Década del Bebop de 1940

Década del Bebop de 1940 Historia Discográ ca 2016-2017 Contents 1 2 Bebop 1 1.1 Etymology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1.2 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1.2.1 Swing era in uences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1.2.2 Going beyond swing in New York . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1.2.3 Early bebop recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1.2.4 The breakout of bebop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1.2.5 Bebop and beyond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1.3 Musical style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 1.4 Instrumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 1.5 In uence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 1.6 Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 1.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 1.8 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 1.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Charlie Parker 9 2.1 Childhood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 2.2 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 2.2.1 Early career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 2.2.2 New York City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 2.2.3 Bebop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 2.2.4 Charlie Parker with Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 2.2.5 Jazz at Massey Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 2.3.1 Addiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 2.3.2 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 2.4 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 2.5 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 2.6 Awards and recognitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 2.3 i ii 3 4 5 CONTENTS 2.7 Musical tributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 2.8 Charlie Parker Residence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 2.9 Other tributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 2.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 2.11 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 2.12 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Thelonious Monk 16 3.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 3.2 Early playing career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 3.3 Early recordings (1944–1954) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 3.4 Riverside Records (1955–1961) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 3.5 Columbia Records (1962–1970) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 3.6 Later life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 3.7 Tributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 3.8 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 3.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 3.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Dizzy Gillespie 22 4.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 4.1.1 Early life and career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 4.1.2 Rise of bebop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 4.1.3 Afro-Cuban music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 4.1.4 Later years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 4.1.5 Death and legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 4.2 Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 4.3 Bent trumpet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 4.4 List of works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 4.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 4.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Bud Powell 31 5.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.2 Later life and career 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 5.2.1 Early to mid-1940s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 5.2.2 Hospitalization (1947–1948) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 5.2.3 Solo and trio recordings (1949–1958) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 5.2.4 Paris (1959–1963) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 iii CONTENTS 5.2.5 6 7 Last years (1964–1966) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 5.3 Musical style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 5.4 In uence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 5.5 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 5.6 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 5.6.1 Studio recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 5.6.2 Live and home recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 5.6.3 Notable compilation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 5.6.4 As sideman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 5.7 Notable compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 5.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 5.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 5.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Charlie Christian 39 6.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 6.2 National fame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 6.3 Style and in uences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 6.4 Bebop and Minton’s Playhouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 6.5 Health and death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 6.6 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 6.6.1 As leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 6.6.2 As sideman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 6.7 Filmography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 6.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 6.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 6.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Max Roach 45 7.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 7.1.1 Early life and career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 7.1.2 1950s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 7.1.3 1960s-1970s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 7.1.4 1980s-1990s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 7.1.5 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 7.2 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 7.3 Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 7.4 Honors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 7.5 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 iv 8 9 CONTENTS 7.5.1 As leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 7.5.2 Compilations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 7.5.3 As co–leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 7.5.4 As sideman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 7.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 7.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Kenny Clarke 54 8.1 Early career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 8.2 Bebop and the ride cymbal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 8.3 Modern Jazz Quartet and move to Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 8.4 Later life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 8.5 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 8.6 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 8.6.1 As leader or co-leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 8.6.2 As sideman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 8.7 Quotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 8.8 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 8.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Miles Davis 58 9.1 Life and career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 9.1.1 1926–44: Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 9.1.2 1944–48: New York City and the bebop years . . . . . . . . . . . . . . . . . . . . . . . . . . 59 9.1.3 1948–49: Birth of the Cool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 9.1.4 1950–54: Hard bop and the “Blue Period” . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 9.1.5 1955–58: First great quintet and sextet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 9.1.6 1957–63: Recordings with Gil Evans and Kind of Blue . . . . . . . . . . . . . . . . . . . . . 63 9.1.7 1964–68: Second great quintet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 9.1.8 1968–75: Electric Miles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 9.1.9 1975–79: Retirement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 9.1.10 1979–85: Reemergence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 9.1.11 1986–91: Later work and death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 9.2 Views on his earlier work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 9.3 Legacy and in uence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 9.4 Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 9.5 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 9.6 Filmography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 9.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 CONTENTS v 9.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 9.9 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 9.10 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 9.11 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 9.12 Text and image sources, contributors, and licenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 9.12.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 9.12.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 9.12.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Chapter 1 Bebop 1.1 For other uses, see Bebop (disambiguation). Etymology Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States, which features songs characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody. Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing style with a new “musician’s music” that was not as danceable and demanded close listening.[1] As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in a way that expanded their role. Whereas the key ensemble of the Swing era was the Big Band of up to fourteen pieces playing in an ensemblebased style, the classic bebop group was a small combo that consisted of saxophone (alto or tenor), trumpet, piano, double bass, and drums playing music in which the ensemble played a supportive role for soloists. Rather than play heavily arranged music, Bebop musicians typically played the melody of a song (called the “head”) with the accompaniment of the rhythm section, followed by a section in which all of the performers improvised solos, then returned to the Dizzy Gillespie, at the Downbeat Club, NYC, ca 1947 melody at the end of the song. Some of the most in uential bebop artists, who were typically composer-performers, are: tenor sax players Dexter Gordon, Sonny Rollins and James Moody; alto sax player Charlie Parker; trumpeters Fats Navarro, Cli ord Brown, and Dizzy Gillespie; pianists Bud Powell and Thelonious “In spite of the explanations of the origins of these words, players Monk; electric guitarist Charlie Christian, and drummers actually did sing the words “bebop” and “rebop” to an early bop Kenny Clarke, Max Roach and Art Blakey. phrase as shown in the following example.”[2] Play The term “bebop” is derived from nonsense syllables (vocables) used in scat singing; the rst known example of “be1 2 CHAPTER 1. BEBOP bop” being used was in McKinney’s Cotton Pickers' “Four or Five Times”, recorded in 1928.[3] It appears again in a 1936 recording of “I’se a Muggin'" by Jack Teagarden.[3] A variation, “rebop”, appears in several 1939 recordings.[3] The rst, known print appearance also occurred in 1939, but the term was little-used subsequently until applied to the music now associated with it in the mid-1940s.[3] Some researchers speculate that it was a term used by Charlie Christian because it sounded like something he hummed along with his playing.[4] Dizzy Gillespie stated that the audiences coined the name after hearing him scat the then-nameless tunes to his players and the press ultimately picked it up, using it as an o cial term: “People, when they'd wanna ask for those numbers and didn't know the name, would ask for bebop.”[5] Another theory is that it derives from the cry of “Arriba! Arriba!" used by Latin American bandleaders of the period to encourage their bands.[6] At times, the terms “bebop” and “rebop” were used interchangeably. By 1945, the use of “bebop"/"rebop” as nonsense syllables was widespread in R&B music, for instance Lionel Hampton's "Hey! Ba-Ba-ReBop". 1.2 History “Bebop wasn't developed in any deliberate way.” —Thelonious Monk 1.2.1 Swing era influences Bebop grew out of the culmination of trends that had been occurring within swing music since the mid-1930s: less explicit timekeeping by the drummer, with the primary rhythmic pulse moving from the bass drum to the high hat cymbal; a changing role for the piano away from rhythmic density towards accents and lls; less ornate horn section arrangements, trending towards ri s and more support for the underlying rhythm; more emphasis on and freedom for soloists; and increasing harmonic sophistication in arrangements used by some bands. The path towards rhythmically streamlined, solo-oriented swing was blazed by the territory bands of the southwest with Kansas City as their musical capital; their music was based on blues and other simple chord changes, ri -based in its approach to melodic lines and solo accompaniment, and expressing an approach adding melody and harmony to swing rather than the other way around. Ability to play sustained, high energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and “cutting contests” in Kansas City became legendary. The Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937. One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker. He was especially enthralled by their tenor saxophone player Lester Young, who played long owing melodic lines that wove in and out of the chordal structure of the tune but somehow always made musical sense. Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos. He would frequently repeat simple two or three note gures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the two or four bar phrases that horn players had used until then. They would often be extended to an odd number of measures, overlapping the musical stanzas suggested by the harmonic structure. He would take a breath in the middle of a phrase, using the pause, or “free space,” as a creative device. The overall e ect was that his solos were something oating above the rest of the music, rather than something springing from it at intervals suggested by the ensemble sound. When the Basie orchestra burst onto the national scene with its 1937 recordings and nationally-broadcast New York engagements, it gained a national following, with legions of saxophone players striving to imitate Young, drummers striving to imitate Jo Jones, piano players striving to imitate Basie, and trumpet players striving to imitate Buck Clayton. Parker played along with the new Basie recordings on a Victrola until he could play Young’s solos note for note. In the late 1930s the Duke Ellington Orchestra and the Jimmie Lunceford Orchestra were exposing the music world to harmonically sophisticated musical arrangements by Billy Strayhorn and Sy Oliver, respectively, which implied chords as much as they spelled them out. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new musical language of bebop. The 1939 recording of "Body and Soul" by Coleman Hawkins featured an extended saxophone solo with minimal reference to the theme that was unique in recorded jazz, and which would become characteristics of bebop. That solo showed a sophisticated harmonic exploration of the tune, with implied passing chords. Hawkins would eventually go on to lead the rst formal recording of the bebop style in early 1944. 1.2.2 Going beyond swing in New York As the 1930s turned to the 1940s, Parker went to New York as a featured player in the Jay McShann Orchestra. In New York he found other musicians who were exploring the harmonic and melodic limits of their music, including Dizzy 1.2. HISTORY 3 Gillespie, a Roy Eldridge-in uenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the sevenths that had traditionally de ned jazz harmony. While Gillespie was with Cab Calloway, he practiced with bassist Milt Hinton and developed some of the key harmonic and chordal innovations that would be the cornerstones of the new music; Parker did the same with bassist Gene Ramey while with McShann’s group. Guitarist Charlie Christian, who had arrived in New York with the Benny Goodman Orchestra in 1939 was, like Parker, an innovator extending a southwestern style. Christian’s major in uence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and o beats and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. advanced these techniques with a more freewheeling, intricate and often arcane approach. Bop improvisers built upon the phrasing ideas rst brought to attention by Lester Young’s soloing style. They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. The sessions also attracted top musicians in the swing idiom such as Coleman Hawkins, Lester Young, Ben Webster, Roy Eldridge, and Don Byas. Byas became the rst tenor saxophone player to fully assimilate the new bebop style in his playing. In 1944 the crew of innovators was joined by Dexter Gordon, a tenor saxophone Piano players were working with new ideas as well. The player from the west coast in New York with the Louis brilliant technique and harmonic sophistication of Art Armstrong band, and a young trumpet player attending the Tatum was inspiring young pianists such as Bud Powell to Juilliard School of Music, Miles Davis. push beyond the limits of the music they knew. Thelonious Monk was adapting the new harmonic ideas to his style that was rooted in Harlem stride piano playing. 1.2.3 Early bebop recordings Drummers such as Kenny Clarke and Max Roach were extending the path set by Jo Jones, adding the ride cymbal to the high hat cymbal as a primary timekeeper and reserving the bass drum for accents. Bass drum accents were colloquially termed “bombs,” which referenced events in the world outside of New York as the new music was being developed. The new style of drumming supported and responded to soloists with accents and lls, almost like a shifting call and response. This change increased the importance of the string bass. Now, the bass not only maintained the music’s harmonic foundation, but also became responsible for establishing a metronomic rhythmic foundation by playing a “walking” bass line of four quarter notes to the bar. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble. Bebop originated as “musicians’ music,” played by musicians with other money-making gigs who didn't care about the commercial potential of the new music. It did not attract the attention of major record labels nor was it intended to. Some of the early bebop was recorded informally. Some sessions at Minton’s in 1941 were recorded, with Thelonious Monk alongside an assortment of musicians including Joe Guy, Hot Lips Page, Roy Eldridge, Don Byas, and Charlie Christian. Christian is featured in recordings from May 12, 1941 (Esoteric ES 548). Charlie Parker and Dizzy Gillespie were both participants at a recorded jam session hosted by Billy Eckstine on February 15, 1943, and Parker at another Eckstine jam session on February 28, 1943 (Stash ST-260; ST-CD-535) Formal recording of bebop was rst performed for small specialty labels, who were less concerned with mass-market appeal than the major labels, in 1944. On February 16, 1944, Coleman Hawkins led a session including Dizzy Gillespie and Don Byas, with a rhythm section consisting of Clyde Hart (piano), Oscar Pettiford (bass) and Max Roach (drums) that recorded Woody'n You (Apollo 751), the rst formal recording of bebop.[8] Charlie Parker was recorded in a quintet led by guitarist Tiny Grimes for the Savoy label on September 15, 1944. Hawkins led another bebopin uenced recording session on October 19, 1944, this time with Thelonious Monk on piano, Edward Robinson on bass, and Denzil Best on drums (On the Bean, Recollections, Flyin' Hawk, Driftin' on a Reed; reissue, Prestige PRCD-241242). The kindred spirits developing the new music gravitated to sessions at Minton’s Playhouse, where Monk and Clarke were in the house band, and Monroe’s Uptown House, where Max Roach was in the house band.[7] Part of the atmosphere created at jams like the ones found at Minton’s Playhouse was an air of exclusivity: the “regular” musicians would often reharmonize the standards, add complex rhythmic and phrasing devices into their melodies, or “heads,” and play them at breakneck tempos in order to exclude those whom they considered outsiders or simply weaker players.[1] These pioneers of the new music (which would later be termed bebop or bop, although Parker himself never used the term, feeling it demeaned the music) began exploring advanced harmonies, complex syncopation, altered chords and chord substitutions. The bop musicians Parker, Gillespie, and others working the bebop idiom 4 CHAPTER 1. BEBOP joined the Earl Hines Orchestra in 1943, then followed vocalist Billy Eckstine out of the band into the Billy Eckstine Orchestra in 1944. The Eckstine band was recorded on V-discs, which were broadcast over the Armed Forces Radio Network and gained popularity for the Eckstine band showcasing the new bebop style. The format of the Eckstine band, featuring vocalists and entertaining banter, would later be emulated by Gillespie and others leading beboporiented big bands in a style that might be termed “popular bebop.” Starting with the Eckstine band’s session for the DeLuxe label on December 5, 1944, bebop recording sessions grew more frequent. Parker had left the band by that date, but it still included Gillespie along with Dexter Gordon and Gene Ammons on tenor, Leo Parker on baritone, Tommy Potter on bass, Art Blakey on drums, and Sarah Vaughan on vocals. Blowing the Blues Away featured a tenor saxophone duel between Gordon and Ammons. 1.2.4 The breakout of bebop On January 4, 1945, Parker, Gillespie, and Don Byas recorded under “Clyde Hart’s All Stars” for the Continental label[9] Gillespie recorded his rst session as a leader on January 9, 1945 for the Manor label, with Don Byas on tenor, Clyde Hart on Piano, Oscar Pettiford on bass, and Irv Kluger on drums. The session recorded I Can't Get Started, Good Bait, Be-bop (Dizzy’s Fingers), and Salt Peanuts (which some genius in Manor’s production apparatus decided to label “Salted Peanuts”). Thereafter, Gillespie would record bebop proli cally and gain recognition as one of its leading gures. Parker appeared in Gillespieled sessions dated February 28 and May 11, 1945 for the Guild label, and May 25, 1945 for the Continental label. Parker and Gillespie appeared in a session under vibraphonist Red Norvo dated June 6, 1945 for the Dial label. Parker’s rst session as a leader was on November 26, 1945 for the Savoy label, with Miles Davis on trumpet, Sadik Hakim (Argonne Thornton) on piano, Curley Russell on bass and Max Roach on drums (Warming Up a Riff, Now’s the Time, Billie’s Bounce, Thriving on a Riff, Ko-Ko, Meandering). Dexter Gordon, after appearing as a sideman in bebop sessions led by Gillespie, Eckstine, and Sir Charles Thompson, led his rst session for the Savoy label on October 30, 1945, with Sadik Hakim on piano, Gene Ramey on bass, and Eddie Nicholson on drums (Blow Mr Dexter, Dexter’s Deck, Dexter’s Cuttin' Out, Dexter’s Minor Mad).[10] After appearing as a sideman in the R&B-oriented Cootie Williams Orchestra through 1944, Bud Powell was in bebop sessions led by Frankie Socolow on May 2, 1945, then Dexter Gordon on January 29, 1946 for the Savoy label (Long Tall Dexter, Dexter Rides Again, I Can't Escape From You, Dexter Digs In). Gillespie landed the rst recording date for a major label with the new music, with the RCA Bluebird label recording Dizzy Gillespie And his Orchestra on February 22, 1946 (52nd Street Theme, A Night in Tunisia, Ol' Man Rebop, Anthropology). Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the most visible symbol of the new music and new jazz culture in popular consciousness. That of course slighted the contributions of others with whom he had developed the music over the preceding years. His show style, in uenced by black vaudeville circuit entertainers, seemed like a throwback to some and o ended some purists (“too much grinning” according to Miles Davis), but it was laced with a subversive sense of humor that gave a glimpse of attitudes on racial matters that black musicians had previously kept away from the public at large. Before the Civil Rights movement, Gillespie was confronting the racial divide by lampooning it. The intellectual subculture that surrounded bebop made it something of a sociological movement as well as a musical one. By 1946 bebop was established as a broad-based movement among jazz musicians, drawing the likes of trumpeters Fats Navarro and Kenny Dorham, trombonist J. J. Johnson, tenor saxophonists Lucky Thompson, James Moody and Wardell Gray, vibraphonist Milt Jackson, pianists Erroll Garner, Al Haig, and Dodo Marmarosa, bassist Slam Stewart, and others who would contribute to what would become known as “modern jazz.” The new music was gaining radio exposure with broadcasts such as those hosted by “Symphony Sid” Torin. As the popularity of bebop spread, fueled in part by the footloose return of servicemen to civilian life, Los Angeles would become another center of the new music, exempli ed by the legendary jam sessions featuring tenor saxophone duels between Dexter Gordon and Wardell Gray. With the imminent demise of the big swing bands, bebop had become the dynamic focus of the jazz world, with a broad-based “progressive jazz” movement seeking to emulate and adapt its devices. It was to be the most in uential foundation of jazz for a generation of jazz musicians. 1.2.5 Bebop and beyond By 1950, a second wave of bebop musicians—such as Cli ord Brown and Sonny Stitt—began to smooth out the rhythmic eccentricities of early bebop. Instead of using jagged phrasing to create rhythmic interest, as the early boppers had, these musicians constructed their improvised lines out of long strings of eighth notes and simply accented certain notes in the line to create rhythmic variety. 5 1.3. MUSICAL STYLE During the early 1950s bebop remained at the top of awareness of jazz, while its harmonic devices were adapted to the new “cool” school of jazz led by Miles Davis and others. It continued to attract young musicians such as Sonny Rollins and John Coltrane. As musicians and composers began to work with expanded music theory during the mid1950s, its adaptation by musicians who worked it into the basic dynamic approach of bebop would lead to the development of post-bop. Around that same time, a move towards structural simpli cation of bebop occurred among musicians such as Horace Silver and Art Blakey, leading to the movement known as hard bop. Development of jazz would occur through the interplay of bebop, cool, post-bop, and hard bop styles through the 1950s. 1.3 Musical style Bebop di ered drastically from the straightforward compositions of the swing era and was instead characterized by fast tempos, asymmetrical phrasing, intricate melodies, and rhythm sections that expanded on their role as tempokeepers. The music itself seemed jarringly di erent to the ears of the public, who were used to the bouncy, organized, danceable tunes of Benny Goodman and Glenn Miller during the swing era. Instead, bebop appeared to sound racing, nervous, erratic and often fragmented. But to jazz musicians and jazz music lovers, bebop was an exciting and beautiful revolution in the art of jazz. 'Bebop' was a label that certain journalists later gave it, but we never labeled the music. It was just modern music, we would call it. We wouldn't call it anything, really, just music. — Kenny Clarke[11] While swing music tended to feature orchestrated big band arrangements, bebop music highlighted improvisation. Typically, a theme (a “head,” often the main melody of a pop or jazz standard of the swing era) would be presented together at the beginning and the end of each piece, with improvisational solos based on the chords of the tune. Thus, the majority of a song in bebop style would be improvisation, the only threads holding the work together being the underlying harmonies played by the rhythm section. Sometimes improvisation included references to the original melody or to other well-known melodic lines (“quotes”, “licks” or “ri s”). Sometimes they were entirely original, spontaneous melodies from start to nish. Chord progressions for bebop tunes were often taken directly from popular swing-era songs and reused with a new and more complex melody, forming new compositions (see contrafact). This practice was already well-established in earlier jazz, but came to be central to the bebop style. The style made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but infused with IIV motion) and 'rhythm changes’ (I-VI-II-V, the chords to the 1930s pop standard "I Got Rhythm"). Late bop also moved towards extended forms that represented a departure from pop and show tunes. Bebop chord voicings often dispensed with the root and fth tones, instead basing them on the leading intervals that de ned the tonality of the chord. That opened up creative possibilities for harmonic improvisation such as tritone substitutions and use of diminished scale based improvised lines that could resolve to the key center in numerous and surprising ways. Bebop musicians also employed several harmonic devices not typical of previous jazz. Complicated harmonic substitutions for more basic chords became commonplace. These substitutions often emphasized certain dissonant intervals such as the at ninth, sharp ninth or the sharp eleventh/tritone. This unprecedented harmonic development which took place in bebop is often traced back to a transcendent moment experienced by Charlie Parker while performing "Cherokee" at Clark Monroe’s Uptown House, New York, in early 1942. As described by Parker:[12] I'd been getting bored with the stereotyped changes that were being used, ... and I kept thinking there’s bound to be something else. I could hear it sometimes. I couldn't play it.... I was working over “Cherokee”, and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive. Gerhard Kubik postulates that the harmonic development in bebop sprung from the blues, and other African-related tonal sensibilities, rather than twentieth century Western art music, as some have suggested. Kubik states: “Auditory inclinations were the African legacy in [Parker’s] life, reconrmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices.”[12] Samuel Floyd states that blues were both the bedrock and propelling force of bebop, bringing about three main developments: • A new harmonic conception, using extended chord structures that led to unprecedented harmonic and melodic variety. 6 CHAPTER 1. BEBOP • A developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the blue note of the fth degree was established as an important melodic-harmonic device. • The reestablishment of the blues as the music’s primary organizing and functional principle.[13] While for an outside observer the harmonic innovations in bebop would appear to be inspired by experiences in Western “serious” music, from Claude Debussy to Arnold Schoenberg, such a scheme cannot be sustained by the evidence from a cognitive approach. Claude Debussy did have some in uence on jazz, for example, on Bix Beiderbecke's piano playing, and it is also true that Duke Ellington adopted and reinterpreted some harmonic devices in European contemporary music. West Coast jazz would run into such debts as would several forms of cool jazz. But bebop has hardly any such debts in the sense of direct borrowings. On the contrary, ideologically, bebop was a strong statement of rejection of any kind of eclecticism, propelled by a desire to activate something deeply buried in self. Bebop then revived tonal-harmonic ideas transmitted through the blues and reconstructed and expanded others in a basically nonWestern harmonic approach. The ultimate signi cance of all this is that the experiments in jazz during the 1940s brought back to African-American music several structural principles and techniques rooted in African traditions.[12] An alternate theory would be that Bebop, like much great art, probably evolved drawing on many sources. An insightful YouTube video [14] has Jimmy Raney, a jazz guitarist of the time and friend of Charlie Parker, describing how Parker would show up at Raney’s apartment door in search of refreshment and the music of Béla Bartók, a leading 20th Century Classical Music composer. Raney describes the great knowledge and depth of understanding that Parker had with the music of Bartók and Arnold Schoenberg, in particular Pierrot Lunaire by Schoenberg and the Quartets by Bartók. Raney recounts his comment to Parker that a section from the Scherzo of the Bartók’s Fifth Quartet sounded a lot like some of Parker’s jazz improvisation.[14] Several bebop musicians headlining on 52nd Street, May 1948 Although only one part of a rich jazz tradition, bebop music continues to be played regularly throughout the world. Trends in improvisation since its era have changed from its harmonically-tethered style, but the capacity to improvise over a complex sequence of altered chords is a fundamental part of any jazz education. 1.5 Influence The musical devices developed with bebop were in uential far beyond the bebop movement itself. "Progressive Jazz" was a broad category of music that included bebopin uenced “art music” arrangements used by big bands such as those led by Boyd Raeburn, Charlie Ventura, Claude Thornhill, and Stan Kenton, and the cerebral harmonic explorations of smaller groups such as those led by pianists Lennie Tristano and Dave Brubeck. Voicing experiments based on bebop harmonic devices were used by Miles Davis and Gil Evans for the groundbreaking "Birth of the Cool" sessions in 1949. Musicians who followed the stylistic doors opened by Davis, Evans, Tristano, and Brubeck would form the core of the cool jazz and "west coast jazz" movements of the early 1950s. By the mid-1950s musicians began to be in uenced by music theory proposed by George Russell. Those who incorpo1.4 Instrumentation rated Russell’s ideas into the bebop foundation would de ne the post-bop movement that would later incorporate modal The classic bebop combo consisted of saxophone, trumpet, jazz into its musical language. double bass, drums and piano. This was a format used (and popularized) by both Parker (alto sax) and Gillespie (trum- Hard bop was a simpli ed derivative of bebop introduced by pet) in their 1940s groups and recordings, sometimes aug- Horace Silver and Art Blakey in the mid-1950s. It became mented by an extra saxophonist or guitar (electric or acous- a major in uence until the late 1960s when free jazz and tic), occasionally adding other horns (often a trombone) or fusion jazz gained ascendancy. other strings (usually violin) or dropping an instrument and The neo-bop movement of the 1980s and 1990s revived the leaving only a quartet. in uence of bebop, post-bop, and hard bop styles after the 7 1.7. REFERENCES Duke Jordan, Lou Levy, John Lewis, Dodo Marmarosa, Charles Mingus, Thelonious Monk, Oscar Peterson, Bud Powell, Horace Silver, Lennie Tristano, George Wallington free jazz and fusion eras. Bebop style also in uenced the Beat Generation whose spoken-word style drew on African-American “jive” dialog, jazz rhythms, and whose poets often employed jazz musicians to accompany them. Jack Kerouac would describe his writing in On the Road as a literary translation of the improvisations of Charlie Parker and Lester Young.[15][16] The “beatnik” stereotype borrowed heavily from the dress and mannerisms of bebop musicians and followers, in particular the beret and lip beard of Dizzy Gillespie and the patter and bongo drumming of guitarist Slim Gaillard. The bebop subculture, de ned as a non-conformist group expressing its values through musical communion, would echo in the attitude of the psychedelia-era hippies of the 1960s. Fans of bebop were not restricted to the United States; the music also gained cult status in France and Japan. More recently, hip-hop artists (A Tribe Called Quest, Guru) have cited bebop as an in uence on their rapping and rhythmic style. As early as 1983, Shawn Brown rapped the phrase “Rebop, bebop, Scooby-Doo” toward the end of the hit "Rappin' Duke". Bassist Ron Carter collaborated with A Tribe Called Quest on 1991’s The Low End Theory, and vibraphonist Roy Ayers and trumpeter Donald Byrd were featured on Guru’s Jazzmatazz, Vol. 1 in 1993. Bebop samples, especially bass lines, ride cymbal swing clips, and horn and piano ri s are found throughout the hip-hop compendium. 1.6 Musicians • Saxophone (Alto): Cannonball Adderley, Lee Konitz, Charles McPherson, Frank Morgan, Charlie Parker, Art Pepper, Sonny Stitt • Saxophone (Baritone): Pepper Adams • Saxophone (Tenor): Don Byas, John Coltrane, Dexter Gordon, Wardell Gray, Sonny Rollins, Charlie Rouse, Sonny Stitt, Lucky Thompson • Trombone: Carl Fontana, Curtis Fuller, J. J. Johnson, Frank Rosolino • Trumpet: Chet Baker, Cli ord Brown, Miles Davis, Kenny Dorham, Dizzy Gillespie, Howard McGhee, Blue Mitchell, Lee Morgan, Fats Navarro, Red Rodney, Ed Zandy • Vibraphone: Milt Jackson • Vocals: Betty Carter, Billy Eckstine, Ella Fitzgerald, Sarah Vaughan 1.7 References [1] Lott, Eric. Double V, Double-Time: Bebop’s Politics of Style. Callaloo, No. 36 (Summer, 1988), pp. 597-605 Main article: List of bebop musicians [2] Tanner, Paul O. W. and Gerow, Maurice (1964). A Study of Jazz, 81. Second edition. ISBN 0-697-03557-3. Notable musicians identi ed with bebop: [3] Gleason, Ralph J. (15 February 1959) “Jazz Fan Really Digs the Language – All the Way Back to Its Origin”. Toledo Blade. • Accordion: Frank Marocco • Bass: Ray Brown, Paul Chambers, Percy Heath, Milt Hinton, Charles Mingus, Oscar Pettiford, Tommy Potter • Clarinet: Buddy DeFranco • Drums: Art Blakey, Kenny Clarke, Jimmy Cobb, Roy Haynes, Eric Ineke, Philly Joe Jones, Stan Levey, Max Roach • Guitar Kenny Burrell, Charlie Christian, Herb Ellis, Barney Kessel, Pat Martino, Wes Montgomery, Joe Pass, Jimmy Raney, Ronnie Singer, Carlton Kitto • Piano: Tadd Dameron, Walter Davis, Jr., Bill Evans, Al Haig, Sadik Hakim, Barry Harris, Ahmad Jamal, [4] Jim Dawson and Steve Propes, What Was The First Rock'n'Roll Record?, 1992, ISBN 0-571-12939-0 [5] Nell Irvin Painter (2006). Creating Black Americans. Oxford University Press US. pp. 228–229. ISBN 0-19513755-8. Retrieved Jul 9, 2009. [6] Peter Gammond, The Oxford Companion to Popular Music, 1991, ISBN 0-19-311323-6 [7] Miles Davis (1989) Autobiography, chapter 3, pp. 43-5, 578, 61-2 [8] “Dizzy Gillespie Discography”. [9] “Charlie Parker Discography”. [10] “Dexter Gordon Discography”. 8 CHAPTER 1. BEBOP [11] Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 130. ISBN 1-904041-96-5. [12] Kubik, Gerhard. “Bebop: a case in point. The African Matrix in Jazz Harmonic Practices.” (Critical essay) Black Music Research Journal 22 Mar 2005. Digital. [13] Floyd, Samuel A., Jr. (1995). The power of black music: Interpreting its history from Africa to the United States. New York: Oxford University Press. [14] Raney, Jimmy and Jamey Abersold. “Jimmy & Jamey Discuss Charlie Parker”, https://www.youtube.com/watch?v= 10guXUWGGB4 [15] Gair, Christopher (2008). The Beat Generation. Oxford: Oneworld Publications. pp. 16–17. ISBN 9781851685424. [16] Augustyn, Adam, ed. (2011). American Literature from 1945 through today. Britannica Educational Publishing. p. 101. ISBN 161530133X. 1.8 Further reading • Berendt, Joachim E. The Jazz Book: From Ragtime to Fusion and Beyond. Trans. Bredigkeit, H. and B. with Dan Morgenstern. Westport, CT: Lawrence Hill & Co., 1975. • Deveaux, Scott.. The Birth of Bebop: A Social and Musical History. Berkeley: University of California Press, 1999. • Giddins, Gary. Celebrating Bird: The Triumph of Charlie Parker. New York City: Morrow, 1987. • Gioia, Ted. The History of Jazz. Oxford, New York: Oxford University Press, 1997. • Baillie, Harold B. Swing to Bop: An Oral History of the Transition of Jazz in the 1940s. Oxford: Oxford University Press, 1987. • Rosenthal, David. Hard bop: Jazz and Black Music, 1955–1965. New York: Oxford University Press, 1992. • Tirro, Frank. “The Silent Theme Tradition in Jazz”. The Musical Quarterly 53, no. 3 (July 1967): 313–34. 1.9 External links • Verve History of Jazz page on Bebop • Charlie Parker bebop solo licks Chapter 2 Charlie Parker For other people named Charles Parker, see Charles Parker ence at that time was a young trombone player who taught (disambiguation). him the basics of improvisation. Charles "Charlie" Parker, Jr. (August 29, 1920 – March 12, 1955), also known as Yardbird and Bird, was an American jazz saxophonist and composer.[1] 2.2 Parker was a highly in uential jazz soloist and a leading gure in the development of bebop,[2] a form of jazz characterized by fast tempos, virtuosic technique and advanced harmonies. Parker was a blazingly fast virtuoso, and he introduced revolutionary harmonic ideas including rapid passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber. Parker acquired the nickname “Yardbird” early in his career.[3] This, and the shortened form “Bird”, continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and “Bird of Paradise”. Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer.[4] Career 2.2.1 Early career In the late 1930s Parker began to practice diligently. During this period he mastered improvisation and developed some of the ideas that led to bebop. In an interview with Paul Desmond, he said that he spent three to four years practicing up to 15 hours a day.[7] Bands led by Count Basie and Bennie Moten certainly inuenced Parker. He played with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique, with the assistance of Buster Smith, whose dynamic transitions to double and triple time in uenced Parker’s developing style. In 1937, Parker played at a jam session at the Reno Club in Kansas City. His attempt to improvise failed when he lost track of the chord changes. This prompted Jo Jones, the drummer for Count Basie’s Orchestra, to contemptuously throw a cymbal at his feet as a signal to leave the 2.1 Childhood stage. However, rather than discouraging Parker, the inciCharles Parker, Jr. was born in Kansas City, Kansas, and dent caused him to vow to practice harder, and turned out to career when raised in Kansas City, Missouri, the only child of Adelaide be a seminal moment in the young musician’s [8] he returned as a new man a year later. [5] “Addie” (Bailey) and Charles Parker. He attended Lincoln High School[6] in September 1934, but withdrew in In 1938 Parker joined pianist Jay McShann's territory December 1935, just before joining the local musicians’ band.[9] The band toured nightclubs and other venues of the southwest, as well as Chicago and New York City.[10][11] union. Parker began playing the saxophone at age 11, and at age Parker made his professional recording debut with Mc14 he joined his school’s band using a rented school instru- Shann’s band. As a teenager, Parker developed a morphine addiction while hospitalized after an automobile accident, and subsequently became addicted to heroin. He continued using heroin throughout his life, and it ultimately contributed to his death. ment. His father, Charles, was often absent but provided some musical in uence; he was a pianist, dancer and singer on the T.O.B.A. circuit. He later became a Pullman waiter or chef on the railways. Parker’s mother Addie worked nights at the local Western Union o ce. His biggest in u- 9 10 2.2.2 New York City In 1939 Parker moved to New York City, to pursue a career in music. He held several other jobs as well. He worked for nine dollars a week as a dishwasher at Jimmie’s Chicken Shack, where pianist Art Tatum performed.[12] In 1942 Parker left McShann’s band and played for one year with Earl Hines, whose band included Dizzy Gillespie, who later played with Parker as a duo. This period is virtually undocumented, due to the strike of 1942– 1943 by the American Federation of Musicians, during which time few professional recordings were made. Parker joined a group of young musicians, and played in afterhours clubs in Harlem, such as [[Clark Monroe’s Uptown House. These young iconoclasts included Gillespie, pianist Thelonious Monk, guitarist Charlie Christian, and drummer Kenny Clarke. The beboppers’ attitude was summed up in a famous quotation attributed to Monk by Mary Lou Williams: “We wanted a music that they couldn't play”[13] – “they” referring to white bandleaders who had usurped and pro ted from swing music. The group played in venues on 52nd Street, including Three Deuces and the Onyx. While in New York City, Parker studied with his music teacher, Maury Deutsch. 2.2.3 Bebop CHAPTER 2. CHARLIE PARKER Early in its development, this new type of jazz was rejected by many of the established, traditional jazz musicians who disdained their younger counterparts. The beboppers responded by calling these traditionalists "moldy gs". However, some musicians, such as Coleman Hawkins and Tatum, were more positive about its development, and participated in jam sessions and recording dates in the new approach with its adherents. Because of the two-year Musicians’ Union ban of all commercial recordings from 1942 to 1944, much of bebop’s early development was not captured for posterity. As a result, it gained limited radio exposure. Bebop musicians had a di cult time gaining widespread recognition. It was not until 1945, when the recording ban was lifted, that Parker’s collaborations with Dizzy Gillespie, Max Roach, Bud Powell and others had a substantial e ect on the jazz world. (One of their rst small-group performances together was rediscovered and issued in 2005: a concert in New York’s Town Hall on June 22, 1945.) Bebop soon gained wider appeal among musicians and fans alike. On November 26, 1945, Parker led a record date for the Savoy label, marketed as the “greatest Jazz session ever.” Recording as Charlie Parker’s Reboppers, Parker enlisted such sidemen as Gillespie and Miles Davis on trumpet, Curly Russell on bass and Roach on drums. The tracks recorded during this session include "Ko-Ko", "Billie’s Bounce" and "Now’s the Time". Shortly afterward, the Parker/Gillespie band traveled to an unsuccessful engagement at Billy Berg’s club in Los Angeles. Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. He experienced great hardship in California, eventually being committed to Camarillo State Mental Hospital for a six-month period. 2.2.4 Parker with (from left to right) Tommy Potter, Max Roach, Miles Davis, and Duke Jordan, at the Three Deuces, New York, circa 1945 According to an interview Parker gave in the 1950s, one night in 1939 he was playing "Cherokee" in a jam session with guitarist William “Biddy” Fleet when he hit upon a method for developing his solos that enabled one of his main musical innovations. He realized that the 12 semitones of the chromatic scale can lead melodically to any key, breaking some of the con nes of simpler jazz soloing. Charlie Parker with Strings A longstanding desire of Parker’s was to perform with a string section. He was a keen student of classical music, and contemporaries reported he was most interested in the music and formal innovations of Igor Stravinsky and longed to engage in a project akin to what later became known as Third Stream, a new kind of music, incorporating both jazz and classical elements as opposed to merely incorporating a string section into performance of jazz standards. On November 30, 1949, Norman Granz arranged for Parker to record an album of ballads with a mixed group of jazz and chamber orchestra musicians.[14] Six master takes from this session comprised the album Charlie Parker with Strings: "Just Friends", "Everything Happens to Me", "April in Paris", "Summertime", "I Didn't Know What Time It Was", and "If I Should Lose You". 11 2.3. PERSONAL LIFE 2.2.5 Jazz at Massey Hall When Parker received his discharge from the hospital, he was clean and healthy. Before leaving California, he recorded “Relaxin' at Camarillo” in reference to his hospital stay. He returned to New York, resumed his addiction to heroin and recorded dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Many of these were with his so-called “classic quintet” including Davis and Roach.[16] In 1953, Parker performed at Massey Hall in Toronto, Canada, joined by Gillespie, Mingus, Powell and Roach. Unfortunately, the concert happened at the same time as a televised heavyweight boxing match between Rocky Marciano and Jersey Joe Walcott, so the musical event was poorly attended. Mingus recorded the concert, resulting in the album Jazz at Massey Hall. At this concert, Parker played a plastic Grafton saxophone. At this point in his career he was experimenting with new sounds and mate- 2.3.2 rials. Parker himself explained the purpose of the plastic saxophone in a May 9, 1953 broadcast from Birdland and did so again in a subsequent May 1953 broadcast. Parker is known to have played several saxophones, including the Conn 6M, the Martin Handicraft and Selmer Model 22. He is also known to have performed with a King “Super 20” saxophone. Parker’s King Super 20 saxophone was made specially for him in 1947. 2.3 Death Personal life 2.3.1 Addiction Parker’s addiction to heroin caused him to miss performances and be considered unemployable. He frequently resorted to busking, receiving loans from fellow musicians and admirers, and pawning his saxophones for drug money. Heroin use was rampant in the jazz scene, and users could acquire it with little di culty. Although he produced many brilliant recordings during this period, Parker’s behavior became increasingly erratic. Heroin was di cult to obtain once he moved to California, where the drug was less abundant, so he used alcohol as a substitute. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Before this session, Parker drank a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the rst two bars of his rst chorus on the track, “Max Making Wax”. When he nally did come in, he swayed wildly and once spun all the way around, away from his microphone. On the next tune, "Lover Man", producer Ross Russell physically supported Parker. On “Bebop” (the nal track Parker recorded that evening) he begins a solo with a solid rst eight bars; on his second eight bars, however, he begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, “Blow!" at him. Charles Mingus considered this version of “Lover Man” to be among Parker’s greatest recordings, despite its aws.[15] Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. He rerecorded the tune in 1951 for Verve. Parker’s grave at Lincoln Cemetery Parker died on March 12, 1955, in the suite of his friend and patroness Baroness Pannonica de Koenigswarter at the Stanhope Hotel in New York City, while watching The Dorsey Brothers' Stage Show on television. The o cial causes of death were lobar pneumonia and a bleeding ulcer, but Parker also had an advanced case of cirrhosis and had su ered a heart attack. The coroner who performed his autopsy mistakenly estimated Parker’s 34-year-old body to be between 50 and 60 years of age.[17] Since 1950, Parker had been living with Chan Berg, the mother of his son Baird (who lived until 2014)[18] and his daughter Pree (who died as an infant of cystic brosis). He considered Chan his wife although he never married her, nor did he divorce his previous wife, Doris, whom he had married in 1948. His marital status complicated the settling of Parker’s estate and would ultimately serve to frustrate his wish to be quietly interred in New York City. Dizzy Gillespie paid for the funeral arrangements[19] and organized a lying-in-state, a Harlem procession o ciated by Congressman and Reverend Adam Clayton Powell, Jr., as well as a memorial concert. Parker’s body was own back to Missouri, in accordance with his mother’s wishes. Parker’s widow criticized the dead man’s family for giving him a Christian funeral even though they knew he was a conrmed atheist.[20] Parker was buried at Lincoln Cemetery in 12 CHAPTER 2. CHARLIE PARKER Missouri, in a hamlet known as Blue Summit, located close to I-435 and East Truman Road. 2.5 Parker’s estate is managed by CMG Worldwide. Main article: Charlie Parker discography 2.6 2.4 Discography Awards and recognitions Music Parker’s style of composition involved interpolation of original melodies over existing jazz forms and standards, a practice known as contrafact and still common in jazz today. Examples include "Ornithology" (which borrows the chord progression of jazz standard "How High the Moon" and is said to be co-written with trumpet player Little Benny Harris), and “Moose The Mooche” (one of many Parker compositions based on the chord progression of “I Got Rhythm”). The practice was not uncommon prior to bebop, but it became a signature of the movement as artists began to move away from arranging popular standards and toward composing their own material. While tunes such as “Now’s The Time”, “Billie’s Bounce”, "Au Privave", “Barbados”, “Relaxin' at Camarillo”, "Bloomdido", and “Cool Blues” were based on conventional 12-bar blues changes, Parker also created a unique version of the 12-bar blues for tunes such as "Blues for Alice", “Laird Baird”, and “Si Si.” These unique chords are known popularly as "Bird Changes". Like his solos, some of his compositions are characterized by long, complex melodic lines and a minimum of repetition although he did employ the use of repetition in some tunes, most notably “Now’s The Time”. Parker contributed greatly to the modern jazz solo, one in which triplets and pick-up notes were used in unorthodox ways to lead into chord tones, a ording the soloist with more freedom to use passing tones, which soloists previously avoided. Parker was admired for his unique style of phrasing and innovative use of rhythm. Via his recordings and the popularity of the posthumously published Charlie Parker Omnibook, Parker’s identi able style dominated jazz for many years to come. “Bird Lives” sculpture by Robert Graham in Kansas City, Missouri Grammy Award Grammy Hall of Fame Recordings of Charlie Parker were inducted into the Grammy Hall of Fame, which is a special Grammy award Other well-known Parker compositions include "Ah- established in 1973 to honor recordings that are at least Leu-Cha", “Anthropology”, co-written with Gillespie, twenty- ve years old, and that have “qualitative or histor“Con rmation”, “Constellation”, "Donna Lee", "Moose the ical signi cance.” Mooche", "Scrapple from the Apple" and "Yardbird Suite", the vocal version of which is called “What Price Love”, with Inductions lyrics by Parker. . Government honors Miles Davis once said, “You can tell the history of jazz in In 1995, the U.S. Postal Service issued a 32-cent commemorative postage stamp in Parker’s honor.[24] four words: Louis Armstrong. Charlie Parker.”[21] 13 2.9. OTHER TRIBUTES In 2002, the Library of Congress honored his recording "Ko-Ko" (1945) by adding it to the National Recording Registry. 2.7 Musical tributes • Jack Kerouac's spoken poem “Charlie Parker” to backing piano by Steve Allen on Poetry for the Beat Generation (1959) • Lennie Tristano's overdubbed solo piano piece “Requiem” was recorded in tribute to Parker shortly after his death. • Street musician Moondog wrote his famous “Bird’s Lament” in his memory; published on the 1969 album Moondog. • Since 1972, the Californian ensemble Supersax harmonized many of Parker’s improvisations for a vepiece saxophone section. • In 1973, guitarist Joe Pass released his album I Remember Charlie Parker in Parker’s honor.[27] • Weather Report's jazz fusion track and highly acclaimed big band standard "Birdland", from the Heavy Weather album (1977), was a dedication by bandleader Joe Zawinul to both Charlie Parker and the New York 52nd Street club itself. • The biographical song “Parker’s Band” was recorded by Steely Dan on its 1974 album Pretzel Logic. • The avant-garde trombonist George Lewis recorded Homage to Charles Parker (1979). • The opera Charlie Parker’s Yardbird by Daniel Schnyder, libretto by Bridgette A. Wimberly, was premiered by Opera Philadelphia on June 5, 2015, with Lawrence Brownlee in the title role.[28] 2.8 Charlie Parker Residence From 1950 to 1954, Parker and his common-law wife, Chan Berg, lived in the ground oor of the townhouse at 151 Avenue B, across from Tompkins Square Park in Manhattan's East Village. The Gothic Revival building, which was built about 1849,[29] was added to the National Register of Historic Places in 1994,[30] and was designated a New York City landmark in 1999. Avenue B between East 7th and East 10th Streets was given the honorary designation Charlie Parker Place in 1992. 2.9 Other tributes • The 1957 story “Sonny’s Blues” by James Baldwin features a jazz/blues playing virtuoso who names Bird as the “greatest” jazz musician, whose style he hopes to emulate. • In 1949, the New York night club Birdland was named in his honor. Three years later, George Shearing wrote "Lullaby of Birdland", named for both Parker and the nightclub. • A memorial to Parker was dedicated in 1999 in Kansas City at 17th Terrace and The Paseo, near the American Jazz Museum located at 18th and Vine, featuring a 10foot (3 m) tall bronze head sculpted by Robert Graham. • The Charlie Parker Jazz Festival is a free two-day music festival that takes place every summer on the last weekend of August in Manhattan, New York City, at Marcus Garvey Park in Harlem and Tompkins Square Park in the Lower East Side, sponsored by the nonpro t organization City Parks Foundation. The festival marked its 17th anniversary in 2009. • The Annual Charlie Parker Celebration is an annual festival held in Kansas City, Kansas since 2014. It is held for 10 days and celebrates all aspects of Parker, from live jazz music and bootcamps, to tours of his haunts in the city, to exhibits at the American Jazz Museum.[31] • In one of his most famous short story collections, Las armas secretas (The Secret Weapons), Julio Cortázar dedicated "El perseguidor" (“The Pursuer”) to the memory of Charlie Parker. This piece examines the last days of Johnny, a drug-addict saxophonist, through the eyes of Bruno, his biographer. Some qualify this story as one of Cortázar’s masterpieces in the genre. • A biographical lm called Bird, starring Forest Whitaker as Parker and directed by Clint Eastwood, was released in 1988.[32] • In 1984, legendary modern dance choreographer Alvin Ailey created the piece For Bird – With Love in honor of Parker. The piece chronicles his life, from his early career to his failing health. • In 2005, the Selmer Paris saxophone manufacturer commissioned a special “Tribute to Bird”[33] alto saxophone, commemorating the 50th anniversary of the death of Charlie Parker (1955–2005). 14 CHAPTER 2. CHARLIE PARKER • Parker’s performances of “I Remember You” and [8] The Guardian, June 16, 2011 “Parker’s Mood” (recorded for the Savoy label in 1948, with the Charlie Parker All Stars, comprising [9] Woideck, Carl (October 1998). Charlie Parker: His Music and Life. Michigan American Music Series. University of Parker on alto sax, Miles Davis on trumpet, John Michigan Press. p. 18. ISBN 978-0-472-08555-2. Lewis on piano, Curley Russell on bass, and Max Roach on drums) were selected by Harold Bloom [10] “pbs.org”. pbs.org. Retrieved March 10, 2011. for inclusion on his shortlist of the “twentieth-century American Sublime”, the greatest works of American [11] amb.cult.bg Archived December 21, 2007, at the Wayback Machine. art produced in the 20th century. A vocalese version of “Parker’s Mood” was a popular success for King [12] See Jazz, Episode 7: “Dedicated to Chaos: 1940–1945”. Pleasure. • Jean-Michel Basquiat created many pieces to honour Charlie Parker, including Charles the First, CPRKR, Bird on Money, and Discography I. [13] Blakely, Johanna (April 2010). Lessons from Fashion’s Free Culture (TEDxUSC 2010). TEDTalks. Retrieved December 3, 2010. [14] Ross Russell Bird Lives! The High Life & Hard Times of Charlie (Yardbird) Parker, 1973, New York: Charterhouse, • Charlie Watts, drummer for the Rolling Stones, wrote p. 273; ISBN 0-306-80679-7 a children’s book entitled Ode to a High Flying Bird as a tribute to Parker. Watts has cited Parker as a major [15] Gitler, Ira (2001). The Masters of Bebop: A Listener’s Guide. in uence in his life as a youth learning to play jazz. Da Capo Press. p. 33. ISBN 0-306-81009-3. Charles Min- • The 2014 lm Whiplash repeatedly makes reference to the 1937 incident at the Reno Cafe, changing the aim point of the cymbals to his head and pointing to it as proof that true genius is not born but made by [16] relentless practice and pitiless peers. • Jazz historian Phil Schaap hosts Bird Flight, a radio show on WKCR New York that is dedicated solely to Parker’s music. 2.10 Notes [1] “Charlie Parker Biography – Facts, Birthday, Life Story”. Biography.com. Retrieved February 17, 2014. [2] “Charlie Parker”. The New Grove Dictionary of Jazz. Retrieved April 23, 2012. [3] “Yardbird”. Birdlives.co.uk. Retrieved December 19, 2013. [4] The 1959 Beat parody album How to Speak Hip lists the three top most “uncool” actions (both in the audio and in the liner notes) as follows: “It is uncool to claim that you used to room with Bird. It is uncool to claim that you have Bird’s axe. It is even less cool to ask 'Who is Bird?'" [5] Dictionary of World Biography: The 20th century, O-Z by Frank Northen Magill [6] Woideck, Carl (October 1998). Charlie Parker: His Music and Life. Michigan American Music Series. University of Michigan Press. p. 4. ISBN 978-0-472-08555-2. In Lincoln High School he was the pride of his teachers... [7] “Paul Desmond interviews Charlie Parker”. puredesmond.ca. Archived from the original on July 6, 2011. Retrieved March 1, 2011. gus once chose it when asked to name his favorite Parker recordings. 'I like all', he said, 'none more than the other, but I'd have to pick Lover Man for the feeling he had then and his ability to express that feeling.' Guntern, Gottlieb (2010). The Spirit of Creativity: Basic Mechanisms of Creative Achievements. Lanham, MD: University Press of America. p. 245. ISBN 9780761850519. In the late 1940s, Charlie Parker’s classic quintet—including trumpeter Miles Davis, drummer Max Roach, bass player Tommy Potter, and pianist Bud Powell—produced a series of masterpieces that reached the top of the rating scales. [17] Reisner, Robert, ed. (1977). Bird: the Legend of Charlie Parker. New York: Da Capo Press. p. 133. [18] Charles Baird Parker 61 Son of Jazz Great. Philly.com. Retrieved June 29, 2016. [19] “Ken Burns interviews Chan Parker” (PDF). Retrieved March 10, 2011. [20] Ross Russell (1996). Bird Lives!: The High Life And Hard Times of Charlie (yardbird) Parker. Da Capo Press. p. 361. ISBN 9780306806797. A con rmed atheist, he had not been inside a church in years. [21] Gri n, Farah Jasmine; Washington, Salim (2008). Clawing at the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever. New York: Thomas Dunne Books. p. 237. [22] Grammy Awards search engine Archived August 28, 2015, at the Wayback Machine. [23] Grammy Hall of Fame Database Archived July 7, 2015, at the Wayback Machine. [24] Richard Tucker. “Charlie Parker: 32 cents Commemorative stamp”. Esperstamps.org. Retrieved March 10, 2011. 15 2.12. EXTERNAL LINKS [25] “Parker, Charlie, Residence” on the NRHP database [26] “Charlie Parker Residence Designation Report”, New York City Landmarks Preservation Commission [27] Yanow, Scott. “Joe Pass: I Remember Charlie Parker”. AllMusic.com. Retrieved July 1, 2016. 2.12 External links • Media related to Charlie Parker at Wikimedia Commons • The O cial Site of Charlie “Yardbird” Parker [28] Charlie Parker’s Yardbird, performance details • Charlie Parker discography at Discogs [29] New York City Landmarks Preservation Commission; Dolkart, Andrew S. (text); Postal, Matthew A. (text) (2009), Postal, Matthew A., ed., Guide to New York City Landmarks (4th ed.), New York: John Wiley & Sons, ISBN 978-0-47028963-1, p. 69 • Charlie Parker discography [30] “Charlie Parker: The Charlie Parker Residence, NYC”. Charlieparkerresidence.net. Retrieved March 10, 2011. • Bird Lives – Thinking About Charlie Parker [31] “2nd annual Charlie Parker Celebration begins Thursday in Kansas City”. KSHB. 20 August 2015. Retrieved 9 February 2017. [32] Bird at the Internet Movie Database [33] Archived February 9, 2012, at the Wayback Machine. 2.11 Further reading • Aebersold, Jamey, editor (1978). Charlie Parker Omnibook. New York: Michael H. Goldsen. • Giddins, Gary (1987). Celebrating Bird: The Triumph of Charlie Parker. New York: Beech Tree Books, William Morrow. ISBN 0-688-05950-3 • Koch, Lawrence (1999). Yardbird Suite: A Compendium of the Music and Life of Charlie Parker. Boston, Northeastern University Press. ISBN 155553-384-1 • Parker, Chan (1999). My Life In E-Flat. University Of South Carolina Press. ISBN 1-57003-245-9 • Reisner, George (1962). Bird: The Legend of Charlie Parker. New York, Bonanza Books. • Russell, Ross (1973). Bird Lives! The High Life & Hard Times of Charlie (Yardbird) Parker. New York: Charterhouse. ISBN 0-306-80679-7 • Woideck, Carl (1998). Charlie Parker: His Music and Life. Ann Arbor: University of Michigan Press. ISBN 0-472-08555-7 • Woideck, Carl, editor (1998). The Charlie Parker Companion: Six Decades of Commentary. New York: Schirmer Books. ISBN 0-02-864714-9 • Yamaguchi, Masaya, editor (1955). Yardbird Originals. New York: Charles Colin, reprinted 2005. • Charlie Parker Sessionography • Clips and notes about Parker Chapter 3 Thelonious Monk For other uses, see Thelonious (disambiguation) and New York City. Monk started playing the piano at the age of six, and was largely self-taught. He attended Stuyvesant Thelonious Sphere Monk (disambiguation). High School but did not graduate.[10] Thelonious Sphere Monk[2] (/θəˈloʊniəs/, October 10, 1917[3] – February 17, 1982) was an American jazz pianist and composer. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "'Round Midnight", "Blue Monk", 3.2 Early playing career "Straight, No Chaser", "Ruby, My Dear", "In Walked Bud", and "Well, You Needn't". Monk is the second mostrecorded jazz composer after Duke Ellington, which is par- He toured with an evangelist in his teens, playing the ticularly remarkable as Ellington composed more than a church organ, and in his late teens he began to nd work playing jazz. In the early to mid-1940s, Monk was the thousand pieces, whereas Monk wrote about 70.[4] house pianist at Minton’s Playhouse, a Manhattan nightclub. His compositions and improvisations feature dissonances Much of Monk’s style was developed during his time at and angular melodic twists, and are consistent with Monk’s Minton’s, when he participated in after-hours cutting conunorthodox approach to the piano, which combined a highly tests which featured many leading jazz soloists of the time. percussive attack with abrupt, dramatic use of switched key The Minton’s scene was crucial in the formulation of bebop releases, silences and hesitations. and it brought Monk into close contact with other leading He was renowned for his distinctive style in suits, hats, and exponents of the emerging idiom, including Dizzy Gillesunglasses. He was also noted for an idiosyncratic habit ob- spie, Charlie Christian, Kenny Clarke, Charlie Parker and, served at times during performances: while the other mu- later, Miles Davis. Monk is believed to be the pianist feasicians in the band continued playing, he would stop, stand tured on recordings Jerry Newman made around 1941 at up from the keyboard, and dance for a few moments before the club. Monk’s style at this time was later described as “hard-swinging,” with the addition of runs in the style of returning to the piano. Art Tatum. Monk’s stated in uences included Duke EllingMonk is one of ve jazz musicians to have been featured on ton, James P. Johnson, and other early stride pianists. In the cover of Time, after Louis Armstrong, Dave Brubeck, the documentary Thelonious Monk: Straight, No Chaser, it and Duke Ellington and before Wynton Marsalis.[5][6] is stated that Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager. 3.1 Early life Thelonious Sphere Monk was born two years after his sister Marion on October 10, 1917, in Rocky Mount, North Carolina, the son of Thelonious and Barbara Monk. His badly written birth certi cate misspelled his rst name as “Thelious”[7] or “Thelius”. It also did not list his middle name, taken from his maternal grandfather, Sphere Batts.[8] A brother, Thomas, was born in January 1920.[9] In 1922, the family moved to 243 West 63rd Street, in Manhattan, Mary Lou Williams, who mentored Monk and his compatriots, spoke of Monk’s rich inventiveness in this period, and how such invention was vital for musicians since at the time it was common for fellow musicians to incorporate overheard musical ideas into their own works without giving due credit. “So, the boppers worked out a music that was hard to steal. I'll say this for the 'leeches’, though: they tried. I've seen them in Minton’s busily writing on their shirt cu s or scribbling on the tablecloth. And even our own guys, I'm afraid, did not give Monk the credit he had coming. Why, they even stole his idea of the beret and bop glasses.”[11] 16 17 3.4. RIVERSIDE RECORDS (1955–1961) 3.3 Early recordings (1944–1954) Rollins and drummers Art Blakey and Max Roach. In 1954, Monk participated in a Christmas Eve session which produced most of the albums Bags’ Groove and Miles Davis and the Modern Jazz Giants by Davis. Davis found Monk’s idiosyncratic accompaniment style di cult to improvise over and asked him not to accompany, which almost brought them to blows. However, in his autobiography Miles, Davis claims that the anger and tension between them did not take place and that the claims of blows being exchanged were “rumors” and a “misunderstanding”.[12] In 1954, Monk paid his rst visit to Paris. As well as performing at concerts, he recorded a solo piano session for French radio (later issued as an album by Disques Vogue). Backstage, Mary Lou Williams introduced him to Baroness Pannonica “Nica” de Koenigswarter, a member of the Rothschild family and a patroness of several New York City jazz musicians. She was a close friend for the rest of Monk’s life, including taking responsibility for him when she and Monk were charged with marijuana possession. From left, Monk, Howard McGhee, Roy Eldridge, and Teddy Hill, Minton’s Playhouse, New York, N.Y., c. September 1947 In 1944 Monk made his rst studio recordings with the Coleman Hawkins Quartet. Hawkins was one of the earliest established jazz musicians to promote Monk, and the pianist later returned the favor by inviting Hawkins to join him on a 1957 session with John Coltrane. Monk made his rst recordings as leader for Blue Note in 1947 (later anthologised on Genius of Modern Music, Vol. 1), which showcased his talents as a composer of original melodies for improvisation. Monk married Nellie Smith the same year, and in 1949 the couple had a son, T. S. Monk, who became a jazz drummer. A daughter, Barbara (a ectionately known as Boo-Boo), was born in 1953 and died in 1984 from cancer. 3.4 Riverside Records (1955–1961) By the time of his signing to Riverside, Monk was highly regarded by his peers and by some critics, but his records remained poor sellers, and his music was still regarded as too “di cult” for more mainstream acceptance. Indeed, with Monk’s consent, Riverside had managed to buy out his previous Prestige contract for a mere $108.24. He willingly recorded two albums of jazz standards as a means of increasing his pro le: Thelonious Monk Plays the Music of Duke Ellington (1955) and The Unique Thelonious Monk (1956). On Brilliant Corners, recorded in late 1956, Monk mainly performed his own music. The complex title track, which featured Rollins, was so di cult to play that the nal version had to be edited together from multiple takes. The album, In August 1951, New York City police searched a parked however, was largely regarded as the rst success for Monk; car occupied by Monk and friend Bud Powell. They found according to Orrin Keepnews, “It was the rst that made a narcotics in the car, presumed to have belonged to Pow- real splash.” ell. Monk refused to testify against his friend, so the police After having his cabaret card restored, Monk relaunched con scated his New York City Cabaret Card. Without this, his New York career with a landmark six-month residency Monk was unable to play in any New York venue where at the Five Spot Cafe in New York beginning in June 1957, liquor was served, and this severely restricted his ability to leading a quartet with John Coltrane on tenor saxophone, perform for several years. Monk spent most of the early Wilbur Ware on bass, and Shadow Wilson on drums. Little and mid 1950s composing, recording, and performing at of this group’s music was documented owing to contractheaters and out-of-town gigs. tual problems: Coltrane was signed to Prestige at the time, After his cycle of intermittent recording sessions for Blue Note during 1947–52, Monk was under contract to Prestige Records for the following two years. With Prestige he cut several highly signi cant, but at the time under-recognized, albums, including collaborations with saxophonist Sonny but Monk refused to return to his former label. One studio session by the quartet was made for Riverside, three tunes which were not released until 1961 by the subsidiary label Jazzland along with outtakes from a larger group recording with Coltrane and Hawkins, those results appearing in 1957 18 as the album Monk’s Music. An amateur tape from the Five Spot (a later September 1958 reunion with Coltrane sitting in for Johnny Gri n) was issued on Blue Note in 1993; and a recording of the quartet performing at a Carnegie Hall concert on November 29 was recorded in high delity by Voice of America engineers, rediscovered in the collection of the Library of Congress in 2005, and released by Blue Note. CHAPTER 3. THELONIOUS MONK Columbia’s resources allowed Monk to be promoted more heavily than earlier in his career. Monk’s Dream became the best-selling LP of his lifetime,[16] and on February 28, 1964, he appeared on the cover of Time magazine, being featured in the article “The Loneliest Monk”.[17] According to biographer Kelley, the 1964 Time appearance came because "Barry Farrell, who wrote the cover story, wanted to write about a jazz musician and almost by default Monk was chosen, because they thought Ray Charles and Miles Davis were too controversial. ... [Monk] wasn't so political. [...O]f course, I challenge that [in the biography]", said Kelley.[13] “Crepuscule with Nellie”, recorded in 1957, “was Monk’s only, what’s called through-composed composition, meaning that there is no improvising. It is Monk’s concerto, if you will, and in some ways it speaks for itself. But he wrote it very, very carefully and very deliberately and really strug- Monk continued to record studio albums, including Criss gled to make it sound the way it sounds. [... I]t was his love Cross, also from 1963, and Underground, from 1968. But by the Columbia years his compositional output was limsong for Nellie,” said biographer Robin Kelley.[13] The Five Spot residency ended Christmas 1957; Coltrane ited, and only his nal Columbia studio record Underground left to rejoin Davis’s group, and the band was e ectively featured a substantial number of new tunes, including his disbanded. Monk did not form another long-term band until only waltz time piece, “Ugly Beauty”. June 1958, when he began a second residency at the Five Spot, again with a quartet, this time with Gri n (and later Charlie Rouse) on tenor, Ahmed Abdul-Malik on bass, and Roy Haynes on drums. As had been the case with Riverside, his period with Columbia contains many live albums, including Miles and Monk at Newport (1963), Live at the It Club and Live at the Jazz Workshop, both recorded in 1964, the latter not being released until 1982. After the departure of Ore and Dunlop, the remainder of the rhythm section in Monk’s quartet during the bulk of his Columbia period was Larry Gales on bass and Ben Riley on drums, both of whom joined in 1964. Along with Rouse, they remained with Monk for over four years, his longest-serving band. On October 15, 1958, en route to a week-long engagement for the quartet at the Comedy Club in Baltimore, Maryland, Monk and de Koenigswarter were detained by police in Wilmington, Delaware. When Monk refused to answer the policemen’s questions or cooperate with them, they beat him with a blackjack. Though the police were authorized to search the vehicle and found narcotics in suitcases held in the trunk of the Baroness’s car, Judge Christie of the Delaware Superior Court ruled that the unlawful detention 3.6 Later life of the pair, and the beating of Monk, rendered the consent to the search void as given under duress.[14] Monk had disappeared from the scene by the mid 1970s and made only a small number of appearances during the nal decade of his life. His last studio recordings as a leader were made in November 1971 for the English Black Lion 3.5 Columbia Records (1962–1970) label, near the end of a worldwide tour with the Giants of Jazz, a group which included Gillespie, Kai Winding, Sonny Stitt, Al McKibbon and Blakey. Bassist McKibbon, who After extended negotiations, Monk signed in 1962 with had known Monk for over twenty years and played on his Columbia Records, one of the big four American record nal tour in 1971, later said: “On that tour Monk said about labels of the day. Monk’s relationship with Riverside had two words. I mean literally maybe two words. He didn't say soured over disagreements concerning royalty payments 'Good morning', 'Goodnight', 'What time?' Nothing. Why, and had concluded with a brace of European live albums; I don't know. He sent word back after the tour was over he had not recorded a studio album since 5 by Monk by 5 in that the reason he couldn't communicate or play was that June 1959. Art Blakey and I were so ugly.”[18] A di erent side of Monk Working with producer Teo Macero on his debut for the is revealed in Lewis Porter's biography, John Coltrane: His label,[15] the sessions in the rst week of November had a Life and Music; Coltrane states: “Monk is exactly the oppoline-up that had been with him for two years: tenor sax- site of Miles [Davis]: he talks about music all the time, and ophonist Rouse (who worked with Monk from 1959 to he wants so much for you to understand that if, by chance, 1970), bassist John Ore, and drummer Frankie Dunlop. you ask him something, he'll spend hours if necessary to exMonk’s Dream, his rst Columbia album, was released in plain it to you.”[19] Blakey reports that Monk was excellent 1963. at both chess and checkers.[20] 19 3.7. TRIBUTES The documentary lm Thelonious Monk: Straight, No Chaser (1988) attributes Monk’s quirky behavior to mental illness. In the lm, Monk’s son says that his father sometimes did not recognize him, and he reports that Monk was hospitalized on several occasions owing to an unspeci ed mental illness that worsened in the late 1960s. No reports or diagnoses were ever publicized, but Monk would often become excited for two or three days, then pace for days after that, after which he would withdraw and stop speaking. Physicians recommended electroconvulsive therapy as a treatment option for Monk’s illness, but his family would not allow it; antipsychotics and lithium were prescribed instead.[21][22] Other theories abound: Leslie Gourse, author of the book Straight, No Chaser: The Life and Genius of Thelonious Monk (1997), reported that at least one of Monk’s psychiatrists failed to nd evidence of manic depression (bipolar disorder) or schizophrenia. Another physician maintains that Monk was misdiagnosed and prescribed drugs during his hospital stay that may have caused brain damage.[21] As his health declined, Monk’s last six years were spent as a guest in the Weehawken, New Jersey, home of his longstanding patron and friend, de Koenigswarter, who had also nursed Parker during his nal illness. Monk did not play the piano during this time, even though one was present in his room, and he spoke to few visitors. He died of a stroke on February 17, 1982, and was buried in Ferncli Cemetery in Hartsdale, New York. In 1993, he was awarded the Grammy Lifetime Achievement Award.[23] In 2006 he was awarded a special Pulitzer Prize for “a body of distinguished and innovative musical composition that has had a signi cant and enduring impact on the evolution of jazz.”[24] During his lifetime, his style was not universally appreciated. Poet and jazz critic Philip Larkin once dismissed Monk as “the elephant on the keyboard”.[25] The Thelonious Monk Institute of Jazz was established in 1986 by the Monk family and Maria Fisher. Its mission is to o er public school-based jazz education programs for young people around the globe, helping students develop imaginative thinking, creativity, curiosity, a positive selfimage, and a respect for their own and others’ cultural heritage. In addition to hosting an annual International Jazz Competition since 1987, the Institute also helped, through its partnership with UNESCO, designate April 30, 2012, as the rst annual International Jazz Day. Monk was inducted into the North Carolina Music Hall of Fame in 2009.[26] 3.7 Tributes • Soprano saxophonist Steve Lacy performed as Monk’s accompanist in 1960. Monk’s tunes became a permanent part of his repertoire in concert and on albums. Lacy recorded many albums entirely focused on Monk’s compositions. • Gunther Schuller wrote the work “Variants on a Theme of Thelonious Monk” in 1960. It was later performed and recorded by other artists, including Ornette Coleman, Eric Dolphy, and Bill Evans. • In 1983, saxophonist Arthur Blythe's album Light Blue: Arthur Blythe Plays Thelonious Monk was released by Columbia Records. • In 1984, a compilation album That’s The Way I Feel Now: A Tribute To Thelonious Monk was released by A&M Records. The album features such notable musicians as Donald Fagen, Todd Rundgren, Peter Frampton, Carla Bley, Joe Jackson, Steve Lacy, John Zorn, NRBQ, Bruce Fowler, Chris Spedding, Steve Khan, Sharon Freeman, Gil Evans, Mark Bingham, Was Not Was. • Anthony Braxton recorded Six Monk’s Compositions (1987) in 1987. Singer Carmen McRae released Carmen Sings Monk in 1988. Pianist Ran Blake recorded Epistrophy in 1991. • Round Midnight Variations is a collection of variations on the song "'Round Midnight" premiered in 2002. Composers contributing included Milton Babbitt, William Bolcom, David Crumb. George Crumb, Michael Daugherty, John Harbison, Joel Ho man, Aaron Jay Kernis, Gerald Levinson, Tobias Picker, Frederic Rzewski, Augusta Read Thomas and Michael Torke.[27] • Free jazz pianist Alexander von Schlippenbach and his band recorded every composition by Monk for Monk’s Casino released as a triple CD set in 2005. 3.8 Discography Main article: Thelonious Monk discography Further information: List of Thelonious Monk compositions 20 3.9 CHAPTER 3. THELONIOUS MONK References [1] Yanow, Scott. “Thelonious Monk”. AllMusic. Retrieved 2012-03-31. [2] “Thelonious Monk (American musician) – Britannica Online Encyclopedia”. Encyclopædia Britannica. Retrieved 2012-03-31. [3] Robin D.G. Kelley Thelonious Monk: The Life and Times of American Original, London: JR Books, 2010, p.1. The source identi es the day of Monk’s fortieth birthday in 1957. [4] Giddins, Gary & Scott DeVeaux. Jazz (2009). New York: W.W. Norton & Co, ISBN 978-0-393-06861-0. [5] Time cover Feb. 28, 1964. Retrieved 2010-12-22. [6] Search of Time covers for “jazz”. Retrieved 2010-12-22. [7] Solis, Gabriel (2007). Monk’s Music: Thelonious Monk and Jazz History in the Making. University of California Press. pp. 19–20. ISBN 9780520940963. [8] Mathieson, Kenny (2012). Giant Steps: Bebop And The Creators Of Modern Jazz, 1945–65. Canongate Books. p. 127. ISBN 9780857866172. [9] Robin D.G. Kelley Thelonious Monk: The Life and Times of an American Original, London: JR Books, 2010, p13 [10] Kelley, Robin D. G. (2009). Thelonious Monk: The Life and Times of an American Original. Free Press. p. 31. ISBN 978-0-684-83190-9. Retrieved November 23, 2013. [11] “Mary Lou Williams interview, Melody Maker, 1954”. Ratical.org. Retrieved 2012-03-31. [12] Miles: The Autobiography With Quincy Troupe, 80 [13] “Looking At The Life And Times Of Thelonious Monk”, transcript of interview with Robin D.G. Kelley by Terry Gross on Fresh Air, NPR; conducted in 2009, replayed December 17, 2010. Retrieved 2010-12-22. [14] State v. De Koenigswarter, 177 A.2d 344 (Del. Super. 1962). [15] Marmorstein, Gary. The Label The Story of Columbia Records. New York: Thunder’s Mouth, 2007, pp. 314–315. [16] Monk, Thelonious. Monk’s Dream. Columbia reissue CK 63536, 2002, liner notes, p. 8 [17] Gabbard, Krin (February 28, 1964). “The Loneliest Monk”. Time. Time, Inc. 83 (9). Retrieved 2007-11-12. [20] “Art Blakey: Bu’s Delights and Laments,” by John B Litweiler in Downbeat magazine, March 25, 1976. [21] Gabbard, Krin (Autumn 1999). “Evidence: Monk as Documentary Subject”. Black Music Research Journal. Center for Black Music Research — Columbia College Chicago. 19 (2): 207–225. doi:10.2307/779343. JSTOR 779343. “Thelonious [22] Spence, Sean A (October 24, 1998). Monk: His Life and Music”. British Medical Journal. BMJ Publishing Group. 317 (7166): 1162A. doi:10.1136/bmj.317.7166.1162a. PMC 1114134 . PMID 9784478. [23] “GRAMMY.com — Lifetime Achievement Award”. Past Recipients. National Academy of Recording Arts and Sciences. Retrieved 2007-11-12. [24] “The 2006 Pulitzer Prize winners: Special Awards and Citations”. The Pulitzer Prizes. Retrieved 2007-11-12. [25] Spencer, Charles (September 4, 2010) “In the steps of Larkin”. The Spectator, London. [26] “2009 Inductees”. North Carolina Music Hall of Fame. Retrieved September 10, 2012. [27] Matthew Quayle 3.10 External links • Thelonious Monk at DMOZ • Thelonious Monk Institute of Jazz • The O cial Thelonious Sphere Monk Website and Home of Thelonius Records • Thelonious Monk: The Life and Times of an American Original – website for the biography by Robin D. G. Kelley • Thelonious Monk page in Jazz at Lincoln Center’s Nesuhi Ertegun Jazz Hall of Fame • Thelonious Monk’s birth certi cate • Roundabout Monk: The European Monk Website • Thelonious Monk at All About Jazz • IMDb entry for Thelonious Monk: Straight, No Chaser • CBC.ca Article on 2006 Pulitzer Prize Winners [18] Voce, Steve (August 1, 2005). “Obituary: Al McKibbon”. The Independent. Findarticles.com. Retrieved 2007-11-12. • Thelonious Monk Multimedia Directory – Kerouac Alley [19] Porter, Lewis (1998). John Coltrane: His Life and Music. University of Michigan Press. p. 109. ISBN 0-472-101617. • Not So Misterioso: Robert Christgau on Monk • Thelonious Monk at Find a Grave 3.10. EXTERNAL LINKS • Thelonius Monk at Library of Congress Authorities, with 182 catalog records 21 Chapter 4 Dizzy Gillespie This article is about the jazz musician. For the Australian cricketer nicknamed “Dizzy”, see Jason Gillespie. Warning: Page using Template:Infobox musical artist with unknown parameter “religion” (this message is shown only in preview). John Birks "Dizzy" Gillespie (/ɡᵻˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, and singer.[1] AllMusic's Scott Yanow wrote, “Dizzy Gillespie’s contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Dizzy Gillespie, Tadd Dameron, Hank Jones, Mary Lou Williams Navarro instead, and it was not until Jon Faddis's emer- and Milt Orent in 1947 gence in the 1970s that Dizzy’s style was successfully recreated [....] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all 4.1.1 Early life and career time.”[2] Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge[3] but adding layers of harmonic complexity previously unheard in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop. In the 1940s Gillespie, with Charlie Parker, became a major gure in the development of bebop and modern jazz.[4] He taught and in uenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Cli ord Brown, Arturo Sandoval, Lee Morgan,[5] Chuck Mangione,[6] and balladeer Johnny Hartman.[7] 4.1 Biography Gillespie was born in Cheraw, South Carolina, the youngest of nine children of James and Lottie Gillespie.[8] James was a local bandleader,[9] so instruments were made available to the children. Gillespie started to play the piano at the age of four.[10] Gillespie’s father died when he was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician.[11] He received a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia.[12] Gillespie’s rst professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, essentially replacing Roy Eldridge as rst trumpet in 1937. Teddy Hill’s band was where Gillespie made his rst recording, “King Porter Stomp”. In August 1937 while gigging with Hayes in Washington D.C., Gillespie met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York 22 4.1. BIOGRAPHY 23 City circuit which included the Apollo Theater. Willis was not immediately friendly but Gillespie was attracted anyway. The two nally married on May 9, 1940. They remained married until his death in 1993.[13] Gillespie avoided serving in World War II. In his Selective Service interview, he told the local board, “in this stage of my life here in the United States whose foot has been in my ass?" He was thereafter classed as 4-F.[15] In 1943, Gillespie Gillespie stayed with Teddy Hill’s band for a year, then joined the Earl Hines band. Composer Gunther Schuller left and free-lanced with numerous other bands.[5] In 1939, said: Gillespie joined Cab Calloway's orchestra, with which he " ... In 1943 I heard the great Earl Hines recorded one of his earliest compositions, the instrumenband which had Bird in it and all those other great tal “Pickin' the Cabbage”, in 1940. (Originally released on musicians. They were playing all the atted fth Paradiddle, a 78rpm backed with a co-composition with chords and all the modern harmonies and substiCozy Cole, Calloway’s drummer at the time, on the Votutions and Gillespie runs in the trumpet section calion label, No. 5467). work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings.”[16] Gillespie said of the Hines band, "[p]eople talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The di erence was in how you got from here to here to here ... naturally each age has got its own shit”.[17] Then, Gillespie joined the big band of Hines’ long-time collaborator Billy Eckstine, and it was as a member of Eckstine’s band that he was reunited with Charlie Parker, a fellow member. In 1945, Gillespie left Eckstine’s band beTadd Dameron, Mary Lou Williams and Dizzy Gillespie in 1947 cause he wanted to play with a small combo. A “small combo” typically comprised no more than ve musicians, After a notorious altercation between the two men, Cal- playing the trumpet, saxophone, piano, bass and drums. loway red Gillespie in late 1941. The incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bach's 1997 lm, 4.1.2 Rise of bebop The Spitball Story. Calloway did not approve of Gillespie’s mischievous humor, nor of his adventuresome approach to Bebop was known as the rst modern jazz style. However, it soloing; according to Jones, Calloway referred to it as “Chi- was unpopular in the beginning and was not viewed as posinese music”. Finally, their grudge for each other erupted tively as swing music was. Bebop was seen as an outgrowth over a thrown spitball. Calloway never thought highly of of swing, not a revolution. Swing introduced a diversity Gillespie, because he didn't view Gillespie as a good musi- of new musicians in the bebop era like Charlie Parker, cian. Once during a rehearsal, a member of the band threw Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Peta spitball. Already in a foul mood, Calloway decided to tiford, and Gillespie. Through these musicians, a new voblame this on Gillespie. In order to clear his name, Gille- cabulary of musical phrases was created.[18] With Parker, spie didn’t take the blame and the problem quickly escalated Gillespie jammed at famous jazz clubs like Minton’s Playinto a st ght, then a knife ght. Calloway had minor cuts house and Monroe’s Uptown House. Parker’s system also on the thigh and wrist. After the two men were separated, held methods of adding chords to existing chord progresCalloway red Gillespie. A few days later, Gillespie tried sions and implying additional chords within the improvised lines.[18] to apologize to Calloway, but he was dismissed.[14] During his time in Calloway’s band, Gillespie started writing big band music for bandleaders like Woody Herman and Jimmy Dorsey.[5] He then freelanced with a few bands – most notably Ella Fitzgerald's orchestra, composed of members of the late Chick Webb's band, in 1942. Gillespie compositions like "Groovin' High", "Woody 'n' You" and "Salt Peanuts" sounded radically di erent, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while Gillespie was playing with Earl Hines’ band, is noted 24 Ella Fitzgerald, Dizzy Gillespie, Ray Brown, Milt Jackson and Timme Rosenkrantz in September 1947, New York for having a feature that is common in today’s music, a non-walking bass line. The song also displays Afro-Cuban rhythms.[19] One of their rst small-group performances together was only issued in 2005: a concert in New York’s Town Hall on June 22, 1945. Gillespie taught many of the young musicians on 52nd Street, including Miles Davis and Max Roach, about the new style of jazz. After a lengthy gig at Billy Berg’s club in Los Angeles, which left most of the audience ambivalent or hostile towards the new music, the band broke up. Unlike Parker, who was content to play in small groups and be an occasional featured soloist in big bands, Gillespie aimed to lead a big band himself; his rst, unsuccessful, attempt to do this was in 1945. After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin, Ray Brown, Kenny Clarke, James Moody, J.J. Johnson, and Yusef Lateef) and nally put together his rst successful big band. Gillespie and his band tried to popularize bop and make Gillespie a symbol of the new music.[20] He also appeared frequently as a soloist with Norman Granz's Jazz at the Philharmonic. He also headlined the 1946 independently produced musical revue lm Jivin' in Be-Bop.[21] In 1948 Gillespie was involved in a tra c accident when the bicycle he was riding was bumped by an automobile. He was slightly injured, and found that he could no longer hit the B- at above high C. He won the case, but the jury awarded him only $1000, in view of his high earnings up to that point.[22] On January 6, 1953 Gillespie threw a party for his wife Lor- CHAPTER 4. DIZZY GILLESPIE Gillespie with John Lewis, Cecil Payne, Miles Davis, and Ray Brown, between 1946 and 1948 raine at Snookie’s in Manhattan, where his trumpet’s bell got bent upward in an accident, but he liked the sound so much he had a special trumpet made with a 45 degree raised bell, becoming his trademark.[23] In 1956 Gillespie organized a band to go on a State Department tour of the Middle East which was extremely well received internationally and earned him the nickname “the Ambassador of Jazz”.[24][25] During this time, he also continued to lead a big band that performed throughout the United States and featured musicians including Pee Wee Moore and others. This band recorded a live album at the 1957 Newport jazz festival that featured Mary Lou Williams as a guest artist on piano. 4.1.3 Afro-Cuban music In the late 1940s, Gillespie was also involved in the movement called Afro-Cuban music, bringing Afro-Latin American music and elements to greater prominence in jazz and even pop music, particularly salsa. Afro-Cuban jazz is based on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by Mario Bauza, a Latin jazz trumpet player. Chano Pozo became Gillespie’s conga drummer for his band. Gillespie also worked with Mario Bauza in New York jazz clubs on 52nd Street and several famous dance clubs such as Palladium and the Apollo Theater in Harlem. They played together in the Chick Webb band and Cab Calloway’s band, where Gillespie and Bauza became lifelong friends. Gillespie helped develop and mature the Afro-Cuban jazz style.[26] 25 4.1. BIOGRAPHY Miriam Makeba and Dizzy Gillespie in concert, Deauville (Normandy, France), July 20, 1991 Afro-Cuban jazz was considered bebop-oriented, and some musicians classi ed it as a modern style. Afro-Cuban jazz was successful because it never decreased in popularity and it always attracted people to dance to its unique rhythms.[26] Gillespie’s most famous contributions to Afro-Cuban music are the compositions “Manteca” and “Tin Tin Deo” (both co-written with Chano Pozo); he was responsible for commissioning George Russell’s “Cubano Be, Cubano Bop”, which featured the great but ill-fated Cuban conga player, Chano Pozo. In 1977, Gillespie discovered Arturo San- Gillespie performing in 1955 doval while researching music during a tour of Cuba. 4.1.4 Later years tured years before by Gillespie’s booking agency “for publicity, as a gag”,[31] but now proceeds from them went to bene t the Congress of Racial Equality, Southern Christian Leadership Conference and Martin Luther King, Jr.;[32] in later years they became a collector’s item.[33] In 1971 Gillespie announced he would run again[34][35] but withdrew before the election for reasons connected to the Bahá'í Faith.[36] His biographer Alyn Shipton quotes Don Waterhouse approvingly that Gillespie in the fties “had begun to mellow into an amalgam of his entire jazz experience to form the basis of new classicism”. Another opinion is that, unlike his contemporary Miles Davis, Gillespie essentially remained true to the bebop style for the rest of his career. Dizzy Gillespie, a Bahá'í since 1968,[37] was one of the most In 1960, he was inducted into the Down Beat magazine’s famous adherents of the Bahá'í Faith. It brought him to see Jazz Hall of Fame. himself as one of a series of musical messengers, part of During the 1964 United States presidential campaign the a succession of trumpeters somewhat analogous to the seartist, with tongue in cheek, put himself forward as an ries of prophets who bring God’s message in religion. The independent write-in candidate.[27][28] He promised that universalist emphasis of his religion prodded him to see if he were elected, the White House would be renamed himself more as a global citizen and humanitarian, expandthe Blues House, and he would have a cabinet composed ing on his already-growing interest in his African heritage. of Duke Ellington (Secretary of State), Miles Davis (Di- His increasing spirituality brought out a generosity in him, called an inner strength, discirector of the CIA), Max Roach (Secretary of Defense), and what author Nat Hento [38] pline and “soul force”. Gillespie’s conversion was most Charles Mingus (Secretary of Peace), Ray Charles (LibrarBill Sears’ book Thief in the Night.[37] Gillea ected by ian of Congress), Louis Armstrong (Secretary of Agriculabout the Bahá'í Faith frequently on his trips ture), Mary Lou Williams (Ambassador to the Vatican), spie spoke [39][40][41] He is honored with weekly jazz sessions at abroad. Thelonious Monk (Travelling Ambassador) and Malcolm X the New York Bahá'í Center in the memorial auditorium.[42] (Attorney General).[29][30] He said his running mate would be Phyllis Diller. Campaign buttons had been manufac- Gillespie published his autobiography, To Be or Not to Bop, 26 in 1979. Gillespie was a vocal xture in many of John Hubley and Faith Hubley's animated lms, such as The Hole, The Hat, and Voyage to Next. In the 1980s, Gillespie led the United Nation Orchestra. For three years Flora Purim toured with the Orchestra and she credits Gillespie with evolving her understanding of jazz after being in the eld for over two decades.[43] David Sánchez also toured with the group and was also greatly inuenced by Gillespie. Both artists later were nominated for Grammy awards. Gillespie also had a guest appearance on The Cosby Show as well as Sesame Street and The Muppet Show. CHAPTER 4. DIZZY GILLESPIE Lifetime Achievement Award the same year. The next year, at the Kennedy Center for the Performing Arts ceremonies celebrating the centennial of American jazz, Gillespie received the Kennedy Center Honors Award and the American Society of Composers, Authors, and Publishers Duke Ellington Award for 50 years of achievement as a composer, performer, and bandleader.[44][45] In 1993 he received the Polar Music Prize in Sweden.[46] In 1982, Gillespie had a cameo appearance on Stevie Wonder's hit "Do I Do". Gillespie’s tone gradually faded in the last years in life, and his performances often focused more on his proteges such as Arturo Sandoval and Jon Faddis; his good-humoured comedic routines became more and more a part of his live act. Dizzy Gillespie with the Italian singer Sergio Caputo Dizzy Gillespie with drummer Bill Stewart at 1984 Stanford Jazz Workshop In 1988, Gillespie had worked with Canadian autist and saxophonist Moe Ko man on their prestigious album Oo Pop a Da. He did fast scat vocals on the title track and a couple of the other tracks were played only on trumpet. In 1989 Gillespie gave 300 performances in 27 countries, appeared in 100 U.S. cities in 31 states and the District of Columbia, headlined three television specials, performed with two symphonies, and recorded four albums. He was also crowned a traditional chief in Nigeria, received the Ordre des Arts et des Lettres; France’s most prestigious cultural award. He was named Regent Professor by the University of California, and received his fourteenth honorary doctoral degree, this one from the Berklee College of Music. In addition, he was awarded the Grammy November 26, 1992 at Carnegie Hall in New York City, following the Second Bahá'í World Congress was Gillespie’s 75th birthday concert and his o ering to the celebration of the centenary of the passing of Bahá'u'lláh. Gillespie was to appear at Carnegie Hall for the 33rd time. The lineup included: Jon Faddis, Marvin “Doc” Holladay, James Moody, Paquito D'Rivera, and the Mike Longo Trio with Ben Brown on bass and Mickey Roker on drums. But Gillespie didn't make it because he was in bed su ering from cancer of the pancreas. “But the musicians played their real hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their friend, this great soul and innovator in the world of jazz.”[47] In 2002, Gillespie was posthumously inducted into the International Latin Music Hall of Fame for his contributions to AfroCuban music.[48] Gillespie also starred in a lm called The Winter in Lisbon released in 2004.[49] He has a star on the Hollywood Walk of Fame at 7057 Hollywood Boulevard in the Hollywood section of the City of Los Angeles. He is honored by the December 31, 2006 – A Jazz New Year’s Eve: Freddy Cole 27 4.2. STYLE & the Dizzy Gillespie All-Star Big Band at The John F. Kennedy Center for the Performing Arts.[50] 4.1.5 Death and legacy Gillespie in concert at Colonial Tavern, Toronto, 1978 A longtime resident of Englewood, New Jersey[51] he died of pancreatic cancer January 6, 1993, aged 75, and was buried in the Flushing Cemetery, Queens, New York City. Mike Longo delivered a eulogy at his funeral. He was also with Gillespie on the night he died, along with Jon Faddis and a select few others. At the time of his death, Gillespie was survived by his widow, Lorraine Willis Gillespie (d. 2004); a daughter, jazz singer Jeanie Bryson; and a grandson, Radji Birks BrysonBarrett. Gillespie had two funerals. One was a Bahá'í funeral at his request, at which his closest friends and colleagues attended. The second was at the Cathedral of Saint John the Divine in New York City open to the public.[52] As a tribute to him, DJ Qualls’ character in the 2002 American teen comedy lm The New Guy was named Dizzy Gillespie Harrison. The Marvel Comics current Hawkeye comic written by Matt Fraction features Gillespie’s music in a section of the editorials called the “Hawkguy Playlist”. Also, Dwight Morrow High School, the public high school of Englewood, New Jersey, renamed their auditorium the Dizzy Gillespie Auditorium, in memory of him. In 2014, Gillespie was inducted into the New Jersey Hall of Fame.[53] 4.2 Style Gillespie has been described as the “Sound of Surprise”.[54] The Rough Guide to Jazz describes his musical style: Statue of Dizzy Gillespie in his hometown Cheraw, South Carolina The whole essence of a Gillespie solo was cli -hanging suspense: the phrases and the angle of the approach were perpetually varied, breakneck runs were followed by pauses, by huge interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he always took listeners by surprise, always shocking them with a new thought. His lightning re exes and superb ear meant his instrumental execution matched his thoughts in its power and speed. And he was concerned at all times with swing—even taking the most daring liberties with pulse or beat, his phrases never failed to swing. Gillespies’s magni cent sense of time and emotional intensity of his playing came from childhood roots. His parents were Methodists, but as a boy he used to sneak o every Sunday to the uninhibited Sancti ed Church. He said later, “The Sancti ed Church had deep signi cance for me musically. I rst learned the signi cance of rhythm there and all about how music can transport people spiritually.”[55] 28 CHAPTER 4. DIZZY GILLESPIE In Gillespie’s obituary, Peter Watrous describes his perfor- ahead as in the conventional design. According to Gillemance style: spie’s autobiography, this was originally the result of accidental damage caused by the dancers Stump and Stumpy falling onto the instrument while it was on a trumpet stand In the naturally e ervescent Mr. Gillespie, on stage at Snookie’s in Manhattan on January 6, 1953, duropposites existed. His playing—and he pering a birthday party for Gillespie’s wife Lorraine.[58] The formed constantly until nearly the end of his constriction caused by the bending altered the tone of the life—was meteoric, full of virtuosic invention instrument, and Gillespie liked the e ect. He had the trumand deadly serious. But with his endlessly funny pet straightened out the next day, but he could not forget asides, his huge variety of facial expressions and the tone. Gillespie sent a request to Martin to make him his natural comic gifts, he was as much a pure a “bent” trumpet from a sketch produced by Lorraine, and entertainer as an accomplished artist.[56] from that time forward played a trumpet with an upturned [59] Wynton Marsalis summed up Gillespie as a player and bell. teacher: His playing showcases the importance of intelligence. His rhythmic sophistication was unequaled. He was a master of harmony—and fascinated with studying it. He took in all the music of his youth—from Roy Eldridge to Duke Ellington—and developed a unique style built on complex rhythm and harmony balanced by wit. Gillespie was so quick-minded, he could create an endless ow of ideas at unusually fast tempo. Nobody had ever even considered playing a trumpet that way, let alone had actually tried. All the musicians respected him because, in addition to outplaying everyone, he knew so much and was so generous with that knowledge...[57] 4.3 Bent trumpet Gillespie’s biographer Alyn Shipton writes that Gillespie probably got the idea for a bent trumpet when he saw a similar instrument in 1937 in Manchester, England, while on tour with the Teddy Hill Orchestra. According to this account (from British journalist Pat Brand) Gillespie was able to try out the horn and the experience led him, much later, to commission a similar horn for himself. Whatever the origins of Gillespie’s upswept trumpet, by June 1954 he was using a professionally manufactured horn of this design, and it was to become a visual trademark for him for the rest of his life.[60] Such trumpets were made for him by Martin (from 1954), King Musical Instruments (from 1972) and Renold Schilke (from 1982, a gift from Jon Faddis).[59] Gillespie favored mouthpieces made by Al Cass. In December 1986 Gillespie gave the National Museum of American History his 1972 King “Silver Flair” trumpet with a Cass mouthpiece.[59][61][62] In April 1995, Gillespie’s Martin trumpet was auctioned at Christie’s in New York City, along with instruments used by other famous musicians such as Coleman Hawkins, Jimi Hendrix and Elvis Presley.[63] An image of Gillespie’s trumpet was selected for the cover of the auction program. The battered instrument was sold to Manhattan builder Je ery Brown for $63,000, the proceeds bene ting jazz musicians su ering from cancer.[64][65][66] 4.4 List of works Main article: List of works by Dizzy Gillespie 4.5 Dizzy Gillespie with his bent trumpet, performing in 1988 Gillespie’s trademark trumpet featured a bell which bent upward at a 45-degree angle rather than pointing straight References [1] Watrous, Peter Dizzy Gillespie, Who Sounded Some of Modern Jazz’s Earliest Notes, Dies at 75, The New York Times Obituary, January 7, 1993 [2] Yanow, S. (2002) All Music Guide to Jazz. Backbeat Books. 29 4.5. REFERENCES [3] To Be or Not to Bop: Memoirs of Dizzy Gillespie by Dizzy Gillespie and Al Fraser. Published: Doubleday, New York, 1979. Pages: 552 [21] "'Jivin' in Be-Bop (DVD)". Filmthreat.com. August 17, 2004. Archived from the original on December 5, 2009. Retrieved October 20, 2010. [4] Palmer, Richer. “The Greatest Jazzman of Them All? The Recorded Work of Dizzy Gillespie: An Appraisal” Jazz Journal, January 2001, p. 8 [22] Ready for the Plaintiff! by Melvin Belli, 1956. [5] “jazz-music-history.com”. trieved October 20, 2010. Re- [24] “from Ken Burns’s Jazz, A Gillespie Biography”. .wwnorton.com. Retrieved October 20, 2010. Retrieved [25] “Ken Burns’s Jazz, A Gillespie Biography”. Pbs.org. Retrieved October 20, 2010. [7] “Johnny Hartman Book - The Last Balladeer: The Johnny Hartman Story”. johnnyhartmanbook.com. Retrieved November 14, 2015. [26] [Yanow, Scott. “Afro-Cuban Jazz”. Hal Leonard Publication. 2000] [6] “chuckmangione.com”. October 20, 2010. jazz-music-history.com. chuckmangione.com. [8] Appiah, Kwame Anthony; Jr, Henry Louis Gates (200501-01). Africana: The Encyclopedia of the African and African American Experience. Oxford University Press. ISBN 9780195170559. [9] Finkelman, Paul (2009-02-02). Encyclopedia of African American History, 1896 to the Present: From the Age of Segregation to the Twenty-first Century Five-volume Set. Oxford University Press, USA. ISBN 9780195167795. [10] “Dizzy Gillespie is born - Oct 21, 1917 - HISTORY.com”. HISTORY.com. Retrieved 2017-03-13. [11] Reich, Howard. “Dizzy’s Legacy: James Moody Carries on the Tradition of His Mentor”, Chicago Tribune, March 28, 1993 [12] “Priestly, Brian. “The De nitive Dizzy Gillespie” May 2000. 2 Jun 2009”. Vervemusicgroup.com. Retrieved October 20, 2010. [13] Vail, Ken (2003). Dizzy Gillespie: the Bebop Years, 1937– 1952. Scarecrow Press. pp. 6, 12. ISBN 0810848805. [14] “Great Encounters #26: When Cab Calloway and Dizzy Gillespie fought over a thrown spitball”. Jerry Jazz Musician. Retrieved 2016-02-24. [15] Brenda Gayle Plummer, Rising Wind: Black Americans and U.S. Foreign A airs, 1935–1960, 74 [16] Gunther Schuller 14 Nov 1972. Dance, p 290 [17] • Dance, Stanley (1983). The World of Earl Hines. [Includes a 120-page interview with Hines]. Da Capo Press. ISBN 0-306-80182-5: p.260 [18] “Kato, Lisa. “Charlie Parker and the Rise of Bebop”. 2003. 29 Jun 2009”. Theguitarschool.com. Retrieved October 20, 2010. [19] Yanow, Scott. “Afro-Cuban Jazz”. Hal Leonard Publication. 2000 [20] Yanow, Scott. “Yanow, Scott. “Dizzy Gillespie Biography”. 2009. June 25, 2009”. Allmusic.com. Retrieved October 20, 2010. [23] " www.smithsonianmag.com [27] Gillespie, Dizzy; Al Fraser (2000) [1979]. “Diz for President”. To Be or Not to Bop. Minneapolis: University of Minnesota Press. pp. 452–461. ISBN 978-0-8166-6547-1. [28] Lipsitz, George. The Possessive Investment in Whiteness: How White People Profit from Identity Politics. Philadelphia: Temple University Press. pp. 161–162. ISBN 1-59213493-9. [29] “BBC radio broadcast on Gillespie’s 1964 presidential campaign”. Bbc.co.uk. January 8, 2007. Retrieved October 20, 2010. [30] “The Winter in Lisbon” CD booklet. [31] Gillespie 2000 [1979], op. cit. p. 453. [32] Gillespie 2000 [1979], op. cit. p. 460. [33] Gelly, Dave (May 8, 2005). “Other Jazz CDs”. The Observer. p. Observer Review: 13. Archived from the original on January 29, 2011. Retrieved January 29, 2011. [34] “Dizzy Wants to Blow Right into White House”. Jet. 40 (17): 61. July 22, 1971. ISSN 0021-5996. [35] “Dizzy Gillespie Picks Two Cabinet Members: Duke Ellington, Muhammad Ali”. Jet. 40 (26): 56. September 23, 1971. ISSN 0021-5996. [36] Gillespie 2000 [1979], op. cit. pp. 460–461. [37] Dizzy Gillespie; Al Fraser (2009) [1979]. To Be, Or Not-to Bop. U of Minnesota Press. pp. xiv, 185, 287–8, 430–1, 460–4, 473–480, 486, 493. ISBN 978-0-8166-6547-1. [38] Alyn Shipton (June 3, 1999). Groovin' High : The Life of Dizzy Gillespie: The Life of Dizzy Gillespie. Oxford University Press. p. 302. ISBN 978-0-19-534938-2. [39] “Remembering Dizzy”. Jazztimes.com. Archived from the original on December 28, 2008. Retrieved October 20, 2010. [40] Groovin' High The Life of Dizzy Gillespie by Alyn Shipton. [41] Groovin' High: The Life of Dizzy Gillespie Review by Brad Pokorny 30 CHAPTER 4. DIZZY GILLESPIE [42] “Jazz Night @ the Bahá'í Center”. New York City Baha'i Center. Local Spiritual Assembly of the Baha'is of New York City. Retrieved Feb 7, 2016. [62] “Dizzy Gillespie’s B- at trumpet along with one of his Al Cass mouthpieces”. National Museum of American History, Smithsonian Institution. Retrieved September 8, 2008. [43] Beatrice Richardson for JazzReview interviews Flora Purim – Queen of Brazilian Jazz Archived December 11, 2006, at the Wayback Machine.. [63] Fisher, Don (April 23, 1995). “Christie’s To Auction Prized Martin Guitar Collection – L.V. Man’s Love To Be Instrument of His Retirement”. The Morning Call. Lehigh Valley, Pennsylvania. p. 2. [44] Pop/Jazz; A Tribute For Gillespie And the Jazz He Created. [45] Jazz with Bob Parlocha – Biographies – Dizzy Gillespie Archived October 29, 2006, at the Wayback Machine.. [46] – About | Polar Music Prize. [47] The Spiritual Side of Dizzy by Lowell Johnson. [48] “International Latin Music Hall of Fame Announces Inductees for 2002”. 5 April 2002. Retrieved 31 October 2015. [49] “The Winter in Lisbon” Dizzy Gillespie | Milan Records (2004). [50] The Kennedy Center for the Performing Arts Schedule 2006-7. [51] Berman, Eleanor. “The jazz of Queens encompasses music royalty”, Pittsburgh Post-Gazette, January 1, 2006. Retrieved October 1, 2009. “Mr. Knight shows the brick building that was the studio of Dizzie Gillespie, where other Corona residents like Cannonball Adderley used to come and jam.” [52] Dizzy Gillespie Memorial. [53] The Star-Ledger. August 1, 2014. pg. 19 [54] Shipton, A. Groovin' High: The Life of Dizzy Gillespie (1999) New York: Oxford University Press. [55] Carr, I., Fairweather, D, Brian P, The rough guide to Jazz. page. 291 [56] Watrous, Peter. “Dizzy Gillespie, Who Sounded Some of Modern Jazz’s Earliest Notes, Dies at 75”, New York Times, January 7, 1993 [57] Marsalis, W. with Geo rey C. Ward. Moving to higher ground : how jazz can change your life. New York : Random House, 2008. [58] Maggin, Donald L. (2006). Dizzy: The Life and Times of John Birks Gillespie. HarperCollins. p. 253. ISBN 0-06055921-7. [59] Hamlin, Jesse (July 27, 1997). “A Distinctly American Bent / Dizzy Gillespie’s misshapen horn highlights Smithsonian’s traveling show”. San Francisco Chronicle. [60] Shipton, Alyn. 'Groovin' High: The Life of Dizzy Gillespie' New York : Oxford University Press. (see pp.258–259) [61] “Dizzy Gillespie Donates Trumpet to NMAH”. Smithsonian Institution Archives. December 1986. Retrieved January 15, 2012. [64] “Bent, Battered Trumpet Sells For Dizzy $63,000”. Deseret News. April 26, 1995. [65] “Object of Desire: Bell Epoque”. New York Magazine. 28 (17): 111. April 24, 1995. ISSN 0028-7369. [66] Macnie, Jim (May 13, 1995). “Jazz Blue Notes”. Billboard. 107 (19): 60. ISSN 0006-2510. 4.6 External links • The Dizzy Gillespie All-Stars • Dizzy Gillespie’s “The Cult of Bebop” • Dizzy Gillespie Talking to Les Tomkins in 1973 • Dizzy Gillespie Concerts & Interviews on NPR Music • Dizzy Gillespie a short biography by C.J Shearn Chapter 5 Bud Powell Earl Rudolph "Bud" Powell (September 27, 1924 – July 5.2.1 Early to mid-1940s 31, 1966) was an American jazz pianist, born and raised in Harlem, New York City. Though Thelonious Monk was a close friend and in uence, his greatest piano in uence was Even as an underage youth, Bud often listened to the musically adventurous performances at the Uptown House, an Art Tatum. after-hours venue near where he lived. Here, the rst stirAlong with Charlie Parker, Monk, and Dizzy Gillespie, rings of modernism (bebop) were heard nightly, and where Powell was a leading gure in the development of modern Charlie Parker rst appeared as a solo act when he brie y jazz, or bebop. His virtuosity led many to call him the Char- lived in New York.[5] lie Parker of the piano. Powell was also a composer, and many jazz critics credit his works and his playing as having Thelonious Monk had also played at the Uptown House. When he and Powell met (around 1942)[6] the elder pi“greatly extended the range of jazz harmony.”[1] anist/composer introduced Powell to the circle of bebop musicians that was forming at the venue known as Minton’s Playhouse. Monk was resident there, and he presented Powell as his protégé. Their mutual a ection grew and 5.1 Early life Monk became Powell’s greatest mentor. For his part, Powell eagerly experimented with Monk’s latest ideas on the piano. Monk’s composition "In Walked Bud" is an enduring Powell’s father was a stride pianist.[2] Powell took to his fatribute to their time together in Harlem.[7] ther’s instrument at a very young age, starting on classicalpiano lessons at age ve. His teacher, hired by his father, Powell was engaged in a series of dance bands, his incubation culminating in his being given the piano chair in the was a West Indian man named Rawlins. big-time swing orchestra of Cootie Williams. In late 1943 But by age ten, Powell also showed interest in the swing-era he was o ered the chance to appear at a midtown nightclub jazz that could be heard all over the neighborhood. He rst with the modernist quintet of Oscar Pettiford and Dizzy appeared in public at a rent party,[3] where he mimicked Gillespie, but Powell’s mother decided he would continue Fats Waller's playing style. The rst jazz composition that with the more secure job, with the popular Williams. he mastered was James P. Johnson's “Carolina Shout”.[4] Powell was the pianist on a handful of Williams’s recordBud’s older brother, William, played the trumpet, and by ing dates in 1944, the last of which included the rst-ever age fteen, Bud was playing in his band. By this time, recording of Monk’s "'Round Midnight". His tenure with he had heard on radio Art Tatum, whose overwhelmingly Williams was terminated one night in Philadelphia, in Janvirtuosic piano technique Powell then set out to equal.[4] uary 1945, when he got separated from the other band Bud often sought out opportunities to hear Tatum in lomembers once they had left the bandstand at the end of the cal venues. Other neophyte piano talents, Al Tinney and evening. Powell was wandering around Broad street station Gerald Wiggins, were also frequent habitués of the venues and was apprehended, drunk, by the private railroad police. where Tatum would perform. He was beaten by them, and then brie y incarcerated by the city police. Ten days after his release, his headaches persisting, he was hospitalized— rst in Bellevue, an observation ward, and then in a state psychiatric hospital, sixty miles away. He stayed there for two and a half months.[8] 5.2 Later life and career Powell resumed playing in Manhattan immediately upon his 31 32 release, in demand by various small-group leaders for nightclub engagements in the increasingly integrated midtown scene. His 1945–46 recordings, many as the result of his sudden visibility on the club scene, were for Frank Socolow, Dexter Gordon, J. J. Johnson, Sonny Stitt, Fats Navarro, and Kenny Clarke. Powell quickly gained a reputation as an excellent sight-reader, and for his ability to play at fast tempos. His percussive punctuation of certain phrases, as well as his predilection for speed, showed the in uence of Parker and other modern horn soloists. "Bebop in Pastel" (soon to be known as “Bouncing with Bud”) was rst recorded on August 23, 1946 and became a jazz standard. Powell’s career advanced again, when Parker chose him to be his pianist on a May 1947 quintet record date, with Miles Davis, Tommy Potter, and Max Roach. Powell demonstrated his quick-study skills when, on the third complete take of "Donna Lee", he played his brief solo spot with nesse, and then lling with jocular chords behind the horn players when they stopped to breathe, on “Buzzy”, the last tune recorded. 5.2.2 Hospitalization (1947–1948) The Parker session aside, Powell made no other records and seldom appeared at nightclubs in 1947. In November, he had an altercation with another customer at a Harlem bar. In the ensuing ght, Powell was hit over his eye with a bottle. When Harlem Hospital found him incoherent and rambunctious, it sent him to Bellevue, which had the record of his previous con nement there and in a psychiatric hospital. It chose to institutionalize him again, though this time at Creedmoor State Hospital, a facility much closer to Manhattan. He was kept there for eleven months.[9] Powell eventually adjusted to the conditions in the institution, though in psychiatric interviews he expressed feelings of persecution founded in racism. From February to April 1948, he received electroconvulsive therapy, rst administered after an outburst deemed to be uncontrollable. It might have been prompted by his learning, after a visit by his girlfriend, that she was pregnant with their child.[10] While the electroconvulsive therapy was said to have made no di erence, the MDs gave Powell a second series of treatments in May. He was eventually released, in October 1948—though from these early and subsequent hospitalizations, he was emotionally unstable for the rest of his career. Bebop’s and Powell’s increased visibility by the end of 1948, the latter’s celebrity seemingly having accelerated in anticipation of his release, made plain as well that he had a serious problem with alcohol. Even one drink had a profound e ect on his character, making him aggressive or morose. Nonetheless, after another (though brief) hospitalization in early 1949, Powell soon attained the greatest artistic CHAPTER 5. BUD POWELL height that he ever would reach. 5.2.3 Solo and trio recordings (1949–1958) It is generally agreed that from 1949 through 1953 Powell made his best recordings, most of which were for Alfred Lion of Blue Note Records and for Norman Granz of Mercury, Norgran and Clef. The rst Blue Note session, in August 1949, features Fats Navarro, Sonny Rollins, Powell, Tommy Potter and Roy Haynes, and the compositions “Bouncing with Bud” and “Dance of the In dels”. The second Blue Note session in 1951 was a trio with Curley Russell and Max Roach, and includes “Parisian Thoroughfare” and "Un Poco Loco"; the latter was selected by literary critic Harold Bloom for inclusion on his short list of the greatest works of twentieth-century American art. Sessions for Granz (more than a dozen) were all solo or trios, with a variety of bassists and drummers, including Ray Brown, George Duvivier, Percy Heath, Russell, Lloyd Trotman, Art Blakey, Kenny Clarke, Osie Johnson, Buddy Rich, Roach, and Art Taylor. Powell’s continued rivalry with Parker, while essential to the production of brilliant music, was also the subject of disruptive feuding and bitterness on the bandstand, as a result of Powell’s troubled mental and physical condition. Powell recorded for both Blue Note and Granz throughout the 1950s, interrupted by another long stay in a mental hospital from late 1951 to early 1953, following arrest for possession of marijuana, after which he was released into the guardianship of Oscar Goodstein, owner of the Birdland nightclub. A 1953 trio session for Blue Note (with Duvivier and Taylor) included Powell’s composition "Glass Enclosure", inspired by his near-imprisonment in Goodstein’s apartment. On May 15, 1953 he played at Massey Hall in Toronto with “The Quintet”, including Charlie Parker, Dizzy Gillespie, Charles Mingus, and Max Roach, which resulted in the album Jazz at Massey Hall by Debut Records. His playing after his release from hospital began to be seriously a ected by Largactil, taken for the treatment of schizophrenia, and by the late 1950s his talent was in eclipse.[11] In 1956 his brother Richie Powell, a fellow pianist, was killed in a car crash alongside Cli ord Brown. Three albums for Blue Note in the late fties showcased Powell’s ability as a composer, but his playing was far removed from the standard set by his earlier recordings for the label. 33 5.3. MUSICAL STYLE 5.2.4 Paris (1959–1963) 5.3 Musical style Jazz pianist Bill Cunli e, whose music was in uenced by After several further spells in hospital, Powell moved to Bud Powell, said in an interview with All About Jazz: Paris in 1959, in the company of Altevia “Buttercup” Edwards, whom he had met after an incarceration in He was really the rst guy; before Bud Pow1954.[12] The couple moved permanently into the Hotel La ell, pianists were playing boom, chuck in the left [13] Louisiane. She kept control of his nances and overdosed hand and a lot of melodic gures in the right hand him with Largactil, but Powell continued to perform and that tended to be arpeggios. But with Bud Powrecord. The 1960 live recording of the Essen jazz festival ell, Bud Powell was imitating Charlie Parker. So performance (with Clarke, Oscar Pettiford and, on some Bud was the rst pianist to take Charlie Parker’s numbers, Coleman Hawkins) is particularly notable. language and adapt it successfully to the piano. That’s why he is the most important pianist in In December 1961 he recorded two albums for Columbia music today because everybody plays like that Records under the aegis of Cannonball Adderley: A Portrait now.[15] of Thelonious (with Michelot and Clarke), and A Tribute to Cannonball (with the addition of Don Byas and Idrees Sulieman—despite the title, Adderley only plays on one al- His playing of melodic lines owed most to Billy Kyle, and ternative take). The rst album (with overdubbed audience his accompaniments to horn solos owed most to the style noise) was released shortly after Powell’s death, and the of Earl Hines. At other times, Powell’s accompanying resecond was released in the late 1970s. Eventually, Powell called stride and, on occasion, the graceful approach of piwas befriended by Francis Paudras, a commercial artist and anist Teddy Wilson. His comping often consisted of single amateur pianist, and Powell moved into Paudras’s home in bass notes outlining the root and fth. He also used a tenth, 1962. There was a brief return to Blue Note in 1963, when with the minor seventh included. Dexter Gordon recorded Our Man in Paris for the label. Powell was greatly in uenced by Art Tatum early in his caPowell was a last-minute substitute for Kenny Drew, and reer and more so by Thelonious Monk later on. Powell often the album of standards—Powell could not by then learn new listened to Tatum’s records and built upon Tatum’s style, but material—showed him to be still capable of playing with with less stride in the left and without the “arabesques” and some pro ciency. “ ourishes” favored by Tatum. It has been said that Powell is the linchpin between Tatum and the bebop pianists. 5.2.5 Last years (1964–1966) In 1963, Powell contracted tuberculosis, and the following year returned to New York with Paudras for a return engagement at Birdland accompanied by drummer Horace Arnold and bassist John Ore. Arnold calls it, “The Ultimate Performance experience of my life”. The original agreement had been for the two men to go back to Paris, but Paudras returned alone (although Powell did record in Paris, with Michel Gaudry and Art Taylor, in July 1964). In 1965, Powell played only two concerts: one a disastrous performance at Carnegie Hall, the other a tribute to Charlie Parker on May 1 with other performers on the bill, including Albert Ayler. Little else was seen of him in public. Where his solos could be heard to emulate the horn players’ attack—with the use of frequent arpeggios punctuated by chromaticism—this was, in part, because of his determination to see that the pianist get the adulation usually reserved for the saxophonist or trumpeter.[16] Powell’s progressive exploration, on nightclub bandstands, of the harmonic series often produced brilliant, thrillingly unexpected solos. But his generally rough-edged execution was the price that his music paid for his virtuosic striving. Many later pianists, nonetheless, copied his daring attack, looking to attain that rare ed status, of the fearless improviser. They also emulated his lush melodicism on ballads. Powell freed the right hand for continuous linear exploration at the expense of developing the left. Legend has it that one night Art Tatum criticized him as he came o the bandstand after playing a set. Powell responded in his next set by soloing on a piece exclusively with his left hand.[17] His favoring the treble was not to avoid integrating the hands, which is essential to both a solo and accompanying techPowell was hospitalized in New York after months of in- nique. These formed the basic small ensembles that have creasingly erratic behavior and self-neglect. On July 31, dominated jazz since the bebop era (after swing). Before 1966, he died of tuberculosis, malnutrition, and alco- Powell, Art Tatum and Earl Hines had also somewhat exholism. Several thousand people viewed his Harlem funeral plored independent homophony closely resembling later piprocession.[14] ano playing. 34 CHAPTER 5. BUD POWELL The pianist’s time was especially solid. So much so, that he was not dependent on his accompanists. Powell dictated the time when he played, in particular throughout the strength of the eight-notes in his right hand, essentially participating in the time-keeping with the bassist and drummer. This is reminiscent of recordings of Charlie Parker.[18] • 1950–51: Bud Powell’s Moods (Mercury / Clef) aka The Genius of Bud Powell (Verve)[32] 5.4 • 1954–55: Jazz Original (Norgran) aka Bud Powell '57 (Norgran / Verve)[36] Influence Powell in uenced countless younger musicians, especially pianists. These included Horace Silver,[19] Wynton Kelly,[20] Andre Previn,[21] McCoy Tyner,[22] Cedar Walton,[23] Chick Corea,[24] and many others. • 1953: The Amazing Bud Powell, Vol. 2 (Blue Note)[33] • 1953: Bud Powell Trio, Volume 2 (Roost)[34] • 1954–55: Bud Powell’s Moods (Norgran / Verve)[35] • 1955: The Lonely One... (Verve)[37] • 1955: Piano Interpretations by Bud Powell (Norgran / Verve)[38] Bill Evans, who described Powell as his single greatest in uence,[25] paid the pianist a tribute in 1979: “If I had to choose one single musician for his artistic integrity, for the incomparable originality of his creation and the grandeur of his work, it would be Bud Powell. He was in a class by himself”.[26] • 1956: Blues in the Closet (Verve)[39] Herbie Hancock said of Powell, in a Down Beat magazine interview in 1966: “He was the foundation out of which stemmed the whole edi ce of modern jazz piano”.[27] • 1957–58: Bud Plays Bird (Roulette / Blue Note)[43] 5.5 • 1958: The Scene Changes: The Amazing Bud Powell (Vol. 5) (Blue Note)[45] Legacy • 1956: Strictly Powell (RCA Victor)[40] • 1957: Swingin' with Bud (RCA Victor)[41] • 1957: Bud! The Amazing Bud Powell (Blue Note)[42] • 1958: Time Waits: The Amazing Bud Powell (Vol. 4) (Blue Note)[44] • 1961: A Tribute to Cannonball (Columbia)[46] In 1986 Paudras wrote a book about his friendship with Powell, translated into English in 1997 as Dance of the In• 1961: A Portrait of Thelonious (Columbia)[46] fidels: A Portrait of Bud Powell. The book was the basis for Round Midnight, a lm inspired by the lives of Powell and • 1963: Bud Powell in Paris (Reprise)[47] Lester Young, in which Dexter Gordon played the lead role of an expatriate jazzman in Paris. In February 2012 a biography titled Wail: The Life of Bud Powell by Peter Pullman 5.6.2 Live and home recordings was released as an ebook. • 1944–48: Earl Bud Powell, Vol. 1: Early Years of a Genius, 44-48 (Mythic Sound) 5.6 Discography Years listed are years recorded (not years released). • 1953: Winter Broadcasts 1953 (ESP-Disk) • 1953: Spring Broadcasts 1953 (ESP-Disk) • 1953: Inner Fires (Elektra) 5.6.1 Studio recordings • 1953: Summer Broadcasts 1953 (ESP-Disk) • 1947: Bud Powell Trio (Roost)[28] • 1953: Autumn Broadcasts 1953 (ESP-Disk) • 1949–50: Bud Powell Piano Solos (Mercury / Clef) aka (½ of) Jazz Giant (Norgran / Verve)[29] • 1953: Live at Birdland (Queen Disc [Italy]) • 1949–51: The Amazing Bud Powell (Blue Note)[30] • 1953–55: Earl Bud Powell, Vol. 2: Burnin' in U.S.A., 53–55 (Mythic Sound) • 1950: Bud Powell Piano Solos No. 2 (Mercury / Clef) aka (½ of) Jazz Giant (Norgran / Verve)[31] • 1957–59: Earl Bud Powell, Vol. 3: Cookin' at SaintGermain, 57–59 (Mythic Sound) 35 5.6. DISCOGRAPHY • 1959–60: Bud in Paris (Xanadu) • 1959–61: Earl Bud Powell, Vol. 5: Groovin' at the Blue Note, 59–61 (Mythic Sound) • 1960: The Essen Jazz Festival Concert (Black Lion) • 1960–64: Earl Bud Powell, Vol. 11: Gift for the Friends, 60–64 (Mythic Sound) • 1961: Pianology (Moon [Italy])[48] • 1961–64: Earl Bud Powell, Vol. 4: Relaxin' at Home, 61-64 (Mythic Sound) • 1962: Bud Powell Live in Lausanne 1962 (Stretch Archives) • 1962: Bud Powell Live in Geneva (Norma [Japan]) • 1962: Bud Powell Trio at the Golden Circle, Vols. 1–5 (Steeplechase)[49] 5.6.3 Notable compilation • Tempus Fugue-It (Proper) – Four disc set, from 1944 recordings with Cootie Williams to the rst sessions for Blue Note and Clef in 1949–50. • The Complete Bud Powell on Verve – Five discs, sessions from 1949 to 1956. • The Best of Bud Powell on Verve – Single disc compilation. • The Complete Blue Note and Roost Recordings – Four disc set containing all of the Amazing Bud Powell... Blue Note sessions plus Roost sessions from 1947 and 1953. The Blue Note sessions have also been remastered and reissued as individual CDs (though the Roost material is not included). • The Complete RCA Trio Sessions – Contains Swingin' with Bud and Strictly Powell. • 1962: Budism (SteepleChase) 5.6.4 As sideman • 1962: Bouncing with Bud (Sonet) with Cootie Williams • 1962: 'Round About Midnight at the Blue Note (Dreyfus Jazz) • 1962–64: Bud Powell at Home – Strictly Confidential (Fontana) • 1944: Cootie Williams and His Orchestra 1941–44 with Frank Socolow • 1945: New York Journeyman – Complete Recordings • 1963: Earl Bud Powell, Vol. 6: Writin' for Duke, 63 (Mythic Sound) with J. J. Johnson • 1963: Americans in Europe (Impulse!) • 1946: J. J. Johnson’s Jazz Quintets • 1964: Earl Bud Powell, Vol. 7: Tribute to Thelonious, with Dexter Gordon 64 (Mythic Sound) • 1964: Blues for Bouffemont (Fontana) • 1947: Dexter Rides Again • 1964: Hot House (Fontana) • 1963: Our Man in Paris • 1964: Earl Bud Powell, Vol. 8: Holidays in Edenville, with The Quintet (Dizzy Gillespie, Charlie Parker, Bud 64 (Mythic Sound) Powell, Charles Mingus, Max Roach) • 1964: The Return of Bud Powell (Roulette) • 1953: Jazz at Massey Hall • 1964: Earl Bud Powell, Vol. 9: Return to Birdland, 64 (Mythic Sound) with Art Blakey • 1964: Earl Bud Powell, Vol. 10: Award at Birdland, 64 (Mythic Sound) • 1964: Ups’n Downs (Mainstream) • 1959: Paris Jam Session with Charles Mingus 36 CHAPTER 5. BUD POWELL • 1960: Mingus at Antibes – sits in on one track, "I'll Remember April" With Sonny Stitt • Sonny Stitt/Bud Powell/J. J. Johnson (Prestige, 1949– 50 [1956]) 5.7 Notable compositions • "Tempus Fugue-it" (aka “Tempus Fugit”) • "Un Poco Loco" • "Bouncing with Bud" • “Dance of the In dels” • “Parisian Thoroughfare” • “Hallucinations” • “Celia” • “The Fruit” • "Glass Enclosure" 5.8 Notes [14] Powell, Earl “Bud” (1924–1966) at blackpast.org [15] Fred Jung (2010). “A Fireside Chat with Bill Cunli e”. allabout-jazz. Retrieved 2010-06-07. When I was a kid, I was listening mostly to classical music because my dad had a lot of it in the house. I listened to all the stu that was on the radio in the Sixties and Seventies. [16] Bishop, p. 41. [17] Morrison, p. 69. [18] Harris, Barry; Weiss, Michael (1994). The Complete Bud Powell on Verve (Liner notes, booklet). Verve. pp. 105, 106. [19] Silver, Horace (1994). The Complete Bud Powell on Verve (Liner notes, booklet). Verve. p. 98-100. [20] Bogdonov, Vladimir; Woodstra, Chris (2002). All Music Guide to Jazz. Backbeat Books. p. 709. ISBN 978-087930-717-2. [21] Bogdonov, p. 1364. [22] Turner, Richard Brent (2003). Islam in the African American Experience. Indiana University Press. p. 140. Retrieved 2012-06-25. [23] Deardra Shuler, “Cedar Walton and Barry Harris to play Jazz at Lincoln Center”, New York Amsterdam News, June 20, 2013. [1] Grove [24] Diliberto, John. "Jazz Profiles from NPR: Chick Corea”. npr.org. NPR. Retrieved November 5, 2014. [2] Gitler, p. 112. [25] Evans [3] Crawford, p. 12. [4] Pullman, chapter 1. [5] Patrick, pp. 159–161. [6] Hento p. 16. [7] Jazz: The First 100 Years. Henry Martin and Keith Waters. Cengage Learning, 2005. ISBN 0-534-62804-4. p. 215 [8] Pullman, p. 50. [9] Pullman, Peter. Wail: The Life of Bud Powell. Bop Changes. pp. 84–5. [10] Pullman, chapters 4,5. [11] Davis, Francis (January 1996). “Bud’s Bubble”. The Atlantic Monthly. [12] Pullman, chapter 10. [13] Wilmer, Val (1989). Mama Said There'd Be Days Like This: My Life in the Jazz World. Womens PressLtd. p. 102. ISBN 978-0-7043-5040-3. [26] Paudras 1998, p. ix [27] Downbeat. September 22, 1966. Missing or empty |title= (help) [28] 10-inch LP release of January 1947 recording session. Roost RLP-401. Later re-issued together with Bud Powell Trio, Volume 2 on a single 12-inch LP, Bud Powell Trio (Roost RLP 2224 / RST 2224) [29] 10-inch LP release of February 1949 and February 1950 sessions. Mercury MG 35012 (Clef MGC 102 / Clef MGC 502 / Mercury MGC 502). Re-issued together with (most of) Piano Solos No. 2 as Jazz Giant (Norgran MGN 1063 / Verve MGV 8153) [30] 1951 release of August 1949 and May 1951 sessions. Blue Note BLP 5003, BLP 1503 [31] 10-inch LP release of February & July 1950 sessions. Mercury MGC 507 (Clef MGC 507). All but the two July tracks re-issued together with Piano Solos as Jazz Giant (Norgran MGN 1063 / Verve MGV 8153) 37 5.9. REFERENCES [32] July 1950 session in trio; February 1951 session solo. Mercury MGC 610 (Clef MGC 610 / Clef MGC 739 and, as The Genius of Bud Powell, Verve 8115) Not to be confused with the Norgran release Bud Powell’s Moods 5.9 References • Bishop, Walter (1994), Complete Bud Powell on Verve, New York City: Polygram Records [33] 1954 release of August 1953 session. Blue Note BLP 5041, BLP 1504 / Blue Note BST 81504 (pseudo stereo) • Crawford, Marc (1966), Requiem for a Tortured Heavyweight, Chicago: Down Beat [34] 10-inch LP release of September 1953 recording session. Roost RLP-412. Later re-issued together with Bud Powell Trio on a single 12-inch LP, Bud Powell Trio (Roost RLP 2224 / RST 2224) • Gitler, Ira (1966), Jazz Masters of the Forties, New York: Macmillan, ISBN 0-306-76155-6 • Hento , Nat (1956), Just Call Him Thelonious, Chicago: Down Beat [35] June 1954, January 1955 sessions. Norgran MGN 1064 (Verve MGV 8154) Not to be confused with the Mercury / Clef release Bud Powell’s Moods • Morrison, Allan (1953), Can a Musician Return from the Brink of Insanity?, Chicago: Ebony [36] 1955 release of December 1954 and January 1955 sessions. Norgran MGN 1017 (and, as Bud Powell '57, Norgran MGN 1098 / Verve MGV 8185) • Patrick, James (1983), Al Tinney, Monroe’s Uptown House, and the Emergence of Modern Jazz in Harlem, New Brunswick, NJ: Annual Review of Jazz Studies, IJS, ISBN 0-87855-906-X [37] January and April 1955 sessions. Verve MGV 8301 [38] April 1955 sessions. Norgran MGN 1077 (Verve MGV 8167) [39] September 1956 session. Verve MGV 8218 [40] October 1956 session, RCA Victor LPM 1423 [41] February 1957 session, RCA Victor LPM 1507 [42] August 1957 session. Blue Note BLP 1571 (Blue Note BST 81571, CDP 7 81571-2) [43] October & December 1957 and January 1958 sessions only released in 1997 [44] May 1958 session. Blue Note BLP 1598 (Blue Note BST 81598, CDP 7 46820-2) • Paudras, Francis; Monet, Rubye (trans.) (1998), Dance of the Infidels: A Portrait of Bud Powell, New York: Da Capo Press, ISBN 0-306-80816-1 • Pullman, Peter (2012), Wail: The Life of Bud Powell, Brooklyn, NY: Peter Pullman, LLC, ISBN 978-09851418-0-6 • Spellman, A B (1998), Four Jazz Lives, Ann Arbor: University of Michigan Press, ISBN 978-0-47208967-3 • Eds. “Bud Powell”. The New Grove Dictionary of Jazz. Oxford University Press. Retrieved October 28, 2014. 5.10 External links [45] December 1958 session. Blue Note BLP 4009 (Blue Note BST 84009, CDP 7 46529-2) • Wail: The Life of Bud Powell [46] December 1961 session in Paris, produced by Cannonball Adderley • Bud Powell at Blue Music Group [47] February 1963 session in Paris, produced by Duke Ellington [48] April 1961 live recording in Milan, Italy (Moon MCD 0552). The album is split between the Powell session and unrelated 1966–70 European sessions by Thelonious Monk [49] April 1962 live recordings at the Gyllene Cirkeln, Stockholm, Sweden. With Torbjfirn Hultcrantz on bass, and Sune Spångberg on drums. 5 volumes available as individual discs. Rare Powell vocals on “This Is No Laughin' Matter”. • Bud Powell discography • Website devoted to Bud Powell(includes mp3 samples) • The African American Registry – Bud Powell • Bud Powell at AllMusic • New York Times pro le • Bud Powell multimedia directory • “Bud Powell Anthology” – essays and transcriptions by Ethan Iverson 38 • Reference article on Bud Powell’s left hand jazz chords • David W. Niven’s tapes on Bud Powell CHAPTER 5. BUD POWELL Chapter 6 Charlie Christian death when Charles was 12.[5] Charles Henry "Charlie" Christian (July 29, 1916 – March 2, 1942) was an American swing and jazz guitarist. Christian was an important early performer on the electric guitar and a key gure in the development of bebop and cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August 1939 to June 1941. His single-string technique, combined with ampli cation, helped bring the guitar out of the rhythm section and into the forefront as a solo instrument. John Hammond[1] and George T. Simon[2] called Christian the best improvisational talent of the swing era. In the liner notes to the album Solo Flight: The Genius of Charlie Christian (Columbia, 1972), Gene Lees wrote that “Many critics and musicians consider that Christian was one of the founding fathers of bebop, or if not that, at least a precursor to it.”[3] He attended Douglass School in Oklahoma City, where he was further encouraged in music by an instructor, Zelia N. Breaux. Charles wanted to play tenor saxophone in the school band, but she insisted he try trumpet instead.[5] As he believed playing the trumpet would dis gure his lip, he quit to pursue his interest in baseball, at which he excelled.[6] In a 1978 interview with Charlie Christian biographer Craig McKinney, Clarence Christian said that in the 1920s and '30s Edward Christian led a band in Oklahoma City as a pianist and had a shaky relationship with the trumpeter James Simpson. Around 1931, he took the guitarist “Bigfoot” Ralph Hamilton and began secretly schooling the younger Charles in jazz. They taught him to solo on three songs, "Rose Room", "Tea for Two", and "Sweet Georgia Brown". Christian’s in uence reached beyond jazz and swing. In When the time was right they took him out to one of the 1990, he was inducted into the Rock and Roll Hall of Fame many after-hours jam sessions along "Deep Deuce", Northeast Second Street, in Oklahoma City. in the category Early In uence. In 2006 Oklahoma City renamed a street in its Bricktown entertainment district “Charlie Christian Avenue” (Christian was raised in Oklahoma City and was one of many musicians who jammed along the city’s "Deep Deuce" section on N.E. Second Street). 6.1 Early life Christian was born in Bonham, Texas. His family moved to Oklahoma City, Oklahoma, when he was a small child. His parents were musicians. He had two brothers, Edward, born in 1906, and Clarence, born in 1911. All three sons were taught music by their father, Clarence Henry Christian. Clarence Henry was struck blind by fever, and in order to support the family he and the boys worked as buskers, on what the Christians called “busts.” He would have them lead him into the better neighborhoods, where they would perform for cash or goods. When Charles was old enough to go along, he rst entertained by dancing.[4] Later he learned to play the guitar, inheriting his father’s instruments upon his “Let Charles play one,” they told Edward. “Ah, nobody wants to hear them old blues,” Edward replied. After some encouragement, he allowed Charles to play. “What do you want to play?" he asked. All three songs were big in the early 1930s, and Edward was surprised that Charles knew them. After two encores, Charles had played all three, and Deep Deuce was in an uproar. He coolly dismissed himself from the jam session, and his mother had heard about it before he got home.[7] Charles fathered a daughter, Billie Jean Christian (December 23, 1932 – July 19, 2004) by Margretta Lorraine Downey of Oklahoma City.[7] Charles soon was performing locally and on the road throughout the Midwest, as far away as North Dakota and Minnesota. By 1936 he was playing electric guitar and had become a regional attraction. He jammed with many of the big-name performers traveling through Oklahoma City, including Teddy Wilson and Art Tatum. Mary Lou Williams, the pianist for Andy Kirk and His Clouds of Joy, told the record producer John Hammond about Christian.[8] 39 40 6.2 CHAPTER 6. CHARLIE CHRISTIAN National fame Benny Goodman playing the clarinet In 1939, Christian auditioned for John Hammond, who recommended him to the bandleader Benny Goodman. Goodman was the fourth white bandleader to feature black musicians in his live band: the rst was Jimmy Durante, for whom the clarinetist Achille Baquet played and recorded in Durante’s Original New Orleans Jazz Band (1918–1920); the second was the violinist Arthur Hand, who led the California Ramblers, which, from 1922 to 1925, included the trumpeter Bill Moore, who was billed as the Hot Hawaiian; the third was Ben Bernie, whose band from 1925 to 1928 also featured Moore. Goodman became the fourth Christian, circa 1919 [20699.84.92.11 Frank Driggs Collection at by bringing in Teddy Wilson on piano in 1935 and Lionel the Oklahoma Historical Society] Hampton on vibraphone in 1936. Goodman hired Christian to play with the newly formed Goodman Sextet in Septemat the surprise, Goodman called 'Rose Room”, a tune he ber 1939.[9] assumed Christian would be unfamiliar with. Unknown to It has been claimed that Goodman was initially uninterGoodman, Christian had been reared on the tune, and he ested in hiring Christian because the electric guitar was a came in with his rst chorus of about twenty, all of them relatively new instrument. Goodman had been exposed to di erent, all unlike anything Goodman had heard before. the instrument with Floyd Smith and Leonard Ware, among That version of “Rose Room” lasted forty minutes. By its others, none of whom had the ability of Christian. There end, Christian was in the band. In the course of a few is a report that Goodman unsuccessfully tried to buy out days, Christian went from making $2.50 a night to $150 Floyd Smith's contract from Andy Kirk. However, Good- a week.[3] man was so impressed by Christian’s playing that he hired Christian was placed in Goodman’s new sextet, which inhim instead.[7] cluded Lionel Hampton, Fletcher Henderson, Artie BernThere are several versions of the rst meeting of Chris- stein and Nick Fatool. By February 1940 Christian domitian and Goodman on August 16, 1939. The encounter nated the jazz and swing guitar polls and was elected to the that afternoon at the recording studio had not gone well. Metronome All Stars. In the spring of 1940 Goodman let Christian recalled in a 1940article in Metronome maga- most of his entourage go in a reorganization. He retained zine, “I guess neither one of us liked what I played,” but Christian, and in the fall of that year Goodman led a sexHammond decided to try again—without consulting Good- tet with Christian, Count Basie, longtime Duke Ellington man. (Christian says Goodman invited him to the show that trumpeter Cootie Williams, former Artie Shaw tenor saxoevening.)[10] phonist Georgie Auld and later drummer Dave Tough. This He installed Christian on the bandstand for that night’s set all-star band dominated the jazz polls in 1941, including at the Victor Hugo restaurant in Los Angeles. Displeased another election to the Metronome All Stars for Christian. 41 6.4. BEBOP AND MINTON’S PLAYHOUSE Johnny Guarnieri, who replaced Henderson in the rst sex- man Lonnie Johnson, although they both had contributed tet, lled the piano chair in Basie’s absence. to the expansion of the guitar’s role from the rhythm seche wanted his In 1966, 24 years after his death, Christian was inducted tion to a solo instrument. Christian stated [12] tenor saxophone. The French guitar to sound like a into the Down Beat Jazz Hall of Fame. In 1989, he was one gypsy jazz guitarist Django Reinhardt had little in uence on of the rst inductees into the Oklahoma Jazz Hall of Fame. him, but Christian was obviously familiar with some of his recordings.[13] The guitarist Mary Osborne recalled hearing him play Django’s solo on "St. Louis Blues" note for note, 6.3 Style and influences but then following it with his own ideas.[13] By 1939 there had already been electric guitar soloists— Leonard Ware; George Barnes; the trombonist and composer Eddie Durham, who had recorded with Count Basie's Kansas City Six; Floyd Smith, who recorded “Floyd’s Guitar Blues” with Andy Kirk in March 1939, using an ampli ed lap steel guitar; and the Texas Swing pioneer Eldon Shamblin, who was using ampli ed electric guitar with Bob Wills. Christian paved the way for the modern electric guitar sound that was followed by other pioneers, including TBone Walker, Eddie Cochran, Cli Gallup, Scotty Moore, Franny Beecher, B.B. King, Chuck Berry, Carlos Santana and Jimi Hendrix. For this reason Christian was inducted in 1990 into the Rock and Roll Hall of Fame.[14] Christian’s exposure was so great in the brief period he played with Goodman that he in uenced not only guitarists but other musicians as well. The in uence he had on “Dizzy” Gillespie, Charlie Parker, Thelonious Monk and Don Byas can be heard on their early bop recordings "Blue 'N' Boogie" and "Salt Peanuts". Other musicians, such as the trumpeter Miles Davis, cited Christian as an early in uence. Indeed, Christian’s “new” sound in uenced jazz as a whole. He reigned supreme in the jazz guitar polls up to two years after his death.[15] Earth/Black Sabbath’s rst manager Jim Simpson describes the band’s rst song, “A Song for Jim” as an “absolute Charlie Christian takeo .”[16] 6.4 Bebop and Minton’s Playhouse Christian was an important contributor to the music that became known as bop, or bebop. Some of the participants in those early after-hours a airs at Minton’s Playhouse, where bebop was born, credit Christian with the name bebop, citing his humming of phrases as the onomatopoetic origin of the term.[17] The Gibson ES-150, the first electric guitar played by Christian Christian’s solos are frequently described as “horn-like”, and in that sense he was more in uenced by horn players such as Lester Young and Herschel Evans[11] than by early acoustic guitarists like Eddie Lang and the jazz- and blues- Private recordings made in September 1939 in Minneapolis, Minnesota, by Jerry Newhouse, a Goodman a cionado, capture the newly hired Christian while on the road with Goodman and feature Goodman’s tenor sax player Jerry Jerome and then-local bassist Oscar Pettiford. Taking multiple solos, Christian shows much the same improvisational skills later captured on the 42 CHAPTER 6. CHARLIE CHRISTIAN Minton’s and Monroe’s recordings in 1941, suggesting that he had already matured as a musician.[3] The Minneapolis recordings include "Stardust", "Tea for Two", and "I've Got Rhythm", the latter a favorite of bop composers and jammers. recording quality of many of these sessions is poor, they show Christian stretching out much longer than he could on the Benny Goodman sides. On the Minton’s and Monroe’s recordings, Christian can be heard taking multiple choruses on a single tune, playing long stretches of melodic ideas with [21] An even more striking example is a series of recordings ease. made at Minton’s Playhouse, an after-hours club located Christian was just as adept with understatement as well. in the Hotel Cecil, at 210 West 118th Street in Harlem, His work on the Goodman sextet sides “Soft Winds”, “Till by Jerry Newman, a student at Columbia University, on a Tom Special”, and “A Smo-o-o-oth One” show his use of portable disk recorder in 1941, in which Christian was ac- few well-placed melodic notes. His work on the Sextet’s companied by Joe Guy on trumpet, Kenny Kersey on piano recordings of the ballads "Stardust", "Memories of You", and Kenny Clarke on drums.[18] "Poor Butter y", "I Surrender Dear" and “On the Alamo” and his work on “Profoundly Blue” with the Edmond Hall Christian’s use of tension and release, a technique employed Celeste Quartet (1941) show hints of what was later called [19] by Lester Young, Count Basie and later bop musicians, is [19][22] cool jazz. Although credited for very few, Christian also present on “Stompin' at the Savoy”, included among the composed many of the original tunes recorded by the Benny Newman recordings. The collection also includes record[23] Goodman Sextet. ings made in 1941 at Clark Monroe’s Uptown House, another late-night jazz haunt in Harlem, with Oran “Hot Lips” Page. Other recordings include the tenor sax player Don Byas. The Minton’s recordings were long rumored to feature “Dizzy” Gillespie and Thelonious Monk, but that has since been proved untrue, although both were regulars at the jam sessions, with Monk a regular in the Minton’s house band.[18] 6.5 Health and death In the late 1930s Christian contracted tuberculosis,[24] and in early 1940 he was hospitalized for a short period in which the Goodman group was on hiatus because of Goodman’s back trouble. Goodman was hospitalized in the summer of 1940 after a brief stay at Santa Catalina Island, California, where the band stayed when they were on the West Coast.[20] Christian returned home to Oklahoma City in late July 1940 and returned to New York City in September 1940. In early 1941, Christian resumed his hectic lifestyle, heading to Harlem for late-night jam sessions after nishing gigs with the Goodman Sextet and Orchestra in New York City. In June 1941 he was admitted to Seaview, a sanitarium on Charlie Christian Avenue, in Oklahoma City, Oklahoma Staten Island in New York City. He was reported to be making progress, and Down Beat magazine reported in February Kenny Clarke claimed that "Epistrophy" and "Rhythm-a- 1942 that he and Cootie Williams were starting a band.[25] Ning" were compositions by Christian, which Christian After a visit to the hospital that same month by the tap played with Clarke and Thelonious Monk at Minton’s jam dancer and drummer Marion Joseph “Taps” Miller, Chrissessions. The “Rhythm-a-Ning” line is heard on “Down on tian declined in health. He died March 2, 1942, at the age Teddy’s Hill" and behind the introduction on “Guy’s Got to of 25. He was buried in an unmarked grave in Bonham, Go” from the Newman recordings. It is also a line from Texas. A Texas State Historical Commission Marker and Mary Lou Williams's “Walkin' and Swingin'". headstone were placed in Gates Hill Cemetery in 1994. The Clarke said Christian rst showed him the chords to “Epistrophy” on a ukulele.[20] These recordings have been packaged under a number of di erent titles, including After Hours and The Immortal Charlie Christian. While the location of the historical marker and headstone was disputed, and in March 2013, Fannin County, Texas, recognized that the marker was in the wrong spot and that Christian is buried under the concrete slab.[26] 43 6.7. FILMOGRAPHY 6.7 Filmography • 2005 Solo Flight: The Genius of Charlie Christian • 2007 Charlie Christian- The Life & Music of the Legendary Jazz Guitarist (Grossman Guitar Workshop) 6.8 Notes [1] Hammond, John; Townsend, Irving (1977). John Hammond on Record: An Autobiography. New York: Ridge Press. ISBN 0-671-40003-7. Proposed grave site for Christian at Gates Hill Cemetery, Bonham, Texas 6.6 Discography 6.6.1 As leader Christian never recorded professionally as a leader. Compilations have been released of his sessions as a sideman in which he is a featured soloist, of practice and warmup recordings for these sessions, and some lower-quality recordings of Christian’s own groups performing in nightclubs, by amateur technicians.[3] • Electric, with the Benny Goodman Sextet and the Charlie Christian Quartet (Uptown, 2011) • Charlie Christian with the Benny Goodman Sextet and Orchestra (Columbia) [2] Simon, George T. (1971). The Big Bands. ISBN 0-02872430-5. [3] Liner notes. Solo Flight: The Genius of Charlie Christian. Columbia G 30779. [4] Goins, Wayne; McKinney, Craig. A Biography of Charlie Christian: Jazz Guitar’s King of Swing. p. 7. [5] Lee, Amy (1940). “Charlie Christian Tried to Play Hot Tenor!" Metronome. [6] Goins, Wayne; McKinney, Craig. A Biography of Charlie Christian: Jazz Guitar’s King of Swing. pp. 12–15. [7] Goins, Wayne; McKinney, Craig. A Biography of Charlie Christian: Jazz Guitar’s King of Swing. pp. 18–20, 137, 399. [8] Jasinski, Laurie E. “Charles Henry Christian Pro le”. Tshaonline.org. Retrieved 2012-03-02. [9] Feather, Leonard: (1960). The Enccyclopedia of Jazz. Horizon Press. [10] Amy Lee, Amy (1940). “Charlie Christian Tried to Play Hot Tenor!" Metronome. • Solo Flight: The Genius of Charlie Christian [11] Goins, Wayne; McKinney, Craig. A Biography of Charlie (Columbia, 1972) • Solo Flight, with the Benny Goodman Sextet (Vintage Jazz Classics, 2003) • The Genius of the Electric Guitar (Columbia, 1939– 1941 recordings) • Guitar Wizard (LeJazz, 1993) • Live at Minton’s Playhouse 1941 Christian: Jazz Guitar’s King of Swing. pp. 369, 373-374. [12] Lee, Amy (1940), “Charlie Christian Wanted to Play Hot Tenor!" Metronome. [13] Feather, Leonard. “Inside Jazz”. [14] “Rock and Roll Hall of Fame Inductee”. Rockhall.com. Retrieved 2012-03-02. [15] Goins, Wayne; McKinney, Craig. A Biography of Charlie Christian: Jazz Guitar’s King of Swing. pp. 327–328. 6.6.2 As sideman [16] Popo , Martin (2011). Books. With Lionel Hampton [17] Feather, Leonard (1960). The New Edition of the Encyclopedia of Jazz. Horizon Press: New York. • The Complete RCA Victor Recordings, 1937–1949 (Bluebird, 1995) Black Sabbath FAQ. Backbeat [18] “Leo Valdes”. Home.roadrunner.com. Retrieved 2012-0302. 44 CHAPTER 6. CHARLIE CHRISTIAN [19] Centlivre, Kevin (2009-04-16). ""Revisiting Charlie Christian"". Blogs.myspace.com. Archived from the original on 2010-08-08. Retrieved 2012-03-02. [20] Broadbent, Peter. Charlie Christian, Solo Flight: The Story of the Seminal Electric Guitarist. [21] Spring, Howard (1980). The Improvisational Style of Charlie Christian. [22] “Jazz”. World Book Encyclopedia. [23] Albertson, Chris. Liner notes. Columbia G 30779. [24] Goins, Wayne; McKinney, Craig. A Biography of Charlie Christian: Jazz Guitar’s King of Swing. p. 344. [25] Goins, Wayne; McKinney, Craig. A Biography of Charlie Christian: Jazz Guitar’s King of Swing. p. 327. [26] “Burial Info for Charles Christian”. TXFannin. Retrieved 2014-03-16. 6.9 References • Broadbent, Peter (2002). Charlie Christian, Solo Flight: The Story of the Seminal Electric Guitarist. Hal Leonard. ISBN 978-1-872639-21-5. • Centlivre, Kevin (1994). Jerome” “Interview with Jerry • Centlivre, Kevin (1999). “Revisiting Charlie Christian”. • Feather, Leonard (reprint, 1977). Inside Jazz. Da Capo. ISBN 0-306-80076-4. • Goins, Wayne E.; McKinney, Craig (2005). A Biography of Charlie Christian, Jazz Guitar’s King of Swing. ISBN 0-88946-426-X. • Lee, Amy (1940) “Charlie Christian Tried to Play Hot Tenor!" Metronome. • McKinney, Craig. Charles Christian: Musician. • Savage, William W., Jr. (1983). Singing Cowboys and All That Jazz: A Short History of Popular Music in Oklahoma. Norman: University of Oklahoma Press, pp. 48–51. ISBN 0-8061-1648-X. • Spring, Howard (1980). The Improvisational Style of Charlie Christian. York University. • Valdes, Leo (1997). Solo Flight: The Charlie Christian Newsletter Leo Valdes. 6.10 External links • “Charlie Christian”. Rock and Roll Hall of Fame. • Deep Deuce History and photos • Charlie Christian at Find a Grave • Charlie Christian, a biography by C.J Shearn Chapter 7 Max Roach Maxwell Lemuel "Max" Roach (January 10, 1924 – 52nd Street and at 78th Street & Broadway for Georgie Jay’s August 16, 2007) was an American jazz percussionist, Taproom (playing with schoolmate Cecil Payne).[5] His rst drummer, and composer. professional recording took place in December 1943, sup[6] A pioneer of bebop, Roach went on to work in many other porting Coleman Hawkins. styles of music, and is generally considered alongside the most important drummers in history.[1][2] He worked with many famous jazz musicians, including Coleman Hawkins, Dizzy Gillespie, Charlie Parker, Miles Davis, Duke Ellington, Thelonious Monk, Charles Mingus, Billy Eckstine, Stan Getz, Sonny Rollins, Eric Dolphy and Booker Little. He was inducted into the Down Beat Hall of Fame in 1980 and the Modern Drummer Hall of Fame in 1992.[3] He was one of the rst drummers (along with Clarke) to play in the bebop style, and performed in bands led by Dizzy Gillespie, Charlie Parker, Thelonious Monk, Coleman Hawkins, Bud Powell, and Miles Davis. Roach played on many of Parker’s most important records, including the Savoy November 1945 session, a turning point in recorded jazz. The drummer’s early brush work with Powell’s trio, especially at fast tempos, has been highly [7] Roach also led his own groups, notably a pioneering quintet praised. co-led with trumpeter Cli ord Brown and the percussion ensemble M'Boom, and made numerous musical statements relating to the Civil Rights Movement. 7.1 Biography 7.1.1 Early life and career Roach was born in the Township of Newland, Pasquotank County, North Carolina, which borders the southern edge of the Great Dismal Swamp, to Alphonse and Cressie Roach. Many confuse this with Newland Town in Avery County. Although Roach’s birth certi cate lists his date of birth as January 10, 1924,[4] Roach has been quoted by Phil Schaap as having stated that his family believed he was born on January 8, 1925. Roach’s family moved to the BedfordStuyvesant neighborhood of Brooklyn, New York when he was 4 years old. He grew up in a musical home, his mother being a gospel singer. He started to play bugle in parade orchestras at a young age. At the age of 10, he was already playing drums in some gospel bands. In 1942, as an 18year-old fresh out of Boys High School, he was called to ll Max Roach, Three Deuces, NYC, ca. October 1947. Photography in for Sonny Greer with the Duke Ellington Orchestra when by William P. Gottlieb. they were performing at the Paramount Theater. In 1942, Roach started to go out in the jazz clubs of the 45 46 CHAPTER 7. MAX ROACH 7.1.2 1950s struments. Personnel included Fred King, Joe Chambers, Warren Smith, Freddie Waits, Roy Brooks, Omar Clay, Roach studied classical percussion at the Manhattan School Ray Mantilla, Francisco Mora, and Eli Fountain.[12] of Music from 1950 to 1953, working toward a Bachelor of Music degree (the School awarded him an Honorary Doc7.1.4 1980s-1990s torate in 1990). In 1952, Roach co-founded Debut Records with bassist Charles Mingus. This label released a record of a May 15, 1953 concert, billed as 'the greatest concert ever', which came to be known as Jazz at Massey Hall, featuring Parker, Gillespie, Powell, Mingus and Roach. Also released on this label was the groundbreaking bass-and-drum free improvisation, Percussion Discussion.[8] In 1954, Roach and trumpeter Cli ord Brown formed a quintet that also featured tenor saxophonist Harold Land, pianist Richie Powell (brother of Bud Powell), and bassist George Morrow, though Land left the following year and Sonny Rollins soon replaced him. The group was a prime example of the hard bop style also played by Art Blakey and Horace Silver. This group was to be short-lived; Brown and Powell were killed in a car accident on the Pennsylvania Turnpike in June 1956. The rst album Roach recorded after their deaths was Max Roach + 4. After Brown and Powell’s deaths, Roach continued leading a similarly congured group, with Kenny Dorham (and later the shortlived Booker Little) on trumpet, George Coleman on tenor and pianist Ray Bryant. Roach expanded the standard form of hard-bop using 3/4 waltz rhythms and modality in 1957 with his album Jazz in 3/4 time. During this period, Roach recorded a series of other albums for the EmArcy label featuring the brothers Stanley and Tommy Turrentine.[9] Keystone Korner, San Francisco, 1979 In the early 1980s, Roach began presenting entire concerts solo, proving that this multi-percussion instrument could ful ll the demands of solo performance and be entirely satisfying to an audience. He created memorable compositions in these solo concerts; a solo record was released by Baystate, a Japanese label. One of these solo concerts is available on video, which also includes a lming of a recording date for “Chattahoochee Red”, featuring his working quartet, Odean Pope, Cecil Bridgewater and Calvin Hill. Roach embarked on a series of duet recordings. Departing from the style of presentation he was best known for, most of the music on these recordings is free improvisation, created with the avant-garde musicians Cecil Taylor, Anthony Braxton, Archie Shepp, and Abdullah Ibrahim. Roach created duets with other performers: a recorded duet with the oration by Martin Luther King, "I Have a Dream"; a duet with video artist Kit Fitzgerald, who improvised video im7.1.3 1960s-1970s agery while Roach spontaneously created the music; a duet with his lifelong friend and associate Gillespie; a duet conIn 1960 he composed and recorded the album We Insist!, cert recording with Mal Waldron. subtitled Max Roach’s Freedom Now Suite, with vocals by his then-wife Abbey Lincoln and lyrics by Oscar Brown Jr., Roach wrote music for theater, such as plays written by Sam after being invited to contribute to commemorations of the Shepard, presented at La Mama E.T.C. in New York City. hundredth anniversary of Abraham Lincoln's Emancipation Roach found new contexts for presentation, creating unique Proclamation. In 1962, he recorded the album Money Jun- musical ensembles. One of these groups was “The Double gle, a collaboration with Mingus and Duke Ellington. This Quartet”. It featured his regular performing quartet, with is generally regarded as one of the very nest trio albums personnel as above, except Tyrone Brown replaced Hill; this quartet joined “The Uptown String Quartet”, led by ever made.[11] During the 1970s, Roach formed a musical organization— his daughter Maxine Roach, featuring Diane Monroe, Lesa "M'Boom"—a percussion orchestra. Each member of this Terry and Eileen Folson. In 1955, he was the drummer for vocalist Dinah Washington at several live appearances and recordings. Appearing at the Newport Jazz Festival with her in 1958 which was lmed and the 1954 live studio audience recording of Dinah Jams, considered to be one of the best and most overlooked vocal jazz albums of its genre.[10] unit composed for it and performed on many percussion in- Another ensemble was the “So What Brass Quintet”, a 47 7.2. PERSONAL LIFE group comprising ve brass instrumentalists and Roach, no chordal instrument, no bass player. Much of the performance consisted of drums and horn duets. The ensemble consisted of two trumpets, trombone, French horn and tuba. Musicians included Cecil Bridgewater, Frank Gordon, Eddie Henderson, Rod McGaha, Steve Turre, Delfeayo Marsalis, Robert Stewart, Tony Underwood, Marshall Sealy, Mark Taylor and Dennis Jeter. Roach presented his music with orchestras and gospel choruses. He performed a concerto with the Boston Symphony Orchestra. He wrote for and performed with the Walter White gospel choir and the John Motley Singers. Roach performed with dancers: the Alvin Ailey American Dance Theater, the Dianne McIntyre Dance Company, the Bill T. Jones/Arnie Zane Dance Company. The grave of Max Roach Roach surprised his fans by performing in a hip hop concert, featuring the artist-rapper Fab Five Freddy and the New Roach’s music or his aura until 1960, when he and Charlie York Break Dancers. He expressed the insight that there Mingus protested the practices of the Newport Jazz Festiwas a strong kinship between the outpouring of expression val.”[17] of these young black artists and the art he had pursued all his life.[13] Not content to expand on the musical territory he had already become known for, Roach spent the decades of the 1980s and 1990s continually nding new forms of musical expression and presentation. Though he ventured into new territory during a lifetime of innovation, he kept his contact with his musical point of origin. He performed with the Beijing Trio, with pianist Jon Jang and erhu player Jeibing Chen. His last recording, Friendship, was with trumpeter Clark Terry, the two long-standing friends in duet and quartet. Roach’s last performance was at the 50th anniversary celebration of the original Massey Hall concert, in Toronto, where he performed solo on the hi-hat.[14] 7.2 Personal life Two children, son Daryl Keith Roach and daughter Maxine Roach, were born from Roach’s rst marriage with Mildred Roach in 1949. He continued to play as a freelance while studying composition at the Manhattan School of Music. He graduated in 1952. In 1958 he met singer Barbara Jai (Johnson) and fathered another son, Raoul Jordu. During the period 1961–1970, Roach was married to the singer Abbey Lincoln, who had performed on several of Roach’s albums. In 1971, twin daughters, Ayodele Nieyela and Dara Rashida, were born to Roach and his third wife, Janus In 1994, Roach also appeared on Rush drummer Neil Adams Roach. He had four grandchildren: Kyle Maxwell Peart's Burning For Buddy performing “The Drum Also Roach, Kadar Elijah Roach, Maxe Samiko Hinds, and Skye Waltzes”, Part 1 and 2 on Volume 1 of the Volume 2 se- Sophia She eld. Long involved in jazz education, in 1972 ries during the 1994 All-Star recording sessions.[15] he was recruited to the faculty of the University of Massachusetts Amherst by Chancellor Randolph Bromery.[18] In the early 2000s, Roach became less active from the on7.1.5 Death set of hydrocephalus-related complications. From the 1970s through the mid-1990s Roach taught at the Max Roach died in the early morning of August 16, 2007, University of Massachusetts Amherst.[19] in Manhattan.[16] He was survived by ve children: sons Daryl and Raoul, and daughters Maxine, Ayo and Dara. Over 1,900 people attended his funeral at Riverside Church in Manhattan, New York City, on August 24, 2007. Max 7.3 Style Roach was interred at the Woodlawn Cemetery, The Bronx, Roach started as a traditional grip player but switched exNew York City. [20] In a funeral tribute to Roach, then-Lieutenant Governor of clusively to matched grip as his career progressed. New York David Paterson compared the musician’s courage Roach’s most signi cant innovations came in the 1940s, to that of Paul Robeson, Harriet Tubman and Malcolm X, when he and jazz drummer Kenny Clarke devised a new saying that “No one ever wrote a bad thing about Max concept of musical time. By playing the beat-by-beat pulse 48 CHAPTER 7. MAX ROACH of standard 4/4 time on the “ride” cymbal instead of on the thudding bass drum, Roach and Clarke developed a exible, owing rhythmic pattern that allowed soloists to play freely. The new approach also left space for the drummer to insert dramatic accents on the snare drum, “crash” cymbal and other components of the trap set. open it when he visited the UK that year invited by the Greater London Council,[29] when he performed at a concert in March at the Royal Albert Hall together with Ghanaian master drummer Ghanaba and others.[30][31] Roach was inducted into the North Carolina Music Hall of Fame in 2009.[32] By matching his rhythmic attack with a tune’s melody, Roach brought a newfound subtlety of expression to his instrument. He often shifted the dynamic emphasis from one 7.5 Discography part of his drum kit to another within a single phrase, creating a sense of tonal color and rhythmic surprise.[1] The idea was to shatter musical conventions and take full advantage 7.5.1 As leader of the drummer’s unique position. “In no other society”, • 1953 : The Max Roach Quartet featuring Hank Mobley Roach once observed, “do they have one person play with (Debut) [21] all four limbs.” While that approach is common today, when Clarke and Roach introduced the new style in the 1940s it was a revolutionary musical advance. “When Max Roach’s rst records with Charlie Parker were released by Savoy in 1945”, jazz historian Burt Korall wrote in the Oxford Companion to Jazz, “drummers experienced awe and puzzlement and even fear.” One of those awed drummers, Stan Levey, summed up Roach’s importance: “I came to realize that, because of him, drumming no longer was just time, it was music.”[1] In 1966, with his album Drums Unlimited (which includes several tracks that are entirely drum solos) he demonstrated that drums can be a solo instrument able to play theme, variations, rhythmically cohesive phrases. He described his approach to music as “the creation of organized sound.”[12] The track “The drum also waltzes” was often quoted by John Bonham in his Moby Dick drum solo[22] and revisited by other drummers like Neil Peart and Steve Smith.[23] Bill Bruford performed a cover on the album Flags (1985). 7.4 Honors Roach was given a MacArthur Foundation “genius” grant in 1988, cited as a Commander of the Order of Arts and Letters in France (1989),[24] twice awarded the French Grand Prix du Disque, elected to the International Percussive Art Society’s Hall of Fame and the Downbeat Magazine Hall of Fame, awarded Harvard Jazz Master, celebrated by Aaron Davis Hall, given eight honorary doctorate degrees, including degrees awarded by Medgar Evers College, CUNY, the University of Bologna, Italy and Columbia University.[25] While spending the later years of his life at the Mill Basin Sunrise assisted living home, in Brooklyn, Max was honored with a proclamation honoring his musical achievements by Brooklyn borough president Marty Markowitz.[26] In 1986 the London borough of Lambeth named a park in Brixton after him.[27][28] Roach was able to o cially • 1956 : Max Roach + 4 (EmArcy) • 1957 : Jazz in 3/4 Time (EmArcy) • 1957 : The Max Roach 4 Plays Charlie Parker (EmArcy) • 1958 : MAX (Argo) • 1958 : Max Roach + 4 on the Chicago Scene (Mercury) • 1958 : Max Roach/Art Blakey (with Art Blakey) • 1958 : Max Roach + 4 at Newport (EmArcy) • 1958 : Max Roach with the Boston Percussion Ensemble (EmArcy) • 1958 : Deeds, Not Words (Riverside) – also released as Conversation • 1958 : Award-Winning Drummer (Time) – also released as Max Roach • 1958 : Max Roach/Bud Shank – Sessions with Bud Shank • 1958 : The Defiant Ones – with Booker Little • 1959 : The Many Sides of Max (Mercury) • 1959 : Rich Versus Roach (Mercury) – with Buddy Rich • 1959 : Quiet as It’s Kept (Mercury) • 1959 : Moon Faced and Starry Eyed (Mercury) – with Abbey Lincoln • 1959 : Max Roach (Time) with Booker Little • 1960 : Long as You're Living (Enja) – released 1984 • 1960 : Parisian Sketches (Mercury) 49 7.5. DISCOGRAPHY • 1960 : We Insist! (Candid) • 1984 : It’s Christmas Again (Soul Note) • 1961 : Percussion Bitter Sweet (Impulse!) – with Mal Waldron • 1984 : Survivors (Soul Note) • 1962 : It’s Time (Impulse!) – with Mal Waldron • 1962 : Speak, Brother, Speak! (Fantasy) • 1964 : The Max Roach Trio Featuring the Legendary Hasaan (Atlantic) – with Hasaan Ibn Ali • 1966 : Drums Unlimited (Atlantic) • 1968 : Members, Don't Git Weary (Atlantic) • 1971 : Lift Every Voice and Sing (Atlantic) – with the J.C. White Singers • 1976 : Force: Sweet Mao–Suid Afrika '76 (duo with Archie Shepp) • 1976 : Nommo (Victor) • 1977 : Max Roach Quartet Live in Tokyo (Denon) • 1977 : The Loadstar (Horo) • 1985 : Easy Winners (Soul Note) • 1986 : Bright Moments (Soul Note) • 1989 : Max + Dizzy: Paris 1989 – duo with Dizzy Gillespie (A&M) • 1989 : Homage to Charlie Parker (A&M) • 1991 : To the Max! (Enja) • 1995 : Max Roach with the New Orchestra of Boston and the So What Brass Quintet (Blue Note Records) • 1999 : Beijing Trio (Asian Improv) • 2002 : Friendship – (with Clark Terry) (Columbia) 7.5.2 Compilations • Alone Together: The Best of the Mercury Years (Verve, 1954–60 [1995]) • 1977 : Max Roach Quartet Live In Amsterdam – It’s 7.5.3 Time (Baystate) • 1977 : Solos (Baystate) As co–leader With Clifford Brown • 1977 : Streams of Consciousness (Baystate) – duo with Dollar Brand • 1954: Best Coast Jazz (Emarcy) • 1978 : Confirmation (Fluid) • 1954: Clifford Brown All Stars (Emarcy, [released 1956]) • 1978 : Birth and Rebirth – duo with Anthony Braxton (Black Saint) • 1979 : The Long March – duo with Archie Shepp (Hathut) • 1979 : Historic Concerts – duo with Cecil Taylor (Black Saint) • 1979 : One in Two – Two in One – duo with Anthony Braxton (Hathut) • 1979 : Pictures in a Frame (Soul Note) • 1980 : Chattahoochee Red (Columbia) • 1982 : Swish – duo with Connie Crothers (New Artists) • 1982 : In the Light (Soul Note) • 1983 : Live at Vielharmonie (Soul Note) • 1984 : Scott Free (Soul Note) • 1954: Jam Session (EmArcy, 1954) – with Maynard Ferguson and Clark Terry • 1954 : Brown and Roach Incorporated (EmArcy) • 1954 : Daahoud (Mainstream) – released 1973 • 1955 : Clifford Brown with Strings (EmArcy) • 1954–55 : Clifford Brown and Max Roach (EmArcy) • 1955 : Study in Brown (EmArcy) • 1954 : More Study in Brown • 1956 : Clifford Brown and Max Roach at Basin Street (EmArcy) • 1979 : Live at the Bee Hive (Columbia) With M'Boom • 1973 : Re: Percussion (Strata-East) 50 • 1979 : M'Boom (Columbia) • 1984 : Collage (Soul Note) • 1992 : Live at S.O.B.'s New York (Blue Moon) 7.5.4 As sideman With Chet Baker • Witch Doctor (Contemporary, 1953 [1985]) With Don Byas • Savoy Jam Party (1946) With Jimmy Cleveland CHAPTER 7. MAX ROACH • Jam Session featuring Maynard Ferguson (EmArcy, 1954) With Stan Getz • Stan Getz and the Cool Sounds (Verve 1953 55, [1957]) With Dizzy Gillespie • Diz and Getz (Verve, 1953) – with Stan Getz • The Bop Session (Sonet, 1975) – with Sonny Stitt, John Lewis, Hank Jones and Percy Heath With Stan Getz • Opus BeBop (1946) • Introducing Jimmy Cleveland and His All Stars With Benny Golson (EmArcy, 1955) With Al Cohn • Al Cohn’s Tones (Savoy, 1953 [1956]) With Miles Davis • Birth of the Cool (Capitol, 1949) • Conception (Prestige, 1951) With John Dennis • New Piano Expressions (1955) With Kenny Dorham • Jazz Contrasts (Riverside, 1957) With Billy Eckstine • The Metronome All Stars (1953) With Duke Ellington • Paris Blues (United Artists, 1961) • The Modern Touch (Riverside, 1957) With Johnny Griffin • Introducing Johnny Griffin (Blue Note, 1956) With Slide Hampton • Drum Suite (Epic, 1962) With Coleman Hawkins • Rainbow Mist (1944) • Coleman Hawkins and His All Stars (1944) • Body and Soul (1946) With Joe Holiday • Mambo Jazz (1953) With J.J. Johnson • Mad Be Bop (1946) • First Place (Columbia, 1957) • Money Jungle (United Artists, 1962) – with Charles With Thad Jones Mingus With Maynard Ferguson • The Magnificent Thad Jones (Blue Note, 1956) 51 7.5. DISCOGRAPHY With Abbey Lincoln • That’s Him! (Riverside, 1957) • Straight Ahead (Riverside, 1961) With Booker Little • Out Front (Candid, 1961) With Howard McGhee • The McGhee–Navarro Sextet (1950) With Gil Melle • New Faces, New Sounds (Blue Note, 1952) With Charles Mingus • The Charles Mingus Quintet & Max Roach (Debut, 1955) With Thelonious Monk • The Complete Genius (Blue Note, 1952) • Brilliant Corners (Riverside, 1956) With Herbie Nichols • Herbie Nichols Trio (Blue Note, 1955) With Charlie Parker • Town Hall, New York, June 22, 1945 (1945) – with Dizzy Gillespie • The Complete Savoy Studio Recordings (1945 48) • Lullaby in Rhythm (1947) • Charlie Parker on Dial (Dial, 1947) • The Band that Never Was (1948) • Bird on 52nd Street (1948) • Bird at the Roost (1948) • Charlie Parker Complete Sessions on Verve (Verve, 1949 53) • Charlie Parker in France (1949) • Live at Rockland Palace (1952) • Yardbird: DC–53 (1953) • Big Band (Clef, 1954) With Oscar Pettiford • Oscar Pettiford Sextet (Vogue, 1954) With Bud Powell • The Bud Powell Trip (1947) • The Amazing Bud Powell (Blue Note, 1951) With Sonny Rollins • Work Time (Prestige, 1955) • Sonny Rollins Plus 4 (Prestige, 1956) • Tour de Force (Prestige, 1956) • Rollins Plays for Bird (Prestige, 1956) • Saxophone Colossus (Prestige, 1956) • Freedom Suite (Riverside, 1958) • Stuttgart 1963 Concert (1963) With A. K. Salim • Pretty for the People (Savoy, 1957) With Hazel Scott • Relaxed Piano Moods (1955) With Sonny Stitt • Sonny Stitt/Bud Powell/J. J. Johnson (Prestige, 1956) With Stanley Turrentine • Stan “The Man” Turrentine (Time, 1960 [1963]) With Tommy Turrentine • Tommy Turrentine (1960) With George Wallington 52 CHAPTER 7. MAX ROACH • The George Wallington Trip and Septet (1951) [14] “Friendship”. Allaboutjazz.com. 2003-07-25. Retrieved 2011-03-21. With Dinah Washington [15] "www.beachwoodreporter.com “The Friday Papers"". Beachwoodreporter.com. 2007-08-27. Archived from the original on February 22, 2011. Retrieved 2011-03-21. • Dinah Jams (EmArcy, 1954) [16] Keepnews, Peter (August 16, 2007). “Max Roach, Master of Modern Jazz, Dies at 83”. New York Times. Retrieved 200708-17. Max Roach, a founder of modern jazz who rewrote the rules of drumming in the 1940s and spent the rest of his career breaking musical barriers and defying listeners’ expectations, died early yesterday in Manhattan. He was 83. With Randy Weston • Uhuru Afrika (Roulette, 1960) With Joe Wilder • The Music of George Gershwin: I Sing of Thee (1956) 7.6 References [1] Schudel, Matt (August 16, 2007). “Jazz Musician Max Roach Dies at 83”. The Washington Post. Retrieved May 12, 2010. [2] “Legendary Jazz Drummer Max Roach Dies at 83”. Billboard.com. 1924-01-10. Retrieved 2011-03-21. [17] Paterson, David (2008-03-13). “David Paterson Invokes Paul Robeson, Harriet Tubman, Malcolm X in Remembrance of Jazz Legend Max Roach (Eulogy transcript)". Democracy Now. Retrieved 2008-03-18. [18] University of Massachusetts, “Randolph W. Bromery, Champion of Diversity, Du Bois and Jazz as UMass Amherst Chancellor, Dead at 87”, February 27, 2013. [19] Palpini, Kristin (17 August 2007). “Jazz great, UMass prof Max Roach dies”. United States: Amherst Bulletin. [20] “Legendary Jazz Drummer Max Roach Dies at 83”. Moderndrummer.com. September 21, 2012. Retrieved October 15, 2016. [3] “Modern Drummer’s Readers Poll Archive, 1979–2014”. Modern Drummer. Retrieved 10 August 2015. [21] The Week, August 31, 2007, p. 32. [4] MADISON magazine: Max Roach and James Woods Archived September 29, 2007, at the Wayback Machine. [22] “Stanton Moore On John Bonham’s In uences”. Drummagazine.com. April 29, 2013. Retrieved October 15, 2016. [5] Ira Gitler (1985). Swing to Bop: An Oral History of the Transition in Jazz in the 1940s. Oxford University Press. p. 77. Retrieved 2011-03-21. [6] “Max Roach Discography”. [7] Harris, Barry; Weiss, Michael (1994). The Complete Bud Powell on Verve (Liner notes, booklet). Verve. p. 106. [8] "www.historyexplorer.net “History Explorer > Jazz History Timeline > 1952 - 1961"". Historyexplorer.net. Archived from the original on May 27, 2008. Retrieved 2011-03-21. [9] "www.jazzitude.com “History of Jazz Part 6: Hard Bop"". Jazzitude.com. 2007-04-11. Retrieved 2011-03-21. [10] “Hipjazz.com “Joy Spring"". Hipjazz.com. Retrieved 201110-26. [11] www.inkblotmagazine.com “Duke Ellington Money Jungle Blue Note, Recorded 1962” Archived June 4, 2008, at the Wayback Machine. [12] “Max Roach Biography”. trieved 2008-04-23. www.allaboutjazz.com. Re- [13] "www.billboard.com “Legendary Jazz Drummer Max Billboard.com. 1924-01-10. Roach Dies At 83"". Retrieved 2011-03-21. [23] “Max Roach: Setting Standards And Raising Bars”. Moderndrummer.com. December 10, 2009. Retrieved October 17, 2016. [24] Video: medals ceremony From Ina (French). [25] “University to Award 8 Honorary Degrees at Graduation on May 16”. Columbia University Record. April 9, 2001. Retrieved 2007-08-16. [26] “Brooklyn Borough President”. trieved 2011-03-21. Brooklyn-usa.org. Re- [27] “Max Roach Park”. Allaboutjazz.com. 2006-10-28. Retrieved 2011-03-21. [28] “London Borough of Lambeth | Max Roach Park”. Lambeth.gov.uk. Retrieved 2015-11-03. [29] Val Wilmer, Letter to The Guardian, September 8, 2007: “It was on the initiative of then Labour councillor Sharon Atkin that Lambeth council named 27 sites in the borough in 1986 to acknowledge contributions by people of African descent.... The opening of the Brixton park coincided with Roach’s GLC-sponsored visit to London, happily enabling him to attend the opening in the company of Atkin and his old friend, the drummer Ken Gordon, uncle of Moira Stuart.” 7.7. EXTERNAL LINKS [30] “Akyaaba Addai-Sebo Interview”, Every Generation Media. [31] Jon Lusk, “Ko Ghanaba: Drummer who pioneered Afrojazz”, The Independent, March 9, 2009. [32] “2009 Inductees”. North Carolina Music Hall of Fame. Retrieved September 10, 2012. 7.7 External links • Max Roach at the Hard Bop Homepage • Discography at Discogs • Discography and Sessionography • New York Times obituary • New York Sun Obituary • Slate Magazine Article • Max Roach Multimedia Directory 53 Chapter 8 Kenny Clarke This article is about the jazz musician. For other persons keeping role from the combination of snare drum or hi-hat and bass drum to embellished quarter notes on the ride cymwith similar names, see Kenneth Clark (disambiguation). bal, the familiar “ding-ding-da-ding” pattern, which Clarke is often credited with inventing. This new approach inKenneth Spearman Clarke (January 2, 1914 – January [1] 26, 1985), nicknamed "Klook" and later known as Li- corporated the bombs, or syncopated accents on the bass drum, developed by Jo Jones, while further freeing up the aqat Ali Salaam, was a jazz drummer and bandleader. He left hand to play more syncopated gures. Under Roy Elwas a major innovator of the bebop style of drumming. dridge, who encouraged this new approach to time keeping, As the house drummer at Minton’s Playhouse in the early 1940s, he participated in the after hours jams that led to the Clarke wrote a series of exercises for himself to develop birth of Be-Bop, which in turn led to modern jazz. While the independence of the bass drum and snare drum, while in New York City, he played with the major innovators of maintaining the time on the ride cymbal. One of these pasthe emerging bop style, Charlie Parker, Dizzy Gillespie, sages, a combination of a rim shot on the snare followed diThelonious Monk, Curly Russell and others, as well as mu- rectly by a bass drum accent, earned Clarke his nickname, sicians of the prior generation, including Sidney Bechet. He “Klook”, which was short for “Klook-mop”, in imitation of the sound this combination produced. This nickname was spent his later life in Paris. enshrined in “Oop Bop Sh'Bam,” recorded by Dizzy Gillespie in 1946 with Clarke on drums, where the scat lyric to the bebop tune goes “oop bop sh'bam a klook a mop.” 8.1 Early career Clarke was born in Pittsburgh, Pennsylvania, in 1914. Coming from a musical family, he studied multiple instruments, including vibes and trombone, as well as music theory and composition, while still in high school. As a teenager, Clarke played in the bands of Leroy Bradley and Roy Eldridge. He toured around the Midwest for several years with the Jeter-Pillars band, which also featured bassist Jimmy Blanton and guitarist Charlie Christian. By 1935, Clarke was more frequently in New York, where he eventually moved. He worked in groups led by Edgar Hayes and Lonnie Smith, and began developing the rhythmic concepts that would later de ne his contribution to the music. Clarke himself claimed that these stylistic elements were already in place by the time he put together the famous house band at Minton’s Playhouse, which hosted Monk, Parker, Gillespie, Russell, saxophonist Don Byas and many others while serving as the incubator of the emerging small group sound. The combination of the improvised accents on the snare and bass drum, and the sonority of the ringing ride cymbal carrying the time revolutionized the sound and dynamic of the jazz combo. As producer Ross Russell summed up the role of the ride cymbal: After being discharged from the US Army, Clarke converted to Islam and took the name Liaquat Ali Salaam.[2][3] “The vibration of the cymbal, once set in motion, is maintained throughout the number, producing a shimmering texture of sound that supports, agitates, and inspires the line men. This is the tonal fabric of bebop jazz.” Clarke’s innovation set the stage for the development of the bebop combo, which relied heavily on improvised exchanges between drummer and soloist to propel the music While working in the bands of Edgar Hayes and Roy El- forward. For this, “every drummer” Ed Thigpen said, “owes dridge, Clarke began experimenting with moving the time- him a debt of gratitude.” 8.2 Bebop and the ride cymbal 54 55 8.5. PERSONAL LIFE 8.3 Modern Jazz Quartet and move to Paris While playing at Minton’s, Clarke made many recordings, most notably as the house drummer for Savoy Records. When the musicians from the Minton’s band moved to different projects, Clarke began working with a young pianist and composer John Lewis and vibraphonist Milt Jackson. With the addition of bassist Ray Brown, they formed the Modern Jazz Quartet, or MJQ. The group pioneered what would later be called chamber jazz or third stream, referring to its incorporation of classical and baroque aesthetics as an alternative to hard bop, the bluesier successor to the bebop combo sound which emerged in the mid-1950s. Clarke stayed with the MJQ until 1955, when he began contemplating a move to Paris, where he eventually relocated in 1956. Clarke had toured Europe numerous times going all the way back to a stint in the Army during the mid-1940s. He was undoubtedly attracted to the better pay he could earn in France: “Why not stay here?" Ira Gitler quotes him as saying, “I earn a good living, a very good living.” It is also possible that, like many African American expatriate musicians and writers, he was attracted to the better social treatment he received there. As soon as he moved to Paris, he regularly worked with visiting American musicians, including Miles Davis on the soundtrack for Ascenseur pour l'échafaud, a classic lm noir directed by Louis Malle. Clarke also formed a working trio, known as “The Three Bosses”, with pianist Bud Powell, another Paris resident, and bassist Pierre Michelot, who had played on the Davis soundtrack too. In 1963 The Three Bosses recorded the classic album Our Man in Paris with tenor saxophone great Dexter Gordon. Clarke died in 1985 in Montreuil, France. 8.5 Personal life In 1949, Clarke had a brief a air with jazz singer Annie Ross. This a air produced a son, Kenny Clarke Jr, who was raised by Clarke’s family.[5] 8.6 Discography 8.6.1 As leader or co-leader • Special Kenny Clarke 1938–1959 (Jazz Muse) with Benny Bailey, Clark Terry, Hubert Fol, Lucky Thompson, Tommy Scott, Art Simmons, Jimmy Gourley, Pierre Michelot • Telefunken Blues (Savoy, 1955) with Henry Coker, Frank Morgan, Frank Wess, Milt Jackson, Percy Heath • Bohemia After Dark (Savoy, 1955) with Cannonball & Nat Adderley, Jerome Richardson, Hank Jones, Horace Silver, Paul Chambers • Jazzmen of Detroit (Savoy, 1956) with Pepper Adams, Kenny Burrell, Tommy Flanagan, Paul Chambers • Plays André Hodeir (Philips, 1956) with Roger Guérin, Billy Byers, Pat Peck, Hubert Rostaing, Martial Solal, René Urtreger, P. Michelot • The Golden 8 (Blue Note, 1961) with Dusko Gojkovic, Raymond Droz, Christian Kellens, Derek Humble, Karl Drevo, Francy Boland, Jimmy Woode In 1961, with Belgian pianist Francy Boland, Clarke formed a regular big band, The Kenny Clarke-Francy Boland Big • Americans in Europe Vol. 1 (Impulse!, 1963) Band, featuring leading European and expatriate American musicians, including among many others, Johnny Gri n • Pieces of Time (Soul Note, 1983) Andrew Cyrille, Don and Ronnie Scott on tenor saxes. The big band, which had Moye and Milford Graves been the idea of Italian producer Gigi Campi, lasted for eleven years. Kenny Clarke / Francy Boland Big Band (1962–1971) After 1968 Kenny Clarke played and recorded with the French composer and clarinettist Jean-Christian Michel for • see discography section of The Kenny Clarke-Francy 10 years. Boland Big Band 8.4 Later life Clarke continued recording and playing with both visiting U.S. musicians and his regular French band mates until his death. In 1988, he was inducted into the Down Beat Jazz Hall of Fame.[4] 8.6.2 As sideman With Gene Ammons • All Star Sessions (Prestige, 1950–55 [1956]) • Gene Ammons and Friends at Montreux (Prestige, 1973) 56 With Kenny Burrell CHAPTER 8. KENNY CLARKE • Playin' in the Yard (Prestige, 1973) • Jazzmen of Detroit with Kenny Burrell, Tommy Flana- With Milt Jackson gan, Pepper Adams, Paul Chambers (1956; Savoy) • Roll 'Em Bags (Savoy, 1949–56) • Introducing Kenny Burrell (Blue Note, 1956) • Meet Milt Jackson (Savoy, 1954–56) With Donald Byrd • Opus de Jazz (Savoy, 1955) • Byrd’s Word (Savoy, 1955) With Eddie “Lockjaw” Davis and Johnny Griffin • Tough Tenors Again 'n' Again (MPS, 1970) With Lee Konitz • Lee Konitz with Warne Marsh With Miles Davis • Ballads & Blues (Atlantic, 1956) • The Jazz Skyline (Savoy, 1956) With J. J. Johnson and Kai Winding • Jay and Kai (Columbia, 1957) With Hank Jones • The Trio (Savoy, 1955) • Bluebird (Savoy, 1955) • Birth of the Cool (Capitol, 1949) • Quartet-Quintet (Savoy, 1955) • Bags’ Groove (Prestige, 1957) • Hank Jones’ Quartet (Savoy, 1956) • Ascenseur pour l'échafaud (Fontana, 1958) With Art Farmer • Early Art (New Jazz, 1954) • When Farmer Met Gryce (Prestige, 1954) with Gigi Gryce With Dizzy Gillespie • The Complete RCA Victor Recordings (Bluebird, 1937– 1949, [1995]) • The Giant (America, 1973) • The Source (America, 1973) With Dexter Gordon • Blues à la Suisse (Prestige, 1973) With Johnny Griffin • Night Lady (Philips, 1964) With Hampton Hawes With John Lewis • Afternoon in Paris (Atlantic, 1957) with Sacha Distel With Carmen McRae • Carmen McRae (Bethlehem 1954) With Charles Mingus • Jazz Composers Workshop (Savoy, 1954–55) With Thelonious Monk • Thelonious Monk Plays the Music of Duke Ellington with Thelonious Monk, Oscar Pettiford (1955; Riverside) With Jean-Christian Michel • Sacred Music (1969; Barclay) • JQM (1972; General Records) • Ouverture spatiale (1974; General) • Eve des Origines (1976; General) 57 8.9. REFERENCES • Port Maria (1977; General) [4] "Clarke Honored Down Beat Jazz Hall of Fame in 1968". downbeat.com. Retrieved 2010-11-13. With Phineas Newborn, Jr. [5] Gavin, James (3 October 1993). “A Free-Spirited Survivor Lands on Her Feet”. The New York Times. Retrieved 24 December 2011. • Here Is Phineas (Atlantic, 1956) [6] Du Noyer, Paul (2003). The Illustrated Encyclopedia of Music (1st ed.). Fulham, London: Flame Tree Publishing. p. 130. ISBN 1-904041-96-5. With Sahib Shihab • Summer Dawn (Argo, 1964) • Seeds (Vogue Schallplatten, 1968) • Companionship [1971]) (Vogue Schallplatten, 1964–70 With Zoot Sims • Lost Tapes Baden-Baden 1958 (SWR, 2014) With Idrees Sulieman • Bird’s Grass (SteepleChase, 1976 [1985]) With Julius Watkins • Julius Watkins Sextet (Blue Note, 1954) With Ernie Wilkins • Flutes & Reeds (Savoy, 1955) with Frank Wess • Top Brass (Savoy, 1955) 8.7 Quotation [6] 8.8 See also • Dropping bombs 8.9 References [1] “Kenny Clarke”. NEA Jazz Masters. National Endowment for the Arts. Retrieved December 3, 2014. [2] http://www.jazz.com/encyclopedia/ clarke-kenny-klook-kenneth-spearman [3] http://www.encyclopedia.com/topic/Kenny_Clarke.aspx • Gitler, Ira (1966). Jazz Masters of the Forties. New York: Collier Books. p. 290. • Carr, Ian; Digby Fairweather; Brian Priestley (1995). Jazz, The Rough Guide. London: Rough Guides Ltd. p. 754.1-85828-137-7 Chapter 9 Miles Davis For the singer born Miles Davis, see Miles Jaye. Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most in uential and acclaimed gures in the history of jazz and 20th century music. With his ever-changing directions in music, Davis was at the forefront of a number of major stylistic developments in jazz over his ve-decade career.[1] Born and raised in Illinois, Davis began performing in 1940s New York with saxophonist Charlie Parker before recording the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, he recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album 'Round About Midnight.[2] It was his rst work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music-in uenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959).[3] The latter featured harmonies developed by pianist Bill Evans and was an innovative work in the emerging modal jazz style, eventually becoming arguably the most popular jazz album ever.[4] Davis made several line-up changes while recording Someday My Prince Will Come (1961), his Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams.[3] After adding saxophonist Wayne Shorter to his new quintet in 1964,[3] Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles (1967),[5] before transitioning into his electric period. During the 1970s, he radically experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin.[6] This period, beginning with Davis’ 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz.[7] His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre’s commercial popularity with jazz fusion as the decade progressed.[8] After a ve-year retirement in the late 1970s due to poor health, Davis returned to recording new music and performing live in the early 1980s, which found him employing younger musicians and pop music sounds on albums such as The Man with the Horn (1981) and Tutu (1986). Critics were generally unreceptive but the decade garnered Davis his highest level of commercial recognition, as he performed sold-out concerts worldwide while branching out into visual arts, lm, and television work, before his death in 1991.[9] In 2006, he was inducted into the Rock and Roll Hall of Fame,[10] which recognized him as “one of the key gures in the history of jazz”.[10] Rolling Stone described Davis as “the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century,”[9] while Gerald Lyn Early called him inarguably one of the most in uential and innovative musicians of that period.[11] 9.1 Life and career 9.1.1 1926–44: Early life Davis was born on May 26, 1926, to an a uent AfricanAmerican family in Alton, Illinois. His father, Miles Dewey Davis, Jr., was a dentist. In 1927, the family moved to East St. Louis, Illinois. They also owned a substantial ranch near Pine Blu , Arkansas, where Davis’ father and grandfather were from. It was both in East St. Louis and near Pine Blu that young Davis developed his earliest appreciation 58 59 9.1. LIFE AND CAREER 9.1.2 1944–48: New York City and the bebop years In the fall of 1944, following graduation from high school, Davis moved to New York City to study at the Juilliard School of Music. Upon arriving in New York City, he spent most of his rst weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.[12] Miles Davis Youth House in October 2014 for music listening to the gospel music of the black church. Davis’ mother, Cleota Mae Davis (née Henry), wanted her son to learn the piano; she was a capable blues pianist but did not tell Miles. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his Tommy Potter, Charlie Parker, Miles Davis, Duke Jordan, Max father’s instrument choice was made largely to irk his wife, Roach, August 1947 who disliked the trumpet’s sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis’ knuckles every time he started using heavy vibrato.[12] Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, “I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything.”[13] Clark Terry was another important early inuence. By age 16, Davis was a member of the music society and, when not at school, playing professionally rst at the local Elks Club.[14] At 17, he spent a year playing in Eddie Randle’s band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis’ mother insisted that he nish his nal year of high school. He graduated from East St. Louis Lincoln High School in 1944. In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band; they invited Davis to play third trumpet for a couple of weeks because their regular member, Buddy Anderson, was ill. Even after this experience, once Eckstine’s band left town, Davis’ parents were still keen for him to continue formal academic studies. Coleman Hawkins and Miles Davis, c. September 1947 Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton’s Playhouse and Monroe’s. The group 60 CHAPTER 9. MILES DAVIS included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants. Davis dropped out of Juilliard after asking permission from his father. In his autobiography, Davis criticized the Juilliard classes for centering too much on the classical European and “white” repertoire. He also acknowledged however that, in addition to greatly improving his trumpet playing technique, Juilliard helped give him a grounding in music theory that would prove valuable in later years. Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie “Lockjaw” Davis. In 1945, he entered a recording studio for the rst time, as a member of Herbie Fields's group. This was the rst of many recordings Davis contributed to in this period, mostly as a sideman. He nally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers.[15] In these early years, recording sessions where Davis was the leader were the exception rather than the rule; his next date as leader would not come until 1947. Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie’s replacement in his quintet, which also featured Max Roach on drums, Al Haig (replaced later by Charles Thompson and Duke Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) on bass. Miles Davis on piano with Howard McGhee (trumpet), Joe Albany (pianist, standing) and Brick Fleagle (guitarist, smoking), September 1947 group following a confrontation with Parker at the Royal Roost. For Davis, his departure from Parker’s group marked the beginning of a period when he worked mainly as a freelancer and sideman in some of the most important combos on the New York City jazz scene. 9.1.3 1948–49: Birth of the Cool With Parker’s quintet, Davis went into the studio several times, already showing hints of the style he would become known for. On an oft-quoted take of Parker’s signature song, “Now’s the Time”, Davis takes a melodic solo, whose unbop-like quality anticipates the "cool jazz" period that followed. The Parker quintet also toured widely. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine's California tour, which eventually brought him back to New York.[16] In 1948, Parker returned to New York, and Davis rejoined his group. In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans’ basement apartment had become the meeting place for several young musicians and composers such as Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene. Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the “tuba band” moniker that became associated with the combo). The relationships within the quintet were growing tense however. Parker was behaving erratically due to his wellknown drug addiction. Davis and Roach caused friction in the group by objecting to having Duke Jordan as a pianist[12] (they would have preferred Bud Powell). By December 1948, Davis’ claims that he was not being paid began to strain the relationship even further. Davis nally left the The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing the Davis took an active role,[17] so much so that it soon became “his project”. The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations. 9.1. LIFE AND CAREER 61 performance gave a surprising prominence to the role of the arrangers: “Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan.” It was, in fact, so unusual that Davis had to persuade the Roost’s manager, Ralph Watkins, to word the sign this way. He prevailed only with the help of Monte Kay, the club’s artistic director. (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in America. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco. The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time), Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass. Singer Kenny Hagood was added for one track during the recording. Although many of his new and old friends (Davis, in his autobiography, mentions Clarke) tried to persuade him to stay in France, Davis decided to return to New York City. Back in the US, he began to feel deeply depressed. He attributed the depression to his separation from Gréco, his feeling under-appreciated by the critics (who hailed his former collaborators as leaders of the cool jazz movement)— and to the unraveling of his liaison with a former St. Louis schoolmate who lived with him in New York City, with whom he had two children. The presence of white musicians in the group angered some black jazz players, many of whom were unemployed at the time, but Davis rebu ed their criticisms.[18] Davis blamed these factors for the heroin habit that deeply a ected him for the next four years. During this period, Davis supported his habit partly with his music and partly by living the life of a hustler.[19] By 1953, his drug addiction began to impair his playing ability. Heroin had killed some of his friends (Navarro and Freddie Webster). He had been arrested for drug possession while on tour in Los Angeles, and his drug habit became public in a Down Beat interview of Cab Calloway.[20] A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950. The material they recorded was released in 1956 on an album whose title, Birth of the Cool, gave its name to the "cool jazz" movement that developed at the same time and partly Realizing his precarious condition, Davis tried several times shared the musical direction begun by Davis’ group. to end his drug addiction, nally succeeding in 1954 afFor his part, Davis was fully aware of the importance of the ter returning to his father’s home in St. Louis for sevproject, which he pursued to the point of turning down a eral months and locking himself in a room until he had gone through a painful withdrawal. During this period, he job with Duke Ellington’s orchestra.[12] avoided New York City and played mostly in Detroit and The importance of the nonet experience would become other Midwestern towns, where drugs were then harder to clear to critics and the larger public only in later years, but, come by. A widely related story, attributed to Richard at least commercially, the nonet was not a success. The (Prophet) Jennings,[21][22] was that Davis—while in Deliner notes of the rst recordings of the Davis Quintet for troit playing at the Blue Bird club as a guest soloist in Columbia Records call it one of the most spectacular fail- Billy Mitchell's house band along with Tommy Flanagan, ures of the jazz club scene. This was bitterly noted by Davis, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, who claimed the invention of the cool style and resented the Thad Jones, Curtis Fuller and Donald Byrd—stumbled into success that was later enjoyed—in large part because of the Baker’s Keyboard Lounge out of the rain, soaking wet and media’s attention—by white “cool jazz” musicians (Mulli- carrying his trumpet in a paper bag under his coat, walked gan and Dave Brubeck in particular). to the bandstand and interrupted Max Roach and Cli ord This experience also marked the beginning of the lifelong Brown in the midst of performing "Sweet Georgia Brown" friendship between Davis and Gil Evans, an alliance that by beginning to play "My Funny Valentine", and then, after nishing the song, stumbled back into the rainy night. Davis would bear important results in the years to follow. was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him 9.1.4 1950–54: Hard bop and the “Blue Pe- that night, and that the details of the incident, such as carriod” rying his horn in a paper bag and interrupting Roach and Brown, were ctional and that his decision to quit heroin [23] The rst half of the 1950s was, for Davis, a period of great was unrelated to the incident. personal di culty. At the end of 1949, he went on tour in Despite all the personal turmoil, the 1950–54 period proved Paris with a group including Tadd Dameron, Kenny Clarke 62 to be a fruitful one for Davis artistically. He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space in uenced him deeply. He also de nitively severed his stylistic ties with bebop.[24] In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several di erent combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis’ style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that became his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. This sound became so characteristic that the use of the Harmon mute by any jazz trumpet player since immediately conjures up Miles Davis. The most important Prestige recordings of this period (Dig, Blue Haze, Bags’ Groove, Miles Davis and the Modern Jazz Giants, and Walkin') originated mostly from recording sessions in 1951 and 1954, after Davis’ recovery from his addiction. Also of importance are his ve Blue Note recordings, collected in the Miles Davis Volume 1 album. With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues.[25] A few critics[13] go as far as to call Walkin' the album that created hard bop, but the point is debatable, given the number of musicians who were working along similar lines at the same time (many of whom recorded or played with Davis). In this period, Davis gained a reputation for being distant, cold, and withdrawn, and for having a quick temper. Factors that contributed to this reputation included his contempt for the critics and specialized press, and some wellpublicized confrontations with the public and with fellow musicians. A near ght with Thelonious Monk during the recording of Bags’ Groove received wide exposure in the specialized press.[26] CHAPTER 9. MILES DAVIS Davis had an operation to remove polyps from his larynx in October 1955.[27] Even though he was not supposed to speak at all, he had an argument with somebody and raised his voice. This outburst damaged his vocal cords forever, giving him the characteristic raspy voice that came to be associated with him. "[It was] in February or March 1956 that I had my rst throat operation and had to disband the group while recovering. During the course of the conversation I raised my voice to make a point and fucked up my voice. I wasn't even supposed to talk for at least ten days, and here I was not only talking, but talking loudly. After that incident my voice had this whisper that has been with me ever since.”[12] The “nocturnal” quality of Davis’ playing and his somber reputation, along with his whispering voice,[28] earned him the lasting moniker of “prince of darkness”, adding a patina of mystery to his public persona.[29] 9.1.5 1955–58: First great quintet and sextet Main article: Miles Davis Quintet Back in New York City and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance (and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the “return of Miles Davis”. At the same time, Davis recruited the players for a formation that became known as his “ rst great quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. None of these musicians, with the exception of Davis, had received a great deal of exposure before that time; Chambers, in particular, was very young (19 at the time), a Detroit player who had been on the New York City scene for only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to recruit alto saxophonist Julian “Cannonball” Adderley. The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era, and some traditional tunes.[30] The prevailing style of the group was a development of the Davis experience in the previous years—Davis playing long, legato, and essentially melodic lines, while Coltrane, who during these years emerged as a leading gure on the musical scene, contrasted by playing high-energy solos. With the new formation also came a new recording con- 9.1. LIFE AND CAREER tract. In Newport, Rhode Island, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received 'Round About Midnight. Before leaving Prestige, however, Davis had to ful ll his obligations during two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums: Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Cookin' with the Miles Davis Quintet. While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several rst takes on each album. The records became almost instant classics and were instrumental in establishing Davis’ quintet as one of the best on the jazz scene. The quintet was disbanded for the rst time in 1957, following a series of personal problems that Davis blames on the drug addiction of the other musicians.[31] Davis played some gigs at the Cafe Bohemia with a short-lived formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the score to Louis Malle's lm Ascenseur pour l'échafaud. With the aid of French session musicians Barney Wilen, Pierre Michelot, and René Urtreger, and expatriate American drummer Kenny Clarke, he recorded the entire soundtrack with an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising. A performance of Les Ballets Africains from Guinea in 1958 sparked Davis’ interest in modal music. This music, featuring the kalimba, stayed for long periods of time on a single chord, weaving in and out of consonance and dissonance.[32] It was a very new concept in jazz at the time, then dominated by the chord-change based music of bebop. 63 in uence on Davis. But after only eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a player who brought to the sextet a swinging, bluesy approach that contrasted with Evans’ more delicate playing. 9.1.6 1957–63: Recordings with Gil Evans and Kind of Blue In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing ugelhorn as well as trumpet. The rst, Miles Ahead (1957), showcased his playing with a jazz big band and a horn section arranged by Evans. Songs included Dave Brubeck's “The Duke,” as well as Léo Delibes's “The Maids of Cadiz,” the rst piece of European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages that Evans had devised as transitions between the di erent tracks, which were joined together with the innovative use of editing in the post-production phase, turning each side of the album into a seamless piece of music.[33] In 1958 Davis and Evans were back in the studio to record Porgy and Bess, an arrangement of pieces from George Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe Jones, and Julian “Cannonball” Adderley. Davis called the album one of his favorites. Also in 1958 he married his rst wife Frances Taylor, who left the Broadway production of West Side Story for him.[34] Their marriage lasted nine years despite his persistent domestic violence.[35] Sketches of Spain (1959–1960) featured songs by contemporary Spanish composers Joaquín Rodrigo and Manuel de Falla, as well as Gil Evans originals with a Spanish avor. Miles Davis at Carnegie Hall (1961) includes Rodrigo’s Concierto de Aranjuez, along with other compositions recorded in concert with an orchestra under Evans’ direction. Returning to New York City in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis Sessions with Davis and Evans in 1962 resulted in the album recorded Milestones, an album anticipating the new direc- Quiet Nights, a short collection of bossa novas that was released against the wishes of both artists: Evans stated it was tions he was preparing to give to his music. only half an album, and blamed the record company; Davis Almost immediately after the recording of Milestones, blamed producer Teo Macero, to whom he did not speak Davis red Garland and, shortly afterwards, Jones, again for for more than two years.[36] This was the last time Evans behavioral problems; he replaced them with Bill Evans—a and Davis made a full album together; despite the profesyoung white pianist with a strong classical background— sional separation, Davis noted later that “my best friend is and drummer Jimmy Cobb. With this revamped formation, Gil Evans.”[37] Davis began a year during which the sextet performed and toured extensively and produced a record (1958 Miles, also Their work together was later collected into the sevenknown as 58 Sessions). Evans had a unique, impressionistic plus hour box set Miles Davis & Gil Evans: The Complete approach to the piano, and his musical ideas had a strong Columbia Studio Recordings, which won the 1997 Grammys for Best Historical Album and Best Album Notes. 64 In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans’ piano style.[38] Both Davis and Evans were acquainted with the ideas of pianist George Russell regarding modal jazz; Davis from discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in 1956.[39] Davis, however, had neglected to inform current pianist Wynton Kelly of Evans’ role in the recordings; Kelly subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album.[38] "So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for the rst time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has proven both highly popular and enormously in uential. According to the RIAA, Kind of Blue is the best-selling jazz album of all time, having been certi ed as quadruple platinum (4 million copies sold).[40] In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.[41][42] CHAPTER 9. MILES DAVIS New York City Police Department, but eventually dropped the proceedings in a plea bargain so he could recover his suspended cabaret card – entertainers awaiting trial were automatically deprived of their cards[44] – and return to work in New York City clubs. In his autobiography, Davis stated that the incident “changed my whole life and whole attitude again, made me feel bitter and cynical again when I was starting to feel good about the things that had changed in this country.”[46] Davis persuaded Coltrane to play with the group on one nal European tour in the spring of 1960. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis’ 1961 album Someday My Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco. Stitt’s playing with the group is found on a recording made in Olympia, Paris (where Davis and Coltrane had played a few months before) and the Live in Stockholm album. In 1963, Davis’ longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later, 17-yearold drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven. The trumpet Davis used on the recording is currently displayed in the music building on the campus of the University of North Carolina at Greensboro. It was donated to the school by Arthur “Buddy” Gist, who met Davis in 1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the “Miles Davis Jazz Studies The rhythm players melded together quickly as a section Program.”[43] and with the horns. The group’s rapid evolution can be In August 1959, the Miles Davis Quintet was appearing at traced through the Seven Steps to Heaven album, In Europe the famous Birdland nightclub in New York City. After (July 1963), My Funny Valentine (February 1964), and Four nishing a recording for the armed services, Davis took a and More (also February 1964). The quintet played essenbreak outside the club. As he was escorting an attractive tially the same repertoire of bebop tunes and standards that blonde woman across the sidewalk to a taxi, Davis was told earlier Davis bands had played, but they tackled them with by a patrolman to “move on.”[44] Davis explained that he increasing structural and rhythmic freedom and, in the case worked at the nightclub and refused to move.[45] The of- of the up-tempo material, breakneck speed. cer said that he would arrest Davis and grabbed him as Davis protected himself.[44] Witnesses said that the patrol- Coleman left in the spring of 1964, to be replaced by avantman punched Davis in the stomach with his nightstick with- garde saxophonist Sam Rivers, on the suggestion of Tony out provocation.[44] While two detectives held the crowd Williams. Rivers remained in the group only brie y, but back, a third detective approached Davis from behind and was recorded live with the quintet in Japan; this con gurabeat him about the head. Davis was arrested and taken to tion can be heard on Miles in Tokyo! (July 1964). jail where he was charged with feloniously assaulting an of- By the end of the summer, Davis had persuaded Wayne cer. He was then taken to St. Clary Hospital where he re- Shorter to leave Art Blakey's Jazz Messengers and join the ceived ve stitches for a wound on his head.[44] The follow- quintet. Shorter became the group’s principal composer, ing October, he was acquitted of the charge of disorderly and some of his compositions of this era (including “Footconduct and was likewise acquitted the following January prints” and “Nefertiti”) have become standards. While on of the charge of third-degree assault.[46] tour in Europe, the group quickly made their rst o Davis tried to pursue the case by bringing a suit against the cial recording, Miles in Berlin (September 1964). On re- 65 9.1. LIFE AND CAREER turning to the United States later that year, ever the mu- 9.1.8 sical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting the Byrds signed to Columbia Records.[47] 1968–75: Electric Miles 9.1.7 1964–68: Second great quintet By the time of E.S.P. (1965), Davis’ lineup consisted of Wayne Shorter (saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). The last of his acoustic bands, this group is often referred to as the "second great quintet". A two-night Chicago performance in late 1965 is captured on The Complete Live at the Plugged Nickel 1965, released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes. Although some of the titles remain the same as the tunes played by the 1950s quintet, the quick tempos and musical departure from the framework of the tune are dramatic. It could be said that these live performances of standards are as radical as the studio recordings of new compositions on the albums listed below. The recording of Live at the Plugged Nickel was not issued anywhere in the 1960s, rst appearing as a Japan-only partial issue in the late 1970s, then as a double-LP in the U.S.A. and Europe in 1982. Instead, E.S.P. was followed by a series of studio recordings: Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968). The quintet’s approach to improvisation came to be known as “time no changes” or “freebop,” because they abandoned the more conventional chord-changebased approach of bebop for a modal approach. Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune owing into the next, with only the melody indicating any sort of demarcation. Davis’ bands would continue to perform in this way until his retirement in 1975. Miles in the Sky and Filles de Kilimanjaro—which tentatively introduced electric bass, electric piano, and electric guitar on some tracks—pointed the way to the subsequent fusion phase of Davis’ career. Davis also began experimenting with more rock-oriented rhythms on these records. By the time the second half of Filles de Kilimanjaro was recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock occasionally contributed to future recording sessions. Davis soon began to take over the compositional duties of his sidemen. Davis in 1971 Davis’ in uences included 1960s rock and funk artists such as James Brown, Jimi Hendrix, Sly and the Family Stone and Parliament-Funkadelic,[10] many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded on February 18, 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul were brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the rst of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette. Six months later, an even larger group of musicians including DeJohnette, Airto Moreira, and Bennie Maupin recorded the double LP Bitches Brew, which became Davis’ biggest selling album after it reached gold certi cation by the Recording Industry Association of America in 1976 for 66 500,000 copies sold. This album and In a Silent Way were among the rst fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz fusion. Throughout 1969, Davis’ touring band included Shorter, Corea, Holland, and DeJohnette; the group never completed a studio recording which became subsequently known as Davis’ “lost quintet”.[49][50] The group’s live repertoire included material from Bitches Brew, In a Silent Way and the 1960s quintet albums, with an occasional jazz standard. In a Silent Way and Bitches Brew feature extended compositions, some over 20 minutes in length, that were never played straight through in the studio as it is testi ed with the three recording sessions dated 8/19/69, 8/20/69, and 8/21/69, each with several takes from the same parts later to be arranged.[51] Davis and producer Teo Macero selected musical motifs from recorded extended improvisations and pieced them together to form a track. [52] Bitches Brew made extensive use of studio recording techniques including multitrack recording and tape loops.[53] CHAPTER 9. MILES DAVIS heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been de ned by the fruitless search for a Great White Hope to dethrone him, and Davis’ own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him. The resulting album, 1971’s Jack Johnson, contained two long pieces that featured musicians (some of whom were not credited on the record) including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock on a Far sa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of the Mahavishnu Orchestra in 1971. In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that “the effect of Davis’ study of Stockhausen could not be repressed for long... Davis’ own 'space music' shows Stockhausen’s in uence compositionally.”[57] His recordings and performances during this period were described as “space music” by fans, by music critic Leonard Feather, and by Buckmaster, who described it as “a lot of mood changes—heavy, dark, intense—de nitely space music.”[58][59] In March 1970, Davis began performing at rock venues and opening for rock acts, which helped Columbia market Bitches Brew to counterculture audiences. According to biographer Paul Tingen, “Miles’s newcomer status in this environment” led to “mixed audience reactions, often having to play for dramatically reduced fees, and enduring the 'sell-out' accusations from the jazz world”, as well as being “attacked by sections of the black press for supposedly genu ecting to white culture”.[54] Several live albums (with a transitional sextet/septet including Corea, DeJohnette, Holland, percussionist Airto Moreira, and saxophonist Steve Grossman that expanded to encompass Keith Jarrett on electronic organ by June 1970) were recorded at these performances: Live at the Fillmore East, March 7, 1970 (March 1970), Black Beauty (April 1970), and Live at the Fillmore Davis’ septet in November 1971; left to right: Gary Bartz, Davis, East (June 1970).[10] Keith Jarrett, Michael Henderson, Leon “Ndugu” Chancler, James By the time of Live-Evil in December 1970, Davis’ ensemble—though retaining the exploratory imperative of Bitches Brew—had transformed into a much more funkoriented group. Davis began experimenting with wah-wah e ects on his horn. A new sextet including DeJohnette, Jarrett, Moreira, Gary Bartz and erstwhile Stevie Wonder bassist Michael Henderson—often referred to as the “Cellar Door band” (the live portions of Live-Evil were recorded at a Washington, D.C., club by that name)—is documented in the six-CD box set The Cellar Door Sessions, which was recorded over four nights in December 1970 (and included one night with John McLaughlin); however, the ensemble disbanded before recording a studio album. Mtume, and Charles “Don” Alias During this period, Davis was committed to making music for the young African-American audience drawn to the more commercial, groove-oriented idioms of popular music that dominated the epoch; by November 1971, DeJohnette and Moreira had been replaced in the touring ensemble by drummer Leon “Ndugu” Chancler and percussionists James Mtume & Don Alias.[60] On the Corner (1972) blended the incipient in uence of Stockhausen with funk elements in a trenchantly improvisatory milieu. The album was highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his autobiography, Earlier in 1970, Davis contributed extensively to the sound- Davis stated that critics could not gure out how to categotrack of a documentary about the African-American boxer rize it, and he complained that the album was not promoted to the right crowd. Columbia tried selling the album to the 9.1. LIFE AND CAREER 67 old jazz generation who didn't really understand it instead (which led to a hip replacement operation in 1976, the rst of several), sickle-cell anemia, depression, bursitis, ulcers, of the younger crowd that Miles intended the album for. After recording On the Corner, Davis put together a new and a renewed dependence on alcohol and drugs (primarily group, with only Henderson and Mtume returning from cocaine), and his performances were routinely panned by the Jarrett-era band. It included Garnett, guitarist Reggie critics throughout late 1974 and early 1975. By the time Lucas, organist Lonnie Liston Smith, tabla player Badal the group reached Japan in February 1975, Davis was nearRoy, sitarist Khalil Balakrishna, and drummer Al Fos- ing a physical breakdown and required copious amounts of ter. It was unusual in that only Smith was a major jazz alcohol and narcotics to make it through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, instrumentalist; as a result, the music emphasized rhythmic density and shifting textures instead of individual so- during these concerts his trumpet playing “is of the highest and most adventurous order.” los. This group, which recorded in Philharmonic Hall for the album In Concert (1972), was unsatisfactory to Davis. Through the rst half of 1973, he dropped the tabla and 9.1.9 1975–79: Retirement sitar, took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster Although the Japanese performances have been lauded ensemble would remain virtually intact over the next two as the apogee of Davis’ experimental period, Pete Cosey years. Initially, Dave Liebman played saxophones and ute would later assert that “the band really advanced after the with the band; in 1974, he was replaced by Sonny Fortune, Japanese tour.”[62] Following his return from Japan, Davis who was eventually supplanted by Sam Morrison during the undertook an arduous tour of the American Midwest openband’s nal American engagements in 1975. ing for Herbie Hancock—who had commercially eclipsed This was music that polarized audiences, provoking boos his onetime bandleader with such e orts as Thrust (1974) and walk-outs amid the ecstasy of others. The length, den- and Man-Child (1975)—culminating in a series of club persity, and unforgiving nature of it mocked those who said formances at the Bottom Line in New York City and Paul’s that Miles was interested only in being trendy and popular. Mall in Boston throughout the spring and summer. HowSome have heard in this music the feel and shape of a musi- ever, his precarious health was compounded by an ulcercian’s late work, an egoless music that precedes its creator’s related hospitalization in March 1975 and the diagnosis of death. As Theodor Adorno said of the late Beethoven, the a hernia in August 1975. After a hometown performance disappearance of the musician into the work is a bow to at New York City’s Schaefer Music Festival on September mortality. It was as if Miles were testifying to all that he 5, 1975, Davis withdrew almost completely from the pubhad been witness to for the past thirty years, both terrifying lic eye for six “silent” years, enabled by an unprecedented and joyful. special retainer issued by Columbia Records.[63] — John Szwed, on Agharta (1975) and Pangaea (1976)[61] Big Fun (1974) was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, Get Up with It (1974) collected recordings from May 1970 to October 1974. Notably, the album included “He Loved Him Madly”, a tribute to Duke Ellington, as well as one of Davis’ most lauded pieces from this era, “Calypso Frelimo”. It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis albums: Dark Magus, Agharta, and Pangaea. Dark Magus captures a 1974 New York City concert; the latter two are recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only Agharta was available in the USA; Pangaea and Dark Magus were initially released only by CBS/Sony Japan. All three feature at least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic distortion devices; Dominique Gaumont is a third guitarist on Dark Magus), electric bass, drums, reeds, and Davis on electric trumpet and organ. These albums were the last he recorded for ve years. Davis was troubled by osteoarthritis Of Davis’ retreat from music, Gil Evans said, “His organism is tired. And after all the music he’s contributed for 35 years, he needs a rest.” In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as a hermit, his Upper West Side apartment as a wreck, and detailing his drug and sex addictions.[12] In 1976, Rolling Stone reported rumors of his imminent demise. Although he stopped practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at recording during his selfimposed exile from performing; these sessions (one with the assistance of Paul Buckmaster and Gil Evans, who left after not receiving promised compensation) bore little fruit and remain unreleased. In 1979, he placed in the yearly top-ten trumpeter poll of Down Beat. Columbia continued to issue compilation albums and records of unreleased vault material to ful ll contractual obligations. During his period of inactivity, Davis saw the fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from retirement, his musical descendants—most notably Prince—would be in the realm of new wave rock. 68 9.1.10 1979–85: Reemergence CHAPTER 9. MILES DAVIS recording We Want Miles from the ensuing tour, received positive reviews. By late 1982, Davis’ band included French percussionist Mino Cinelu and guitarist John Sco eld, with whom he worked closely on the album Star People. In mid-1983, while working on the tracks for Decoy, an album mixing soul music and electronica that was released in 1984, Davis brought in producer, composer and keyboardist Robert Irving III, who had earlier collaborated with him on The Man with the Horn. With a seven-piece band, including Sco eld, Evans, keyboardist and music director Irving, drummer Al Foster and bassist Darryl Jones (later of the Rolling Stones), Davis played a series of European gigs to positive receptions. While in Europe, he took part in the recording of Aura, an orchestral tribute to Davis composed by Danish trumpeter Palle Mikkelborg. Davis and Cicely Tyson in 1982 By 1979, Davis had rekindled his relationship with actress Cicely Tyson, with whom he overcame his cocaine addiction and regained his enthusiasm for music. As he had not played trumpet for the better part of three years, regaining his famed embouchure proved particularly toilsome. While recording The Man with the Horn at a leisurely pace throughout 1980–81, Davis played mostly wahwah with a younger, larger band. You're Under Arrest, Davis’ next album, was released in 1985 and included another brief stylistic detour. Included on the album were his interpretations of Cyndi Lauper's ballad "Time After Time", and Michael Jackson's pop hit "Human Nature". Davis considered releasing an entire album of pop songs and recorded dozens of them, but the idea was scrapped. Davis noted that many of today’s accepted jazz standards were in fact pop songs from Broadway theater, and that he was simply updating the “standards” repertoire with new material. 1985 also saw Davis guest-star on the TV show Miami Vice as pimp and minor criminal Ivory Jones in the episode titled “Junk Love” ( rst aired November 8, 1985).[64] You're Under Arrest was Davis’ nal album for Columbia. Trumpeter Wynton Marsalis publicly dismissed Davis’ more recent fusion recordings as not being "'true' jazz,” comments Davis initially shrugged o , calling Marsalis “a nice young man, only confused.” This changed after Marsalis appeared, unannounced, onstage in the midst of Davis’ performance at the inaugural Vancouver International Jazz Festival in 1986. Marsalis whispered into Davis’ ear that “someone” had told him to do so. Davis responded by ordering him o the stage.[65] Davis grew irritated at Columbia’s delay releasing Aura. The breaking point in the label-artist relationship appears to Miles Davis at the North Sea Jazz Festival in 1991 have come when a Columbia jazz producer requested Davis place a goodwill birthday call to Marsalis. Davis signed The initial large band was eventually abandoned in favor with Warner Bros. Records shortly thereafter. of a smaller combo featuring saxophonist Bill Evans (not to be confused with pianist Bill Evans of the 1958–59 sex- Davis collaborated with a number of gures from the British movements during this period, intet), and bass player Marcus Miller, both of whom would post-punk and new wave [66] Scritti Politti. At the invitation of producer Bill cluding be among Davis’ most regular collaborators throughout the Laswell, he recorded some trumpet parts during sessions decade. He married Tyson in 1981; they would divorce in for Public Image Ltd.'s Album, according to Public Image’s 1988. The Man with the Horn was nally released in 1981 John Lydon in the liner notes of their Plastic Box box set. In and received a poor critical reception despite selling fairly Lydon’s words, however, “strangely enough, we didn't use well. In May, the new band played two dates as part of [his contributions].” According to Lydon in the Plastic Box the Newport Jazz Festival. The concerts, as well as the live 69 9.1. LIFE AND CAREER Miles Davis at the Nice Jazz Festival in July 1989 The westernmost part of 77th Street in New York City has been named “Miles Davis Way”. He once lived on the block. notes, Davis favorably compared Lydon’s singing voice to his trumpet sound during these sessions.[67] 9.1.11 1986–91: Later work and death Having rst taken part in the Artists United Against Apartheid recording, Davis signed with Warner Bros. Records and reunited with Marcus Miller. The resulting album, Tutu (1986), was Davis’ rst to use modern studio tools, including programmed synthesizers, samples and drum loops, to create an entirely new setting for his music. The album was described as the modern counterpart of Sketches of Spain and, in 1987, won Davis his second of three Grammy Awards for Best Jazz Instrumental Performance, Soloist. He was featured on the instrumental track “Don't Stop Me Now” by Toto for their album Fahrenheit (1986). In 1988, Davis had a small part as a street musician in Scrooged, starring Bill Murray. In November 1988, he was inducted into the Knights of Malta at a ceremony at the Alhambra Palace in Spain.[68] In 1989, he was interviewed on 60 Minutes by Harry Reasoner. Davis followed Tutu with Amandla (1989), another collaboration with Miller and George Duke plus the soundtracks to four lms—Street Smart, Siesta, The Hot Spot (with bluesman John Lee Hooker), and Dingo. He continued to tour in the late 1980s with a band of constantly rotating personnel. Davis’ last albums, both released posthumously, were the hip hop-in uenced studio album Doo-Bop (1992) and Miles & Quincy Live at Montreux (1993), a collaboration with Quincy Jones for the 1991 Montreux Jazz Festival where, for the rst time in three decades, Davis returned to performing songs arranged by Gil Evans on his 1950s albums as Miles Ahead, Porgy and Bess and Sketches of Spain. Some listeners and critics who had been disappointed with his experimental late period were happy that his career ended in such a way.[69][70][71] Davis’ grave in Woodlawn Cemetery In 1990, Davis received a Grammy Lifetime Achievement Award. In early 1991, he appeared in the Rolf de Heer lm Dingo as a jazz musician. In the lm’s opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the surprised locals. The performance was one of Davis’ last on lm and one of the rst released after his death in September. During the last years of Davis’ life, there were rumors that he had AIDS, something that he and his manager Peter Shukat vehemently denied.[12][72] According to Quincy Troupe, Davis was taking azidothymidine (AZT), a type of antiretroviral drug used for the treatment of HIV and AIDS.[27][73] Davis died on September 28, 1991, from the combined effects of a stroke, pneumonia and respiratory failure in Santa Monica, California, at the age of 65.[10] He is buried in Woodlawn Cemetery in the Bronx, New York City.[74] 70 9.2 CHAPTER 9. MILES DAVIS Views on his earlier work Late in his life, from the “electric period” onwards, Davis repeatedly explained his reasons for not wishing to perform his earlier works, such as Birth of the Cool or Kind of Blue. In his view, remaining stylistically static was the wrong option.[75] He commented: ""So What” or Kind of Blue, they were done in that era, the right hour, the right day, and it happened. It’s over [...] What I used to play with Bill Evans, all those di erent modes, and substitute chords, we had the energy then and we liked it. But I have no feel for it anymore, it’s more like warmed-over turkey.”[76] When Shirley Horn insisted in 1990 that Miles reconsider playing the ballads and modal tunes of his Kind of Blue period, he demurred. “Nah, it hurts my lip,” was the reason he gave.[77] Other musicians regretted Davis’ change of style, for example, Bill Evans, who was instrumental in creating Kind of Blue, said: “I would like to hear more of the consummate melodic master, but I feel that big business and his record company have had a corrupting in uence on his material. The rock and pop thing certainly draws a wider audience. It happens more and more these days that unquali ed people with executive positions try to tell musicians what is good and what is bad music.”[78] Statue in Kielce, Poland 9.3 Legacy and influence Miles Davis’s artistic interest was in the creation and manipulation of ritual space, in which gestures could be endowed with symbolic power su cient to form a functional communicative, and hence musical, vocabulary. [...] Miles’ performance tradition emphasized orality and the transmission of information and artistic insight from individual to individual. His position in that tradition, and his personality, talents, and artistic interests, impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of improvised performance. Miles Davis is regarded as one of the most innovative, inuential and respected gures in the history of music. The Guardian described him as “a pioneer of 20th-century music, leading many of the key developments in the world of jazz.”[79] He has been described as “one of the great innovators in jazz”.[80] The Rolling Stone Encyclopedia of Rock & Roll noted “Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an e ect on rock. Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as His approach, owing largely to the African-American permusic”.[81] formance tradition that focused on individual expression, William Ruhlmann of AllMusic wrote that “To examine emphatic interaction, and creative response to shifting a profound impact on generations of jazz his career is to examine the history of jazz from the mid- contents, had [82] musicians. 1940s to the early 1990s, since he was in the thick of almost every important innovation and stylistic development in the music during that period [...] It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward.”[1] As an innovative bandleader and composer, Miles Davis has in uenced many notable musicians and bands from diverse genres. Miles’ in uence on the people who played with him has been described by music writer Christopher Smith as follows: Davis’s album Kind of Blue is the best-selling album in the history of jazz music. On November 5, 2009, U.S. Representative John Conyers of Michigan sponsored a measure in the United States House of Representatives to recognize and commemorate the album on its 50th anniversary. The measure also a rms jazz as a national treasure and “encourages the United States government to preserve and advance the art form of jazz music.”[83] It passed, unanimously, with 71 9.5. DISCOGRAPHY a vote of 409–0 on December 15, 2009.[84] In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music.[85] Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. In 2010, Moldejazz premiered a play called Driving Miles, which focused on a landmark concert Davis performed in Molde, Norway, in 1984. • Grammy Award for Best Jazz Instrumental Performance, Big Band for Aura (1989) • Grammy Lifetime Achievement Award (1990) • St. Louis Walk of Fame (May 20, 1990)[87] • Australian Film Institute Award for Best Original Music Score for Dingo, shared with Michel Legrand (1991) • Knight of the Legion of Honor (July 16, 1991; Paris) Miles Ahead, is a 2015 American music lm directed by Don Cheadle, which Cheadle co-wrote with Steven Baigelman, Stephen J. Rivele, and Christopher Wilkinson, which interprets the life and compositions of Davis. The lm premiered at the New York Film Festival in October 2015. The lm also features Emayatzy Corinealdi as Frances Taylor, and a cast including Ewan McGregor, Michael Stuhlbarg, and Keith Stan eld.[86] • Grammy Award for Best Large Jazz Ensemble Performance for Miles & Quincy Live at Montreux (1993) 9.4 • Hollywood’s Rockwalk Induction (September 28, 2006) Awards • Winner; Down Beat Reader’s Poll Best Trumpet Player 1955 • Winner; Down Beat Reader’s Poll Best Trumpet Player 1957 • Grammy Award for Best R&B Instrumental Performance for Doo-Bop (1992) • Hollywood Walk of Fame Star (February 19, 1998) • Rock and Roll Hall of Fame Induction (March 13, 2006) • RIAA Quadruple Platinum for Kind of Blue (October 7, 2008) 9.5 Discography 9.6 Filmography • Winner; Down Beat Reader’s Poll Best Trumpet Main article: Miles Davis discography Player 1961 • Grammy Award for Best Jazz Composition Of More Than Five Minutes Duration for Sketches of Spain (1960) • Grammy Award for Best Jazz Performance, Large Group Or Soloist With Large Group for Bitches Brew ^a Only one song is composed by Miles Davis in cooperation with Marcus Miller (“Theme For Augustine”). (1970) ^b Soundtrack is composed by Miles Davis in cooperation with • Grammy Award for Best Jazz Instrumental Perfor- Michel Legrand. mance, Soloist for We Want Miles (1982) • Sonning Award for Lifetime Achievement In Music (1984; Copenhagen, Denmark) 9.7 See also • Doctor of Music, honoris causa (1986; New England Conservatory) 9.8 References • Grammy Award for Best Jazz Instrumental Performance, Soloist for Tutu (1986) [1] Ruhlmann, William. “Miles Davis Biography”. AllMusic. Retrieved 16 June 2016. • Knight Hospitaller (1988)[68] [2] Yanow, Scott. Jazz: A Regional Exploration. Greenwood Publishing Group. p. 176. ISBN 0313328714. • Grammy Award for Best Jazz Instrumental Performance, Soloist for Aura (1989) [3] “Miles Davis, innovative, in uential, and respected jazz legend”. African American Registry. Retrieved June 11, 2016. 72 CHAPTER 9. MILES DAVIS [4] McCurdy, Ronald C. (2004). Meet the Great Jazz Legends: Short Sessions on the Lives, Times & Music of the Great Jazz Legends. Alfred Music. p. 61. ISBN 1457418134. [22] Nisenson, Eric (1982). 'Round about Midnight: A Portrait of Miles Davis. Da Capo Press. pp. 88–89. ISBN 978-0306-80684-1. [5] Bailey, C. Michael (April 11, 2008). “Miles Davis, Miles Smiles, and the Invention of Post Bop”. All About Jazz. Retrieved June 20, 2016. [23] The Autobiography, pp. 173–174 [6] Freeman 2005, pp. 9–11, 155–156. [7] Christgau 1997; Freeman 2005, pp. 10–11, back cover. [8] Segell, Michael (December 28, 1978). “The Children of 'Bitches Brew'". Rolling Stone. Retrieved June 12, 2016. [9] Macnie, Jim. “Miles Davis Biography”. Rolling Stone. Retrieved 11 June 2016. [10] “Miles Davis”. Rock and Roll Hall of Fame. Retrieved May 1, 2016. [11] Gerald Lyn, Early (1998). Ain't But a Place: an anthology of African American writings about St. Louis. Missouri History Museum. p. 205. ISBN 1-883982-28-6. [12] The Autobiography. [13] Kahn [14] Arons, Rachel (March 21, 2014). “Slide Show: American Public Libraries Great and Small”. The New Yorker. Retrieved March 24, 2014. [15] “See the Plosin session database”. Plosin.com. 1946-10-18. Retrieved 2011-07-18. [16] On this occasion, Mingus bitterly criticized Davis for abandoning his “musical father” (see The Autobiography). [17] Mulligan, Gerry. I hear America singing: “Miles, the bandleader. He took the initiative and put the theories to work. He called the rehearsals, hired the halls, called the players, and generally cracked the whip.” [18] “So I just told them that if a guy could play as good as Lee Konitz played—that’s who they were mad about most, because there were a lot of black alto players around—I would hire him every time, and I wouldn't give a damn if he was green with red breath. I'm hiring a motherfucker to play, not for what color he is.” The Autobiography. [19] In his autobiography Davis recalls exploiting prostitutes and getting money from most of his friends. [20] In his autobiography, Davis says he never forgave Calloway for that interview. He also says that African Americans were being unfairly singled out among the larger community of drug-using jazz musicians of the time. [21] Crawford, Mark (January 1961). “Miles Davis: Evil genius of jazz”. Ebony. Johnson Publishing Company: 69–74. ISSN 0012-9011. [24] “Back in bebop, everybody used to play real fast. But I didn't ever like playing a bunch of scales and shit. I always tried to play the most important notes in the chord, to break it up. I used to hear all them musicians playing all them scales and notes and never nothing you could remember.” The Autobiography. [25] Open references to the blues in jazz playing were fairly recent. Until the middle of the 1930s, as Coleman Hawkins declared to Alan Lomax (The Land Where the Blues Began. New York: Pantheon, 1993), African-American players working in white establishments would avoid references to the blues altogether. [26] Davis had asked Monk to “lay o ” (stop playing) while he was soloing. In the autobiography, Davis says that Monk “could not play behind a horn.” Charles Mingus reported this, and more, in his “Open Letter to Miles Davis”. [27] Szwed, John (2002). So What: The Life of Miles Davis, Simon & Schuster, ISBN 0-434-00759-5. [28] Acquired by shouting at a record producer while still ailing after a recent operation to the throat – The Autobiography. [29] Davis began to be referred to as “the Prince of Darkness” in liner notes of the records of this period, and the moniker persists to this day; see, for instance, his obituary in The Nation, and countless references in DVD , movies and print articles . [30] Some inspired by Ahmad Jamal: see, for instance, the performance of “Billy Boy” on Milestones. [31] Especially Jones and Coltrane, whom Davis both Davis – The Autobiography. red. [32] Early, Gerald Lyn (2001), Miles Davis and American Culture, Missouri History Museum, ISBN 978-1-883982-38-6. [33] Cook, op. cit. [34] “JJA Library”. Jazzhouse.org. Retrieved July 17, 2015. [35] http://santafe.com/blogs/read/ the-matra-diva-the-iconic-frances-davis [36] Carr, Ian (1999). Miles Davis: The Definitive Biography. Thunder’s Mouth Press. pp. 192–93. ISBN 978-1-56025241-2. [37] Lees, Gene (2001). You Can't Steal a Gift: Dizzy, Clark, Milt, and Nat. Yale University Press, p. 24, ISBN 0300089651. [38] Kahn, p. 95. [39] Kahn, pp. 29–30, 74. 73 9.8. REFERENCES [40] RIAA database – Gold & Platinum search item Kind of Blue. Recording Industry Association of America Archived 2008-09-02 at WebCite. Riaa.com. Retrieved on 2013-0808. [53] Freeman, Philip (November 1, 2005). Running the Voodoo Down: The Electric Music of Miles Davis. San Francisco, CA: Backbeat Books. pp. 83–84. ISBN 978-0-87930-8285. [41] “US politicians honour Miles Davis album | RNW Media”. Rnw.nl. Retrieved July 17, 2015. [54] Tingen, Paul (2001). Miles Beyond : The Electric Explorations of Miles Davis, 1967–1991 (1st ed.). Billboard Books. p. 114. ISBN 0-8230-8346-2. [42] “US House of Reps honours Miles Davis album – ABC News (Australian Broadcasting Corporation)". Australian Broadcasting Corporation. December 16, 2009. Retrieved January 6, 2011. [55] Kolosky, Walter (December 31, 2008). Miles Davis: Go Ahead John (part two C) – Jazz.com | Jazz Music – Jazz Artists – Jazz News. Jazz.com. Retrieved on April 3, 2011. [43] Rowe, Jeri (October 18, 2009). “Taking care of Buddy : News-Record.com : Greensboro & the Triad’s most trusted source for local news and analysis”. News-Record.com. [56] Freeman, Phil (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard Corporation. p. 92. ISBN 0-87930-828-1. [44] “Was Miles Davis beaten over blonde?". Baltimore AfroAmerican. September 1, 1959. Retrieved August 27, 2010. [57] Chambers, J. K. (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. p. 246. ISBN 0-306-80849-8. [45] “Jazz Trumpeter Miles Davis In Joust With Cops”. Sarasota Journal. August 26, 1959. Retrieved August 27, 2010. [58] Carr, Ian` (1998). Miles Davis: The Definitive Biography. Thunder’s Mouth Press. pp. 284, 303, 304, 306. ISBN 156025-241-3. [46] Early, Gerald Lyn (2001), Miles Davis and American Culture, Missouri History Museum, p. 89, ISBN 978-1883982-38-6. [47] Einarson, John (2005). Mr. Tambourine Man: The Life and Legacy of The Byrds’ Gene Clark. Backbeat Books. pp. 56– 57. ISBN 0-87930-793-5. [48] Waters, Keith (2011). The Studio Recordings of the Miles Davis Quintet, 1965–68. Oxford University Press. pp. 257– 258. ISBN 978-0-19-539383-5. [49] Tom Moon (January 30, 2013). “A 1969 Bootleg Unearths Miles Davis’ 'Lost' Quintet”. NPR. [59] Tingen, Paul (April 17, 2008). “The Making of Bitches Brew”. The Electric Explorations of Miles Davis, 1967– 1991. ISBN 0-8230-8360-8. [60] “roio » Blog Archive » MILES – BELGRADE 1971”. Bigozine2.com. Archived from the original on July 21, 2015. Retrieved July 17, 2015. [61] Szwed, John (2004). So What: The Life of Miles Davis. Simon & Schuster. p. 343. ISBN 0684859831. Retrieved September 8, 2013. “Miles Davis”. [62] Cosey, Pete (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991. Simon & Schuster. p. 167. ISBN 0823083608. Retrieved December 17, 2014. [51] Merlin, Enrico (2010). “Se rueda: las tres sesiones de grabación” [Rolling: the three recording sessions]. Bitches Brew, Génesis de la Obra Maestra de Miles Davis [Bitches Brew, Genesis of Miles Davis´s Master Piece]. Barcelona: Global Rhythm Press / Ediciones Peninsula. p. 117. ISBN 978-84-9942-081-3. [63] 1 Laurent Cugny. “1975: the end of an intrigue? For a new periodization of the history of jazz” (PDF). Université ParisSorbonne. Université Paris-Sorbonne. Archived from the original (PDF) on November 29, 2014. Retrieved February 3, 2016. [50] Hank Shteamer (January 31, 2013). Pitchfork Music Festival. [52] Merlin, Enrico; Rizzardi, Veniero (2010). Bitches Brew, Génesis de la Obra Maestra de Miles Davis [Bitches Brew, Genesis of Miles Davis´s Master Piece] (in Español and Spanish). Barcelona: Global Rhythm Press / Ediciones Peninsula. p. 186. ISBN 978-84-9942-081-3. Pero el «secreto» de las características más propiamente formales de Bitches Brew radica en un valiente e ingenioso, a la vez que no invasivo, trabajo en la mesa con el material grabado que, en este caso, asume realmente las características de una verdadera composición realizada sobre el soporte sonoro.ENG But the “secret” of Bitches Brew’s more properly formal characteristics lies in a brave and ingenious, as well as non-invasive, work on the table with the recorded material which, in this case, actually assumes the characteristics of a true composition Performed on the sound support. [64] “Miami Vice” Junk Love (1985) Database at the Internet Movie [65] The Autobiography, p. 364. [66] “Scritti Politti – Pop – INTRO”. Intro.de. Retrieved July 17, 2015. [67] “Fodderstompf”. Fodderstompf. March 10, 2009. Retrieved January 6, 2011. [68] Gelbard, Jo (2012). Miles and Jo: Love Story in Blue. AuthorHouse. p. 73–74. ISBN 9781477289570. Retrieved 13 November 2016. [69] “Miles Davis & Quincy Jones – Live At Montreux at Discogs”. Discogs.com. Retrieved July 17, 2015. 74 [70] Ron Wynn. “Miles & Quincy Live at Montreux – Miles Davis,Quincy Jones | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved July 17, 2015. [71] “Miles Davis / Quincy Jones – Miles & Quincy: Live At Montreux CD Album”. Cduniverse.com. 1993-08-10. Retrieved July 17, 2015. [72] Los Angeles Times, “Jazz Notes”, article published in February 22, 1989. [73] Quincy Troupe (2002) Miles and Me, The George Gund Foundation Imprint in African American Studies, ISBN 9780520234710 [74] Davis, Gregory; Sussman, Les & Terry, Clark (2006). Dark Magus: The Jekyll and Hyde Life of Miles Davis. Hal Leonard. ISBN 0879308753. [75] Davis, Miles; Sultanof, Je (2002). Miles Davis – Birth of the Cool. US: Hal Leonard. pp. 2–3. ISBN 0634006827. Retrieved February 22, 2011. [76] Interview with Ben Sindran, 1986. Quoted in Miles Davis and Bill Evans: Miles and Bill in Black & White, September 2001, Ashley Kahn, JazzTimes [77] Interview to Shirley Horn. After 1990. Quoted in Miles Davis and Bill Evans: Miles and Bill in Black & White, September. 2001, Ashley Kahn, JazzTimes. [78] Interview to Bill Evans. Late 1970s. Quoted in Miles Davis and Bill Evans: Miles and Bill in Black & White, September. 2001, Ashley Kahn, JazzTimes. [79] Sta . “Miles Davis voted greatest jazz artist of all time”. The Guardian. Retrieved 16 June 2016. [80] “Music – Review of Miles Davis – The Complete Jack Johnson Sessions”. BBC. September 30, 2003. Retrieved July 17, 2015. [81] “Miles Davis Biography”. Archived from the original on January 26, 2009. Retrieved 2009-01-26.. Rolling Stone Magazine [82] Christopher Smith, “A Sense of the Possible. Miles Davis and the Semiotics of Improvised Performance”. TDR, Vol. 39, No. 3 (Autumn 1995), pp. 41–55. [83] “House honors Miles Davis’ “Kind of Blue"". Archived from the original on December 21, 2009. Retrieved 2009-12-21.. Associated Press, December 15, 2009 [84] “House Resolution H.RES.894”. Clerk.house.gov. 200912-15. Retrieved 2011-07-18. CHAPTER 9. MILES DAVIS [87] St. Louis Walk of Fame. “St. Louis Walk of Fame Inductees”. stlouiswalko ame.org. Retrieved April 25, 2013. [88] Phil Johnson, “Discs: Jazz—Miles Davis/Ascenseur Pour L'Echafaud (Fontana)", Independent on Sunday, March 14, 2004. 9.9 Bibliography • Christgau, Robert (1997). “Miles Davis’ '70s: The Excitement! The Terror!". The Village Voice. New York. • Cook, Richard (2007). It’s About That Time: Miles Davis On and Off Record. Oxford University Press. ISBN 978-0-19-532266-8 • Cook, Richard, and Brian Morton. Entry “Miles Davis” in Penguin Guide to Jazz, Penguin, ISBN 0-14017949-6. • Davis, Miles & Troupe, Quincy (1990). Miles: The Autobiography. Simon & Schuster. ISBN 0-67163504-2. • Freeman, Philip (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard Corporation. ISBN 1-61774-521-9. • Kahn, Ashley (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. Da Capo Press. ISBN 0306810670. • Mandel, Howard (2007). Miles, Ornette, Cecil: Jazz Beyond Jazz. Routledge. ISBN 0-415-96714-7. 9.10 Further reading • Cole, George. The Last Miles: The Music of Miles Davis 1980–1991. ISBN 1-904768-18-0. 9.11 External links • O cial website • Miles Davis – o cial Sony Music website [85] “NEC Honorary Doctor of Music Degree”. Archived from the original on July 20, 2011. Retrieved 2011-07-20.. New England Conservatory • Miles Davis at DMOZ [86] McNary, Dave (July 22, 2015). “Don Cheadle’s 'Miles Ahead' to Close New York Film Festival”. Variety. • “Miles Davis collected news and commentary”. The New York Times. • Miles Davis at AllMusic 9.11. EXTERNAL LINKS • “Miles Davis collected news and commentary”. The Guardian. • Works by or about Miles Davis in libraries (WorldCat catalog) • “Miles Davis”. Rock and Roll Hall of Fame. • Miles Davis at the Internet Movie Database • Miles Davis at Find a Grave 75 76 CHAPTER 9. MILES DAVIS 9.12 Text and image sources, contributors, and licenses 9.12.1 Text • Bebop Source: https://en.wikipedia.org/wiki/Bebop?oldid=765502950 Contributors: Tarquin, Ortolan88, Merphant, Caltrop, Youandme, Ubiquity, Infrogmation, Lexor, Kku, Ixfd64, Cribcage, TUF-KAT, А са ър, RodC, Bemoeial, Hyacinth, Jnc, Head, EldKatt, Dimadick, MattSal, Robbot, Tlogmer, RedWolf, Bkell, Tanuki Z, Ndorward, DocWatson42, Alan W, Ferdinand Pienaar, Gyrofrog, Antandrus, StaticShock, SethTisue, Gscshoyru, Andros 1337, Mani1, Stereotek, Djordjes, Bobo192, Viriditas, HasharBot~enwiki, Alansohn, Anthony Appleyard, Nereocystis, Philip Cross, Lightdarkness, Fawcett5, Andrew Norman, RainbowOfLight, Ndteegarden, Tom.k, Firsfron, Woohookitty, Rictus, Je 3000, Silverleaftree, Graham87, Deltabeignet, Koavf, Quiddity, FayssalF, FlaBot, HotRat, Mcleodm, Banazir, Carrionluggage, Tedder, No Swan So Fine, AllyD, YurikBot, Michael Slone, Golkentli, Gaius Cornelius, Daikaili, TheGrappler, Grafen, Pgentry, DeadEyeArrow, Bota47, Nlu, Ninly, J. Van Meter, Closedmouth, Thelb4, Argo Navis, Allens, Katieh5584, DVD R W, KnightRider~enwiki, SmackBot, InverseHypercube, Bragador, Gilliam, Betacommand, Antonrojo, PeteShanosky, Chlewbot, Rrburke, Tapered, Tiki2099, Derek R Bullamore, Adrianiu, TenPoundHammer, TheKid, Zearin, SilkTork, Gobonobo, Eurodog, Special-T, Verklempt, Eastfrisian, OnBeyondZebrax, Iridescent, Kencf0618, Bluengreen7, Daniel5127, Gortaleen, AndrewHowse, Cydebot, Robotma a, Hello cello, SpK, Rainer Lewalter, Epbr123, SyncopatorSyncopator, TheTruthiness, James086, AntiVandalBot, Kitty Davis, Modernist, Sstteevvee, Ghmyrtle, Esmond.pitt, Sluzzelin, Rikstar, Cdg1072, VoABot II, JamesBWatson, Jerome Kohl, KConWiki, Zepheriah, Dablueeagle, Vlad b, Glen, MartinBot, Jazz+, Arjun01, Alro, CommonsDelinker, Frontstcorner, Dinkytown, Vanwhistler, J.delanoy, BigrTex, Bogey97, Sam Weller, Yonidebot, Mind meal, Gzkn, Mastermind104, It Is Me Here, Nfmattson, JazzDox, Burzmali, Scewing, Black Kite, VolkovBot, Jcmitch96, Jmrowland, Chiarafumo, Dbrezeno , TXiKiBoT, Mercurywoodrose, Technopat, A4bot, Agri nny, Eky-w-, Qxz, DennyColt, JhsBot, Ripepette, Wiae, Eulalie Écho, Alex.gosselin, Michaeldsuarez, Finngall, Synthebot, Jason Leach, Pjt48, Shorn again, Insanity Incarnate, JGerretse, Cosprings, SieBot, TJRC, Nubiatech, P ggs, Nite-Sirk, Toddst1, JetLover, Sarsdran, Trainsgowoooo, Albion moonlight, Taggard, Seedbot, Ewingpatriarch, Videmus Omnia, Denisarona, Hsbrent, Babamgeliyor, ImageRemovalBot, BluesRenegade, Biglorrydriver, ClueBot, SummerWithMorons, Trackerseal, The Thing That Should Not Be, Mattspac, R000t, TheOldJacobite, Arluy, Excirial, PixelBot, SpikeToronto, Tyler, Vael Victus, Bonusmarkscrew, Swirlface, Jsondow, Thingg, DumZiBoT, BitchNice, Wikiuser100, PK2, Ost316, Elk M, Alexius08, Addbot, Willking1979, Walking the blues, Jafeluv, Dan56, Hit me Daddy, eight to the bar, Dfrank777777, Ironholds, DrJos, LaaknorBot, Tide rolls, Ssssdddd, Yobot, Serialreader~enwiki, Dickdock, Eric-Wester, AnomieBOT, Piano non troppo, Jo3sampl, Materialscientist, ArthurBot, 4twenty42o, GrouchoBot, NoVomit, Sabrebd, FrescoBot, FotoPhest, Bmg6968, Lou Bennett, Serols, Hearfourmewesique, Reconsider the static, Williestratton, DARTH SIDIOUS 2, RjwilmsiBot, TjBot, Elkeahrenholz, Woovee, Zujine, WikitanvirBot, STATicVapor, Maria Danielson, GoingBatty, Boydorn, K6ka, Dr clave, Ajrdileva, Unreal7, SporkBot, BryceBobby, Donner60, Robvanderliende, DogFoxen, Gfradsp, Petrb, ClueBot NG, Widr, Chillllls, Helpful Pixie Bot, Guzman.c, Oleh.zavadsky, BattyBot, William Darkos, Kylesbakery, Meho12345, Myxomatosis57, Khazar2, Dexbot, Mddrummer, EddieHugh, Ilovetopaint, Inanygivenhole, Pwallerson, Johnnymacsib, Tudor987, EAR47, P-123, BethNaught, Jazzerino, Jnbird, Ti anylittleboo, Weirdboy13, KH-1, Crystallizedcarbon, Generale Lee, Kalope, TheBlinkster, DjangoGypsy, CLCStudent, GreenC bot, NixaProudMcDonalds, Bender the Bot, TwistedByFate and Anonymous: 396 • Charlie Parker Source: https://en.wikipedia.org/wiki/Charlie_Parker?oldid=769693934 Contributors: Rmhermen, Deb, Wheat, Ortolan88, William Avery, Ben-Zin~enwiki, Merphant, Rbrwr, Infrogmation, Cprompt, Dan Koehl, Ixfd64, Ellywa, Ahoerstemeier, DavidWBrooks, Dgaubin, TUF-KAT, SeanO, Bueller 007, А са ър, Lupinoid, Evercat, BRG, RodC, Hyacinth, Saltine, Lumos3, Phil Boswell, Robbot, Fredrik, Tlogmer, Jmabel, Postdlf, Dmadeo, Mervyn, Diberri, Oobopshark, Ndorward, DocWatson42, Djinn112, Cobaltbluetony, 0x6D667061, Everyking, Ferdinand Pienaar, Foobar, Gyrofrog, George Kaplan, Mike R, Antandrus, StaticShock, MacGyverMagic, Ary29, Sam Hocevar, TronTonian, Klemen Kocjancic, Cab88, Eddhurt, Guybrush, D6, Freakofnurture, Eyrian, Jiy, Indosauros, Marlowe~enwiki, Discospinster, Rich Farmbrough, John FitzGerald, Alien life form, Cdyson37, User2004, Mani1, Paul August, Djordjes, Surachit, C1k3, RoyBoy, EurekaLott, Nrbelex, Dralwik, Smalljim, Rajah, Googie man, Knucmo2, Adrian holovaty, Alansohn, Elpincha, Walter Gfirlitz, Philip Cross, Ricky81682, Pippu d'Angelo, Fawcett5, Snowolf, Velella, Bbsrock, SidP, Poetryjam, RyanGerbil10, AndreaRossato, Stemonitis, Gmaxwell, Weyes, Woohookitty, Jpers36, Kodayu, TotoBaggins, Philodox-ohki, Palica, Deltabeignet, Rock8888, Reisio, Mayumashu, GunnarE~enwiki, Wikibofh, Craigz, Bhadani, DoubleBlue, Fred Bradstadt, Scorpionman, FlaBot, SchuminWeb, Nihiltres, Avalyn, Diizy, Nivix, Hottentot, Flowerparty, Llew, Maltmomma, No Swan So Fine, Cause of death, Chobot, Sbrools, Metropolitan90, DVdm, AllyD, Just4sax, Ahpook, Gwernol, YurikBot, RobotE, Sceptre, PlasticMan, RussBot, Essloth201, WaldiR, Pseudomonas, Big Brother 1984, Anomalocaris, TheGrappler, NawlinWiki, Kisch, Badagnani, Welsh, Shaun F, Cholmes75, Diotti, PhilipC, LodeRunner, Ospalh, Dissolve, Drumsac, Pmauro, Nick123, AjaxSmack, Mütze, Getcrunk, J S Ayer, Adam Holland, Paul Magnussen, Nikkimaria, Lappado, [email protected], LeonardoRob0t, JLaTondre, T. Anthony, Paul Erik, Random task, Mllerustad, Luk, True Pagan Warrior, SmackBot, Ashley thomas80, Terry1944, KnowledgeOfSelf, Unyoyega, SaxTeacher, Clpo13, DanielPen eld, Bmearns, Eskimbot, Larrykoen, Canthusus, Kintetsubu alo, Edgar181, Alsandro, Gilliam, Ohnoitsjamie, Folajimi, Kurykh, DavidJField, Bbird~enwiki, Dr. Shaggeman, Colonies Chris, Kozureokami, Sumahoy, Zone46, OrphanBot, Rrburke, The Cipher, Badbilltucker, J.R. Hercules, Gohst, Makemi, Oanabay04, Birch34, Just plain Bill, Kschwerdt514, Ohconfucius, Will Beback, GoldenTorc, Scott1153, Louv, TheKid, BrownHairedGirl, Kuru, John, JackLumber, Rigadoun, R shel, Michael Bednarek, B bog, Rm w a vu, Grantbw, JHunterJ, Rainwarrior, Mrtc45, 2T, Waggers, Quarty~enwiki, Bedens67, Sriharip, Violncello, Sinaloa, Twas Now, Oobug, CapitalR, Gil Gamesh, Courcelles, Woodshed, Tawkerbot2, Jh12, Billastro, Americasroof, CmdrObot, Mattbr, TimothyHorrigan, Sir Vicious, Gidslip, JenGrier, Orderinchaos, Drinibot, Charvex, Jolsonmhd, Hi There, Funnyfarmofdoom, Cydebot, Justus Nussbaum, Gogo Dodo, A Softer Answer, Dingo bob273, Dyna ow, Shirulashem, Roberta F., DumbBOT, Nabokov, After Midnight, Michael Johnson, Thijs!bot, Wikiwow, Epbr123, JustAGal, PJtP, OrenBochman, Maarten de Haan, Qp10qp, AntiVandalBot, RobotG, Seaphoto, Prolog, Dr. Blofeld, Julia Rossi, Activist, Tjmayerinsf, Dylan Lake, Roundhouse0, Sstteevvee, Jessiejames, Zidane tribal, Sluzzelin, Steve Pastor, Darthjarek, Leuko, Paul Emmons, EvilUnderFoot, Avaya1, Matthew Fennell, Jazzeur, Bahar, Rothorpe, .anacondabot, Freshacconci, Cdg1072, VoABot II, Rador, Ebaisa, Finbar Canavan, Robotman1974, Elgrego, BlazeFelton, Thibbs, DerHexer, Mokgamen, Cricket02, Hbent, Salimi, MartinBot, InnocuousPseudonym, Keith D, Allansutherland, CommonsDelinker, Larry6571, J.delanoy, Ricky Bobby, Whitebox, Jerry, Mind meal, Benjimon, Hair Commodore, Cgilbert76, Notreallydavid, JayJasper, Nbattista, Tomlikesjazz, Group29, Cmichael, Cometstyles, Groovinhigh, DorganBot, Bonadea, JingaJenga, Lights, Malik Shabazz, 28bytes, Thedjatclubrock, Beatnik Party, Saxplayer, VasilievVV, Grammarmonger, Station1, WOSlinker, Refsworldlee, Lifewriter, Oshwah, Jvaaz, Mercurywoodrose, Technopat, Heroville, Qxz, Dendodge, DocteurCosmos, Broadbot, Sanfranman59, LeaveSleaves, Trevonmoore, S2grand, Editor437, M0RD00R, Scoopjohnson, Jabadcorral, Ian Goggin, David Couch, Groovin- 9.12. 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Richter, Zenzee, Tpbradbury, Pollinator, She Who Must Be Obeyed, Chuunen Baka, Robbot, RedWolf, Mushroom, Ndorward, Aomarks, Fabiform, Martinwguy, Alan W, Tom harrison, Gamaliel, Ferdinand Pienaar, Gyrofrog, J. 'mach' wust, Mako098765, PDH, Jossi, Tothebarricades.tk, Two Bananas, Karl-Henner, TronTonian, Jacooks, D6, DanielCD, Discospinster, Alien life form, Xezbeth, Arthur Holland, Mani1, Harriv, Bender235, ESkog, JJJJust, Arcon, CanisRufus, Kwamikagami, Briséis~enwiki, Drmagic, Bobo192, Robotje, John Vandenberg, Drazzib, Dungodung, Slo, Gira edata, Rajah, Darwinek, Eritain, Knucmo2, Jumbuck, Storm Rider, Alansohn, PaulHanson, Arthena, Philip Cross, AzaToth, Lectonar, Fawcett5, Snowolf, Bbsrock, Andrew Norman, Dave.Dunford, Bsadowski1, Tainter, RyanGerbil10, Japanese Searobin, Navidazizi, Strongbow, Zrenneh, Nfvs, Je 3000, Tabletop, Wayward, Toussaint, Graham87, Jack Cox, Yuriybrisk, BD2412, Moulinette, Koavf, Nneonneo, The wub, Yamamoto Ichiro, FlaBot, HotRat, SchuminWeb, Nivix, Flowerparty, RexNL, Gurch, BjKa, No Swan So Fine, King of Hearts, AllyD, Bg- 78 CHAPTER 9. MILES DAVIS white, YurikBot, Sceptre, RussBot, FrenchIsAwesome, Crazytales, GLaDOS, YEvb0, Stephenb, Shkarter1985, Flyguy33, TheGrappler, NawlinWiki, Badagnani, Tinlash, Dureo, Irishguy, Nephron, Cholmes75, Diotti, Mlouns, Tony1, Dissolve, Nethgirb, Silverhill, Ochiwar, Mütze, Jkelly, Smkolins, 21655, Alakazam, Ecoleetage, LeonardoRob0t, Garion96, Jonathan.s.kt, Moomoomoo, Gurukid, Eptin, Kingboyk, LambaJan, SmackBot, Davepape, Terry1944, KnowledgeOfSelf, Od Mishehu, Eskimbot, Nikk0, Silverhand, KittenKlub, Gilliam, Betacommand, Chris the speller, Lovecz, Bluebot, Baa, Dr. Shaggeman, Kotra, Can't sleep, clown will eat me, Onorem, J.R. Hercules, Ш б , Cybercobra, TedE, Dreadstar, WookMu , Derek R Bullamore, LeoNomis, Alcuin, Ohconfucius, Scott1153, TheKid, Ser Amantio di Nicolao, John, IronGargoyle, The Man in Question, Shimmera, Special-T, Beetstra, 2T, TPIRFanSteve, Fifties, Eastfrisian, TheKaplan, TW2, Mig77, Palmetto, Joseph Solis in Australia, Sjb72, Gil Gamesh, MightyWarrior, Igni, Banyan, Cassavau, HennessyC, Mapsax, JohnCD, Drinibot, Wmenton, Moreschi, Tex, AndrewHowse, Yaris678, Cydebot, Gogo Dodo, Travelbird, Soetermans, DumbBOT, Omicronpersei8, Mombas, Thijs!bot, Epbr123, Fisherjs, TonyTheTiger, Hollomis, Unknown Master, Kathovo, Mallred, Johnwrw, Natalie Erin, Escarbot, AntiVandalBot, Widefox, Activist, Spartaz, Jessiejames, WarFighter, Zidane tribal, Gervius, Sluzzelin, Dogru144, De ective, Adam 1212, Jazzeur, Bahar, Andonic, Rothorpe, .anacondabot, Freshacconci, Lawikitejana, Bongwarrior, VoABot II, Hullaballoo Wolfowitz, JNW, BertieBasset, Catgut, Robotman1974, Bobby H. He ey, Xtifr, Flami72, Lavacano201014, Jerem43, BMRR, Hdt83, MartinBot, HOT L Baltimore, InnocuousPseudonym, ScorpO, Mbrstooge, CommonsDelinker, Pekaje, Frontstcorner, Erockrph, J.delanoy, DrKay, Mch2239, Chase.harriman, Mind meal, Didgeman, It Is Me Here, OddMNilsen, Gurchzilla, JayJasper, (jarbarf), Dornbiker, Toon05, STBotD, GS3, Halmstad, Meaningful Username, Dougie monty, Hardnfast, Philip Trueman, Kevin F. Story, DISEman, Mercurywoodrose, Abreezy, Lucasita, Technopat, A4bot, Chuckwolber, Miranda, GcSwRhIc, Aymatth2, Qxz, Piperh, Anna Lincoln, Sintaku, Bluestripe, Leafyplant, Mardhil, LeaveSleaves, NGV17, David Couch, Pwsouth, Pjoef, Fischer.sebastian, Onceonthisisland, Jonah22, Cosprings, SieBot, Paul20070, Tresiden, YonaBot, Tiddly Tom, Moonriddengirl, Jauerback, Open state, Winchelsea, Da Joe, Dawn Bard, JCIV, Monegasque, Sarsdran, Aspects, Villain Antagonist, AMbot, Rapaporta, Jerjazmus6, Maijamladen, Altzinn, Lazarus1907, Hi hitman, Leahtwosaints, ClueBot, Binksternet, The Thing That Should Not Be, Plastikspork, Magiciandude, Dengero, Marcoscm, Bbb2007, DragonBot, Ktr101, Gtstricky, Sun Creator, Draggleduck, Cenarium, Arjayay, Jackrm, Remcee, Aitias, DjFLWB, Versus22, Indopug, Helixweb, Jax 0677, Serpentnight, Halfchap1, Avoided, TFOWR, Doc9871, Good Olfactory, Kbdankbot, Addbot, Some jerk on the Internet, Freakmighty, Blethering Scot, Ronhjones, Eedlee, This is Paul, Glane23, Chzz, Norman21, Squandermania, Brian Laishes, Tassedethe, Jp432, Numbo3-bot, Festoonz, Tide rolls, Lightbot, Spallderman, Arbitrarily0, Luckas-bot, Yobot, Fraggle81, AnakngAraw, Dawo0dst3r, AnomieBOT, DemocraticLuntz, Secret killer, Ump111, Jim1138, Idraulico liquido, Ulric1313, Kingsleyboy, Quebec99, Xqbot, The sock that should not be, Karljoos, NoVomit, Omnipaedista, Egospoon, DutchmanInDisguise, Miimno, Mathonius, 78.26, SchnitzelMannGreek, Chimera31, A.amitkumar, RetiredWikipedian789, Prari, FrescoBot, Olafjoppe, Hotshot8754, Hill Hollow Boy, Mistake nder, Moloch09, Frozenicee, Jamesooders, Arcendet, Pinethicket, I dream of horses, Peltirasia, Tinton5, Tomcat7, Serols, Celestes, Vrenator, MrX, Koca91, AndrewvdBK, Tbhotch, Woodlot, VernoWhitney, Huangmuyi, Salvio giuliano, Milotoor, John of Reading, ScottyBerg, TptmasterHalifax, Guruz, Wikipelli, Giggy1248, CoolJazz5, Housewatcher, Jcooper1, Saralicia, Tolesi, Legomyeggo252, Russian69, Xanchester, Helpsome, ClueBot NG, CactusBot, Matthiaspaul, Wolf135, O.Koslowski, Vincelord, Elyk001, Helpful Pixie Bot, Fidel Brookes, BG19bot, Neptune’s Trident, Mbsabatini, Poespym, Sleeping is fun, Niiia1252, MusikAnimal, BizarreLoveTriangle, Plapatapa, Iamthecheese44, Glacialfox, MenkinAlRire, BattyBot, Pratyya Ghosh, Yahoopat, Martinillo, Guiletheme, VIAFbot, GabeIglesia, EddieHugh, Pdecalculus, Melonkelon, Tayisiya, Cissie.and.grumpy, Chicago57th, Samustwist, Synthwave.94, Lwarrenwiki, Monkbot, Opencooper, Vieque, Harmelodix, Bohemian Baltimore, Newbeeee, Isabelle Leymarie, Spiderjerky, Sljsc, Zppix, Weegeerunner, MiniEstadi1982, Pthunderman, Birdanddizzy, Natalie.Desautels, KasparBot, Cmathias1, Tomas Aberton, InternetArchiveBot, Bbbbbbx, GreenC bot, Bear-rings, Bender the Bot, It’sAllinthePhrasing, Almightyhank and Anonymous: 566 • Bud Powell Source: https://en.wikipedia.org/wiki/Bud_Powell?oldid=769099798 Contributors: Danny, Merphant, Infrogmation, Gabbe, Angela, SeanO, RodC, Hyacinth, IppikiOokami, Aomarks, George Kaplan, Je reyN, TronTonian, D6, John FitzGerald, Mani1, Djordjes, Drmagic, Viriditas, Alansohn, Bmeacham, Philip Cross, Fawcett5, Andrew Norman, Karst, Jleon, BD2412, Missmarple, Fred Bradstadt, FlaBot, SchuminWeb, Windharp, No Swan So Fine, TheGrappler, Grafen, Robby nstein, Tony1, Ninly, T. Anthony, Algae, SmackBot, Terry1944, Larrykoen, Lexo, Folajimi, Jprg1966, Kcordina, Hoof Hearted, Dreadstar, Ser Amantio di Nicolao, Gobonobo, 2T, Ptelea, CmdrObot, Drinibot, Cydebot, JoSm~enwiki, N5iln, Je Perry, Jazzlover101, Dr. Blofeld, Ghmyrtle, Sluzzelin, Dogru144, Jazzeur, Rothorpe, Cdg1072, Edward Tambling, Pugetbill, David Eppstein, Mind meal, JayJasper, Floater uss, Plasticup, Jmrowland, Martinevans123, DISEman, A4bot, Lamro, Jason Leach, Cosprings, SieBot, Moonriddengirl, Dixhoorn, Digisus, ImageRemovalBot, Stephen Emerson, Drmies, BassHistory, Klink9, UhOhFeeling, Addbot, Jafeluv, Boomur, BepBot, SpBot, Squandermania, Lightbot, Luckas-bot, Yobot, Compsonheir, Dickdock, AnomieBOT, Tomwsulcer, FrescoBot, Exutilizador, Citation bot 1, Tinton5, Bi baker, SmartyBoots, MrX, RjwilmsiBot, Ripchip Bot, RenamedUser01302013, ZéroBot, Ethan Iverson, ChuispastonBot, Tomgholmes, ClueBot NG, CactusBot, Cineobserver, Helpful Pixie Bot, Rickurmom, BG19bot, Sleeping is fun, William Darkos, LoneliedSphere, Peter Pullman, Chrpr, VIAFbot, EddieHugh, SamX, Horacee Arnold, KasparBot, W9rldW9d9W9b, Ludwigpaisteman, Vmavanti, Powell biographer, Billbenj, Bender the Bot, Jonah shy, WalkerJazz and Anonymous: 91 • Charlie Christian Source: https://en.wikipedia.org/wiki/Charlie_Christian?oldid=762529861 Contributors: Deb, Ortolan88, Merphant, Hephaestos, Infrogmation, SeanO, Salsa Shark, Hyacinth, Oobopshark, Alan W, Ferdinand Pienaar, Wmahan, D3, Mike R, Quadell, ClockworkLunch, TronTonian, D6, YUL89YYZ, ESkog, Breon, Philip Cross, Fawcett5, Jost Riedel, Woohookitty, Graham87, Deltabeignet, BD2412, Rjwilmsi, Koavf, MarnetteD, FlaBot, Naraht, SchuminWeb, Design, YurikBot, Rsrikanth05, TheGrappler, Cholmes75, BOT-Superzerocool, Zzuuzz, [email protected], Acctorp, T. Anthony, JSC ltd, Havardj, SmackBot, We El~enwiki, Piccadilly, Commander Keane bot, Thumperward, John Reaves, OrphanBot, Pokey5945, Derek R Bullamore, Bejnar, TheKid, Ser Amantio di Nicolao, JackLumber, Mary Read, Ckatz, Special-T, Phbasketball6, Beetstra, 2T, Genisock2, WilliamJE, Anger22, Wspencer11, J Milburn, CmdrObot, MrFizyx, ShelfSkewed, Cydebot, Jmasalle, Mattisse, JustAGal, PJtP, Nick Number, Salavat, Jj137, Ghmyrtle, Dogru144, Jazzeur, Rothorpe, VoABot II, Waacstats, Zoot mojo, Grinder0-0, Feefor, Vytal, Lady Mondegreen, Mind meal, Mark Froelich, Mr Rookles, Aboutmovies, JayJasper, Floater uss, Maurice Lelaix~enwiki, Burzmali, VolkovBot, WOSlinker, DISEman, Technopat, Walor, Papa528, Corvus cornix, Broadbot, Quantpole, Solicitr, Rontrigger, Cosprings, Notneils, Erviltnec, Polbot, Geo Plourde, Sur nboy, Ottawahitech, Auntof6, Wiki libs, Lunchscale, M.boli, Darkicebot, XLinkBot, QYV, Beantwo, Tulsa90, WikHead, Kbdankbot, Addbot, Jafeluv, KorinoChikara, CarsracBot, Tassedethe, John Belushi, Yobot, Librsh, AnomieBOT, Ojorojo, Piano non troppo, Theseekerhp, Xqbot, Narthring, Dljone9, Omnipaedista, DutchmanInDisguise, FrescoBot, LucienBOT, Msja101, Gibson-historian, DrilBot, Slu s, Ztronix, Jlawrencenewyork, Colchester121891, Andreldritch, RjwilmsiBot, EmausBot, GoingBatty, Calliopeguy, Wawzenek, RaptureBot, Freimut Bahlo~enwiki, ClueBot NG, Helpful Pixie Bot, Vitaliy haritonov, Roundsola, Smschrag, Charge2charge, Filedelinkerbot, SusunW, KasparBot, Jwicklatz, Vmavanti, Bmills33, InternetArchiveBot, JJMC89 bot, Rmosmittens, Roberttaylorcurryii and Anonymous: 132 9.12. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 79 • Max Roach Source: https://en.wikipedia.org/wiki/Max_Roach?oldid=767619142 Contributors: Merphant, Infrogmation, Gabbe, Lquilter, SeanO, RodC, Zenzee, Lunchboxhero, Carbuncle, Dimadick, Robbot, Fredrik, RedWolf, Lupo, Lupin, Hans555, George Kaplan, StaticShock, TronTonian, D6, Discospinster, Lulu of the Lotus-Eaters, CanisRufus, El C, Warpozio, Jpgordon, Thuresson, Spalding, Hagerman, Knucmo2, Alansohn, Philip Cross, Ekko, Robiecraig, Snowolf, HenkvD, Richard Arthur Norton (1958- ), FeanorStar7, Canadian Paul, BD2412, Moulinette, Seidenstud, Brighterorange, The wub, FlaBot, Naraht, SchuminWeb, Huw Nathan, No Swan So Fine, MichaelCaricofe, Chobot, AllyD, YurikBot, TheGrappler, Badagnani, Justin Eiler, Biopresto, Drumsac, Wknight94, Mütze, Mbase1235, T. Anthony, Joshronsen, SmackBot, Terry1944, Hatto, Ilikeeatingwa es, Moe Aboulkheir, Stevage, Hermzz, Jennica, J.R. Hercules, Mitchumch, The Fwanksta, Ser Amantio di Nicolao, Rklawton, Rigadoun, Gobonobo, Stwalkerster, Eastfrisian, Hu12, JoannaSerah, Fvasconcellos, Anthony22, CmdrObot, Ibadibam, Cydebot, Tawkerbot4, Jimcripps, Richhoncho, Thijs!bot, James086, RobotG, Chubbles, Rselcov, Sluzzelin, JAnDbot, Steve Pastor, Dogru144, Jazzeur, Atpal, Wmcewenjr, Rothorpe, Freshacconci, Magioladitis, Engelbaet, Jpcohen, Dekimasu, Wikidudeman, Atripodi, Paxhope, Leonardbast, Raoulroach, Pvmoutside, Midgrid, BAT235, KConWiki, Vytal, Emil76~enwiki, HOT L Baltimore, Keith D, Mind meal, Tiggerjay, Sjones23, TXiKiBoT, DISEman, Oshwah, Mercurywoodrose, JazzWard~enwiki, Slysplace, Broadbot, Popopp, S2grand, Editor437, Djmckee1, Pjoef, Cosprings, SieBot, Dlfreem, Spartan, Moonriddengirl, France3470, Jimthing, CutO Ties, Twh66, Txcrossbow, Seaaron, ImageRemovalBot, ReeseronnieL, Leahtwosaints, Rignellio, ClueBot, Wikiwiki1961, The Thing That Should Not Be, Falkonry, Tipitina, Brianmcmillen, Webster Hodges, Connie Crothers, In8ctuality, Arbeit Sockenpuppe, Trivialist, Ktr101, Excirial, Alexis Arias, Sun Creator, Stan lomax, Ayodele roach, BGAndersson, BassHistory, DumZiBoT, Jheyboer, XLinkBot, Chundley1, Ash773, WikHead, Addbot, Mvgorski, LatitudeBot, Download, Stick5aman, Squandermania, Tassedethe, Numbo3-bot, Lightbot, Rodericksilly, Yobot, Amirobot, FAURA, Deputyduck, Capricorn42, Mathonius, Hushpuckena, Kwiki, Citation bot 1, Singingdaisies, Tinton5, Paleojazz, Tomcat7, Full-date unlinking bot, Westside7777, Skydrinker, RjwilmsiBot, EmausBot, Mk5384, Dcirovic, 28bot, ClueBot NG, Joefromrandb, Kellymolloy56, Proscribe, Widr, Sleeping is fun, JephthahsDaughter, Iamthecheese44, Gmeel, BattyBot, Cyberbot II, VIAFbot, EddieHugh, Tentinator, Chartbot, Deadeconomist, James Curle, EiKalliK, ZeppoShemp, Cupofjo, Generale Lee, KasparBot, AlphaJotaZed, Vmavanti, Joan1066, Pandahelper228, GreenC bot, Bender the Bot and Anonymous: 169 • Kenny Clarke Source: https://en.wikipedia.org/wiki/Kenny_Clarke?oldid=769022185 Contributors: Danny, Gabbe, Dysprosia, Bearcat, Timrollpickering, Alan W, Everyking, ToddBishop, TronTonian, D6, Bender235, Viames, Vystrix Nexoth, Philip Cross, Malo, Graham87, BD2412, Shadowhillway, Rjwilmsi, Koavf, Fred Bradstadt, FlaBot, Airunp, No Swan So Fine, YurikBot, RussBot, Gaius Cornelius, CambridgeBayWeather, TheGrappler, Dissolve, Drumsac, ChrisGriswold, T. Anthony, SmackBot, Igbo, Hmains, Typo xer76, Quadparty, Derek R Bullamore, Ser Amantio di Nicolao, 2T, Jetman, Twas Now, Drumsoloartist, Cydebot, Justus Nussbaum, Alaibot, PKT, PJtP, Sluzzelin, Jazzeur, Rothorpe, Pugetbill, Waacstats, Eldumpo, Vytal, Mind meal, M-le-mot-dit, Steel1943, Vrac, WarddrBOT, TXiKiBoT, DISEman, Technopat, Walor, WazzaMan, Slysplace, Mardhil, BOTijo, Cosprings, Aspects, Drmies, Truthaboutus, Levent, Boleyn, Kbdankbot, Addbot, Lightbot, Lymantria, Luckas-bot, Yobot, AnomieBOT, Ulric1313, Bagumba, RibotBOT, FrescoBot, Inscription, Full-date unlinking bot, RjwilmsiBot, EmausBot, ZéroBot, Fusion is the future, Personalmountains, Djwhat, Paukenspieler, YFdyh-bot, SD5bot, Khazar2, VIAFbot, Monkbot, Eman235, Softshoe44, TheGracefulSlick, KasparBot, Vmavanti, Bender the Bot and Anonymous: 32 • Miles Davis Source: https://en.wikipedia.org/wiki/Miles_Davis?oldid=770446771 Contributors: Derek Ross, Mav, Koyaanis Qatsi, Gareth Owen, Mark, Danny, Deb, Ortolan88, Ben-Zin~enwiki, Merphant, Camembert, Modemac, Nevilley, Infrogmation, Sam Francis, Ixfd64, Sannse, Delirium, Pmyatt, Card~enwiki, Cribcage, Snozzwanger, RussellBlatcher, Snoyes, CatherineMunro, TUF-KAT, Angela, SeanO, Kingturtle, Jimmer, Ijon, LouI, Samw, Jacques Delson, Norwikian, RodC, Trontonian, Yggdrasil, Andrewman327, Zoicon5, Tpbradbury, Hyacinth, K1Bond007, Lypheklub, Raul654, Cluth, She Who Must Be Obeyed, Dimadick, Aenar, Chuunen Baka, Bearcat, Gentgeen, Robbot, Pigsonthewing, Fredrik, Tlogmer, Eman, RedWolf, Naddy, Mjgw, Jmeltzer, CdaMVvWgS, Andrew Levine, Sunray, Hadal, JackofOz, Lupo, David Gerard, Ndorward, David Koller, TOO, Graeme Bartlett, DocWatson42, Pge en, Lupin, Peruvianllama, Ds13, Everyking, Varlaam, Yekrats, Enkrates, Ferdinand Pienaar, Alvestrand, Jackol, Bobblewik, Gyrofrog, Isidore, CryptoDerk, Quadell, MarkSweep, Fuscob, StaticShock, Jossi, Dunks58, Alex Cohn, Oneiros, Tothebarricades.tk, Icairns, Tomte~enwiki, TJSwoboda, Klemen Kocjancic, Muijz, Eddhurt, Adashiel, Trevor MacInnis, Jkiang, Corti, Mike Rosoft, Alkivar, D6, David Sneek, Jiy, Ma'ame Michu, Blanchette, Discospinster, Rich Farmbrough, Guanabot, FranksValli, F rehorse, Oliver Lineham, Pmsyyz, John FitzGerald, Alien life form, Silence, Autiger, Dave souza, Ross Uber, Ericamick, Ivan Bajlo, Mjpieters, Mani1, Byrial, Martpol, Bender235, ESkog, Zaslav, CanisRufus, El C, Cherry blossom tree, Susvolans, Warpozio, Pablo X, Bobo192, Dralwik, Evolauxia, Redlentil, Hooverbag, Arcadian, Slo, Darwinek, Thedarkestclear, Ultra megatron, Knucmo2, Alansohn, Gary, Hektor, Smegpt86, Philip Cross, Andrew Gray, Malber, Bbsrock, BaronLarf, Andrew Norman, ReyBrujo, Sketchee, Ilse@, Michaelpb, Pabanks46, Mcmillin24, Danthemankhan, PullUpYourSocks, Kenyon, SteveHFish, MickWest, Angr, Danreitz, Woohookitty, Switcher, Schroeder74, FeanorStar7, MK2, Daniel Case, Jamieli, Jimbonator, Bartash, Tabletop, Hailey C. Shannon, Jleon, Wikiklrsc, TreveX, Thebogusman, Isnow, Queixa, Sneakums, Emerson7, Paxsimius, Graham87, Deltabeignet, Magister Mathematicae, Taestell, A Train, Cuchullain, Kbdank71, Ted Wilkes, FreplySpang, Rock8888, Shadowhillway, Tlroche, Rjwilmsi, Mayumashu, Nightscream, Koavf, Rogerd, Zbxgscqf, Valentinejoesmith, Astronaut, RFGS, Sdornan, Vegaswikian, Lairor, Brighterorange, The wub, GregAsche, Tedzsee, Sango123, FuriousFreddy, Yamamoto Ichiro, Fish and karate, BrothaTimothy, The Deviant, Haquim~enwiki, SchuminWeb, RobertG, Windchaser, John Baez, Jakealator, Derekmcgovern, RexNL, Gurch, Ayla, Nuge, Thenewdeal87, 3 nger, Pr7iDeS, No Swan So Fine, Ace tt, Butros, MoRsE, Chobot, AllyD, Bgwhite, Scoo, Franois-do, Hall Monitor, Cjmarsicano, Barrettmagic, YurikBot, Matanya (renamed), Rt66lt, RussBot, LWGillan, Gub, Splash, SpuriousQ, Stephenb, Lord Voldemort, CrazyTalk, TheGrappler, NawlinWiki, Kisch, Jubella, Clam0p, ONEder Boy, Joelr31, Beckettwatt, Irishguy, Peter Delmonte, Danmiles, Wolbo, Raven4x4x, LodeRunner, Tony1, Db rs, Dissolve, Drumsac, Bota47, Kewp, Mütze, Mamawrites, Nick Watts, Ali K, Ninly, Mikasa~enwiki, Jogers, QzDaddy, Harabanar, JoanneB, RenamedUser jaskldjslak904, T. Anthony, ArielGold, Sugar Bear, G.AC, NeilN, GrinBot~enwiki, Joshronsen, Gephart, Zvika, DVD R W, CIreland, AndersL, SmackBot, Pwt898, Deleted14857, Cubs Fan, Moeron, Nihonjoe, Zazaban, Comicsubversion, Reedy, Terry1944, InverseHypercube, Mjspe1, Cheese101, Richbell00, Stephensuleeman, Chairman S., Piccadilly, Jfurr1981, JoeMar ce, Discordanian, KittenKlub, DPentecost, Edgar181, Igbo, Yamaguchi฀฀, Gilliam, Portillo, MrGater, Ohnoitsjamie, Betacommand, Skizzik, Chris the speller, Bluebot, Bjmullan, BabuBhatt, Apeloverage, RayAYang, Wutschwlllm, Dr. Shaggeman, Colonies Chris, Gramscis cousin, ClarkF1, Royboycrashfan, Muboshgu, Can't sleep, clown will eat me, VMS Mosaic, Badbilltucker, Fborstad, Jmlk17, MrRadioGuy, Nakon, Dreadstar, Arctic hobo, Derek R Bullamore, Saminferno, Even el, Sgcook, Razorhead, Mitchumch, LeoNomis, J.smith, Alcuin, Kukini, John Reid, BNutzer, Ohconfucius, Smorrison01, Ser Amantio di Nicolao, Stevenkrauss, JzG, Dbtfz, John, Jszack, Gobonobo, Linnell, AstroChemist, A. Parrot, JHunterJ, Astuishin, Rainwarrior, Special-T, Beetstra, 2T, McTrixie, E-Karto el, Freederick, Halaqah, Scorpion0422, Jwhite518, Eastfrisian, Wall5625, Hu12, Politepunk, Djharrity, BranStark, HisSpaceResearch, Iridescent, Kencf0618, StuHarris, Hawkestone, Courcelles, Anger22, Tvccs, Woodshed, Amnesta, Radiant chains, Billy Hathorn, JayHenry, JForget, Anthony22, CmdrObot, TimothyHorrigan, 80 CHAPTER 9. MILES DAVIS Kevin McE, DonEd, Drinibot, Basawala, Djus, ShelfSkewed, WeggeBot, Avillia, Neelix, That Asian Guy, Oden, Terbayang, Hardys, Mapletip, Cydebot, Ndugu, Treybien, Gogo Dodo, CurtisJohnson, Firstmilast, Chasingsol, Soetermans, Benjiboi, PAWiki, Tawkerbot4, DumbBOT, Nabokov, After Midnight, Lacky, Sthow, Xricci, Thijs!bot, Epbr123, Wenospeak, Elfred, Jmg38, Goo Paine, PEJL, Kablammo, N5iln, Edwardx, Mojo Hand, Marek69, Frank, Tapir Terri c, James086, Merbabu, QuasyBoy, JustAGal, PJtP, Grahamdubya, DoomsDay349, Nick Number, Asdf123zxc, Klausness, Johnwrw, Silver Edge, Edelmand, Ajor, AntiVandalBot, RobotG, Newyorkcatwhite, Abu-Fool Danyal ibn Amir alMakhiri, CZmarlin, James Epstein, SmokeyTheCat, Atavi, Punctured Bicycle, Roundhouse0, Jessiejames, Altamel, Dougher, Igorrr, Sluzzelin, Andrzejbanas, Winndm31, Dogru144, Issovia, Nthep, Jazzeur, Andonic, Doctorhawkes, Rothorpe, RadioKAOS, Bencherlite, Cdg1072, Magioladitis, Gekedo, Shoejar, NJlo, Almita, 75pickup, Bongwarrior, VoABot II, Hullaballoo Wolfowitz, JNW, Jerome Kohl, Edward Tambling, NTmatter, Amorelli, Tedickey, Newport 63, Tifaaeris, Ben Ram, Robotman1974, Dasondas, Allstarecho, Japo, Canyouhearmenow, DerHexer, Teardrop onthe re, Wayne Miller, Vytal, DinoBot, MartinBot, To lmfan, NAHID, InnocuousPseudonym, Jerry teps, Chickyraptor, R'n'B, CommonsDelinker, Johnpacklambert, Luigilos, Paranomia, J.delanoy, Simon eldhouse, Brettblock, Anas Salloum, Silverxxx, Rhinestone K, Mind meal, Benjimon, Ghtx, Bot-Schafter, McSly, FjghdK, Clerks, F u buddy, AntiuserX, Ipigott, JayJasper, Paul210, (jarbarf), Floater uss, Hut 6.5, DadaNeem, Bobianite, Runt, Flatterworld, Ionescuac, Cometstyles, Groovinhigh, Siraj555, Devario, Halmstad, Tweetsabird, GrahamHardy, Idioma-bot, Spellcast, Llewis27, ACSE, Sparklism, Migospia, Malik Shabazz, VolkovBot, Ikeeledmytoychicken, TreasuryTag, ABF, Gingerburn, Je G., VasilievVV, Ericamandy, Joe5150, Grammarmonger, Budgy, WOSlinker, Philip Trueman, MilesAndMiles, Martinevans123, TXiKiBoT, Oshwah, Zidonuke, Aktiver Arbeiter, SwiftWings, Maximillion Pegasus, Sdfgfshfh 131, Technopat, Ask123, Zorba215, Retiono Virginian, Slysplace, LeaveSleaves, Gm7b52001, Odysseus1138, Snowbot, StillTrill, Ilyushka88, Gibson Flying V, S2grand, Xavcam, Madhero88, Billinghurst, Verbist, Parsifal, IL7Soulhunter, Falcon8765, Arnach, RaseaC, Squalk25, The Devil’s Advocate, Pjoef, Garyth123, TeNagaZaru, Funeral, Johnthepcson, Brandon97, Cosprings, GirasoleDE, Peter Fleet, Ponyo, SieBot, MuzikJunky, TJRC, Calliopejen1, YonaBot, MTHarden, Jauerback, Dmchuck4, Dawn Bard, Caltas, Augeralf, Soundgarden~enwiki, Calabraxthis, Markdask, Nite-Sirk, Holiday56, Flyer22 Reborn, Oda Mari, Arbor to SJ, Jimthing, Bastoszak, Twiceasinferior, Faradayplank, Interloop2610, Thirdeyeopen33, Oculi, Lightmouse, Maxbps, Sefsf, StaticGull, Benny the wayfarer, Jerjazmus6, Sean.hoyland, Electromagnolia, WikiLaurent, Illinois2011, Pinkadelica, Literaturegeek, Hsbrent, Jordan 1972, ImageRemovalBot, Faithlessthewonderboy, Atif.t2, ClueBot, Binksternet, GorillaWarfare, Keyofz, The Thing That Should Not Be, ZaZam, EoGuy, Witchwooder, TheSkyHadABaby, AusTerrapin, Drmies, Der Golem, MilesTrane21, Piriczki, DanielDeibler, Boing! 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