Ep16. What are jazz legends notable accomplishments? Condensed Table
Contents
Discussion[edit]
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)
- Vinyl Me, Please's "The 10 Best Albums For A Jazz Beginner" by Andrew Martin and Ryan Kowal
- The Jazz Resource's "15 Jazz Albums for Musicians"
- The Jazz Resource's "Top 25 Jazz Albums of All Time"
- The Jazz Resource's "Best Jazz Pianists" with videos
- 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
- "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
- 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
- Scott Yanow's—desert 🌵 island 🌴 jazz recommendations with album covers
- Jazz: The Smithsonian Anthology (Box Set) 111 tracks of the best of jazz throughout its history from early to the present (release date March 29, 2011)
Disc: 1
1. Maple Leaf Rag (Dick Hyman) 2. In Gloryland (Bunk's Brass Band) 3. Livery Stable Blues (Original Dixieland Jazz Band) 4. Dipper Mouth Blues (King Oliver's Creole Jazz Band) 5. The Stampede (Fletcher Henderson & Orchestra) 6. Black Bottom Stomp (Jelly Roll Morton & His Red Hot Peppers) 7. Singin the Blues [Till My Daddy Comes Home] (Frankie Trumbauer & Orchestra) 8. Back Water Blues (Bessie Smith & James P. Johnson) 9. Black & Tan Fantasy (Duke Ellington & Orchestra) 10. From Monday On (Bix Beiderbecke/Paul Whiteman & Orchestra) 11. West End Blues (Louis Armstrong & His Hot Fives) 12. Weather Bird (Louis Armstrong & Earl Hines) 13. That's a Serious Thing (Eddie Condon's Hot Shots) 14. Handful of Riffs (Eddie Lang & Lonnie Johnson) 15. You've Got to Be Modernistic (James P. Johnson) 16. Moten Swing (Bennie Moten & Kansas City Orchestra) 17. Everybody Loves My Baby (Boswell Sisters) 18. Maple Leaf Rag (Sidney Bechet) 19. Dinah (Fats Waller & His Rhythm) 20. Swing That Music (Louis Armstrong & Orchestra) 21. Honky Tonk Train Blues (Meade Lux Lewis) 22. Mean to Me (Billie Holiday with Teddy Wilson & Orchestra) 23. For Dancers Only (Jimmie Lunceford & Orchestra) 24. 1 O'clock Jump (Count Basie & Orchestra) 25. Harlem Congo (Chick Webb & Orchestra)
Disc: 2
1. Minor Swing (Quartet du Hot Club de France) 2. Mary's Idea (Mary Lou Williams/Andy Kirk & the Clouds of Joy) 3. When Lights Are Low (Lionel Hampton) 4. Body & Soul (Coleman Hawkins & Orchestra) 5. Honeysuckle Rose (Bennie Goodman & Orchestra) 6. Tiger Rag (Art Tatum) 7. Ko-Ko (Duke Ellington & His Famous Orchestra) 8. Hard Times [Topsy Turvy] (Cab Calloway & Orchestra) 9. I Can't Believe That You're in Love with Me (Chocolate Dandies) 10. Stardust (Artie Shaw & Orchestra) 11. Let Me Off Uptown (Gene Krupa & Orchestra) 12. Shaw Nuff (Dizzy Gillespie's Allstar Quintet) 13. Manteca (Dizzy Gillespie & Orchestra) 14. Virgo f/ Zodiac Suite (Mary Lou Williams) 15. Dexter Rides Again (Dexter Gordon) 16. I Want to Be Happy (Lester Young/Buddy Rich Trio) 17. Indiana (Bud Powell) 18. Embraceable You (Charlie Parker Quintet) 19. 4 Brothers (Woody Herman & Orchestra) 20. Misterioso (Thelonious Monk Quartet) 21. Lady Bird (Tadd Dameron Sextet) 22. Tanga (Machito & his Afro-Cuban Orchestra) 23. Sept in the Rain (George Shearing Quintet) 24. WOW (Lennie Tristano Sextet)
Disc: 3
1. Boplicity (Miles Davis Nonet) 2. Golden Bullet (Count Basie Octet) 3. Popo (Shorty Rogers & His Giants) 4. Walkin Shoes (Gerry Mulligan Quartet with Chet Baker) 5. 23 Degrees N. 82 Degrees W. (Stan Kenton) 6. Daahoud (Clifford Brown/Max Roach Quintet) 7. Django (Modern Jazz Quartet) 8. The Preacher (Horace Silver & the Jazz Messengers) 9. I'll Remember April (Erroll Garner Trio) 10. Jonaleh (Chico Hamilton Quintet) 11. Tricrotism (Lucky Thompson Trio) 12. St. Thomas (Sonny Rollins) 13. Call For All Demons (Sun Ra & His Arkestra) 14. When I Grow Too Old to Dream (Nat King Cole & Trio) 15. Stompin t the Savoy (Louis Armstrong & Ella Fitzgerald) 16. Blues in the Closet (Stan Getz & J.J. Johnson) 17. Ol Man River (Oscar Peterson Trio) 18. Summertime (Miles Davis orchestrated by Gil Evans)
Disc: 4
1. Moanin' (Art Blakey & the Jazz Messengers) 2. Meet BB (Count Basie & Orchestea) 3. So What (Mikes Davis Sextet) 4. Giant Steps (John Coltrane Quartet) 5. Better Git It in Your Soul (Charles Mingus) 6. Blue Rondo à la Turk (Dave Brubeck Quartet) 7. Ramblin (Ornette Coleman Quartet) 8. Work Song (Cannonball Adderley) 9. Wrap your Troubles in Dreams (Sarah Vaughan) 10. My Favorite Things Pt1 [Sngl Ver] (John Coltrane Quartet) 11. Waltz for Debby (Bill Evans) 12. Round Midnight (George Russell Sextet) 13. Cotton Tail (Ella Fitzgerald with the Duke Ellington Orchestra)
Disc: 5
1. 1 by 1 (Art Blakey & the Jazz Messengers) 2. The Girl from Ipanema (Stan Getz & Astrud Gilberto) 3. Love Supreme Pt 1: Acknowledgement (John Coltrane Quartet) 4. E.S.P. (Miles Davis Quintet) 5. Haig & Haig (Clark Terry/Bob Brookmeyer Quintet) 6. King of the Road (Jimmy Smith & Wes Montgomery) 7. Isfahan (Duke Ellington & Orchestra) 8. New National Anthem [f/ A Genuine Tong Funeral] (Gary Burton) 9. Matrix (Chick Corea) 10. Miles Runs the Voodoo Down (Miles Davis) 11. Celestial Terrestrial Commuters (Mahavishnu Orchestra) 12. Watermelon Man (Herbie Hancock) 13. Long Yellow Rd (Toshiko Akiyoshi/Lew Tabackin Big Band) 14. Jitney #2 (Cecil Taylor) 15. Bright Size Life (Pat Metheny)
Disc: 6
1. Maple Leaf Rag (Anthony Braxton & Muhal Richard Abrams) 2. Birdland (Weather Report) 3. My Song (Keith Jarrett) 4. Iya (Irakere) 5. Bush Magic (Art Ensemble of Chicago) 6. Steppin (World Sax Quartet) 7. Glide Was in the Ride (Steve Coleman Group) 8. Manenberg [Revisited] (Abdullah Ibrahim) 9. Nothing Personal (Michael Brecker) 10. Airegin (Tito Puente) 11. Down the Ave. (Wynton Marsalis Septet) 12. Ting Ning (Nguyen Le) 13. Kilayim (Masada) 14. Hey-Hee-Hi-Ho (Medeski Martin & Wood) 15. Neutralisme (Martial Sola & Johnny Griffin) 16. Suspended Night Variation VIII (Tomasz Stanko)
(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 | |
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![]() ![]() ![]() ![]() ![]() (Photo by Gianluigi Destefanis in 2010])
“Armstrong was jazz's first superstar. Satchmo's explosive creativity defied conventions of early New Orleans jazz; he was a charismatic showman and dazzling trumpet player who was, literally, too good for his band. His performances were largely responsible for shifting the focus from the group to the soloist, and he was also quite an innovator when it came to scat. Perhaps most importantly, his acceptance by the social elite helped popularize jazz across racial and social boundaries.”[17] (bold not in original) ![]()
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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) ![]() ![]() ![]() ![]() |
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![]() Coleman Hawkins (1904-1969) ![]() (Photo by William P. Gottlieb) ![]() (Hawkins 1967 photo by Roberto Polillo) ![]() ![]() (Spotlite Club, NYC, 1946) |
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![]() ![]() (Photo used by permission[33] of Kansas City Museum, Kansas, MO)
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Count Basie (1904-1984) ![]() ![]() ![]() ![]() (Detail of Count Basie and Bob Crosby, Howard Theater, Washington, D.C. (ca. 1941) (Photo by William P. Gottlieb) |
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Table of jazz legends notable achievements 1890-1980[edit]
Name & Pictures | |
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Mary Lou Williams (1910-1981) ![]() (Café Society Downtown, New York, N.Y., ca. June 1947) ![]() (New York, NY ca. 1946) ![]() (her apartment, New York, N.Y., ca. August 1947] ![]() (Portrait taken between 1938 and 1948] |
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![]() (Detail of portrait of Mary Lou Williams in her apartment, New York, N.Y., August, 1947) (Photo by William P. Gottlieb)
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Table of jazz legends notable achievements 1890-1980[edit]
Name & Pictures | |
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![]() (Detail of photo taken in Per Asplin’s home, Oslo, Norway 1956 by Tore Fredenlund)
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Charlie Parker (1920-1955) ![]() ![]() ![]() ![]() (Taken at Three Deuces club in New York, ca. August 1947) ![]() ![]() ![]() (Detail of Portrait of Charlie Parker and Tommy Potter, Three Deuces, New York, N.Y., ca. Aug. 1947) |
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Table of jazz legends notable achievements 1890-1980[edit]
Name & Pictures | |
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![]() Max Roach (1924-2007) ![]() ![]() (Portrait of Max Roach by William P. Gottlieb) ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
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“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.”
![]() ![]() ![]() ![]() ![]() ![]() ![]() Members of the First Miles Davis Quintet/Sextet (1955–58) with John Coltrane, Cannonball Adderly, Miles Davis, & Bill Evans
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Miles Davis (1926-1991) ![]() ![]() ![]() (Montreux, Switzerland ![]() (Photo by Lajos Jardai at Colozine) ![]() |
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![]() ![]() (Miles Davis at Strasbourg 1987
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Lennie Tristano (1919-1978) ![]() ![]() (New York, N.Y., ca. Aug. 1947) ![]() (Pied Piper jam, New York, N.Y., September, 1947) File:.jpeg |
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(Randolph Denard) Ornette Coleman (1930-2015) ![]() (Photo by Tom Beetz, taken July 9, 2010) ![]() ![]() (Caravan of Dreams, Fort Worth, TX, 1985 ![]() (The Roots at the Royal Festival Hall, June 13, 2009) ![]() (Photo by Nomo Michael Hoefner) ![]() (Photo by Bruno Bollaert, taken July 8, 2010) ![]() ![]() (Photo by Tom Beetz, taken July 9, 2010) |
![]() ![]() ![]() ![]() ![]() ![]() (Caravan of Dreams, Fort Worth, TX, 1985, Photo by Craig Howell) ![]() ![]() ![]() ![]() ![]() |
![]() followed up by "Tomorrow Is The Question" (1959) ![]()
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![]() ![]() Photo courtesy of Portland Jazz Festival
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Table of jazz legends notable achievements 1960-2000[edit]
Name | Instrument & Occupational Roles |
Style | Active years | Notable Achievements[90] |
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1952→1994 | ![]() ![]() ![]() ![]() ![]() |
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1956→1972 | ![]() |
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1963→present | ![]()
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1980→present | ![]() ![]() |

(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.
- ↑ ‘’Wikipedia’’: William P. Gottlieb.
- ↑ 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. - ↑ 5.0 5.1 5.2 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.
- ↑ 8.0 8.1 "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.
- ↑ 12.0 12.1 12.2 "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)
- ↑
- ↑ Louis Armstrong purchased this modest house in 1943, built by Robert W. Johnson in 1910, and lived there until his death in 1971 of a heart attack. The house was put on the National Register #76001265 in 1976. In 1983, Armstrong's widow, Lucille, willed the house and its contents to New York City for the creation of a museum and study center devoted to Armstrong's career and the history of jazz. The Louis Armstrong House was designated a landmark by the New York City Landmarks Preservation Commission in 1988.
- ↑ "Top 20 Musicians of All Time, in Any Genre: #5: Louis Armstrong," Chris Walker, LA Weekly, January 12, 2012.
- ↑ 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.
- ↑ 22.0 22.1 “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.
- ↑ 25.0 25.1 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 paragraph, 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) - ↑ 30.0 30.1 30.2 "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.
- ↑ Permission granted to use detail of photo by Denise Morrison, Director of Collections & Curatorial Services, Kansas City Museum,
kansascitymuseum.org, c/o: Union Station Kansas City, 30 W. Pershing Rd., Kansas City, MO 64108, Email:denise.morrison@kcmo.org, Desk Phone: 816-513-7569 on February 8, 2019.
- ↑ 34.0 34.1 34.2 Wikipedia: Count Basie, "Early career," second paragraph.
- ↑ 35.0 35.1 35.2 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".”
- ↑ 39.0 39.1 39.2 Wikipedia: Count Basie, "John Hammond and first recordings," third and fourth paragraphs.
- ↑ 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. - ↑ Rock & Roll Hall of Fame: Charlie Christian reports that “Charlie Christian elevated the guitar as a lead instrument on par with the saxophone and trumpet in jazz and popular music.”
- ↑ Gene Lees in the liner notes to "Solo Flight: The Genius of Charlie Christian" (Columbia G 30779, 1972), wrote that "Many critics and musicians consider that Christian was one of the founding fathers of bebop, or if not that, at least a precursor to it."
- ↑ John Hammond on Record: An Autobiography, John Hammond and Irving Townsend, New York: Ridge Press, 1977. ISBN 0-671-40003-7.
- ↑ The Big Band's, George T. Simon, 1971. ISBN 0-02-872430-5.
- ↑ 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.
- ↑ 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. - ↑ “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.
- ↑ 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. - ↑ 61.0 61.1 "Max Roach: Speak Brother Speak," Martin Smith, Socialist Review, September 2007, p. 317.
- ↑ 62.0 62.1 62.2 62.3 62.4 62.5 62.6 62.7 MacArthur Foundation profile.
- ↑ Jeru: In the Words of Gerry Mulligan, "Miles Davis," third paragraph, from "The Gerry Mulligan Collection."
- ↑ 64.0 64.1 64.2 64.3 64.4 64.5 "Max Roach, a Founder of Modern Jazz, Dies at 83" Peter Keepnews, New York Times, August 16, 2007.
- ↑ "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, 01988.
- ↑ "Jazz Luminaries to Honor Life of Drummer Max Roach at UMass Amherst March 25," UMass Amherst News & Media Relations webpage, March 19, 2008.
- ↑ 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.
- ↑ Click on word "dresser" and see first definition in Wiktionary: dresser under "Etymology 2". 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.
- ↑ 78.0 78.1 “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.
- ↑ Fifth paragraph, first sentence from the Francis Davis article below.
“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.