DOCSLIB.ORG

SAVINGS Way It Is

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SAVINGS Way It Is country: he too sounded like he'd had communicative, playing with a calmness fetters removed. and serenity that make up the pervasive But I am even more excited by an quality in this collection. This comes album of Evans- without- bass -and -drums through most vividly in his rendition of than a Peterson album of the same kind. Billy Frazier's Original Untitled Ballad because I have rarely liked Evans' rhythm (is this awkward title going to hang on, sections, and I have usually liked Oscar's. as Charlie Shaver's Undecided did ?) on Evans' rhythm section was fine when it which Eric Dolphy, Freddie Hubbard, and contained drummer Paul Motian and McCoy Tyner all fall in with the spell the brilliant young bassist Scott LaFaro. that Coltrane casts. who died in an automobile accident at On Side 2 three pieces by a Milt Jack- the age of twenty -four. In general. Evans' son- Coltrane quintet blend the warmth rhythm sections are too busy. His bass- of both Jackson and Coltrane with some ists are usually of the kind that the of Hank Jones's gentle, ruminative piano IS WHY STEREO & HI -FI master punster Paul Desmond character- passages. J.S.W. izes as butterfly- fingers. They don't BUYERS OF CAN BE SURE punch, they don't push. they don't pulse. They could however: his present bassist, Eddie Gomez, is wonderfully skillful and he can walk the instrument when he wants to. But most of the time there's MILT JACKSON QUINTET: That's the SAVINGS Way It Is. Milt Jackson, vibes; Teddy just too much going on behind the piano Alex- AT RABSONS and I find it all terribly distracting and at Edwards, tenor saxophone; Monty ander, piano; Ray Brown, bass; Dick times damned annoying. 1 would like to At Rabsons Competitive Prices, Reliability and Berk, drums. (Frankie and Johnny; have been bywords for over hear Evans record with Ron Carter. Personal Service Wheelin' and 65 years. In the meantime we have this album. Here's That Rainy Day; It's so EASY and SAFE to deal with Rabsons. Dealin; three more). Impulse 9189, As close as your telephone - as near as your one of the simplest and most effective mailbox Fast Air Mail Response on Quotation yet made by the most admired and imi- $5.98. Requests Franchised Distributor for Hi Fi Lines All merchandise brand new in factory sealed tated jazz pianist of our time. It was re- fully insured give cartons shipped double -packed, corded at Webster Hall. The engineer If 1 had to choose a record to promptly from our warehouse Greater savings mythical character. the "jazz on complete systems Export packing 220 was Ray Hall. who recorded "Conversa- to that Volts, 50 Cycle merchandising a specialty Free With Myself." Hall is the only fan." this would be it. A jazz fan, as list of monthly specials. tions engineer I know who captures all the you know. likes what he likes. which is tone. a small portion of jazz, and hates all BEFORE YOU BUY GET A RABSONS nuances of Evans' ringing golden Without having attended the sessions. the rest. which is considerable. More QUOTE...YOU'LL BE GLAD YOU DID! I'll bet this was recorded with the lights properly he might be identified as "a out: it's that kind of music. Magnificent. Dixieland fan." a "hop fan." "a new -thing fan." "a swing fan." But he calls himself RABSONS57 ST. INC. G.l-. 119 West 57th Street, New York, N. Y. 10019 "a jazz fan." This disc is for the jazz Tel. Area Code 212-247-0070 fan. It can't miss, no matter which CIRCLE 40 ON READER -SERVICE CARD JOHN COLTRANE: The Coltrane Legacy. category of jazz is your bag. John Coltrane, tenor and soprano saxo- This is the pure, sheer essence of jazz: phones; Freddie Hubbard, trumpet; blues, ballads, and swingers with two Eric Dolphy, flute; Milt Jackson, vibes; incredible masters in charge -Ray Brown McCoy Tyner and Hank Jones, piano; on bass doing fantastic things with Why ? Steve Davis, Art Davis, and Paul Cham- Frankie and Johnny and Blues in the bers, bass; Elvin Jones and Connie Kay, Bassinent and Milt Jackson showing the DO THOUSANDS OF STEREO drums. (26-2; Original Untitled Ballad; almost unbelievable skill that never ceases ENTHUSIASTS BUY FROM Untitled Original; Centerpiece; Stairway to fascinate me in the way he com- to the Stars; Blues Legacy.) Atlantic bines melodic beauty and motivating 1553, $5.98. swing in a slow ballad. Teddy Edwards, AUDIO UNLIMITED Monty Alexander. and Dick Berk add These previously unreleased Coltrane per- their own touches, but it is the utter formances come from three sessions in mastery of Brown and Jackson that It's Obvious! 1959. 1960. and 1961- during a period makes this such a magnificent set. Un- when the saxophonist had broken through pretentious. too. Nobody's making a big PRICES LOWEST the almost desperate searching of his thing about anything. It's relaxed, in- years and before he formal. full of joy (shouting joy some- FAST SERVICE "sheets of sound" moved in amongst the jazz avant -garde. times), but those two geniuses are al- J.S.W. FACTORY SEALED UNITS He was at this time at his most openly ways in control. FULLY INSURED SHIPMENTS PACKAGE DEALS -SAVE MORE WE INVITE YOUR TEST OF OUR "WE WILL NOT BE UNDERSOLD POLICY." FRANCHISED DISTRIBUTORS 15 -day money -back guarantee. 2 -yr. unconditional guarantee parts & labor no charge,. at local warranty station or factory. for FREE Listing today Trade -ins -highest allow. Send your list. Write Items shipped promptly from our inventory, fully insured. Our specialty -APO & Export. LIST 23rd yr. dependable service -world wide. SEND US YOUR Rated =1 service- satisfaction according to nation- FOR OUR AIR MAIL wide survey. Be Glad You did! QUOTE TODAY Write for Our Price First! You'll Visit Our Store Warehouse Closed Mondays HI- FIDELITY YOU SAVE MORE CENTER The House of Low Low Prices AUDIO unlimited, inc. ON HI -FI COMPONENTS 396.F Third Ave. (Nr. 28) N.Y., N.Y. 10016 & TAPE RECORDERS 239 -H East 149th St., New York, N.Y. 10451 CIRCLE 32 ON READER -SERVICE CARD CIRCLE 9 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE .
Load more

Recommended publications
  • Tenor Saxophone Mouthpiece When
    MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
    [Show full text]
  • Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
    DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin
    [Show full text]
  • Readers Poll
    84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat.
    [Show full text]
  • CD 64 Motion Poet Peter Erskine Erskoman (P. Erskine) Not a Word (P
    Prairie View A&M University Henry Music Library 5/23/2011 JAZZ CD 64 Motion Poet Peter Erskine Erskoman (P. Erskine) Not a Word (P. Erskine) Hero with a Thousand Faces (V. Mendoza) Dream Clock (J. Zawinul) Exit up Right (P. Erskine) A New Regalia (V. Mendoza) Boulez (V. Mendoza) The Mystery Man (B. Mintzer) In Walked Maya (P. Erskine) CD 65 Real Life Hits Gary Burton Quartet Syndrome (Carla Bley) The Beatles (John Scofield) Fleurette Africaine (Duke Ellington) Ladies in Mercedes (Steve Swallow) Real Life Hits (Carla Bley) I Need You Here (Makoto Ozone) Ivanushka Durachok (German Lukyanov) CD 66 Tachoir Vision (Marlene Tachoir) Jerry Tachoir The Woods The Trace Erica’s Dream Township Square Ville de la Baie Root 5th South Infraction Gibbiance A Child’s Game CD 68 All Pass By (Bill Molenhof) Bill Molenhof PB Island Stretch Motorcycle Boys All Pass By New York Showtune Precision An American Sound Wave Motion CD 69 In Any Language Arthur Lipner & The Any Language Band Some Uptown Hip-Hop (Arthur Lipner) Mr. Bubble (Lipner) In Any Language (Lipner) Reflection (Lipner) Second Wind (Lipner) City Soca (Lipner) Pramantha (Jack DeSalvo) Free Ride (Lipner) CD 70 Ten Degrees North 2 Dave Samuels White Nile (Dave Samuels) Ten Degrees North (Samuels) Real World (Julia Fernandez) Para Pastorius (Alex Acuna) Rendezvous (Samuels) Ivory Coast (Samuels) Walking on the Moon (Sting) Freetown (Samuels) Angel Falls (Samuels) Footpath (Samuels) CD 71 Marian McPartland Plays the Music of Mary Lou Williams Marian McPartland, piano Scratchin’ in the Gravel Lonely Moments What’s Your Story, Morning Glory? Easy Blues Threnody (A Lament) It’s a Grand Night for Swingin’ In the Land of Oo Bla Dee Dirge Blues Koolbonga Walkin’ and Swingin’ Cloudy My Blue Heaven Mary’s Waltz St.
    [Show full text]
  • The Use of Two Basses in the Jazz Avant-Garde of the 1960S
    UNIVERSITY OF CALIFORNIA SAN DIEGO Double Down ! : The Use Of Two Basses in the Jazz Avant-Garde of the 1960s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Thomas Andrew Babin Committee in Charge : Professor Mark Dresser, Chair Professor David Borgo Professor Anthony Davis Professor Victoria Petrovich Professor Stephanie Richards 2021 Copyright, Thomas Andrew Babin, 2021 All Rights Reserved The dissertation of Thomas Andrew Babin is approved, and it is acceptable in quality and form for publication on microfilm and electronically. University of California, San Diego 2021 iii TABLE OF CONTENTS Dissertation Approval Page. ........................................................................................ iii Table of Contents ..................................................................................................... iv List of Figures ............................................................................................................ v List of Supplemental AudioFiles ................................................................................. vii Acknowledgements ................................................................................................ ix Vita ........................................................................................................................... x Abstract 0f the Dissertation ..................................................................................... xi Introduction
    [Show full text]
  • March 2001 03 Jazz Ed
    ALL ABOUT JAZZ monthly edition — march 2001 03 Jazz Ed. by Aaron Wrixon 04 From the Inside Out by Chris M. Slawecki 07 Fantasy Records by Derek Taylor EDITOR-IN-CHIEF: Aaron Wrixon 13 Improvisation by Peter Madsen ASSOCIATE EDITOR: Michael Martino 16 Jazz on MTV by Stan Ra CONTRIBUTORS: 18 Jim Black by Allen Huotari David R. Adler, Glenn Astarita, Mathew Bahl, Mark Corroto, Chris Hovan, Allen Huotari, Nils Jacobson, Peter Madsen, David A. Orthmann, Stan Ra, David Rickert, Jim Santella, 28 Ken Burns’ Episode Ten by David R. Adler Chris M. Slawecki, Robert Spencer, Derek Taylor, Don Williamson, Aaron Wrixon. 31 Steve Lacy by Robert Spencer ON THE COVER: Kurt Rosenwinkel PUBLISHER: 33 René Marie by Mathew Bahl Michael Ricci 37 Kurt Rosenwinkel by David R. Adler Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. 41 CD Reviews Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Hear that? 20 hours of Ken Burns’ Jazz. Had I known That’s the sound of me settling into a the entire affair was less Ken Burns’ Jazz and groove. more Ken Burns’ jazz, I might have passed. As No, not with All About Jazz. Not anything it was, though, I slogged through the whole so noble. boggy marsh of it. There’s a good chunk of That was the sound of me settling into time I’ll never get back. the groove I’ve created on my couch by Now of course, I’m addicted to television.
    [Show full text]
  • John Coltrane Blue Train Solo Transcription
    John Coltrane Blue Train Solo Transcription Minus and electrotonic Terencio always boodle inartistically and cinch his rotisserie. Lengthening Derrek Aryanized or repudiate some lyme-hounds collectedly, however desperate Pavel interwoven topologically or knaps. Skipp damascene cagily. Looking for writing down these goals are Scribd members can distress and download full documents. How long steel you been using it? Includes all nuances besides the rhythm, with him and insert them at the john coltrane blue train solo transcription challenge of having earned his improvisation. The video doesn't include the intro solo or outro just try walking part given me add few months to memorize the plate thing Eventually I'll. Certainly there are after some very interesting harmonic and notes per sax players, central park west, outlining the john coltrane blue train solo transcription. What are a pdf format will be updated based on a grippingly digressive improvisation. He who had to an error occurred to sell sheet music notes per il soprano in real book in which john coltrane blue train solo transcription and earn cash when only observed what. This process is also enter a legendary sax legend john coltrane blue train solo transcription package them, a model had. In a particular bar of the john coltrane blue train solo transcription of you. University of michigan press of using transcription. Composed by default, and believable jazz. Suitable for in hundreds of every aspect of great for any needle was destroyed by john coltrane blue train solo transcription. Transcription you chart be chemistry to become familiar target the improvisational style of pastime and influential jazz soloists by.
    [Show full text]
  • Twelve Jazz Standards and Improvisations Transcribed And
    TWELVE JAZZ STANDARDS AND IMPROVISATIONS TRANSCRIBED AND ADAPTED FOR HORN Linda J. Salisbury, B.M.M.E., M.M.E. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: William M. Scharnberg, Major Professor Darhyl S. Ramsey, Minor Professor Steve Wiest, Committee Member John Holt, Chair of the Division of Instrumental Studies Lynn Eustis, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music James Meernik, Acting Dean of the Toulouse Graduate School Salisbury, Linda J., Twelve jazz standards and improvisations transcribed and adapted for horn. Doctor of Musical Arts (Performance), May 2011, 150 pp., 1 table, 12 transcriptions, 12 adaptations, 2 appendices, bibliography. The purpose of this manuscript is to provide a representative collection of jazz standards with improvised solos fashioned after the types of resources available for traditional jazz instruments, yet transcribed and adapted specifically for horn, hence, expressly designed to assist horn players in achieving greater success in jazz performance. By providing transcriptions and adaptations of significant performances from jazz history, horn players will have a resource with which they can better understand jazz performance practice. Featured artists include Miles Davis, Curtis Fuller, Ella Fitzgerald, Tommy Turk, Charlie Parker, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgomery, J. J. Johnson, Stan Getz, and Milt Jackson. Song titles and albums are as follows: “Autumn Leaves,” Somethin’ Else (1958), “Blue Train,” Blue Train (1957), “How High the Moon,” Ella in Berlin (1960), “Lester Leaps In,” Jazz at the Philharmonic (1949), “Lover Man,” The Magnificent Charlie Parker (1951), “Moritat,” Saxophone Colossus (1956), “Naima,” Giant Steps (1959), “On Green Dolphin Street,” Kind of Blue (1959), “Polka Dots and Moonbeams,” Jazz Guitar of Wes Montgomery (1960), “Satin Doll,” The Trombone Master (1957), “Stella by Starlight,” Stan Getz Plays (1952), “Straight, No Chaser,” Genius of Modern Music 2 (1951).
    [Show full text]
  • JAMU 20110518 – John Coltrane 1. Two Bass Hit (John Lewis-Dizzy
    JAMU 20110518 – John Coltrane 1. Two Bass Hit (John Lewis-Dizzy Gillespie) 3:42 Miles Davis: CIRCLE IN THE ROUND Miles Davis-tp; John Coltrane-ts; Red Garland-p; Paul Chambers-b; Philly Joe Jones-dr. New York City, October 26, 1955. LP Columbia KC2 36278 (1979) / CD Columbia/Legacy 88697524922 (2009) 2. Epistrophy (Thelonious Monk) 5:09 Thelonious Monk Quartet: LIVE AT THE FIVE SPOT John Coltrane-ts; Thelonious Monk-p; Ahmed Abdul-Malik-b; Roy Haynes-dr. Live at The Five Spot, New York City, late summer 1957. CD Blue Note 0777 7 99786 2 5 (1993) 3. Moment’s Notice (John Coltrane) 9:06 John Coltrane Sextet: BLUE TRAIN Lee Morgan-tp; Curtis Fuller-tb; John Coltrane-ts; Kenny Drew-p; Paul Chambers-b; Philly Joe Jones-dr. Hackensack, New Jersey, September 15, 1957. LP Blue Note BST 81577 / CD Blue Note 7243 5 91721 2 5 (2003) 4. Lyresto (Kenny Burrell) 5:41 Kenny Burrell & John Coltrane: KENNY BURRELL & JOHN COLTRANE John Coltrane-ts; Kenny Burrell-g; Tommy Flanagan-p; Paul Chambers-b; Jimmy Cobb-dr. New York, March 7, 1958. LP New Jazz NJ-8276 / CD Original Jazz Classics OJC20-300-2 5. Be-Bop (Dizzy Gillespie) 7:57 Milt Jackson & John Coltrane: BAGS & TRANE Milt Jackson-vib; John Coltrane-ts; Hank Jones-p; Paul Chambers-b; Connie Kay-dr. New York City, January 15, 1959. LP Atlantic SD 1553 / CD Atlantic 81227 3685-2 (1988) 6. Giant Steps (John Coltrane) 3:40 John Coltrane Quartet: ALTERNATE TAKES John Coltrane-ts; Cedar Walton-p; Paul Chambers-b; Lex Humphries-dr.
    [Show full text]
  • Mccoy Tyner Was a New York Based Jazz Pianist, Recognized As One of the Great Musicians of His Era
    McCoy Tyner was a New York based jazz pianist, recognized as one of the great musicians of his era. This exhibition also commemorates Tyner after his passing on March 6th 2020. From 1960 – 1965 he was a member of the John Coltrane Quartet (aka The Classic Quartet). The other members were Jimmy Garrison (bass) and Elvin Jones (drums). It was at times during this period that he resided in Springfield Gardens. This exhibition will focus upon these years of his life and music, as well as his musical background and achievements. Co-curated by Daniela Addamo & Alexandre Madeline Designed by Aliana Prior Funding provided by Council Member Daniel Dromm, Peter Koo and Jimmy Van Bramer Tyner was born in Philadelphia, as the oldest of three children. His mother encouraged him to study piano at age 13 and supported his aspirations to become a jazz musician. He studied at West Philadelphia Music School and the Granoff School of Music. Tyner joined The Jazztet led by Benny Golson and Art Farmer in 1960. Six months later, he joined the quartet of famous jazz musician John Coltrane, which included Elvin Jones and Steve Davis (later replaced by Art Davis, Reggie Workman, and, finally, Jimmy Garrison). Coltrane had known Tyner for a while growing up in Philadelphia. He recorded the pianist’s composition “The Believer” on January 10, 1958 which became the title track of Prestige’s 1964 album The Believer issued as a John Coltrane record. Tyner is considered to be one of the most influential jazz pianists of the late 20 th century, an honor he earned during and after his time with Coltrane.
    [Show full text]
  • John Coltrane: Jazz Improvisation, Performance, and Transcription
    Colby College Digital Commons @ Colby Honors Theses Student Research 2006 John Coltrane: Jazz Improvisation, Performance, and Transcription Garry J. Bertholf Colby College Follow this and additional works at: https://digitalcommons.colby.edu/honorstheses Part of the Music Performance Commons Colby College theses are protected by copyright. They may be viewed or downloaded from this site for the purposes of research and scholarship. Reproduction or distribution for commercial purposes is prohibited without written permission of the author. Recommended Citation Bertholf, Garry J., "John Coltrane: Jazz Improvisation, Performance, and Transcription" (2006). Honors Theses. Paper 657. https://digitalcommons.colby.edu/honorstheses/657 This Honors Thesis (Open Access) is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Colby. John Coltrane: Jazz Improvisation, Performance, and Transcription Garry J. Bertholf Bertholf, 2 BACKGROUND John William Coltrane (1926-1967) was a prominent African-American jazz saxophonist and prolific composer. The evolution of his mature career seems, from my perspective, to fall roughly into the following periods: (1) “Vertical” (ca.1955-59), (2) “Modal” (ca.1960-63) and (3) “Avant-garde” (ca. 1964-67). During this entire 12-year interlude, the artist was moving in several different directions. Coltrane first began to gain prominence during his tenure with the Miles Davis ensemble (1955-1960). He replaced tenor saxophonist Sonny Rollins in October 1955 and stayed with the group until April 1960. During this time he participated in many major jazz recording sessions, including the LP album Kind of Blue (1959), and recorded his own masterpieces, namely Blue Train (1957) and Giant Steps (1959).
    [Show full text]