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 Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions 
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Hey, hep cats, that's right, Wolfy and I are doing a jazz thread. So don't blow your top but do reclaim the original meaning of hipster. Lay off the junk, don't be a drag and get hot! Or cool, if that's your thing. Wolfy and I will get our wiggle on by discussing 51 artists that do mean a thing because they've got that swing. First we will tackle 40 in random order, and then the last 11 ranked, as our top eleven jazz players.

Jazz is one of the things that America added to the culture of the world. Like it's cousin the blues, it started as a coming together of African and European music that could only have happened in America. It's hard to define jazz since it has developed so much in a hundred years time. There are so much different styles and era's that we won't cover them all. We do have our preferences, and ultimately this will be more our thing than comprehensive – but there will be plenty of different hip stuff and we think it'll be a hummer. Let's have a ball!

Index 40:

Jackie McLean
Bill Evans
Lester Young
Pharaohe Sanders
Cannonball Adderley

Keith Jarrett
Dizzy Gillespie
Sarah Vaughan
Stan Getz
Coleman Hawkins

McCoy Tyner
Jaco Pastorius/Wayne Shorter/Weather Report
Cab Calloway
Krzysztof Komeda
Max Roach

Oliver Nelson
Roscoe Mitchell/Art Ensemble of Chicago
Duke Ellington
Django Reinhardt
Count Basie

Glenn Miller
John McLaughlin/Mahavishnu Orchestra
Benny Goodman
Oscar Peterson
Elvin Jones

Albert Ayler
Freddie Hubbard
Lee Morgan
Sidney Bechet
Ella Fitzgerald

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Mon Nov 05, 2012 6:18 am
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Wolfy!!!

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Mon Nov 05, 2012 6:19 am
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You know I'll be here, baby. I like to keep it cool, personally.

Please finish this thread, because I'm already heavily anticipating your top 11 countdown!


Mon Nov 05, 2012 6:23 am
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Derninan wrote:
baby

I see you know your lingo.

Don't worry, we're in it for the long haul.

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Mon Nov 05, 2012 6:27 am
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Smalley wrote:
Wolfy!!!

That is my name.


Mon Nov 05, 2012 6:32 am
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Don't wear it out.

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Mon Nov 05, 2012 6:35 am
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Kaoru! Sentaro! (Maybe Brother Jun!)

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Mon Nov 05, 2012 6:39 am
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:P

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Mon Nov 05, 2012 6:41 am
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Mmmm, jazz.

I used to play the saxophone(Alto/Tenor) and we used take our instruments home to practice before shows, and for some reason I forgot to return my this one really crappy, dinged up Alto saxophone, and my mom hid it somewhere, which I didn't notice until a year later. Moral of this story, don't let me a saxophone.


Mon Nov 05, 2012 6:44 am
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Yay! Jazz is probably my second greatest passion, after film

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Mon Nov 05, 2012 7:09 am
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Are you guys going to sport soul patches for the occasion?

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Mon Nov 05, 2012 8:02 am
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Vocal and instrumental no doubt, or else those are some jive ass slippers you're settling into, dig?


Mon Nov 05, 2012 9:08 am
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Don't snap your cap, Das.

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Mon Nov 05, 2012 9:45 am
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Jackie McLean (May 17, 1931 – March 31, 2006)

Alto saxophone

“I was Bird’s man. Everything Charlie Parker had done, I wanted to do, and I did. It was Charles Mingus who steered me away from that, told me I should be developing my own thing and honouring the tradition by moving it on rather than keeping it packed in ice.” – Jackie McLean

“Jackie used to tell us that we weren’t playing African music and we weren’t playing European music; we were playing American music.” – Steve Lehman (McLean's student)

“Pithecanthropus Erectus already on the CD player
And I just push that remote button to sublimity
And listen to the sweet sculptural rhythms of Charles Mingus
And J.R. Monterose and Jackie Mclean
Duet on those saxophones
And the sound makes it's way outta the window
Minglin' with the traffic noises outside, you know and
All of a sudden I'm overcome by a feelin' of brief mortality”
– Alabama 3, from the intro to the song Woke Up This Morning (aka the theme song to The Sopranos)

John Lenwood (Jackie) McLean's father played guitar with Tiny Bradshaw, and after his father died when he was eight his musical education was picked up by his stepfather (who owned a record store), his godfather and several teachers. He was also tutored by New York neighbors Thelonious Monk, Bud Powell, and Charlie Parker. Mclean played in a high school band with Sonny Rollins. Together they recorded with Miles Davis on Dig in 1951. In that decade he also played with Charles Mingus on Pithecanthropus Erectus and Art Blakey and the Jazz Messengers. During the second half of the 1950s McLean starts recording as leader on his own records, and slowly developing his style. He also started recording like crazy to make money, since his heroin addiction robbed him of his cabaret card - which was needed in the state of New York to play clubs. Starting from straight bop stuff, he develops his own hard bop style, and then starts to incorporate free elements into his music, influenced by Coltrane, although never completely giving in to the new style, firmly straddling a middleground while maintaining his blues footing. In the late '60s McLean abandoned recording as primary way of pay, choosing touring instead.

Notable collaborations: Charles Mingus, Art Blakey, Miles Davis, Lee Morgan, Donald Byrd, Herbie Hancock, Dexter Gordon, Freddie Hubbard, Paul Chambers, Ornette Coleman & Dizzie Gillespie.

Key/favorite records: New Soil (1959), One Step Beyond (1963), Destination Out! (1963).

Key/favorite songs: Minor Apprehension, Melody for Melonae, Ghost Town, Das' Dat, Love and Hate, Bluesnik.







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Mon Nov 05, 2012 9:48 am
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Name: Bill Evans

Instrument: Piano!

Bio:
He was born on August 16th, 1929 in NY. He learned to play the piano from his mother. He originally loved classical work and then later he got into jazz in his teen years. He would play at weddings and dances to get his name out there in high school during WWII. He then went to college in 1946 for music. In college, he had his first trio band. He then had to go join the army in 1951 as he got a draft notice. In the four years he was in the army, he played jazz when ever he could for the troops. He wrote his most famous piece in 1953, “Waltz for Debby”. After he was discharged from the army, he started a life-long struggle with drugs. He went to NY and took a post-graduate route in music. Miles Davis and Thelonious Monk saw him play at clubs during this time. He soon worked with the producer, George Russell, who's methods were revolutionary. They made an album together, New Jazz Conceptions. He then was a session player for a time. Russell brought him in to work with Davis, Trane, Adderley, Chambers, and Jones. Davis and Evans influenced each other. But his stay in the group was short lived mostly due to Evans always not being sure of himself in the group. He then made his second album as a band leader, Everybody Digs Bill Evans, which was a success. Davis wanted him back in his group and Evans agreed. These sessions would turn out to be Kind of Blue. Evans was magic on the sessions and Kind of Blue is often called the best jazz album! A string of classics came next with Evans as the band leader (in his own trio now): Portrait of Jazz, Explorations, Sunday at the Village Vanguard, and Waltz for Debby. He was also on the sessions of the famous Oliver Nelson album, The Blues and the Abstract Truth. After this, he had uneven success. In 1979, his brother committed suicide and this hurt him deeply. His drug habit got worse and his health just suffered. He died in 1980.

Trivia: He often included a Miles Davis song his solo albums as a tribute. Davis and Evans had a true friendship that lasted until Evans' death.

He was also best friends with his bass player, Scott LaFaro.

Trademark: Weird posture while playing the piano. He almost always worked in a trio while he was the band leader. His style included modal jazz, bop and post-bop jazz, and cool jazz. He was known for his reinterpretation of harmonics and displacement. He still stayed with the modal & bop sound when jazz got more avant-garde and fusion-like....mostly because he just didn't like it, ha.

Influences: W.A. Mozart, Beethoven, Schubert, J.S. Bach, Debussy, Ravel, Stravinsky, Coleman Hawkins, Miles Davis, Bud Powell, Stan Getz

Influenced: He has influenced countless people in all genres.

Favorite recordings: Kind of Blue, Waltz for Debby, Sunday at the Village Vanguard, Explorations, The Blues and the Abstract Truth









Mon Nov 05, 2012 10:49 am
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I admire this thread so much, and you two for having such knowledge. I don't know anything worthwhile concerning what you're writing about, but I'm reading and learning.

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Mon Nov 05, 2012 12:53 pm
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Cannonball Kurz. :D

What's your favourite Adderley joint, Colonel? I've been listening to a lot of Country Preacher recently.

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Mon Nov 05, 2012 5:48 pm
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Now that would be spoilers. ;)

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Mon Nov 05, 2012 6:41 pm
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Aw. :(

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Mon Nov 05, 2012 6:44 pm
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cool thread, i'm always looking for more piano jazz along the lines of Bud Powell and Erroll Garner and such :up:


Tue Nov 06, 2012 4:33 am
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i can get behind this thread

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Tue Nov 06, 2012 9:56 am
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Another record I'd love to see mentioned:


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Tue Nov 06, 2012 6:13 pm
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Jedi, I love that album. There was a great jazz thread on RT a couple years back by this poster, Awesometastic I believe? I think that's where I finally heard The Awakening.

Bill Evans is the man! I love how I can just leave the Kurz/Wolfy thread pages open for an hour and play music while doing other things. :D


Wed Nov 07, 2012 3:55 pm
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Derninan wrote:
I love how I can just leave the Kurz/Wolfy thread pages open for an hour and play music while doing other things. :D

:)

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Thu Nov 08, 2012 5:51 am
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Lester Young (August 27, 1909 – March 15, 1959)

Nicknames: “Prez” or “Pres”

Instrument: Tenor Saxophone, Clarinet

‘You have to remember that Lester came from the south. All that strange jive talk and the eccentric behaviour, those were mechanisms for survival. No one’s going to beat on you if you’re simple-minded, so act simple-minded. Some white man is always listening to you in case you’re hatching something, so talk in a way no white man can understand. That’s the key to Lester, those first years in Mississippi. Not anything that happened since or went into his body.’ – Harry Edison

One of the most influential saxophonists ever, Lester Willis Young marks a transition from swing to bebop. He developed a dry, cool style, quite different from the Coleman Hawkins sound. He grew up near New Orleans after being born in Mississippi and played in a family setting. In 1933 he resettled in Kansas City, Missouri, where he was recruited by Count Basie. He left Basie soon though, to play with Fletcher Henderson’s band, but there Young was initially ostracized for his unorthodox approach. So he returned to Basie and started to record under his own name and as an accompanist for Billie Holiday. He mastered both the tenor saxophone and the clarinet, but after having his clarinet stolen in 1939 he stopped playing the instrument for nearly twenty years.

His improvisations grew ever more elegantly structured, built up from short, slightly staccato phrases. He grew increasingly dependent on drink and narcotics thanks in part to being drafted into the army in 1944; his tone coarsened and his solos became more and more formulaic. Convential wisdom has it that his recordings and playing from 1944/45 onwards are a lesser part of his career, but after a initial lesser period he started making some of the best music of his career. Throughout that career, some of his best work was made as support to other artist – most notable Billie Holiday, who nicknamed him 'Pres' and with whom he had a special rapport, his style of playing perfectly fitting her singing. And with Count Basie of course. However, he also made a number of wonderful recordings as leader, especially the ones he made for Savoy in 1944 and 1949. In the 1950s his drinking started to interfere with his playing, and before the end of the decade he more or less drank himself to death.

Charles Mingus composed the elegy “Goodbye Pork Pie Hat" for him, while Wayne Shorter composed “Lester Left Town” in his memory. His influence was most direct on the likes of Dexter Gordon and Stan Getz, but his oft gentle phrasings left their traces in the early playing of a grand variety of players, from Miles Davis to Sonny Rollins. A young Charlie Parker was also very directly influenced by Young, before he made the switch from tenor to alto. Dexter Gordon played a character in the film 'Round Midnight that was partially based on the life of Lester Young.

Notable collaborations: Billie Holiday, Count Basie, Oscar Peterson, Nat King Cole, Fletcher Henderson.

Favorite records: The President Plays with the Oscar Peterson Trio (1952), Blue Lester (1956) (compilation of Savoy recordings).

Favorite songs: Just You, Just Me; Tea For Two;There Will Never Be Another You (all from the first above album); Ghost of a Chance, Crazy Over You, Blues 'N' Bells, Salute to Fats, Blue Lester, Basie English (from the second above); Easy Does It; [With Billie Holiday:] Everything, but especially: I Can't Believe You're in Love with Me, You're Just a No Account, This Year's Kisses, He's Funny That Way, Foolin' Myself, He Ain't Got Rhythm, Fine and Mellow.








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Thu Nov 08, 2012 6:54 am
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Derninan wrote:
Jedi, I love that album. There was a great jazz thread on RT a couple years back by this poster, Awesometastic I believe? I think that's where I finally heard The Awakening.

Bill Evans is the man! I love how I can just leave the Kurz/Wolfy thread pages open for an hour and play music while doing other things. :D

Yes! Though, I don't believe I read that jazz thread. Do you have a link?

And I do love me some Bill Evans.


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Fri Nov 09, 2012 6:12 pm
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Name: Pharoah Sanders

Instrument: Tenor sax, flute, piccolo, soprano sax, percussion

Bio:
Farrell Sanders was born on October 13th, 1940 in Little Rock. He first got on the scene playing tenor sax in California in the early 60's. He then moved to NY, at this time he started playing in a band with Sun Ra. Sun Ra gave him the name, Pharoah, and yes it is spelled that way. Sun Ra was basically his mentor and influenced Pharoah greatly. He then joined with John Coltrane and plays sax on the infamous, Ascension. He played on many other Trane albums from '65 to '67 as well. He also played on Ornette Coleman and Don Cherry records during the 60's. Everyone that he played with had a free jazz/avant-garde style. He made some records as a bandleader during the 60's...but everyone knew his name after Karma came out in 1969. Karma is perhaps even more insane than Ascension...aggressive...and just mind-blowing. Karma was basically put together by people that knew Trane, John Coltrane had just died in '67. After that, he worked with Alice Coltrane (Trane's widow) and their albums together really are Eastern-like with drones and Indian flavor! In the early 70's, he had many successful albums: Deaf Dumb Blind, Thembi, Village of the Pharoahs, and Black Unity. In the late 70's and the 80's, he started to change his sound to allow R&B and bop jazz into his style. He was still making records in the 90's and journeying to places. He played on some McCoy Tyner records during this time. This century saw a re-interest in his work and he still plays concerts to this day.

Trivia: He is a very devout Muslim. Often wears Chinese hats.

Trademark: Very spiritual, very African, very Eastern...avant-garde/free jazz.

Influences: Sun Ra, John Coltrane, Ornette Coleman, Don Cherry, Cecil Taylor

Influenced: He is considered by many to be the best tenor sax player and is one of the most important people ever in jazz...so he has influenced many, heh. Albert Ayler said this about the development of free jazz, "Trane was the Father, Pharoah was the Son, I am the Holy Ghost."

Favorite recordings: Karma, Deaf Dumb Blind, Black Unity, Ascension (with Trane), Journey to Satchidananda (with Alice Coltrane)












Sat Nov 10, 2012 10:27 pm
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Cannonball Adderley (September 15, 1928 – August 8, 1975)

Nicknames: Cannonball

Instrument: Alto Saxophone

“I don’t think anyone gets him, man, even now. I worked with him nine, nine and a half years, and in that time he never played anything exactly the same way twice. A real genius, man.” – pianist Joe Zawinul.

Julian Edwin Adderley, or Cannonball Adderley, is mostly known for his work with Miles Davis. Which is not strange, since their best collaboration, Kind of Blue, is one of the, if not the most famous, most loved jazz albums of all time. His other claim to fame is the single “Mercy, Mercy, Mercy”, a soul/jazz crossover that did very well in the charts. Adderly picked up the name Cannonball in high school for his fast eating abilities. He and his brother Nat both developed their musical talents in Florida, after which they moved to New York in the mid '50s. As teens they played with Ray Charles in the early '40s.

His New York career started when he brought his saxophone into a club because he didn't want it stolen in the big city, and was asked to sit in for a song, through which he soared. He was counterpoint to John Coltrane's tenor saxophone in the Miles Davis sextet of 1957-1959. Miles Davis' modal style was a big influence on Cannonball, as was the more challenging playing of Coltrane. After leaving Davis Cannonball formed his own group with brother Nat on cornet. They had commercial success without compromising their sound or style. Which might be described as a slightly softer early Coltrane, with less notes/scales, but equally soaring high emotionally. But after the '60s Adderley moved to a slightly less adventurous sound – which still yielded fine results from this very skilled player.

Notable collaborations: Miles Davis, John Coltrane, Ray Charles, Nat Adderley, Sarah Vaughan, Dinah Washington, Oscar Peterson, Gil Evans, Bud Powell.

Favorite records: Somethin' Else (1958, w/ Miles), Cannonball & Coltrane (1959), Country Preacher (1969).

Favorite songs: Autumn Leaves (w/ Miles), Somethin' Else (w/ Miles), Limehouse Blues, (w/ Trane), Straight No Chaser, Mercy, Mercy, Mercy, Sticks, Walk Tall, Afro-Spanish Omelet, the entirety of Kind of Blue with the exception of Blue in Green.






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Fri Nov 16, 2012 10:42 am
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Name: Keith Jarrett

Instrument: Piano and organ

Bio:
He was born on May 8, 1945 in Allentown, PA. He was pretty much a child prodigy and even as a child pushed himself to be the best to his ability. He learned all the classical greats' music during that time. He then heard Dave Brubeck in his teens and was hooked to jazz as well as classical. He went to Berklee for college. And then moved to NY and played at the Village Vanguard. He then got his big break when Art Blakey wanted him to join his band, and he did. He recorded Buttercorn Lady with Art Blakey as band leader. Then made a lot of albums with Charles Lloyd as the band leader. During this time he met a lifelong friend, Jack DeJohnette, who would be his drummer and duel piano player on a number of occasions. He also began to work on solo records in the late-60's. In '69, he joined Miles Davis when Miles was making jazz-fusion magic. He plays on Davis': Live Fillmore, Bitches Brew Live, Live-Evil, Get Up with It, The Cellar Door Sessions. Miles' improv technique stayed with him. During the 70's, he made records with a quartet or just solo. The most famous of his solo career and houses his best improv work is The Koln Concert, which is just two songs that both last for a half hour (and the best selling piano album ever). In the 80's and 90's, he plays with some trios. He plays piano on the classical Arvo Part album, Tabula Rasa, and it's fab. He now lives in NJ and uses a barn on his property as his studio.

Trivia: He is known to get into the music when playing by dancing or making a noise like a grunt. There is always talk about whether he is black or white, Ornette Coleman even asked him and Keith said that he is white.

Trademark: Very soft sounding piano...when not doing jazz-fusion with Miles Davis. He does do a lot of jazz music but he does his fair share of classical records as well. He only plays acoustic pianos except when he played with Miles. He improvises a lot and they can go on for an hour.

Influences: His influences come from everywhere to classical to folk to jazz to blues.

Influenced: Steely Dan!

Favorite recordings: All of the Miles stuff!, The Koln Concert, The Survivor's Suite, Sun Bear Concerts, Tabula Rasa (with Arvo Part)









Sun Nov 18, 2012 1:09 am
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Dizzy Gillespie (October 21, 1917 – January 6, 1993)

Nicknames: Dizzy (John Birks Gillespie)

Instrument: Trumpet

“There wasn’t much else in South Carolina when I was coming up. Music was a purpose and a way to make sense of life, and I believe that is universally true. I’m a teacher, not a preacher, but I believe music can save you. Nobody was killed by it, whatever you might hear; they were killed by something else.” – Dizzy Gillespie

“Dizzy never stopped teaching. Any time I saw him, he’d have me over to the piano, show me chords, ninths alongside tenths, that kind of thing, stuff I still use. Listen to those big bands, you can tell he’s the teacher.” – Jimmy Heath

John Birks “Dizzy” Gillespie was born in South Carolina as one of nine kids. When he heard Roy Eldridge on the radio, he wanted to be a jazz musician, and at age twelve he started playing the trumpet. In 1935 he got his professional start, and four years later he joined Cab Calloway's orchestra. Dizzy was fired in 1941, partly because Calloway didn't appreciate Dizzy's solos, dismissing them as “Chinese music”. In 1941 he joined Earl Hines, where he met Charlie Parker. Together, they developed a new musical style called bebop, and were soon joined by other young visionaries like Thelonious Monk and Miles Davis, even though their new music wasn't popular at first. “Bird and Diz” made some of their finest work together in the mid-40s, and later in the early '50s on a few dates before Parker died. Gillespie brought a new virtuosity to jazz trumpet just as Parker created a matchless vocabulary for the alto sax. A dazzling tone, solo construction that was as logical as it was unremittingly daring, and a harmonic grasp which was built out of countless nights of study and experimentation: Gillespie showed the way for every trumpeter in post-war jazz. Good-natured Dizzy kept on being an international ambassador for American jazz until the early '90s.

Notable collaborations: Charlie Parker, Miles Davis, Thelonious Monk, Lee Morgan, Charles Mingus, Bud Powell, Max Roach, Duke Ellington, Benny Carter, Gene Krupa, Oscar Peterson, John Coltrane, Lalo Schifrin, Cab Calloway.

Favorite records: At Newport (1957), Jazz at Massey Hall (1953, with Charlie Parker), The Complete RCA Victor Recordings.

Favorite songs: Night in Tunisia, Anthropology, Oop-pop-a-da, Cubana Be/Cubana Bop, Lover Come Back To Me, Jumpin' With Symphony Sid, Overtime, Victory Ball, Birks' Works, Dizzy's Blues, Cool Breeze, Salt Peanuts, All The Things You Are, Wee (Allen's Alley),






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Tue Nov 27, 2012 12:37 am
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Name: Sarah Vaughan

Instrument: Voice

Bio:
She was born on March 27, 1924 in Newark, NJ. Her parents were musical inclined! She originally sang in the church choir and then in her teens she started to play at clubs. By the early 40's, she started to play at the Apollo in Harlem. For a time, she opened for Ella Fitzgerald at the Apollo. She also met the pianist, Earl Hines, and the vocalist, Billy Eckstine, who would play off-and-on with her throughout her life. In '45, she began her solo career. She soon became a star. In the 50's, she worked with almost every well-known jazz musician and was high in demand. 60's was tough because of her marriages, other personal stuff, and professional relationships had fallen-through. 70's saw a renaissance of sorts for her career. She appeared on TV specials and at concerts in the 80's. She was diagnosed with lung cancer in '89 and died a year later from it.

Trivia: She had a lot of nicknames: Sailor, Sassy, The Velvet Fox, and The Divine One. She was a frequent guest at the White House during LBJ's time.

Trademark: She considered herself a blues singer more than a jazz one. Her vocal range is a mezzo-soprano. Improv and scatting. She was known to be difficult to work with but at the same time shy and warm-hearted.

Influences: Ella Fitzgerald, Billie Holiday

Influenced: Anita Baker, Chaka Khan, Amy Winehouse, Alison Goldfrapp

Favorite recordings: Sarah Vaughan, At Mister Kelly's










Tue Nov 27, 2012 4:54 am
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

This used to be my desktop background.

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Wed Nov 28, 2012 5:37 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

:P

Also, I wish people would say more. For one thing so this thread wouldn't load so slow. Cause we must get some readers, judging by the near 1 to 60 post/hits ratio.

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Wed Nov 28, 2012 8:28 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

I'm really only knowledgeable about vocalists, but I appreciate these writeups a lot. I love Sarah's tone but she got so over the top, especially in the 60s when her stuff became more bebop-inflected! But I had issues with most of the 'pure' jazz vocalists of the 50s incorporating pop into their act halfway through the 60s. I actually much prefer her live cuts, of course her legendary Misty most of all, to her studio recordings.

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Wed Nov 28, 2012 8:34 pm
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Well, there are some more vocalists coming up, but not a lot.

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Wed Nov 28, 2012 9:58 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

I'm reading (and listening). I just have nothing intelligent to say, jazz not being my thing, for the most part. This is a great thread, though.

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Wed Nov 28, 2012 10:48 pm
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A simple "I like/dislike that artist/song/album/something" is enough for me. You don't always have to get "intelligent" about it. :P

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Wed Nov 28, 2012 11:02 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

I like Sarah Vaughan. :)

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Wed Nov 28, 2012 11:12 pm
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:)

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Wed Nov 28, 2012 11:18 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

I'd happily contribute some vocalist writeups if I have time!

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* Chickens / Amiralay


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Thu Nov 29, 2012 4:56 am
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

Thanks for the offer. :) This thread is gonna take a while, so time shouldn't be the issue. However, we did plan this thread in a certain way and that doesn't really fit our mold of our top 40 plus top 11 I think... Though supplementary writing to our profiles is of course always welcome. :P But send me a list of people you had in mind and maybe we can work something out.

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Thu Nov 29, 2012 5:44 am
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

Jazz + Jazz = Jazz

http://youtubedoubler.com/?video1=https ... he+Bat-Man

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Sun Dec 02, 2012 7:04 pm
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:D

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Sun Dec 02, 2012 8:03 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

I think that one actually sounds a bit better than the one in the show.

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Sun Dec 02, 2012 9:18 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

JediMoonShyne wrote:
Cannonball Kurz. :D

What's your favourite Adderley joint, Colonel? I've been listening to a lot of Country Preacher recently.

Was your question answered? ;)

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Sun Dec 02, 2012 9:27 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

I am also reading and learning.

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Mon Dec 03, 2012 12:33 am
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Have to share this here, because I went to a performance by this band this weekend and it absolutely blew my mind. The composer's name is Darcy James Argue, the name of his big band is Secret Society, the name of this tune is "Obsidian Flow," the name of the album is Infernal Machines. This particular composition was actually commissioned by the non-profit NYC venue, Jazz Gallery (which is where I saw the band perform).

His stuff is truly breathtaking. Combination of somber jazz melodies, hard rock, hip-hop rhythm, ahh fuck it's so goddamn good. Anyways, here:



Mon Dec 03, 2012 5:11 pm
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Name: Stan Getz

Instrument: Tenor sax and baritone sax

Bio:
He was born in Philly in 1927! But spent most of his young life in NYC. His father brought him a sax during his teens and he was hooked. He played with bands during the 40's but got a recording deal by 1950 to do work as a band leader. He pretty much played with everyone from Benny Goodman to Dizzy to Count Basie to Bill Evans to Roach to Chet Baker. In the 60's, he brought Latin music into his jazz and made bossa nova popular outside of South and Central America's. 70's was jazz-fusion! 80's, he taught music in San Fran while still playing and recording. He did suffer from drug and alcohol addiction his whole life, and was known to have a wild side. He died from liver cancer in 1991.

Trivia: He known most for “The Girl from Ipanema”, on the album he did with Joao Gilberto.

Trademark: Very mellow sax tone. He played bebop and cool jazz but he really popularized bossa nova in the US. Later in the 70's, he played some jazz-fusion. For some reason, he loved to spend time in Sweden.

Influences: Lester Young, Coleman Hawkins, Charlie Parker

Favorite recordings: Getz/Gilberto [featuring Jobim], Captain Marvel, Focus









Mon Dec 03, 2012 7:31 pm
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Post Re: Amajazzeus & Cannonball Kurz - The Complete Corrie Sessions

Getz is pretty cool.

Here's a quote from him on my next entry: "I guarantee you that everyone who has ever picked up a tenor saxophone has tried to reduplicate that performance, and every one of us wishes that one day we could do something like [name of song]."

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Tue Dec 04, 2012 5:59 am
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RIP Mr. Brubeck


Thu Dec 06, 2012 3:59 am
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