and later “The Kate Smith Hour” with Stan Getz, Doc Severinsen, and Kai Winding.

From the early fifties to the mid-Sixties, he was an active performer, working with George Duvivier on bass and Ed Shaughnessy on drums in Dave Garroway’s “Today Show” studio band. He also played with the extraordinary pianist Hank Jones when they both worked in the NBC and CBS orchestras of the early Fifties. After seventeen years at NBC as a guitarist and arranger, Lowe was transferred to the News and Special Events Department to work as a composer.

Mundell moved to Los Angeles, California, Christmas 1965 actually, he left to visit some friends, and never went back to New York! He met Jackie Cooper, then-head of Screen Gems, and began the West Coast phase of his career composing music for some of their television and film properties. Lowe augmented his TV and film work with making his own LPs as well as two successful projects with noted singers Sarah Vaughan (‘After Hours”) and Carmen McRae (‘Bittersweet”).

Even though he had made special appearances with Peggy Lee and the White House, toured Japan with Benny Carter several times, and was a regular performer at the Monterey Jazz Festival, Mundell found he was spending more time writing than playing, which he found frustrating. He made up his mind to turn that around and, during the 1980s, he stepped out of the studio world of film and television and returned to performing, the first love of his long and rich musical career.

Mundell's current schedule is no less active. In the last few years he has traveled the globe as a concert performer, worked the States with his own quintet, and has made several trips to New York to work with Ron Carter, Al Foster, Bill Mays, and Ray Drummond. He tours with the André Previn Trio (composed of Previn, the late Ray Brown, and Lowe), as well as the Great Guitars with the late Charlie Byrd, Herb Ellis, and Tal Farlow. Mundell also has been busy in recording studios lately, having recorded two albums for Telarc with the André Previn Trio, one for Phillips with Kiri Te Kanawa, and two albums for Fresh Sounds with Teté Montoliu.
https://www.allaboutjazz.com/musicians/mundell-lowe

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Nacido en Laurel, Mississippi, Mundell se fue de casa a los trece años. Después de trabajar en Nashville, encontró el camino hacia la calle Bourbon de Nueva Orleans y el comienzo de su carrera en el mundo del jazz. Mientras servía en la Segunda Guerra Mundial, conoció al influyente John Hammond, que le presentó a Ray McKinley. Mundell trabajó con la banda de McKinley durante un año y medio, desarrollando su distintivo estilo instrumental, y luego pasó a trabajar en Nueva York en el Café Society y a pasar por el Village Vanguard y The Embers, entre otros. Mundell trabajó con Billie Holiday, Lester Young, Charlie Parker, Helen Humes y Charles Mingus, entre otros. Estas actuaciones se solaparon con un programa de televisión matinal en la NBC con Cy Coleman, "A Date in Manhattan", y más tarde con "The Kate Smith Hour" con Stan Getz, Doc Severinsen y Kai Winding.

Desde principios de los cincuenta hasta mediados de los sesenta, fue un intérprete activo, trabajando con George Duvivier al bajo y Ed Shaughnessy a la batería en la banda de estudio del "Today Show" de Dave Garroway. También tocó con el extraordinario pianista Hank Jones cuando ambos trabajaban en las orquestas de la NBC y la CBS a principios de los cincuenta. Tras diecisiete años en la NBC como guitarrista y arreglista, Lowe fue trasladado al Departamento de Noticias y Eventos Especiales para trabajar como compositor.

Mundell se trasladó a Los Ángeles, California, en realidad en la Navidad de 1965, se fue a visitar a unos amigos y nunca volvió a Nueva York. Conoció a Jackie Cooper, entonces jefe de Screen Gems, y comenzó la fase de la Costa Oeste de su carrera componiendo música para algunas de sus propiedades televisivas y cinematográficas. Lowe complementó su trabajo en televisión y cine con la realización de sus propios LPs, así como con dos exitosos proyectos con las conocidas cantantes Sarah Vaughan ("After Hours") y Carmen McRae ("Bittersweet").

Aunque había hecho apariciones especiales con Peggy Lee y la Casa Blanca, había hecho varias giras por Japón con Benny Carter y era un intérprete habitual en el Festival de Jazz de Monterey, Mundell se dio cuenta de que pasaba más tiempo escribiendo que tocando, lo que le resultaba frustrante. Decidió dar un giro a la situación y, durante la década de 1980, abandonó el mundo de los estudios de cine y televisión y volvió a la interpretación, el primer amor de su larga y rica carrera musical.

La agenda actual de Mundell no es menos activa. En los últimos años ha viajado por todo el mundo como concertista, ha trabajado en Estados Unidos con su propio quinteto y ha realizado varios viajes a Nueva York para trabajar con Ron Carter, Al Foster, Bill Mays y Ray Drummond. Realiza giras con el André Previn Trio (compuesto por Previn, el difunto Ray Brown y Lowe), así como con el Great Guitars con el difunto Charlie Byrd, Herb Ellis y Tal Farlow. Mundell también ha estado ocupado en los estudios de grabación últimamente, habiendo grabado dos álbumes para Telarc con el André Previn Trio, uno para Phillips con Kiri Te Kanawa, y dos álbumes para Fresh Sounds con Teté Montoliu.
https://www.allaboutjazz.com/musicians/mundell-lowe

Don Elliott • Double Trumpet Doings

  

Biography by Ron Wynn
An extremely popular player in the '50s, Don Elliott was a fine soloist in the swing mode. He first studied piano and accordion, then played baritone horn and mellophone in his high school band. He switched to trumpet while playing in local dance bands, and as a teen worked with fellow teen Bill Evans. Elliott studied harmony at the Institute of Musical Art in New York in the mid-'40s, then played trumpet in an army band. Following that, he studied arranging and vibes at the University of Miami in 1947. When he returned to New York, Elliott played with George Shearing, Teddy Wilson, and Benny Goodman. He later performed and recorded with Terry Gibbs and Buddy Rich before forming his own band. Elliott took "miscellaneous instrument" honors in Down Beat five straight years in the late '50s. During the '60s and '70s, he did Broadway shows and composed film scores and songs for radio and television commercials. He returned to jazz in 1975, serving as a guest soloist with the New York Jazz Repertory Company at Carnegie Hall.
https://www.allmusic.com/artist/don-elliott-mn0000150073/biography

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Biografía de Ron Wynn
Un jugador muy popular en los años 50, Don Elliott era un buen solista en el modo de swing. Primero estudió piano y acordeón, luego tocó el cuerno barítono y el melófono en la banda de su instituto. Se pasó a la trompeta mientras tocaba en bandas de baile locales, y de adolescente trabajó con su compañero Bill Evans. Elliott estudió armonía en el Instituto de Arte Musical de Nueva York a mediados de los 40, y luego tocó la trompeta en una banda del ejército. Después de eso, estudió arreglos y vibraciones en la Universidad de Miami en 1947. Cuando regresó a Nueva York, Elliott tocó con George Shearing, Teddy Wilson y Benny Goodman. Más tarde tocó y grabó con Terry Gibbs y Buddy Rich antes de formar su propia banda. Elliott recibió honores de "instrumentos varios" en el Down Beat cinco años seguidos a finales de los 50. Durante los años 60 y 70, hizo espectáculos en Broadway y compuso partituras de películas y canciones para anuncios de radio y televisión. Volvió al jazz en 1975, sirviendo como solista invitado con la New York Jazz Repertory Company en el Carnegie Hall.
https://www.allmusic.com/artist/don-elliott-mn0000150073/biography

  

André Previn, Mundell Lowe & Ray Brown • Old Friends

 

Tony Scott • 52nd St. Scene & Free Blown Jazz

 

Mundell Lowe • Lowe Plays the Standards

 

VA • The Most Relaxing Jazz Guitar Music in the Universe

 

Kenny Burrel, Grant Green, Sal Salvador, Mundell Lowe, Jimmy Ponder, Pat Martino, Charlie Byrd, Larry Coryell, Joe Puma, Tal Farlow ...

Mundell Lowe • Small Screen Action

Biography

A reliable cool-toned guitarist who was on many sessions through the years despite never becoming a household name, Mundell Lowe picked up early experience during 1936-1940 playing Dixieland in New Orleans and country music in Nashville. He toured with Jan Savitt (1942), Ray McKinley (1945-1947), Mary Lou Williams (1947-1949), Red Norvo, and Ellis Larkins. In 1950, he became a staff musician at NBC, although he always played jazz on the side. Lowe was with the Sauter-Finegan Orchestra (1952-1953), worked with Benny Goodman on an occasional basis, and recorded as a leader for RCA, Riverside, Camden, and Charlie Parker Records. In 1965, Lowe moved to California and worked as a composer for films and television, teaching film composition during 1979-1985. He played locally in Los Angeles, often with Richie Kamuca and Benny Carter. Mundell Lowe (who is married to singer Betty Bennett) recorded sets for Famous Door (1974), Dobre (1976), and Jazz Alliance (1992). ~ Scott Yanow

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Biografía

Un guitarrista confiable de tono frío que estuvo en muchas sesiones a través de los años a pesar de que nunca se convirtió en un nombre familiar, Mundell Lowe adquirió una experiencia temprana durante 1936-1940 tocando Dixieland en Nueva Orleans y música country en Nashville. Realizó giras con Jan Savitt (1942), Ray McKinley (1945-1947), Mary Lou Williams (1947-1949), Red Norvo y Ellis Larkins. En 1950, se convirtió en músico de plantilla en la NBC, aunque siempre tocó jazz por su cuenta. Lowe estuvo con la Orquesta Sauter-Finegan (1952-1953), trabajó con Benny Goodman ocasionalmente y grabó como líder para RCA, Riverside, Camden y Charlie Parker Records. En 1965, Lowe se mudó a California y trabajó como compositor para películas y televisión, enseñando composición de películas durante 1979-1985. Tocó localmente en Los Ángeles, a menudo con Richie Kamuca y Benny Carter. Mundell Lowe (que está casado con la cantante Betty Bennett) grabó sets para Famous Door (1974), Dobre (1976) y Jazz Alliance (1992). ~ Scott Yanow

Mundell Lowe • Blues For A Stripper

Mundell Lowe, Eddie Costa, George Duvivier, Clark Terry, Joe Newman, Urbie Green, Al Cohn, Phil Woods, Oliver Nelson ...

Charlie Parker • Bird Is Free

 

 

Art Farmer • The Many Faces Of Art Farmer

 

Mundell Lowe • The Incomparable Mundell Lowe

 

Mundell Lowe (born April 21, 1922) is an American jazz guitarist, composer, and conductor who has performed with many notable jazz and popular musicians. He produced film and TV scores in the 1970s, such as the Billy Jack soundtrack and music for Starsky and Hutch, and worked with André Previn's Trio in the 1990s.

Lowe was born in [Shady Grove], Mississippi just outside Laurel, Mississippi, on April 21, 1922. In the 1930s he played country music and Dixieland jazz. He later played with big bands and orchestras, and on television in New York City. In the 1960s, Lowe composed music for films and television in New York City and Los Angeles. He has performed and/or recorded with Billie Holiday, Bobby Darin, Lester Young, Charlie Parker, Bill Evans, Helen Humes, Roy Buchanan, Charles Mingus, Stan Getz, Doc Severinsen, Kai Winding, Ella Fitzgerald, Sarah Vaughan, Carmen McRae, Peggy Lee, Dizzy Gillespie, Benny Carter, Herb Ellis, Tal Farlow, Barry Manilow, André Previn, Ray Brown, Kiri Te Kanawa, Tete Montoliu, Harry Belafonte, Lloyd Wells, Jim Ferguson and many others. Lowe was responsible for introducing the pianist Bill Evans to producer Orrin Keepnews resulting in Evan's first recordings under his own leadership.

Lowe is a regular featured performer at the annual W. C. Handy Music Festival and a member of the W. C. Handy Jazz All-Stars.

During the late 1970s and early 1980s Lowe was also a well-respected teacher at Dick Grove Music Workshop, later the Grove School of Music, in Studio City, California, one of the top professional level music schools in the world. He also taught twelve-tone composition at the Guitar Institute of Technology (GIT) in Hollywood California during the same period of time, as well as guitar and film scoring.

In 1998, he was inducted into the Mississippi Music Hall of Fame, and in 1999, Millsaps College in Jackson, conferred an honorary Doctorate of Arts on Mr. Lowe in recognition of his lifetime of outstanding musical accomplishments.

On July 17, 2009, Mundell Lowe returned home to Laurel, the city he ran away from in 1938. In recognition of a lifetime of musical achievement he was given a key to the city and honored by the Mayor, Melvin Mack, who proclaimed July 18, 2009, Mundell Lowe Day in Laurel. Mundell Lowe, Lloyd Wells, and Jim Ferguson presented a matinee show and an evening show at the Laurel Little Theater to a large enthusiastic audiences. Mississippi artists Bill Clark (who produced the show), the Cee Jays, Bob Saxton, and Staci Stringer also honored him through musical presentations.

Note: Mundell Lowe passed away on 2 December 2017.

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Mundell Lowe (nacido el 21 de abril 1922) es un americano de jazz guitarrista , compositor y director de orquesta que ha tocado con muchos músicos de jazz notable y populares. Produjo música para películas y televisión en la década de 1970, como el Billy Jack banda sonora y música para Starsky y Hutch , y trabajó con André Previn Trio 's en la década de 1990.

Lowe nació en Laurel , Mississippi , el 21 de abril de 1922 En la década de 1930 interpretó la música country y el jazz de Dixieland. Más tarde jugó con grandes bandas y orquestas, y en la televisión en la ciudad de Nueva York . En la década de 1960, Lowe compuesto música para cine y televisión en la ciudad de Nueva York y Los Angeles. Ha actuado y / o grabado con Billie Holiday , Bobby Darin , Lester Young , Charlie Parker , Bill Evans , Helen Humes , Roy Buchanan , Charles Mingus , Stan Getz , Doc Severinsen , Kai Winding , Sarah Vaughan , Carmen McRae , Benny Carter , Herb Ellis , Tal Farlow , Barry Manilow , André Previn , Ray Brown , Kiri Te Kanawa , Tete Montoliu , Harry Belafonte y otros. Lowe fue el encargado de presentar el pianista Bill Evans al productor Orrin Keepnews resultando en primeras grabaciones de Evan bajo su propio liderazgo.

Lowe es un actor destacado regular en el anual WC Handy Music Festival y miembro del WC Handy Jazz All-Stars .

Durante la década de 1970 y principios de 1980 Lowe era también un profesor muy respetado en el Dick Grove Music Workshop, más tarde la Escuela arboleda de la música, en Studio City, California, una de las mejores escuelas de música de nivel profesional en el mundo. Él enseñó guitarra, así como música de cine.

En 1998, fue incluido en el Music Hall de la Fama de Mississippi, y en 1999, Millsaps College en Jackson, confirió un doctorado honorario de las Artes en el Sr. Lowe, en reconocimiento a toda una vida de logros musicales sobresalientes.

El 17 de julio de 2009, Mundell Lowe volvió a casa a Laurel, la ciudad se escapó de en 1938 en reconocimiento a toda una vida de logros musicales se le dio la llave de la ciudad y honrado por el alcalde, Melvin Mack, quien proclamó julio 18, 2009, Mundell Lowe Día en Laurel. Mundell Lowe, Lloyd Wells, y Jim Ferguson presentaron un espectáculo matinal y un espectáculo nocturno en el Little Theatre Laurel a grandes audiencias entusiastas. Artistas Mississippi Bill Clark (quien produjo el espectáculo), los Azulejos de Cee, Bob Saxton, y Staci Stringer, también lo honraron a través de presentaciones musicales. 

Nota: Mundell Lowe fallleció el 2 de diciembre de 2017.

Andre Previn, Mundell Lowe & Ray Brown • Uptown

Andre Previn, Ray Brown and Mundell Lowe play the music of Duke Ellington and Harold Arlen. This was André Previn's second album after his long, symphonically enforced absence from jazz, and it sounds noticeably more fluid and relaxed than his first. No longer apprehensive about dusting off his old skills, Previn is delightfully confident and breezy (dig his sly turns on "Come Rain or Come Shine" and "C Jam Blues", taking some chances as he re-phrases and paraphrases a collection of revivified standards, mostly Harold Arlen and assorted Duke Ellington. Even if Previn, that noted wit, sometimes sounds as if he is kidding the pants off these old tunes, it's great to hear him having such a good time playing jazz again. Mundell Lowe is Previn's new guitar partner, and Ray Brown returns on bass; both are right at home in this refined brand of chamber jazz grooving. Adding to the CD's appeal are some marvelously (and typically) graceful liner notes by Mel Powell, an old pal of Previn's and a lively fellow defector from the jazz piano ranks to the classical world. ~ Richard S. Ginell Personnel: André Previn (piano); Mundell Lowe (guitar).

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Andre Previn, Ray Brown and Mundell Lowe play the music of Duke Ellington and Harold Arlen. This was André Previn's second album after his long, symphonically enforced absence from jazz, and it sounds noticeably more fluid and relaxed than his first. No longer apprehensive about dusting off his old skills, Previn is delightfully confident and breezy (dig his sly turns on "Come Rain or Come Shine" and "C Jam Blues", taking some chances as he re-phrases and paraphrases a collection of revivified standards, mostly Harold Arlen and assorted Duke Ellington. Even if Previn, that noted wit, sometimes sounds as if he is kidding the pants off these old tunes, it's great to hear him having such a good time playing jazz again. Mundell Lowe is Previn's new guitar partner, and Ray Brown returns on bass; both are right at home in this refined brand of chamber jazz grooving. Adding to the CD's appeal are some marvelously (and typically) graceful liner notes by Mel Powell, an old pal of Previn's and a lively fellow defector from the jazz piano ranks to the classical world. ~ Richard S. Ginell Personnel: André Previn (piano); Mundell Lowe (guitar).

Benny Carter • 'Live And Well In Japan!

 

Benny Carter headed a talent-filled tentet for this frequently exciting concert. With trumpeters Cat Anderson and Joe Newman, trombonist Britt Woodman, Cecil Payne on baritone and Budd Johnson doubling on tenor and soprano, it is not at all surprising that the results would be memorable, but this date actually exceeds one's expectations. In addition to fine jam versions of "Squatty Roo," "Them There Eyes" and "It Don't Mean a Thing," there is a remarkable Louis Armstrong medley on which Carter (on trumpet) plays "When It's Sleepy Time Down South," Cat Anderson follows with a high note solo on "Confessin'" and then Joe Newman (who rarely recorded vocals) does a near-perfect imitation of Louis Armstrong singing on "When You're Smiling."

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Benny Carter encabezó un tentet lleno de talento para este concierto a menudo emocionante. Con los trompetistas Cat Anderson y Joe Newman, el trombonista Britt Woodman, Cecil Payne en el barítono y Budd Johnson doblando en el tenor y el soprano, no es en absoluto sorprendente que los resultados fueran memorables, pero esta cita realmente supera las expectativas. Además de buenas versiones improvisadas de «Squatty Roo», «Them There Eyes» y «It Don't Mean a Thing», hay un notable popurrí de Louis Armstrong en el que Carter (a la trompeta) toca «When It's Sleepy Time Down South», Cat Anderson sigue con un solo de notas altas en «Confessin'» y luego Joe Newman (que rara vez grababa voces) hace una imitación casi perfecta de Louis Armstrong cantando en «When You're Smiling».

Bobby Jaspar f. Mundell Lowe & Rene Thomas • With Friends