Ep16. What are jazz legends notable accomplishments? Condensed Table

Left to right from back (top) row: George Russell, Dave Brubeck; second row: David Baker, Percy Heath, Billy Taylor; third row: Nat Hentoff, Jim Hall, James Moody; fourth row: Jackie McLean, Chico Hamilton, Gerald Wilson, Jimmy Heath; fifth row: Ron Carter, Anita O'Day; sixth row: Randy Weston, Horace Silver; standing next to or in front of balustrade: Benny Golson, Hank Jones, Frank Foster (seated), Cecil Taylor, Roy Haynes, Clark Terry (seated) Louie Bellson and Dana Gioia (chairman of NEA). (Only Jimmy Heath b. 1926, Ron Carter b. 1937, Benny Golson b. 1929, Roy Haynes b. 1925, and Dana Gioia b. 1950 are still alive)

(NEA Jazz Masters)
(January 2012)

List of all NEA Jazz Masters; Wikipedia: NEA Jazz Masters

Rolling Stone magazine's "The Best Jazz Albums of All Time by User Score"

Vinyl Me, Please's "The 10 Best Albums For A Jazz Beginner" by Andrew Martin and Ryan Kowal

The New Yorker's "100 Essential Jazz Albums"

UDiscoverMusic's "The 50 Greatest Jazz Albums . . . Ever" Published on December 30, 2014 By Sam Armstrong

UDiscoverMusic's "The 50 Greatest Live Jazz Albums published on February 27, 2017 by Sam Armstrong

JazzWiseMagazine.com's "The 100 Jazz Albums That Shook The World"

Jazz at Lincoln Center's Jazz blog: "10 Essential Jazz Albums" May, 21st 2015

"Top 10 Jazz Albums for People Who Don't Know Sh*t About Jazz by Sean J. O'Connell, May 15, 2012

Amazon.com's "100 Greatest Jazz Albums of All Time" 2009 with a lot of critical reaction critiquing this list at NoiseAddicts.com

Discogs.com's "The 50 Greatest Jazz Albums . . . Ever"

RateYourMusic.com's "Best Jazz Albums of All Time - 22 Lists Combined" A list by erikfish who found 22 "top jazz albums of all time" lists in books, magazines and web sites, then combined them into one meta-list. The list here includes all albums contained on three or more of the 22 original source lists. (Last update: October 30, 2011)

Jazz100's "Top 100 Jazz Albums: The Best Jazz Ever Released Digitally" by Peter Sykes & Jazz 100
Jazz 100's "Next 100 Jazz Albums: The Best Jazz Ever Released Digitally" by Peter Sykes & Jazz 100
ESurveysPro's "Top Classic Jazz albums"
Jazz 100's "New (Contemporary jazz recordings over the past ten years 2004-2014) Jazz Top 100: The Best Jazz Ever Released Digitally" See New Jazz Notes
Jazz 100's "Basic Collection of Jazz" 20 Basic Jazz Records

Woodlawn Cemetery List of Jazz Notables interned

(52nd Street, New York City, July, 1948)

(Photograph above of 52nd street by William P. Gottlieb pictured at right)

(Portrait of William P. Gottlieb)
(possibly at WINX radio studios)
(Washington, D.C., ca. 1940)
(Photographed by Delia Potofsky Gottlieb)

Table of jazz legends notable achievements 1890-1980[edit]

Name & Pictures	Instrument Roles Style/Genre Years Active	Notable Achievements^[3]
Charles Joseph “Buddy” Bolden (1877-1931)	cornet bandleader Old School jazz pioneer 1895^[4]→1907	pioneer in Ragtime and Jazz^[5] known as King Bolden “member of string ensembles that played at dances and parties”^[4] his bands “emphasize the wind instruments over the strings”^[4] “single biggest contribution to jazz (was) his focus on the blues . . . by incorporating the blues sensibility and structure into his music”^[6] created a style all his own by embellishing ragtime music and adding in blues tunes and blues tonality “those who heard him agreed that he had great volume, a talent for beautiful ornamentation and a profound feeling for playing the blues on the brass horn”^[7] “his proto-jazz playing influenced the next generation of players like King Oliver and Freddie Keppard, masters of the four-bar break^[7] a self-taught cornet player performed professionally with his own band by the age of eighteen famous for his loud, clear, powerful tones that could be heard far away skilled improviser his band had a large following in and around New Orleans impressed younger musicians^[8]
Ferdinand Joseph LaMothe, known professionally as “Jelly Roll” Morton^[9] (1890-1941)	piano singer bandleader composer minstrel shows Progressive Ragtime Stomp 1904→1941	pivotal figure in early jazz “combined ragtime, French quadrilles and the hot Blues played by Buddy Bolden”^[10] performed as a solo artist and/or as part of vaudeville troupes in Chicago, New York, Los Angeles, San Francisco, Washington, D.C., and throughout the South first jazz arranger jazz promotion “a roving snake-oil salesman, card shark, vaudevillian, poolroom hustler, gambler and pimp. He chose a sexual nickname—“Jelly Roll”—and wore a diamond in his gold tooth”^[11] raconteur story teller over 100 compositions (52 listed at Wikipedia: Jelly Roll Morton) claimed to have invented jazz in 1902 played piano in brothels at age 14 arguably "Jelly Roll Blues" was first jazz composition published (1915) recording contract with Victor Talking Machine Company in Chicago recording with his newly named septet, “The Red Hot Peppers,” including “Black Bottom Stomp,” named for an African-American dance step from the deep South and has now been recorded over 190 times^[11] "Jelly Roll Morton & His Red Hot Peppers" recordings are classics of 1920's jazz first act booked on tours by MCA own radio show (1934) “helped lead the transition from ragtime to jazz as a piano wizard of the first rank who could transform all sorts of music into jazz—embellishing, paraphrasing and improvising; smoothing out the rhythms of ragtime; and making everything flow and swing”^[11] Morton's 30 year old composition "King Porter Stomp"^[12] became Benny Goodman's first hit and a swing standard (1935) his oral life history recorded by Alan Lomax while Morton talks and demonstrates on his piano for the Library of Congress (1938) Downbeat magazine Hall of Fame, Critic's Poll (1963) U.S. Commemorative stamp (1995) “Black Bottom Stomp” transcribed and published in the series Essential Jazz Editions (1999) “Black Bottom Stomp” added to the Library of Congress’s prestigious National Recording Registry (2006) "Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax" (Rounder Records) won in two categories at the 48th annual Grammy Awards ceremony held on Feb 8, 2006 “Black Bottom Stomp” included in the Smithsonian's authoritative “Jazz: The Smithsonian Anthology” (2010) Grammy Lifetime Achievement Award (2015) The opener of Jazz at Lincoln Center’s 30th season (2017-18), its flagship orchestra will debut arrangements of Jelly Roll Morton’s compositions, some of which are a century old^[13]

Louis Armstrong (1901-1971)	cornet trumpet composer singer actor Old School Dixieland Swing Traditional pop 1919→1971	joined King Oliver's band in Chicago (1922) (Louis Armstrong & King Oliver) promoted extended improvised solo world entertainer America's 1st jazz ambassador strong vocalist^[14] “recorded with Clarence Williams, Fletcher Henderson, Bessie Smith and others before making his leader debut in late 1925”^[15] Timemagazine cover (1949) "Melancholy Blues," (1927) performed by Louis Armstrong and his Hot Seven included on golden record sent in 1977 on Voyager 1 spacecraft Downbeat magazine Hall of Fame, Reader's Poll (1952) Grammy Lifetime Achievement Award (1972) U.S. Commemorative stamp (1995) inducted into the Rhythm & Blues Hall of Fame (2017) as a 20th Century Early Music Influence 50 year career

Sidney Bechet (1897-1959) (Photo by William P. Gottlieb)	clarinet soprano saxophone tenor saxophone piano double bass drums Dixieland Early jazz Trad jazz 1908→1957	“one of the first important soloists in jazz, beating trumpeter Louis Armstrong to the recording studio by several months”^[16] “major figure in early jazz, outstanding clarinetist, only soprano saxophonist of consequence for decades, made melodically rich and emotional music”^[17] (Photo by William P. Gottlieb) master of improvisation (both individual and collective) with wide vibrato^[18] dominating sound^[18] performed in parades with Freddie Keppard's brass band, the Olympia Orchestra and in John Robichaux's dance orchestra performed with Bunk Johnson in the Eagle Band of New Orleans (1911-12) worked with King Oliver in the Olympia Band (1913-14) studied clarinet in New Orleans with Lorenzo Time (1916) toured and traveled as far north as Chicago and frequently performing with Freddie Keppard (1914-1917) traveled to New York City where he joined Will Marion Cook's Southern Syncopated Orchestra (Spring, 1919) Will Marion Cook's Southern Syncopated Orchestra traveled to Europe and performed at the Royal Philharmonic Hall in London sailed to Europe as a member of the Revue Nègre, including Josephine Baker (September 15, 1925), arriving at Cherbourg, France, on September 22, 1925 and opening at the Théâtre des Champs-Élysées, Paris, on October 2, 1925 toured Europe with various bands reaching as far as Russia 🇷🇺 (1926) led his own small band at the Bricktop's Club in Montmartre, Paris (1928) returned to New York City to lead a band with Tommy Ladnier (1932) who performed at the Savoy Ballroom worked with Noble Sissle and his New Orleans Feetwarmers in 1932 (featuring trumpeter Tommy Ladnier) ran an unsuccessful tailor's shop with trumpeter Tommy Ladnier had a hit recording of "Summertime" (1938) Hugues Panassié featured Bechet on some records (1938) and soon he was signed to Bluebird Records where he recorded quite a few classics during the next three years worked regularly in New York, appeared on some of Eddie Condon's Town Hall concerts, and in 1945 tried unsuccessfully to have a band with the veteran trumpeter Bunk Johnson (whose constant drinking killed the project) opened an unsuccessful music school where his main pupil, Bob Wilber became his protégé “invited to the Salle Pleyel Jazz Festival in Paris (1949) where he caused a sensation, and decided to move permanently overseas. Within a couple years he was a major celebrity and a national hero in France 🇫🇷”^[19] discouraged by jazz's reception in America moved permanently to France (1950) where “his performance as a soloist at the Paris Jazz Fair caused a surge in his popularity in that country, where he easily found well-paid work”^[20] signed a recording contract with Disques Vogue (1953) lasting for the rest of his life where he recorded many hit tunes, including "Les Oignons", "Promenade aux Champs-Elysees," and the international hit "Petite Fleur" (1952) composed a classical ballet score in the late Romantic style of Tchaikovsky called La Nuit est Sorcière ("The Night Is a Witch") through travel promoted jazz internationalization Downbeat magazine Hall of Fame, Critic's Poll (1968)
Duke Ellington (1899-1974) (Photo by William P. Gottlieb) (Photo by William P. Gottlieb) (Portrait of Duke Ellington (center), Cat Anderson (left), and Sidney De Paris(?) (right), unknown far right) (Aquarium, New York, N.Y., ca. Nov. 1946) (Photo by William P. Gottlieb)	piano composer big band conductor Big band Swing combos 1914→1974	over 3,000 compositions^[21] charming, erudite, well spoken, polite with sophisticated elegance orchestra leader 1923 through 1974 loyal to his musicians and only ever personally fired three of them tailored music to his soloists^[22] most recorded jazz composer^[23] composed "Black, Brown and Beige" (1943) Timemagazine cover (1956) Downbeat magazine Hall of Fame, Reader's Poll (1956) along with Billy Strayhorn composed the film score for “Anatomy of a Murder” (1959) “The late Ellington pieces that will be featured—Such Sweet Thunder (1957), Suite Thursday (1960) and Anatomy of a Murder (1959)—show how well Ellington mastered the integration of rhythm section and band; these extended pieces prove that he is one of the great musical thinkers as well as one of the great masters of musical form.”^[24] President Lyndon Johnson presented Duke Ellington the President’s Gold Medal (1966) President Richard M. Nixon (on right) presented Duke Ellington with the Medal of Freedom (1969) 13 Grammy Awards Grammy Lifetime Achievement Award (1966) denied Pulitzer Prize (1965), but awarded the deceased Duke Ellington a special citation to commemorate the centennial of his birth (1999) French Legion of Honor (1973) image on a United States Commemorative stamp^[25](1986) influenced millions of people around the world 50 year career over 20,000 performances in North America, Europe, Latin America, the Middle East, and Asia^[21] recorded albums with Ella Fitzgerald, John Coltrane, Count Basie, and Louis Armstrong worked musically with Florenz Ziegfeld, Irving Berlin, Jimmy Durante, Al Jolson, Mary Lou Williams, Will Marion Cook, Lena Horne, Dizzy Gillespie, Max Roach, Mahalia Jackson, Charles Mingus, Frank Sinatra, Maurice Chevalier, and Bing Crosby wrote oratorios, suites, concertos, and even opera, as well as for the Broadway stage, movies, television, and nightclubs frequently collaborating with writing partner Billy Strayhorn, created over 1,500 pieces of music, and nearly 6,000, if brief musical interludes are included wrote the shows "Jump for Joy," “Man with Four Sides,” and “My People” (for the Century of Negro Progress Exposition in Chicago) (1963) classical music includes “The Liberian Suite” (commissioned for the centenary of Liberia 🇱🇷), background music for Shakespeare’s "Timon of Athens," and versions of Tchaikovsky’s "Nutcracker Suite" and Grieg’s "Peer Gynt Suite" film scores include "Black and Tan Fantasy," "Cabin in the Sky," and "Assault on a Queen" In 1950, Ellington was featured in three film shorts: "Salute to Duke Ellington," "Symphony in Swing," and "Date with Duke" accepted a commission from the American Ballet Theatre to develop "The River," a ballet choreographed by Alvin Ailey, as well as a commission from the New York Public Broadcasting Service station, WNET, to complete a comic opera received sixteen honorary doctorates from U.S. universities received the Order of the Star of Ethiopia 🇪🇹 awarded the Order of Lenin from the Soviet Union received the Spingarn medal (1959) from the NAACP for outstanding and unique musical achievements wrote and performed three Sacred Concerts drawing on classical European and African-American forms and styles, first at Grace Cathedral in San Francisco (1965), second premiered at the Cathedral of St. John the Divine in New York (1968) in front of an audience of 7,500, and the third at Westminster Abbey, London (1973) composed the Uwis Suite (1972) over 12,000 mourners attended his funeral (1974) the United States Mint issued a coin (February 24, 2009) with Duke Ellington on it, making him the first African American to appear by himself on a circulating U.S. coin
Coleman Hawkins (1904-1969) (Photo by William P. Gottlieb) (Hawkins 1967 photo by Roberto Polillo) (Spotlite Club, NYC, 1946) (Photo by William P. Gottlieb)	tenor saxophone Swing Big bands Played with Beboppers 1921→1969	a star of the Fletcher Henderson Orchestra during the swing era in the 1920s and '30s^[26] one of the first virtuosos on the tenor saxophone renowned for his aggressive tone and melodic creativity^[26] his application of advanced harmonic knowledge to improvisation helped pave the way for bebop^[26] influential solo on "Body and Soul" mentor to many, including Thelonious Monk promoted tenor sax “encyclopedic knowledge of chords and harmonies”^[27] harmonically advanced style^[28] Downbeat magazine Hall of Fame, Critic's Poll (1961) U.S. Commemorative stamp (1995)
Lester Young (1909-1959) (Photo by William P. Gottlieb)	alto saxophone clarinet Big band swing combos 1933→1959	light airy unforced sound excellent use of the blues relaxed, cool tone with sophisticated harmonies lead tenor in Count Basie's orchestra member of Norman Granz's Jazz at the Philharmonic (JATP) troupe for 12 years beginning in 1946 accompanied Billie Holiday (1937-1941, 1957) appeared on CBS television special "The Sound of Jazz" (1957) Downbeat magazine Hall of Fame, Reader's Poll (1959)
Count Basie (1904-1984) (Detail of Count Basie and Bob Crosby, Howard Theater, Washington, D.C. (ca. 1941) (Photo by William P. Gottlieb)	piano organist big band conductor combos solo pianist^[29] piano accompanist^[29] music director for blues singers, dancers, and comedians^[29] Big band swing Kansas City style 1924→1984	distinctively bright tinkling piano style led the Count Basie Orchestra for almost 50 years^[30] “created innovations such as the use of two "split" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others”^[30] “many musicians developed under his direction, including the tenor saxophonists Lester Young and Herschel Evans, guitarist Freddie Green, the trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams”^[30] claimed to compose/arrange "Moten Swing"^[31] “that was widely acclaimed and was an invaluable contribution to the development of swing music”^[32] "One O'clock Jump" became the Basie band's signature tune Basie's bands always known for a riffing rhythm section and dueling tenor saxophone players^[33] “Basie's sound was characterized by a "jumping" beat and the contrapuntal accents of his own piano^[34] “favored the blues, and showcased some of the most notable blues singers of the era after he went to New York: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams”^[34] “hired arrangers who knew how to maximize the band's abilities, such as Eddie Durham and Jimmy Mundy”^[34] Downbeat magazine Hall of Fame, Reader's Poll (1958) NEA (National Endowment for the Arts) Jazz Master (1983) President Ronald Reagan posthumously awarded Count Basie with the Medal of Freedom (1985) Grammy Lifetime Achievement Award (2002)
Charlie Christian (1916-1942)	electric guitar Bebop pioneer 1931→1942	developed Bebop paved way for more electric guitars creative melodic improviser twice (1940 & 1941) Metronome All Stars member Downbeat magazine Hall of Fame, Critic's Poll (1966)
Kenny Clarke (1914-1985)	drums Bebop Hard Bop 1931-1984	pioneered Bebop drumming developed new musical timekeeping on "ride" cymbal instead of bass drum

Thelonious Monk (1917-1982) (Photo by William P. Gottlieb) (Photo by William P. Gottlieb)	piano bandleader composer Stride^[35] Bebop Monkisms^[36] 1940→1970	started playing piano at the age of six and was largely self-taught In his early teens, toured with an evangelist, playing the church organ, and in his late teens he began to find work playing jazz house pianist at Minton's Playhouse^[37] a Manhattan nightclub in the early to mid 1940's where he participated in after-hours cutting contests, which featured many leading jazz soloists of the time mentored by Mary Lou Williams made his first studio recordings with the Coleman Hawkins Quartet (1944) because 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 the album "Monk's Music" (1957) with John Coltrane introduced by Ike Quebec to Lorraine Gordon , wife of Village Vanguard owner Max Gordon,) (Max Gordon seated on cover of his book) in 1947, who championed Monk's music ever after and through the influence of Lorraine Gordon and Ike Quebec Blue Note recorded (1947 & 1948) some of Monk's greatest compositions eventually compiled (first in 1951) into four different compilations each with the title of "Genius of Modern Music: Volume 1" composed numerous jazz standards including "'Round Midnight", "Blue Monk", "Straight, No Chaser", "Ruby, My Dear", "In Walked Bud", and "Well, You Needn't" chosen from only 71 total compositions^[38] recorded albums for Prestige Records (1952-54) including collaborations with the saxophonist Sonny Rollins and the drummers Art Blakey and Max Roach participated in a 1954 Christmas Eve session, which produced most of the albums "Bags' Groove" and "Miles Davis and the Modern Jazz Giants" by Davis paid his first visit to Paris in 1954 where he both performed in concerts and recorded a solo piano session for French radio (later issued as an album by Disques Vogue) idiosyncratic style in fashion & music contributed to the development of Bebop one of only five jazz musicians (others are Louis Armstrong, Dave Brubeck, Duke Ellington and Wynton Marsalis) featured on the cover of Time magazine^[39] (1964) Downbeat magazine Hall of Fame, Reader's Poll (1963) Grammy Lifetime Achievement Award (1993) U. S. Commemorative stamp (1995) posthumous jazz composer Pulitzer prize Special Citation (2006) for “a body of distinguished and innovative musical composition that has had a significant and enduring impact on the evolution of jazz” In his honor, the Thelonious Monk Institute of Jazz was established (1986) by the Monk family and Maria Fisher with a mission to offer public school-based jazz education programs for young people around the globe, helping students develop imaginative thinking, creativity, curiosity, a positive self-image, and a respect for their own and others' cultural heritage. Beginning in 1987 the institute hosts an annual International Jazz Competition and through its partnership with UNESCO since 1987 has promoted International Jazz Day celebrated around the world on April 30th to “highlight jazz and its diplomatic role of uniting people in all corners of the globe”^[40] 🌎 🌍 🌏 inducted into the North Carolina Music Hall of Fame (2009)

Dizzy Gillespie (1917-1993) (Taken in New York, ca. May 1947) (Photo by William P. Gottlieb)	trumpet piano conga drums ^[41] big band conductor composer combos Bebop Afro-cuban jazz 1935→1993	developed Bebop (Detail of photo taken in Per Asplin’s home, Oslo, Norway 1956 by Tore Fredenlund) influenced and taught many musicians^[42] international jazz promoter Downbeat magazine Hall of Fame, Reader's Poll (1960) NEA (National Endowment for the Arts) Jazz Master (1982) awarded the National Medal of Arts (1989), which was created by the United States Congress in 1984 for the purpose of honoring artists and patrons of the arts, a prestigious American honor, and the highest honor specifically given for achievement in the arts conferred to an individual artist on behalf of the people of the United States selected by the National Endowment for the Arts (NEA), and ceremoniously presented by the President of the United States Grammy Lifetime Achievement Award (1989)

Charlie Parker (1920-1955) (Taken at Three Deuces club in New York, ca. August 1947) (Photo by William P. Gottlieb) (Detail of Portrait of Charlie Parker and Tommy Potter, Three Deuces, New York, N.Y., ca. Aug. 1947) (Photo by William P. Gottlieb)	alto saxophone composer big band lead player combos Big bands Bebop combos 1942→1953	taught improvisation and mentored by Buster Smith who inspired the use of double and triple time instilling in Parker a penchant for a fast, free style developed Bebop enlarged harmonic pallet ^[43] recorded his first solos as a member of Jay McShann’s band (1937-1942), with whom he toured the eastern United States in 1940–1942 “genius lay primarily in creative improvisations as a soloist”^[44] seemingly effortless improvisations inspired many musicians and imitators “one of the three (Louis Armstrong, Ornette Coleman) great revolutionary geniuses in jazz”^[45] “one of the 20th century’s most acclaimed musicians”^[46] “Bird was the real goods, a genius who took the material at hand and transformed it into a personal vision. His place in jazz is roughly similar to Picasso's in art in that he established a school of seemingly infinite variations and a colossal indifference to the dichotomy between what is considered "pretty" and "ugly."^[47] U. S. Commemorative stamp (1995) Downbeat magazine Hall of Fame, Reader's Poll (1955) Grammy Lifetime Achievement Award (1984)

Charles Mingus (1922-1979)	double bass piano cello composer bandleader Jazz Bebop Hard Bop Post Bop Third Stream Orchestral jazz Avante-garde jazz Free jazz 1943→1979	was considered a bass prodigy a proponent of collective improvisation considered one of the greatest jazz musicians and composers in history career spanning three decades studied for five years with Herman Reinshagen, principal bassist of the New York Philharmonic, and compositional techniques with Lloyd Reese first major professional job was playing with former Duke Ellington clarinetist Barney Bigard (1942) toured with Louis Armstrong (1943) recorded in Los Angeles in a band led by Russell Jacquet (early 1945) and in a band led by Howard McGhee (May, 1945) played with Lionel Hampton's band in the late 1940s who recorded several of Mingus's compositions had a popular trio with vibraharpist Red Norvo and guitarist Tal Farlow (1950-51) briefly a member of Duke Ellington's band (1953) as a substitute for bassist Wendell Marshall, but his notorious temper led to him being one of the few musicians personally fired by Ellington (Bubber Miley and drummer Bobby Durham are among the others), after an on-stage fight between Mingus and Juan Tizol played gigs with Charlie Parker, (early 1950's) who Wikipedia: Charles Mingus reports “considered Parker the greatest genius and innovator in jazz history” and “whose compositions and improvisations greatly inspired and influenced him” collaborated with other jazz legends including Louis Armstrong, Charlie Parker, Dizzy Gillespie,) Dannie Richmond, and Herbie Hancock co-founded Debut Records (1952) with Max Roach recording the most prominent figures in Bebop joined Dizzy Gillespie, Charlie Parker, Bud Powell, and drummer Max Roach for a concert recorded as "Jazz at Massey Hall" in Toronto (May 15, 1953), which is the last recorded documentation of Gillespie and Parker playing together organized a series of jazz workshop concerts at the Putnam Central Club in Brooklyn (1953) with musicians Max Roach, Thelonious Monk, Horace Silver, Art Blakey formed a Composer's Workshop (1954) in collaboration with Bill Coss of Metronome, that included Teddy Charles, John LaPorta, and Teo Macero Much of his oeuvre before and after the coining of the term "Third Stream" parallels Gunther Schuller's Third Stream ideas. The two-part album "Jazzical Moods" (1955) shows a blend of "jazz" and "classical" and Wikipedia: Third Stream reports may have helped inspire Schuller's Third Stream approach. Some early Mingus compositions were later recorded conducted by Gunther Schuller incorporating elements of classical music and released as "Pre-Bird" (1961), then later under the title "Mingus Revisited" (1965) developed the Jazz Workshop using a mid-sized ensemble of 8–10 members of rotating musician including Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan that Wikipedia: Charles Mingus reports “in many ways anticipated free jazz and some musicians dubbed the workshop a "university" for jazz” released Pithecanthropus Erectus (1956), his first major work as both a bandleader and composer and the title song is a ten-minute tone poem containing a section with free improvisation lacking standard musical structure or theme recorded "The Clown" (1957) on Atlantic Records featuring improvised narration by male humorist Jean Shepherd and using drummer Dannie Richmond who remained his preferred drummer until Mingus's death recorded with his jazz workshop musicians one of his best-known albums, Mingus Ah Um (1959) featuring such classic Mingus compositions as "Goodbye Pork Pie Hat" (an elegy to Lester Young) and the vocal-less version of "Fables of Faubus" (a protest against segregationist Arkansas governor Orval E. Faubus) that features double-time sections recorded the album Blues & Roots (1959) released in 1960 after seeing Ornette Coleman's quartet at the Five Spot cafe in 1960, formed a quartet with drummer Dannie Richmond, trumpeter Ted Curson and multi-instrumentalist Eric Dolphy, often thought of as Mingus rising to the challenging new standard established by Coleman. The quartet recorded on both "Charles Mingus Presents Charles Mingus" (released 1961) and "Mingus" (1960) had a disastrous Town Hall Concert (1962) recorded "The Black Saint and the Sinner Lady" (1963), a sprawling, multi-section masterpiece, described as “one of the greatest achievements in orchestration by any composer in jazz history.”^[48] recorded himself on piano as "Mingus Plays Piano" (1963), an unaccompanied album featuring some fully improvised pieces recorded "Mingus Mingus Mingus Mingus Mingus" (1963), an album admired by music critic Nat Hentoff formed a sextet including Dannie Richmond, Jaki Byard, Eric Dolphy, trumpeter Johnny Coles, and tenor saxophonist Clifford Jordan that recorded frequently over its brief existence (1964) wrote his autobiography Beneath The Underdog (published 1971) taught for a semester at the University at Buffalo, The State University of New York as the Slee Professor of Music (1971) formed another sextet with Charles McPherson, trumpeter Eddie Preston and saxophonist Bobby Jones (early 1970's) formed a quintet with drummer Dannie Richmond, pianist Don Pullen, trumpeter Jack Walrath and saxophonist/flutist/bass clarinetist George Adams who recorded two well-received albums, "Changes One" and "Changes Two" (1975) recorded with Charles McPherson in many of his groups resulting in "Cumbia & Jazz Fusion" (1974) at the time of his death was working with Joni Mitchell on her "Mingus," (1979) with lyrics added by Mitchell to his compositions, including "Goodbye Pork Pie Hat"
Art Blakey (1919-1990) (Photo by J. F. Hayeur)	drums bandleader Bebop Hard Bop 1942→1990	pioneered Bebop went to New York City with Mary Lou Williams's combo as a drummer (1939-1942) worked with Fletcher Henderson's band (1943) joined alto saxophonist Charlie Parker, jazz vocalist Sarah Vaughan, in Billy Eckstine's embryonic bebop band (1944-1947) began working New York clubs and contributing to recording sessions by Miles Davis and Thelonious Monk formed a band with pianist Horace Silver (1954) with Kenny Dorham on trumpet and Hank Mobley on tenor saxophone recording the Blue Note LP "At The Café Bohemia" after Horace Silver left the band continued to play with superlative young players in the 1950's including trumpeters Bill Hardman and Lee Morgan, saxophonists Jackie McLean and Benny Golson (who provided the band with the now jazz standards "Blues March" and "Along Comes Betty" and pianist Bobby Timmons who composed "Moanin'" worked with tenor saxophone player Wayne Shorter, trumpeter Freddie Hubbard and trombonist Curtis Fuller in the Jazz Messengers for part of the '60s, touring and cutting Blue Note albums "Mosaic" (1961) and "Free For All" (1964) in the 1960's and 70's mentored and performed with trumpeter Woody Shaw, pianist George Cables, saxophonist Bobby Watson and flugelhornist Chuck Mangione recruited 19-year-old trumpeter Wynton Marsalis (1979) leading to enhanced interest in his groups the Messengers rejuvenation (1976–90) of the Jazz Messengers in the 1980's included trumpeter Terence Blanchard, saxophonist Donald Harrison, slide trombonist Robin Eubanks, pianist Benny Green, (1988) saxophonist Kenny Garrett, (1986) and pianist Geoffrey Keezer (1990) awarded the Jazz Mobile Development and Preservation of Jazz (1970) inducted into the Newport Jazz Festival Hall of Fame (1976) entered the Down Beat Jazz Hall of Fame Reader's Choice Award (1981) received the Smithsonian Performing Arts Certificate of Appreciation (1982) Lee Morgan Memorial Award (1982) inducted into the Jazz Hall of Fame (1982) won Grammy Award Best Jazz Instrumental Performance, Group, for the album "New York Scene" (1984) Jazznote Award (1986) honorary Doctorate of Music from the Berklee College of Music (1987) received the Martin Luther King Humanitarian Award (1991) Grammy Hall of Fame Induction for the single "Moanin'" (1998) Grammy Hall of Fame Induction for the album "Moanin'" (2001) Pittsburgh Jazz Festival Award (2003) posthumously awarded the Grammy Lifetime Achievement Award (2005)
Max Roach (1924-2007) (Portrait of Max Roach by William P. Gottlieb) (Three Deuces Club, New York, N.Y., ca. Oct. 1947)	drums bandleader composer educator social/political activist Bebop Hard Bop Free jazz 1940→2004	at age 18 filled in for drummer (pictured) Sonny Greer , no slouch in the drum department having played with the Duke Ellington Orchestra for 18 years at this point (total of 27 years), at the Paramount Theater in New York City (1942) pioneered Bebop followed Kenny Clarke in developing new musical timekeeping on "ride" cymbal instead of bass drum played in the "Birth of the Cool" band with Miles Davis, John Lewis, Lee Konitz and Gerry Mulligan. Mulligan tells the Library of Congress that “Another thing that made it worthwhile was Max Roach on the first date. The first set of dates was really wonderful. He was far and away the best drummer for the thing because he could approach the things as a composer and he took the kind of care with playing with the ensemble that showed his compositional awareness.”^[49] donated over 100,000 items to the Max Roach papers at the U.S. Library of Congress (2014). Librarian of Congress James H. Billington said. “(Max Roach's) collection will have high research value not just for musicians and jazz scholars, but for anyone exploring the rise of political consciousness among African-Americans in the post-World War II period. His collection will now be preserved in the nation’s library so that his legacy and works might inspire generations to come.”^[50] Civil Rights movement composer of "We Insist!" sought new forms of musical expression^[51] “The roundness and nobility of sound on the drums and the clarity and precision of the cymbals distinguishes Max Roach as a peerless master of this uniquely American instrument. His stature as a musician, composer and bandleader is the result of his having created a larger and more varied body of work than any other drummer-leader. He has done solo pieces, pieces for drums and voice, for jazz ensembles, percussion ensembles, for choirs, and has performed with video. While working with Charlie Parker, Dizzy Gillespie, Thelonious Monk, Bud Powell and Clifford Brown, he developed a unique vocabulary that gave the drums another level of identity. He played the drums in a way that not only kept time and accentuated the beat, but he also developed the call-and-response idea central to the foundations of American music. He has refined his style over the course of the years, and his playing now has the grandeur found only in those who had exceptional talent to begin with, and matched that talent with an ongoing dedication to sustained development.”^[52] Downbeat magazine Hall of Fame, Critic's Poll (1960) Grammy Lifetime Achievement Award (2008)
John Coltrane (1926-1967)	alto saxophone soprano saxophone tenor saxophone flute composer combos bandleader Great American standards Bebop Hard Bop Modal Free jazz Avant-garde jazz 1946→1967	first professional gigs were in a cocktail lounge trio in early to mid-1945^[53] Enrolled in the United States 🇺🇸 Navy “to avoid being drafted by the Army, on August 6, 1945, the day the first U.S. atomic bomb was dropped on Japan”^[54] and was stationed at Pearl Harbor, Hawaii at the Manana Barracks, the largest posting of African-American servicemen in the world. Wikipedia: John Coltrane describes Coltrane's situation as it progressed during his Navy career: “By the time he (Coltrane) got to Hawaii, in late 1945, the Navy was already rapidly downsizing. Coltrane's musical talent was quickly recognized, though, and he became one of the few Navy men to serve as a musician without having been granted musician's rating when he joined the Melody Masters, the base swing band. As the Melody Masters was an all-white band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band. He continued to perform other duties when not playing with the band, including kitchen and security details. By the end of his service, he had assumed a leadership role in the band. His first recordings, an informal session in Hawaii with Navy musicians, occurred on July 13, 1946. Coltrane played alto saxophone on a selection of jazz standards and bebop tunes.” Wikipedia: John Coltrane states what happens immediately upon exiting the Navy in 1946 when “Coltrane returned to civilian life in 1946 and began studying jazz theory with Philadelphia guitarist and composer Dennis Sandole. Coltrane continued under the supervision of Sandole until the early 1950s. Originally an altoist, during the time Coltrane began to play tenor sax with the band of Eddie Vinson” listen to Coltrane's voice at Blank on blank - "John Coltrane on "Giant Steps"" interviewed by Frank Kofsky toured with King Kolax immediately after getting out of the Navy joined a Philly-based band led by Jimmy Heath, who was introduced to Coltrane's playing by his former Navy buddy, the trumpeter William Massey, who had played with Coltrane in the Melody Masters studied jazz theory with guitarist and composer Dennis Sandole and continued under Sandole's tutelage through the early 1950s in 1947 Coltrane began playing tenor saxophone instead of his original alto saxophone with the Eddie Vinson Band Wikipedia: John Coltrane reports that according to tenor saxophonist Odean Pope, Coltrane was “significantly influenced by the obscure Philadelphia pianist, composer, and theorist Hasaan Ibn Ali who took the Muslim name of the grandson of the Islamic Prophet Muhammad. "Hasaan was the clue to . . . the system that Trane uses. Hasaan was the great influence on Trane’s melodic concept” apparently possibly influencing Coltrane's well known sheets of sound approach saw and heard Charlie "Bird" Parker for the first time on June 5, 1945 with Coltrane playing some with Parker in the late 1940's member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early to mid-1950s In the summer of 1955, Coltrane was freelancing in Philadelphia while studying with guitarist Dennis Sandole when he was recruited by Miles Davis that formed Davis's "First Great Quintet" with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums from October 1955 to April 1957 (with a few absences) promoted spirituality in jazz^[55] easily recognizable idiosyncratic style and tone, especially on soprano saxophone plaintive expressive passionate energetic sound in his solos playing has a lot of drive driven to practice his instrument and did so constantly constantly seeking musical insight and musical expressiveness member of Miles Davis's first quintet comprised of Davis on trumpet, Sonny Rollins on tenor saxophone, Red Garland on piano, Paul Chambers on double bass, and Philly Joe Jones on drums when Coltrane replaces Sonny Rollins in Fall, 1955 Sonny Rollins (b. 1930) Miles Davis expanded this first quintet with Coltrane into a sextet with the addition of Cannonball Adderley Cannonball Adderley (1928-1975) on alto saxophone in 1958 producing one of the definitive hard bop groups recording the Columbia albums Round About Midnight , Milestones , and the marathon sessions for Prestige Records resulting in five albums (Miles, Cookin', Relaxin', Workin', and Steamin') collected on The Legendary Prestige Quintet Sessions In mid-1958, Bill Evans replaced Garland on piano and Jimmy Cobb replaced Philly Joe Jones on drums, but Evans only lasted about six months, in turn replaced by Wynton Kelly as 1958 turned into 1959. This group backing Davis, Coltrane, and Adderley, with Evans returning for the recording sessions, recorded Kind of Blue, considered one of the most important, influential and popular albums in jazz Members of the First Miles Davis Quintet/Sextet (1955–58) with John Coltrane, Cannonball Adderly, Miles Davis, & Bill Evans recorded "A Love Supreme" (1965) “influenced innumerable musicians”^[56] canonized as a Saint in the St. John Coltrane African Orthodox Church of San Francisco, CA^[57] Downbeat magazine Hall of Fame, Reader's Poll (1965) Grammy Lifetime Achievement Award (1992) Pulitzer prize posthumous jazz composer Special Citation (2007)
Miles Davis (1926-1991) (Montreux, Switzerland Photo by Dennis Jarvis) (Photo by Lajos Jardai at Colozine)	trumpet electrified trumpet flugelhorn bandleader composer Bebop Hard Bop Cool Modal Jazz-Rock fusion 1945→1991	“arguably the most influential jazz musician in the post-World War II period, being at the forefront of changes in the genre for more than 40 years.”^[58] cool^[59] persona and dresser^[60] (Miles Davis at Strasbourg 1987 Photo by Jean Fortunet) stylist innovator “formed a nonet with arranger-pianist Gil Evans, saxophonists Gerry Mulligan and Lee Konitz, and pianist John Lewis to record his first major musical statement, "Birth of the Cool," using the standard piano, bass, and drums rhythm section, along with the nonet's horn section of French horn, tuba, trombone, and alto and baritone saxophones, lending the band a unique harmonic 'cool' sound”; (hence birth of the cool).^[61] In a professional career lasting 50 years, he was at the forefront of Bebop, Hard bop, orchestral jazz (Third Stream), Modal jazz, Jazz-rock fusion and Techno-funk^[62] “played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate”^[62] attended for a year the Institute of Musical Art in New York City (renamed Juilliard) in September 1944 joined Benny Carter's band and made his first recordings as a sideman played with Billy Eckstine in 1946-1947 member of Charlie Parker's group in 1947-1948 recording debut as a leader on a 1947 session that featured Parker, pianist John Lewis, bassist Nelson Boyd, and drummer Max Roach recorded three sessions (Jan. 21 & Apr. 22, 1949; March 9, 1950) in New York City that became the "Birth of the Cool" compilation album released on Capitol Records (1957). Wikipedia: Birth of the Cool reports that the music featured “unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz” recorded landmark jazz/rock fusion album Bitches Brew (1969) NEA (National Endowment for the Arts) Jazz Master (1984) Grammy Lifetime Achievement Award (1990)
Lennie Tristano (1919-1978) (New York, N.Y., ca. Aug. 1947) (photograph by William P. Gottlieb) (Pied Piper jam, New York, N.Y., September, 1947) (photograph by William P. Gottlieb) File:.jpeg	piano composer arranger teacher of jazz improvisation Bebop Early free improvisation 1940→1969	taught many jazz players over thirty years, including tenor saxophonists Bud Freeman and Warne Marsh, and alto saxophonist Lee Konitz
(Randolph Denard) Ornette Coleman (1930-2015) (Photo by Tom Beetz, taken July 9, 2010) (Caravan of Dreams, Fort Worth, TX, 1985 Craig Howell photo) (The Roots at the Royal Festival Hall, June 13, 2009) (Featuring special guests Ornette Coleman, David Murray and Andy Hamilton) (Photo by Ian Duffy) (Photo by Nomo Michael Hoefner) (Photo by Bruno Bollaert, taken July 8, 2010) (Photo by Tom Beetz, taken July 9, 2010)	alto saxophone trumpet violin (Caravan of Dreams, Fort Worth, TX, 1985, Photo by Craig Howell) bandleader composer Harmolodics (word derived from "harmony," "movement," and "melody") Free jazz 1949→2015	Played in barroom rhythm-and-blues bands and traveling in the South with a traveling carnival/minstrel show called Silas Green from New Orleans (1949) recorded debut album "Something Else!!!!: The Music of Ornette Coleman" for Les Koenig's Contemporary Records (1958) followed up by "Tomorrow Is The Question" (1959) invited to a summer concert series by the Modern Jazz Quartet's pianist and musical director John Lewis held at the Lenox School of Jazz in Massachusetts (1959) early supporters of Coleman, besides John Lewis, included, the conductor Leonard Bernstein, the jazz critics Nat Hentoff and Martin Williams and the composer Gunther Schuller, last three all wrote for the magazine The Jazz Review Coleman and his quartet (Don Cherry on pocket trumpet, double bassist Charlie Haden and drummer Billy Higgins) came to New York City for a two-week engagement (stretching to ten weeks) at the Five Spot Cafe in November 1959 with Leonard Bernstein, Gunther Schuller, Neshui and Ahmet Ertegun, John Hammond and almost every musician in town in the audience on the first night^[63] occasionally used a non-tempered musical scale with notes sounding at a natural rather than a well-tempered pitch, abandonment of chord changes and the conventions of the 32-bar AABA song form and emphasizing group improvisational interplay From 1959 through the 1960's, viewed as “either a visionary or a charlatan, and there was no middle ground between advocacy and disapproval.”^[64] His alto saxophone playing had a “suppleness of phrasing and (a) keening vox-humana quality of his intonation”^[65] “(Colemen's) music looked back through the jazz tradition with its collective improvisations and its personal, speechlike approach to intonation and phrasing, so much like the ensemble and solo styles of the early Southern and Southwestern blues and jazz musicians. . . . In twelve years the style had become classic, distilled into the kind of unique, breathtaking perfection . . . ”^[66] “Despite the nonstandard details of the situation (Coleman playing a white plastic alto saxophone, exploiting modal rather than chordal approaches to improvisation, and so forth), Coleman's early work mobilizes traditional forms and rhythms: Charlie Haden and Billy Higgins provide recognizable, solid foundation for Coleman's and Cherry's improvisational experimentation. This might explain why Coleman was drawn into the pantheon of jazz (despite rancorous controversy) in a way that Albert Ayler was not.”^[67] recorded "The Shape of Jazz to Come" (1959) and the first track, Lonely Woman, became a jazz standard original group signed to Atlantic Records where the essential music was finished within a short time recording "Change Of The Century" (1959), "The Shape Of Jazz To Come" (1959), "This Is Our Music" (1961), "Ornette" (1961), "Ornette On Tenor" (1961), and "Free Jazz" with Eric Dolphy on bass clarinet and trumpeter Freddie Hubbard released "Free Jazz" (1960), an album containing performances by eight musicians essentially consisting of forty minutes of free group improvisation toured England 🇬🇧, France 🇫🇷, and Sweden 🇸🇪 (1965), “setting in motion an avant-garde jazz movement in Europe that continued unabated for decades”^[68] twice awarded a Guggenheim scholarship (1967 & 1974 for Music Composition) composed "Skies of America," (1972) a full-length work for soloist and symphony orchestra, performed by the London Philharmonic (1972) with the U.S. premiere at the Newport-in-New York jazz festival at Lincoln Center with the American Symphony Orchestra (July 1972)^[69] traveled to Nigeria 🇳🇬 (early 1970's) and Morocco 🇲🇦 and played and recorded "Dancing In Your Head" released (1977) with the Master Musicians of Joujouka (1973) formed (Saturday Night Live 1979 photo courtesy NBC) Prime Time double quartet with two guitarists, two drummers, two bassists, and Coleman on sax, violin and trumpet (circa 1975) created arts center, New York City (early 1980s) received the key to his hometown Fort Worth, TX (1983) documented in Shirley Clark’s film, “Ornette: Made In America” “had a huge impact on the early world of Progressive Rock, especially bands such as King Crimson, Henry Cow, Soft Machine and Gentle Giant^[70] National Endowment for the Arts (NEA) Jazz Masters Fellowship (1984) recorded "Song X" with guitarist Pat Metheny (1985) Hartford Real Art Ways retrospective, including performance of Coleman's recently composed chamber music; subsequent commissions for the Kronos Quartet, etc. (1985) recorded Virgin Beauty featuring the late Grateful Dead guitarist Jerry Garcia on three tracks (released 1988) named Jazz Artist of the Century, Texas Monthly magazine (1985?) Ornette Coleman Festival at Carnegie Hall, NY (1986) reunited with original quartet for album "In All Languages" (1987) His "Broadway Blues" became a jazz standard and a key work in the free jazz movement^[71] Honorary doctorate from the University of Pennsylvania (1988) composed his classical work, "Freedom Symbol: La Statue (The Country That Gave the Freedom Symbol to America)," (1989), a composition commissioned by the French government and inspired by the Statue of Liberty premiere of Architecture in Motion, Harmolodic ballet; soundtracks for Naked Lunch and Philadelphia (1990's) Honorary degree from the California Institute of the Arts (1990) featured performer and composer of several of the soundtracks for “Naked Lunch,” a film of the William S. Burroughs's novel by filmmaker David Cronenberg together with music composed by Howard Shore (1991) featured a four-day celebration of his music at New York City’s Lincoln Center Festival, including rare performances of his “Skies of America” symphony with the New York Philharmonic (1997) Photo courtesy of Portland Jazz Festival Honorary Degree from the Boston Conservatory of Music (1993) awarded a "Genius" (really a creativity)^[72] grant by the MacArthur Fellowship (1994) started Harmolodics label (1994-97) inducted as Officier (Officer) in France's Order of Arts and Letters (1998) Awarded the Praemium Imperiale Prize for Music, Japan Art Association, Tokyo a prize worth ¥15 million, about $130,000, given under the patronage of Prince Hitachi of Japan, the brother of Emperor Akihito and presented by former French prime minister, Raymond Barre, who is on the board of the Japan Art Association (2001) Gish Prize (2004) started Sound Grammar label (2006—) Pulitzer prize for music for album "Sound Grammar" (2007) over 50 recordings^[73] named Jazz Artist of the Year, 46th Annual Down Beat International Critics Poll top of Village Voice jazz critic's poll (2006) Grammy Award nomination and Pulitzer Prize, both 2007, all for album "Sound Grammar" Grammy Lifetime Achievement Award (2007) Honorary Doctor of Music Degree from the University of Michigan in Ann Arbor, with 44th President of the United States Barack Obama in attendance (2010) "Everything is Music: A Riverside Church Farewell to Ornette Coleman," by Hank Williams, July 6, 2015

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Table of jazz legends notable achievements 1960-2000[edit]

Name	Instrument & Occupational Roles	Style	Active years	Notable Achievements^[74]
Don Cherry (1936-1995)	trumpet pocket trumpet cornet bandleader	Jazz Free Jazz World Music	1952→1994	one of the pioneering figures in free jazz with Ornette Coleman
Lee Morgan (1938-1972)	trumpet bandleader composer	Jazz Bebop Hard Bop	1956→1972	one of the pioneering figures in hard bop

John McLaughlin (1942- ) (Berklee, 2017)	guitar electric guitar (Photo courtesy of Alfred Publishing) bandleader	Jazz Jazz/Rock Fusion World Music	1963→present	played jazz, rock, and blues in his native England with Alexis Korner and also Ginger Baker (1960's) pioneer in jazz/rock fusion active in jazz, jazz/rock fusion, world fusion, progressive rock, psychedelic rock, Indian classical music, Western classical music, flamenco and the blues recorded his debut album, "Extrapolation," (1969) and started working with Tony Williams with organist Larry Young in William's trailblazing group Life Time featured guitarist on Miles Davis's albums "In A Silent Way" (1969) "Bitches Brew," (1970), and "Jack Johnson"/"A Tribute To Jack Johnson" (1971) founded (1971) and led the Mahavishnu Orchestra with (l-r) Jerry Goodman (violin), Jan Hammer (keyboards), John McLaughlin (double neck electric guitar), Billy Cobham (drums/percussion), Rick Laird (electric bass) (Photo at New York Philharmonic Hall, December, 1973) founded (1974) and led acoustic world fusion group (combining Indian music with elements of jazz) Shakti with (l-r) T. H. "Vikku" Vinayakram (ghatam), L. Shankar (Indian violin), cat, John McLaughlin (acoustic guitar), Zakir Hussain (tabla), Ramnad Raghavan (not shown)(mridangam) “influenced many fusion guitarists including Al DiMeola, Pat Metheny, Mike Stern, John Scofield, Bill Connors and Scott Henderson”^[75] had a brief Mahavishnu Orchestra reunion (1984) acoustic guitar summit with Al DiMeola and Paco de Lucia (1982) produced a classical album with the London Symphony Orchestra (1988)

Wynton Marsalis (1962- ) File:Wynton.jpeg File:Wynton.jpeg	trumpet singer bandleader composer	Classical Jazz Dixieland	1980→present	pivotal figure in the neo-traditionalist movement in jazz

File:CircleOfJazzneedsPoJFMlogos.png

(Photo of the South side of 52nd Street between 5th & 6th Avenues looking east from 6th Avenue (c. 1948) by William P. Gottlieb)

• Cannonball Adderley * • Albert Ayler * • Chet Baker • Clifford Brown • Dave Brubeck * • Chick Corea * • Eric Dolphy * • Bill Evans * • Stan Getz * • Dexter Gordon • Grant Green • Johnny Griffin • Herbie Hancock * • Joe Henderson • Milt Jackson • Keith Jarrett * • Elvin Jones * • Philly Joe Jones * • Rahsaan Roland Kirk * • Lee Morgan • Fats Navarro • Art Pepper * • Oscar Peterson * • Bud Powell * • Sonny Rollins * • Wayne Shorter * • Horace Silver *

NOTES[edit]

↑ "The Making of a GREAT DAY FOR JAZZ," Issue 2004, No. 1.
↑ “Thank you for contacting the National Endowment for the Arts (NEA) and for your interest in the NEA Jazz Masters photo. As long as you are not looking to use the photograph for financial gain, rather for informational purposes, you may use it with the following credit: Photo by Tom Pich for the NEA. We wish you the best in all your creative endeavors. Signed: Allison Hill, Staff Assistant in Public Affairs, National Endowment for the Arts, 400 7th Street SW, Washington DC 20506, hilla@arts.gov; 202-682-5037; 202-682-5084.
↑ For musical examples see:
++ ‣ "Essential Solos: 40 Great Improvisations: (100) Jazz artists and critics pick their favorite solos from the music's past and present," Jazz Times, November 2, 2017.
++ ‣ "Perfect Jazz Recordings," Richard Brody, The New Yorker, September 23, 2014.
↑ ^4.0 ^4.1 ^4.2 Ted Gioia, The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, p. 33.
↑ Ted Gioia goes so far as to call Bolden “the elusive father of jazz” and “often cited as the first jazz musician” in The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, pp. 33-34.
↑ Ted Gioia, The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, p. 34.
↑ ^7.0 ^7.1 "Arts: Yoshi’s Honors Memory of Jazz Legend Clifford Brown," Ira Steingroot, The Berkeley Daily Planet, Special to the Planet, October 21, 2005.
↑ Wikipedia: Buddy Bolden confirms his notable accomplishments under the sub-heading "Musical career and early decline":
“ . . . known as King Bolden, his band was popular in New Orleans (the city of his birth) from about 1900 until 1907, when he was incapacitated by schizophrenia (then called dementia praecox). Bolden was known for his loud sound and improvisation. He made a big impression on younger musicians.”
↑ See these further biographies and discographies:
++++ ‣ Ferdinand "Jelly Roll Morton" Lamothe
++++ ‣ Doctor Jazz's Jelly Roll Morton website
++++ ‣ Doctor Jazz's Jelly Roll late news and references
↑ "Jazz Milestones: Noteworthy Dates in the History of Jazz Music (1895 - 1977), entry under 1902: at APassion4Jazz.com.
↑ ^11.0 ^11.1 ^11.2 "Plotting His Way Into Jazz History," John Edward Hasse, Wall Street Journal, Sept. 7, 2018.
↑ "'King Porter's Stomp' and the Jazz Tradition," Jeffrey Magee, Current Musicology, "Special Issue - Jazz Studies," at Jazz Studies Online.
↑ "The Fantastic Mr. Jelly Lord," Jazz at Lincoln Center's 2017-18 Opening Weekend concerts, September 14-16, 2017.
“The Jazz at Lincoln Center Orchestra with Wynton Marsalis kicks off the 30th anniversary season with a celebration of New Orleans legend Jelly Roll Morton (1890–1941). Jazz’s first great composer, musical intellect, and piano virtuoso, Morton provided the musical blueprint of an eternal New Orleans and jazz as it is known today. Through both classic and never-before-heard arrangements of essential tunes like “King Porter Stomp,” “Jungle Blues,” “Black Bottom Stomp,” and “The Pearls,” the JLCO (Jazz at Lincoln Center Orchestra) will showcase the contemporary power and depth of possibility in the earliest jazz. The concepts found in these pieces have been explored by master musicians for the past century and made truly modern through the lens of Jelly Roll.” (bold not in original)
↑ See Armstrong singing in the only known footage of him in a recording studio at Time magazine's Rare footage of Armstrong in recording studio.
↑ DownBeat magazine, "The First Recordings," fourth paragraph.
↑ Wikipedia: Sydney Bechet, "Biography," first paragraph, second sentence. The first paragraph of this Wikipedia entry is verbatim from Scott Yanow's artist biography of Bechet from AllMusic.com.
↑ AllMusic.com's artist blurb overview.
↑ ^18.0 ^18.1 “His (Bechet's) playing style was intense and passionate and had a wide vibrato. He was also known to be proficient at playing several instruments and a master of improvisation (both individual and collective). Bechet liked to have his sound dominate in a performance, and trumpeters found it difficult to play alongside him.” found at Wikipedia: Sidney Bechet, "Career," second paragraph.
↑ "Artist Biography by Scott Yanow," AllMusic.com, fourth and last paragraph.
↑ Wikipedia: Sydney Bechet, "Biography," 14th paragraph.
↑ ^21.0 ^21.1 His awards, as well as the number of Ellington's performances around the world, and the figure of over 3,000 songs for the number of Ellington's compositions are all stated at "Duke Ellington Biography" at DukeEllington.com, the Official Site of jazz legend Duke Ellington.
↑ At WyntonMarsalis.com Ellington explains in his own words how and why he tailored specific parts of his compositions for specific members of his orchestra.
“Ellington, for instance, predicated portions of his compositions on what he expected his musicians to invent on the spot: “My aim is and always has been to mold the music around the man,” Ellington wrote in 1942. “I study each man in the orchestra and find out what he can do best, and what he would like to do.” Ellington routinely leaves room for musicians to riff freely, asking them not for specific notes but, instead, for the character of sound, color and rhythm he knows each uniquely can produce.

There’s almost always some open space in most of the Ellington pieces,” says Harbison. “The solo spots are kind of part of the conception, but they’re not specific. Jazz composition includes non-determined elements. And that’s just something that people have to come to terms with, to take a certain stance on. It seems that in the great pieces of Ellington, the building in of the soloist—and even the voice of the soloist—has been a part of the composition.” (quoted from "The Story Behind the First Pulitzer for Jazz") (bold not in original)
↑ According to Jazz by Gary Giddins and Scott Deveaux, 2009, Ellington compositions are the most recorded in jazz history.
↑ Music: "What jazz is—and isn't," Wynton Marsalis, New York Times, 21st paragraphs, July 31, 1988.
↑ “U.S. #2211 22¢ Duke Ellington Performing Arts Series.
* Issue Date: April 29, 1986
* City: New York, NY
* Quantity: 130,000,000
* Printed By: American Bank Note Co.
* Printing Method: Photogravure
* Perforations: 11
* Color: Multicolored
“This stamp honors popular jazz pianist, composer, and band leader Duke Ellington (1899-1974). Edward Kennedy "Duke" Ellington wrote more than 6,000 songs during his long career, including "Satin Doll" and "Sophisticated Lady." Ellington was hailed by some as the greatest composer American society has ever produced.” (quoted from Mystic Stamp Company)
↑ ^26.0 ^26.1 ^26.2 "The Evolution of Jazz Saxophone Styles," "Coleman Hawkins," by Michael Verity, Thoughtco.com: Jazz, Updated August 18, 2017.
↑ "Biography of Coleman Hawkins," Scott Yanow, at AllMusic.com.
↑ Scott Yanow's Coleman Hawkins biography.
↑ ^29.0 ^29.1 ^29.2 Wikipedia: Count Basie, "Early career," second paragraph.
↑ ^30.0 ^30.1 ^30.2 Wikipedia: Count Basie, second paragraph.
↑ Good Morning Blues: The Autobiography of Count Basie, William "Count" Basie, Da Capo Press, 2002, p. 127. ISBN 978-0-306-81107-4.
↑ Wikipedia: Count Basie, "Kansas City years," first paragraph.
↑ Wikipedia: Count Basie, reports that “Right from the start, Basie's band was noted for its rhythm section. Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one (tenor saxophonist). When (Lester) Young complained of Herschel Evans' vibrato, Basie placed them on either side of the alto players, and soon had the tenor players engaged in "duels".”
↑ ^34.0 ^34.1 ^34.2 Wikipedia: Count Basie, "John Hammond and first recordings," third and fourth paragraphs.
↑ Wikipedia: Thelonious Monk describes Monk's early playing career, “as "hard-swinging," with the addition of runs in the style of Art Tatum. Monk's stated influences included Duke Ellington, James P. Johnson, and other early stride pianists.”
Michael Verity at "What Is Early Jazz Music?," (updated March 08, 2018), provides a description and explanation of how the stride piano style functions:
“Directly influenced by ragtime, the stride piano style became popular in New York during World War I. Stride pieces are characterized by a bass line with a half-note pulse played in the left hand while the melody and chords are played in the right hand. The term “stride” comes from the action of the left hand as it strikes a bass note and then moves swiftly up the keyboard to strike chord tones on every other beat. Stride pianists also incorporated improvisation and blues melodies and were keen on technical prowess.” (bold not in original)
↑ Wikipedia: Thelonious Monk describes Monk's singular style: “Monk's compositions and improvisations feature dissonances and angular melodic twists and are consistent with his unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations.” (bold not in original)
↑ In From Jazz Novice to Jazz Connoisseur Monk's piano playing style around 1941 as well as some of his influences are stated: “Monk's style at this time was later described as "hard-swinging," with the addition of runs in the style of Art Tatum. Monk's stated influences included Duke Ellington, James P. Johnson, and other early stride pianists.”
↑ Wikipedia: "List of compositions by Thelonious Monk."
↑ "Jazz: The Loneliest Monk," Time magazine, Friday, Feb. 28, 1964.
↑ International Jazz Day website: "About", first sentence.
↑ “Set of conga drums that belonged to Dizzy Gillespie before he gifted them to a fellow musician on May 4, 1987. Dizzy Gillespie used these conga drums when he performed with J.C. Heard and his Orchestra, at the 1987 Montreux-Detroit Jazz Festival. Dizzy and J.C. Heard, were commissioned by Detroit Renaissance to write and perform a song together to commemorate the event. That night Dizzy took a break from his horn and played the conga to ignite the audience by performing a percussion duet with J.C. Heard on drums and Dizzy Gillespie on the congas.” (Dizzy's performed with conga drum as described in Guernsey's Auction Catalog, Guernsey’s Jazz Auction Catalogue Addendum, p. 12 of 14.)
↑ Wikipedia: Dizzy Gillespie reports that Gillespie taught and influenced trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman.
↑ As said at Mark Warner's FERMENTATION: The Daily Wine Blog: “(Parker) gave to the emerging Be-Bop artists a new harmonic paradigm that filled in the sound that progressive jazz artists were exploring as they moved away from the swing genre. Parker's great innovation was his discovery, out of his own imagination, of how to play any note and resolve it in the chord so that it would sound harmonically right.”
↑ Music in a New Found Land, Wilfred Mellers, Ch. VII: "From jazz back to art," New York: Hiilstone Publishing, 1964/1975, p. 353.
↑ "Charlie Parker: American Musician," written by the Editors of Encyclopaedia Britannica, last updated Aug 25, 2018.
↑ "Charlie Parker," Helen Dickson, Kansapedia, created April, 2015 and modified January, 2016.
↑ "Miles Davis: Winner Take All," Lionel Olay, originally published in Cavalier, Vol. 21, August, 1954, reproduced in Miles on Miles: Interviews and Encounters with Miles Davis, edited by Paul Maher Jr. and Michael K. Dorr, Chicago: Illinois, Lawrence Hill Books, 2009, p. 24. ISBN: 978-1-55652-706-7.
↑ AllMusic Review by Steve Huey.
↑ Jeru: In the Words of Gerry Mulligan, "Miles Davis," third paragraph, from "The Gerry Mulligan Collection."
↑ "All That Jazz," Erin Allen, 4th paragraph, January 31, 2014.
↑ “Roach led his own groups, notably a pioneering quintet co-led with trumpeter Clifford Brown as well as his percussion ensemble M'Boom.”Wikipedia: Max Roach, second paragraph.
↑ Music: "What jazz is—and isn't," Wynton Marsalis, New York Times, 17th and 18th paragraphs, July 31, 1988.
↑ The John Coltrane Reference, Lewis Porter, Chris DeVito, David Wild, Yasuhiro Fujioka, Wolf Schmale, February 16, 2013.
Personnel: John Coltrane, alto saxophone, possibly clarinet; unknown piano, guitar. Ca. early to mid-1945 (dates unknown). Unknown venues, Philadelphia, PA. François Postif (1962, p. 13): "My first real 'job,' I took down in Philadelphia in 1945 where I played with a pianist and a guitarist. A sort of cocktail music, but it offered me a living!"
From John Coltrane's completed questionnaire (undated, ca. 1956) for Leonard Feather's Encyclopedia of Jazz (reprinted in Thomas, 1975, photo section following p. 88; and Woideck, 1998, p. 84): HOW DID YOU GET INTO THE MUSIC BUSINESS? "In Philadelphia with a cocktail trio. This job was in 1945. I also joined the musician's union at that same time."
↑ Wikipedia: John Coltrane Fourth paragraph, first sentence.
↑ Wikipedia: John Coltrane affirms Coltrane's music took on an increasingly spiritual aspect up to his death in 1967 from liver cancer at the age of 40. “As his career progressed, Coltrane and his music took on an increasingly spiritual dimension.” (second paragraph, first sentence)
Don't just take Wikipedia's word for it. Consider the liner notes from the collaborative Bob Thiele produced album, "John Coltrane and Johnny Hartman," and the 'effusive' liner notes by poet and author, A. B. Spellman:
“The quartet (John Coltrane/tenor saxophone, McCoy Tyner/piano, Jimmy Garrison/double bass, Elvin Jones/drums) has been, till now (up to 1963) , concerned with other things, with the development of a kinetic vernacular which facilitated the release of a kind of group energy that was deeper in content and fuller in emotional color than any music I have experienced, anywhere.” (bold not in original) (quoted in “A Look Back at John Coltrane & Johnny Hartman,” Rusty Aceves, September 19, 2016).

Coltrane was not the first jazz person to promote spirituality in jazz because Duke Ellington and company had already done so in Ellington's "Black, Brown, and Tan Fantasy." See the article "Shadow Play: The Spiritual in Duke Ellington's "Black and Tan Fantasy," David Metzer, Black Music Research Journal, Vol. 17, No. 2 (Autumn, 1997), pp. 137-158. Additionally, the jazz pianist Mary Lou Williams, a convert to Roman Catholicism in 1956, wrote and performed spiritually oriented music, including especially Mary Lou's Mass. Here is the relevant section from Wikipedia: Mary Lou Williams:

“One of the masses, "Music for Peace," was choreographed by the Alvin Ailey and performed by the Alvin Ailey Dance Theater as Mary Lou's Mass in 1971. About the work, Ailey commented, "If there can be a Bernstein Mass, a Mozart Mass, a Bach Mass, why can't there be Mary Lou's Mass?" Williams performed the revision of Mary Lou's Mass, her most acclaimed work, on The Dick Cavett Show in 1971.

She wrote and performed religious jazz music such as "Black Christ of the Andes" (1963), a hymn in honor of the St. Martin de Porres; two short works, "Anima Christi" and "Praise the Lord." In this period, Williams put much effort into working with youth choirs to perform her works, including mass at St. Patrick's Cathedral in New York City before a gathering of over three thousand. . . . As a February 21, 1964 Time article explained, "Mary Lou thinks of herself as a 'soul' player — a way of saying that she never strays far from melody and the blues, but deals sparingly in gospel harmony and rhythm. 'I am praying through my fingers when I play,' she says.'I get that good "soul sound", and I try to touch people's spirits.'"

. . . . In April 1975, she played her highly regarded jazz spiritual, "Mary Lou's Mass" at St. Patrick's Cathedral in New York. It marked the first time a jazz musician had played at the church. (bold not in original)
↑ Wikipedia: John Coltrane, second sentence, second paragraph.
↑ Read the moving descriptions of Coltrane's musically spiritual impact in Carvell Wallace's "A Place For The Soul To Sing: The Church of St. John Coltrane.”
↑ NEA Jazz Masters Bio, opening sentence.
↑ 'Wikipedia: Cool aesthetic.
↑ The Guardian newspaper reports that “Davis was the best-dressed man of the 20th century. Starting out, he'd customise his pawnshop Brooks Brothers suits, cutting notches in the lapels in imitation of the Duke of Windsor. After 1949's Birth of the Cool, he favoured the Ivy League look of European tailoring. In the 60s he went for slim-cut Italian suits and handmade doeskin loafers. He was always the coolest-looking man in the room.” (bold not in original)
↑ NEA Jazz Master bio, third paragraph.
↑ ^62.0 ^62.1 “Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward. (AllMusic: "Miles Davis biography," William Ruhlmann, first paragraph)
↑ "Ornette Coleman and the Circle with a Hole in the Middle," Robert Palmer, The Atlantic Monthly, December, 1972, 6th paragraph.
↑ "Ornette's Permanent Revolution: A jazzman breaks all the boundaries, Francis Davis, The Atlantic, September, 1985, fourth paragraph.
↑ “Jazz musicians have always respected instrumentalists whose inflections echo the natural cadences of speech, and they have always sworn by the blues (although as jazz has increased in sophistication, "the blues" has come to signify a feeling or a tonal coloring, in addition to a specific form). Coleman's blues authenticity—the legacy of the juke joints in his native Fort Worth, Texas, where he had played as a teenager—should have scored him points instantly. Instead, his ragged, down-home sound seems to have cast him in the role of country cousin to slicker, more urbanized musicians—as embarrassing a reminder of the past to them as a Yiddish speaking relative might have been to a newly assimilated Jew. In 1959 the "old country" for most black musicians was the American South, and few of them wanted any part of it.” ("Ornette's Permanent Revolution: A jazzman breaks all the boundaries, Francis Davis, The Atlantic, September, 1985, fifth paragraph)
↑ "Ornette Coleman and the Circle with a Hole in the Middle,"Robert Palmer, The Atlantic Monthly, 6th paragraph, December, 1972. (bold not in original)
↑ "Why Does Jazz Matter to Aesthetic Theory," Robert Kraut, The Journal of Aesthetics and Art Criticism, Vol. 63, No. 1 (Winter, 2005), p. 7. (bold not in original)
↑ Encyclopedia.com: Ornette Coleman, "Was an Outsider in the World of Jazz," seventh paragraph.
↑ Writer Bill Milkowski, in "Ornette Coleman: Skies of America," published September 1, 2000, describes Coleman's "Skies of America."
“Coleman’s third symphonic work, the 167-page epic score "Skies of America," is to “Turnaround” or “Ramblin'” what Zappa’s Orchestral Works is to “Valley Girl” or “Don’t Eat the Yellow Snow.” Both symphonic pieces are imposing works that present quite a challenge to listeners and die-hard fans alike. There are more rewards for Ornette devotees on "Skies of America," namely the inclusion of his instantly recognizable alto-sax voice. Recorded in September 1972 with the London Symphony Orchestra, under the baton of David Meacham, the densely textured, cinematic "Skies" is comprised of 21 distinct movements that run the gamut of emotions from giddy to poignant to turbulent. From the polytonal, polyrhythmic opener, “Skies of America,” to the gorgeous, Ivesian closer, “Sunday in America,” this rich symphonic work stands as Coleman’s harmolodic manifesto.”
↑ Progarchives.com, "Ornette Coleman & Prime Time biography," second paragraph.
↑ Jazz Theory and Practice: For Performers, Arrangers and Composers , Jeffrey Hellmer and Richard Lawn, Alfred Music, May 3, 2005, p. 234. ISBN 978-1-4574-1068-0.
↑ "It Isn't Easy Being a Genius," Jim Collins, NYTimes, September 19, 2005.
↑ JazzShelf.com's Reviews many of Ornette Coleman's albums.
↑ For musical examples see:
++ ‣ "Essential Solos: 40 Great Improvisations: (100) Jazz artists and critics pick their favorite solos from the music's past and present," Jazz Times, November 2, 2017.
++ ‣ "Perfect Jazz Recordings," Richard Brody, The New Yorker, September 23, 2014.
↑ "John McLaughlin Returns to New York's Town Hall with the 4th Dimension," November 1, 2010, World Music Central News Department, second paragraph.

[1] "The Making of a GREAT DAY FOR JAZZ," Issue 2004, No. 1.

[2] “Thank you for contacting the National Endowment for the Arts (NEA) and for your interest in the NEA Jazz Masters photo. As long as you are not looking to use the photograph for financial gain, rather for informational purposes, you may use it with the following credit: Photo by Tom Pich for the NEA. We wish you the best in all your creative endeavors. Signed: Allison Hill, Staff Assistant in Public Affairs, National Endowment for the Arts, 400 7th Street SW, Washington DC 20506, hilla@arts.gov; 202-682-5037; 202-682-5084.

[3] For musical examples see:
++ ‣ "Essential Solos: 40 Great Improvisations: (100) Jazz artists and critics pick their favorite solos from the music's past and present," Jazz Times, November 2, 2017.
++ ‣ "Perfect Jazz Recordings," Richard Brody, The New Yorker, September 23, 2014.

[GioiaHistory33-4] 4.0 ^4.1 ^4.2 Ted Gioia, The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, p. 33.

[5] Ted Gioia goes so far as to call Bolden “the elusive father of jazz” and “often cited as the first jazz musician” in The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, pp. 33-34.

[GioiaHistory34-6] Ted Gioia, The History of Jazz, New York: Oxford University Press, 2nd edition, 2011, p. 34.

[Steingroot-7] 7.0 ^7.1 "Arts: Yoshi’s Honors Memory of Jazz Legend Clifford Brown," Ira Steingroot, The Berkeley Daily Planet, Special to the Planet, October 21, 2005.

[8] Wikipedia: Buddy Bolden confirms his notable accomplishments under the sub-heading "Musical career and early decline":
“ . . . known as King Bolden, his band was popular in New Orleans (the city of his birth) from about 1900 until 1907, when he was incapacitated by schizophrenia (then called dementia praecox). Bolden was known for his loud sound and improvisation. He made a big impression on younger musicians.”

[9] See these further biographies and discographies:
++++ ‣ Ferdinand "Jelly Roll Morton" Lamothe
++++ ‣ Doctor Jazz's Jelly Roll Morton website
++++ ‣ Doctor Jazz's Jelly Roll late news and references

[10] "Jazz Milestones: Noteworthy Dates in the History of Jazz Music (1895 - 1977), entry under 1902: at APassion4Jazz.com.

[HasseMorton-11] 11.0 ^11.1 ^11.2 "Plotting His Way Into Jazz History," John Edward Hasse, Wall Street Journal, Sept. 7, 2018.

[12] "'King Porter's Stomp' and the Jazz Tradition," Jeffrey Magee, Current Musicology, "Special Issue - Jazz Studies," at Jazz Studies Online.

[13] "The Fantastic Mr. Jelly Lord," Jazz at Lincoln Center's 2017-18 Opening Weekend concerts, September 14-16, 2017.
“The Jazz at Lincoln Center Orchestra with Wynton Marsalis kicks off the 30th anniversary season with a celebration of New Orleans legend Jelly Roll Morton (1890–1941). Jazz’s first great composer, musical intellect, and piano virtuoso, Morton provided the musical blueprint of an eternal New Orleans and jazz as it is known today. Through both classic and never-before-heard arrangements of essential tunes like “King Porter Stomp,” “Jungle Blues,” “Black Bottom Stomp,” and “The Pearls,” the JLCO (Jazz at Lincoln Center Orchestra) will showcase the contemporary power and depth of possibility in the earliest jazz. The concepts found in these pieces have been explored by master musicians for the past century and made truly modern through the lens of Jelly Roll.” (bold not in original)

[14] See Armstrong singing in the only known footage of him in a recording studio at Time magazine's Rare footage of Armstrong in recording studio.

[15] DownBeat magazine, "The First Recordings," fourth paragraph.

[16] Wikipedia: Sydney Bechet, "Biography," first paragraph, second sentence. The first paragraph of this Wikipedia entry is verbatim from Scott Yanow's artist biography of Bechet from AllMusic.com.

[17] AllMusic.com's artist blurb overview.

[WikiBechet-18] 18.0 ^18.1 “His (Bechet's) playing style was intense and passionate and had a wide vibrato. He was also known to be proficient at playing several instruments and a master of improvisation (both individual and collective). Bechet liked to have his sound dominate in a performance, and trumpeters found it difficult to play alongside him.” found at Wikipedia: Sidney Bechet, "Career," second paragraph.

[19] "Artist Biography by Scott Yanow," AllMusic.com, fourth and last paragraph.

[20] Wikipedia: Sydney Bechet, "Biography," 14th paragraph.

[Ellingtondotcom-21] 21.0 ^21.1 His awards, as well as the number of Ellington's performances around the world, and the figure of over 3,000 songs for the number of Ellington's compositions are all stated at "Duke Ellington Biography" at DukeEllington.com, the Official Site of jazz legend Duke Ellington.

[22] At WyntonMarsalis.com Ellington explains in his own words how and why he tailored specific parts of his compositions for specific members of his orchestra.
“Ellington, for instance, predicated portions of his compositions on what he expected his musicians to invent on the spot: “My aim is and always has been to mold the music around the man,” Ellington wrote in 1942. “I study each man in the orchestra and find out what he can do best, and what he would like to do.” Ellington routinely leaves room for musicians to riff freely, asking them not for specific notes but, instead, for the character of sound, color and rhythm he knows each uniquely can produce.

There’s almost always some open space in most of the Ellington pieces,” says Harbison. “The solo spots are kind of part of the conception, but they’re not specific. Jazz composition includes non-determined elements. And that’s just something that people have to come to terms with, to take a certain stance on. It seems that in the great pieces of Ellington, the building in of the soloist—and even the voice of the soloist—has been a part of the composition.” (quoted from "The Story Behind the First Pulitzer for Jazz") (bold not in original)

[23] According to Jazz by Gary Giddins and Scott Deveaux, 2009, Ellington compositions are the most recorded in jazz history.

[24] Music: "What jazz is—and isn't," Wynton Marsalis, New York Times, 21st paragraphs, July 31, 1988.

[25] “U.S. #2211 22¢ Duke Ellington Performing Arts Series.
* Issue Date: April 29, 1986
* City: New York, NY
* Quantity: 130,000,000
* Printed By: American Bank Note Co.
* Printing Method: Photogravure
* Perforations: 11
* Color: Multicolored
“This stamp honors popular jazz pianist, composer, and band leader Duke Ellington (1899-1974). Edward Kennedy "Duke" Ellington wrote more than 6,000 songs during his long career, including "Satin Doll" and "Sophisticated Lady." Ellington was hailed by some as the greatest composer American society has ever produced.” (quoted from Mystic Stamp Company)

[VerityEvolution-26] 26.0 ^26.1 ^26.2 "The Evolution of Jazz Saxophone Styles," "Coleman Hawkins," by Michael Verity, Thoughtco.com: Jazz, Updated August 18, 2017.

[27] "Biography of Coleman Hawkins," Scott Yanow, at AllMusic.com.

[28] Scott Yanow's Coleman Hawkins biography.

[WikiBasie-29] 29.0 ^29.1 ^29.2 Wikipedia: Count Basie, "Early career," second paragraph.

[WikiBasie2ndparagraph-30] 30.0 ^30.1 ^30.2 Wikipedia: Count Basie, second paragraph.

[31] Good Morning Blues: The Autobiography of Count Basie, William "Count" Basie, Da Capo Press, 2002, p. 127. ISBN 978-0-306-81107-4.

[32] Wikipedia: Count Basie, "Kansas City years," first paragraph.

[33] Wikipedia: Count Basie, reports that “Right from the start, Basie's band was noted for its rhythm section. Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one (tenor saxophonist). When (Lester) Young complained of Herschel Evans' vibrato, Basie placed them on either side of the alto players, and soon had the tenor players engaged in "duels".”

[WikiBasie1-34] 34.0 ^34.1 ^34.2 Wikipedia: Count Basie, "John Hammond and first recordings," third and fourth paragraphs.

[35] Wikipedia: Thelonious Monk describes Monk's early playing career, “as "hard-swinging," with the addition of runs in the style of Art Tatum. Monk's stated influences included Duke Ellington, James P. Johnson, and other early stride pianists.”
Michael Verity at "What Is Early Jazz Music?," (updated March 08, 2018), provides a description and explanation of how the stride piano style functions:
“Directly influenced by ragtime, the stride piano style became popular in New York during World War I. Stride pieces are characterized by a bass line with a half-note pulse played in the left hand while the melody and chords are played in the right hand. The term “stride” comes from the action of the left hand as it strikes a bass note and then moves swiftly up the keyboard to strike chord tones on every other beat. Stride pianists also incorporated improvisation and blues melodies and were keen on technical prowess.” (bold not in original)

[36] Wikipedia: Thelonious Monk describes Monk's singular style: “Monk's compositions and improvisations feature dissonances and angular melodic twists and are consistent with his unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations.” (bold not in original)

[37] In From Jazz Novice to Jazz Connoisseur Monk's piano playing style around 1941 as well as some of his influences are stated: “Monk's style at this time was later described as "hard-swinging," with the addition of runs in the style of Art Tatum. Monk's stated influences included Duke Ellington, James P. Johnson, and other early stride pianists.”

[38] Wikipedia: "List of compositions by Thelonious Monk."

[39] "Jazz: The Loneliest Monk," Time magazine, Friday, Feb. 28, 1964.

[40] International Jazz Day website: "About", first sentence.

[41] “Set of conga drums that belonged to Dizzy Gillespie before he gifted them to a fellow musician on May 4, 1987. Dizzy Gillespie used these conga drums when he performed with J.C. Heard and his Orchestra, at the 1987 Montreux-Detroit Jazz Festival. Dizzy and J.C. Heard, were commissioned by Detroit Renaissance to write and perform a song together to commemorate the event. That night Dizzy took a break from his horn and played the conga to ignite the audience by performing a percussion duet with J.C. Heard on drums and Dizzy Gillespie on the congas.” (Dizzy's performed with conga drum as described in Guernsey's Auction Catalog, Guernsey’s Jazz Auction Catalogue Addendum, p. 12 of 14.)

[42] Wikipedia: Dizzy Gillespie reports that Gillespie taught and influenced trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman.

[43] As said at Mark Warner's FERMENTATION: The Daily Wine Blog: “(Parker) gave to the emerging Be-Bop artists a new harmonic paradigm that filled in the sound that progressive jazz artists were exploring as they moved away from the swing genre. Parker's great innovation was his discovery, out of his own imagination, of how to play any note and resolve it in the chord so that it would sound harmonically right.”

[44] Music in a New Found Land, Wilfred Mellers, Ch. VII: "From jazz back to art," New York: Hiilstone Publishing, 1964/1975, p. 353.

[45] "Charlie Parker: American Musician," written by the Editors of Encyclopaedia Britannica, last updated Aug 25, 2018.

[46] "Charlie Parker," Helen Dickson, Kansapedia, created April, 2015 and modified January, 2016.

[47] "Miles Davis: Winner Take All," Lionel Olay, originally published in Cavalier, Vol. 21, August, 1954, reproduced in Miles on Miles: Interviews and Encounters with Miles Davis, edited by Paul Maher Jr. and Michael K. Dorr, Chicago: Illinois, Lawrence Hill Books, 2009, p. 24. ISBN: 978-1-55652-706-7.

[48] AllMusic Review by Steve Huey.

[49] Jeru: In the Words of Gerry Mulligan, "Miles Davis," third paragraph, from "The Gerry Mulligan Collection."

[50] "All That Jazz," Erin Allen, 4th paragraph, January 31, 2014.

[51] “Roach led his own groups, notably a pioneering quintet co-led with trumpeter Clifford Brown as well as his percussion ensemble M'Boom.”Wikipedia: Max Roach, second paragraph.

[52] Music: "What jazz is—and isn't," Wynton Marsalis, New York Times, 17th and 18th paragraphs, July 31, 1988.

[53] The John Coltrane Reference, Lewis Porter, Chris DeVito, David Wild, Yasuhiro Fujioka, Wolf Schmale, February 16, 2013.
Personnel: John Coltrane, alto saxophone, possibly clarinet; unknown piano, guitar. Ca. early to mid-1945 (dates unknown). Unknown venues, Philadelphia, PA. François Postif (1962, p. 13): "My first real 'job,' I took down in Philadelphia in 1945 where I played with a pianist and a guitarist. A sort of cocktail music, but it offered me a living!"
From John Coltrane's completed questionnaire (undated, ca. 1956) for Leonard Feather's Encyclopedia of Jazz (reprinted in Thomas, 1975, photo section following p. 88; and Woideck, 1998, p. 84): HOW DID YOU GET INTO THE MUSIC BUSINESS? "In Philadelphia with a cocktail trio. This job was in 1945. I also joined the musician's union at that same time."

[54] Wikipedia: John Coltrane Fourth paragraph, first sentence.

[55] Wikipedia: John Coltrane affirms Coltrane's music took on an increasingly spiritual aspect up to his death in 1967 from liver cancer at the age of 40. “As his career progressed, Coltrane and his music took on an increasingly spiritual dimension.” (second paragraph, first sentence)
Don't just take Wikipedia's word for it. Consider the liner notes from the collaborative Bob Thiele produced album, "John Coltrane and Johnny Hartman," and the 'effusive' liner notes by poet and author, A. B. Spellman:
“The quartet (John Coltrane/tenor saxophone, McCoy Tyner/piano, Jimmy Garrison/double bass, Elvin Jones/drums) has been, till now (up to 1963) , concerned with other things, with the development of a kinetic vernacular which facilitated the release of a kind of group energy that was deeper in content and fuller in emotional color than any music I have experienced, anywhere.” (bold not in original) (quoted in “A Look Back at John Coltrane & Johnny Hartman,” Rusty Aceves, September 19, 2016).

Coltrane was not the first jazz person to promote spirituality in jazz because Duke Ellington and company had already done so in Ellington's "Black, Brown, and Tan Fantasy." See the article "Shadow Play: The Spiritual in Duke Ellington's "Black and Tan Fantasy," David Metzer, Black Music Research Journal, Vol. 17, No. 2 (Autumn, 1997), pp. 137-158. Additionally, the jazz pianist Mary Lou Williams, a convert to Roman Catholicism in 1956, wrote and performed spiritually oriented music, including especially Mary Lou's Mass. Here is the relevant section from Wikipedia: Mary Lou Williams:

“One of the masses, "Music for Peace," was choreographed by the Alvin Ailey and performed by the Alvin Ailey Dance Theater as Mary Lou's Mass in 1971. About the work, Ailey commented, "If there can be a Bernstein Mass, a Mozart Mass, a Bach Mass, why can't there be Mary Lou's Mass?" Williams performed the revision of Mary Lou's Mass, her most acclaimed work, on The Dick Cavett Show in 1971.

She wrote and performed religious jazz music such as "Black Christ of the Andes" (1963), a hymn in honor of the St. Martin de Porres; two short works, "Anima Christi" and "Praise the Lord." In this period, Williams put much effort into working with youth choirs to perform her works, including mass at St. Patrick's Cathedral in New York City before a gathering of over three thousand. . . . As a February 21, 1964 Time article explained, "Mary Lou thinks of herself as a 'soul' player — a way of saying that she never strays far from melody and the blues, but deals sparingly in gospel harmony and rhythm. 'I am praying through my fingers when I play,' she says.'I get that good "soul sound", and I try to touch people's spirits.'"

. . . . In April 1975, she played her highly regarded jazz spiritual, "Mary Lou's Mass" at St. Patrick's Cathedral in New York. It marked the first time a jazz musician had played at the church. (bold not in original)

[56] Wikipedia: John Coltrane, second sentence, second paragraph.

[57] Read the moving descriptions of Coltrane's musically spiritual impact in Carvell Wallace's "A Place For The Soul To Sing: The Church of St. John Coltrane.”

[58] NEA Jazz Masters Bio, opening sentence.

[59] 'Wikipedia: Cool aesthetic.

[60] The Guardian newspaper reports that “Davis was the best-dressed man of the 20th century. Starting out, he'd customise his pawnshop Brooks Brothers suits, cutting notches in the lapels in imitation of the Duke of Windsor. After 1949's Birth of the Cool, he favoured the Ivy League look of European tailoring. In the 60s he went for slim-cut Italian suits and handmade doeskin loafers. He was always the coolest-looking man in the room.” (bold not in original)

[61] NEA Jazz Master bio, third paragraph.

[AllMusicDavis-62] 62.0 ^62.1 “Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward. (AllMusic: "Miles Davis biography," William Ruhlmann, first paragraph)

[63] "Ornette Coleman and the Circle with a Hole in the Middle," Robert Palmer, The Atlantic Monthly, December, 1972, 6th paragraph.

[FDavis-64] "Ornette's Permanent Revolution: A jazzman breaks all the boundaries, Francis Davis, The Atlantic, September, 1985, fourth paragraph.

[65] “Jazz musicians have always respected instrumentalists whose inflections echo the natural cadences of speech, and they have always sworn by the blues (although as jazz has increased in sophistication, "the blues" has come to signify a feeling or a tonal coloring, in addition to a specific form). Coleman's blues authenticity—the legacy of the juke joints in his native Fort Worth, Texas, where he had played as a teenager—should have scored him points instantly. Instead, his ragged, down-home sound seems to have cast him in the role of country cousin to slicker, more urbanized musicians—as embarrassing a reminder of the past to them as a Yiddish speaking relative might have been to a newly assimilated Jew. In 1959 the "old country" for most black musicians was the American South, and few of them wanted any part of it.” ("Ornette's Permanent Revolution: A jazzman breaks all the boundaries, Francis Davis, The Atlantic, September, 1985, fifth paragraph)

[66] "Ornette Coleman and the Circle with a Hole in the Middle,"Robert Palmer, The Atlantic Monthly, 6th paragraph, December, 1972. (bold not in original)

[67] "Why Does Jazz Matter to Aesthetic Theory," Robert Kraut, The Journal of Aesthetics and Art Criticism, Vol. 63, No. 1 (Winter, 2005), p. 7. (bold not in original)

[68] Encyclopedia.com: Ornette Coleman, "Was an Outsider in the World of Jazz," seventh paragraph.

[69] Writer Bill Milkowski, in "Ornette Coleman: Skies of America," published September 1, 2000, describes Coleman's "Skies of America."
“Coleman’s third symphonic work, the 167-page epic score "Skies of America," is to “Turnaround” or “Ramblin'” what Zappa’s Orchestral Works is to “Valley Girl” or “Don’t Eat the Yellow Snow.” Both symphonic pieces are imposing works that present quite a challenge to listeners and die-hard fans alike. There are more rewards for Ornette devotees on "Skies of America," namely the inclusion of his instantly recognizable alto-sax voice. Recorded in September 1972 with the London Symphony Orchestra, under the baton of David Meacham, the densely textured, cinematic "Skies" is comprised of 21 distinct movements that run the gamut of emotions from giddy to poignant to turbulent. From the polytonal, polyrhythmic opener, “Skies of America,” to the gorgeous, Ivesian closer, “Sunday in America,” this rich symphonic work stands as Coleman’s harmolodic manifesto.”

[70] Progarchives.com, "Ornette Coleman & Prime Time biography," second paragraph.

[71] Jazz Theory and Practice: For Performers, Arrangers and Composers , Jeffrey Hellmer and Richard Lawn, Alfred Music, May 3, 2005, p. 234. ISBN 978-1-4574-1068-0.

[72] "It Isn't Easy Being a Genius," Jim Collins, NYTimes, September 19, 2005.

[73] JazzShelf.com's Reviews many of Ornette Coleman's albums.

[74] For musical examples see:
++ ‣ "Essential Solos: 40 Great Improvisations: (100) Jazz artists and critics pick their favorite solos from the music's past and present," Jazz Times, November 2, 2017.
++ ‣ "Perfect Jazz Recordings," Richard Brody, The New Yorker, September 23, 2014.

[75] "John McLaughlin Returns to New York's Town Hall with the 4th Dimension," November 1, 2010, World Music Central News Department, second paragraph.

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Ep16. What are jazz legends notable accomplishments? Condensed Table

Contents

Discussion[edit]

Table of jazz legends notable achievements 1890-1980[edit]

Table of jazz legends notable achievements 1960-2000[edit]

NOTES[edit]