by Eric Dolphy is reviewed.
On the evening of Saturday, Sept. 18, Santa Feans will witness the birth of a new band. That's not too big a deal in the jazz world, where musicians typically form combos and work as sidemen in others' groups at least several times a year. But this one represents a particularly tantalizing meeting of players.
Bassist extraordinaire [Larry Ridley] will conduct a unique voyage through the life and music of [Thelonious Monk]. The topics covered will speak to Ridley's personal experiences as a bassist with Monk, their travels together and friendship. Audio-visual materials will be utilized. The recommended text for this course is "Thelonious Monk: The Life and Times of an American Original" by Robin D. G. Kelley. Even if you don't attend these sessions, this is a great book on Monk that is well worth reading. Ridley noted these classes will give participants an opportunity to learn how to listen to music and understand the aspects of Monk's sound. "I want people to know Monk as a man and human being, as well as analyze his music. I also use videos and DVDs of Monk's performances," said Ridley. H...
... Joe Jones, Barry Harris, Frank Foster, Eric Dolphy, Clifford Jordan, Sun Ra Arkestra Betty Car...
As one of the most recorded drummers in jazz history, some of his legendary band memberships and unforgettable recordings include "Stolen Moments" with Oliver Nelson, "How High the Moon" with [Sarah Vaughan], "Rhythm-A-Ning" with [Thelonious Monk], "Don't Go to Strangers" with Etta Jones, "On Green Dolphin Street" with Eric Dolphy, "Down" with Miles Davis, "Transfiguration" with Alice Coltrane and "Bouncin' with Bud," with Bud Powell. From the beginning, Haynes had an infectious beat, an improvisational rhythmic flow and a distinct sound that instinetively him led to his first New York City gig in Harlem with the Louis Russell Big Band and on to such greats as Charlie Parker, Lester Young, Thelonious Monk, Sarah Vaughan, Stan Getz, Billie Holiday and Sonny Rollins.
... known sons of Los Angeles--Charles Mingus, Eric Dolphy, and Ornette Coleman who developed their st...
Within 10 months, Hubbard was recording his second album with Blue Note, "Goin' Up," with the same personnel as his first, and a third, "Hub Cap," with Julian Priester and Jimmy Heath. Four months later, in August 1961, he made what many consider his masterpiece, "Ready For [Freddie Hubbard]," which was his first Blue Note collaboration with Wayne Shorter. That same year, he joined Art Blakey's Jazz Messengers (replacing Lee Morgan), working again with Shorter. He was the new voice in jazz, distancing himself from the early influences of [Clifford Brown] and Lee Morgan. He won Down Beat's "New Star" award. He remained with Blakey until 1966, leaving to form his own small groups, which over the next few years featured Kenny Barron and Louis Hayes. Throughout the '60s, he also played on s...
...Johnson (1960); Eric Dolphy, his roommate; and Quincy Jones, with whom ...
He attracted attention in the 1960s forv his bravura work as a member of the Jazz Messengers, the valuable training ground for young musicians led by the veteran drummer Art Blakey, and on albums by Herbie Hancock, Wayne Shorter and many others. He also recorded several wellregarded albums as a leader. And although he was not an avant-gardist by temperament, he participated in three of me seminal recordings of the 1960s jazz avant-garde: Ornette Coleman's "Free Jazz" (1960), Eric Dolphy's "Out to Lunch" (1964) and John Coltrane's "Ascension" (1965). In the 1970s Hubbard, like many other jazz musicians of his generation, began courting a larger audience, with albums that featured electric instruments, rock and funk rhythms, string arrangements and repertory sprinkled with pop and R&B...
The Haynes story continues with his swinging signature to Bud Powell's "Bouncin' with Bud" (1957) with Sonny Rollins, Tommy Potter and Fats Navarro; Etta James' "Don't Go To Strangers;" the Thelonious Monk Quartet (1958) on "Rhythm-A-Ning;" the Eric Dolphy Quintet with Freddie Hubbard and Jaki Byard; Stan Getz; Oliver Nelson's "Stolen Moments" from "The Blues and the Abstract Truth" (1961); Jackie McLean (Esoteric) with Grachan Moncur, III, Bobby Hutcherson and Larry Ridley; Alice Coltrane's "Transfiguration" (1978); and [John Coltrane]'s "After The Rain. If comparisons are necessary for a comprehensive concept of drummer Jeff "Tain" Watts, then think of Elvin Jones. Tain plays with that same ferociousness that never overpowers. He burns up the skins on "seed of Blakzilla" and goes int...
This week Blue Note Records announced that on July 17 it will issue never-before-released material from bassist and master composer Charles Mingus. The two-disc set captures Mingus in 1964 at Cornell University, where he led a powerhouse sextet. This is something of a smaller group setting for the bassist, who frequently worked with eight-, nine- and 10-piece ensembles in what he called his Jazz Workshop. Not one member of the band remains alive today from what is likely to be a remarkable recording, potential sonic limitations notwithstanding. Thus, the session serves as a historical document and a reminder of how potent some of Mingus' smaller groups were. Joining Mingus at the concert was revered multi-instrumentalist Eric Dolphy on alto saxophone, flute and bass clarinet; tenor saxo...
David Peck has lived up to his tantalizing promise of a year ago. At that time, the film archivist-producer released a powerful set of classic jazz performers from the '50s through the '70s on nine DVDs. He said there could be more, and mentioned the second set could have John Coltrane from the '60s, Charles Mingus and Eric Dolphy, Dave Brubeck and Sarah Vaughan.
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