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National  Endowment  for  the  Arts 


NATIONAL 
ENDOWMENT 
FOR  THE  ARTS 


The  National  Endowment  for  the  Arts  is  the  largest 
annual  hinder  of  the  arts  in  the  United  States.  An 
independent  federal  agency,  the  NEA  is  the  official 
arts  organization  of  the  United  States  government, 
dedicated  to  supporting  excellence  in  the  arts,  both 
new  and  established;  bringing  the  arts  to  all  Americans; 
and  providing  leadership  in  arts  education. 


National  Endowment  for  the  Arts 


America's  Highest  Honor  in  Jazz 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Boston  Library  Consortium  Member  Libraries 


http://archive.org/details/neajazzmastersamOOnati 


A  Message  from  the  Chairman 


Since  its  creation  in  1965,  the  National  Endowment  for  the  Arts 
has  worked  to  further  one  of  the  country's  greatest  artistic 
inventions — jazz.  The  Arts  Endowment's  first  grant  in  the  jazz 
field  went  to  George  Russell  (who  became  an  NEA  Jazz  Master  in 
1990),  one  of  the  great  jazz  composers  and  theorists  who  helped  to  further  jazz  not  only 
musically  but  academically.  Since  that  first  grant,  funding  has  exploded  from  an  annual 
budget  of  $20,000  in  1970  to  more  than  $2.8  million  in  2005. 

Our  premier  program  in  jazz  is  the  NEA  Jazz  Masters  Fellowships.  In  1982,  the  NEA 
created  this  lifetime  achievement  award  to  recognize  and  reward  jazz  musicians  who 
have  had  a  major  impact  on  the  art  form.  Since  then,  87  of  jazz's  greatest  living  artists 
have  been  honored  as  NEA  Jazz  Masters  and  during  this  time,  the  award  has  come  to  be 
regarded  as  the  nation's  highest  honor  in  jazz. 

To  further  expand  the  audiences  for  jazz,  the  Arts  Endowment  expanded  the  NEA 
Jazz  Masters  initiative  to  include  three  significant  new  components:  NEA  Jazz  Masters 
on  Tour,  which  brings  awardees  to  various  venues  throughout  all  50  states;  NEA  Jazz  in 
the  Schools,  a  curriculum  for  high  school  students  that  explores  jazz  as  an  art  form  and 
way  to  understand  American  history,  developed  in  partnership  with  Jazz  at  Lincoln 
Center  and  with  support  from  the  Verizon  Foundation;  and  a  broadcasting  program  to 
provide  greater  public  access  to  this  great  American  art  form  on  both  television  and  radio. 

The  National  Endowment  for  the  Arts  believes  these  musicians  and  this  music 
deserve  the  greatest  possible  recognition.  The  musicians  who  have  won  this  award  have 
not  only  shared  then  art  with  U.S.  audiences,  but  have  spread  this  intrinsically  American 
music  all  over  the  world.  Jazz  may  well  be  considered  America's  most  influential  and 
distinguished  musical  export,  and  these  NEA  Jazz  Masters  are  the  eminent  ambassadors 
who  promote  and  practice  this  vibrant  and  vital  part  of  our  nation's  cultural  heritage. 


QUAfc  H^^ 


Dana  Gioia 

Chairman 

National  Endowment  for  the  Arts 


Table  of  Contents 


Introduction 1 

A  Brief  History  of  the  Program 3 

Program  Overview 5 

2006  NEA  Jazz  Masters 7 

NEA  Jazz  Masters  1982-2005  (Year  Fellowship  Awarded) 

David  Baker  (2000) 16 

Danny  Barker  (1991) 17 

Count  Basie  (1983) 18 

Louie  Bellson(  1994) 19 

Art  Blakey(  1988) 20 

Cleo  Brown  (1987) 21 

Ray  Brown  (1995) 22 

Dave  Brubeck  (1999)  23 

Kenny  Burrell  (2005) 24 

Donald  Byrd  (2000) 25 

Benny  Carter  (1986) 26 

Betty  Carter  (1992)  27 

Ron  Carter  (1998)  28 

Kenny  Clarke  (1983) 29 

Buck  Clayton  (1991) 30 

Ornette  Coleman  (1984)  31 

Miles  Davis  (1984)  32 

Dorothy  Donegan  (1992) 33 

Paquito  D'Rivera  (2005) 34 

Sweets  Edison  (1992) 35 

Roy  Eldridge  (1982)  36 

Gil  Evans  (1985) 37 

Art  Farmer  (1999)  38 

Ella  Fitzgerald  (1985)  39 

Tommy  Flanagan  (1996)  40 

Frank  Foster  (2002) 41 

Dizzy  Gillespie  (1982)  42 

Benny  Golson  (1996) 43 

Dexter  Gordon  (1986) 44 

Jim  Hall  (2004)  45 

Chico  Hamilton  (2004) 46 

Lionel  Hampton  (1988) 47 

Slide  Hampton  (2005)  48 

I  ferbie  l  lancock  (2004) 49 


NEA  Jazz  Masters 


Barry  Harris  (1989) 50 

Roy  Haynes  (1995) 51 

Jimmy  Heath  (2003) 52 

Percy  Heath  (2002) 53 

Joe  Henderson  (1999)  54 

Luther  Henderson  (2004)  55 

Jon  Hendricks  (1993)  56 

Nat  Hentoff  (2004)  57 

Billy  Higgins  (1997) 58 

Milt  Hinton  (1993)  59 

Shirley  Horn  (2005)  60 

Milt  Jackson  (1997) 61 

Ahmad  Jamal  (1994) 62 

J.J.  Johnson  (1996) 63 

Elvin  Jones  (2003)  64 

Hank  Jones  (1989) 65 

Jo  Jones  (1985) 66 

Andy  Kirk  (1991) 67 

John  Lewis  (2001)  68 

Abbey  Lincoln  (2003) 69 

MelbaListon(1987) 70 

Jackie  McLean  (2001)  71 

Marian  McPartland  (2000)  72 

Carmen  McRae  (1994) 73 

Jay  McShann  (1987) 74 

James  Moody  (1998)  75 

Anita  O'Day  (1997)  76 

Max  Roach  (1984) 77 

Sonny  Rollins  (1983)  78 

George  Russell  (1990)  79 

Artie  Shaw  (2005)  80 

Wayne  Shorter  (1998) 81 

Horace  Silver  (1995)  82 

Jimmy  Smith  (2005)  83 

Sun  Ra  (1982) 84 

Billy  Taylor  (1988)  85 

Cecil  Taylor  (1990) 86 

Clark  Terry  (1991)  87 

McCoy  Tyner  (2002) 88 

Sarah  Vaughan  (1989)  89 

George  Wein  (2005)  90 

Rand)  Weston  (20Q1) 91 

Joe  Williams  (1993) 92 

Gerald  Wilson  (1990) 93 

Nancy  Wilson  (2004)  94 

fedd)  Wilson  (1986)  95 

NEA  Jazz  Masters  by  Year 97 


ri     N. 


Introduction 


THERE  IS  GENERAL  AGREEMENT  THAT  THE 
United  States  has  produced  three  original  art 
forms:  movies,  modern  dance,  and  jazz.  All 
speak  to  the  genius  of  American  culture.  Film  is 
indicative  of  our  ability  to  convert  new  technology 
into  a  medium  for  mass  consumption,  frequently 
achieving  the  status  of  high  art.  Modern  dance, 
an  indigenous  kinesthetic  art  capable  of  an 
unbounded  range  of  expression,  from  treatments 
of  contemporary  issues  to  pure  abstraction. 
And  then  there  is  jazz. 

Jazz  lives  at  the  very  center  of  the  American 
vernacular.  It  is  the  gift  of  the  generations  of  new 
urban  African  American  people  whose  capacity 
for  the  synthesis  of  diverse  strains  of  musical  forms 
brought  schottisches,  quadrilles,  habaneras,  and 
marches  into  the  bases  of  the  blues  and  ragtime  to 
create  a  whole  new  way  of  making  music.  It  was 
built  on  the  discipline  of  collective  improvisation, 
a  remarkable  skill  when  you  think  about  it,  which 
allowed  for  maximum  expression  of  the  individual 
within  the  context  of  the  group.  Jazz  is  democratic 
and  virtually  without  hierarchy:  the  composer  is  one 
more  collaborator  in  the  group,  and  even  bandleaders 
do  not  stand  above  the  soloists. 


These  qualities  are  entirely  appropriate  for  what 
is  best  about  America.  The  old  jazz  principle  that 
"you've  got  to  make  it  new"  is  so  American  that  it 
could  go  on  the  dollar  bill.  These  defining  qualities 
have  made  jazz  arguably  the  United  States'  most  wel- 
comed cultural  export.  It  has  taken  root  wherever  it 
has  been  planted,  moving  into  and  becoming  a  part 
of  the  cultures  of  other  countries  and  then  becoming 
an  aspect  of  their  national  expression,  in  the  way 
that  Russian  jazz  is  vastly  different  from  Afro-Cuban 
jazz.   Some  years  ago,  just  after  apartheid  had  fallen, 
I  heard  a  young  South  African  ensemble  that  com- 
prised an  Indian  pianist,  a  tabla  player,  a  white 
female  flutist,  and  a  black  bassist.  Distinct  traces  of 
each  of  these  musicians'  heritages  were  audible  in 
their  solos,  yet  they  performed  with  intimate  ease. 
I  thought,  how  marvelous  that,  as  these  young  peo- 
ple are  at  a  point  in  history  when  they  can  speak  to 
each  other  as  equals,  jazz  provides  the  vocabulary. 

It  is  no  accident  that  jazz  has  been  a  favored 
medium  of  cultural  diplomacy.  For  decades,  Willis 
Conover's  jazz  series  on  the  Voice  of  America  kept 
ears  open  to  the  United  States  Information  Agency 
(I  JSIA)  all  over  the  world.  Uncounted  numbers 
ol  jazz  musicians  have  traveled  abroad  under  the 


NEA  Jazz  Masters 


auspices  of  the  State  Department.   Many  of  the 
National  Endowmenl  lor  the  Arts  Jazz  Masters,  such 
as  Dizzy  Gillespie,  Randy  Weston,  and  Billy  Taylor, 
ba\  e  toured  the  globe  as  our  cultural  representatives. 
The  NEA  Jazz  Masters  Fellowships  program  was 
created  to  say  to  jazz  musicians  that  their  govern- 
ment values  the  way  that  they  keep  our  culture  rich 
by  continually  producing  such  fabulous  music. 
Mastery  is  a  difficult  status  to  achieve.  No  creative 
discipline  has  more  than  a  few  true  masters,  for  it 
takes  exceptional  talent,  dedication,  hard  work,  and 


opportunitv  to  become  one.  NEA  Jazz  Masters 
have  demonstrated  these  qualities  and  more.  The 
National  Endowment  for  the  Arts  is  honored  to 
recognize  these  great  artists  for  the  outstanding 
contributions  thev  have  made  to  American  culture. 


A.  B.  Spellman 

Poet  and  Author,  Four  Jazz  Lives 

Former  Deputy  Chairman  for  Guidelines  &  Panel  Operations 
National  Endowment  for  the  Arts 


2     NKA  -\.\jj.  rVLifltera 


NEA  Jazz  Masters  Dizzy  Gillespie  and  Max  Roach,  1956. 


A  Brief  History  of  the  Program 


A  MELDING  OF  AFRICAN  AND  EUROPEAN 
music  and  cultures,  jazz  was  born  in 
America,  a  new  musical  form  that  used 
rhythm,  improvisation,  and  instruments  in  unique 
and  exciting  ways.  Jazz  came  to  prominence  in  the 
early  20th  century  when  recording  techniques  made 
it  possible  for  many  more  people  to  hear  the  music. 
By  the  1930s  and  1940s,  jazz  had  become  America's 
dance  music,  selling  albums  and  performance  tickets 
at  dizzying  rates.  But  by  the  1950s,  with  the  advent 
of  rock  and  roll  and  the  tilt  in  jazz  toward  bebop 
rather  than  the  more  popular  swing,  jazz  began  a 
decline  in  its  popularity.  It  was  still  seen  as  an 
important  and  exciting  art  form,  but  by  an  increas- 
ingly smaller  audience. 

By  the  1960s,  when  the  National  Endowment  for 
the  Arts  was  created  hy  Congress,  jazz  album  sales 
were  down  and  jazz  performances  were  becoming 
more  difficult  to  find.  The  music,  starting  with  bebop 
and  into  hard  hop  and  free  jazz,  became  more  cere- 
bral and  less  dance-oriented,  focusing  on  freeing  up 
improvisation  and  rhythm.  It  was  moving  to  a  new 
artistic  level,  and  if  this  high  quality  were  to  be 
maintained,  il  would  need  some  assistance. 


NEA  assistance  to  the  jazz  field  began  in  1969, 
with  its  first  grant  in  jazz  awarded  to  pianist/ 
composer  George  Russell  (who  would  later  go  on 
to  receive  an  NEA  Jazz  Masters  Fellowship  in  1990). 
In  a  decade,  jazz  funding  went  from  $20,000  in  1970 
to  $1.5  million  in  1980,  supporting  jazz  festivals  and 
concert  seasons,  special  projects  and  services  to  the 
field,  and  fellowships  for  performance,  composition, 
and  jazz  study. 

At  the  same  time,  the  pioneers  of  the  field  were 
rapidly  aging,  and  often  dying  without  the  recogni- 
tion of  their  contribution  to  this  great  American  art 
form.  Louis  Armstrong  and  Duke  Ellington,  two  of 
the  giants  of  jazz  in  terms  of  both  musicianship  and 
composition,  both  died  in  the  early  1970s  without 
the  importance  of  their  contributions  being  fully 
acknowledged  and  appreciated. 

The  National  Endowment  for  the  Arts  created  a 
new  program  in  1982  to  recognize  these  artists  for 
their  lifelong  contributions  to  and  mastery  of  jazz: 
American  Jazz  Masters  Fellowships  (now  called  NEA 
Jazz  Masters).  These  would  be  awarded  to  musicians 
who  have  reached  an  exceptionally  high  standard  of 
achievement  in  this  very  specialized  art  form.  In 


NEA  Jazz  Masters 


addition  to  the  recognition,  the  NEA  initially 
included  a  monetary  award  of  $20,000  for  each 
fellowship.  The  rigors  of  making  a  living  in  the  jazz 
field  are  well  documented.  Jazz  is  an  art  form  to 
which  the  free  market  has  not  been  kind.  Despite 
their  unparalleled  contributions  to  American  art, 
many  of  the  jazz  greats  worked  for  years  just  barely 
scraping  by.  For  some,  the  monetary  award  provided 
a  much  needed  infusion  of  income. 

Demonstrating  just  how  necessary  the  program 
was,  Thelonious  Sphere  Monk — one  of  the  great 
American  composers  and  musicians — was  nominated 
for  a  Jazz  Master  Fellowship  in  the  first  year  of  the 
program,  but  unfortunately  passed  away  before  the 
announcement  was  made.  The  three  who  were 
chosen  certainly  lived  up  to  the  criteria  of  artistic 
excellence  and  significance  to  the  art  form:  Roy 
Eldridge,  Dizzy  Gillespie,  and  Sun  Ra. 

The  panel  in  that  first  year  included  stellar 
jazz  musicians  themselves,  including  some  future 
NEA  Jazz  Masters:  trumpeter  Donald  Byrd  and 


saxophonists  Frank  Foster,  Chico  Freeman,  Jackie 
McLean,  and  Archie  Shepp.  In  addition,  Riverside 
record  company  owner  Orrin  Keepnews  was  on 
the  panel. 

From  that  auspicious  beginning,  the  program  has 
continued  to  grow  and  provide  increased  awareness 
of  America's  rich  jazz  heritage.  The  recipients  of 
NEA  Jazz  Masters  Fellowships  cover  all  aspects  of 
the  music:  from  boogie-woogie  (Cleo  Brown)  to 
swing  (Count  Basie,  Andy  Kirk,  Jay  McShann);  from 
bebop  (Dizzy  Gillespie,  Kenny  Clarke)  to  Dixieland 
(Danny  Barker);  from  free  jazz  (Ornette  Coleman, 
Cecil  Taylor)  to  cool  jazz  (Miles  Davis,  Gil  Evans, 
Ahmad  Jamal);  and  everywhere  in  between.  What 
ties  all  these  styles  together  is  a  foundation  in  the 
blues,  a  reliance  on  group  interplay,  and  unpredictable 
improvisation.  Throughout  the  years,  and  in  all  the 
different  styles,  these  musicians  have  demonstrated 
the  talent,  creativity,  and  dedication  that  make  them 
NEA  Jazz  Masters. 


4      NKA  .hvy.  Mjisters 


National  Endowment  for  the  Arts 
1991  American  Jazz  Masters  Fellowship  Awards 


Buck  Hill  (sax)  and  NEA  Jazz  Master  Clark  Terry  (flugelhorn)  at  the  1 991  Awards  ceremony. 


Program  Overview 


The  National  Endowment  for  the  Arts  recognizes 
the  importance  of  jazz  as  one  of  the  great 
American  art  forms  of  the  20th  century.  As 
part  of  its  efforts  to  honor  those  distinguished  artists 
whose  excellence,  impact,  and  significant  contribution 
in  jazz  have  helped  keep  this  important  tradition  and 
art  form  alive,  the  Arts  Endowment  annually  awards 
NEA  Jazz  Masters  Fellowships,  the  highest  honor 
that  our  nation  bestows  upon  jazz  musicians.  Each 
fellowship  award  is  $25,000. 

The  NEA  Jazz  Masters  initiative  has  expanded 
in  recent  years  to  include  a  two-CD  anthology  of 
NEA  Jazz  Masters  music  by  the  Verve  Music  Group; 
the  50-state  NEA  Jazz  Masters  on  Tour  program, 
sponsored  by  Verizon,  that  includes  community 
events  and  signings  held  at  local  Borders  stores 
in  connection  with  performances  through  a  new 
partnership  with  Borders  Books  &  Music;  radio 
and  television  programming  in  partnership  with 
National  Public  Radio  and  the  Public  Broadcasting 
System;  and  NEA  Jazz  in  the  Schools,  a  new 
curriculum  for  high  school  students,  developed 
in  partnership  with  Jazz  at  Lincoln  Center  and 
supported  by  the  Verizon  Foundation. 

The  selection  criteria  for  the  fellowships  remain 
the  same:  musical  excellence  and  significance  of 


the  nominees'  contributions  to  the  jazz  art  form. 
The  Arts  Endowment  will  continue  to  honor  a 
range  of  styles,  musical  instruments,  vocalists,  and 
composer/arrangers  when  making  the  awards,  but 
now  awards  fellowships  by  category:  rhythm  instru- 
mentalist, solo  instrumentalist,  vocalist,  keyboardist, 
arranger/composer,  and  the  A.B.  Spellman  NEA  Jazz 
Masters  Award  for  Jazz  Advocacy,  which  will  be 
given  to  an  individual  who  has  made  major  contri- 
butions to  the  appreciation,  knowledge,  and 
advancement  of  jazz. 

Fellowships  are  awarded  to  living  artists  on  the 
basis  of  nominations  from  the  public,  including  the 
jazz  community.  The  recipients  must  be  citizens 
or  permanent  residents  of  the  United  States.  An 
individual  may  submit  only  one  nomination  each 
year,  and  nominations  are  made  by  submitting  a 
one-page  letter  detailing  the  reasons  that  the  nomi- 
nated artist  should  receive  an  NEA  Jazz  Masters 
Fellowship.  Nominations  remain  active  for  five 
years,  being  reviewed  annually  during  this  period. 

More  information  on  submitting  a  nomination 
and  all  the  components  of  the  NEA  Jazz  Masters 
initiative  is  available  on  the  NEA  Web  site: 
www.neajazzmasters.org. 


NEA  Jazz  Masters 


k 


NEA  Jazz  Masters  Ron 
Carter,  Tony  Bennett,  and 
Wayne  Shorter  at  a  1993 
inauqural  ball. 


2006 


RHYTHM  INSTRUMENTALIST 


Ray  Barretto 


)SER 


M)l(>  INSTRUMENTALIST 

1ENTALIST 

A  B  SPELLMAN  NEA  JAZZ 
MASTERS  AWARD  FOR 
: ADVOCACY 


Bob  Brookm 


KEYBOARDIST 


Chick  Corea 


Names  in  bold  in  biographies  denote  NEA  Jazz  Masters  awardees. 

All  recordings  listed  in  Selected  Discography  are  under  the  artist's  name  unless  otherwise  noted. 

Years  listed  under  recordings  in  Selected  Discography  denote  the  years  the  recordings  were  made. 


arretto 


PERCUSSIONIST  BANDLEADER 


Born  April  29. 1929  in  Brooklyn.  NY 


The  most  widely  recorded  conguero  in  jazz,  Ray 
Barretto  grew  up  listening  to  the  music  of  Puerto  Rico 
and  the  swing  bands  of  Duke  Ellington,  Count  Basie, 
and  Benny  Goodman.  Barretto  credits  Dizzy 
Gillespie's  recording  of  "Manteca,"  featuring 
conguero  Chano  Pozo,  with  his  decision  to 
become  a  professional  musician. 

I  [e  first  sat  in  on  jam  sessions  at  the 
( )i  l.mdo.  a  GI  jazz  club  in  Munich.  In 
1949.  after  military  service,  he  returned 
to  Harlem  and  taught  himself  to  play 
the  drums,  getting  his  first  regular  job 
with  Eddie  Bonnemere's  Latin  Jazz 
Combo.   Barretto  then  played  for  four 
years  with  Cuban  bandleader/pianist 
lose*  Curbelo.  In  L957,  he  replaced 
Mongo  Santamaria  in  Tito  Puente's  band, 
with  which  he  Mi  ended  his  first  album. 
Dance  Mania.  After  four  years  with  Puente,  he 

me  "i  the  most  sought-after  percussionists  in  New 

'lurk,  attending  jam  sessions  with  artists  including  Max 

Roai  1 1  lil.ikrv  and  recording  with  Sonnj  Stitt.  Lou 

d  ( iarland,  Gene  Amnions.  Eddie  "Lockjaw" 

mbaH  Adderley,  Freddie  Hubbard.  CaJ  Tjader, 

larretto  was  so  mu(  h  in  demand  that 


^DDISCOG^ 


in  1960,  he  was  a  house  musician  for  the  Prestige,  Blue 

Note,  and  Riverside  record  labels. 

Barretto's  first  job  as  a  bandleader  came  in  1961.  when 
Riverside  producer  Orrin  Keepnews  asked  him  to  form  a 
charanga  for  a  recording,  Pachanga  With  Barretto. 


Charanga  Moderna,  "Tico,  1 962 

Hard  Hands.  Fania,  1968 

Rican/Strucuon.  Fania,  1979 

Ancestral  Messages,  Concord  Picante,  1992 

Homage  to  Art  Blakey  and  the  Jazz 
Messengers.  Sunnyside,  2002 


His  next  album,  Charanga  Moderna.  featured 
"El  Watusi,"  which  became  the  first  Latin 
number  to  penetrate  Billboard's  Top-20 
chart.  In  1963,  "El  Watusi"  went  gold.  In 
1975  and  1976,  Barretto  earned  back-to- 
back  Grammy  nominations  for  his  albums 
Barretto  (with  the  prize-winning  hit 
"Guarere")  and  Barretto  Live... Tomorrow. 
His  1979  album  for  Fania.  Bican/Struction. 
considered  a  classic  of  salsa,  was  named 
Best  Album  (1980)  by  Latin  N.Y.  magazine, 
and  Barretto  was  named  Conga  Player  of  the 
Year.  He  won  a  Grammy  Award  in  1990  for  the 
song  "Ritmo  en  el  Corazon"  with  Celia  Cmz. 
Ray  Barretto  was  inducted  into  the  International  Latin 
Music  Hall  of  Fame  in  1999.  He  was  voted  Jazz  Percussionist 
of  2004  by  the  Jazz  Journalists  Association  and  won  the 
Down  Bent  critics  poll  for  percussion  in  2005.  His  recording 
7Ime  Was,  lime  Is  was  nominated  for  a  2005  Grammv  Award. 


8      NEA  A:\yy.  Masters 


" 

■ 

v\ 


hte 


p 

> 
Ico 


VOCALIST 


emiett 

Born  August  3, 1926  in  Queens,  NY 


Called  "the  best  singer  in  the  business"  by  Frank 
Sinatra,  Tony  Bennett  was  born  as  Anthony  Dominick 
Benedetto  in  1926  in  the  Astoria  section  of  Queens, 
New  York.  By  age  10,  he  had  attracted  such  notice  that  he 
was  tapped  to  sing  at  the  opening  ceremony  for  the 
Triborough  Bridge.  He  attended  the  High  School  of 
Industrial  Arts,  worked  as  a  singing  waiter,  and  then  per- 
formed with  military  bands  during  his  Army  service  in 
World  War  II.  After  the  war,  he  continued  his  vocal  studies 
formally  at  the  American  Theatre  Wing  school  and  infor- 
mally in  the  52nd  Street  jazz  clubs.  His  break  came  in  1949, 
when  Bob  Hope  saw  him  working  in  a  Greenwich  Village 
club  with  Pearl  Bailey,  invited  him  to  join  his  show  at  the 
Paramount,  and  changed  his  stage  name  to  Tony  Bennett. 

Bennett's  recording  career  began  in  1950,  when 
he  signed  with  the  Columbia  label,  with  the 
number  one  hit  "Because  of  You,"  followed 
by  his  cover  of  Hank  Williams's  "Cold,  Cold 
Heart."  With  a  string  of  hits  to  his  credit, 
Bennett  was  able  to  exert  greater  artistic 
influence  over  his  recordings,  allowing 
him  to  express  his  interest  in  jazz,  notably 
The  Beat  of  My  Heart,  on  which  he  was 
accompanied  primarily  with  jazz  percus- 
sionists, and  In  Person  with  Count  Basie 
and  I  lis  Orchestra. 


The  Beat  of  My  Heart,  Columbia,  1 957 

In  Person  with  Count  Basie  and  His 
Orchestra,  Columbia,  1958 


The  Tony  Bennett  Bill  Evans  Album, 
Column!?  1975 

On  Holiday:  A  Tribute  to  Billie  Holiday, 
Columbia,  1996 


In  1962,  Bennett  recorded  "I  Left  My  Heart  in  San 
Francisco,"  the  song  that  would  become  his  signature,  and 
for  which  he  won  Grammy  Awards  for  Record  of  the  Year 
and  Best  Solo  Male  Vocal  Performance.  Over  the  next  years, 
while  putting  out  singles  and  albums  that  were  consistently 
among  the  most  popular  in  the  country,  he  continued  to 
infuse  his  singing  with  the  spontaneity  of  jazz  and  to  record 
and  tour  with  bands  composed  almost  exclusively  of  jazz 
musicians. 

In  the  1970s,  Bennett  formed  his  own  record  company 
and  made  albums  including  two  duet  recording  with  pianist 
Bill  Evans.  His  1992  release,  Perfectly  Frank,  a  tribute  to 
Frank  Sinatra,  and  1993  Steppin'  Out,  a  tribute  to  Fred 
Astaire,  went  gold  and  won  him  back-to-back  Grammy 
Awards.    Bennett  received  Grammy's  highest 
award,  Album  of  the  Year,  in  1994  for  his  live 
recording,  MTV  Unplugged,  and  was 
honored  with  their  Lifetime  Achievement 
Award  in  2001.  He  continues  to  perform 
to  sold-out  audiences  throughout  the 
world,  appearing  with  his  stellar 
jazz  quartet. 


Playin  with  my  Friends:  Bennett  Sings 
the  Blues,  Columbia,  2001 


NEA  Jazz  Musters      9 


Born  December  19, 1929  in  Kansas  City,  MO 


eyer 


TROMBONIST    PIANIST 
COMPOSER   ARRANGER    EDUCATOR 


An  innovative  composer  and  gifted  arranger  for  both 
small  and  large  ensembles,  as  well  as  an  outstanding 
performer  on  valve  trombone  and  piano,  Bob 
Brookmeyer  bas  been  making  music  for  more  than  50  years. 
A  professional  performer  with  dance  bands  since  the  age  of 
14.  be  studied  composition  for  three  years  at  the  Kansas  City 
( lonservatory  of  Music,  where  he  won  the  Carl  Busch  Prize 
for  (  horal  Composition.  In  the  early  1950s,  he  traveled  to 
New  York  .is  a  pianisl  witb  Tex  Benecke  and  Mel  Lewis  and 
stayed  on  in  freelance  witb  artists  including  Pee  Wee 
Russell,  Ben  Webster,  and  Coleman  Hawkins. 

After  .i  period  witb  Claude  Tbornhill.  Brookmeyer 
joined  Stan  ( !etz  in  late  1952,  an  association  that  took  him 
to  California,  where  ( lerrj  Mulligan  asked  him  to  join  bis 
quartet.  Brookmeyer  gained  renown  as  a  member  of  that 
'4r<ni|i  (19  aid  .is  ,i  member  ol  the  experimental 

limnu  ( . i 1 1 1 f i < •  3  ( 1957-58),  (  omprising  Giuffre's  ^<$£&i 


lira  II. ill    guitar,  and  Brookmeyer's 
trombone.  I  lis  Inn-  .issm  iation  with 
Mulligan  included  work  with  the  Com  ert 
[azz  Band,  which  Brookmeyer  helped  in 
form  and  maintain,  and  foi  whi(  h  be 

In  ind  Clark  Terry 

idart  quintet,  whii  h 
ikmeyei  w.is  also 
:  I  trombonisl 
1  lie  |'h. id  [ones- 


4? 


Gerry  Mulligan  Quartet,  At  Storyville, 
Pacific  Jazz.  1956 

The  Blues  Hot  aivtfold.  Verve,  1960 

Back  Again.  Sonet,  1978 

Paris  Suite.  Challenge,  1993 

Get  Well  Soon.  Challenge,  2002 


Mel  Lewis  Orchestra,  formed  in  1965.  After  a  decade  spent 
in  California  as  a  studio  musician,  Brookmeyer  returned  to 
New  York  in  1978  to  play  with  Stan  Getz  and  Jim  Hall,  form 
his  own  quartet,  and  then  in  1979  rejoined  the  Mel  Lewis 
Orchestra,  becoming  its  musical  director  after  the  departure 
of  Thad  Jones. 

From  1981  to  1991.  Brookmeyer  was  busy  as  a  composer 
and  performer  in  Europe,  working  in  both  classical  and  jazz 
idioms.  He  began  teaching  at  the  Manhattan  School  of 
Music  in  1985  and  directed  the  BMJ  Composers  Workshop 
from  1989  to  1991.  He  has  served  as  musical  director  of  the 
Schlewsig-Holstein  Musik  Festival  Big  Band/New  Art 
Orchestra,  the  Stanley  Knowles  Distinguished  Visiting 
Professor  at  Brandon  University  in  Manitoba,  and  director  of 
the  New  England  Conservatory's  Jazz  Composers'  Workshop 
Orchestra.  A  composer  whose  work  has  been 
widely  published,  studied,  and  performed. 
•typ>         Brookmeyer  has  received  grants  in  composi- 
tion from  the  National  Endowment  for  Uie 
Arts  and  nominations  from  NARAS  for 
composing  and  performing,  and  be  was 
commissioned  by  the  12  Cellists  of  the 
Berlin  Philharmonic  to  write  a  piece 
for  an  EMI  disc  featuring  trumpet 
player  Till  Broenner.  A  new  concert- 
length  piece  for  the  New  Art  Orchestra 
will  be  recorded  in  January  2006. 


10      NEA.J. 


KEYBOARDIST    COMPOSER   ARRANGER 


Corea 


Born  June  12, 1941  in  Chelsea,  MA 


<$ 


Now  He  Sobs.  Now  He  Sings, 
Blue  Note,  1968 

Return  to  Forever,  ECM,  1972 

Live  in  Montreux,  Stretch,  1981 

Eye  of  the  Beholder,  GPP,  1W8 

Rendezvous  in  New  York, 
Stretch,  2001 


A  groundbreaking  artist  both  as  a 
keyboardist  (piano,  electric 
piano,  synthesizer)  and  as  a 
composer-arranger,  Chick  Corea  has 
moved  fluidly  among  jazz,  fusion, 
and  classical  music  throughout 
a  four-decade  career,  winning 
national  and  international  honors 
including  12  Grammy  Awards. 
He  ranks  with  Herbie  Hancock 
and  Keith  Jarrett  as  one  of  the  lead- 
ing piano  stylists  to  emerge  after  Bill 
Evans  and  McCoy  Tyner,  and  he  has 
composed  such  notable  jazz  standards  as 
"Spain,"  "La  Fiesta,"  and  "Windows." 

Corea  began  playing  piano  and  drums  at  an  early  age 
and  enjoyed  a  childhood  home  filled  with  the  music  of  Bud 
Powell,  Charlie  Parker,  Dizzy  Gillespie,  and  Lester  Young,  as 
well  as  Mozart  and  Beethoven.   From  1962  to  1966  he 
gained  experience  playing  with  the  bands  of  Mongo 
Santamaria  and  Will  if;  Bobo,  Blue  Mitchell.  I  [erbie  Mann, 
and  Stan  Getz.  He  made  his  recording  debut  as  a  leader 
with  Tones  For  Joan's  Bones  (1966)  and  in  1968  recorded 
the  classic  trio  album  Now  He  Sings,  Now  He  Sobs  with 
Miroslav  Vitoua  and  Roy  Haynes.   Following  a  short  period 
with  Sarah  Vaughan,  Corea  then  joined  Miles  Davis'  group, 
gradually  replacing  Herbie  Hancock.   Davis  persuaded  Corea 


to  play  electric  piano  on  the  influential  albums  Filles 
$P  ^^>        de  Kilimanjaro,  In  a  Silent  Way.  Bitches  Brew,  and 


Kilimanjaro,  In  a  Silent  Way, 
Miles  Davis  at  the  Fillmore. 

In  1971,  Corea  formed  the  ensemble  Return 
to  Forever  with  Stanley  Clarke  on  bass,  Flora 
Purim  on  vocals,  her  husband  Airto  Moreira 
on  drums,  and  foe  Farrell  on  reeds.  Within  a 
year,  the  samba-flavored  group  had  become  an 
innovative,  high-energy  electric  fusion  band, 
incorporating  the  firepower  of  drummer  Lenny 
White  and  guitarist  Al  DiMeola.  Spearheaded 
by  Corea 's  distinctive  style  on  Moog  synthesizer, 
Return  to  Forever  led  the  mid-1970s  fusion  move- 
ment with  albums  such  as  Where  Have  I  Known  You 
Bejbre,  Bomantic  Warrior,  and  the  Grammy  Award-win- 
ning No  Mysteiy.  In  1985,  Corea  formed  a  now  fusion 
group,  The  Elektric  Band,  and  a  few  years  later  he  formed 
The  Akoustic  Band.   In  1992,  he  established  his  own  record 
label,  Stretch  Records. 

On  the  occasion  of  his  60th  birthday  in  2001,  Corea  pul 
together  an  unprecedented  musical  gathering  al  the  Blue 
Note  Jazz  Club  in  New  York  City.  The  three-week  evenl 
resulted  in  a  double  CD,  Rendezvous  in  New  York,  and  a 
two-hour  film  of  the  same  name.   He  continues  to  create 
projects  in  multifaceted  settings  for  listeners  around 
the  world. 


NEA  Jazz  Mastei-s       1 1 


eFranco 


CLARINETIST    EDUCATOR 


Born  February  17, 1923  in  Camden,  NJ 


A  brilliant  improviser  and  prodigious 
ti 'clinician  who  has  bridged  the  swing 
and  bebop  eras.  Buddy  DeFranco 
was  born  in  Camden,  New  Jersey  and 
raised  in  South  Philadelphia,  and  began 
playing  tbe  clarinet  at  age  nine.  At  14, 
he  won  a  national  Tommy  Dorsey 
Swing  Contest  and  appeared  on  the 
Saturday  Niglit  Swing  Club  with  Gene 
Krupa.  Johnny  "Scat"  Davis  soon 
tapped  him  for  his  big  band,  inaugurating 
DeFranco's  road  career  in  1939.  DeFranco 
subsequently  played  in  the  bands  of  Gene 
Krupa  (1941]  and  Charlie  Barnel  (1942-43)  and 
in  i'i44  hi'i  ame  a  featured  soloist  with  Tommy 
l)nrs.-\.  Meanwhile,  the  modern  jazz  revolution  was  in 

led  bj  Charlie  Parker  and  Dizzy  Gillespie.  Excited 
li\  the  improvisatory  freedom  of  their  music,  DeFranco 

me  the  Brsl  jazz  i  larinetisl  to  make  his  mark  in  the  new 
idiom  ol  bebi 

In  '  rani  o  joined  the  famous  Count  Basie  Septet 

with  Billie  Holidaj  in  1954,  led  a  quartet 
\ii  Blakey,  Kenny  Drew,  and  Eugene 
I  w  ith  TOmmj  Gumina  in  a  quartet 
musii .  further  solidifying  his  repu- 
I  111  i.m  "  His  other  notable  concert 

have  included  dates  with  Ari 
irker,  Dizzj  Gillespie.  Stan 


Mr.  Clarinet,  Norgran,  1953 

Cooking  the  Blues.  Verve,  1955 

Blues  Bag.  Affinity,  1964 

Wart.  Pablo/OJC,  1985 

Do  Nothing  Jill  You  Hear  From  Us, 
Concord  Jazz.  1998 


Getz.  Lenny  Tristano.  Billy  Eckstine,  Barney 
Kessel.  Herb  Ellis,  Ray  Brown,  Mel  Torme. 
Louie  Bellson,  Oscar  Peterson,  and  the  John 
Pizzarelli  Trio,  as  well  as  several 
Metronome  All-Star  sessions.  He  was  a 
featured  artist  in  numerous  Jazz  at  the 
Philharmonic  tours  of  Europe,  Australia, 
and  East  Asia.  In  1966.  he  became  the 
leader  of  the  Glenn  Miller  Orchestra,  a 
post  he  maintained  until  1974. 

Since  the  mid-1970s.  DeFranco  has 
combined  a  busy  teaching  career  with 
extensive  touring  and  recording.  His  numer- 
ous television  performances  have  included 
appearances  on  The  Tonight  Show  with  botJi  Steve 
Allen  and  Johnny  Carson.  He  was  a  featured  soloist  on 
Stars  of  Jazz:  had  his  own  program  on  public  television. 
77ie  DeFranco  Jazz  Forum;  and  with  his  long-time  musical 
colleague,  vibraphonist  Terry  Gibbs,  shared  the  spotlight  on 
a  segment  of  the  PBS  series  Club  Date.  DeFranco  has  played 
at  concerts  and  festivals  throughout  the  United  States, 
Europe,  Australia.  New  Zealand.  South  Africa.  Brazil,  and 
Argentina.  To  date,  he  has  recorded  more  than  160  albums, 
has  won  the  Down  Beat  All  Stars  award  20  times,  and  the 
Metronome  poll  12  times.  The  University  of  Montana. 
Missoula,  now  hosts  The  Buddy  DeFranco  Jazz  Festival 
eat  h  April. 


12      NEA  Jazz  Mas 


TRUMPETER 


ubbard 


Born  April  7, 1938  in  Indianapolis, 


One  of  the  greatest  trumpet  virtuosos  ever  to  play  in 
the  jazz  idiom,  and  arguably  one  of  the  most  influen- 
tial, Freddie  Hubbard  played  mellophone  and  then 
trumpet  in  his  school  band  and  studied  at  the  Jordan 
Conservatory  with  the  principal  trumpeter  of  the 
Indianapolis  Symphony  Orchestra.  As  a  teenager,  he 
worked  with  Wes  and  Monk  Montgomery  and  eventually 
founded  his  own  band,  the  Jazz  Contemporaries,  with 
bassist  Larry  Ridley  and  saxophonist  James  Spaulding. 
After  moving  to  New  York  in  1958,  he  quickly  astonished 
fans  and  critics  alike  with  his  depth  and  maturity,  playing 
with  veteran  artists  Philly  Joe  Jones,  Sonny  Rollins,  Slide 
Hampton,  J.J.  Johnson,  Eric  Dolphy,  and  Quincy  Jones,  with 
whom  he  toured  Europe.  In  June  1960,  on  the  recommenda- 
tion of  Miles  Davis,  he  recorded  his  first  solo  album,  Open 
Sesame,  for  Blue  Note  records,  just  weeks  after  his  22nd 
birthday.  Within  the  next  10  months,  he  recorded  two  more 
albums,  Goin'  Up  and  Hub  Cap,  and  then  in  August  1961 
made  what  many  consider  to  be  his  masterpiece,  Ready  for 
Freddie,  which  was  also  his  first  Blue  Note  collaboration 
with  Wayne  Shorter.  That  same  year,  Hubbard  joined  Art 
Blakey's  Jazz  Messengers,  replacing  Lee  Morgan.  By  now, 
he  had  indisputably  developed  his  own  sound  and  had  won 
Down  Beat  "New  Star"  award  on  trumpet. 

Hubbard  remained  with  the  Jazz  Messengers  until  1964, 
when  he  left  to  form  his  own  small  group,  which  over  the 
next  years  featured  Kenny  Barron  and  Louis  Hayes. 
Throughout  the  1960s,  Hubbard  also  played  in  bands  led  by 


other  legends,  including  Max  Roach,  and  was  a  significant 
presence  on  the  Blue  Note  recordings  of  Herbie  Hancock, 
Wayne  Shorter  and  Hank  Mobley.  Hubbard  was  also  featured 
on  four  classic,  groundbreaking  1960s  sessions:  Ornette 
Coleman's  Free  Jazz,  Oliver  Nelson's  Blues  and  the  Abstract 
Truth,  Eric  Dolphy's  Out  to  Lunch,  and  John  Coltrane's 
Ascension. 

In  the  1970s,  Hubbard  achieved  his  greatest  popular 
success  with  a  series  of  crossover  albums  on  Atlantic  and 
CTI  Records,  including  the  Grammy  Award-winning  First 
Light.  He  returned  to  acoustic  hard  bop  in  1977  when  he 
toured  with  the  V.S.O.R  quintet,  which  teamed  him  with 
the  members  of  Miles  Davis'  1960s  ensemble:  Wayne 
Shorter,  Herbie  Hancock,  Ron  Carter, 
and  Tony  Williams.  In  the  1980s,  C^£D  BIBIjqq 


Hubbard  again  led  his  own 
groups,  often  in  the  company 
of  Joe  Henderson,  and  he 
collaborated  with  fellow 
trumpet  legend  Woody 
Shaw  on  a  series  of 
albums  for  the  Blue  Note 
and  Timeless  labels. 


<$>■ 


H* 


J//, 


> 


Ready  for  Freddie,  Blue  Note,  1961 

Hub-Tones.  Blue  Note,  1962 

Straight  Life.  Columbia,  1970 

Live.  CLP,  1983 

New  Colors.  Hip  Bop  Essence,  2000 


NEA  Jazz  Masters       13 


LU 


Levy 

Born  April  1 1 . 1 91 2  in  New  Orleans,  LA 


MANAGER    BASSIST 


Renowned  as  a  leading  representative  of 
jazz  musicians,  and  as  the  first  African 
American  to  work  in  the  music 
industry  as  a  personal  manager,  John  Levy 
was  born  in  New  Orleans,  Louisiana,  in 
L912.   Mis  mother  was  a  midwife  and 
nurse,  and  his  lather  was  an  engine 
sinker  on  the  railroad.   Whim  Levy  was 
six.  his  family  moved  to  Chicago,  where 
<i  well-meaning  schoolteacher  would 
encourage  him  to  find  a  steady  job  at  the 
post  ol!i(  e.    I  le  (lid  work  there  lor  a  while. 
but  he  also  began  gigging  around  town  as  a 

j.l//  b.issisl. 

In  1944,  Lev)  left  Chicago  with  the  Stuff  Smith 
Iih.  in  play  .in  extended  engagement  at  the  Onyx  club  on 

:nd  Street.  Over  the  next  years,  he  was  to 
••  ith  man)  jazz  notables,  including  Hen  Webster, 
j  Ri(  h.  I. iml  ( lamer,  Milt  Jackson,  and  Billy  Taylor,  as 
i  Millie  Holida\  ,it  her  comeback  performance  at 
1  i    li. ill  in  1'I4H. 

Shearing  heard  Levy  play  at  Birdland 
■  iand  and  hired  him  for  his  own 

Buddj  DeFranco.  As  Lew  toured  the 


Stuff  Smith.  The  1943  Trio, 
Progressive,  1943 


country  playing  with  the  original  George  Shearing 


Billie  Holiday,  The  Complete  Decca 
Recordings,  WP,  1944-50 

Erroll  Garner,  Penthouse  Serenade,  Savoy,  1 945 

Billy  Taylor,  1945-49,  Classics,  1945-49 

George  Shearing,  Complete  Savoy 

Trio  and  Quintet  Sessions. 

Jazz  Factory,  1945-50 


Quintet,  he  gradually  took  on  die  role  of  road 
manager.  Finally,  in  1951.  Levy  put  aside 
performing  to  become  die  group's  full-time 
manager,  making  music-industrv  historv 
and  establishing  the  career  he  would  fol- 
low for  the  next  half-century. 

Levy's  client  roster  over  the  years  has 
included  Nat  and  Cannonball  Adderley. 
Betty  Carter.  Roberta  Flack,  Herbie 
Hancock.  Shirley  Horn.  Freddie  Hubbard. 
Ahmad  Jamal.  Ramsey  Lewis.  Abbey 
Lincoln.  Herbie  Mann.  VVes  Montgomen. 
Carol  Sloane.  Joe  Williams,  and  Nancy  Wilson. 
as  well  as  Arsenio  Hall  (the  only  comedian  he  has 
managed  among  some  100  entertainers).  In  recognition  of 
his  achievements.  Levy  has  received  awards  such  as  a  cer- 
tificate of  appreciation  from  Los  Angeles  Mayor  Tom 
Bradley  (1991),  induction  into  the  International  Jazz  Hall  of 
Fame  (1997).  and  the  Lifetime  Achievement  Award  of  die 
Los  Angeles  Jazz  Society  (2002).  John  Levy  continues  to  be 
active  today  in  representing  his  clients. 


II       Nl 


w 


»■    *  — ■»■  ■ 

WM 

|A 

V 

Gerald  Wilson  leads 
his  orchestra  during 
the  2005  NEA  Jazz 
Masters  ceremony 
and  concert  in  Long 
Beach,  California. 


1983-2005 


Names  in  bold  in  biographies  denote  NEA  Jazz  Masters  awardees 

All  recordings  listed  in  Selected  Discography  are  under  the  artist's  name  unless  otherwise  noted. 

Years  listed  under  recordings  in  Selected  Discography  denote  the  years  the  recordings  were  made. 

Since  2004,  NEA  Jazz  Masters  have  been  awarded  by  categories,  which  are  listed  next  to  years  for  these  Fellows. 


:er 


TROMBONIST    CELLIST    COMPOSER    ARRANGER    EDUCATOR 


Born  December  21, 1931  in  Indianapolis, 


^DISCOC^ 


A  true  jazz  renaissance  man,  David  Baker  has 
been  active  in  the  jazz  community  as  musician, 
composer,  educator,  conductor,  and 
author.  Of  all  the  NEA  Jazz  Masters,  he  is 
one  ol  the  most  active  as  a  college  and 
university  educator. 

Baker's  music  career  began  on  the 
trombone  in  the  early  1950s  as  he 
worked  with  local  groups,  as  well  as 
Lionel  Hampton,  while  working  on 
his  doctorate  al  Indiana  University. 
He  lived  in  California  in  1956-57. 
pla)  ing  in  the  bands  of  Stan  Kenton 
.ind  Maynard  Ferguson,  and  relumed 
to  Indiana  in  1958,  leading  bis  own  big 
hand  lor  two  years.  He  then  attended  the 
s.  hool  oi  la//  in  Lenox,  Massachusetts  in 

I  60,  joining  a  stellar  i  lass  of  musicians  that 
in<  luded  members  ol  the  Ornette  Coleman  Quartet.  Shortly 
-  he  worked  with  the  George  Russell  hand,  playing 
ifluentiaJ  earls  alliums.    In  Russell's  hand. 

displayed  exceptional  technique, 
"tih.  ai  the  songs. 

eventually  Ton  ed  Baker  to 

a  trombonist  He  switi  bed 
on  (  omposition.  As  a 
an  :■  ol  works,  from 


small  ensemble  to  orchestral,  often  straddling  the  fence 
between  jazz  and  chamber  music.  He  has  also  worked  on 
purely  chamber  and  orchestral  works.  By  the  early 


f> 


George  Russell,  Stratusphunk, 
Original  Jazz  Classics,  1960 

George  Russell,  Ezz-thetics. 
Original  Jazz  Classics,  1961 

George  Russell,  The  Stratus  Seekers. 
Original  Jazz  Classics,  1961 

Smithsonian  Jazz  Masterworks  Orchestra, 

Big  Band  Treasures  Live,  Smithsonian 

Recordings,  1996 

Steppin'Out,  Liscio,  1998 


1970s,  he  had  returned  to  the  trombone — playing 
on  Bill  Evans'  1972  album  Li\ing  Time,  with 
George  Russell  arranging — while  continuing 
to  play  the  cello  as  well.  Although  a  strong 
player  on  both  instruments,  he  is  most 
renowned  for  his  compositions. 

Baker  became  a  distinguished  professor 
of  music  at  Indiana  Universitv  and  chairman 
of  the  Jazz  Department  in  1966.  He  has 
published  in  numerous  scholarly  journals 
and  has  written  several  musical  treatises  as 
well  as  having  authored  more  than  70  books 
on  jazz  and  African  American  music.  Since  1991. 
Baker  has  been  the  artistic  and  musical  director  of 
the  acclaimed  Smithsonian  Jazz  Masterworks  Orchestra. 
He  has  received  numerous  awards  and  citations,  includ- 
ing being  nominated  for  a  Pulitzer  Prize  in  1973  for  his 
composition  Levels,  a  concerto  for  bass,  jazz  band,  wood- 
winds, and  strings.  He  has  served  as  a  member  of  the  NEAs 
National  Council  on  the  Arts,  was  founding  president  of  the 
National  fazz  Service  Organization,  and  is  former  president 
of  the  International  Association  for  Jazz  Education. 


1 1»      NEA  Jiizz  Miistere 


-.V 


Dann 


GUITARIST    BANJOIST   VOCALIST    COMPOSER    EDUCATOR 


Barker 


Born  January  13, 1909  in  New  Orleans,  LA 
Died  March  13, 1994 


Upholder  of  the  New  Orleans  tradition  of  jazz  and 
blues,  this  master  guitar  and  banjo  player  was  as 
well  known  for  his  humor  and  storytelling  as  for  his 
playing.  Many  of  the  younger  New  Orleans  musicians  also 
credit  him  with  providing  invaluable  information,  instruc- 
tion, and  mentoring. 

He  started  his  musical  training  on  the  clarinet,  instructed 
by  the  great  Barney  Bigard,  and  moved  on  to  the  drums, 
taught  by  his  uncle,  Paul  Barbarin.  These  instances  of  musi- 
cal mentoring  and  instruction  available  in  New  Orleans 
would  inspire  him  to  carry  on  the  tradition  of  mentoring 
younger  musicians.  He  later  took  up  the  ukulele  and  the 
banjo,  and  began  finding  work  with  jazz  and  blues  artists 
such  as  the  Boozan  Kings  and  Little  Brother  Montgomery. 
In  1930  he  moved  to  New  York,  where  he  met  his  wife, 
vocalist  Blue  Lu  Barker,  with  whom  he  frequently  recorded. 
He  also  wrote  many  of  the  songs  she  performed,  such  as 
"Don't  You  Feel  My  Leg."  By  then  he  had  switched  from 
banjo  to  guitar  and  found  work  with  Sidney  Bechet,  James  P. 
Johnson,  Albert  Nicholas,  Fess  Williams,  and  Henry  "Red" 
Allen.  He  spent  the  rest  of  the  1930s  working  with  the  big 
bands  of  Lucky  Millinder,  Benny  Carter,  and  Cab  Calloway, 
with  whom  he  stayed  for  seven  years. 

In  the  late  1940s  he  traveled  as  a  freelance  musician, 
making  recordings  in  Los  Angeles  and  New  Orleans.  In 
1947,  Barker  appeared  on  the  This  Is  Jazz  radio  series,  and 


began  playing  banjo  again.  He  returned  to  New  York  in 
1949,  working  with  trombonists  Wilbur  De  Paris  and  Conrad 
Janis,  and  accompanied  his  wife  on  gigs.  In  the  early  1960s, 
he  led  his  own  band  at  Jimmy  Ryan's  on  52nd  Street,  then 
returned  to  the  Crescent  City  in  1965.  Barker  continued 
playing  up  to  the  end  of  his  life,  even  appearing  on  the  Dirty 
Dozen  Brass  Band's  1993  recording,  Jelly.  A  number  of  his 
compositions  have  been  widely  interpreted,  such  as  "Save 
the  Bones  for  Henry  Jones." 

Just  as  important  as  his  performing  career  were  his  edu- 
cational activities.  When  he  returned  home  to  New  Orleans 
in  1965,  he  worked  for  10  years  as  an  assistant  curator  for 
the  New  Orleans  Jazz  Museum,  help- 
ing to  continue  interest  in  the  ^c^0  DISC°G/?,, 


culture  and  tradition  of  the 
music.  He  also  mentored 
young  musicians  through 
his  leadership  of  the 
Fairview  Baptist  Church 
Brass  Band.  Barker  was  a 
writer  as  well,  co-author- 
ing with  Jack  Buerkle  a 
study  on  New  Orleans 
music,  Bourbon  Street 
Mack,  and  writing  his 
memoirs,  A  Life  in  Jazz. 


4^  *y 

Blue  Lu  Barker,  1938-39, 
Classics.  1938-39 

Blue  Lu  Barker,  1946-49, 

Classics,  1946-49 

Save  the  flonflfOrleans,  1988 

Blue  Lu  Barker,  Live  at  New  Orleans 
Jazz  Festival,  Orleans,  1989 

Dirty  Dozen  Brass  Band,  Jelly, 
Columbia,  1993 


NEA  Jazz  Masters       1 7 


I^H 


■ 


illiam  "Count 


asie 

Born  August  21. 1904  in  Red  Bank,  NJ 
Died  April  26, 1984 


PIANIST    ORGANIST    COMPOSER    ARRANGER    BANDLEADER 


Though  a  pianist  and  occasional  organist.  Count  Basie's 
fame  stems  mainly  from  his  history  as  one  of  the  great 
1 1.  n  id  leaders.  Basie's  arrangements  made  good  use  of 
soloists,  allowing  musicians  such  as  Lester  Young,  Buck 
Clayton.  Sweets  Edison,  and  Frank  Foster  to  create  some  of 
their  best  work.  Although  his  strength  was  as  a  bandleader. 
Basie's  sparse  piano  style  often  delighted  audiences  with  its 
swinging  simplicity. 

Basie's  first  teacher  was  his  mother,  who  taught  him 
pi. mo.   Later,  the  informal  organ  lessons  from  his  mentor 
I  .its  Waller  helped  him  find  work  in  a  theater  accompany- 
ing silent  films.   In  1927.  Basie  found  himself  in  Kansas 
City,  playing  with  two  of  the  most  famous  bands  in  the  citv: 
Wilier  Page's  Blue  Devils  and  the  Bennie  Moten  band.   In 
Basie  started  his  own  Kansas  City  band,  engaging  the 
•  the  Moten  band,  Thej  performed  nightly  radio 
broadi  asts,  which  caughl  the  attention  of  music  producer 
fohn  Hammond    In  1936,  Hammond  brought  the  Basie 
York,  where  it  opened  at  the  Roseland 
By  the  next  \e,ir.  the  band  was  a  fixture  on 
ceat  the  Famous  Door. 
s  time  the  kej  to  Basie's  band  was  what 

Ml  Ainerii  an  Rhythm  Section:" 

guitar.  Walter  Page  on  bass,  and  |o  Jones 
iile  potent,  including 
and  I  lersc  fiel  Evans  on  saxc- 

lison  on  trumpets;  and 
■n  trombones.  With  a 
i  top-noti  h  soloists  in  the  horn 


<® 


■iP 


,^D  DISCQq 


V, 


The  Original  American  Decca 
Recordings.  MCA,  1937-39 


April  in  Paris.  Verve,  1956 

The  Complete  Atomic  Basie. 
Roulette.  1957 

Count  Basie  and  the  Kansas  City  7, 
Impulse!.  1962 

77?e  Basie  Big  Band. 
Pablo,  1975 


section,  Basie's  band  became 
one  of  the  most  popular 
between  1937-49.  scoring 
such  swing  hits  as  "One 
O'clock  Jump"  and 
"Jumpin"  at  the  Woodside." 
Lester  Young's  tenor  saxo- 
phone playing  during  this 
period,  in  particular  on  such 
recordings  as  "Lester  Leaps  In" 
and  "Taxi  War  Dance."  influenced  jazz 
musicians  for  years  to  come.  In  addition. 
Basie's  use  of  great  singers  such  as  Helen  Humes  and 
Jimmy  Rushing  enhanced  his  band's  sound  and  popularity. 

Economics  forced  Basie  to  pare  down  to  a  septet  in 
1950.   By  1952  he  had  returned  to  his  big  band  sound, 
organizing  what  became  euphemistically  known  as 
his  "New  Testament"  band,  which  began  a  residency  at 
Birdland  in  New  York.  The  new  band  retained  the  same 
high  standards  of  musicianship  as  the  earlier  version. 
with  such  standouts  as  Frank  Foster,  Frank  Wes.  Eddie 
"Lockjaw"  Smith.  Thad  Jones,  and  Joe  Williams.   Foster's 
composition  "Shiny  Stockings"  and  Williams'  rendition  of 
"Ia  ery  Day"  brought  Basic  a  couple  of  much-needed  hits  in 
the  mid- 1950s.   In  addition  to  achieving  success  with  his 
own  singers,  he  also  enjoyed  acclaim  for  records  backing 
mii  h  stars  as  Frank  Sinatra,  Sammy  Davis.  Jr..  and  Tony 
Bennett.   Basie  continued  to  perform  and  record  until  his 
death  in  1984. 


NKA  Jazz  Musters 


*  •  <*5k±.  •• 


Loui 


DRUMMER    COMPOSER    ARRANGER    BANDLEADER    EDUCATOR 


Bellson 


Born  July  6, 1924  in  Rock  Falls,  IL 


Referred  to  by  Duke  Ellington  as  "not  only  the  world's 
greatest  drummer... [but  also]  the  world's  greatest 
musician,"  Louie  Bellson  has  expressed  himself  on 
drums  since  age  three.  At  15,  he  pioneered  the  double  bass 
drum  set-up,  and  two  years  later  he  triumphed  over  40,000 
drummers  to  win  the  Gene  Krupa  drumming  contest. 
Bellson  has  performed  on  more  than  200 


Live  in  Stereo  at  the  Flamingo  Hotel,  Vol. 
Jazz  Hour,  1959 


albums  as  one  of  the  most  sought-after  big 

band  drummers,  working  with  such  greats 

as  Duke  Ellington  (who  recorded  many  of 

Bellson's  compositions).  Count  Basie, 

Benny  Goodman,  Tommy  Dorsey,  Harry 

James,  Woody  Herman,  Oscar  Peterson, 

Dizzy  Gillespie,  Louie  Armstrong,  and 

Lionel  Hampton.  He  toured  with 

Norman  Granz's  all-star  Jazz  at  the 

Philharmonic,  and  worked  with  many 

vocalists,  including  Ella  Fitzgerald,  Sarah 

Vaughan,  Tony  Bennett,  Joe;  Williams,  and 

his  late  wife,  Pearl  Bailey,  for  whom  he  served 

as  musical  director.  He  also  appeared  in  several 

films  in  the  1940s,  including  The  Power  Girl,  The  Gang's 

All  Here,  and  A  Song  is  Born. 

A  prolific  composer,  Bellson  has  more  than  1,000 
compositions  and  arrangements  to  his  name,  embracing  jazz, 
swing,  orchestral  suites,  symphonic  works,  and  ballets. 


^DDISCOo^ 


7. 


Dynamite  I, Concord,  1979 

East  Side  Suite,  Musicmasters,  1 987 

Black,  Brown  &  Beige,  Musicmasters,  1992 

Live  from  New  York,  Telarc,  1993 


As  an  author,  he  has  published  more  than  a  dozen  books  on 
drums  and  percussion,  and  is  a  six-time  Grammy  Award 
nominee.  In  1998,  he  was  hailed — along  with  Roy  Haynes, 
Elvin  Jones,  and  Max  Roach — as  one  of  four  "Living  Legends 
of  Music"  when  he  received  the  American  Drummers 
Achievement  Award  from  the  Zildjian  Company. 
Bellson  also  is  a  highly  sought-after 
educator,  giving  music  and  drum  workshops 
and  clinics,  teaching  not  onlv  his  dvnamic 
drumming  technique  but  also  the  jazz 
heritage.  He  has  been  awarded  four 
honorary  doctoral  degrees  from  Northern 
Illinois  University,  Denison  University. 
Augustana  College,  and  DePaul  University. 

In  2003.  a  historical  landmark 
was  dedicated  at  his  birthplace  in  Rock 
P'alls,  Illinois,  inaugurating  an  annual 
three-day  celebration  there  in  his  honor. 
Continuing  to  compose  and  record,  his  2005 
recording,  The  Sacred  Music  of  Louie  Bellson. 
showcases  his  prowess  for  blending  orchestral 
music,  choir,  and  big  band.  He  continues  to  perform  with 
his  big  band  after  more  than  65  years  onstage,  still  thrilling 
audiences  worldwide. 


NEA  Jazz  Masters       19 


akey 


DRUMMER    BANDLEADER 


Born  October  11. 1919  in  Pittsburgh,  PA 
Died  October  16, 1990 


Art  Blakey's  Jazz  Messengers  not  only  supplied 
consistently  exciting  and  innovative  music  for  nearly 
40  years,  but  also  provided  the  experience  and  men- 
toring for  young  musicians  to  learn  their  trade.  Though  self- 
taught,  Blakey  was  already  leading  his  own  dance  band  by 
age  14.  Blakey's  first  noted  sideman  job  came  in  1942  with 
Mary  Lou  Williams,  whom  he  joined  for  a  club  engagement 
at  Kelly's  Stables  in  New  York.  The  following  year  he  joined 
the  Fletcher  Henderson  Orchestra,  where  he  stayed  until 
joining  Billy  Fckstine's  modern  jazz  big  band  in  1944. 
A  subsequent  trip  to  Africa,  ostensibly  to  immerse  himself 
in  Islam,  revealed  to  him  that  jazz  was  truly  an  American 
music  which  Ik;  preached  from  the  bandstand  thereafter. 
He  adopted  the  Muslim  name  of  Abdullah  Ibn  Buhaina,  but 
•  ontinued  to  record  under  Art  Blakey. 

In  tin:  earl)  1950s,  he  worked  with  such  greats  as  Miles 
Davis,  Charlie  Parker,  Horace  Silver,  and  Clifford  Brown. 
I  In-  latter  two  Imi  imc  members  of  the  Jazz  Messengers, 
i!\  a  cooperative  unit  Brown,  then 
to  form  their  own  hands  and  Blakey  became  the 
sengers.   The  Messengers  went  on 
I  ailed  hard  bop,  a  logical 
the  bebop  style  thai  was  mom  hard-driving 
i  i     '  era  made  a  concerted 

jazz  that  had 
n  the  ballroom  era  ()|  jazz  dec  lined. 


Blakey  powered  his  bands  with  a  distinctive,  take-no- 
prisoners  style  of  drumming  that  recalled  the  thunderous 
and  communicative  drum  traditions  of  Africa.  Though 
his  drumming  became  among  the  most  easily  recognized 
sounds  in  jazz,  Blakey  always  played  for  the  band, 
prodding  on  his  immensely  talented  colleagues'  solos. 

From  the  first  Jazz  Messengers  band  he  formed,  Blakey 
has  welcomed  generations  of  exceptional  young  musicians 
who  have  evolved  into  prominent  bandleaders  and  contribu- 
tors themselves.  That  list,  reading  like  a  Who's  Who  of  jazz, 
includes  Donald  Byrd,  Johnny  Griffin,  Lee  Morgan,  Benny 
Golson,  Wayne  Shorter,  Freddie  Hubbard,  Keith  Jarrett, 
Woody  Shaw,  Joanne  Brackeen,  Bobby  Watson,  James 
Williams,  and  three  of  the  Marsalis  brothers  (Wynton, 
Branford,  and  Delfeayo).  His  mentoring  of  these  musicians, 
helping  them  to  hone  their  skills 
and  preparing  them  to  lead 
their  own  bands,  has  helped 
keep  the  jazz  tradition 
alive  and  thriving.  For 
the  remainder  of  his 
career,  Blakey  contin- 
ued to  take  the  Jazz 
Messengers  message 
across  the  globe. 


A  Night  at  Birdland,  Vols.  1-2. 
Blue  Note,  1954 

Art  Blakey's  Jazz  Messengers 
with  Thelonious  Monk.  Atlantic,  1957 


A  lun! 
3I™N 


Moanin.  B\W Note,  1958 

Buhaina's  Delight. 
Blue  Note,  1961 

Keystone  3.  Concord,  1982 


20      NKA  .1. 


PIANIST   VOCALIST 


rowii 


Cleo  Brown  bears  the  distinction  of  being  the  first 
woman  instrumentalist  honored  with  the  NEA  Jazz 
Masters  Fellowship.  Her  family  moved  to  Chicago  in 
1919  and  four  years  later,  at  age  14,  she  started  working  pro- 
fessionally with  a  vaudeville  show.  Her  brother  Everett, 
who  worked  with  "Pine  Top"  Smith,  taught  her  the  boogie 
woogie  piano  style  that  became  her  trademark. 

Brown  performed  in  the  Chicago  area  during  the  late 
1920s.  In  1935,  she  replaced  Fats  Waller  on  his  New  York 
radio  series  on  WABC,  and  soon  began  recording.  Her 
version  of  "Pine  Top's  Boogie  Woogie"  was  influential  on 
pianists  that  came  after  her,  and  she 
is  credited  with  being  an  early  influence  on 
Dave  Brubeck,  who  played  during  the 
intermissions  of  her  shows,  and  Marian 
McPartland,  among  others.  Through  the 
1950s  she  worked  frequently  at  that 
city's  Three  Deuces  club,  establishing 
a  reputation  as  a  two-fisted,  driving 


^ 


Born  December  8, 1909  in  Meridian,  MS 
Died  April  15, 1995 

pianist.  Brown  began  to  gain  international  renown  for  her 
work,  and  she  continued  to  perform  regularly  in  New  York, 
Hollywood,  Las  Vegas,  Los  Angeles,  and  San  Francisco  until 
1953,  making  records  for  Capitol  Records  and  performing 
with  the  Decca  All-Stars,  among  others. 

Brown  then  dropped  out  of  the  music  business  com- 
pletely and  took  up  full-time  nursing.  After  retiring  from 
nursing  in  1973,  she  returned  to  music,  spending  her  latter 
years  as  a  church  musician  in  her  Seventh  Day  Adventist 
Church  in  Denver,  Colorado.  In  1987,  Marian  McPartland 
sought  out  Brown  as  a  guest  on  her  long-running  radio 

series,  Piano  Jazz.  A  recording  of  the  program  was 
released  as  Living  in  the  Afterglow,  Brown's  last 
recording.  Although  all  the  numbers  are 
gospel  songs  (many  are  originals  by 
Brown),  they  are  played  in  the  same  rol- 


Various  Artists,  Boogie  Woogie  Stomp, 

ASV/Living  Era,  1930s-40s  hckm8  style  as  her  1930s  recordings 


The  Legendary  Cleo  Brown,  President,  1 930s 

Boogie  Woogie,  Official,  1935-36 

Here  Comes  Cleo,  Hep,  1935-36 

Living  in  the  Afterglow, 
Audiophile,  1987 


NEA  Jazz  Masters      21 


►rown 


BASSIST    EDUCATOR 


Born  October  13, 1926  in  Pittsburgh,  PA 
Died  July  2, 2002 

Ray  Brown's  dexterity  and  rich  sound  on  the  bass 
made  him  one  of  the  most  popular  and  prolific  musi- 
cians  in  jazz  for  over  50  years.   The  Penguin  Guide  to 
jazz  on  CD  notes  that  Brown  is  the  most  cited  musician  in 
the  first  edition  of  the  guide,  both  for  his  own  small  ensem- 
ble work  and  as  a  sideman,  testifying  to  his  productivity. 

Brown  studied  the  piano  from  age  eight  and  began  play- 
ing the  bass  at  17,  performing  his  first  professional  job  at  a 
Pittsburgh  club  in  194:).  His  first  significant  tour  was  with 
bandleader  Snookum  Russell  in  1944.  whereupon  he  moved 
to  Now  York  the  following  year.  By  1946  he  was  working  in 
l)i//\  Gillespie's  band,  and  in  1948  he  formed  a  trio  with 
Hank  Jones  and  Charlie  Smith.    In  1948.  he  married  Ella 
Fitzgerald  and  be<  ame  musical  director  on  her  own  tours 
and  her  la//  at  the  Philharmonic  lours  until 

their  breakup  in  1952.    In  1951.  he 
>ii  a  stint  with  the  f  )s<  ar  Peterson 
■  d  until  1966.    It  was 
in  i,  it  Brown's 

-an 

loring  the 
ad  u   both  thi  piano- 


^DDISCOG^ 


Oscar  Peterson,  The  Ultimate 
Oscar  Peterson,  Verve,  1956-64 

Much  in  Common.  Verve,  1962-65 

Summer  Wind:  Live  a*be  Loa,  Concord,  1988 

Some  of  My  Best  Friends  Are... 
The  Sax  Players,  Telarc.  1995 


In  the  mid-1960s.  Brown  co-led  a  quintet  with  vibist 
Milt  Jackson,  with  whom  he  had  worked  in  the  1940s 
as  part  of  Dizzy  Gillespie's  rhythm  section  and  later  as  a 
member  of  the  Milt  Jackson  Quartet,  the  precursor  to  the 
Modern  Jazz  Quartet.  In  the  late  1970s  to  early  1980s. 
Brown  formed  his  first  full-time  trio,  which  was  to  become 
his  favored  touring  and  performance  unit  over  the  next 
couple  of  decades,  and  utilized  a  variety  of  up-and-coming 
musicians  in  his  bands,  including  pianists  Gene  Harris. 
Monty  Alexander,  Bennv  Green,  and  Geoff  Keezer  and 
drummers  Jeff  Hamilton.  Lewis  Nash.  Gregory  Hutchinson, 
and  Kariem  Riggins. 

Brown  was  also  been  involved  in  jazz  education,  includ- 
ing authoring  the  Ray  Broun  Bass  Book  1.  an  instructional 
volume.  He  served  as  mentor  to  numerous  young  musicians, 
including  those  who  have  passed  through  his  groups  and 
special  guests  he  invited  to  play  on  a  series  of  1990s 
recordings  for  die  Telarc  label  titled  Some  of  My 
Best  Friends  are....  These  have  included  pianists, 
saxophonists,  trumpeters,  and  vocalists.  Some  of 
the  greal  younger  bassists,  such  as  John  Clayton 
and  Christian  McBride.  count  him  as  a  major 
influence  on  their  sound. 


Ray  Brown  with  John  Clayton  and 

Christian  McBride,  Super  Bass  2. 

Telarc.  2001 


22      NKA   I 


PIANIST    COMPOSER 


Brubeck 


Bom  December  6, 1920  in  Concord,  CA 


Dave  Brubeck,  declared  a  "Living  Legend"  by  the 
Library  of  Congress,  continues  to  be  one  of  the  most 
active  and  popular  jazz  musicians  in  the  world 
today.  His  experiments  with  odd  time  signatures 
improvised  counterpoint,  and  a  distinctive 
harmonic  approach  are  the  hallmarks  of  his 
unique  musical  style. 

Born  into  a  musically  inclined 
family — his  two  older  brothers  were 
professional  musicians — he  began  taking 
piano  lessons  from  his  mother,  a  classical 
pianist,  at  age  four.  After  graduating 
from  College  of  the  Pacific  in  1942,  he 
enlisted  in  the  Army,  and  while  serving 
in  Europe  led  an  integrated  G.I.  jazz  band. 
At  the  end  of  World  War  II,  he  studied 
composition  at  Mills  College  with  French  clas- 
sical composer  Darius  Milhaud,  who  encouraged 
him  to  introduce  jazz  elements  into  his  classical 
compositions.  This  experimentation  of  mixed  genres  led  to 
the  formation  of  the  Dave  Brubeck  Octet  that  included  Paul 
Desmond,  Bill  Smith,  and  Cal  Tjader.  In  1949,  Brubeck 
formed  an  award-winning  trio  with  Cal  Tjader  and  Ron 
dotty,  and  in  1951  expanded  the;  band  to  include  Desmond. 
Brubeck  became  the  first  jazz  artist  to  make  the  cover  of 
Time  magazine,  in  1954,  and  in  1958  performed  in  Europe 
and  the  Middle  Last  for  the  U.S.  State  Department,  leading 
to  the  introduction  of  music  from  other  cultures  into  his 
repertoire.  In  1959,  the  Dave  Brubeck  Quartet  recorded  an 
experiment  in  time  signatures,  Time  Out.  The  album  sold 


Jazz  at  Oberlin, 
Original  Jazz  Classics,  1953 

lime  Out,  Columbia,  1959 

The  Heal  Ambassadors, 
Columbia/Legacy.  1961 

Classical  Brubeck, 
Telarc,  2002 

Private  Brubeck  Remembers, 
Telarc,  2004 


more  than  a  million  copies,  and  Brubeck's  "Blue  Rondo  a  la 
Turk,"  based  on  a  Turkish  folk  rhythm,  and  Desmond's  "Take 
Five"  appeared  on  jukeboxes  throughout  the  world. 

Throughout  his  career,  Brubeck  has  continued 
to  experiment  with  integrating  jazz  and  classi- 
cal music.    In  1959,  he  premiered  and 
recorded  his  brother's  Dialogues  for  Jazz 
Combo  and  Orchestra  with  the  New  York 
Philharmonic  under  Leonard  Bernstein. 
In  1960,  he  composed  Points  on  Jazz  for 
the  American  Ballet  Theatre,  and  in  later 
decades  composed  for  and  performed 
with  the  Murray  Louis  Dance  Co.  His 
musical  theater  piece,  The  Real 
Ambassadors  starring  Louis  Armstrong 
and  Carmen  McRae.  was  also  written  and 
recorded  in  1960  and  performed  to  great 
acclaim  at  the  1962  Monterey  Jazz  Festival.  The 
classic  Dave  Brubeck  Quartet  with  Paid  Desmond, 
Eugene  Wright,  and  Joe  Morello  was  dissolved  in  December 
1967  and  Brubeck's  first  of  many  oratorios,  The  bight  in  the 
Wilderness,  was  premiered  in  1968. 

In  the  early  1970s,  Brubeck  performed  with  three  of  his 
musical  sons.  He  later  led  a  quartet  thai  featured  former 
Octet  member  Hill  Smith.  His  current  group  is  with  Bobby 

Mililello,  sax  and  flute;  Randy  Jones,  drums;  and  Michael 
Moore,  bass.  He  has  received  many  honors  in  the  U.S.  and 
abroad  for  his  contribution  to  jazz,  including  the  National 
Medal  of  Arts,  a  ( Irammy  Lifetime  Achievement  Award,  and 
the  Austrian  Medal  ol  the  Arts. 


NEA  Jazz  Masters      23 


GUITARIST      COMPOSER     EDUCATOR 


Born  July  31, 1931  in  Detroit, 


<& 


^DDISCOo^ 


Kenny  Burrell  pioneered  the  guitar-led  trio  with  bass 
and  drums  in  the  late  1950s.  Known  for  his  har- 
monic creativity,  lush  tones,  and  lyricism  on  the  gui- 
tar, he  is  also  a  prolific  and  highly  regarded  composer.  Born 
in  Detroil  in  1931,  he  found  musical  colleagues  at  an  early 
age  among  Paul  Chambers,  Tommy  Flanagan,  Frank  Foster, 
Yusel  Lateef,  and  the  brothers  Thad.  Hank,  and  Elvin  Jones. 
While  still  a  student  at  Wayne  State  University,  he  made  his 
Bret  major  recording  in  1951  with  Dizzy  Gillespie, 
|ohn  Coltrane.  Percy  Heath,  and  Milt 
|a(  kson. 

AJtei  graduation,  be  toured  lor  six 
months  with  the  Oscar  Peterson  Trio 
and  then  moved  to  New  York,  where 
he  performed  in  Broadwaj  pit  hands, 
on  pop  and  R8d3  studio  sessions 
(with  Lena  Home,  Tony  Bennett,  and 
Brown),  in  jazz  venues,  and  on 
He  went  on  to  work 
■  in  h  artists  as  Nal 
lie  HoUday,  Stan  Getz, 

Dorham,  Benny 

i    lillllllV 

Smith  irded  more  than 

nisi  on  more  than  200 
ith  Art  Blakey,  Herbie 
Hani  i"  k 


> 


Kenny  Burrell  &  John  Coltrane, 
Prestige/OJC.  1958 

Midnight  Blue,  Blue  Note,  1963 

Guitar  Form's^Jene.  1 964 

Live  at  the  Blue  Note,  Concord  Jazz,  1 996 


Kenny  Burrell  &  the  Boys  Choir  of 

Harlem,  Love  is  the  Answer, 

Concord  Jazz,  1997 


Kenny  Burrell's  compositions  have  been  recorded  by 
artists  including  Ray  Brown,  June  Christy,  Grover 
Washington,  Jr.,  Frank  Wess,  and  Stevie  Ray  Vaughan. 
His  extended  composition  for  the  Boys  Choir  of  Harlem 
was  premiered  at  New  York's  Lincoln  Center,  and  his  "Dear 
Ella,"  performed  by  Dee  Dee  Bridgewater,  won  a  1998 
Grammy  Award. 

In  addition  to  performing  and  recording,  he  is  a 
professor  of  music  and  ethnomusicology  at  the 
University  of  California  at  Los  Angeles.  A 
recognized  authority  on  the  music  of  Duke 
Ellington,  he  developed  the  first  regular  college 
course  ever  taught  in  the  United  States  on 
Ellington  in  1978.  In  1997.  he  was 
appointed  Director  of  the  Jazz  Studies 
Program  at  UCLA,  where  he 
has  enlisted  such  faculty  members 
as  George  Bohanon,  Billy  Quids.  Billy 
Higgins,  Harold  Land.  Bobby  Rodriguez,  and 
Gerald  Wilson. 
Kenny  Burrell  is  the  author  of  two  books. 
Jazz  Guitar  and  Jazz  Guitar  Solos.  In  2004.  he 
received  a  Jazz  Educator  of  the  Year  Award  from 
Down  Beat   I  [e  is  a  founder  of  the  Jazz  Heritage 
Foundation  and  the  Friends  of  Jazz  at  UCLA  and  is  recog- 
nized as  an  international  ambassador  for  jazz  and  its  promo- 
tion as  an  art  form. 


24      NKA  .1. 


TRUMPETER    FLUGELHORNIST    EDUCATOR 


Born  December  9, 1932  in  Detroit, 


A  pioneer  jazz  educator  on  African  American  college 
and  university  campuses,  as  well  as  general  colleges 
and  universities,  Donald  Byrd  has  also  been  a 
leading  improviser  on  trumpet.  Raised  in  the  home  of 
a  Methodist  minister  and  musician,  he  learned  music 
in  the  then  highly  regarded  music  education  system 
in  the  Detroit  high  schools.  Byrd  went  on  to  earn 
degrees  from  Wayne  State  University  and  the 
Manhattan  School  of  Music,  eventually  earning  a 
doctorate  from  the  University  of  Colorado  School 
of  Education.  He  studied  music  with  the  famed  /\ 

teacher  Nadia  Boulanger  in  Paris  in  1963. 

Byrd  played  in  the  Air  Force  band  during  1951-52, 
then  relocated  to  New  York.  Some  of  his  earliest  gigs  in 
New  York  were  with  the  George  Wallington  group  at 
Cafe  Bohemia.  He  joined  Art  Blakey's  Jazz  Messengers 
in  December  1955.  Following  his  Messengers  experience, 
he  worked  in  a  variety  of  bands  with  Max  Roach,  John 
Coltrane,  Red  Garland,  and  Gigi  Gryce,  refining  his  playing 
skills.  In  1958  he  co-led  a  band  with  fellow  Detroiter 
Pepper  Adams,  which  continued  for  the  next  three  years. 
In  the  early  1960s,  he  became  a  bandleader  of  his  own 
touring  quintet.  During  1965-66  he  was  a  house  arranger  for 
the  Norwegian  Radio  Orchestra.  It  was  also  at  this  time  that 


# 


& 


he  became  more  active  as  an  educator, 
teaching  at  New  York's  Music  & 


^ 


»> 


First  Flight,  Denmark,  1955 

Early  Byrd,  Blue  Note,  1960-72 

Electric  Byrd,  Blue  Note,  1970 

Black  Byrd,  Blue  Note,  1974 

City  Called  Heaven,  Landmark,  1991 


Art  High  School.  He  held  clinics 
for  the  National  Stage  Band 
Camps,  giving  private  lessons 
and  instruction.  Among 
the  college  and  university 
teaching  appointments  that 
followed  were  Rutgers 
University,  Hampton 
University,  Howard 
University,  North  Carolina 
Central  University,  North  Texas 
State,  and  Delaware  State 
University.  He  also  earned  a  law 
degree  between  teaching  appointments. 
At  Howard  University,  where  he  was  chair- 
man of  the  Black  Music  Department,  he  brought  together  a 
group  of  talented  students  to  form  Donald  Byrd  &  the  Black- 
byrds,  a  pop-jazz  band  that  had  a  hit  record  for  Blue  Note, 
and  continued  to  record — sans  Byrd — for  the  Fantasy  label. 
His  recorded  innovations  also  included  the  use  of  vocal  cho- 
rus, which  resulted  in  his  popular  recording  of  "Cristo 
Redemptor,"  as  well  as  his  engagements  of  gospel  texts. 


NEA  Jazz  Masters       25 


Benny 


Carter 


Born  August  8, 1907  in  New  York,  NY 
Died  July  12.  2003 


SAXOPHONIST   TRUMPETER    ARRANGER    COMPOSER    BANDLEADER 


Benny  darter  made  memorable  impressions  as  a  great 
bandleader  and  improviser  with  a  highly  influential 
style.  Largely  self-taught,  Carter's  first  instrument 
u.is  the  trumpet,  altbough  the;  alto  saxophone  eventually 
hi'(  .iinc  his  principle  instrument.  Some  of  his  earliest 
professional  jobs  were  with  bands  led  by  cornetist  June 
(  Hark  .ind  pi. mist  Earl  Hines,  where  his  unusual  ability  to 
pla)  both  trumpel  and  saxophone  was  highly  regarded. 
In  i'i  10-3 l  he  spent  a  year  with  the  Fletcher  Henderson 
On  hestra,  then  for  a  short  time  Ik;  succeeded  Don  Redman 
is  musi  if  McKinney's  Cotton  Pickers.  During 

the  earl)  1930s,  be  also  made  his  Mist  recordings  with  the 

date  Dandies,  which  included  Coleman  Hawkins. 
In  19  i  formed  his  own  big  band.  At  various 

times  the  band  ini  luded  su<  h  significant  players 


leading  a  multiethnic  band  in  Scandinavia  in  1937. 
Growing  restless.  Carter  returned  to  the  U.S.  in  1938  and 
assembled  a  new  big  band,  which  became  house  band  at  die 
Savoy  Ballroom  through  1940.  In  1942,  with  another  new 
band  in  tow.  he  settled  in  Los  Angeles,  his  longtime  home 
base.  With  lucrative  film  studios  calling.  Carter  began  scor- 
ing films  and  television.  He  became  one  of  the  first  African 
Americans  to  be  employed  in  the  field,  easing  the  way  for 
other  black  composers.  His  first  film  work  was  in  1943  on 
Stormy  Weather. 

Starting  in  1946.  with  his  composing  and  arranging 
skills  in  constant  demand.  Carter  disbanded  his  orchestra 
and  became  largely  a  freelance  player.    He  participated  in 
tours  with  Jazz  at  the  Philharmonic  and  wrote 


n  Webster,  Chu  Berry,  Teddy  Wilson, 
Di(  k\  Wells,  Bill  Coleman,  and  Sid  Catlett. 
In  !  •  i  dissolved  bis  band  and 

the  next  year,  where  be 
•  i  foi  the  BBC 
don  until  I1'  18    His 

mb  i    adorial 
lisl  u  ith 
(I 


arrangements  for  major  singers  such  as  Ray 
Charles,  Ella  Fitzgerald.  Peggy  Lee.  Sarah 


^DDISCOo^ 


All  of  Me, 
Bluebird,  1934-59 

Jazz  Giant. 
Original  Jazz  Classics,  1957-58 

Further  ommtions, 
Impulse!,  1961-66 

In  the  Mood  for  Swing. 
MusicMasters,  1987 

Harlem  Renaissance. 
MusicMasters,  1992 


Vaughan.  and  Louis  Armstrong.   Many  of 
his  subsequent  recordings,  such  as  the 
widelv  hailed  Further  Definitions,  were 
evidence  of  the  depth  of  his  composing 
and  arranging  mastery  He  received  the 
National  Medal  of  Arts  in  2000. 


26      NEA  .1. 


VOCALIST    BANDLEADER    EDUCATOR 


Carter 


Born  May  16, 1930  in  Flint,  Ml 

Died  September  26, 1998 


Betty  Carter  developed  a  legendary  reputation,  along 
with  Art  Blakey,  as  one  of  the  great  mentors  for 
young  jazz  musicians.  Equally  legendary  was  her 
singing  prowess,  creating  a  distinctive  style  of  improvisation 
that  could  transcend  any  song. 

Carter  studied  piano  at  the  Detroit  Conservatory,  a  skill 
that  served  her  well  later  in  her  career  in  writing  original 
songs.  Growing  up  in  Detroit,  she  was  exposed  to  numer- 
ous jazz  greats  who  passed  through  town,  even  getting  a 
golden  opportunity  as  a  teenager  to  sit  in  with  Charlie 
Parker.  Carter's  big  break  came  in  1948,  when  she  was 
asked  to  join  the  Lionel  Hampton  band.  Developing  her 
vocal  improvisations  during  the  three  years  with  the  band 
led  to  her  singular  singing  style.  Hampton,  impressed  with 
her  saxophone-like  improvisatory  vocals,  dubbed  her 
"Betty  Bebop."  After  leaving  Hampton's  band,  she  worked 
variously  with  such  greats  as  Miles  Davis,  Ray  Charles,  and 
Sonny  Rollins  before  creating  her  own  band. 

Although  she  recorded  for  major  record  labels  early  in 
her  career,  Carter  became  increasingly  frustrated  with  record 
company  dealings  and  disparities  and  formed  her  own  label 
Bet-Car  in  1971,  one  of  the  first  jazz  artists  to  do  so.  Selling 
her  own  recordings  through  various  distributors,  she  was 
able  to  sustain  her  performing  career.  Carter  was  uncomfort- 
able with  studio  recordings,  but  live  recordings,  like  The 
Audience  with  Betty  Carter,  demonstrate  her  remarkably 
inventive  singing  and  her  ability  to  drive  the  band. 


Carter's  bands  served  a  dual  purpose:  for  her  to  create  her 
own  great  music  and  to  help  the  young  musicians  develop 
then  craft.  Many  of  the  musicians  who  passed  through 
her  groups  went  on  to  lead  their  own  groups,  such  as  Geri 
Allen,  Stephen  Scott,  Don  Braden,  and  Christian  McBride. 

She  also  developed  a  mentoring 
program  called  Betty  Carter's 
Jazz  Ahead  through  links 
with  organizations 
like  the  International 
Association  for  Jazz 
Education,  651  Arts, 
and  the  Kennedy 
Center.  The  program 
was  a  one-to-two 
week  teaching  seminar 
where  nationally 
selected  promising 
young  jazz  musicians 
Learned  from  Carter  and  other 
seasoned  musicians,  culminating 
in  a  final  concert  of  instructors  and  students  together.  Jazz 
Ahead  was  one  of  Carter's  proudest  achievements,  and  she 
worked  with  the  program  up  until  her  death. 


I  Can't  Help  It, 
Impulse!,  1958-60 

At  the  Village  Vanguard, 
Verve,  1970 

The  Audience  with  Betty  Carter, 
Verve,  1979 

Look  What  I  Got, 
Verve,  1988 

Feed  the  Fire, 
Verve,  1993 


NEA  Jazz  Masters      27 


•  ••• 

•  •• 


' 


BASSIST    CELLIST    COMPOSER    EDUCATOR 


Bom  May  4, 1937  in  Ferndale,  I 


Ron  Carter's  dexterity  and  harmonic  sophistication 
have  few  rivals  in  the  history  of  bass  in  jazz.  In  addi- 
tion to  the  bass,  he  has  also  employed  both  the  cello 
and  the  piccolo  bass  (a  downsized  bass  pitched  somewhere 
between  cello  and  contrabass),  one  of  the  first  musicians 
to  use  those  instruments  in  jazz  settings. 
His  pursuit  of  music  began  with  the 
cello,  at  age  10.  One  of  the  many  students 
aspiring  to  be  musicians  in  the  Detroit 
public  schools,  he  switched  to  the  bass 
I  Eigb  School.  Hi?  studied 
.it  the  Eastman  Si  hool  of  Music  in 
K(«  tester,  New  York  and  eventually 
made  his  way  to  New  York  City, 

aster's  degree 

in  Musii  from  the  Manhattan  Si  hool 

ii  1961.  He  began  freelancing, 
playing  with  a  host  of  jazz  greats,  such  as 
(  bjco  Hamilton,  Ranch  Weston.  Bobby 

ill    Monk,  and  Art  Farmer. 
nii.il  albums  with  the  greal 
Dolphy,  two  undei  Dolphy's  name  and 

ind  Dolphy's  Out  There 
'  played  i  ello  against 
i  in  Ii  lowei  texture  against 
his  horn  plaj  ing. 
MiU's  Davis  in  wh.it  would  bet  ome 
intel  tli.it  iik  ludcd  VVavne 


Miles  Davis,  ES.P. 
Columbia,  1965 

Live  at  Village  West, 
Concord,  1982 


Eig, 

Drevfi 


us, 
1990 


i 


Herbie  Hani  cm  k    l).i\is  even 


:  notably  "R.J.," 


"Mood,"  and  "Eighty-One" — and  the  rhythm  section  of 
Carter,  Williams,  and  Hancock  powered  the  horn  section 
to  greater  heights.  He  remained  with  Davis  from  1963-68, 
whereupon  he  grew  tired  of  the  rigors  of  the  road,  preferring 
to  freelance,  lead  his  own  groups,  and  teach.  Among  the 
cooperative  bands  he  performed  with  during  the 
?°Q/*4/>         remainder  of  the  1960s  were  the  New  York  Jazz 
Sextet  and  the  New  York  Bass  Choir. 
Throughout  the  1970s,  he  was  a  recording  stu- 
dio bassist  in  high  demand,  though  he  never 
stopped  gigging  widi  a  variety  of  artists  and 
bands,  including  several  touring  all-star 
units  such  as  the  CTI  All-Stars,  V.S.O.P. 
(ostensibly  a  reunion  of  die  Davis  band 
minus  die  leader),  and  Uie  Milestone 
Jazzstars,  which  included  Sonny  Rollins  on 
tenor  saxophone.  McCoy  Tyner  on  piano, 
and  Al  Foster  on  drums. 

His  freelance  work  has  continued 
throughout  his  career,  including  chamber  and 
orchestral  work,  film  and  television  soundtracks,  and 
even  some  hip  hop  recordings.  Carter  continues  to  record 
with  young  musicians  such  as  Stephen  Scott  and  Lewis 
Nash,  and  his  college  and  university  teaching  career  has  also 
been  quite  active.  He  is  Distinguished  Professor  of  Music, 
Emeritus  of  the  City  College  of  New  York,  and  has  received 
honorary  doi  torate  degrees  from  The  Berklee  School  of 
Music,  the  Manhattan  School  of  Music,  and  the  New  England 
Conservator]  in  Boston.  He  has  also  written  several  book  on 
bass.  ju(  hiding  Building  A  Id/:/.  Bass  Line. 


Brandenburg  Concerto, 
Blue  Note,  1995 

The  Golden  Striker, 
Blue  Note,  2002 


28      NKA  .1. 


00 
CO 


DRUMMER    BANDLEADER 


Kenny  Clarke,  known  among  musicians  as  "Klook"  for 
one  of  his  characteristic  drum  licks,  is  truly  a  jazz 
pioneer.  He  was  a  leader  in  the  rhythmic  advances 
that  signaled  the  beginning  of  the  modern  jazz  era,  his  drum 
style  becoming  the  sound  of  bebop  and  influencing  drum- 
mers such  as  Art  Blakey  and  Max  Roach. 

Clarke  studied  music  broadly  growing  up,  including 
piano,  trombone,  drums,  vibraphone,  and  theory  while  in 
high  school.  Such  versatility  of  knowledge  would  later  serve 
him  well  as  a  bandleader.  Clarke  moved  to  New  York  in  late 
1935,  where  he  first  began  developing  his  unique  approach 
to  the  drums,  one  with  a  wider  rhythmic  palette  than  that  of 
the  swing  band  drummers.  Instead  of  marking  the  count 
with  the  top  cymbal,  Clarke  used  counter-rhythms  to  accent 
the  beat,  what  became  known  as  "dropping  of  bombs." 

He  found  a  kindred  spirit  in  Dizzy  Gillespie  when  they 
hooked  up  in  Teddy  Hill's  band  in  1939.  A  key  opportunity 
to  further  expand  his  drum  language  came  in  late  1940 
when  he  landed  a  gig  in  the  house  band  (with  Thelonious 
Monk  on  piano,  and  Nick  Fenton  on  bass)  at  Minton's 
Playhouse.  It  was  this  trio  that  welcomed  such  fellow 
travelers  as  guitarist  Charlie  Christian,  Gillespie,  and  a  host 
of  others  to  its  nightly  jam  sessions.  These  sessions  became 
the  primary  laboratory  for  their  brand  of  jazz,  which  came 
to  be  called  bebop. 

A  stint  in  the  Army  from  1943-4(i  introduced  him  to 
pianist  John  Lewis.   After  their  discharge  he  and  Lewis 
joined  Gillespie's  bebop  hig  band,  which  gave  Clarke  his 
first  taste  of  Paris  during  a  European  tour,  a  place  that  even- 


Clarke 


Born  January  2, 1914  in  Pittsburgh,  PA 
Died  January  26, 1985 


Modern  Jazz  Quartet, 

The  Artistry  of  the  Modern  Jazz  Quartet, 

Prestige,  1952-55 

Bohemia  After  Dark,  Savoy,  1 955 

Discoveries,  Savoy,  1 955 

Kenny  Clarke  Meets  the  Detroit  Jazzmen, 
Savoy,  1956 

Clarke-Boland  Big  Band, 
RTE,  1968 


tually  became  his  home  for 
nearly  30  years.  After 
returning  to  New  York, 
he  joined  the  Milt 
Jackson  Quartet, 
which  metamor- 
phosed into  the 
Modern  Jazz  Quartet 
in  1952.  Though  he 
and  Lewis  remained 
friends,  Clarke  chafed 
at  what  he  felt  was  the 
too-staid  atmosphere  of 
the  MJQ.  In  1956,  he 
migrated  to  Paris,  working 
with  Jacques  Helian's  band  and 
backing  up  visiting  U.S.  jazz  artists. 

During  the  years  1960-73,  he  co-led  the  major  Europe- 
based  jazz  big  band  with  Belgian  pianist  Francy  Boland,  the 
Clarke-Boland  Big  Band.  The  band  featured  the  best  of 
Europe's  jazz  soloists,  including  a  number  of  exceptional 
U.S.  expatriate  musicians  living  in  Europe.  Among  these 
were  saxophonists  Johnny  Griffin  and  Sahib  Shihab,  and 
trumpeter  Idrees  Sulieman.   Alter  the  disbanding  of  his 
big  band,  he  found  numerous  opportunities  both  on  the 
handstand  and  teaching  in  the  classroom,  remaining  quite 
active  as  a  freelancer,  often  working  with  visiting  U.S. 

jazz  musicians,  until  his  death  in  1985. 


NKA  Jazz  Mastere       29 


Clayton 


Born  November  12. 1911  in  Parsons,  KS 
Died  December  8, 1991 


TRUMPETER    COMPOSER    ARRANGER    BANDLEADER    EDUCATOR 


A  valued  member  of  a  variety  of  classic  big  bands, 
liu(  k  ClaytOE  was  versatile  enough  to  thrive  as  a 
bandleader,  session  man,  and  trumpet  soloist. 
(  l,i\  toil  first  studied  piano  with  his  father  beginning  at  age 
six,  taking  up  the;  trumpet  at  age  17.  He  played  in  his 
(  hurt  lis  on  nostra  until  1932  when  he  moved  to  California 
taking  various  band  jobs.  In  1934,  Clayton  assembled  his 
own  hand  and  took  it  to  China  for  two  years. 

I  [e  joined  Count  Basie's  hand  in  Kansas  City  in  1936  at 
the  height  of  its  popularity,  playing  his  first  promi- 
nent solo  on  "Fiesta  in  Blue."  He  wrote  several 
arrangements  lor  liasie.  including  '"laps 
Miller''  and  "Red  Hank  Boogie,"  before 
joining  the  Ann]  in  1943.  following  his 
disc  harge,  he  performed  around  New 
through  the  t'n<\  of  the  decade. 

[azz  .it  the  Philharmonii  tours  took  him 
overseas,  and  he  made  ret  ord  sessions 
with  artists  like  [immj  Rushing  and 
its  foi  Duke  Ellington  and 
Harry  James.  In  the  earl)  1950s,  he  part- 
ith  pianist  [oe  Bushkin  in  the  Bret 


of  the  influential  Embers  quartets.  Other  artists  he  worked 
with  include  Benny  Goodman,  Teddy  Wilson,  Eddie 
Condon,  Sidney  Bechet,  and  Humphrey  Littleton.  His 
ability  to  improvise  in  a  variety  of  styles  made  him  much 
in  demand  for  sessions,  especially  with  vocalists  such  as 
Billie  Holiday. 

Physical  issues  with  his  embouchure — how  the  mouth 
forms  against  the  mouthpiece  of  die  instrument — caused 
him  to  relinquish  the  trumpet  from  1972  until  late  in  the 

decade,  when  he  was  able  to  resume  playing.  While 
he  was  unable  to  perform,  Clayton  wrote  arrange- 
ments for  various  bands.  That  skill  was  fully 
exercised  when  he  put  together  his  own  big 
band  in  the  mid-1980s,  playing  almost 
exclusively  his  own  compositions  and 
arrangements.  He  also  became  an  educa- 
tor, teaching  at  Hunter  College  in  the 
1980s.  He  continued  to  freelance  for 
the  remainder  of  his  career,  being  called 
upon  as  an  honored  soloist,  and  spent 
much  of  his  last  two  decades  teaching, 
lecturing,  and  arranging. 


The  Classic  Swing  of  Buck  Clayton, 
Original  Jazz  Classics,  1946 

Buck  Special,  Vogue,  1949-53 

sjmn  the  Vaults, 

jiff  95: 


Jam  Session. 

Columb 


1953-56 


Buck  and  Buddy, 
Original  Jazz  Classics,  1960 

A  Swingin  Dream,  Stash,  1988 


80      NKA  .liiyy.  M;ls-. 


Orne 


SAXOPHONIST  TRUMPETER   VIOLINIST    COMPOSER 


Coleman 


Born  March  9, 1930  in  Ft.  Worth,  TX 


Ornette  Coleman  is  one  of  the  true  jazz  innovators, 
whose  sound  is  instantly  recognizable  and  unques- 
tionably unique.  Coleman's  work  has  ranged  from 
dissonance  and  atonality  to  liberal  use  of  electronic  accom- 
paniment in  his  ensembles,  as  well  as  the  engagement  of 
various  ethnic  influences  and  elements  from  around  the 
globe.  While  experimenting  with  time  and  tone,  his  strong 
blues  root  is  always  evident. 

For  the  most  part,  Coleman  has  been  self-taught,  begin- 
ning on  the  alto  saxophone  at  age  14.  Coleman's  earliest 
performing  experiences  were  mostly  with  local  rhythm  & 
blues  bands.  Coleman  eventually  settled  in  Los  Angeles  in 
1952.  His  search  for  a  different  sound  and  approach,  a 
means  of  escaping  traditional  chord  patterns  and  progres- 
sions, led  some  critics  to  suggest  that  he  did  not  know  how 
to  play  his  instrument.  However,  he  was  studying  harmony 
and  theory  zealously  from  books  while  supporting  himself 
as  an  elevator  operator.  His  performances  in  clubs  and  jam 
sessions  were  often  met  with  derision  if  not  outright  rejec- 
tion and  anger  from  his  fellow  musicians  and  critics. 
Coleman  soldiered  on,  honing  his  sound  with  like-minded 
musicians,  including  trumpeter  Don  Cherry,  drummer  Billy 
Higgins,  and  bassist  Charlie  Haden. 

The  year  1959  was  an  important  one  for  Coleman  and 
his  band  mates:  he  signed  a  recording  contract  with  Atlantic; 
Records,  recording  the  first  album  to  really  present  his  new 
sound,  Tomorrow  Is  The  Question!;  his  quartet  was  invited 
to  participate  in  what  became  a  historic  session  at  the  Lenox 
School  of  Jazz  in  Massachusetts,  being  championed  by  John 
Lewis  and  Gunther  Schuller;  and  the  band  began  an 
extended  engagement  at  the  Five  Spot  Cafe  in  New  York. 


*1 


c^DDISCOG, 

The  Shape  of  Jazz  to  Come, 
Atlantic,  1959-60 

free  Jazz,  Atlantic,  1960 

At  the  Golden  Circle,  Stockholm, 
Vol.  1-2,  Blue  Note,  1965 

In  All  Languages, 
Verve/Harmolodic,  1987 

Colors, 
Verve/Harmolodic,  1996 


Meanwhile,  Ornette  Coleman  was 
developing  an  approach  to  his 
music  that  he  was  to  dub 
"harmolodics." 

Coleman's  albums  for 
AUantic,  while  tame  by 
today's  standards,  were 
quite  controversial  at  the 
time.  Perhaps  the  most 
controversial  of  this  series 
of  albums  was  Free  Jazz, 
recorded  with  a  double  quartet 
as  essentially  one  continuous 
collective  improvisation,  which 
influenced  avant-garde  recordings  in 
the  1960s  and  1970s.   After  that  recording,  Coleman 
took  time  off  from  playing  and  recording  to  study  trumpet 
and  violin. 

Since  that  time  Coleman  has  expanded  his  composi- 
tional outlook.  His  writing  includes  works  for  wind 
ensembles,  strings,  and  symphony  orchestra  (notably  his 
symphony  Skies  of  America,  recorded  with  the  London 
Philharmonic).   Coleman's  ongoing  experiments  have  taken 
him  to  Northern  Africa  to  work  with  the  Master  Musicians 
of  Joujouka,  and  in  recent  years  he  has  performed  with 
an  electric  ensemble  he  calls  Prime;  Time.   A  recipient  of 
Guggenheim  Fellowships  for  composition,  a  MacArthur 
grant,  and  the  presigious  Gish  Prize  in  2004,  Coleman 
continues  to  astound  audiences  with  his  imaginative! 
approaches  to  music. 


NEA  Jazz  Masters      31 


avis 


TRUMPETER    FLUGELHORNIST    COMPOSER    BANDLEADER 


Born  May  25, 1926  in  Alton,  IL 
Died  September  28, 1991 


Miles  Davis  is  arguably  the  most  influential  jazz 
musician  in  the  post-World  War  II  period,  being  at 
the  forefront  of  changes  in  the  music  for  more  than 
40  years.  Bom  into  a  middle-class  family,  Davis  started  on 
the  trumpel  al  age  13.  His  first  professional  music  job  came 
when  be  joined  the  Eddie  Randall  band  in  St.  Louis  from 
1  '14 1-4.!.   In  the  fall  of  1944  Davis  took  a  scholarship  to 
attend  the  [uilliard  School,  a  convenient  passport  to  New 
York.   It  didn't  take  him  long  to  immerse  himself  in  the  New 
York  si  cue  mihI  he  began  working  52nd  Street  gigs  alongside 
Charlie  Parker  in  1945.  Soon.  Davis  found  work  with 
Coleman  Hawkins  and  the  big  bands  of  Billy  Eckstine  and 
Benny  Carter. 

During  the  late  1940s,  a  number  of  musical  contempo- 
-  began  to  meet  and  jam  regularly  al  the  small  apart- 
ment ni  arranger-pianist  Gil  Evans.  Among  them  were  saxo- 
phonists  Gerrj  Mulligan  and  Lee  Konitz,  and  pianist  John 
Lewis   Out  of  this  group  ol  musicians,  l).i\  is  formed  (he 
ooni  l  his  liisi  major  musical  statement,  Birth  of 

Iditiorj  in  thr  standard  piano,  bass  and  drums 
i  is'  nonet  horn  section  used  French  horn 
b  trombone,  alto  and  baritone  saxo- 
land  a  unique  harmonic  sound. 
tnbled  his  Brsl  important  band  with 
ind,  Paul  Chambers,  and  Philly  foe 
nnball"  Adderlej  in  1958.  By 
■r  Knsscils  theories, 

I  than  standard  (  hnrd 
imiis  album  (and  the 
nil.  kind  nt  Blue,  in  1" 


Davis  also  continued  an  important  musical  partnership  with 
Gil  Evans,  recording  four  releases  in  five  years:  Miles  Ahead. 
Porgy  and  Bess,  Sketches  of  Spain,  and  Quiet  Nights. 

In  1964,  Davis  assembled  a  new  band  of  younger  musi- 
cians, which  became  known  as  his  second  great  quintet. 
This  included  Herbie  Hancock.  Tony  Williams.  Ron  Carter. 
and  Wayne  Shorter.  By  this  time,  the  Miles 
Davis  Quintet  was  recording  mostly 

originals,  with  all  the  band  mem-  ^t,b 

bers  contributing  memorable  <& 


Birth  of  the  Cool, 
Capitol,  1949-50 

Kind  of  Blue, 
Columbia.  1959 


nbia, 
sWtt 


tunes.  Davis'  horn  playing 
also  changed,  increasing 
the  spacing  of  notes  to 
create  more  suspense  in 
the  music. 

In  1968.  Davis  again 
changed  direction,  leading 
the  way  for  electric  jazz  with 
the  release  of  In  a  Silent  Way. 
By  the  L969  release  of  Bitches 
Brew,  the  transformation  was 
complete  as  he  deepened  the  elec- 
tronic elements  and  rock  rhythms  of  his 
music.    By  the  mid-1970s,  following  the  debilitating  effects 
of  a  1972  auto  accident.  Davis  went  into  semi-retirement. 
He  returned  to  the  scene  in  1980  and  resumed  touring  in 
1981,  with  even  newer  fans  in  his  wake,    from  then  to  1991. 

Davis  remained  vital  and  popular  despite  some  i  riticism 

that  he  had  softened  his  electric  approach. 


The  Complete  LiveWthe  Plugged  Nickel. 
Columbia,  1965 

Bitches  Brew,  Columbia,  1969 

Amandla, 
Warner  Brothers,  1989 


NKA  .1. 


PIANIST   VOCALIST    EDUCATOR 


;  ,D6roth 

'.9.  •'  4EW 


onegan 


Born  April  6, 1924  in  Chicago,  IL 
Died  May  19, 1998 


Blessed  with  an  enormous  orchestral  capacity  at  the 
keyboard,  Dorothy  Donegan  was  fluent  in  several 
styles  of  jazz  as  well  as  with  European  classical 
music.   Underrated  by  some  due  to  her  proclivity  towards 
showy  flamboyance  and  her  penchant  for  entertaining  an 
audience,  she  was  nonetheless  an  exceptional  pianist  with  a 
rich  harmonic  sense. 

Given  her  virtuosity,  it's  no  wonder  her  earliest  influence 
and  one  of  her  champions  was  the  peerless  master  of  the 
piano,  Art  Tatum.  Encouraged  by  her  mother  to  be  a  profes- 
sional musician,  Donegan  was  playing  piano  for  a  dollar  a 
night  at  Chicago's  South  Side  bars  when  she  was  only  14. 
She  subsequently  attended  the  Chicago  Conservatory, 
Chicago  Music  College,  and  the  University  of  Southern 
California,  where  she  studied  classical  piano. 

In  1943,  Donegan  gave  a  concert  at  the  Orchestra 
Hall  in  Chicago,  the  first  African  American  performer 
to  do  so.  This  created  publicity  that  led  to  some 
work  in  film  [Sensations  of  1945)  and  theater  (Star 
Time).  Her  playing  career  was  largely  centered 
around  nightclub  engagements,  as  Donegan  was 
more  comfortable  in  a  live  setting  than  a  studio. 


In  the  1950s,  she  developed  her  flamboyant  performance 
style,  which  at  times  tended  to  obscure  her  extraordinary 
piano  playing,  deep  sense  of  swing,  and  wide-ranging 
repertoire.  She  would  often  spice  her  performances  with 
uncanny  impressions  of  other  pianists  and  singers,  skills 
that  enhanced  her  abilities  as  an  entertainer. 

She  spent  the  bulk  of  her  career  performing  in  trios 
with  bass  and  drums.  Her  appearance  at  the  Sheraton 
Centre  Hotel  in  1980  broke  all  previous  attendance  records. 
In  the  early  1990s,  her  show-stopping  appearances  on 
Hank  O'Neal's  Floating  Jazz  cruises  brought  her  talents  to 
the  attention  of  another  generation  of  jazz  fans.  She  also 
lectured  at  several  colleges  and  universities,  including 
Harvard,  Northeastern,  and  the  Manhattan 

School  of  Music,  and  received  an  hon- 
orary doctoral  degree  from  Roosevelt 
University  in  1994.  Donegan 
performed  at  the  White  House 
in  1993  and  gave  her  last  major 
performance  at  the  Fujitsu 
Concord  Jazz  Festival  in  1997. 


Dorothy  Romps:  A  Piano  Retrospective, 
Rosetta,  1953-79 

Makin'  Whoopee,  Black  &  Blue,  1979 


Live  in  Copenhagen  1980, 
StoryvfWl980 


Live  at  the  1990  Floating  Jazz  Festival, 
Chiaroscuro,  1990 

Live  at  the  Floating  Jazz  Festival 
759?,  Chiaroscuro.  1992 


NEA  Jazz  Masters      33 


Rivera 


SAXOPHONIST    CLARINETIST    FLUTIST    COMPOSER 


Born  June  4, 1948  in  Havana,  Cuba 


The  winner  of  four  Grammy  Awards,  Paquito  D'Rivera 
is  celebrated  both  for  his  artistry  in  Latin  jazz  and  his 
achievements  as  a  classical  composer.  Born  in 
Havana,  Cuba,  he  performed  at  age  10  with  the  National 
Theater  Orchestra,  studied  at  the  Havana  Conservatory  of 
Music  and,  at  17.  became  a  featured  soloist  with  the  Cuban 
National  Symphony. 

D'Rivera  co-founded  the;  Orquesta  Cubana  de  Musica 
Modern;)  and  served  as  the  band's  conductor  for  two  years. 
In  1  ()73,  he  was  co-director  of  Irakere,  a  highly  popular 
ensemble  whose  explosive  mixture  of  jazz,  rock,  classical, 
.iihI  traditional  ( !uban  music  had  never  before  been  heard. 
The  blind  loured  extensively  and  in  1979  was  awarded 
theGramm)  Award  forBesI  Latin  Jazz  Ensemble. 
In  1981,  while  oil  tour  in  Spain,  D'Rivera 
lii  asylum  in  the  l  Inited  States  embassy. 
Since  then  be  has  toured  the  world  with 
jembles— the  Paquito  D'Rivera 
Band,  the  Paquito  D'Rivera  Quintet, 
and  the  Chambei  fazz  Ensemble. 

numerous  recordings  include 
lo  albums    In  hihh.  be 
member  oi  the  United 
;.!■■!  e  ensemble 
l)i//\  Gillespie  to  showi  ase 


^ODISCOG^ 


the  fusion  of  Latin  and  Caribbean  influences  with  jazz.  In 
1991,  he  received  a  Lifetime  Achievement  Award  from 
Carnegie  Hall  for  his  contributions  to  Latin  music.  That 
same  year,  as  part  of  the  band  Dizzy  Gillespie  and  the 
United  Nation  Orchestra,  he  along  with  James  Moody,  Slide 
Hampton,  Airto  Moreira,  Flora  Purim,  Arturo  Sandoval. 
Steve  Turre,  and  others  were  featured  on  the  Grammy 
Award-winning  recording,  Live  at  the  Royal  Festival  Hall. 

He  has  appeared  at,  or  written  commissions  for,  fazz 
at  Lincoln  Center,  the  Library  of  Congress,  the  National 
Symphony  Orchestra,  Brooklyn  Philharmonic.  London 
Philharmonic,  Costa  Rican  National  Symphony  Orchestra, 
Simon  Bolivar  Symphonic  Orchestra,  and  Montreal's 

Gerald  Danovich  Saxophone  Quartet.  He  serves  as 


*> 


Blowin'.  Columbia,  1981 

Dizzy  Gillespie  and  the  United  Nation 
Orchestra,  Live  at  the  Royal  Festival  Hall. 

~  I89 


Portraits  of  Cuba.  Chesky,  1996 

Brazilian  Dreams,  MCG  Jazz,  2001 

Big  Band  Time.  Pimienta,  2003 


artistic  director  of  jazz  programming  at  the  New 
Jersey  Chamber  Music  Society  and  is  artistic 
director  of  the  Festival  Internacional  de  Jazz 
en  el  Tambo  (Punta  del  Este.  Uruguay).  He 
has  become  the  consummate  multina- 
tional ambassador,  creating  and  promoting 
a  cross-culture  of  music  that  moves  effort- 
lessly among  jazz,  Latin,  and  classical. 
D'Rivera  received  the  National  Medal  of 
Arts  in  2005. 


34      NKA   I 


TRUMPETER 


Edison 


Born  October  10, 1915  in  Columbus,  OH 
Died  July  27, 1999 


Known  in  the  jazz  world  as  "Sweets,"  for  both  his  dis 
position  and  his  playing  ability,  Edison  was  a  con- 
summate big  band  section  trumpeter  and  skilled 
soloist  whose  ability  to  enhance  a  piece  without  overpower 
ing  it  was  renowned. 

A  self-taught  musician,  his  earliest  gig  came 
in  high  school  with  the  Earl  Hood  band. 
From  1933-1935,  he  played  in  the  Jeter- 
Pillars  Orchestra,  a  prominent  territory 
band  of  the  time.  After  moving  to  New 
York  in  1937,  he  spent  six  months  with 
Lucky  Millinder's  band,  until  joining 
Count  Basie  later  that  year.  It  was  with 
Basie  that  he  truly  began  to  distinguish 
himself,  not  only  as  a  strong  member  of 
the  trumpet  section,  but  also  as  a  distinc- 
tive soloist.  His  warm  sound,  using 
repeated  notes  thai  lie  would  bend  and  rip- 
ple, was  a  welcome  contrast  to  the  usual  high- 
note,  piercing  solos  of  most  trumpet  players.  Edison 
stayed  with  the  band  from  1938  until  Basie  disbanded  in 
1950. 

Rarely  a  bandleader  under  his  own  name,  he  spent  the 
hulk  of  his  career  working  with  singers  and  with  big  bands 
on  the  road  and  in  the  recording  studio.   Edison's  work  with 
Millie  Holiday  and  the  Nelson  Kiddle  Orchestra  backing 


^^DDISCOG^ 


Frank  Sinatra,  Songs  for  Swingin' Lovers, 
Capitol,  1955-56 

Jawbreakers, 
Original  Jazz  Classics,  1962 

Edison's  Lights, 
Original  Jazz  Classics,  1976 

Swing  Summit,  Candid,  1 990 

Live  at  the  Iridium, 
Telarc,  1997 


Frank  Sinatra  during  the  1950s  is  some  of  his  finest,  accent- 
ing the  vocals  and  setting  up  the  mood  of  the  songs.  His 
echoing  trumpet  on  Sinatra's  Songs  for  Swingin '  Lovers,  for 
example,  helped  set  the  pace  of  the  songs,  playing  off 

Sinatra's  phrasing  of  the  lyrics.  Edison  provided 
some  of  the  bright  moments  in  Holiday's  output 
in  the  1950s  on  albums  such  as  Songs  for 
Distingue  Lovers.  His  tasteful  playing  cre- 
ated a  great  demand  from  singers  for  his 
services,  and  besides  Sinatra  and 
Holiday,  Edison  played  behind  Ella 
Fitzgerald,  Josephine  Baker,  Sarah 
Vaughan,  and  Nat  "King"  Cole.  Edison 
was  also  a  welcome  addition  to  the  big 
bands  he  worked  with,  including  Buddy 
Rich,  Louie  Bellson,  and  Quincy  Jones. 
Although  leaving  the  Basie  band  as  a 
full-time  member  in  1950,  he  rejoined  the 
band  on  many  subsequent  occasions  for  the  rest 
of  his  career.  He  worked  as  musical  director  for 
such  artists  as  Redd  Foxx  and  Joe  Williams,  and  collabo- 
rated with  other  soloists,  such  as  Eddie  "Lockjaw"  Davis 
and  Oscar  Peterson.   Valued  lor  his  superb  sense;  of  dynam- 
ics, he  carved  out  a  beautiful  trumpet  stylo  noted  for  its  sim- 
plicity and  good  taste.   He  also  found  a  home  in  film  and 
television  soundtrack  work. 


NEA  Jazz  Masters       35 


Born  January  30, 191 1  in  Pittsburgh,  PA 
Died  February  26, 1989 


ge 


TRUMPETER    PIANIST   VOCALIST 


Also  known  as  "Little  Jazz,"  Roy  Eldridge  was  a  fiery, 
energetic  trumpeter,  the  bridge  between  the  towering 
trumpet  stylists  Louis  Armstrong  and  Dizzy 
Gillespie.  Some  of  the  great  rhythmic  drive  of  Eldridge's 
later  trumpet  exploits  could  be  traced  to  his  beginnings  on 
the  drums,  which  he  began  playing  at  age  six. 
Eldridge's  older  brother  Joe,  who  played  alto  saxo 
phone,  was  his  first  teacher. 

In  1930, Eldridge  moved  to  New  York, 
heading  straight  to  Harlem  where  he 
gained  work  with  a  number  of  dance 
hands  before  joining  the  Teddy  Hill 
band   Fi\  1'Ki5,  Eldridge  and  saxophon 
isl  Qui  Berry  (who  would  later  join  the 
Count  Basie  Orchestra]  were  Hill's  prin- 
i  ip.il  soloists,  and  .liter  gigs  they  would 
mnd  town  on  cutting  contests,  chal- 
ians  to  see  who  could  play 
with  his  Lightning  speed  and  awe- 
Idridge  rarely  lost.  After  Hill's 
ame  the  lead  trumpeter  in  the 
on  Orchestra,  where  his  upper  register 

M  didn't  lake  long  lor  Eldridge  to 

iftei  freelancing  with  a  wide 

I  iM.tic  e  as  one  of  the  swing 


^D,SCOGv 


bands'  most  potent  soloists.  In  1941,  he  joined  drummer 
Gene  Krupa's  band.  Not  only  did  he  provide  trumpet  fire- 
works for  Krupa's  outfit,  he  also  sang,  recording  a  memo- 
rable duet  with  the  band's  female  singer,  Anita  O'Day.  on 
the  tune  "Let  Me  Off  Uptown"  in  1941.  Later,  after  Krupa's 
band  disbanded  in  1943  and  a  period  of  freelancing,  he 
toured  with  the  Artie  Shaw  band  in  1944.  Then 


After  You've  Gone, 
GRP/Decca,  1936-46 

Little  Jan:  The  Best  of  the  Verve  Years. 
Verve,  1951-60 


IK 

.,Vc 


Roy  and  D/z,  Verve,  1954 

Just  You  Just  Me. 
Stash,  1959 

Montreux  77. 
Original  Jazz  Classics.  1977 


idei   forming  his  own  octel  in  1936 

luded  his  brother  foe. 


Eldridge  led  his  own  bands,  usually  small 
swing  groups. 

In  1948,  Norman  Granz  recruited 
Eldridge  for  his  Jazz  at  the  Philharmonic, 
an  ideal  situation  since  Eldridge  was  one 
of  the  ultimate  jam  session  trumpeters. 
He  toured  briefly  with  Benny  Goodman 
and  took  up  residence  in  Paris  in  1950. 
where  he  made  some  of  his  most  suc- 
cessful recordings.  He  returned  to  New 
York  in  1951  and  continued  freelancing 
with  small  bands,  including  work  with 
Coleman  Hawkins,  Benny  Carter.  Ella 
Fitzgerald,  and  Johnny  Hodges.  He  made  notable 
albums  for  Verve  Records  alongside  Hawkins  and  con- 
tinued freelancing  and  leading  a  house  band  at  Jimmy 
Ryan's  club  in  New  York.  A  stroke  in  1980  stopped  him 
from  playing  the  trumpet,  but  Eldridge  continued  to  make 
music  as  a  singer  and  pianist  until  his  death  in  1989. 


36      NKA  .1.: 


bi 


PIANIST    COMPOSER   ARRANGER    BANDLEADER 


vans 


Born  May  13, 1912  in  Toronto,  Ontario,  Canada 
Died  March  20, 1988 


As  an  arranger,  Gil  Evans  has  few  peers  in  jazz  his- 
tory. His  style  is  instantly  recognizable,  often  using 
unusual  brass  colorations  for  jazz,  such  as  combi- 
nations of  tuba  and  French  horn.  Arranging  started 


early  for  Evans,  leading  his  own  band  when  he 
was  16  and  taking  piano  gigs  at  local  hotels. 
In  junior  college,  he  and  Ned  Briggs  joined 
forces  to  lead  a  10-piece  band  modeled 
after  the  popular  Casa  Loma  Band.  The 
band  was  the  house  band  at  the 
Rendezvous  Ballroom  in  Balboa  Beach, 
California,  where  they  remained  for  two 
years,  up  until  1937. 

In  1937,  singer  Skinny  Ennis  took  over 
leadership  of  the  band,  retaining  Evans  as 
pianist  and  arranger  as  they  moved  to 
Hollywood,  where  they  were  regularly  featured 
on  the  Bob  Hope  radio  show.  In  1941,  Claude 
Thornhill,  who  had  been  associated  with  the  Hope 
show,  hired  Evans  as  an  arranger  for  his  first  orchestra, 
which  lasted  for  seven  years.  Evans  was  influenced  by 
Thornbill's  unusual  voicings,  particularly  for  brass  and 
woodwinds. 

Evans  settled  permanently  in  New  York  in  1947  and  his 
unusual  arrangements  for  Thornhill  began  to  attract  the 
attention  of  some  of  the  nascent  beboppers  of  the;  tinii!. 
including  Miles  Davis,  John  Lewis,  and  (Jerry  Mulligan. 
It  was  around  this  time  that  Evans'  apartment  became  a 
meeting  ground  for  these  and  other  musicians  seeking  fresh 


^"■"""X 


approaches.  These  musical  and  conversational  exchanges 
led  to  the  recording  of  Miles  Davis'  Birth  of  the  Cool  session 
for  Capitol  Records.  That  album  was  marked  by  its 

cooler,  less  bustling  tempos  than  was  characteristic 


Miles  Davis,  Sketches  of  Spain, 
Columbia,  1959-60 

Out  of  the  Cool, 
Impulse!,  1960 

The  Individualism  of  Gil  Evans, 
Verve,  1963-64 

Svengali,  Atlantic,  1973 

Gil  Evans  Orchestra  Plays  the  Music 

of  Jimi  Hendrix,  Bluebird, 

1974-75 


of  bebop,  the  modern  jazz  of  the  day.  Several 
Evans  arrangements  stood  out,  especially 
"Moondreams"  and  "Boplicity." 

Evans  spent  much  of  the  1950s  as  a 
freelance  arranger,  until  1957  when  he 
began  working  with  Davis  on  the  first  of 
their  four  collaborations,  Miles  Ahead, 
featuring  Davis  on  flugelhorn  as  the 
only  soloist,  an  unusual  arrangement  in 
jazz  at  the  time.  Over  the  next  few  years, 
Evans  and  Davis  worked  together  on 
Porgy  and  Bess,  Sketches  of  Spain  and 
Quiet  Nights. 
In  the  1960s,  Evans  began  making  his  own 
recordings,  displaying  his  unusual  voicings  and 
distinctive  settings  for  some  of  the  best  soloists  of  the  time, 
such  as  Steve  Lacy,  Wayne  Shorter,  and  Eric  Dolphy.    In  the 
1970s,  Evans  began  exploring  the  music  of  Jimi  Hendrix  and 
taking  on  some  of  the  accoutrements  usually  associated  with 
rock  music,  including  guitars,  synthesizers,  and  electric 
bass.   In  the  1980s,  his  shifting  cast  of  exceptional  soloists 
included  Billy  Harper,  George  Adams,  Howard  Johnson, 

John  Scofield,  and  David  Sanborn,  and  Evans  would  have 
occasional  weekly  shows  at  New  York  clubs  such  as  the 
Village'  Vanguard  and  Sweet  Basil. 


NEA  Jazz  Masters      37 


armer 


TRUMPETER    FLUGELHORNIST    FLUMPETER 


Bom  August  21, 1928  in  Council  Bluffs.  IA 
Died  October  4. 1999 


One  of  the  more  lyrical  of  the  post-bop  musicians.  Art 
Farmer  helped  to  popularize  the  flugelhorn  in  jazz. 
He  switched  to  a  hybrid  instrument  known  as  the 
flumpet  later  in  his  career,  an  instrument  that  combined  the 
power  of  the  trumpet  with  the  warmth  of  the  flugelhorn. 
He  and  his  late  twin  brother,  bassist  Addison  Farmer, 
were  raised  in  Phoenix,  Arizona.  Farmer  took  up  the  piano, 
violin,  and  tuba  before  settling  on  the  trumpet  at  14.  He 
Inter  moved  to  Los  Angeles  and  worked  with  Horace 
Henderson,  and  Floyd  Ray,  eventually  travel- 
ing east  to  New  York  with  the  Johnny 
Otis  Revue  in  1947.  In  New  York,  he 
studied  with  Maurice  Grupp  and 
freelanced  in  the  clubs.  In  1948 
be  returned  to  the  West  Coast 
and  found  work  with  Benny 
Carter,  Gerald  Wilson.  Roy 
Porter,  lay  McShann,  and 

trough  1952.  He 
ad  W  ith  Lionel  Hampton  in 
ii  to 
the  tour. 

be  intermit- 

Hi Silvei 


•'i.  with  whom 


he  appeared  in  two  films:  J  Want  to  Live  and  The  Subter- 
raneans. Farmer's  performances  with  the  various  groups 
earned  him  a  reputation  for  being  able  to  play  in  any  style. 

In  1959,  he  and  Benny  Golson  formed  the  Jazztet,  whose 
first  incarnation  lasted  until  1962.  The  Jazztet's  tightly 
arranged  music  defined  mainstream  jazz  for  several  years. 
Farmer  switched  to  the  flugelhorn  in  the  early  1960s,  finding 
a  rounder,  mellower  sound  with  the  instrument,  and 
co-led  a  band  with  guitarist  Jim  Hall  until  1964.  He  worked 
in  Europe  from  1965-66,  and  when  he  returned  stateside 
he  again  co-led  a  band,  this  time  with  Jimmy  Heath.  In 
1968  he  moved  to  Vienna,  joined  the  Austrian  Radio 
Orchestra,  and  worked  with  such  European  outfits 
as  the  Clarke-Boland  Big  Band,  and  Peter 
Herbolzheimer.  He  toured  Europe  and  Asia 
with  Jimmy  Smith's  band  in  1972,  and  his 
appearances  in  the  U.S.  became  rarities. 

In  1982,  Farmer  and  Golson  re-formed  the 
Jazztet  for  a  short  while.  Otherwise  his  perform- 
ances in  the  U.S.  were  on  an  annual  basis. 
For  a  time  he  teamed  up  with  yet  another  saxo- 
phonist. Clifford  Jordan,  for  annual  New  York 
visits.   He  continued  to  lead  his  own  bands  on 
occasion,  particularly  at  festival  time.  In  1991,  he 
began  employing  the  flumpet,  specially  designed  for 


When  Farmer  Met  Gryce. 
Original  Jazz  Classics.  1954-55 

Meet  the  Jazztet.  MCA/Chess,  1960 

Live  at  tnaMall Note. 
Atlanta  1963 

Blame  It  on  my  Youth, 
Contemporary.  1 988 

Silk  Road.  Arabesque.  1996 


Farmer  b\  David  Monette. 


38      NKA.I. 


I 


^ 


v* 


to 


* 


VOCALIST 


itzger; 


Born  April  25, 1917  in  Newport  News,  VA 
Died  June  15, 1996 


It  is  quite  apropos  that  Ella  Fitzgerald  was  the  first  vocalist 
recipient  of  the  NEA  Jazz  Masters  Fellowship,  as  she  is 
considered  by  most  people  to  be  the  quintessential  jazz 
singer.  The  purity  of  her  range  and  intonation,  along  with 
her  peerless  sense  of  pitch,  made  her  a  signature  singer.  In 
addition,  her  scat  singing,  using  the  technique  of  a  master 
instrumental  improviser,  was  her  hallmark.  These 


4? 


characteristics  make  her  an  enduring  purveyor 
not  only  of  jazz  and  the  art  of  improvising, 
but  also  of  the  classic  American  songbook. 

Fitzgerald  was  raised  in  Yonkers,  New 
York,  and  her  first  artistic  proclivities 
were  as  a  dancer,  even  though  she  sang 
with  her  school  glee  club.  At  17,  she 
entered  the  famous  amateur  show  com- 
petition at  the  Apollo  Theatre,  which  led 
to  her  being  hired  as  a  singer  for  Chick 
Webb's  orchestra.  She  soon  became  a  pop- 
ular attraction  at  the  Savoy,  and  Fitzgerald 
recorded  her  first  song,  "Love  and  Kisses," 
with  Webb  in  June  1935.  Three  years  of  steady 
work  later,  she  had  her  first  major  hit  with  her 
rendition  of  "A-Tisket,  A-Tasket."  That  lightweight 
ditty  remained  a  popular  request  throughout  Fitzgerald's 
ensuing  decades. 

When  Chick  Webb  died  in  1939,  Fitzgerald  assumed 
leadership  of  the  band  for  the  next  two  years,  beginning  her 
solo  career.   In  1946  she  began  an  enduring  relationship 


(jtfiD  DISCOo^ 


with  producer  Norman  Granz,  becoming  part  of  his  Jazz  at 
the  Philharmonic  concert  tours.  At  the  time  her  regular  trio 
leader  was  bassist  Ray  Brown,  to  whom  she  was  married 
from  1947  to  1953.  By  1955,  Granz  had  become  her  man- 
ager and  had  begun  recording  Fitzgerald  for  his  Verve  label. 
This  affiliation  led  to  her  recording  with  numerous 

greats,  including  Louis  Armstrong,  Duke  Ellington, 


M 


''. 


> 


75th  Birthday  Celebration, 
GRP,  1938-55 


The  Complete  Ella  Fitzgerald 
&  Louis  Armstrong  on  Verve,  Verve,  1 956-57 

Sings  the  Duke  Ellington  Songbook, 
Verve,  1956-57 

The  Complete  Ella  in  Berlin,  Verve,  1960-61 

Montreux  '77, 
Original  Jazz  Classics,  1977 


Count  Basie,  and  Oscar  Peterson.  Among  the 
landmark  recordings  she  made  with  Granz 
were  her  historic  songbook  treatments 
of  the  music  of  Ellington,  Cole  Porter, 
Jerome  Kern,  Irving  Berlin,  Richard 
Rodgers  &  Lorenz  Hart,  Harold 
Arlen,  Johnny  Mercer,  and  Ira  and 
George  Gershwin. 

Fitzgerald's  superb  intonation  and 
crystal  clear  voice  was  also  blessed  with 
a  rhythmic  flexibility  to  effortlessly  swing. 
Though  she  came  up  in  the  swing  era, 
Fitzgerald  also  could  hang  with  the  best  of 
the  beboppers.  Her  ability  to  scat  with  the 
most  skilled  instrumentalists  served  her  well  on  such 
notable  voice-as-instrument  hits  as  "Lady  Be  Good,"  "Flying 
Home,"  and  "How  I  ligh  The  Moon."  Each  became  enduring 
parts  of  her  repertoire.  She  forged  memorable  partnerships 
with  her  piano  accompanists,  most  notably  Tommy 
Flanagan  and  Paul  Smith. 


NEA  Jazz  Masters      39 


lanagan 


PIANIST 


Born  March  16, 1930  in  Detroit, 
Died  November  16,  2001 


Tommy  Flanagan  was  noted  as  both  a  stimulating 
accompanist  and  a  superb  small  ensemble  leader, 
p hiving  with  some  of  the  biggest  names  in  jazz.  A 
product  of  a  noteworthy  arts  education  system  in  the  Detroit 
public  schools,  he  began  his  musical  pursuits  on  clarinet  at 
six  years  old,  switching  to  the  piano  at  age  11.  At  15,  he 
made  his  professional  debut.  Thereafter  he  performed  with 
fellow  Detroiters  Milt  Jackson.  Rudy  Rutherford,  Billv 
\1il(  hell,  Kenny  Burrell,  and  Thad  and  Elvin  Jones  as 
part  ol  the  fertile  Detroit  jazz  scene  in  the  1950s. 

I  lanagan  moved  to  New  York  in  1956,  securing  his  first 
job  as  .i  replai  <  mint  lor  Bud  Powell  at  Birdland.   Powell, 
along  with  Ail  Tatum  and  Nal  "King"  Cole,  was  a  major 
influeni  e  on  Flanagan's  playing, 
Throughout  the  1950s,  lie  worked 
with  many  of  the  biggest  names 
in  jazz,  including  J.J.  Johnson. 
Miles  Davis  Marry  "Sweets" 


^cscoo^ 


l  (Iimiii  Sonny  Rollins. 
Jim 


Thelonica, 
Enja,  1982 

Beyond  the  Bluebird. 
TimelesjL  1990 

G/anf  StepSnja,  1992 

Let's  Play  the  Music  of  Thad  Jones, 
Enja.  1993 

Lady  Be  Good...  For  Ella, 
Verve.  1994 


Hall,  and  Tony  Bennett,  playing  on  some  of  the  landmark 
recordings  of  that  decade.  One  of  his  most  significant 
recordings  was  with  John  Coltrane  on  the  wildly  influential 
recording.  Giant  Steps.  His  playing  on  the  complex  title 
track,  using  space  between  the  notes  to  contrast  Coltrane's 
rapid-fire  attack,  was  especially  inspired. 

He  also  met  and  began  performing  with  Ella  Fitzgerald. 
an  association  that  lasted  until  the  end  of  the  1970s,  his  trio 
touring  exclusively  with  her  from  1968-78.  After  leaving 
Ella  Fitzgerald  in  1978,  some  of  his  best,  most  compelling 
work  was  in  the  trio  format,  with  George  Mraz  on  bass  and 
Elvin  Jones  or  Lewis  Nash  on  drums.  Influenced  by  the 
playing  and  arrangements  of  Duke  Ellington  and  Thelonious 
Monk.  Flanagan's  lyrical  playing  and  harmonic  sophistica- 
tion placed  him. in  die  top  echelon  of  jazz  pianists.  He  was 
an  especially  tasteful  interpreter  of  Billy  Strayhorn,  Thad 
Jones,  and  Tadd  Dameron's  music.  Flanagan  was  a 
multiple  jazz  poll  winner,  and  in  1992  was  recipient 
of  the  prestigious  Danish  Jazzpar  prize. 


40      NKA  .1 


SAXOPHONIST    COMPOSER   ARRANGER    BANDLEADER    EDUCATOR 


oster 


Born  September  23, 1928  in  Cincinnati,  OH 


Although  best  known  for  his  work  in  the  Count  Basie 
Orchestra  (and  as  the  composer  of  the  Count  Basie 
hit,  "Shiny  Stockings"),  Frank  Foster's  saxophone 
playing  owes  more  to  the  bebop  of  Charlie  Parker  and 
Sonny  Stitt  than  the  swing  of  Basie. 

Foster  began  playing  clarinet  at  11  years  old  before  tak- 
ing up  the  alto  saxophone  and  eventually  the  tenor.  By  the 
time  he  was  a  senior  in  high  school,  he  was  leading  and 
writing  the  arrangements  for  a  12-piece  band.  Foster  stud- 
ied at  Wilberforce  University  in  Ohio  before  heading  to 
Detroit  in  1949  with  trumpeter  Snooky  Young  for  six  weeks, 
becoming  captivated  by  its  burgeoning  music  scene.  Drafted 
into  the  Army,  Foster  left  Detroit  and  headed  off  to  basic 
training  near  San  Francisco,  where  he  would  jam  in  the 
evenings  at  Jimbo's  Bop  City. 

After  being  discharged  in  1953,  two  life-changing  events 
happened  to  Foster:  he  sat  in  with  Charlie  Parker  at 
Birdland  and  he  was  asked  to  join  Count  Basie's  band, 
where  he  stayed  until  1964.  Foster's  fiery  solos  contrasted 
nicely  with  Frank  Wess'  ballad  work,  providing  Basie  with 
an  interesting  contrast.   Foster,  already  an  accomplished 
composer  by  this  time,  learned  from  Basie  how  to  simplify 
arrangements  to  make  the  music  swing.  He  soon  was  pro- 
viding compositions  and  arrangements  for  the  band  ("Blues 
Backstage,"  "Down  for  the  Count,"  the  entire  Easin'  It  alburn 
just  to  name  a  few),  with  his  most  popular  number  being 
"Shiny  Stockings."  He  also  was  an  extremely  successful 


freelance  writer,  creating  a  large  body  of  work  for  jazz, 
including  works  contributed  to  albums  by  singers  Sarah 
Vaughan  and  Frank  Sinatra,  and  a  commissioned  work  for 
the  1980  Winter  Olympics,  Lake  Placid  Suite,  written  for 
jazz  orchestra. 

In  the  1970s,  Foster  played  with  contemporary  musi- 
cians such  as  Elvin  Jones,  George  Coleman,  and  Joe  Farrell 
and  began  expanding  his  compositions.  He  led  his  own 
band,  the  Loud  Minority,  until 
1986  when  he  assumed  leader- 
ship of  the  Count  Basie 


*$D  DISCOgc, 


Orchestra  from  Thad 
Jones.   While  playing  the 
favorites,  Foster  also 
began  introducing  orig- 
inal material  into  the 
playlist.  Foster 
resigned  as  the  musical 
director  of  the  orchestra 
in  1995  and  began 
recording  albums  again. 
In  addition  to  performing, 
Foster  has  also  served  as  a 
musical  consultant  in  the  New  York 
City  public  schools  and  taught  at  Queens  College  and 
the  Slate  University  of  New  York  at  Buffalo. 


Count  Basie,  Verve  Jazz  Masters, 
Verve,  1954-65 

No  Count,  Savoy,  1956 

Fearless, 
Original  Jazz  Classics.  1965 

Shiny  Stockings,  Denon,  1977-78 

Leo  Rising, 
Arabesque,  1996 


NEA  Jazz  Mastei-s      4 1 


•> 


ohnBirkS 


Gillespie 

Born  October  21, 1917  in  Cheraw,  SC 
Died  January  6, 1993 

Dizzy  Gillespie's  effect  on  jazz  cannot  be  overstated: 
his  trumpet  playing  influenced  every  player  who 
came  after  him,  his  compositions  have  become  part 
of  the  jazz  canon,  and  his  bands  have  included  some  of 
the  most  significant  names  in  the  business.  He  was  also, 
along  with  Charlie  Parker,  one  of  the  major  leaders  of  the 
bebop  movement 

Gillespie's  father  was  an  amateur  bandleader  who, 
although  dead  by  the  time  Gillespie  was  ten,  had  given  his 
son  some  of  his  earliest  grounding  in  music.  Gillespie 
began  playing  trumpet  at  14  after  briefly  trying  the  trom- 
bone, and  his  first  formal  musical  training  came  at  the; 
Lauiinburg  Institute  in  North  Carolina. 

Gillespie's  earliest  professional  jobs  were  with  the 
I  i.mkie  Fairfax  band,  where  Ik;  reportedly  picked  up  the 
nickname  I  )i//\  related  to  his  outlandish  antics.  His  earli- 

infruence  was  Roy  Eldridge,  who  he  later  replaced  in 
Teddj  Hill's  hand.    From  1<).'!<)-4I.  Gillespie  was  one  of  the 
prini  ipal  suluists  in  Cab  Calloway's  hand,  until  he  was  dis- 
■  notorious  bandstand  prank.  It  was  while  with 
•  it  In-  met  the  Cuban  trumpeter  Mario  Bauza, 
in  d  i  greal  interest  in  Afro-Cuban 
thru  time  he  also  befriended  Charlie  Parker. 

Jd  !■    in  to  develop  some  ol  the 

bile  sitting  in  at  Minion's 

tlani  ed  with  a  number  of  big 

I  Btha"  Mines.    Ilines'  hand  <  on 

espie  would  interact  with  in  the 


TRUMPETER    COMPOSER    BANDLEADER 


^DD**^ 


The  Complete  RCA  Victor  Recordings\ 
1937-1949,  Bluebird,  1937-49 

Dizzy's  Diamonds.  Verve,  1 954-64 


Birk's  Works:  Verve  Big  Band  Sessions 
Verve,  1956-57 

Gillespiana/Camegie  Hall  Concert, 
Verve,  1960-61 

Max  +  Dizzy.  Paris  1989, 
A&M,  1989 


development  of  bebop,  such  as 
singer  Billy  Ecksrine,  who 
formed  his  own  band  featuring 
Gillespie  on  trumpet  in  1944. 

1945  was  a  crucial  year  for 
both  bebop  and  Gillespie.  He 
recorded  with  Parker  many  of 
his  small  ensemble  hits,  such  as 
"Salt  Peanuts,"  and  formed  his  own 
bebop  big  band.  Despite  economic  woes, 
he  was  eventually  able  to  keep  this  band  together  for 
four  years.  His  trumpet  playing  was  at  a  peak,  with 
rapid-fire  attacks  of  notes  and  an  amazing  harmonic  range. 
A  number  of  future  greats  performed  with  Gillespie's  big 
band,  including  saxophonists  Gene  Amnions,  Yusef  Lateef. 
Paul  Gonsalves,  Jimmy  Heath.  James  Moody,  and  John 
Coltrane.  The  rhythm  section  of  John  Lewis,  Milt  Jackson. 
Kenny  Clarke,  and  Ray  Brown  became  the  original 
Modern  Jazz  Quartet. 

He  took  various  bands  on  State  Department  tours  around 
the  world  starting  in  1956,  the  first  time  the  U.S.  govern- 
ment provided  economic  aid  and  recognition  to  jazz.  Those 
excursions  not  only  kept  Gillespie  working,  they  also  stimu- 
lated his  musical  interests  as  he  began  incorporating  differ- 
ent ethnic  elements  into  his  music,  such  as  the  Afro-Cuban 
rhythms  he  weaved  into  his  big  band  arrangements.  Ne\  ar 
losing  his  thirst  for  collaboration,  Gillespie  worked  with  a 
variety  of  jazz  stars  as  well  as  leading  his  own  small  groups 
on  into  the  1980s. 


. 


SAXOPHONIST    COMPOSER    ARRANGER    EDUCATOR 


Golson 


Born  January  25, 1929  in  Philadelphia,  PA 


Benny  Golson  is  as  renowned  for  his  distinctive 
compositions  and  arrangements  as  for  his  innovative 
tenor  saxophone  playing.  Major  cornerstones  of  his 
career  have  included  not  only  notable  additions  to  the  jazz 
canon,  but  also  included  his  work  in  film  and  television 
studios,  and  in  education. 

Golson  began  on  the  piano,  at  age  nine,  moving  to  the 
saxophone  at  age  14.  He  earned  a  degree  from  Howard 
University,  then  joined  Bull  Moose  Jackson's  band  in  1951. 
Arranging  and  composing  became  a  serious  pursuit  for 
him  at  the  early  encouragement  of  composer- 


4> 


0T$D  DISCOo^ 


arranger  Tadd  Dameron,  who  he  met 

in  Jackson's  band.  Other  early  band 

affiliations  included  Lionel  Hampton, 

Johnny  Hodges,  and  Earl  Bostic. 

He  toured  with  the  Dizzy  Gillespie 

big  band  from  1956-58,  then  joined 

Art  Blakey's  Jazz  Messengers.  His 

robust  playing  added  extra  kick  to 

the  band,  and  his  solo  on  Bobby 

Timmons'  song  "Moanin"'  is  a 

classic.  With  the  Messengers, 

Golson 's  writing  skills  blossomed  as 

he  contributed  pieces  for  the  band  that 

have  forever  entered  the  jazz  canon, 

including  "Along  Game  Betty,"  "Blues  March," 

"I  Remember  Clifford"  (written  upon  the  death  of  his  Erieni 

Clifford  Brown),  "Killer  Joe"  (which  later  became  a  hit  for 

Quincy  Jones),  and  "An;  You  Real?" 


After  leaving  the  Messengers,  he  and  Art  Fanner  formed 
the  hard  bop  quintet  known  as  the  Jazztet.  The  original 
incarnation  of  the  Jazztet  lasted  from  1959-62.  In  1963,  he 
moved  to  California  and  began  to  concentrate  on  composing 
and  arranging.  He  scored  music  for  European  and  American 
television  and  films,  and  essentially  discontinued  touring 
until  1982,  when  he  and  Farmer  revived  the  Jazztet  briefly. 
Thereafter  he  played  more  frequently,  working  in  all-star 
aggregations,  and  completing  commissioned  assignments, 
such  as  an  original  orchestral  work  for  the  100th  anniversary 
of  the  Juilliard  School  of  Music  in  2005.  His  soundtrack 
credits  include  M*A*S*H,  Mission  Impossible,  Mod 


M 


'',, 


Benny  Golson's  New  York  Scene, 
Original  Jazz  Classics,  1957 

Up  Jumped  Benny,  Arkadia  Jazz,  1986 

Tenor  Legacy,  Arkadia  Jazz,  1996 

One  Day  Forever,  Arkadia,  1996-2000 

Terminal  1,  Concord  Jazz,  2004 


Squad,  and  Ironside. 

In  1987,  Golson  participated  in  a  U.S. 
State  Department  tour  of  Southeast  Asia,  New 
Zealand,  Indonesia,  Malaysia,  Burma,  and 
Singapore.  As  a  tribute  to  Art  Blakey,  Golson 
organized  the  "Jazz  Messengers — A  Legacy  to 
Art  Blakey"  tour  of  the  U.S.,  Europe,  and 
Japan  from  1998  to  2000. 

As  an  educator  he  has  Lectured,  given 
clinics,  and  performed  extended  residencies  at 
New  York  University,  Stanford  University. 
University  of  Pittsburgh,  Cuyahoga  Community 
College,  Rutgers  University,  William  Paterson  College, 
and  Herklee  College  of  Music.  Among  his  awards  is  a  1994 
Guggenheim  Fellowship.  Currently,  be  is  putting  the  finish- 
ing touches  on  two  hooks:  a  major  college  textbook  and  his 
autobiography,  which  will  be  published  in  late  2005  by 
Ihboh  Music.  Inc. 


NEA  Jazz  Masters      43 


SAXOPHONIST 


Born  February  27, 1923  in  Los  Angeles,  CA 
Died  April  25, 1990 


Dexter  Gordon  was  one  of  the  leading  bebop  tenor 
saxophonists,  with  his  near-vibratoless  sound  and 
prodigious  ability  to  improvise.  He  was  a  strong 
intluence  on  the  tenor  saxophonists  who  came  after  bebop, 
especially  Sonny  Rollins  and  John  Coltrane. 

Gordon  took  up  the  clarinet  at  age  13,  switching  to  the 
saxophone  at  15.  His  first  formal  teacher  was  Lloyd 


a  series  of  classic  two-tenor  duels,  including  their  classic 
recording  of  "The  Chase."  Continuing  to  freelance  through- 
out the  1950s,  he  began  touring  Europe  as  a  soloist  in  the 
early  1960s  to  acclaim,  eventually  settling  in  Copenhagen 
in  1962. 

Gordon  continued  to  play  in  Europe  as  a  soloist,  making 
a  series  of  recordings  for  the  Danish  label 


Reese,  who  had  other  notable  students,  including  Steeplechase.  He  added  the  soprano  sax  to  his 

Charles  Mi ngus  and  Buddy  Collette,  with  <&$>  ^&.        arsenal  in  the  earlv  1970s.  During  a  trip  back 


Mingi 
whom  Cordon  interacted  in  Reese's  student 
band   Cordon  left  school  in  1940  and 
joined  .i  Local  hand  before  taking  a  posi- 
tion with  the  Lionel  Hampton  band  from 
1940-43,  (lilting  his  first  recordings  with 
the  hand  in  1942.   Hack  home  in  Los 
Angeles.  Cordon  played  with  Lee  Young 
(brother  ol  Lester)  and  [esse  Price,  and 
made  .i  subsequent  record  with  Nat 
"kii  ii  the  piano. 

in  to  garner  attention  when 
New  York  in  1944  to  join  the  Billy 
bestra.  He  recorded  with  Eckstine  and 

i  din     fbi  the  Savoy  label.  Through  the 

QS,  h^  played  and  recorded  with  the 
|    MK  h  .is  Charlie  Parker.  Dizzy 
Gillespie  ron.  Between  1947  and  1952,  he 

ti  doi  Baxophonisl  WardeL  Graj  lor 


Dexter  Gordon  on  Dial: 
The  Complete  Sessions,  Spotlite,  1947 

Doin' Alright,  Blue  Note,  1961 

Go!,  Blue  Note,  1962 

Something  Different,  Steeplechase,  1975 

Great  Encounters,  Columbia,  1978 


g  a  trip 
to  the  States  in  1976,  he  took  a  gig  at  the 
Village  Vanguard  and  die  response  to  his 
plaving  was  overwhelming.  He  found 
willing  partners  in  several  musicians  of 
a  younger  generation,  including  trum- 
peter Woody  Shaw.  The  response 
prompted  him  to  return  permanently  to 
the  U.S.,  where  he  made  a  series  of  well- 
received  records  for  the  Columbia  label. 
Included  was  a  notable  return  to  his  two- 
tenor  battle  days,  diis  time  with  fellow 
expatriate  Johnny  Griffin. 
The  culmination  of  the  decade-long  renewal  of 
interest  in  Gordon  was  his  starring  role  in  the  film  'Round 
Midnight,  which  garnered  an  Oscar  nomination.  Thereafter, 
until  felled  by  ill  health,  he  continued  to  tour  with  his  own 
potent  quartets  and  returned  to  his  former  record  label.  Blue 
Note,  lor  a  briei  Mini   following  his  film  success. 


44      NKA  .1 


icop 


/ 


ICO 
|H 


GUITARIST    COMPOSER 


tm 


I 


Born  December 4, 1930  in  Buffalo,  NY 


& 


Iazz  guitarist  Jim  Hall's  technique  has  been  called  subtle 
his  sound  mellow,  and  his  compositions  understated; 
yet  his  recording  and  playing  history  is  anything  but 
modest.  He  has  recorded  with  artists  ranging  from 
Bill  Evans  to  Itzhak  Perlman  and  performed 
alongside  most  of  the  jazz  greats  of  the  20th 
century.  The  first  of  the  modern  jazz  gui- 
tarists to  receive  an  NEA  Jazz  Masters 
award,  his  prowess  on  the  instrument 
puts  him  in  the  company  of  Charlie 
Christian,  Wes  Montgomery,  and  Django 
Reinhardt. 

After  graduating  from  the  Cleveland 
Institute  of  Music,  Hall  became  an  origi- 
nal member  of  the  Chico  Hamilton 
Quintet  in  1955  and  of  the  Jimmy  Giuffre  3 
the  following  year — both  small  but  musi- 
cally vital  ensembles  of  the  era.  Hall  contin- 
ued to  hone  his  craft  on  Ella  Fitzgerald's  South 
American  tour  in  1960,  a  fruitful  time  in  which  his 
exposure  to  hossa  nova  greatly  influenced  his  subsequent 
work.  From  there,  he  joined  Sonny  Rollins'  quartet  from 
1961-62,  and  appears  on  The  Bridge,  Rollins'  first  recording 
in  three  years  after  a  self-imposed  retirement  The  interplay 
between  Rollins'  fiery  solos  and  Hall's  classic  guitar  runs 
make  this  one  of  jazz's  most  essential  recordings. 


> 


Hall  then  co-led  a  quartet  with  Art  Farmer,  recorded  a 
series  of  duets  with  noted  saxophonist  Paul  Desmond,  and 
performed  as  a  session  musician  on  numerous  recordings. 
His  extensive  ensemble  experience  has  produced  a  con- 
trol of  rhythm  and  harmony  so  that  Hall's  playing, 
while  grounded  in  scholarly  technique  and  sci- 
ence, sounds  both  rich  and  free. 

He  eventually  formed  his  own  trio  in 
1965,  which  still  performs  and  records 
today.  Well-studied  in  classical  compo- 
sition, Hall  has  produced  many  original 
pieces  for  various  jazz  orchestral  ensem- 
bles.  His  composition  for  jazz  quartet, 
"Quartet  Plus  Four,"  earned  him  the 
Jazzpar  Prize  in  Denmark.  His  influence 
on  jazz  guitarists,  including  such  disparate 
ones  as  Bill  Frisell  and  Pat  Metheny,  is 
immense.  Hall  continues  to  explore  new 
avenues  of  music,  even  appearing  on  saxophonist 
Greg  Osby's  2000  recording.  Invisible  Hand,  with  leg- 
endary pianist  Andrew  Hill.  He;  also  has  worked  in  smaller 
settings  as  well,  often  in  duets  with  jazz  greats  such  as 
pianists  Bill  Evans  and  Red  Mitchell,  and  bassists  Ron 
Carter  and  Charlie  Haden.  In  addition  to  numerous  Grammy 
nominations,  Ilall  has  been  awarded  the  New  York  Jazz 
Critics  Circle  Award  for  Best  Jazz  Composer/Arranger. 


Jimmy  Giuffre  3,  Trav'lin' Light, 
Atlantic,  1958 

Sonny  Rollins,  The  Bridge,  RCA,  1962 

Ron  Carter  and  Jim  Hall, 
Live  at  Village  West,  Concord,  1982 

Something  Special,  Music  Masters,  1 993 

Grand  Slam:  Live  at  the  Regattabar, 

Cambridge,  Massachusetts, 

Telarc,  2000 


NEA  Jazz  Masters       45 


c/) 


Foreststorn 


Born  September  21, 1921  in  Los  Angeles,  CA 


PERCUSSIONIST    BANDLEADER    COMPOSER    EDUCATOR 


Chico  Hamilton  is  almost  as  well  known  for  his  band 
leadership  and  ability  to  discover  talented  newcom- 
ers as  for  his  subtle,  creative  drumming.  As  a 
teenager  growing  up  in  Los  Angeles,  Hamilton  started  play 
ing  regularly  for  the  first  time  with  a  band  that  included 
classmates  Charles  Mingus,  Dexter  Gordon,  and 


Illinois  facquet.  He  made  his  recording  debut 
with  Slim  Gaillard,  and  studied  drumming 
u  itli  jazz  great  Jo  Jones  during  his  mili- 
tarj  sen  i(  e  from  1042-46. 

After  working  briefly  with  Jimmy 
Mundy,  Count  Basic  and  Lester  Young. 
I  [amilton  joined  Lena  I  tome's  band  in 
i')4a.  staying  with  her  on  and  off  for 
si\  years,  in<  luding  a  tour  ol  Europe. 
I  hiring  this  time,  he  also  became  an  orig- 

member  of  the  Legendary  Gerry 
Mulligan  Quartet,  whi<  h  ini  luded 
Mull,  i  Baker,  and  Boh  Whitlock. 

ordingwith  them  for  three  years 
the  Pai  ifii  [azz  Libel.  Hamilton  go1  his 
idleader. 
In  1955,  he  formed  the  Chico  Hamilton  Quintet,  utilizing 
ol  instruments:  <  ello,  flute,  guitar, 
i  the  important  West  Coast  bunds. 
<  ii  film  debut  in  the  movie  The 
U  .is  highlighting  In//  on  a 
■•it  the  1958  Newport  Jazz 
nd  started  In  1962  with  Albeit 


^DISCOO^ 


Stinson  on  bass,  Gabor  Szabo  on  guitar,  Charles  Lloyd  on 
tenor  sax  and  flute,  and  George  Bohanon  on  trombone, 
bringing  a  fresh,  new  sound  to  jazz  once  again.  Over  the 
vears,  Hamilton's  bands  have  had  various  personnel,  but  the 
quality  of  the  musicianship  has  remained  high.  Some  of 
the  players  who  Hamilton  nurtured  in  his  bands 


Complete  Pacific  Jan  Recordings  of  the 
Chico  Hamilton  Quintet,  Mosaic,  1955-59 

Man  From  Two  Worlds,  Impulse!,  1962 

Dancing  to  a  Different  Drummer, 
Soul  Note,  1993 

Foreststorn.  Koch,  2000-01 

Thoughts  of. ...  Koch,  2002 


include  Jim  Hall,  Eric  Dolphy,  Ron  Carter, 
Arthur  Blythe,  Larry  Coryell,  and  John 
Abercrombie. 

During  the  1960s,  Hamilton  formed  a 
company  to  score  feature  films  and  com- 
mercials for  television  and  radio.  In  1987. 
Hamilton  was  on  the  originating  faculty 
at  Parsons  New  School  of  Jazz  in  New 
York.  During  the  same  year,  he  formed  a 
new  quartet  called  Euphoria,  and  began 
touring  in  Europe.  The  quartet  met  with 
great  popularity,  and  in  1992.  their  album 
Arroyo  placed  in  the  Jazz  Album  of  the  Year 
category  in  the  Douti  Beat  Reader's  Poll.  In  1995.  a 
documentary  of  Hamilton's  extraordinary  life  and  career, 
Dancing  to  a  Different  Drummer,  directed  by  Julian  Benedict. 
was  presented  twice  on  the  French-German  Arts  Network. 
ARI'E.  In  June  1999,  Hamilton  received  a  Beacons  of  Jazz 
award  from  the  Mamies  College  of  Music  at  the  New  School 
University  in  New  York  City,  where  he  is  presently  teaching. 
1  le  is  working  on  his  autobiography  and  will  be  releasing 
four  new  albums  in  2006  in  celebration  of  his  85th  birthdav. 


46      NKA  .1. 


VIBIST    DRUMMER    PIANIST   VOCALIST  BANDLEADER 


Hampton 


Born  April  20, 1908  in  Louisville,  KY 
Died  September  30,  2002 


Featuring  outstanding  sideman  and  soloists,  as  well  as 
his  own  swinging  vibe  playing,  Lionel  Hampton's 
bands  during  the  1940s  and  1950s  were  among  the 
most  popular  and  most  exciting  in  jazz.  Hampton  was 
raised  in  the  Midwest,  primarily  in  Kenosha,  Wisconsin, 
where  he  received  his  first  musical  training.  His  career 
began  behind  the  drums,  taking  his  first  music  job  in  a 
newsboys  band  sponsored  by  the  Chicago  Defender. 

In  1928,  Hampton  moved  west  to  California,  landing 
first  in  the  Paul  Howard  Orchestra,  later  working  with  band- 
leaders Eddie  Barefield  and  Les  Hite.   In  1929  he  took  up 
the  vibraphone  with  the  Hite  band,  which  at  the  time  was 
led  by  Louis  Armstrong,  becoming  a  pioneering  figure  in  the 
use  of  vibes  in  a  jazz  band. 

Hampton  made  his  recorded  debut  on  an  Armstrong  ver- 
sion of  "Memories  of  You"  in  1930.  By  1934,  Hampton  had 
become  leader  of  his  own  band,  performing  at  Sebastian's 
Cotton  Club  in  Los  Angeles.   Benny  Goodman  saw  Hampton 
perform  at  one  of  his  gigs  and  recruited  him  to  augment  his 
trio,  with  Teddy  Wilson  and  Gene  Krupa,  for  a  1936  record- 
ing date.   Hampton  remained  in  Goodman's  band  through 
1940,  occasionally  replacing  Krupa  on  the  drums.  Hampton 
became  well  known  with  the  Goodman  band,  and  started 
his  own  big  band,  achieving  his  biggest  recorded  hit  with 
"Flying  Home"  in  May  1942,  driven  by  Illinois  Jacquet's 
unforgettable  tenor  saxophone  solo. 

Hampton's  popular  big  band  boasted  such  potent  musi- 
cians as  Dexter  Gordon,  Clifford  Brown,  Fats  Navarro, 


The  Complete  Lionel  Hampton, 
Bluebird,  1937-39 

Hamp:  The  Legendary  Decca  Recordings, 
Decca,  1942-63 

Hamp  and  Geti,  Verve,  1 956 

Reunion  at  Newport, 
Bluebird,  1967 

Made  in  Japan,  Timeless,  1982 


Johnny  Griffin,  Charles  Mingus 
Art  Farmer,  Clark  Terry,  Cat 
Anderson,  Wes  Montgomery, 
and  singers  Dinah 
Washington,  Joe  Williams, 
Betty  Carter,  and  Aretha 
Franklin.  He  toured  the 
globe  and  continued  to 
nurture  young  talent, 
often  providing  some 
of  the  earliest  band  experi- 
ences to  musicians  who 
went  on  to  become  leaders 
in  their  own  right.  His  band 
became  the  longest  established 
orchestra  in  jazz  history. 

Lionel  Hampton  received  numerous  awards  of  merit, 
including  several  honorary  doctoral  degrees,  the  National 
Medal  of  Arts,  and  the  Kennedy  Center  Honors.  His  diligent 
work  with  the  jazz  festival  at  the  University  of  Idaho  in 
Moscow  led  to  it  being  renamed  the  Lionel  Hampton  Jazz 
Festival  in  1985.  The  university's  music  department  shortly 
followed  suit  and  became  the;  Lionel  Hampton  School  of 
Music.   Winner  of  numerous  polls,  Lionel  Hampton  had 
been  an  honored  soloist  into  the  1990s,  performing  in 
numerous  festivals  as  part  of  all-star  assemblages.  In  2001, 
he  donated  his  vibraphone  to  tin;  Smithsonian  Institution. 


NEA  Jazz  Masters      47 


TROMBONIST    ARRANGER    COMPOSER    EDUCATOR 


Born  April  21, 1932  in  Jeannette,  PA 


Slide  Hampton's  distinguished  career  spans  decades  in 
the  evolution  of  jazz.  At  the  age  of  12  he  was  already 
touring  the  Midwest  with  the  Indianapolis-based 
Hampton  Band,  led  by  his  fadier  and  comprising  other 
members  of  his  musical  family.    By  1952.  at  the  age  of  20, 
he  was  performing  at  Carnegie  Hall  with  the  Lionel 
Hampton  Band.  He  then  joined  Maynard  Ferguson's  band, 
playing  trombone  and  providing 
exciting  charts  on  such  popular 
tunes  as  "The  Fugue,"  "Three 
Little  Foxes,"  and  "Slide's 
Derangement." 

As  his  reputation 
grew,  he  soon  began 
working  with  bands  led 
by  Art  Blakey.  Dizzy 
Gillespie,  Barry  Harris, 
Thad  Jones.  Mel  Lewis, 
and  Max  Roach,  again 
i  ontributing  both  original 
( (impositions  and  arrange- 
ments.  In  1062.  he  formed  the 
Slide  Hampton  Octet,  which 


Slide  Hampton  and  His  Horn  of  Plenty, 
Strand.  1959 


World  of  Trombon, 


201  Music,  1979 
Roots.  CnssTjross,  1985 


5^r< 


Dedicated  to  Diz.  Telarc,  1993 
Spirit  of  the  Horn.  MCG  Jazz,  2003 


included  stellar  horn  players  Booker  Little,  Freddie 
Hubbard,  and  George  Coleman.  The  band  toured  the  U.S. 
and  Europe  and  recorded  on  several  labels. 

From  1964  to  1967,  he  served  as  music  director  for  vari- 
ous orchestras  and  artists.  Then,  following  a  1968  tour  with 
Woody  Herman,  he  elected  to  stay  in  Europe,  performing 
with  other  expatriates  such  as  Benny  Bailey.  Kenny  Clarke. 
Kenny  Drew,  Art  Farmer,  and  Dexter  Gordon.  Upon  return- 
ing to  the  U.S.  in  1977,  he  began  a  series  of  master  classes  at 
Harvard,  the  University  of  Massachusetts  at  Amherst,  De 
Paul  University  in  Chicago,  and  Indiana  University.  During 
this  period  he  formed  the  illustrious  World  of  Trombones: 
an  ensemble  of  nine  trombones  and  a  rhythm  section. 

In  1989,  with  Paquito  D'Rivera.  he  was  musical  director 
of  Dizzy's  Diamond  Jubilee,  a  year-long  series  of  celebrations 
honoring  Dizzy  Gillespie's  75th  birthday.  Slide  Hampton's 
countless  collaborations  with  the  most  prominent  musicians 
of  jazz  were  acknowledged  by  the  1998  Grammy  Award  for 
Best  Jazz  Arrangement  with  a  Vocalist.  Most  recently,  he 
has  served  as  musical  advisor  to  the  Carnegie  Hall  Jazz 
Band.  A  charismatic  figure,  master  arranger,  and  formidable 
trombonist.  Slide  Hampton  holds  a  place  of  distinction  in 
the  jazz  tradition. 


48      NEA  Jazz  M.i. 


KEYBOARDIST    COMPOSER 


Hancock 


Born  April  12, 1940  in  Chicago,  IL 


Herbie  Hancock's  talent  as  a  pianist  was  evident 
when,  at  age  11,  he  performed  Mozart's  D  Major 
Piano  Concerto  with  the  Chicago  Symphony 
Orchestra.  He  began  playing  jazz  in  high  school,  initially 
influenced  by  Oscar  Peterson  and  Bill  Evans.  Also  at  this 
time,  a  passion  for  electronic  science  also  began  to  develop, 
so  Hancock  studied  both  electrical  engineering  and  music 
composition  at  Grinnell  College  in  Iowa.  His  love  of  elec- 
tronics led  Hancock  to  be  a  pioneer  in  the  use  of  electric 
piano,  clavinet,  and  synthesizer  in  jazz. 

In  1961,  trumpeter  Donald  Byrd  asked  the  young  pianist 
to  join  his  group  in  New  York,  leading  to  Blue  Note  offering 
him  a  recording  contract.   His  first  album  as  leader,  Takin' 
Off,  which  included  the  hit  single,  "Watermelon  Man," 
demonstrated  a  gift  for  composition  and  improvisation. 
His  talent  impressed  Miles  Davis  enough  to  ask 
Hancock  to  join  his  band  in  1963.  In  the  five 
years  he  worked  with  Davis,  who  became  a 
mentor  as  well  as  an  employer,  Hancock 
established  his  standing  as  one  of  the 
greatest  pianists  of  all  time.  Along  with 
Ron  Carter  (bass)  and  Tony  Williams 
(drums),  Hancock  altered  the  role  of 
the  rhythm  section  in  jazz  to  include 
expanded  solos  and  spontaneous 
changes  in  mood  and  tempo.  He  also 
composed  a  number  ol  pieces  lor  the 


^DD,SCOOV 


The  Complete  Blue  Note  Sixties 
Sessions,  Blue  Note,  1962-69 

Head  Hunters,  Columbia,  1973 

1/S.OP,  Columbia.  1977 

Village  Life,  Columbia,  1985 

Gershwin's  World,  Verve,  1998 


band  as  well  as  for  his  outstanding  solo  recordings  with  Blue 
Note.  It  was  toward  the  end  of  his  tenure  with  Davis  that  he 
began  to  use  electric  piano. 

After  leaving  the  band  in  1968,  Hancock  continued  to 
explore  the  use  of  electronic  instruments  in  his  music. 
In  1973,  he  formed  a  quartet  whose  first  recording,  Head 
Hunters,  launched  him  into  jazz  stardom  and  became  a 
best-selling  jazz  album.  In  the  late  1970s,  Hancock  revived 
the  old  Miles  Davis  band  (Freddie  Hubbard  stood  in  for 
Davis)  under  the  name  V.S.O.P.  and  they  toured  extensively. 

Throughout  his  career,  he  has  demonstrated  stunning 
artistic  versatility,  and  in  1983,  "Rockit,"  a  single  that 
resulted  from  a  collaborative  effort  with  the  rock  band 
Material,  became  a  hit  on  MTV.  Hancock  then  switched 
gears  completely,  partnering  with  Gambian  kora  virtuoso 
Foday  Musa  Suso  that  culminated  in  two  albums, 
Village  Life  and  fax/,  Africa.  He  also  has  written 
scores  for  several  films,  including  Blow-Up  in 
1966,  Death  Wish  in  1974,  and  'Round 
Midnight,  for  which  he  won  an  Academy 
Award  in  1987.   Hancock  has  won  eight 
Grammy  Awards  in  the  past  two  decades, 
and  continues  to  work  as  a  producer  and 
in  both  the  electric  and  acoustic  spheres 
of  jazz. 


NEA  Jazz  Mastei-s      49 


41  ! 


i: 


arry 


s 


PIANIST    COMPOSER    ARRANGER    EDUCATOR 


Born  December  15, 1929  in  Detroit, 


Barn'  Harris  is  part  of  an  exceptional  crew  of  Detroit- 
bred  jazz  musicians,  including  Tommy  Flanagan  and 
Donald  Byrd,  who  rose  through  the  extraordinary  arts 
education  program  in  the  public  school  system  during  the 
1930s  and  1940s.  Harris'  earliest  musical  mentor  was  a 
church  piano-playing  mother  who  exposed  him  to  piano 
lessons  at  age  four.  He  became  seriously  immersed  in  jazz 
in  the  mid-1940s  and  fell  under  the  spell  of  Thelonious 
Monk.  Charlie  Parker,  and  Bud  Powell.  As  a  professional, 
be  would  become  a  key  translator  of  Monk's  music. 

Detroit  was  blessed  with  a  high-energy  jazz  scene  during 
tlic  1940s,  and  Harris  was  house  pianist  at  one  of  the  hottest 
spots,  the  Blue  Bird  Lounge.  At  the  Blue  Bird  and 
later  it  the  Rouge,  he  backed  such  traveling 
soloists  .is  Miles  Davis.  YVardell  Gray.  Max 
Roach.  Sonnj  Stitt,  Lee  Konitz,  and  Lester 
Young.  Displaying  an  early  interest  in 
passing  the  torch  through  education, 
l!.nr\  began  teat  bing  his  bebop  theories 
:    a    1956,  tutoring  young  talent 
foe  Henderson,  it  is  a  tradition 
he  has  <  arried  on  throughoul  his  life. 
At  the  urging  ol  Julian  "Cannonball" 
II  irris  lefl  Detroil  in  I960 
York.  In  addition  to 
mil  work  in  the  1960s 


^D  DISCOS 

Chasin'  The  Bird, 
Original  Jazz  Classics,  1962 

Barry  Harris  Plays  Tadd  Dameron, 
Classics,  1975 


For  The  Moment, 
Uptown,  1984 


Live  at  Maybeck  Recital  Hall, 
Vol.  I  &  2,  Concord,  1990 


and  1970s  with  fellow  Detroiter  Yusef  Lateef.  Charles 
McPherson,  and  Coleman  Hawkins.  In  addition  to  sideman 
work,  Harris  led  various  trios  and  duos  at  piano  bars  and 
restaurants  around  New  York.  He  also  began  to  get  work  as 
an  arranger  and  composer,  showing  a  particular  adeptness 
for  his  treatment  of  strings.  A  consummate  freelancer,  he 
found  work  in  a  variety  of  diverse  settings  and  continues  to 
play,  inaugurating  the  Lincoln  Center's  Penthouse  piano 
series  in  1997. 

By  the  early  1980s,  Barn'  Harris'  acumen  as  a  teacher 
and  mentor  to  developing  pianists  had  become  legendary. 
He  was  able  to  expand  these  interests  when  he  opened  the 
Jazz  Cultural  Center  in  1982  on  Eighth  Avenue  in 
Manhattan.  The  Center  served  as  workshop, 
educational  facility,  and  performance  space 
for  Harris  and  his  affiliated  artists,  but 
unfortunately  only  lasted  until  1987. 
Harris  soldiered  on.  though,  continuing 
to  teach  and  mentor  young  musicians. 
He  also  continues  to  present  and  pro- 
duce annual  multimedia  concert  spec- 
taculars at  places  like  Symphony  Spat  8 
and  the  Manhattan  Center  in  New  York. 


Live  in  New  York, 
Reservoir,  2002 


SO      NEAJjizz.  M;Lst<is 


DRUMMER 


,ynes 

Bom  March  13, 1925  in  Roxbury,  MA 


Seemingly  ageless,  Roy  Haynes  has  played  the  drums 
from  the  bebop  days  of  the  1940s  to  the  present  day 
with  the  same  restless  energy.  Haynes  has  remained 
fresh  in  his  outlook  and  in  his  thirst  for  collaborating  with 
younger  artists  and  those  who  play  in  challenging  styles, 
as  is  shown  in  his  work  with  such  disparate  artists 
as  Roland  Kirk,  Danilo  Perez,  and  Pat  Metheny. 
He  also  has  been  a  favorite  sideman  for  any 
number  of  artists  because  of  his  crisply 
distinctive  drumming  style.  Thelonious 
Monk  once  described  Haynes'  drumming 
as  "an  eight  ball  right  in  the  side  pocket." 
Haynes  became  interested  in  music 
through  his  father,  a  church  organist.  In 
his  earliest  professional  playing  years  in 
the  mid-1 940s,  he  worked  in  Boston  with 
pianist  Sabby  Lewis,  Frankie  Newton,  and 
Pete  Brown.   In  1945,  he  joined  the  Luis 
Russell  hand,  remaining  until  1947,  where- 
upon he  joined  Lester  Young's  band.   In  the 
late  1940s  to  mid-1950s,  he  worked  with  such 
greats  as  Miles  Davis,  Charlie  Parker,  Bud  Powell,  and 
Kai  Winding.  Ho  later  played  in  Monk's  band  at  the 
Five  Spot  Cafe  before  forming  his  own  band  in  1958. 
Some  of  his  most  noted  work  in  the  early  1960s 
came  when  he  subbed  for  Llvin  Jones  in  the  John  Coltrane 
Quartet,  both  on  gigs  and  on  records.   His  drumming  style 
was  a  marked  change  for  Coltrane  from  Elvin  Jones' 
approach — lighter,  less  aggressive  than  (ones — and  it  gave 


We  Three, 
Original  Jazz  Classics,  1958 

Out  of  the  Afternoon, 
Impulse!,  1962 

TeVoul,  Dreyfus,  1995 

The  Roy  Haynes  Trio, 
Verve,  2000 

Fountain  of  Youth, 
Dreyfus  Jazz,  2002 


the  quartet  a  different  sound.  Among  his  other  affiliations 
during  the  late  1950s  to  early  1960s  were  with  George 
Shearing,  Kenny  Burrell,  Lennie  Tristano,  and  Stan  Getz. 
In  addition,  his  style  of  drumming  was  an  ideal  accompani- 
ment to  singers,  accenting  the  vocals  without  overpowering 
them,  and  he  worked  with  Sarah  Vaughan,  and  Lambert, 
Hendricks  &  Ross. 

He  later  joined  vibist  Gary  Burton,  who  had 
been  a  member  of  Getz 's  band.  After  Burton's 
band,  which  was  one  of  the  precursors 
of  the  jazz-rock  movement,  Haynes 
formed  the  Hip  Ensemble,  featuring 
such  musicians  as  George  Adams,  and 
Hannibal  Marvin  Peterson.  The  band 
had  a  decidedly  contemporary  flavor, 
often  employing  various  guitarists.  He 
also  has  enjoyed  an  occasional  playing 
relationship  with  Chick  Corea,  dating  back 
to  their  Stan  Getz  days.  He  joined  Corea 's 
rio  Music  band  in  1981. 

While  periodically  leading  his  own  hands, 
he  has  also  worked  with  artists  such  as  Billy  Taylor, 
Hank  Jones,  and  Ted  Curson,  and  as  an  innovative;  drummer 
in  a  variety  of  settings.  His  bands  have  included  some  of 
the  more  exceptional  young  musicians  on  the  scene,  ranging 
from  his  Hip  Ensemble  to  bis  various  quartets.  He  continues 
to  influence  the  next  generation  of  drummers  with  his 

distinctive  sound. 


NEA  Jazz  Masters       51 


•'**« 


immy 


eath 


SAXOPHONIST    FLUTIST    COMPOSER    ARRANGER    EDUCATOR 


Born  October  25, 1926  in  Philadelphia,  PA 


The  second  of  the  illustrious  Heath  Brothers  to  receive 
an  NEA  Jazz  Master  Fellowship  (bassist  Percy 
received  the  award  in  2002),  Jimmy  was  the  first 
Heath  to  choose  music  as  a  career  path.  Starting  on  alto  sax- 
ophone (and  acquiring  the  nickname  "Little  Bird"  due  to  the 
influence  Charlie  "Yardbird"  Parker  had  on  his  style),  one  of 
his  first  professional  jobs  came  in  1945-46  in  the  Midwest 
territory  band  led  by  Nat  Towles,  out  of  Omaha,  Nebraska. 
Returning  to  Philadelphia,  he  briefly  led  his  own  big  band 
with  a  saxophone  section  that  included  John  Coltrane  and 
Benny  Golson — also  products  of  the  city's  jazz  scene.  Gigs 
followed  with  Howard  McGhee  in  1948  and  with  Dizzy 
Gillespie's  big  band  from  1949-50. 

In  the  early  1950s,  Heath  switched  to  tenor  sax  and 
briefly  occupied  Coltrane's  place  in 
Miles  Davis'  band  in  1959.  In  the 
1960s,  he  began  his  own 
recordings  as  a  leader,  and 
frequent l\  trained  up 
with  Milt  (ackson  and 

\rt  Fanner,  Bj  th.it 
time  he  bad  boned  his 
talent  as  •:  i  omposei 
and  arranger,  creating 


^PDISCOo^ 


Really  Big!.  Riverside/OJC,  1960 
On  the  Trail.  Riverside/OJC,  1964 
The  Gap  5ea/e/:wfcblestone,  1972 
Little  Man.  Big  Band.  Verve,  1992 


such  widely  performed  compositions  as  "Gingerbread  Boy" 
and  "C.T.A."  By  combining  his  versatile  style  of  performing 
and  his  outstanding  writing  and  arranging  abilities,  he  has 
set  a  high  standard  of  accomplishment  in  the  jazz  field.  He 
has  made  more  than  100  recordings  and  composed  more 
than  100  original  works. 

As  an  educator.  Heath  has  taught  at  Jazzmobile, 
Housatonic  Communitv  College.  Citv  College  of  New  York. 
and  Queens  College,  where  he  retired  from  full-time  teach- 
ing in  1998.  He  holds  honorary  degrees  from  Sojourner- 
Douglass  College  and  die  Juilliard  School,  and  has  a 
chair  endowed  in  his  name  at  Queens  College.  Currently, 
he  is  serving  on  die  board  of  the  Thelonious  Monk 
Institute  of  Jazz. 

Since  the  mid-1970s,  Jimmy  has  been  teaming  up  with 
brothers  Percy  and  Albert  "Tootie"  as  the  Headi  Brothers,  a 
band  which  has  also  at  times  included  contributions  from 
jimmy's  son,  die  noted  percussionist,  composer,  and 
rhvthm-and-blues  producer,  Mtume.  In  addition,  he  has 
performed  with  other  jazz  greats,  such  as  Slide  Hampton 

and  Wynton  Marsalis,  and  indulged  in  his  continuing 

interest  in  the  dynamics  of  arranging  for  big  band. 

He  remains  active  as  an  educator,  saxophonist. 

and  composer. 


Heath  Brothers, 
Jazz  Family.  Concord, 


998 


52     NEA  Jazz  Masters 


Perc 


BASSIST 


Heath 


Bom  April  30, 1923  in  Wilmington,  NC 
Died  April  28,  2005 


Percy  Heath  was  the  backbone  of  the  popular  jazz 
group  Modern  Jazz  Quartet,  and  a  superb  bassist  so 
sought  after  that  he  appeared  on  more  than  200  jazz 
albums.  Heath  was  a  member  of  one  of  the  great  families  of 
jazz  (along  with  the  Joneses  and  MarsalisesJ,  with  brothers 
Jimmy  (on  saxophone]  and  Albert  "Tootie"  (on  drums)  also 
being  stellar  jazz  musicians. 

Heath  started  on  the  violin  in  his  school 
orchestra  but  began  to  seriously  study 
music  at  the  Granoff  School  of  Music  in 
Philadelphia  after  his  service  in  the  Air 
Force.  In  1947,  he  joined  his  brother 
Jimmy  in  Howard  McGhee's  band, 
ending  up  in  New  York  where  he 
performed  regularly  with  jazz  greats 
such  as  Miles  Davis,  J.J.  Johnson, 
Sonny  Rollins,  Fats  Navarro,  and 
Charlie  Parker.   Heath  joined  Dizzy 
Gillespie's  sextet  from  1950-52,  where 
he  met  the  other  members  of  the  soon-to- 
be  Modern  Jazz  Quartet  (MJQ):  John  Lewis, 
Mill  Jackson,  and  Kenny  Clarke.  Heath  stayed 
with  MJQ  from  its  beginning  in  1952  for  more  than  40 


Modern  Jazz  Quartet, 

The  Artistry  of  the  Modern  Jazz  Quartet, 

Prestige,  1952-55 

Jimmy  Heath,  Really  Big!, 
Original  Jazz  Classics,  1960 

Heath  Brothers,  Marchin'On!,  Strata  East,  1976 

Heath  Brothers,  Brotherly  Love, 
Antilles,  1991 


Modern  Jazz  Quartet, 
Celebration,  Atlantic,  1992 


years,  off  and  on.  Lewis'  arrangements  brought  the  bass 
into  greater  prominence,  prompting  Heath  to  greater  heights 
with  his  performances.  During  his  time  with  MJQ,  Heath 
performed  on  film  soundtracks  and  with  symphony  orches- 
tras and  string  quartets,  always  exhibiting  style  and  poise  in 
every  setting. 

During  the  break  from  the  MJQ  in  1975-82,  Heath 
worked  with  Sarah  Vaughan  and  began  performing 
with  the  Heath  Brothers  band,  which  included 
Jimmy  and  Tootie.  His  talents  on  bass  were 
much  in  demand  as  the  house  bass  player 
for  both  Prestige  and  Blue  Note  record 
labels,  providing  a  confident,  straight-ahead 
style  of  playing  reminiscent  of  the  great 
Ray  Brown. 

Heath  received  many  honors  in  his 
career,  such  as  the  Maria  Fischer  Award. 
!•' ranee's  Cross  of  Officer  of  Arts  and  Letters, 
and  an  honorary  doctoral  degree  from  Berklee 
College  in  Boston,  Massachusetts.    In  addition. 


I  loath  performed 
Nixon  and  Clinton. 


at  the  White; 


'residents 


NEA  Jazz  Masters       53 


enderson 


SAXOPHONIST 


Born  April  24, 1937  in  Lima,  OH 

Died  June  30, 2001 


One  of  the  more  distinctive  tenor  saxophone  voices  to 
have  emerged  during  the  1960s,  Joe  Henderson's  rich 
tone  and  strong  sense  of  rhythm  influenced  scores  of 
tenor  saxophonists  who  followed  him.  In  concert,  his 
aggressive  playing  was  often  tempered  by  a  melodic  touch 
on  ballads. 

Growing  up  in  Lima,  Ohio,  he  first  played  the  drums, 
switching  to  tenor  saxophone  at  age  13.  After  high  school 
he  studied  at  Kentucky  State  College,  then  Wayne  State  in 
Detroit  from  1956-60,  as  well  as  under  the  private  tutelage  of 
pianist  Barry  Harris.  One  of  his  first  jazz  jobs  was  alongside 
saxophonist  Sonny  Stitt.  Uien  he  led  his  own  band  around 
Detroit  in  1960.  He  entered  the  Army  band  that  year, 
remaining  until  1962. 

After  Leaving  the  Army,  Henderson  eventually  moved  to 
New  York,  where  he  worked  with  organist  Jack  McDuff,  then 
co-led  a  band  with  Kenny  Dorham  during  1962-63.   His  first 
recording  as  a  leader  in  1963,  Page  One,  was  one  of  the  most 
popular  releases  for  the  Blue  Note  label,  and  led  to  one  of 
his  ri(  hesl  recording  periods  both  as  a  leader  and  sideman. 
I  le  played  with  Horace  Silver  in  1964-66,  and  Andrew  Hill 
in  1965,  both  Blue  Note  artists.  His  work  on  Lee  Morgan's 
album  The  Sidewinder,  especially  on  the  hit  title  track,  con- 
tains some  oi  his  best  solos  of  the  period.  During  the  late 
i'ii. lis.  he  w,is  pari  ol  the  (  ooperative  band,  the  Jazz 
imunicators,  with  Freddie  Hubbard  and  Louis  Hayes. 


At  the  end  of  the  decade  he  spent  over  a  year  with  the 
Herbie  Hancock  Sextet  (1969-70),  and  joined  the  pop  band 
Blood,  Sweat  &  Tears  for  a  short  time  in  1971.  Thereafter 
he  worked  mainly  as  a  leader  and  freelance  saxophonist. 
His  bands  employed  a  number 
of  outstanding  musicians 


& 


^DD1S00tX 


Page  One,  Blue  Note,  1963 
Four!,  Verve,  1968 

1&2. 


The  State  of  th, 
Blue 


hak. 

Note 


•nor.  Vol. 
985 


and,  following  his  Blue 
Note  years,  he  made  a 
series  of  rewarding 
discs  for  the 
Milestone  label. 
In  the  1990s, 
Henderson  experi- 
enced a  resurgence 
in  popularity  with  a 
series  of  well- 
received  albums  on 
die  Verve  label.  His 
recordings  of  the  music  of 
Billy  Strayhorn,  Miles  Davis, 
and  Antonio  Carlos  Jobim  in  inventive 
arrangements  were  inspired,  and  he  showed  a  skill  for 
big  band  arrangement  with  his  1996  release. 


Lush  Life:  The  Music  of  Billy  Strayhorn, 
Verve,  1991 

Big  Band,  Verve,  1992-96 


54     NEA  Jazz  Masters 


ARRANGER    MUSICAL  DIRECTOR    PIANIST 


Sarah  Vaughan,  No  Count  Sarah, 
Mercury,  1958 

Eileen  Farrell,  /  Got  a  Right  to  Sing  the  Blues, 
Columbia,  1960 

Original  Cast  Recording,  Ain't  Misbehavin', 
RCA,  1978 

American  Composers  Orchestra,  Four  Symphonic 
Works  by  Duke  Ellington,  Music  Masters,  1 989 

Canadian  Brass  Quintet,  Red  Hot 

Jazz:  The  Dixieland  Album, 

Philips,  1993 


When  he  was  four,  Luther 
Henderson  moved  to 
Harlem  with  his  family 
and  became  neighbors  with 
Duke  Ellington.  Ellington 
would  become  a  major  influ- 
ence on  Henderson's  life, 
beginning  in  the  late  1940s 
and  early  1950s  when  he 
adapted  and  orchestrated  some 
of  Ellington's  larger  works,  such 
as  "Harlem — A  Tone  Parallel"  and 
"Three  Black  Kings,"  for  perform- 
ance in  a  concerto  grosso  format  by  his 
orchestra  and  another  symphony  orches- 
tra. Henderson's  classical  training  at  the  Juilliard  School  and 
music  study  at  New  York  University  led  Ellington  to  dub 
Henderson  "his  classical  arm."  His  talents  included  com- 
posing, arranging,  conducting,  and  performing,  and  he  was 
hired  by  Ellington  in  1946  to  orchestrate  his  Broadway 
musical,  Beggar's  Holiday. 

Henderson  worked  on  more  than  50  Broadway  produc- 
tions in  various  capacities.  For  Ain't  Misbehavin',  he  was 
the  original  pianist  as  well  as  orchestrator,  arranger,  and 
musical  supervisor.   For  Lena  Home:  The  Lady  and  Her 
Music,  he  was  the  musical  consultant  and  arranged  several 
selections.   He  orchestrated  such  musicals  as  the  Tony 
Award-winning  Raisin,  I'lay  On!,  and  jelly's  Uisi  Jam.  As  a 


Henderson 


Born  March  14, 1919  in  Kansas  City,  MO 
Died  July  29, 2003 

dance  arranger,  Henderson's  credits  included  Flower 
Drum  Song,  Do  Re  Mi,  Funny  Girl,  and  No,  No 
Nanette.  His  skill  in  bringing  a  jazz  sensibility  to 
musical  theater  was  much  in  demand.  For  Jelly's 
Last  Jam,  he  rearranged  Jelly  Roll  Morton's  jazz 
compositions  and  musical  fragments  into  a  hit 
musical;  Ain't  Misbehavin'  used  the  music  of 
jazz  great  Fats  Waller  as  a  base. 

Henderson's  talents  extended  to  the  arena  of 
television,  where  he  held  positions  as  musical 
director,  orchestrator,  arranger,  and  pianist  for 
the  Columbia  Pictures  television  special  Ain  7 
Misbehavin '  for  which  he  received  an  Emmy 
nomination.  Albums  to  his  credit  included  several  with 
the  Canadian  Brass  Quintet  and  Eileen  Farrell's 
/  Got  a  Right  to  Sing  the  Blues,  which  was  re-released  in 
1992.   For  Columbia  Records,  the  Luther  Henderson 
Orchestra  recorded  six  albums.   In  addition,  Henderson 
contributed  to  various  albums  recorded  by  the  Duke 
Ellington  Orchestra,  the  Andre  Kostelanetz  Orchestra, 
the  Royal  Philharmonic,  Mandy  Patinkin,  Polly  Bergen, 
Anita  Ellis,  and  others.   Henderson's  composition  "Ten 
Good  Years,"  with  lyricist  Martin  Charnin,  was  recorded 
by  Nancy  Wilson  on  her  Coconut  Grove  album. 

Henderson  died  of  cancer  after  he  had  been  named 
an  NEA  Jazz  Master,  but  before  he  was  able  to  receive  the 
award  at  the  ceremony. 


NEA  Jazz  Masters       55 


Hendric 


Born  September  16, 1921  Newark,  OH 


VOCALIST    LYRICIST    EDUCATOR 


Ion  Hendricks  helped  create  the  singing  style  known  as 
vocalese,  or  crafting  songs  and  lyrics  out  of  the  note 
sequence  of  famous  jazz  instrumental  solos,  as  a  member 
uf  the  great  jazz  vocal  ensemble  Lambert,  Hendricks  & 
Ross.  A  gifted  lyricist,  he  has  added  words  to  classics  by 
Count  Basie.  Horace  Silver,  Miles  Davis,  and  Art  Blakey, 
brilliantly  mirroring  the  instrumental  effects. 

He  grew  up  largely  in  Toledo,  Ohio,  one  of  17  children. 
His  singing  career  began  at  age  eight,  singing  at  parties  and 
dinners.  Later  he  sang  on  a  radio  show  on  which  he  was 
occasionally  accompanied  by  another  Toledoan,  the  great 
pianist  Art  Tatum.  Returning  home  from  service  in  the 
Army,  he  studied  at  the  University  of  Toledo  and  taught 
himself  to  play  drums.  In  1952,  he  relocated  to  New  York 
and  found  his  initial  work  as  a  songwriter, 
working  for  such  artists  as  Louis 
Jordan  and  King  Pleasure.  One 
of  his  earliest  recordings  came 
on  a  version  of  the  Woody 
Herman  band  feature, 
"Four  Brothers." 

His  collaboration  with 
vocalist  Dave  Lambert 
began  in  1957  when  he  re- 
recorded "Four  Brothers," 
which  Led  to  their  associa- 
tion with  singer  Annie  Ross 


4? 


^DDISCOo^ 


Lambert,  Hendricks  &  Ross, 
Sing  a  Song  of  Basie,  Verve,  1 957 

Lambert,  Hendricks  &  Ross, 
Everybody's  Boppm',  Columbia.  1959-61 

Love.  MuS?1981-82 

Freddie  Freeloader, 
Denon,  1989-90 

Wynton  Marsalis,  Blood  on  the 
Fields,  Columbia,  1994 


on  a  collection  of  Count  Basie  songs.  Sing  a  Song  of  Basie, 
using  innovative  multitracked  arrangement  of  vocals, 
became  a  hit  when  released  in  1958  and  gave  birth  to 
Lambert,  Hendricks  &  Ross  as  a  full-time  act.  They  subse- 
quently toured  with  the  Basie  band  and  were  a  top-selling 
act  for  nearly  four  years,  until  Ross  left  the  band.  Lambert 
and  Hendricks  continue  for  a  while  with  new  singer 
Yolande  Bavan,  eventually  breaking  up  in  1964.  Hendricks 
found  work  as  a  soloist,  then  moved  to  England  in  1968.  In 
the  early  1970s  he  put  together  another  trio,  this  time  with 
wife  Judith  and  daughter  Michelle,  an  arrangement  he  has 
occasionally  revisited  over  the  years. 

Evolution  of  the  Blues,  an  extended  stage  work 
Hendricks  had  first  performed  with  Lambert  and  Ross  at  the 
Monterey  Jazz  Festival  in  1960,  went  on  a  five-year  run  at 
the  Broadway  Theatre  in  San  Francisco  in  tire  1970s. 
Thereafter  he  took  a  variety  of  university  teaching  positions 
in  California,  and  continued  to  work  with  Judidi,  Michelle, 
and  youngest  daughter  Aria,  with  occasional  male  singers 
such  as  Bobbv  McFerrin,  Kevin  Burke,  and  Miles  Griffith. 
He  has  written  for  and  played  with  the  Manhattan  Transfer, 
a  jazz  vocal  group  heavily  influenced  by  Hendricks.  More 
recently  he  was  one  of  three  singers  in  Wynton  Marsalis* 
Pulitzer  Prize-winning  oratorio.  Blood  on  the  Fields.   I  [e  has 
written  lyrics  to  a  number  of  jazz  standards,  including 
"Four,"  "Hi  Fly,"  "Along  Came  Betty."  "Desifinado,"  and 
"No  More  Blues." 


56     NEA  Jazz  Masters 


> 

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p 

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lm 


Nat 


CRITIC    JOURNALIST    PRODUCER 


ento: 


Bom  June  10, 1925  in  Boston,  MA 


One  of  the  major  voices  in  jazz  literature,  Nat  Hentoff 
has  written  about  and  championed  jazz  for  more 
than  half  a  century,  produced  recording  sessions  for 
some  of  the  biggest  names  in  jazz,  and  written  liner  notes  for 
scores  more.  Through  his  work,  he  has  helped  to  advance 
the  appreciation  and  knowledge  of  jazz.  It  is  fitting  that  he 
is  the  first  to  receive  the  NEA  Jazz  Masters  Fellowship  for 
Jazz  Advocate. 

Hentoff  began  his  education  at  Northeastern  University 
in  Boston,  his  hometown,  and  went  on  to  pursue  graduate 
studies  at  Harvard  University.  As  a  graduate  student,  he 
hosted  a  local  radio  show  and  became  immersed  in  the 
Boston  jazz  scene.   In  1953,  after  completing  a  Fulbright 
Fellowship  at  the  Sorbonne  in  Paris,  he  spent  four  years  as 
an  associate  editor  at  Down  Beat  magazine,  where  he  laid 
the  foundation  for  a  truly  remarkable  career  as  a  jazz  jour- 
nalist. Hentoff  was  co-editor  oijazz  Review  horn  1958  to 
1961,  and  worked  for  the  Candid  label  as  A&R  director  from 
1960  to  1961,  producing  recording  sessions  by  jazz  icons 
such  as  Charles  Mingus,  Cecil  Taylor,  and  Abbey  Lincoln. 

His  books  on  music  include  Jazz  Country  (1965),  Jazz: 
New  Perspectives  on  the  History  of  Jazz  by  Twelve  of  the 
World's  Foremost  Jazz  Critics  and  Scholars  (with  Albert  J. 
McCarthy,  1974),  Boston  Boy:  Crowing  Up  with  Jazz  and 
Other  Rebellious  Passions  (1  986),  Listen  to  the  Stories:  Nat 
Hentoff  on  Jazz  and  Country  Music  (1995),  and  American 
Music  Is  (2004).   His  work  has  appeared  in  such  venerable 
publications  as  The  New  York  Times,  The  New  Republic, 


Jazz  Times,  and  The  New  Yorker,  where  he  was  a  staff  writer 
for  more  than  25  years.  In  addition  to  his  status  as  a 
renowned  jazz  historian  and  critic,  Hentoff  also  is  an  expert 
on  First  Amendment  rights,  criminal  justice,  and  education 
and  has  written  a  number  of  books  on  these  topics. 

In  1980,  he  was  awarded  a  Guggenheim  Fellowship 
in  education  as  well  as  a  Silver  Gavel  Award  from  the 
American  Bar  Association  for  his  coverage  of  the  law 
and  criminal  justice.  Five  years  later,  he  was  awarded 
an  honorary  degree  from  Northeastern  University.  The 
multidisciplinary  body  of  work  that  Hentoff  has  produced 
represents  an  articulation  of  the  interconnectedness  of  the 
ideals  of  constitutional  rights  and  jazz  music  and  is  without 
a  doubt  a  major  contribution  to 


the  dialogue  surrounding 
the  uniquely  American  jazz 
tradition.  Currently,  Hentoff 
writes  about  music  for  the 
Wall  Street  Journal  and 
has  a  weekly  column 
in  The  Village  Voice 
and  in  the  United 
Media  syndicate,  which 
distributes  the  column  to 
250  papers  nationwide. 


c^BIBUoo 

4?  % 

Jazz  Country,  HarperCollins,  1965 

The  Jazz  Life,  Harper  Collins  1975 

Jazz  Is,  Random  House,  1 976 

Boston  Boy:  Growing  Up  With  Jazz  and  Other 
Rebellious  Passions,  Random  House,  1986 

The  Nat  Hentoff  Reader, 
DaCapo  Press,  2001 


NEA  Jazz  Master       57 


DRUMMER 


Born  October  11, 1936  in  Los  Angeles,  CA 
Died  May  3,  2001 


Known  among  musicians  and  fans  as  "Smiling  Billy," 
Billy  Higgins  was  first  introduced  to  the  broader  jazz 
public  when  he  came  to  the  East  Coast  with  the 
Ornette  Coleman  Quartet  in  1959  for  their  extended  engage- 
ment at  the  Five  Spot  Cafe.  Although  he  does  not  have 
many  records  under  his  own  name,  Higgins  was  often  in 
great  demand  as  a  sideman,  providing  sensitive 
accompaniment  in  a  variety  of  settings. 

Higgins  started  on  the  drums  at  age  12. 
By  the  time  he  was  19,  he  was  working  in 
rhythm  and  blues  bands,  including  Amos 
Milburn  and  Bo  Diddley.  Other  early 
affiliations  included  singers  Brook 
Benton,  Jimmy  Witherspoon,  and  Sister 
Rosetta  Tharpe.  He  also  began  working 
with  jazz  artists,  such  as  Dexter  Gordon. 
Don  Cherry,  James  Clay,  and  Walter 
Benton.   1  le  joined  the  Red  Mitchell  band 
in  1957,  but  soon  left  to  join  Ornette 
Coleman's  new  band,  with  whom  he  worked 
Steadily  ill  1958  and  1959.   In  the  early  1960s,  he 
worked  with  Thelonious  Monk,  John  Coltrane,  and 
Sonny  Rollins.   By  then  he  had  become  one  of  the  most 


^0  0,3000^ 

Ornette  Coleman, 

Change  of  the  Century, 

Atlantic,  1959 

Soweto,  Red,  1979 

Mr.  Billy  Higgins.  Evidence,  1984 

3M  For  Peace.  Red,  1993 

Charles  Lloyd,  Hyperion  with  Higgins. 
ECM,  2001 


in-demand  freelance  drummers  on  the  scene,  particularly 
on  many  Blue  Note  sessions. 

His  drumming  was  an  important  addition  to  many 
recordings,  such  as  Andrew  Hill's  Point  of  Departure, 
Herbie  Hancock's  Takin '  Off,  and  Lee  Morgan's  The 

Sidewinder,  the  last  two  being  especially  popular  jazz 
albums.  He  would  intermittently'  work  with 


Coleman  again  in  the  1960s  arid  1970s  as  well. 
Outside  of  Coleman,  a  frequent  musical  col- 
laborator was  Cedar  Walton,  an  association 
that  began  in  1966  and  continued  into 
the  1990s,  often  in  the  Walton's  Eastern 
Rebellion  bands.  In  the  1990s  his  career 
was  halted  by  kidney  disease,  leading  to 
a  subsequent  kidney  transplant.  After 
resuming  playing,  he  remained  much  in 
demand  for  record  dates.   During  1999- 
2001,  he  worked  frequently  with  Charles 
Lloyd  when  not  leading  his  own  bands, 
recording  some  of  his  most  inventive  drum- 
ming while  playing  against  Lloyd's  saxophone. 


58      NEA  Jazz  Masters 


BASSIST    EDUCATOR 


Hmton 


Born  June  23, 1910  in  Vicksburg,  MS 
Died  December  19, 2000 


Milt  Hinton's  career  spanned  the  gamut  of  jazz  gen- 
erations, working  from  the  early  swing  days  of  the 
1930s  with  Cab  Calloway  through  the  end  of  the 
millennium  with  the  new  guard  of  jazz,  such  as  Branford 
Marsalis  and  Christian  McBride.  His  ability  to  make  a  con- 
tribution in  any  setting  allowed  for  his  vast  array  of  work. 
As  a  soloist,  Hinton,  nicknamed  "The  Judge,"  was  adept  at 
the  early  bass  tradition  of  slapping  the  strings.  In  addition 
to  his  love  of  music,  Hinton  was  a  perceptive  and  widely 
exhibited  photographer.  Much  of  tbe  history  of  jazz  can  be 
found  in  his  photographs,  which  were  published  in  several 
magazines  and  in  two  extraordinary  coffee-table  books. 

Like  many  African  American  families  in  the  early  part  of 
the  20th  century,  his  family  migrated  north  from  Mississippi 
to  Chicago,  where  he  was  raised.  His  mother  was  a  church 
musician,  playing  organ,  piano,  and  directing  the  choir.  She 
bought  him  a  violin  for  his  thirteenth  birthday,  which  he 
studied  for  four  years  from  1923-27.   Later  he  picked  up  the 
bass  horn  and  tuba  while  studying  music  at  Wendell 
Phillips  High  School  in  Chicago.   In  1928,  he  found  his 
voice  when  he  switched  to  string  bass.   One  of  his  earliest 
professional  affiliations  was  with  violinist  Eddie  South, 
with  whom  he  played  intermittently  between  1931-36. 
Other  early  affiliations  included  Zulty  Singleton,  Erskine 
Tate,  Art  'latum,  and  Jabho  Smith 

Hinton's  early  career  experience  was  centered  around 
the  Cab  Calloway  Orchestra,  with  which  he  worked  from 


C^DISCOO, 

Various  Artists, 
The  Modern  Art  of  Jazz,  Biograph,  1956 

The  Judge  at  his  Best, 
Chiaroscuro,  1973-95 

Back  to  Bass-ics,  Progressive,  1984 

Branford  Marsalis,  Trio  Jeepy, 
Columbia,  1988 

Laughing  at  Life, 
Columbia,  1995 


1936-51.  After  leaving 
Calloway,  he  worked  with  the 
big  bands  of  Joe  Bushkin, 
Jackie  Gleason,  Phil 
Moore,  and  Count  Basie. 
He  played  with  Louis 
Armstrong  between 
1952-55,  then  became  a 
staff  musician  for  CBS, 
one  of  the  first  African 
American  musicians  wel- 
comed into  the  TV  studios. 
From  1956  on,  Hinton  was  a 
much  in-demand  studio  musi- 
cian, adept  at  different  styles  of  play- 
ing, from  the  pop  of  Paul  Anka  to  the  jazz  of  Teddy  Wilson. 
He  also  was  in-demand  in  live  settings,  performing  with 
Jimmy  McParlland,  Benny  Goodman,  Ben  Webster,  Sammy 
Davis,  Jr.,  Judy  Garland,  and  Harry  Belafonte,  among  others. 
In  the  1960s,  he  became  a  staff  musician  at  ABC,  working 
on  the  Dick  Cavett  Show.  In  the  last  decades  of  bis  life, 
Hinton  continued  to  play  and  record,  inspiring  new  genera- 
tions of  jazz  musicians  and  fans. 

He  received  numerous  honorary  doctoral  degrees  and 
taught  jazz  at  several  colleges  and  universities,  including 
Hunter  College,  Baruoh  College;,  Skidmore  Col  lego,  and 
Interlochen  Music  ( lamp. 


NEA  Jazz  Masters       59 


Horn 


Bom  May  1, 1934  in  Washington,  DC 
Died  October  20,  2005 


VOCALIST     PIANIST 


Shirley  Horn  began  leading  her  own  group  in  the  mid- 
1950s,  and  in  1960  recorded  her  first  album,  Embers 
and  Ashes,  which  established  her  reputation  as  an 
exceptional  and  sensitive  jazz  vocalist.  Born  in  1934  in 
Washington,  DC,  she  studied  classical  piano  as  a  teenager  at 
Howard  University's  Junior  School  of  Music. 

Under  the  influence  of  artists  such  as  Oscar  Peterson 
and  Ahmad  Jamal,  she  then  began  a  career  as  a  jazz  pianist 
and  soon  after  discovered  the  great  expressive  power  of  her 
voice.  When  Miles  Davis  heard  Embers  and  Ashes,  he 
brought  her  to  New  York,  where  she  began  opening  for  him 
at  the  Village  Vanguard.  Soon  she  was  performing  in  major 
venues  throughout  the  United  States  and  recording  with 
Quincy  Jones  for  the  Mercury  label. 

For  some  years  she  spent  much  of  her  time  in  Europe, 
then  took  a  ten-year  hiatus  to  raise  her  family  in 
Washington.  She  continued  to  appear  in  and  around  the  DC 
area,  and  in  the  1980s  she  returned  to  the  recording  studio. 
The  overwhelming  critical  success  of  her  1981  appearance 
at  Holland's  North  Sea  Jazz  Festival  reintroduced  her  to  old 
bins,  won  her  new  followers,  and  revitalized  her  career, 
allowing  her  to  take  to  the  road  with  her  trio  and  record  four 
more  alliums. 


^D  DlSCOCft 


# 


Embers  and  Ashes,  Stereo-Craft,  1960 

Violets  for  Your  Furs,  Steeple  Chase,  198 

You  Won't  Forgm/le,  Verve,  1990 

I  Remember  Miles,  Verve,  1998 

May  the  Music  Never  End,  Verve.  2003 


Her  association  with  the  Verve 
label,  which  began  in  1987, 
gave  a  new  showcase  to  her 
inimitable  style  and 
cemented  her  reputation  as 
a  world-class  jazz  artist. 
Six  of  her  more  than  20 
albums  have  been  nomi- 
nated for  Grammy  Awards, 
and  she  has  collaborated 
with  jazz  artists  including 
Hank  Jones,  Kenny  Burrell, 
Wynton  Marsalis,  Roy 
Hargrove,  Buck  Hill,  Branford 
Marsalis,  and  Toots  Thielemans 

In  1991,  she  collaborated  with  Miles  Davis  on  her  criti- 
cally acclaimed  album  You  Won't  Forget  Me.  Her  1992 
recording  Here's  to  Life  was  that  year's  top-selling  jazz 
album  and  earned  a  Grammy  Award  for  arranger  Johnny 
Mandel.  In  1998.  Horn  paid  tribute  to  her  mentor  with  the 
brilliant  recording  /  Remember  Miles,  winning  the  Grammy 
Award  for  Best  Jazz  Vocal  Performance. 


60     NEA  Jazz  Masters 


VIBIST    PIANIST    BANDLEADER 


Jackson 


Characterized  by  a  slower  vibrato  than  his  predeces- 
sors, Milt  Jackson's  ability  to  swing  and  to  create 
vocal-like  inflections  made  his  an  instantly  recogniz- 
able sound  on  the  vibes.  Another  jazz  musician  whose  ear- 
liest experience  was  in  the  church,  he  sang  gospel  duets 
with  his  brother  and  played  the  guitar.  At  age  11,  he  began 
playing  the  piano,  moving  to  the  xylophone  and  the  vibes  in 
his  early  teens.  After  studying  music  at  Michigan  State 
University,  his  musical  career  actually  began  with  a  touring 
gospel  ensemble  in  the  early  1940s.  Upon  hearing  him  in 
Detroit,  Dizzy  Gillespie  arranged  for  Jackson,  known  by  the 
nickname  "Bags,"  to  come  to  New  York  in  1945  to  join  his 
band.  After  leaving  Gillespie's  pioneering  bebop  big  band  in 
1948,  he  went  on  to  play  with  Howard  McGhee, 
Thelonious  Monk,  Tadd  Dameron,  and  Charlie 
Parker,  applying  the  bebop  sound  to  the  vibes. 

He  replaced  Terry  Gibbs  in  the  Woody 
Herman  band  during  1949-50,  returning  to 
the  Gillespie  band  from  1950-52.  Thereafter 
he  formed  his  own  quartet,  featuring  John 
Lewis,  Ray  Brown,  and  Kenny  Clarke. 
The  Milt  Jackson  Quartet  then  became  the 
Modern  Jazz  Quartet,  with  Percy  Heath 


Born  January  1, 1923  in  Detroit,  Ml 
Died  October  9, 1999 

replacing  Brown,  and  Connie  Kay  eventually  replacing 
Clarke.  The  MJQ  would  become  an  enduring  jazz  institu- 
tion for  more  than  40  years,  with  Jackson's  blues-drenched 
solos  being  a  crucial  ingredient  in  their  sound.  When  the 
MJQ  wasn't  touring,  Jackson  occasionally  led  bands  featur- 
ing Jimmy  Heath  and  Ray  Brown  and  worked  on  recording 
sessions  that  included  Julian  "Cannonball"  Adderley  and 
Ray  Charles. 

He  left  the  MJQ  in  1974,  leading  his  own  groups  or  play- 
ing with  all-star  aggregations  until  1981,  when  the  MJQ 
reunited  for  a  concert  in  Japan.  Following  that  concert,  the 
quartet  made  annual  tours  from  1982  through  the  early 
1990s.   For  most  of  the  remainder  of  his  career  he  worked 
with  his  own  groups,  which  often  included  such 


*» 


C^D  DISCOg/j 


M 


'^ 


Modern  Jazz  Quartet,  MJQ, 
Original  Jazz  Classics,  1954-56 

Plenty,  Plenty  Soul.  Atlantic,  1957 

Bags  Meets  Trane,  Atlantic,  1959 


Milt  Jackson  +  Count  Basie  +  The  Big  Band, 
Vol.  7  &  2,  Original  Jazz  Classics,  1978 


musicians  as  Mickey  Roker,  Bob  Cranshaw, 
and  Mike  LeDonne. 

The  winner  of  numerous  jazz  polls, 
Jackson's  vibe-playing  dominated  the 
field  for  much  of  his  career,  leading  to 
his  induction  into  the  Percussion  Hall 
of  Fame  and  Down  Haul  I  hill  of 
Fame,  among  other  honors. 


Sa  Va  Bella, 
Warner  Brothers,  1996 


NEA  Jazz  Masters       61 


PIANIST    COMPOSER 


Born  July  2. 1930  in  Pittsburgh.  PA 


One  of  the  subtlest  virtuosos  of  jazz  piano, 
Ahmad  Jamais  uncanny  use  of  space  in  his 
playing  and  leadership  of  his  small 
ensembles  have  been  hallmarks  of  his  influential 
career.  Among  those  he  has  influenced  is  most 
notably  Miles  Davis.  Davis  made  numerous  and 
prominent  mentions  of  Jamal's  influence  on  the 
trumpeter,  particular  in  his  use  of  space,  allow- 
ing the  music  to  "breathe,"  and  his  choice  of 
compositions.  Several  tunes  that  were  in  Jamal's 
playlist,  such  as  the  standard  "Autumn  Leaves"  and 
Jamal's  own  "New  Rhumba,"  began  appearing  in  the 
playlist  of  Davis'  1950s  bands.  Additionally,  Jamal's  tex- 
tured rhythms  on  piano  influenced  Davis'  piano  players  as 
well,  from  Wynton  Kelly  in  the  1950s  to  Herbie  Hancock  in 
the  1960s. 

His  piano  studies  began  at  age  three,  and  by  age  11,  he 
was  making  his  professional  debut  with  a  sound  strongly 
influenced  by  Art  Tatum  and  Erroll  Garner.  Following 
graduation  from  Pittsburgh's  Westinghouse  High  School,  he 
joined  the  George  Hudson  band  in  1947.  In  1949,  he  joined 
swing  violinist  Joe  Kennedy's  group  Four  Strings  as  pianist. 


a? 


c<f$D  DKCOGjtj 


^ 


At  the  Pershing/But  Not  for  Me, 
Chess,  1958 

Free  Flight,  Impulse!,  1971 

Rossiter  Road,  Atlantic,  1986 

Big  Byrd:  The  Essence,  Part  2, 
Verve,  1994-95 

After  Fa\r, 
Birdology/Dreyfus  Jazz,  2004 


This  led  to  formation  of  his  trio 
Three  Strings  in  1950-52.  which 
debuted  at  Chicago's  Blue  Note 
club,  and  later  became  the 
Ahmad  Jamal  Trio.  His  1958 
album  At  the  Pershing  became 
a  surprising  smash  hit.  high- 
lighted by  his  interpretation  of 
"Poinciana."  With  the  popularity 
of  the  album  and  the  advocacy  of 
Davis,  Jamal's  trio  was  one  of  the 
most  popular  jazz  acts  in  the  late 
1950s  and  early  1960s. 
For  the  most  part,  Jamal  has  worked  in 
piano-bass-drums  trios,  using  the  intricate  relationship  of 
the  band  to  explore  his  sound,  directing  the  trio  through 
seemingly  abrupt  time  and  tempo  shifts.  His  piano  virtuosity 
has  also  been  welcomed  bv  a  number  of  orchestras  and  his 
abilities  as  a  composer  are  considerable.  His  approach  has 
been  described  as  being  chamber-jazz-like,  and  he  has 
experimented  with  strings  and  electric  instruments  in  his 
compositions. 


62     NEA  Jazz  Masters 


TROMBONIST    COMPOSER   ARRANGER 


ohnson 


Born  January  22, 1924  in  Indianapolis,  IN 
Died  February  4,  2001 


Often  referred  to  as  the  "Charlie  Parker  of  the  trom- 
bone" due  to  his  uncanny  musical  dexterity  and  flu- 
ency, J.J.  Johnson  dominated  his  instrument  for  over 
40  years,  and  was  known  as  a  potent  composer  and  arranger. 
He  was  a  perennial  jazz  magazine  poll  winner  for  his  peer- 
less trombone  playing. 

Between  ages  nine  and  eleven,  he  studied  piano  with  his 
family's  church  organist,  picking  up  the  trombone  at  age  14. 
His  first  professional  experience  came  with  the  bands  of 
Clarence  Love  and  Snookum  Russell.  It  was  in  the  Russell 
band  that  he  met  jazz  trumpeter  Fats  Navarro,  an  early  influ- 
ence on  the  young  trombonist.  After  leaving  Russell,  he 
spent  three  years  with  Benny  Carter's  band,  then  gigged 
with  Count  Basie  in  1 945-46.   He  worked  briefly  with  Dizzy 
Gillespie,  and  Woody  Herman,  then  toured  the  Far  East  with 
Oscar  Pettiford.  The  difficulty  of  making  a  living  in  the  jazz 
field  affected  Johnson;  from  1952-54  he  occupied  a  day  job 
as  a  blueprint  reader.  Then  came  one  of  his  most  significant 
early  bands,  a  two-trombone  group  he  co-led  with  Kai 
Winding — the  Jay  and  Kai  Quintet — from  1954-56;  after  a 
period  of  freelancing  and  bandleading,  he  re-joined  Winding 
in  1958.  The  group  was  instrumental  in  demonstrating  the 
power  and  possibilities  of  the  trombone  in  modern  jazz. 
In  the  late  1950s,  he  began  to  g;iin  recognition  as  a  corn- 


poser.  Two  of  his  extended  works,  niac 

"El  Camino  Real,"  and  "Sketch 
for  Trombone  and  Orchestra," 
were  commissioned  by  the 


<& 


The  Eminent  Jay  Jay  Johnson, 
Vol.  1&  2,  Blue  Note,  1953-55 


Stan  Getz  &  J.J.  Johnson  at  the  Opera  House, 
Verve.  1957 

The  Great  Kai  andJ.J., 
Impulse!,  1960 

Live  at  the  Village  Vanguard, 
EmArcy,  1988 

Tangence,  Verve,  1994 


Monterey  Jazz  Festival.  A 
commission  from  Dizzy 
Gillespie  resulted  in 
"Perceptions,"  a  large- 
scale  work  for  orchestra 
that  was  recorded  for 
Verve  Records.  In  addition 
to  his  work  as  a  composer, 
he  performed  with  groups  led 
by  Miles  Davis,  Clark  Terry, 
and  Sonny  Stitt,  then  moved  to 
California  in  1970.  There  he  immersed 
himself  in  lucrative  television  and  film  scoring.  His  scores 
can  be  heard  on  such  television  programs  as  Maybcrry  RFD, 
That  Girl,  Mod  Squad,  Six  Million  Dollar  Man,  and  Starsky 
and  Hutch. 

In  1987,  he  returned  to  his  hometown  Indianapolis 
and  began  playing,  louring,  and  recording  again.   His 
awards  include  an  honorary  doctoral  degree  from  Indiana 
University  and  the  Indiana  Governor's  Arts  Award  in  1989. 


NEA  Jazz  Masters       63 


ft  «1*v 


?!  - 


^J^M^JTb^  DRUMMER    COMPOSER 

Born  September  9, 1927  in  Pontiac,  Ml 
Died  May  18, 2004 


The  propulsive  style  of  drummer  Elvin  Jones  powered 
the  John  Coltrane  Quartet  during  his  six-year  stint 
with  the  group  and  influenced  countless  percussion- 
ists that  followed  him  over  the  past  40  years.  As  with  fellow 
2003  NEA  Jazz  Master  Jimmy  Heath,  and  a  number  of  other 
jazz  greats,  Elvin  Jones  was  the  product  of  a  musical  family. 
His  brothers  include  pianist  Hank  Jones  and  cornetist  Thad 
Jones.  The  youngest  of  10  siblings,  Jones  began  learning  the 
drums  during  his  middle  school  years,  studying  the  styles  of 
Chick  Webb,  Jo  Jones,  Buddy  Rich,  and  the  beboppers  that 
followed  them,  including  Kenny  Clarke,  Max  Roach,  and 
Art  Blakey. 

After  serving  in  the  Army  from  1946-49,  he 
returned  to  Detroit,  immersing  himself  in  the  fertile 
jazz  scene  there  in  the  early  1950s,  before  heading 
to  New  York  in  1955.  After  playing  with  Harry 
"Sweets"  Edison.  J.J.  Johnson,  and  Sonny  Rollins 
at  bis  famous  Village  Vanguard  session,  he  joined 
the  John  Coltrane  Quartet  in  1960.  His  dynamic 
drumming  pushed  Coltrane's  improvisations  to 
new  heights,  and  provided  innovative  accompani- 
ment to  the  rest  of  the  rhythm  section:  pianist 
McCoy  Tyner  and  bassists  Jimmy  Garrison  and 
Reggie  Workman. 


In  1965,  Jones  left  the  Coltrane  group  and  formed  his 
own  band,  a  trio  with  Jimmy  Garrison  and  reed  player  Joe 
Farrell,  beginning  a  series  of  recordings  for  the  Blue  Note 
label.  Since  that  time,  Jones'  trios  and  his  latter  day  bands, 
known  as  the  Jazz  Machine,  have  welcomed  numerous 
adventurous  players.  These  have  ranged  from  Steve 
Grossman,  Sonny  Fortune,  and  Roland  Prince  to  such 
younger  players  as  Delfeayo  Marsalis.  Nicholas  Payton. 

David  Sanchez,  and  John  Coltrane's  son  Ravi. 
Jones  frequently  performed  free  for 
schools  and  other  institutions,  and 
at  jazz  clinics.  Aside  from  music, 
he  made  his  acting  debut  as 
Job  Caine  in  the  1970  film 


John  Coltrane,  The  Complete  Africa/Brass 
Sessions,  Impulse!,  1961 

Poly-Currents,  Blue  Note,  1969 

David  Murray,  Special  Quartet,  Columbia,  1990 

It  Don't  Mean  A  Thing,  Enja,  1993 

Bill  Frisell.  With  Dave  Holland  and  Elvin 
Jones,  Nonesuch,  2001 


Zachariah.  He  toured  exten- 
sively with  his  group  Jazz 
Machine  and  made  later 
recordings  with  Cecil  Taylor. 
Dewey  Redman.  Dave 
Holland,  and  Bill  Frisell. 


64      NEA  Jazz  Masters 


«! 


PIANIST 


ones 


Born  July  31. 1918  in  Vicksburg,  MS 


Hank  Jones,  a  member  of  the  famous  jazz  family  that 
includes  brothers  cometist  Thad  and  drummer 
Elvin,  has  served  as  a  pianist  in  a  vast  array  of  set- 
tings, always  lending  a  distinctive,  swinging  sensibility  to 
the  sessions.  Although  born  in  Mississippi,  Jones  grew  up 
in  Pontiac,  Michigan,  listening  to  such  performers  as  Earl 
Hines,  Fats  Waller,  and  Art  Tatum.  A  performer  by 
the  time  he  was  13,  Jones  played  with  territory 
bands  that  toured  Michigan  and  Ohio.  In  one 
such  band  he  met  saxophonist  Lucky 
Thompson,  who  got  him  a  job  in  the  Hot 
Lips  Page  band  in  1944,  prompting  Jones' 
move  to  New  York. 

Once  in  New  York,  Jones  became 
exposed  to  bebop,  embracing  the  style 
in  his  playing  and  even  recording  with 
Charlie  Parker.  Meanwhile,  he  took  jobs 
with  such  bandleaders  as  John  Kirby, 
Coleman  Hawkins,  Andy  Kirk.  Billy 
Eckstine,  and  Howard  McGhee.  He  toured 
with  Norman  Granz's  Jazz  at  the  Philharmonic 
from  1947-51.  As  a  result,  he  became  Ella 
Fitzgerald's  pianist,  touring  with  her  from  1948-53.  These 
experiences  served  to  broaden  his  musical  palette  and 
sophistication. 

A  consummate  freelancer,  Jones  found  work  with  artists 
such  as  Benny  Goodman.  Artie  Shaw,  Milt  Jackson,  and 


.^DCSCO^ 


Julian  "Cannonball"  Adderley.  The  versatility  Jones 
acquired  through  such  affiliations  served  him  well  when  he 
joined  the  staff  of  CBS  as  a  studio  musician,  remaining  for 
17  years.  Although  his  studio  work  found  him  working  on 
productions  like  the  Ed  Sullivan  Show,  Jones  continued  his 
touring  and  recording  experiences  in  a  variety  of  settings. 
His  broad  range  and  ability  to  fit  in  different  settings 
also  landed  him  in  Broadway  stage  bands,  where 


The  Jazz  Trio  of  Hank  Jones, 
Savoy,  1955 

Lazy  Afternoon, 
Concord  Jazz,  1989 

Upon  Reflecm,  Verve,  1993 

Charlie  Haden/Hank  Jones,  Steal  Away, 
Verve,  1994 

For  My  Father,  Justin  Time,  2004 


he  served  as  pianist  and  conductor  for  such 
shows  as  Ain  't  Misbehavin '. 

Jones  was  the  first  regular  pianist  in 
brother  Thad's  co-led  orchestra  with  Mel 
Lewis,  beginning  in  1966.  Throughout 
the  1970s,  1980s,  and  1990s,  Jones  con- 
tinued to  be  much  in  demand  for  record 
dates  and  tours.  Among  his  affiliations 
was  the  Great  Jazz  Trio,  a  cooperative 
unit  with  Ron  Carter  and  Tony  Williams, 
who  were  later  supplanted  by  Buster 
Williams  and  Ben  Riley.  Jones  has  also  expe- 
rienced his  share  of  piano  duos,  with  the  likes 
of  Tommy  Flanagan — with  whom  he  became 
acquainted  when  both  were  developing  around  the  Detroit 
area — George  Shearing,  and  John  Lewis.   As  a  leader  and 
valued  sideman,  Hank  Jones  can  bo  found  on  thousands 
of  recordings. 


NEA  Jazz  Masters      65 


than 


ones 


DRUMMER 


Born  July  10, 1911  in  Chicago,  IL 
Died  September  3, 1985 


Io  Jones'  uncanny  way  around  the  drums,  ability  to  truly 
swing  a  band  without  ever  overpowering  it,  and  slick, 
smiling  sense  of  showmanship  made  him  one  of  the 
most  influential  of  the  early  swing  band  drummers.  Jones 
made  an  art  form  of  the  use  of  brushes  on  the  drum  kit,  with 
accents  timely  and  thoroughly  appropriate  for  whatever 
band  with  which  he  played.  Jo  Jones  is  credited 


^ 


with  the  transfer  of  the  essential  pulse  of  jazz 
music  from  the  bass  drum  to  the  hi-hat  cym- 
bal, influencing  such  modern  drummers  as 
Max  Roach.  His  technique  was  to  leave 
the  hi-hat  cymbals  just  slightly  apart, 
which  produced  a  sound  different  from 
the  relative  staccato  approach  of  his 
predecessors.  Never  one  to  engage  in 
extended  solos,  his  delight  was  in  driv- 
ing a  band  with  his  incomparable  swing. 

Jones  grew  up  in  Alabama,  touring 
u  ith  various  shows  and  carnivals  as  a  tap 
dancer  and  instrumentalisl  while  still  in  his 
teens,  I  lis  first  major  jazz  job  came  when  he 
joined  the  territory  hand  known  as  Walter  Page's  Blue 
Devils  in  Oklahoma  City  in  the  late  1920s.  Jones  stayed  in 
the  Midwest  for  quite  sonic  time,  working  with  trumpeter 
Lloyd  Hunter  ,md  moving  to  Kansas  City  in  1933. 


.^•gD  DISCOq 


# 


Count  Basie,  The  Original  American 
Decca  Recordings,  MCA,  1937-39 

The  Essential  Jo  Jones, 
Vanguard,  1955 

Jo  Jones  Trio,  Fresh  Sounds,  1 959 

Jo  Jones  Sextet,  Fresh  Sounds,  1 960 

The  Main  Man, 
Original  Jazz  Classics,  1976 


In  1934  came  the  affiliation  with  which  his  artistry  is 
forever  identified,  drumming  with  the  Count  Basie  band, 
with  whom  he  worked  on  and  off  for  over  15  years.  Jones' 
drumming  was  the  final  ingredient  to  what  became  known 
as  the  "Ail-American  Rhythm  Section."  Besides  Jones,  this 
included  guitarist  Freddie  Green,  bassist  Walter  Page. 

and  Basie  on  piano.  They  provided  the  irresistible 
pulse  that  drove  the  Count  Basie  band  of  the 
day  to  be  called  the  swinging-est  band  in  the 
land.  Jones  served  two  years  in  the  Army 
from  1944-46.  then  returned  to  die  Basie 
band,  where  he  remained  a  full-time 
member  until  1948. 

Thereafter,  though  frequently 
reuniting  with  Basie  on  special  occa- 
sions, Jones  became  a  freelance  drum- 
mer. He  played  on  tours  with  Jazz  at  the 
Philharmonic,  and  recorded  with  many 
of  the  jazz  greats,  including  Billie  Holiday. 
Duke  Ellington,  Johnny  Hodges.  Teddy 
Wilson,  Lester  Young.  Art  Tatum.  and  Benin 
Goodman.  Jones  was  constantly  in  demand  for  a 
variety  of  all-star  swing  sessions  and  made  numerous 
recordings  as  a  highly  valued  sideman. 


66     NEA  Jazz  Masters 


SAXOPHONIST    BANDLEADER 


Born  May  28, 1898  in  Newport,  KY 
Died  December  11, 1992 


4> 


Andy  Kirk,  though  virtually  unknown  nowadays  out- 
side of  jazz  circles,  led  one  of  the  hottest  swing 
bands  in  the  country  during  the  1930s,  rivaling 
Basie's.  His  band,  the  Clouds  of  Joy,  also  introduced  some 
of  the  biggest  names  in  jazz,  most  notably  Mary 
Lou  Williams. 

Kirk  grew  up  in  Denver,  Colorado, 
where  he  came  under  the  musical  tutelage 
of  Paul  Whiteman's  father,  Wilberforce 
Whiteman.  His  first  job,  as  bass  saxo- 
phonist and  tuba  player,  came  with  the 
George  Morrison  Orchestra  in  1918.  In 
1925  he  relocated  to  Dallas  and  joined 
Terence  Holder's  Dark  Clouds  of  Joy,  a 
band  he  eventually  took  over  in  1929, 
changing  the  name  to  the  Clouds  of  Joy 
(sometimes  being  known  as  the  Twelve 
Clouds  of  Joy,  depending  on  the  number 
of  musicians  in  the  bandj. 

He  moved  the  band  to  Kansas  City,  where  they 
made  their  first  recordings  in  1929-39,  including  Mary  Lou 
Williams'  "Froggy  Bottom,"  which  has  been  covered  count 
less  times  since.  Kirk's  band  was  highly  popular,  becom- 
ing— along  with  the  Count  Basie  hand,  the  Benny  Moteii 


*t 


1929-1931, 
Classics,  1929-31 

1936-1937, 
Classics,  1936-37 

1937-1938, 
Classics,  1937-38 

Kansas  City  Bounce, 
Black  and  Blue,  1939-40 

1940-1942, 
Classics,  1940-42 


Orchestra,  and  Jay  McShann's  band — one  of  the  purveyors 
of  the  Kansas  City  swing  sound.  Particularly  popular  was 
their  recording  of  "Until  the  Real  Thing  Comes  Along" 
in  1936. 

Although  the  leader  of  the  band,  Kirk  usually 
was  not  a  soloist,  utilizing  the  talent  in  his  band 
for  the  spotlight  instead.  His  genius  lay  in 
realizing  how  best  to  make  use  of  his  band 
members'  skills.   Realizing  the  awesome 
writing  and  arranging  aptitude  of  Mary 
Lou  Williams,  for  example,  he  made  her 
the  chief  composer  and  arranger  for  the 
Clouds  of  Joy  from  1929-42.  Other 
notable  band  members  who  Kirk  high- 
lighted as  soloists  included  Shorty  Baker, 
Don  Byas,  Kenny  Kersey,  Howard 
McGhee,  Fats  Navarro,  and  Dick  Wilson. 
The  band  continued  to  tour  and  record  until 
disbanding  in  1948. 

Kirk  led  another  hand  in  California  in  the  early 
1950s,  then  went  into  other  professions.   In  the  1970s  he  led 
pickup  bands  on  occasion,  though  ho  spent  the  remainder  of 
his  life  working  for  his  Jehovah's  Witness  church. 


NEA  Jazz  Mastei-s       67 


Lewis 


Born  May  3, 1920  in  La  Grange,  IL 
Died  March  29,  2001 


PIANIST    COMPOSER   ARRANGER    EDUCATOR 


Iohn  Lewis'  artistry  flowered  during  his  historic  tenure 
as  musical  director  of  the  longest  continuing  small 
ensemble  in  the  annals  of  jazz,  the  Modern  Jazz  Quartet, 
vvith  whom  he  was  able  to  realize  his  unique  vision  of 
fusing  blues,  bebop,  and  classical  music  into  an  artful, 
elegant  balance. 

Raised  in  Albuquerque,  New  Mexico,  Lewis'  mother  was 
a  primary  musical  influence.  After  high  school,  Lewis 
joined  the  Army  in  1942,  where  he  met  drummer  Kenny 
Clarke  and  trumpeter/bandleader  Dizzy  Gillespie. 

In  1946,  Lewis  and  Clarke  joined  the  rhythm  section  of 
Gillespie's  pioneer  big  band,  which  included  vibraphonist 
Milt  Jackson  and  bassist  Ray  Brown.  The  Gillespie  band 
provided  a  convenient  canvas  for  Lewis  to  write  composi- 
tions and  craft  arrangements,  utilizing  the  talents  of  some  of 
the  finest  young  musicians  in  jazz.  Lewis'  first  extended 
composition  for  Gillespie  was  his  1947  "Toccata  for 
1 1  umpnt."  which  premiered  at  Carnegie  Hall.  Other  early 
'  ontributions  to  the  Gillespie  book  included  Lewis'  arrange- 
ments of  the  tunes  "Two  Bass  Hit"  and  "Emanon." 

Coinciding  with  his  work  with  the  Gillespie  band,  Lewis 

atinued  bis  music  studies  at  the  Manhattan  School  of 
Musil  .  eventuallj  earning  his  master's  degree  in  1953.  Lewis 
also  worked  with  other  j.izz  greats  in  between  tours  with 
Gillespie's  band,  in<  hiding  serving  as  pianist  and  arranger  for 
the  Miles  I).i\  is  rei  ording,  Birth  o)  the  Cool,  in  1950. 

In  1951,  the  Gillespie  band  rhythm  section  of  1946 — 
Lewis.  ( llarke,  [at  ksnn.  and  Brown — reunited  in  the  ret  onl- 
ine studio  .is  the  Mill  [ai  kson  Quartet,  later  becoming  the 
Modem  [azz  Quartet  By  the  time  those  recordings  were 

68     NEA  Jazz  Masters 


^ 


Modern  Jazz  Quartet,  Django, 
Original  Jazz  Classics,  1953-55 

Grand  Encounter.  Blue  Note,  1956 

The  Wonderful  WorlcWf  Jazz,  Atlantic.  1£ 

Kansas  City  Breaks,  DRG,  1982 

Private  Concert,  EmArcy,  1 990 


issued,  Percy  Heath  had  replaced 
Brown.  In  1954,  the  Modern 
Jazz  Quartet  began  touring 
and  Connie  Kay  replaced 
Clarke  on  drums  the  follow- 
ing year.  Lewis  would  use 
his  time  in  the  more  than 
40  years  with  MJQ  to  hone 
his  composing  and  arrang- 
ing skills,  experimenting 
with  form  and  sound,  while 
collaborating  with  guests  rang- 
ing in  diversity  from  Sonny 
Rollins  to  the  Beaux  Arts  String 
Quartet  to  singer  Diahann  Carroll  to  full 
orchestras.  Perhaps  his  most  widely  interpreted  composi- 
tion is  "Django,"  which  he  wrote  in  honor  of  the  legendary 
Gypsy  guitarist  Django  Reinhardt. 

Throughout  his  career.  John  Lewis  had  written  for  a  vast 
number  of  musical  configurations  in  a  dizzying  array  of 
styles,  from  solo  piano  to  symphonies,  ballets  to  film  and 
television  scores.  Lewis  was  part  of  the  first  wave  of  what 
composer  Gunther  Schuller  dubbed  the  Third  Stream — an 
effort  at  forging  a  third  stream  through  the  fusing  of  the  two 
primary  streams:  jazz  and  European  classical  music. 

As  an  educator,  he  served  as  director  of  faculty  at  the 
Lenox  School  of  Jazz,  where  he  first  championed  Ornette 
Coleman:  on  the  trustee  board  of  the  Manhattan  School  of 
Music:  and  in  faculty  positions  at  Harvard  University  and 
( Sty  College  of  New  York. 


Abbey 


VOCALIST    COMPOSER 


Strongly  influenced  by  jazz  icons  Billie  Holiday  and 
Louis  Armstrong,  both  of  whom  she  met  early  in 
her  career,  Abbey  Lincoln's  distinctive  vocal  style, 
thought-provoking  writing,  and  spirited  personality  have 
secured  her  a  place  among  the  jazz  luminaries. 

Born  in  Chicago  and  raised  in  rural  Michigan,  Lincoln 
began  performing  while  still  in  high  school.  In  1951,  she 
moved  to  the  West  Coast,  working  under  various  names 
(Gaby  Lee,  Anna  Marie,  Gaby  Wooldridge)  before  settling  on 
Abbey  Lincoln.  She  recorded  her  first  album  with  jazz  great 
Benny  Carter  in  1956  and  appeared  in  the  1957  film,  The 
Girl  Can 't  Help  It.  Lincoln  then  recorded  a  series  of  albums 
for  the  Riverside  label  with  drummer 
Max  Roach,  who  had  introduced 


4? 


^ddiscog^ 


«*>. 


'/* 


Max  Roach,  We  Insist!  Freedom 
Now  Suite,  Candid,  1960 

Straight  AheaijXatviiti,  1961 

Abbey  Sings  Billieltol.  1&2,  Enja,  1987 

The  World  Is  Falling  Down,  Verve.  1 990 

It's  Me.  Verve,  2003 


her  to  the  label's  owner. 

Lincoln's  collaborations 

with  Roach  (to  whom  she 

was  married  from  1 962- 

70)  lasted  more  than  a 

decade,  and  included 


Lincoln 


Born  August  6, 1930  in  Chicago,  IL 


the  seminal  recording,  Freedom  Now  Suite  in  1960.  This 
was  the  beginning  of  a  more  social  and  political  activist 
approach  to  her  music.  Over  the  years,  she  has  worked  with 
some  of  the  biggest  names  in  jazz,  including  Sonny  Rollins, 
Eric  Dolphy,  Coleman  Hawkins,  Miles  Davis,  Jackie 
McLean,  Clark  Terry,  and  Stan  Getz. 

In  addition  to  her  music,  Lincoln  also  pursued  acting, 
appearing  in  the  films  Nothing  But  A  Man  and  For  Love  of 
Ivy  and  on  television  series,  such  as  Mission:  Impossible 
and  the  Flip  Wilson  Show.  She  also  taught  drama  at  the 
California  State  University.  She  did  not  record  any  albums 
as  a  leader  from  1962-72,  but  made  a  grand  return  to  jazz 
with  her  1973  recording,  People  In  Me.  her  first  album  of  all 
original  material. 

Lincoln  returned  to  her  influences  in  1987,  recording 
two  albums  in  tribute  to  Billie?  Holiday,  and  then  a  series  of 
recordings  for  Verve  throughout  the  1990s  that  showcased 
her  writing  prowess.  Her  emotionally  honest,  mature  style 
is  still  revered,  and  Lincoln  continues  to  perform  and  tour 
with  a  new  trio. 


NEA  Jazz  Mastei-s       69 


Melba 


Liston 


Born  January  13, 1926  Kansas  City,  MO 
Died  April  23, 1999 


TROMBONIST   ARRANGER    COMPOSER    EDUCATOR 


# 


Although  a  formidable  trombone  player,  Melba  Liston 
was  primarily  known  for  her  arrangements,  espe- 
cially working  with  Randy  Weston,  and  composi- 
tions. Growing  up  mostly  in  Los  Angeles,  some  of  her  first 
work  came  during  the  1940s  with  two  West  Coast  masters: 
bandleader  Gerald  Wilson  and  tenor  saxophonist  Dexter 
Gordon.  In  Gordon's  small  combos,  she  began  to 
blossom  as  a  trombone  soloist,  and  Gordon 
wrote  a  song  as  a  tribute  to  her,  "Mischievous 
Lady."  Despite  her  obvious  talent  as  a 
soloist,  Liston  became  an  in-demand  big 
band  section  player,  which  likely  fueled 
her  later  work  as  an  arranger.  During 
the  1940s.  Liston  also  worked  with 
the  Count  Basie  band  and  with 
Billie  Holiday. 

Following  a  brief  hiatus  from  music. 
she  joined  Dizzy  Gillespie's  bebop  big 
band  In  1950.  and  again  for  two  of 
Gillespie's  State  Department  tours  in  1956 
and  1957.  which  included  her  arrangements  of 
"Annie's  Dance"  and  "Stella  by  Starlight"  in  per- 
formani  es.  She  started  her  own  all-woman  quintet  in  1958 
working  in  New  York  and  Bermuda,  before  joining  Quincv 
[ones'  hand  in  1959  to  play  the  musical  Free  and  Easy. 
She  staved  in  Jones'  louring  hand  as  one  of  two  woman 
members  until  1961, 


^DDISCOo^ 


'/J 


> 


Dizzy  Gillespie,  Dizzy  In  South 
America,  Vol.  I  &2.  CAP,  1956 

Quincy  Jones,  Q  Live  in  Paris, 
Warner  Brothers,  1960 

Bandy  Weston,  Tanjah,  Verve,  1973 

Bandy  Weston/Melba  Liston, 
Volcano  Blues,  Verve,  1993 

Bandy  Weston,  Khepera, 
Verve,  1998 


In  the  1950s,  Liston  began  a  partnership  Uiat  she  would 
return  to  on  and  off  for  more  than  40  years.  From  the 
seminal  1959  recording  Little  Niles  through  1998's  Khepera. 
Liston  was  the  arranger  on  many  of  Randy  Weston's  albums. 
Her  arrangements,  with  a  powerful  base  of  brass  and  percus- 
sion and  expressive  solo  performances,  helped  shape  and 
embellish  Weston's  compositions. 

Other  affiliations  during  the  1960s  included 
co-leading  a  band  with  trumpeter  Clark  Terry. 
and  writing  for  the  Duke  Ellington  orches- 
tra, singers  Tony  Bennett  and  Eddie  Fisher, 
and  the  Buffalo  Symphony  Orchestra. 
During  die  1970s,  she  worked  with  youth 
orchestras  in  Los  Angeles,  continuing  to 
write  for  Basie,  Ellington,  and  singer 
Abbey  Lincoln.   Liston  also  became  a 
staff  arranger  for  die  Motown  label.  Later 
that  decade  she  took  up  residence  in 
Jamaica,  where  she  taught  at  the  University 
of  the  West  Indies  and  was  director  of 
Popular  Music  Studies  at  the  Jamaica  Institute 
of  Music. 
Slowed  by  a  stroke  in  1985,  which  effectively  ended  her 
playing  career,  she  was  able  to  resume  work  as  a  composer 
and  arranger  in  the  1990s  through  the  aid  of  computer 
technology.    Liston's  career  helped  pave  the  way  for 
women  in  jazz  in  roles  oilier  than  as  vocalists. 


70      NEA  Jazz  Masters 


SAXOPHONIST    COMPOSER    EDUCATOR 


McLean 


Born  May  17, 1931  in  New  York,  NY 


Known  in  the  jazz  community  as  "Jackie  Mac,"  Jackie 
McLean  has  been  a  stalwart,  enduring  force  in  jazz 
since  the  early  1950s,  and  a  distinguished  educator 
since  1968.  Long  the  possessor  of  one  of  the  most  recogniz- 
able alto  saxophone  sounds  and  styles,  he  has  explored  the 
cutting  edge  of  jazz  creativity. 

McLean  grew  up  in  a  musical  family,  his  father  being  a 
guitarist  for  bandleader  Tiny  Bradshaw  and  stepfather  own- 
ing a  record  store.  By  age  15,  he  chose  the  alto  saxophone 
as  his  instrument.  Jackie's  earliest  studies  came  through  the 
tutelage  of  Foots  Thomas,  Cecil  Scott,  Joe  Napoleon,  and 
Andy  Brown  in  his  native  New  York.  Another  of  his  infor- 
mal teachers  was  piano  master  Bud  Powell.  McLean's  most 
significant  early  band  affiliation  came  during  the  years  1948- 
49,  when  he  joined  a  Harlem  neighborhood  band  led  by 
tenor  saxophonist  Sonny  Rollins  and  including  pianist 
Kenny  Drew.  McLean's  stints  with  the  Miles  Davis  band, 
between  1949-53,  yielded  his  first  recording  sessions  as  a 
sideman  and  marked  the  beginning  of  what  became  known 
as  hard  bop,  an  advanced  progression  on  bebop. 

During  McLean's  busiest  period  as  a  sideman  in  the 
1950s,  he  worked  with  pianist  George  Wellington,  drummer 
Art  Blakey's  Jazz  Messengers,  and  bassist  Charles  Mingus. 
McLean's  first  recording  as  a  leader  came  in  1955,  when  he 
CUl  a  quintet  date  lor  the  Ad  Lib  label.    I  lis  intense;  playing 
has  lit  in  well  with  both  hard  bop  and  the  avant-garde,  two 
schools  ol  jazz  in  which  McLean  has  experimented. 

Throughout  the  1960s,  McLean  continued  to  work  with 
his  own  bands  and  occasional  all-star  aggregations,  but  also 


4,  5  and  6, 
Original  Jazz  Classics,  1956 

New  Soil.  Blue  Note,  1959 


Let  Freedom  Ring,  Blue  Note,  1962 

The  Jackie  Mac  Attack  Live, 
Verve,  1991 

Nature  Boy, 
Blue  Note,  2000 


became  more  interested  in  social 

issues.  In  1959-60  he  acted  in 

the  off-Broadway  play  The 

Connection,  a  cautionary  tale 

dealing  with  jazz  and  the 

perils  of  drug  abuse,  which 

evolved  into  a  1961  film. 

In  1967  he  took  his  music 

into  prisons,  working  as 

a  music  instructor  and 

counselor.  Then  in  1968,  he 

moved  to  Hartford,  Connecticut 

to  take  a  teaching  position  at 

Hartt  College  of  Music  of  the 

University  of  Hartford.   It  was  in  Hartford 

that  McLean  and  his  wife  Dollie  founded  the  Artists 

Collective,  a  widely  hailed  combination  community 

center/fine  arts  school,  primarily  aimed  at  troubled  youth. 

The  Artists  Collective  opened  a  beautiful  new  building  in 

1999  following  years  of  residence  in  a  former  schoolhouse 

in  one  of  Hartford's  most  disadvantaged  neighborhoods. 

At  the  University  of  I  lartford,  McLean  established 
the  school's  African  American  Music  Department  and 
subsequent  Jazz  Studies  degree  program,  which  was 
renamed  The  Jackie  McLean  Institute  of  Jazz  on  November 
17,  2000.  The  program  has  instructed  a  number  of  excep- 
tional young  jazz  musicians,  including  saxophonist  Antoine 
Roney,  drummer  Eric  MacPherson,  trombonist  Steve  Davis, 
and  pianist  Alan  Palmer, 


NE  A  Jazz  Masters       7 1 


Marian 


MePi 


Born  March  20, 1918  in  Slough,  England 


am 


PIANIST    BROADCASTER 


Best  known  as  the  host  of  the  weekly  national  radio 
program  Piano  Jazz,  Marian  McPartland  has  helped  to 
popularize  jazz  with  her  intricate  knowledge  and 
prowess  on  the  piano.  She  has  made  the  program  one  of  the 
most  popular  in  the  history  of  public  radio. 

Born  to  a  musical  mother  who  played  classical  piano, 
she  studied  at  the  famed  Guildhall  School  of  Music 
in  London.  Her  first  professional  activity  was  as 
part  of  a  touring  vaudeville  act  featuring  four 
pianists.  During  World  War  II,  she  enter- 
tained the  troops  and  while  playing  in 
Belgium  met  her  late  husband,  cornetist 
Jimmy  McPartland,  whom  she  married 
in  1945.  They  relocated  to  the  U.S.  in 
1946,  whereupon  she  performed  in  his 
band  in  Chicago.  She  formed  her  first 
active  trio  in  1950  for  an  engagement  at 
the  limbers  in  New  York.  Two  years  later, 
she  began  what  would  be  an  eight-year  res- 
idency al  the  Hickory  House  in  New  York 
with  her  trio. 

In  1963,  she  worked  with  the  Benny  Goodman 
Sextet,  and  in  1965  she  began  her  radio  career,  at  WBAI  in 


7- 


Jazz  at  the  Hickory  House, 
Jasmine,  1954 

Marian  McPartland's  Piano  Jazz 
with  Guest  Bill  Evans.  Jan  Alliance. 


Marian  McPartland's  Piano  Jazz 
with  Guest  Jay  McShann,  Jazz  Alliance,  1979 

Plays  the  Benny  Carter  Songbook, 
Concord,  1990 

Just  Friends,  Concord,  1 998 


New  York.  In  1970  she  started  her  own  record  company. 
Halcyon  Records,  one  of  the  first  jazz  women  to  do  so.  In 
1979  she  began  her  weeklv  program  Piano  Jazz,  the  longest 
running  syndicated  National  Public  Radio  program.  An 
intimate  program  involving  just  her  and  a  guest — usually  a 
pianist — the  program  has  won  numerous  awards,  including 
the  Peabody  Award.  Many  of  the  programs  have 
been  subsequently  released  on  compact  disc. 
As  part  of  the  segments,  McPartland  would 
interview  the  guest,  drawing  out  colorful 
anecdotes  and  stories  about  their  careers. 
The  shows  also  included  performances 
of  McPartland  and  the  guest  together. 
Taken  as  a  whole,  the  series  presents  a 
formidable  history  of  jazz. 

Her  plaving  career  has  also  included 
piano  tours  with  such  greats  as  Earl 
Hines.  Teddy  Wilson.  Ellis  Larkins.  and 
Benny  Carter.  She  has  performed  with 
symphony  orchestras  and  at  many  of  the 
major  jazz  festivals,  and  has  received 
numerous  awards,  including  a  Down  Beat 
Lifetime  Achievement  award  in  1997. 


978 


72     NEA  Jazz  Masters 


VOCALIST    PIANIST 


cRae 


Born  April  8. 1920  in  New  York,  NY 

Died  November  10, 1994 


Tender  and  warm  with  a  ballad,  Carmen  McRae  was 
one  of  the  great  singers  of  jazz,  finding  the  depth  of 
feeling  in  the  lyrics  of  the  songs  she  interpreted. 
An  accomplished  pianist  who  in  her  early  career  accompa- 
nied herself,  she  occasionally  returned  to  the  piano  later  in 
her  career. 

McRae  learned  piano  through  private  lessons 
and  was  discovered  by  Irene  Wilson  Kitchings, 
a  musician  and  former  wife  of  pianist  Teddy 
Wilson.   McRae  sang  with  the  Benny 
Carter,  Count  Basie,  and  Mercer  Ellington 
big  bands  during  the  1940s  and  made  her 
recorded  debut  as  Carmen  Clarke  while 
the  wife  of  drummer  Kenny  Clarke. 
During  the  bebop  revolution  at  Minton's 
Playhouse,  McRae  was  an  intermission 
pianist,  which  is  likely  where  she  first 
heard  Tholonious  Monk's  music,  which 
influenced  her  piano  playing  and  musical 
sense.  In  the  early  1950s,  she  worked  with  the 
Mai  Mathews  Quintet.   She  signed  her  first  signif- 
icant recording  contract  with  Uecca  in  1954. 


Here  to  Stay,  MCA/GRR  1955-59 

Carmen  McRae  Sings 

Great  American  Songwriters, 

MCA/GRR  1955-59 

Sings  Lover  Man 

&  Other  Billie  Holiday  Classics, 

Columbia,  1961 

Carmen  Sings  Monk,  Novus,  1988 

Sarah — Dedicated  to  You, 
Novus,  1990 


Working  as  a  soloist,  she  gained  wide  recognition  and 
was  often  seen  in  the  pantheon  of  jazz  singers  that  included 
Ella  Fitzgerald  and  Sarah  Vaughan,  to  whom  she  idolized 
and  later  paid  homage  on  a  recording.  Her  greatest  idol  was 
Billie  Holiday,  whom  she  feted  on  record  and  in  perform- 
ances on  many  occasions.  Although  she  admired  these 
singers,  she  never  resorted  to  sheer  mimicry  and 
developed  her  own  original  style. 

She  recorded  notably  alongside  Louis 
Armstrong  on  Dave  Brubeck's  extended 
work  The  Real  Ambassadors,  a  social 
commentary  written  with  his  wife  Iola. 
She  made  several  film  and  television 
appearances,  and  performed  as  an 
actress  in  the  landmark  television  series 
Roots.  In  the  late  1980s,  she  returned 
to  her  first  love,  recording  a  full  album 
of  Monk's  music  with  lyrics  by  Jon 
Hendricks,  Abbey  Lincoln,  Mike  Ferro, 
Sally  Swisher,  and  Bernie  Hanighen.  The 
album  became  one  of  her  signature  recordings. 


NEA  Jazz  Masters      73 


A 


PIANIST   VOCALIST    BANDLEADER 


Born  January  12, 1916  in  Muskogee,  OK 


For  better  or  worse,  Jay  McShann  is  tied  to  the  legend 
of  Charlie  Parker.  Parker's  first  real  professional 
work  was  with  McShann 's  Kansas  City  band,  and 
McShann  is  credited  with  helping  Parker  to  hone  his 
talents.  Arguably  more  important,  McShann — along  with 
Andy  Kirk's  Clouds  of  Joy.  the  Bennie  Moten  Orchestra 
and  the  great  Count  Basie  bands — shaped  and  developed 
the  Kansas  City  swing  sound  that  was  so  popular  in  the 
1930s  and  1940s. 

Known  in  jazz  circles  as  "Hootie,"  McShann  is  for  the 
most  part  a  self-taught  artist,  though  he  did  attend  Tuskegee 
Institute.  He  developed  a  piano  style  that  drew  heavily  on 
blues  and  boogie  woogie.  McShann's  earliest  professional 
job  came  with  tenor  saxophonist  Don  Byas  in  1931. 
Following  his  days  at  Tuskegee,  McShann 
played  in  bands  in  Oklahoma  and  Arkansas 
prior  to  joining  a  trio  with  bassist  Oliver 
Todd  and  drummer  Elmer  Hopkins  in 
late  1936  in  Kansas  City. 

in  subsequent  months,  he  worked 
with  alto  saxophonist  Buster  Smith 
.ind  trumpeter  Dee  Stewart  before 


forming  a  sextet  in  1937.  In  late  1939.  McShann  put 
together  his  first  big  band.  His  recording  career  commenced 
in  1941  with  the  Decca  label,  records  that  often  featured 
blues  singer  Walter  Brown.  McShann's  first  New  York 
appearance,  at  the  Savoy  Ballroom,  came  in  February  1942. 
His  band  during  the  height  of  his  popularity  included  such 
notables  as  Parker,  bassist  Gene  Ramey,  drummer  Gus 
Johnson,  and  saxophonists  Paul  Quinichette  and  Jimmy 
Forrest,  all  of  whom  McShann  used  brilliantly  as  soloists. 
Following  service  in  the  Army.  McShann  reformed  his 
band,  which  played  New  York  spots  and  traveled  west  to 
California.  Towards  the  end  of  the  1940s,  McShann's  small 
band  fronted  blues  singer  Jimmy  Witherspoon. 

In  the  early  1950s,  McShann  moved  his  home  base  back 
to  Kansas  City,  where  he  continues  to  reside.  In  the 
tf&O  DISCOGh  1970s  and  1980s,  McShann  experienced  a  bit  of  a 


**► 


Blues  from  Kansas  City, 
MCA,  1941-43 


1944-46,  Classics,  1944-46 
Vine  Street  Boogie.  Black  Lion,  1974 


renaissance,  with  increased  recording  and  per- 
forming opportunities,  often  with  Kansas  City 
violinist  Claude  "Fiddler"  Williams,  and  he 
continues  to  perform  throughout  the 
Midwest. 


A  Tribute  to  Charlie  Parker, 
Music  Masters,  1989 

Hootie!, 
Chiaroscuro,  1997 


74      NEA  Jazz  Masters 


SAXOPHONIST    FLUTIST  VOCALIST    EDUCATOR 


y 


Born  March  26, 1925  in  Savannah,  GA 


One  of  the  surviving  champions  of  Dizzy  Gillespie's 
music,  James  Moody  is  an  accomplished  musician 
on  the  tenor  and  alto  saxophones,  as  well  as  the 
flute,  despite  being  born  partially  deaf.  In  addition  to  his 
instrumental  prowess,  Moody  is  an  engaging  entertainer, 
captivating  audiences  with  his  personal  charm  and  wit. 
Although  born  in  Savannah,  he  was  raised  in 


# 


iP 


Newark,  New  Jersey.  His  interest  in  jazz  was 
sparked  by  a  trumpet-playing  father  who 
gigged  in  the  Tiny  Bradshaw  band,  and  he 
took  up  the  alto  sax,  a  gift  from  his  uncle, 
at  the  age  of  16.  His  first  musical  training 
came  in  the  Air  Force,  and  after  leaving 
the  service  in  1946  he  joined  the  Dizzy 
Gillespie  big  band,  staying  until  1948. 
Gillespie  became  his  musical  mentor.   In 
1949,  he  moved  to  Paris  for  three  years, 
often  playing  with  visiting  American  musi- 
cians, including  the  Tadd  Dameron-Miles 
Davis  band. 

In  Sweden  he  recorded  his  famous  improvi- 
sation on  "I'm  in  the  Mood  For  Love"  in  1949.  playing 
on  an  alto  saxophone  instead  of  his  usual  tenor.  I  lis  solo 
was  later  set  to  lyrics  by  Eddie  Jefferson  and  recorded  by 
King  Pleasure,  known  as  "Moody's  Mood  for  Love,"  becoming 
a  surprise  nil  in  1952.  Throughoul  the  rest  of  his  career, 

Moody  would  be  more  known  lor  the  vocal  version  oi  the 
song  based  on  his  solo  than  for  the  instrumentaJ  version 


C^D  DISCOq/j, 


itself,  and  obliged  requests  for  the  song  by  singing  his 
famous  solo. 

Through  the  1950s  and  1960s,  he  led  his  own  bands,  and 
worked  alongside  other  saxophonists,  notably  Gene  Ammons 
and  Sonny  Stitt,  with  whom  he  co-led  a  three-tenor  sax  band. 

In  1963  he  returned  to  the  Dizzy  Gillespie  small  group, 
where  he  largely  remained  until  1971.   In  1975, 


«P. 


^ 


James  Moody  and  His  Swedish 
Crowns,  Dragon,  1949 

Last  Train  from  Overbrook, 
GRP/Chess.  1954-55 

Moody's  Panj[e\atc,  1995 

Moody  Plays  Mancini, 
Warner  Brothers,  1997 

Homage, 
Savoy  Jazz,  2003 


he  moved  to  Las  Vegas  and  worked  numerous 
hotel  and  casino  shows  with  singers  and 
comics,  picking  up  the  clarinet  along  the 
way   In  1979,  he  left  Las  Vegas  and 
moved  back  to  New  York  to  lead  his 
own  quintet. 

Then  in  1989  he  moved  to  San 
Diego,  working  as  a  consummate  soloist 
and  member  of  all-star  touring  units.  In 
the  1990s,  he  teamed  up  again  with  his 
lifelong  friend  Dizzy  Gillespie  to  tour 
Europe  and  the  United  States  as  a  member 
of  the  l  Inited  Nations  Orchestra.  He  continues 
to  tour  worldwide  and  experiment  with  his 
music,  sometimes  including  synthesizers  and  strings 
on  his  recordings.  He  is  sought-after  on  college  and  university 
campuses  for  master  classes,  workshops,  and  Lectures,  and 
has  received  honorary  doctoral  degrees  from  the  Florida 
Memorial  College  and  the  Berk  lee  College  of  Music,  In  1997. 
he  played  an  acting  role  in  the  Clint  Hast  wood  lilni  Midnight 
in  the  (kirdan  of  (iood  and  Evil. 


NEA  Jazz  Mastei-s      75 


Born  October  18, 1919  in  Chicago,  IL 


Anita  O'Day's  unique  sound  and  swinging  rhythmic 
sense  put  her  in  the  upper  echelon  of  jazz  singers, 
as  skillful  with  ballads  as  with  scatting  and  liberal 
interpretations  of  standard  songs.  Her  career  spans  the  late 
swing  and  bebop  eras,  inspiring  many  singers  who  followed 
her,  such  as  June  Christy,  Chris  Connor,  and  Helen 
Merrill.  She  began  her  performing  career  as 


tion  until  1943.  In  1944  she  joined  Stan  Kenton's  band. 
She  then  re-joined  Krupa  in  1945,  remaining  there  until 
1946,  when  she  began  a  solo  career.  In  the  mid-1950s  she 
made  a  few  notable  albums  for  the  Verve  label,  demonstrat- 
ing the  power  of  her  vocals. 

In  1958  her  appearance  at  the  Newport  Jazz  Festival, 
replete  with  characteristic  big  hat,  caused  a  sensation. 


a  ballroom  dance  contest  winner  in  the  <$&  ^^        ^e  provided  one  of  the  highlights  of  the  subse- 

rment  film  i 


1930s,  which  is  when  she  adopted  the 
stage  name  O'Day.  At  19,  she  began 
singing  professionally  in  clubs 
around  Chicago. 

In  1941  she  joined  Gene 
Krupa's  big  band,  recording  a 
memorable  duet  with  Roy  Eldridge 
on  "Let  Me  Off  Uptown,"  one  of  the 
first  interracial  vocal  duets  on 
record.  She  also  may  have  been  the 
first  feminist  big  band  singer,  refusing 
to  appeal  in  the  standard  gown  and 
gloves,  instead  opting  for  band  jacket  and 
short  skirt.  She  stayed  with  the  Krupa  organiza 


The  Complete  Recordings,  1949-50, 
Baldwin  Street  Music,  1949-50 

Swings  Cole  Porter  with  Billy  May, 
Verve,  1552-59 

Anita  Sings  the  Winners, 
Verve,  1956-62 

Anita  Sings  the  Most,  Verve,  1 957 

Rules  of  the  Road,  Pablo,  1993 


quent  film  of  the  festival,  Jazz  on  a  Summer's 
Day.  From  that  point  on  she  worked  mainly  on 
the  club  circuit  with  her  own  groups. 

Always  a  hit  in  Japan,  she  made  her  first 
tour  there  in  1964,  returning  on  several  occa- 
sions. Frustrated  with  record  label  indiffer- 
ence to  her  artistry,  she  developed  her  own 
record  labels.  In  the  1980s  and  1990s,  she 
continued  to  work  the  club  and  jazz  festival 
circuits,  including  a  concert  at  Carnegie  Hall  in 
1985  to  celebrate  her  50  years  in  jazz  and  notable 
performances  at  the  Vine  Street  Bar  &  Grill  in  Los 
Angeles  in  1992. 


76     NEA  Jazz  Masters 


^  ^iJ 


■ 


Max 


DRUMMER    COMPOSER    BANDLEADER 


Roach 


Born  January  10, 1924  in  New  Land,  NC 


Max  Roach  is  one  of  the  two  leading  drummers  of 
the  bebop  era  (along  with  Kenny  Clarke)  and  has 
remained  one  of  the  leading  musicians,  com- 
posers, and  bandleaders  in  jazz  ever  since  the  1940s.  His 
often  biting  political  commentary  and  strong  intellect,  not  to 
mention  his  rhythmic  innovations,  have  kept  him  at  the 
vanguard  of  jazz  for  more  than  50  years. 

Roach  grew  up  in  a  household  where  gospel  music  was 
quite  prominent.  His  mother  was  a  gospel  singer  and  he 
began  drumming  in  a  gospel  ensemble  at  age  10.  Roach's 
formal  study  of  music  took  him  to  the  Manhattan  School  of 
Music.  In  1942,  he  became  house  drummer  at  Monroe's 
Uptown  House,  enabling  him  to  play  and  interact  with  some 
of  the  giants  of  the  bebop  era,  such  as  Charlie  Parker,  Dizzy 
Gillespie,  Thelonious  Monk,  and  Bud  Powell.   Roach  would 
later  record  with  Parker,  Gillespie,  Powell,  and  bassist 
Charles  Mingus  at  the  historic  Massey  Hall  concert  in  1953. 
Throughout  the  1940s,  Roach  continued  to  branch  out  in 
his  playing,  drumming  with  Benny  Carter,  Stan  Getz,  Allen 
Eager,  and  Miles  Davis.   In  1952,  he  and  Mingus  collabo- 
rated to  create  their  own  record  label,  Debut  Records. 
In  1954,  Roach  began  a  short-lived  but  crucial  band  with 
incendiary  trumpeter  Clifford  Brown.  This  historic:  band, 
which  ended  abruptly  with  Brown's  tragic  death  in  1956, 
also  included  saxophonists  Harold  Land  and  Sonny  Rollins. 
In  the  late  1950s,  Roach  began  adding  political  commen- 
tary to  his  recordings,  starting  with  Deeds  Not  Words.  I  in  I 
coming  into  sharper  focus  with  We  Insist!  Freedom  Now  Suite 


# 


^PDISCOO, 


*1 


> 


Clifford  Brown  and  Max  Roach, 
At  Basin  Steet,  EmArcy,  1956 

We  Insist!  Freedom  Now  Suite, 
Candid,  1960 

M'Boom,  Columbia,  1979 

To  The  Max,  Rhino,  1990-91 

Explorations  to  the  Mth  Degree, 
Slam,  1994 


in  1960,  on  which  he  collabo- 
rated with  singer-lyricist 
Oscar  Brown,  Jr.  From 
then  on  he  has  been  an 
eloquent  spokesman  in 
the  area  of  racial  and 
political  justice. 

Roach  continued  to 
experiment  with  his 
sound,  eschewing  the  use 
of  the  piano  or  other  chord- 
ing  instruments  in  his  bands 
for  the  most  part  from  the  late 
1960s  on.   His  thirst  for  experimenta- 
tion has  led  to  collaborations  with  seemingly  disparate; 
artists,  including  duets  with  saxophonist  Anthony  Braxton 
and  pianist  Cecil  Taylor,  as  well  as  partnerships  with 
pianist  Abdullah  Ibrahim  and  saxophonist  Archie;  Shepp. 

As  a  drum  soloist  he;  has  few  peers  in  terms  of  innova- 
tions, stemming  from  his  deeply  personal  sound  and 
approach.   His  proclivities  in  the  area  of  multiethnic  percus- 
sion have  flowered  with  his  intermittent  percussion  ensem- 
ble M'Boom,  founded  in  1970.   A  broad-based  percussionist 
who  was  a  pioneer  in  establishing  a  fixed  pulse  on  the  ride 
cymbal  instead  of  the  bass  drum,  Roach  has  also  collabo- 
rated with  voice,  string,  and  brass  ensembles,  lectured  on 
college  i  ampuses  extensively,  and  composed  music  for 
dance,  theater,  film,  and  television. 


NEA  Jazz  Mastei*s       77 


Rollins 


Born  September  7, 1930  in  New  York,  NY 


SAXOPHONIST    COMPOSER 


With  more  than  50  years  in  jazz,  Sonny  Rollins'  tow- 
ering achievements  on  the  tenor  saxophone  are 
many,  and  he  continues  to  be  one  of  the  most 
exciting  and  fiery  players  in  concert.  Inspired  by  the  exam- 
ple of  his  brother's  pursuit  of  music,  Rollins  began  piano  les- 
sons at  age  nine.  At  14  he  picked  up  the  alto  saxophone, 
and  switched  to  the  tenor  two  years  later.  Soon  he  was  play- 
ing dances  in  a  band  of  youngsters  in  his  New  York  commu- 
nilv.  which  included  Jackie  McLean,  Kenny  Drew,  and  Art 
Taylor.  Rollins'  first  recording  was  made  alongside  the  bop 
singer  Babs  Gonzales  in  1949.  Later  that  year  he  played  at 
sessions  with  J. }.  Johnson  and  Bud  Powell,  recording  his 
song  "Audubon"  with  Johnson. 

In  the  1950s,  Rollins  began  by  serving  as  a  sideman  on 
sessions  with  Miles  Davis,  Thelonious  Monk,  Art  Farmer, 
and  the  Modern  Jazz  Quartet.  In  late  1955,  while  living  in 
Chicago,  he  began  one  of  his  most  fruitful  band  affiliations 
when  he  stood  in  for  Harold  Land  in  the  superb  Clifford 
Brown-Max  Roach  Quintet  al  (he  Bee  Hive  club.  He 
remained  a  regular  member  until  Brown's  tragic  June  1956 
death  from  an  auto  accident. 

Rollins  continued  to  record,  mainly  for  Prestige,  where 
his  output  was  some  of  the  finest  music  recorded  in  the 
mid-1950s  on  anj  label.    Among  his  recorded  highlights 

during  this  period  were  Tenor  Madness,  which  included  an 
eni  ounter  with  John  Coltrane;  Saxophone  Colossus,  a 
sparkling  album  that  introduced  his  most  noted  composi- 
tion, "St.  Thomas,"  which  honored  his  parents'  Virgin 
Islands  roots;  and  Way  Out  West,  which  took  seemingly 


mundane  songs  like  "I'm  an  Old  Cowhand"  and  spun  them 
out  with  extraordinary  improvisations. 

By  1959,  Rollins  had  grown  impatient  with  the  vagaries 
of  the  jazz  scene  and  took  a  hiatus.  He  would  often  practice 
his  horn  deep  into  the  night  on  the  upper  reaches  of  the 
Williamsburg  Bridge,  which  crosses  the  East  River  from 
Manhattan  to  Brooklyn.  In  1961  he  returned  to  the  scene, 
refreshed  and  playing  better  than  ever.  He  made  a  series  of 
recordings  for  the  RCA  label  with  musicians  such  as  Jim 
Hall,  Don  Cherry.  Billy  Higgins.  and  Herbie  Hancock,  and 
also  began  his  long-term  employment  of  bassist  Bob 
Cranshaw. 

In  London  in  1966,  he  composed  and  recorded  a  sound- 
track album  for  the  film  Alfie  for  the  Impulse!  label,  which 
brought  him  some  popularity  beyond  jazz 
audiences.  By  1968  Rollins  again 
required  a  break  from  the  scene, 
returning  in  1971.  He  has  been 
playing  and  growing  ever 


> 


since,  continuing  his  long 
affiliation  with  the  Fantasy 
Family  of  labels  (including 
Prestige  and  Milestone)  and 
working  almost  exclusively 
on  concert  stages.  Sonny 
Rollins'  recordings  have  con- 
tinued to  reflect  his  interest  in 
Caribbean  rhythms,  particularly 
the  calypso. 


Saxophone  Colossus, 
Original  Jazz  Classics.  1956 


A  Night  at  the  Village  Vanguard. 
Blue  Note,  1957 

The  Complete  R&Wictor  Recordings. 
RCA  Victor,  1962-64 

Silver  City.  Milestone,  1972-95 

Without  A  Song:  The  9/1 1  Concert. 
Milestone,  2001 


78      NEA  Jazz  Masters 


George 


COMPOSER     ARRANGER  THEORETICIAN    PIANIST    DRUMMER 


Russell 


Bom  June  23, 1923  in  Cincinnati,  OH 


George  Russell  is  first  and  foremost  a  composer  rather 
than  an  instrumentalist,  and  is  one  of  the  most 
important  jazz  theorists  of  the  latter  half  of  the  20th 
century.  He  first  expressed  himself  musically  on  the  drums 
in  the  drum  and  bugle  corps.  After  high  school,  Russell 
attended  Wilberforce  University,  where  he  found  gigs 
playing  drums  at  local  clubs.  Russell's  study  of 
composing  and  arranging  increased  while  he 
was  bedridden  with  a  case  of  tuberculosis  at 
19.  It  was  during  this  time  that  he  began 
formulating  his  unprecedented  musical 
theorems. 

While  his  first  arrangements  were  for 
the  A.B  Townsend  Orchestra,  a  Cincinnati 
dance  band,  Russell's  initial  major  band 
affiliation  was  as  a  drummer  with  Benny 
Carter.  Later  he  found  work  arranging 
with  the  Earl  Hinos  band.   His  first  major 
score  was  "Cubano  Be,  Cubano  Bop,"  an 
Afro-Cuban  piece  written  for  the;  Dizzy 
Gillespie  big  band.  Russell  followed  that  wilh 
charts  for  Lee  Konitz  ("Ezz-thetic"  and  "Odjenar")  and 
Buddy  DeFranco  ("A  Bird  in  Igor's  Yard").   He  continued 
his  advanced  composition  study  with  Stefan  VVolpe.   I  lis 
theory,  'The  Lydicin  Chromatic:  Concept  of  Tonal  Organization 
was  eventually  published  in  hook  form  in  the  mid-1950s. 
Russell's  concept  involves  a  composition  system  based  on 
using  the  Lydian  scale,  rather  than  the  major  scale,  as  the 
basis  for  analysis  and  composition. 

Music  theoreticians  hailed  this  as  a  breakthrough,  being 
perhaps  the  first  major  contribution  by  a  jazz  musician  to 


the  field  of  musical  theory.  Russell's  continued  refinement 
and  study  of  this  concept  eventually  led  him  to  academia 
when  he  taught  at  the  Lenox  School  of  Jazz  during  1958-59. 
In  the  meantime,  his  theories  on  modes  influenced  Miles 
Davis  and  Bill  Evans  (who  studied  with  Russell),  leading  to 
the  creation  of  Davis'  masterpiece,  Kind  of  Blue.  In  the 
early  1960s,  Russell  led  several  small  groups, 
which  included  musicians  such  as  Eric 
Dolphy  and  David  Baker,  and  made  some 
significant  recordings  before  moving  to 
Scandinavia.  There  he  continued  to 
refine  his  theories  and  work  with 
Scandinavian  musicians,  among  them 
Jan  Carbarek  and  Terje  Rypdal,  before 
returning  to  the  U.S.  in  1969.  That  year 
he  took  a  teaching  position  at  New 
England  Conservatory  of  Music  at  the 
invitation  of  then  president  Gunther 
Schuller.   In  the  late  1970s,  Russell  formed 
big  bands  to  play  his  music,  creating  his 
Living  Time  Orchestra  in  1978.  The  Orchestra 
makes  frequent  tours  of  Europe,  including  residencies 
at  the  Perugia  Jazz  festival. 

In  addition  to  teaching  and  lecturing  at  other 
conservatories  and  universities,  Russell  has  been  the 
recipient  of  numerous  awards,  honors,  and  grants,  including 

an  NEA  Composition  fellowship,  a  MacArthur  award,  two 
Guggenheim  fellowships,  and  election  to  the  Royal  Swedish 
Academy.  Russell  published  the  revised  and  expanded 

edition  of  his  Lydian  Chromatil   Concept  in  2001. 

NEA  Jazz  Masters      79 


Jazz  Workshop,  RCA  Victor,  1956 

New  York,  NY,  Impulse!,  1958 

Ezz-Thetics,  Original  Jazz  Classics,  1961 

The  African  Game,  Blue  Note,  1983 

The  80th  Birthday  Concert, 
Concept,  2003 


■Jfc§**V 


T*V5 


■*»"■ 


i- 


■^ 


Artie 


Shaw 


Bom  May  23, 1910  in  New  York,  NY 
Died  December  30, 2004 


CLARINETIST    BANDLEADER    COMPOSER   ARRANGER 


<ffi 


Self  Portrait,  Bluebird/RCA,  1936-54 

Begin  theBeguine,  Bluebird/RCA,  1938-41 

The  Complete  Gramercy  Five  Sessions, 
Bluebird/RCA,  1940-45 

Artie  Shaw  at  the  Hollywood  Palladium, 
HEP,  1941 

The  Last  Recordings:  Rare  and 

Unreleased,  Music  Masters, 

1954 


Immensely  popular  and  star- 
tlingly  innovative,  Artie  Shaw 
rose  to  prominence  in  the 
1930s  as  a  swing  band  leader, 
master  clarinetist,  and  bound- 
ary-crossing artist,  who  infused 
jazz  with  the  influences  of 
modem  European  composers. 

Born  in  1910,  he  left  his 
native  New  Haven,  Connecticut, 
at  age  15  to  tour  as  a  jazz  musician. 
Though  based  in  Cleveland,  where  he 
wrote  his  first  arrangements  for  bandleader 
Austin  Wylie,  he  later  made  important  road  trips  with  Irving 
Aaronson's  band.  The  band  took  him  to  Chicago,  where  he 
played  in  jam  sessions  and  first  heard  recordings  by 
Stravinsky  and  Debussy.  Next,  in  1929,  the  Aaronson  band 
brought  him  to  New  York,  where  he  played  in  Harlem  jam 
sessions  and  came  under  the  influence  of  Willie  "The  Lion" 
Smith.   I  lo  decided  to  stay  on  and  at  age  21  became  one  of 
New  York's  most  successful  reed  players  for  radio  and 
re<  ording  sessions. 

I  Ee  in, nlc  liis  breakthrough  in  his  first  appearance  as  a 
I'lir  at  a  1936  swing  concert  at  Broadway's  Imperial 
Theater.  To  fill  .i  spot  between  headliners,  be  performed  his 
chambei  <  omposition  "Interlude  in  B  Flat,"  scored  for  string 
quartet,  three  rhythm  instruments,  and  clarinet,  which  ere- 


\ 


> 


ated  a  sensation.  He  then  added  two  trumpets,  trom- 
bone, saxophone,  and  a  singer,  signed  a  recording 
contract,  and  led  his  first  orchestra  into  New 
York's  Lexington  Hotel.  During  1938.  with  a  more 
conventional  swing  band  line-up  (which  briefly 
included  Billie  Holiday  as  vocalist),  he  recorded 
Cole  Porter's  "Begin  the  Beguine,"  which  pro- 
pelled him  to  die  forefront  of  big  band  leaders. 
After  die  United  States  entered  World  War  II. 
Artie  Shaw  enlisted  in  the  Navy  and  was  soon  lead- 
ing a  service  band  drroughout  die  Pacific  war  zone. 
Upon  returning  stateside,  he  organized  a  new  band  in 
1944,  widi  which  he  toured  and  made  recordings  drat 
included  the  classic  "Little  Jazz."  featuring  Roy  Eldridge  on 
trumpet.  Over  the  next  10  years.  Artie  Shaw  worked  in 
Hollywood,  toured  extensively  (including  appearances  at 
Carnegie  Hall  and  a  performance  of  Mozart's  Clarinet 
Concerto  with  Leonard  Bernstein  and  the  New  York 
Philharmonic),  and  continued  to  record,  both  with  his  big 
bands  and  with  a  small  group  named  Gramercy  Five. 

Although  he  retired  from  music  in  1954.  Artie  Shaw 
continued  to  enjoy  popularity  through  his  recordings  and 
also  through  a  big  band  fronted  by  Dick  Johnson  bearing 
Artie  Shaw's  name.   'Hie  library  of  the  University  of  Arizona 
holds  his  collection  of  scores. 


80     NEA  Jazz  Mastere 


SAXOPHONIST    COMPOSER 


Shorter 


Born  August  25, 1933  in  Newark,  NJ 


Equally  renowned  for  his  compositions  as  for  his  saxo- 
phone playing,  Wayne  Shorter  has  contributed  many 
songs  to  the  jazz  canon  while  participating  in  some  of 
the  major  changes  in  jazz  music  over  the  last  40  years,  and 
has  received  six  Grammy  Awards  for  his  recordings. 

Shorter's  musical  pursuits  started  on  the  clarinet,  at  age 
16,  evolving  to  the  tenor  saxophone  soon  thereafter.  Shorter 
majored  in  music  education  at  New  York  University  from 
1956-58,  working  for  a  short  while  with  Horace  Silver  in 
1956.  After  serving  in  the  Army,  he  joined  Maynard 
Ferguson's  band  for  a  couple  of  months  in  1959,  followed  by 
one  of  his  most  fruitful  jobs:  playing  with  Art  Blakey's  Jazz 
Messengers.   He  remained  in  the  Messengers  until  1964, 
establishing  himself  as  both  composer  and  saxophonist,  and 
began  making  his  own  records,  first  for  Vee  Jay,  then  for  the 
Blue  Note  label.   His  three  releases  for  Blue  Note  in  1964, 
Night  Dreamer,  fuju,  and  Speak  No  Evil,  are  considered  the 
quintessential  Blue  Note  sound:  sophisticated  structures  and 
rhythms,  strong  melodies,  exceptional  playing. 

He  left  Blakey  in  1964  to  assume  another  productive 
affiliation  with  the  Miles  Davis  Quintet,  where  he  remained 
until  1970.    While  with  Davis,  he  further  solidified  his  posi- 
tion as  one  of  the  most  intriguing  composers  of  his  time, 
contributing  tunes  such  as  "Nefertili,"  "fall,"  "ESP," 
"Paraphernalia,"  and  "Sanctuary."   He  also  developed  his 
sound,  a  mixture  of  technique  and  emotion,  able  lo  find  the 
appropriate  mood  in  his  playing  to  111  the  song.    During  the 


latter  stages  of  his  Davis  tenure,  he  took  up  the  soprano  sax- 
ophone, which  thereafter  often  became  his  principle  horn. 

In  1971  he  and  pianist  Joe  Zawinul,  who  also  had  been 
part  of  Davis'  recording  sessions  in  the  late-1960s  to  early- 
1970s,  formed  one  of  the  pioneering  jazz  fusion  bands, 
Weather  Report.  The  band  stayed  together  for  15  years 
through  several  different  permutations,  engaging  electronics 
and  numerous  ethnic  influences  and  furthering  Shorter's  repu- 
tation as  a  composer.  The  band  scored  a  major  hit,  "Birdland," 
in  1977  on  their  bestselling  record,  Heavy  Weather. 

After  the  breakup  of  Weather  Report  he  made  occasional 
recordings  and  tours,  continuing  to  mine  the  influences  he 
felt  from  other  musical  cultures  and  continuing  to  write 
intriguing  music.  He  is  a  major  influence 
on  the  generations  of  musicians 
who  have  entered  the  scene 
since  the  1970s.  In  2001,  Ik; 
began  touring  and  releasing 
recordings  with  a  new 
quartet  comprising  Danilo 
Perez  on  piano,  John 
Patitucci  on  bass,  and 
Brian  Blade  on  drums. 
Shorter,  who  originally 
studied  as  a  visual  artist, 
continues  lo  pursue  the 
visual  arts  as  well  as  milsii 


Speak  No  Evil,  Blue  Note,  1964 

Miles  Davis,  Miles  Smiles,  Columbia,  1966 

Weather  Report,  Live  in  Tokyo, 
Columbia,  1972 

Herbie  Hancock/Wayne  Shorter,  h  1. 
Verve,  1997 

Alegria.  Verve,  2003 


NEA  Jazz  Mastei-s      81 


orace 


liver 


Born  September  2, 1928  in  Norwalk,  CT 


PIANIST    COMPOSER 


c$ 


Horace  Silver  was  the  heart  of  the  hard  bop  era,  help- 
ing to  form  the  influential  Jazz  Messengers  and  com 
posing  many  blues  and  gospel-flavored  songs  that 
have  become  part  of  the  jazz  canon,  including  "Lonely 
Woman,"  "Song  For  My  Father,"  "Senor  Blues,"  "The 
Preacher,"  "Nica's  Dream,"  and  "Peace."  His 
piano  playing  is  heavily  rhythmic,  driving  his 
musical  colleagues  to  greater  heights  in 
their  solos. 

Silver  was  exposed  to  music  at  an 
early  age.  hearing  Cape  Verde  Islands 
folk  music  from  his  father.  Silver  later 
used  the  island  rhythms  and  flavor  to 
great  effect  on  his  1960s  albums  Song 
For  My  Father  and  Cape  Verdean  Blues. 
He  took  up  the  saxophone  and  piano  in 
high  school,  and  was  influenced  early  on  by 
th(!  blues  of  Memphis  Slim,  various  boogie 
woogie  piano  players,  and  the  bebop  pianists 
Bud  Powell  .md  Thelonious  Monk.  After  a  1950 
stint  backing  guest  soloist  Stan  Getz  on  a  gig  in  Hartford. 
I  lonnei  ii<  ut,  Silver  was  enlisted  by  Getz  to  join  him  on  tour 
for  the  next  year.  Getz  recorded  three  of  Silver's  earliest 
<  (impositions.  ■'Split  Kick."  "Potter's  Luck."  and  "Penny." 

In  L951,  lie  moved  to  New  York  and  quickly  found  work 


with  Coleman  Hawkins,  Bill  Harris,  Oscar  Pettiford.  Lester 
Young,  and  Art  Blakey.  In  1952,  as  a  result  of  a  Lou 
Donaldson  record  session,  he  began  what  became  a  28-year 
relationship  with  the  Blue  Note  label.  Between  1953-55  he 
played  in  a  band  called  the  Jazz  Messengers,  co-led 
*$D  DISCogc,  by  Blakey.  The  band  was  at  the  forefront  of  the 

hard  bop  movement  that  followed  bebop.  By 
1956,  Silver  formed  his  own  band  and 
Blakey  maintained  the  Jazz  Messengers 
name  as  his  own.  Both  Silver's  band  and 
the  Jazz  Messengers  turned  out  to  be 
proving  grounds  for  a  number  of  excep- 
tional, aspiring  musicians.  Among 
those  who  passed  through  his  band 
were  Art  Farmer.  Donald  Byrd.  Joe 
Henderson.  Blue  Mitchell.  Charles 
Tolliver.  Stanley  Turrentine.  Woody  Shaw, 
and  Randy  and  Michael  Brecker.  Silver's 
terse,  funky  playing  has  influenced  pianists  as 
disparate  as  Herbie  Hancock  and  Cecil  Taylor.   For 
several  years  in  the  1980s,  he  recorded  on  his  own  Silveto 
label,  writing  lyrics  to  his  compositions  with  a  decidedly 
metaphysical  bent.   In  the  1990s,  he  returned  to  the  hard 
bop  sound  he  helped  create. 


Horace  Silver  and  the  Jazz  Messengers, 
Blue  Note,  1954 

Blowin'  the  Blues  Away,  Blue  Note,  1 959 

Song  For  My  Father,  Blue  Note,  1964 

Cape  Verdean  Blues,  Blue  Note,  1 965 

The  Hardbop  Grandpop,  GBP,  1996 


82      NEA  Jazz  Masters 


ORGANIST 


Smith 


Born  December  8, 1928  in  Norristown,  PA 
Died  February  8,  2005 


Jimmy  Smith  personified  the  jazz  organ  revolution.  He 
raised  the  organ — specifically  the  legendary  Hammond 
B3,  over  which  he  reigned  during  the  1950s  and  1960s- 
irom  a  novelty  instrument  in  jazz  to  primary  status. 
Having  first  learned  piano  from  his  parents  in  his  native 
Norristown,  Pennsylvania,  he  was  playing  stride  piano  by 
14  and  performing  with  his  father  by  the  early  1940s.  He 
joined  the  Navy  at  age  15  and  after  discharge  attended  the 
Hamilton  School  of  Music  (1948)  and  Omstein's  School  of 
Music  (1949-50),  where  he  studied  bass  and  piano.  He 
then  switched  to  the  Hammond  organ,  woodshed- 


ding  in  a  warehouse  for  a  year. 

Inspired  by  the  great  horn  players  of  the 
day — Don  Byas,  Arnett  Cobb,  Coleman 
Hawkins — as  well  as  by  pianists  Art  Tatum, 
Erroll  Garner,  and  Bud  Powell,  he  cut  the 
tremolo  off  and  began  playing  horn  lines 
with  his  right  hand.  He  also  created  a  new 
organ  registration  to  simulate  Garner's 
sound,  establishing  the  standard  for  jazz 
organists  who  would  follow. 

Jimmy  Smith's  burgeoning  reputation  soon 
took  him  to  New  York,  where  he  debuted  al  Cafe 
Bohemia.   His  fame  grew  with  his  influential  Blue 


S> 


i? 


Note  recordings  (1956-63),  including  brilliant  collaborations 
with  Kenny  Burrell,  Lou  Donaldson,  Jackie  McLean,  Wes 
Montgomery,  Lee  Morgan,  Ike  Quebec,  and  Stanley 
Turrentine.  His  appearances  at  Birdland  and  the  1957 
Newport  Jazz  Festival  solidified  his  international  promi- 
nence as  the  first  jazz  organ  star. 

He  toured  extensively  through  the  1960s  and  1970s  and 
continued  to  release  hit  albums,  this  time  on  Verve  (1963- 
72),  including  several  big  band  recordings  with  such  stellar 
arrangers  as  Oliver  Nelson  and  Lalo  Schifrin.  His 
reputation  in  the  1990s  was  enhanced  by  the 


M*» 


A  New  Sound,  A  New  Star:  Jimmy  Smith 
at  the  Organ,  Vols.  1-2,  Blue  Note,  1956 

The  Sermon!,  Blue  Note,  1958 

Root  Down,  Verve,  1972 

Fourmost,  Milestone,  1990 

Dot  Com  Blues,  Verve,  2000 


sampling  of  his  Verve  work  by  rap  group 
the  Beastie  Boys  on  the  song  "Root 
Down." 

He  recorded  for  the  Blue  Note  and 
Milestone  labels  in  the  late  1980s 
through  the  1990s,  and  in  2001 
released  his  first  new  recording  after 
a  live-year  layoff:  Dot  Com  Blues, 
which  featured  guest  appearances  by 
Dr.  John,  Taj  Mahal,  Etta  James,  Keb' 
Mo',  and  B.B.  King. 


NKA  JaiK  Mastei-s       83 


*t  ' 


Sun 


Ra 


KEYBOARDIST  COMPOSER   ARRANGER    BANDLEADER 


Born  May  22, 1914  in  Birmingham,  AL 
Died  May  30, 1993 


Sun  Ra  was  one  of  the  most  unusual  musicians  in  the 
history  of  jazz,  moving  from  Fletcher  Henderson  swing 
to  free  jazz  with  ease,  sometimes  in  the  same  song. 
Portraying  himself  as  a  product  of  outer  space,  he  "traveled 
the  spaceways"  with  a  colorful  troupe  of  musicians,  using  a 
multitude  of  percussion  and  unusual  instrumentation,  from 
tree  drum  to  celeste. 

Sun  Ra,  who  enjoyed  cloaking  his  origins  and  develop- 
ment in  mystery,  is  known  to  have  studied  piano  early  on 
with  Lula  Randolph  in  Washington,  DC.  His  first  noted  pro- 
fessional job  was  during  1946-47  as  pianist  with  the  Fletcher 
Henderson  Orchestra  at  the  Club  DeLisa  on  the  South  Side 
of  Chicago.  In  addidon  to  playing  piano  in  the 
band  he  also  served  as  one  of  die  staff 
arrangers.  Finding  his  calling  as  an 
arranger,  he  put  together  a  band 
to  play  his  compositions.  In 
the  1950s,  he  began  issuing 
recordings  of  his  unusual 
music  on  his  Saturn  label, 
becoming  one  of  the  first 
jazz  musicians  to  record 
and  sell  his  own  albums. 
Sun  Ra's  band  became  a 
central  part  of  the  early  avant- 
garde  jazz  movement  in 
( ihicago,  being  one  of  the  first 
jazz  bands  to  employ  electronic 


The  Singles,  Evidence,  1954-82 

Jazz  in  Silhouette.  Evidence,  1958 

The  Heliocentric  Worlds  of  Sun  Ra, 
Vol  ;  *  ^  ESP.  1965 

Space  is  the  Place.  Evidence,  1972 

Purple  Night.  b&M.  1989 


instruments  (as  early  as  1956),  including  electric  piano, 
clavioline,  celeste,  and  synthesizers.  In  1960,  he  moved  his 
band  to  New  York,  where  he  established  a  communal  home 
for  his  musicians,  known  as  The  Sun  Palace.  In  March 
1966,  the  band  began  one  of  its  most  significant  residencies, 
playing  every  Monday  night  at  Slug's  nightclub  on  New 
York's  Lower  East  Side. 

By  the  1970s,  the  Sun  Ra  Arkestra  and  its  various  per- 
mutations began  touring  Europe  extensively.  His  band  had 
by  then  expanded  to  include  singers,  dancers,  martial  arts 
practitioners,  film,  and  colorful,  homemade  costumes, 
becoming  a  true  multimedia  attraction.  Their  performances 
would  often  stretch  on  for  hours,  including  hypnotic,  chant- 
ing processionals  through  the  audience.  Sun  Ra's  global  fol- 
lowing had  become  significant,  though  his  recordings  had 
become  sporadic.  His  arrangements  of  his  songs,  however, 
were  among  the  best  in  jazz.  He  made  excellent  use  of 
his  soloists,  especially  the  great  tenor  saxophonist  John 
Gilmore.  alto  saxophonist  Marshall  Allen,  and  baritone 
saxophonist  Pat  Patrick,  all  of  whom  were  with  the  Arkestra 
on  and  off  for  decades. 

An  outsider  who  linked  die  African  American  experi- 
ence with  ancient  Egyptian  mythology  and  outer  space.  Sun 
Ra  was  years  ahead  of  all  other  avant-garde  musicians  in  his 
experimentation  with  sound  and  instruments,  a  pioneer  in 
group  improvisations  and  the  use  of  electric,  instruments  in 
jazz.  Since  Sun  Ra's  death,  the  Arkestra  has  continued  to 
perform  under  the  direction  of  Allen. 


84     NEA  Jazz  Masters 


PIANIST    COMPOSER    EDUCATOR    BROADCASTER 


Bom  July  24, 1921  in  Greenville,  NC 


Although  well  respected  for  his  tasteful,  non-intrusive 
accompaniment  as  a  sideman,  Billy  Taylor  is  known 
for  his  championing  of  jazz  music,  especially 
through  his  various  broadcasting  and  educational  ventures. 

After  growing  up  in  Washington,  DC  and  studying  music 
at  Virginia  State  College,  where  he  earned  a  degree  in  Music 
in  1942,  Taylor  moved  to  New  York.  He  spent  the  1940s 
frequently  playing  the  clubs  on  New  York's  famed  52nd 
Street,  performing  with  greats  such  as  Charlie  Parker,  Dizzy 
Gillespie,  Ben  Webster,  Stuff  Smith,  Machito,  Slam  Stewart, 
and  Don  Redman.  His  adroit  abilities  enabled  him  to  freely 
cross  over  from  swing  to  the  then-burgeoning  modern  jazz 
called  bebop. 

In  the  1950s,  he  served  as  the  ideal  sideman,  finding 
work  with  Roy  Eldridge,  Oscar  Pettiford,  and  Lee  Konitz 
while  employed  as  house  pianist  at  Birdland  in  1951. 
Beginning  in  1952  he  became  a  bandleader, 
primarily  heading  trios  with  bass  and  drums 

Taylor  started  in  radio  with  a  program 
in  the  1960s  on  WLIB  in  New  York.  From 
1969-72  he  was  house  bandleader  for  the 
David  Frost  television  show,  and  in  the 
1970s  also  served  as  host-director  of 
the  NPR  syndicated  Jazz  Alive  radio 
series.   Since  1981,  Taylor  has  profiled 
some  of  the  biggest  names  in  jazz  as 
an  interviewer  and  reporter  for  CBS 
television's  Sunday  Morning  program. 


CtSDDISCOo^ 


%■ 


Cross-Section. 
Original  Jazz  Classics,  1953-54 

My  Fair  Lady  Loves  Jazz,  Impulse!,  1965 

White  Nights  and  Jazz  in  Leningrad, 
Taylor-Made  Music,  1988 

Its  a  Matter  of  Pride,  GRP,  1993 


Live  at  the  IAJE,  New  York, 
Soundpost,  2001 


As  a  jazz  educator,  Taylor's  experience  has  been  vast, 
starting  with  authoring  a  series  of  beginning  piano  primers. 
He  was  a  founder  of  New  York's  successful  Jazzmobile  com- 
munity performance  and  school-without-walls,  beginning  in 
1965.  He  earned  his  doctorate  in  Music  at  the  University  of 
Massachusetts  in  1975,  with  a  dissertation  on  The  History 
and  Development  of  Jazz  Piano:  A  New  Perspective  for 
Educators.  Taylor  has  subsequently  taught  at  Yale, 
Manhattan  School  of  Music,  Howard  University,  University 
of  California,  Fredonia  State  University,  and  C.W.  Post 
College.  His  experience  at  the  University  of  Massachusetts 
led  to  a  lead  faculty  position  at  the  university's  annual  sum- 
mer intensive.  Jazz  in  July. 

As  a  composer  he  has  written  a  number  of  commis- 
sioned works,  his  most  well  known  composition  being  "I 
Wish  I  Knew  How  it  Would  Feel  to  be  Free."  In  the  1990s, 
Billy  Taylor  became  artistic  director  of  the  Jazz  at  the 
Kennedy  Center  program  in  his  adopted  home- 
town, Washington,  DC.  from  which  emanated 
his  syndicated  NPR  radio  series,  Bill) 
Taylor's  jazz  at  the  Kennedy  Center.  I  [e  has 
also  served  Oil  the  Nh'A's  National  Council 
on  the  Arts.  Taylor  worked  with  the 
National  Endowment  for  the  Arts  as  chair- 
man of  the  advisory  group  for  a  research 

project  thai  studied  the  financial  condition 

and  needs  of  jazz  artists  in  four  cities:  New 

York,  Detroit,  New  Oilcans,  and  San 

Francisco. 


NEA  Jazz  Masters       85 


PIANIST    COMPOSER 


Born  March  15, 1929  in  New  York,  NY 


Cecil  Taylor  is  one  of  the  most  uncompromisingly 
gifted  pianists  in  jazz  history,  utilizing  a  nearly  over- 
whelming orchestral  facility  on  the  piano.  While  his 
work  has  elicited  controversy  almost  from  the  start,  Taylor's 
artistic  vision  has  never  swayed. 

At  his  mother's  urging  he  began  piano  studies  at  age 
five.  He  later  studied  percussion,  which  undoubtedly  influ- 
enced his  highly  percussive  keyboard  style.  At  age  23  he 
studied  at  the  New  England  Conservatory,  concentrating  on 
piano  and  music  theory.  He  immersed  himself  in  20th 
century  classical  composers,  including  Stravinsky,  and 
found  sustenance  for  his  jazz  proclivities  in  the  work 
of  Lennie  Tristano  and  Dave  Brubeck.  Later  Duke 
Ellington.  Thelonious  Monk,  and  Horace 
Silver  began  to  influence  his  playing.  By 
1956  he  was  working  as  a  professional, 
taking  a  prolonged  engagement  at  New 
York's  Five  Spot  Cafe,  recording  his  first 
album,  Jazz  Advance,  and  making  his 
Newport  Jazz  Festival  debut. 

Playing  in  the  manner  he  did — an 
aggressive  style  of  almost  assaulting  the 
piano,  sometimes  breaking  keys  and 
strings — presented  challenges  in  terms  of 
rinding  stead)  work.  Taylor  struggled  to 
for  most  of  the  1950s  and  1960s, 
despite  being  recognized  by  Down  Beat  magazine 


& 


r«&V>  DISCOge, 


Jazz  Advance,  Blue  Note,  1956 
3Phasis.  New  World,  1978 
ForOlim.  Soul  Note,  1986 
Alms/Tiegarten.mP,  1988 

The  Willisau  Concert,  Intakt,  2000 


in  its  "New  Star"  poll  category.  He  eventually  found  work 
overseas,  touring  Scandinavian  countries  during  die  winter 
of  1962-63  with  his  trio,  including  Jimmy  Lyons  on  alto 
saxophone,  and  Sunny  Murray  on  drums.  His  approach 
had  evolved  to  incorporate  clusters  and  a  dense  rhythmic 
sensibility,  coupled  with  sheer  physicality  that  often  found 
him  addressing  the  keyboard  with  open  palms,  elbows  and 
forearms.  His  solo  piano  recordings  are  some  of  the  most 
challenging  and  rewarding  to  listen  to  in  all  of  jazz. 

Controversy  has  continued  to  follow  him  throughout 
his  career.  Fortunately,  his  work  as  a  pianist  and  composer 
gained  much-needed  momentum  in  die  1970s  and 

beyond,  as  touring  and  recording  opportunities 
increased,  largely  overseas,  though  finding  reg- 
ular work  for  his  uncompromising  style  of 
music  still  remains  a  struggle.  Throughout 
his  career,  he  has  worked  with  many 
important,  like-minded  musicians, 
including  Archie  Shepp.  Albert  Ayler. 
Steve  Lacy,  Sam  Rivers.  Max  Roach,  the 
Art  Ensemble  of  Chicago,  and  a  host  of 
European  and  Scandinavian  musicians. 
His  influence  on  the  avant-garde,  espe- 
cially of  the  1960s  and  1970s,  in  terms  of 
performance  and  composition  is  enormous. 


f> 


86     NEA  Jazz  Masters 


Clark 


TRUMPETER    FLUGELHORNIST   VOCALIST    EDUCATOR 


Terry 

Born  December  14, 1920  in  St.  Louis,  MO 


Clark  Terry  is  the  consummate  freelance  musician,  able 
to  add  a  distinctive  element  to  whatever  band  or  jam 
session  of  which  he  is  a  part.  His  exuberant,  swing- 
ing horn  playing  was  an  important  contribution  to  two  of 
the  greatest  big  bands  in  jazz,  Count  Basie's  and  Duke 


of  the  first  African  American  musicians  employed  in  a  tele- 
vision house  band — he  came  to  prominence  through  his 
popular  "Mumbles"  persona,  his  unique  way  of  mumbling  a 
scat  vocal  solo.  He  worked  and  recorded  with  artists  such 
as  J.J.  Johnson,  Oscar  Peterson,  and  Ella  Fitzgerald, 


# 


S? 


Ellington's.   In  addition,  his  use  of  the  flugelhom 
as  an  alternative  to  trumpet  influenced  Art 
Farmer  and  Miles  Davis,  among  others. 

In  high  school,  Terry  took  up  the  valve 
trombone,  later  playing  the  bugle  with 
the  Tom  Powell  Drum  and  Bugle  Corps. 
Upon  his  discharge  in  1945,  he  found 
work  with  Lionel  Hampton's  band.  He 
rounded  out  the  1940s  playing  with 
bands  led  by  Charlie  Barnet,  Eddie 
"Cleanhead"  Vinson,  Charlie  Ventura,  and 
George  Hudson.  From  1948-51,  Terry  was  a 
member  of  Basie's  big  band  and  octet. 

Terry's  reputation  grew  with  Ellington's 
band,  with  whom  he  worked  from  1951-59,  often 
featured  as  a  soloist  on  trumpet  and  Qugelhoin.   He  also  led 
his  own  recording  dates  during  this  time.   After  working 
with  Quincy  Jones  in  1959-60,  he  found  steady  work  as  a 
Freelance  studio  artist,  eventualh  becoming  a  stafl  musii  ian 
at  NBC.  As  a  member  of  I  be  Tonight  Show  orchestra — one 


(jtBD  DISCOo^ 


•4/* 


Duke  with  a  Difference, 
Original  Jazz  Classics,  1957 

In  Orbit,  Original  Jazz  Classics,  1958 

Mellow  Moods,  Prestige,  1961-62 

The  Clark  Terry  Spacemen,  Chiaroscuro,  1976 

One-on-One,  Chesky  Jazz,  2000 


then  co-led  a  quintet  with  Bob  Brookmeyer. 
Thereafter  he  led  his  own  small  and  large 
bands,  including  his  Big  Bad  Band,  begin- 
ning in  1972.  He  also  became  part  of 
Norman  Granz's  traveling  all-stars,  Jazz 
at  the  Philharmonic. 

As  a  jazz  educator  he  was  one  of  the 
earliest  active  practitioners  to  take  time 
off  from  the  road  to  enter  the  classroom, 
conducting  numerous  clinics  and  jazz 
camps.  This  work  culminated  in  his  own 
music  school  at  Teikyo  Westmar  University 
in  Le  Mars,  Iowa.  A  distinctive  stylist  on  his 
horns,  he  is  also  a  consummate  entertainer, 
often  alternating  trumpet  and  flugelhom  in  a  solo 
duel  with  himself  in  concerts.  He  continues  to  play  in  both 
the  U.S.  and  Europe,  recording  and  performing  in  a  wide 
variety  of  settings,  such  as  the  One-on-One  recording  of 
duels  with   14  different  pianists. 


NEA  Jazz  Ma-stei-s      87 


McCoy 


Tyner 

Born  December  11, 1938  in  Philadelphia,  PA 


PIANIST    COMPOSER 


& 


McCoy  Tyner's  powerful,  propulsive  style  of  piano 
playing  was  an  integral  part  of  the  John  Coltrane 
Quartet  in  the  early  1960s  and  influenced  count- 
less musicians  that  followed  him.  His  rich  chord  clusters 
continue  to  be  copied  by  many  young  jazz  pianists. 

Growing  up  in  Philadelphia,  Tyner's  neighbors  were 
jazz  musicians  Richie  and  Bud  Powell,  who  were 
very  influential  to  his  piano  playing.  Studying 
music  at  the  West  Philadelphia  Music 
School  and  later  at  the  Granoff  School  of 
Music,  Tyner  began  playing  gigs  in  his 
teens,  and  first  met  Coltrane  while  per- 
forming at  a  local  club  called  the  Red 
Rooster  at  age  17.  His  first  important 
professional  gig  was  with  the  Benny 
Golson  -  Art  Farmer  band  Jazztet  in 
1959.  with  whom  he  made  his 
recording  debut. 

Soon  he  began  working  with  Coltrane,  a 
relationship  that  produced  some  of  the  most 
influential  music  in  jazz.   From  1960-65,  Tvner 
played  a  major  role  in  the  success  of  the  Coltrane 

irtel  (which  included  Elvin  Jones  on  drums  and 
jimmy  Garrison  on  bass),  using  rich-textured  harmonies 
as  rhythmic  devices  against  Coltrane's  "sheets  of  sound" 
saxophone  playing. 


^DDISCOG^ 


*1 


> 


John  Coltrane,  My  Favorite  Things, 
Atlantic,  1960 

The  Real  McCoy.  Blue  Note,  1 967 

Sahara.  Original  Jazz  Classics,  1972 

Remembering  John,  Enja,  1991 

Land  of  Giants  Je\m.  2002 


After  leaving  the  quartet,  Tyner  demonstrated  his 
tremendous  melodic  and  rhythmic  flair  for  composition  on 
such  albums  as  The  Real  McCoy,  which  featured  "Passion 
Dance,"  "Contemplation,"  and  "Blues  on  the  Corner,"  and 
Sahara,  which  featured  "Ebony  Queen"  and  the  title  track. 
Tyner  has  continued  to  experiment  with  his  sound,  push- 
ing rhythms  and  tonalities  to  the  limit,  his  flutter- 
ing right  hand  creating  a  cascade  of  notes.  In 
particular,  he  has  explored  the  trio  form, 
recording  with  a  series  of  different  bassists 
and  drummers,  such  as  Ron  Carter.  Art 
Davis,  Stanley  Clarke.  Elvin  Jones.  Tony 
Williams,  and  Al  Foster.  In  the  1980s,  he 
recorded  with  a  singer  for  the  first  time. 
Phylis  Hyman. 

In  Uie  1990s,  he  led  a  big  band  in  new 
arrangements  of  previously  recorded  songs, 
used  Latin  American  rhythms  and  forms, 
and  revealed  the  romantic  side  of  his  playing 
with  a  surprising  album  of  Burt  Bacharach 
songs.  While  experimenting  with  his  sound. 
Tyner  has  eschewed  the  use  of  electric  pianos,  preferring 
the  warm  sound  of  an  acoustic  piano,  and  earned  four 
Grammy  Awards  for  his  recordings.  A  dynamic  performer 
in  live  settings.  Tyner  has  continued  to  tour  steadily  with 
his  excellent,  longtime  trio:  Avery  Sharpe  on  bass  and 
Aaron  Scott  on  drums. 


88     NEA  Jazz  Masters 


VOCALIST    PIANIST 


The  power,  range,  and  flexibility  of  her  voice  made 
Sarah  Vaughan,  known  as  "Sassy"  or  "The  Divine 
One,"  one  of  the  great  singers  in  jazz.  With  her  rich, 
controlled  tone  and  vibrato,  she  could  create  astounding 
performances  on  jazz  standards,  often  adding  bop-oriented 
phrasing.  Along  with  Billie  Holiday  and  Ella  Fitzgerald, 
Vaughan  helped  popularize  the  art  of  jazz  singing,  influenc- 
ing generations  of  vocalists  following  her. 

Vaughan  began  singing  at  the  Mt.  Zion  Baptist  Church  in 
her  native  Newark,  and  started  extensive  piano  lessons  at 
age  seven.  Winner  of  the  amateur  contest  at  the  Apollo 
Theatre,  Vaughan  was  hired  by  Earl  Hines  for  his  big  band 
as  a  second  pianist  and  singer  on  the  recommendation  of 
Billy  Eckstine  in  1943.  She  joined  Eckstine's  band  in 
1944-45,  and  made  the  first  recording  under  her  own 
name  in  December  1944. 

After  leaving  Eckstine,  Sarah  worked  briefly  in  the 
John  Kirby  band,  and  thereafter  was  primarily  a  vocal 
soloist.  Charlie  Parker  and  Dizzy  Gillespie  often  sang 
her  praises,  assisting  her  in  gaining  recognition,  particu- 
larly in  musicians'  circles.  They  worked  with  her  on  a 
May  25,  1945  session  as  well,  which  was  highlighted  by 
her  vocal  version  of  Gillespie's  "A  Night  in  Tunisia,"  called 
"Interlude"  on  the  album.  Her  first  husband,  trumpeter- 


Vaughan 


Born  March  27, 1924  in  Newark,  NJ 
Died  April  3, 1990 

bandleader  George  Treadwell,  helped  re-make  her  "look" 
and  she  began  to  work  and  record  more  regularly,  starting  in 
1949  with  Columbia  Records.  In  the  1960s,  Vaughan  made 
records  with  bandleaders  such  as  Count  Basie.  Benny 
Carter,  Frank  Foster,  and  Quincy  Jones  on  the  Mercury  and 
Roulette  labels  among  others.   It  was  during  this  time  that 
her  level  of  international  recognition  began  to  grow  as  she 
toured  widely,  generally  accompanied  by  a  trio,  and  on 
occasion  doing  orchestra  dates. 

These  large  ensemble  dates 
ranged  from  the  Boston  Pops  to 
the  Cleveland  Orchestra  as  her 
voice  became  recognized  as 


# 


^DISCOO, 


1944-46,  Classics.  1944-46 

In  Hi-Fi,  Columbia/Legacy,  1949-53 

The  Complete  Sarah  Vaughan 
on  Mercury,  Vol  /,  Mercury,  1954-56 

Sarah  Vaughan  with  Clifford  Brown, 
Verve,  1955 

The  Duke  Ellington  Songbook, 
Vol.  7,  Pablo,  1979 


one  of  the  most  beautiful 
and  versatile  in  all  of  jazz, 
blessed  with  a  range  that 
literally  went  from  bari- 
tone to  soprano.  In  the 
1970s  and  1980s,  her  voice 
darkened,  providing  a 
deeper  and  all  the  more 
alluring  tone. 


NEA  Jazz  Masters      89 


em 


PRODUCER    PIANIST 


Born  October  3, 1925  in  Boston,  MA 


^PBISCOC^ 


Jazz  impresario  George  Wein  is  renowned  for  his  work  in 
organizing  and  booking  music  festivals,  and  in  particular 
for  creating  the  Newport  Jazz  Festival, 
event  that  in  the  words  of  the  late  jazz 
critic  Leonard  Feather  started  the 
"festival  era." 

A  professional  pianist  from  his 
early  teens,  George  Wein  went  on 
to  lead  his  own  band  in  and 
around  his  native  Boston,  fre- 
quently accompanying  visiting 
jazz  musicians. 

In  1950,  he  opened  his  own 
club  in  Boston,  formed  the 
Storyville  record  label,  and  launched 
his  career  as  a  jazz  entrepreneur.   In 
1954,  he  was  invited  to  organize  the  first 


& 


Wein,  Women  &  Song,  Atlantic,  1955 

George  Wein  &  the  Newport  All-Stars, 
Impulse!,  1962 

George  Wein's  Newport  All-Stars, 
Atlantic,  1969 

European  Tour,  Concord  Jazz,  1 987 

Swing  That  Music,  Columbia,  1993 


Newport  Jazz  Festival.  He  subsequently  played  an  important 
role  in  establishing  numerous  other  international  festivals, 
including  the  annual  Grande  Parade  du  Jazz  in  Nice,  located 
in  the  south  of  France.  In  1969.  George  Wein  established 
Festival  Productions.  Inc.,  which  has  offices  in  six 
cities  and  produces  hundreds  of  musical  events 
internationally,  each  year. 

Still  active  in  producing  his  festivals  at  age 
80,  George  Wein  serves  on  the  executive  board 
of  Jazz  at  Lincoln  Center,  and  is  an  Honorary 
Trustee  of  Carnegie  Hall.  In  addition  to  carrying 
on  this  work,  he  is  an  author,  whose  autobiog- 
raphy Myself  Among  Others  was  recognized  by 
the  Jazz  Journalists  Association  as  2004 's  best 
book  about  jazz,  and  continues  to  perform  as  a 
pianist  with  his  group,  the  Newport  All-Stars. 


90     NEA  Jazz  Masters 


. 

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. 

s. 

L                           1 

P 

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^ 

, 

1      Randy 

PIANIST    COMPOSER 


eston 


Born  April  6, 1926  in  Brooklyn,  NY 


Randy  Weston  has  spent  most  of  his  career  com 
bining  the  rich  music  of  the  African  conti- 
nent with  the  African  American  tradition 
of  jazz,  mixing  rhythms  and  melodies  into  a 
hybrid  musical  stew. 

Weston  received  his  earliest  training  from 
private  teachers  in  a  household  that  nurtured 
his  budding  musicianship.  Growing  up  in 
Brooklyn,  Weston  was  influenced  by  such 
peers  as  saxophonist  Cecil  Payne  and  trum- 
peter Ray  Copeland  as  well  as  the  steady  influx 
of  great  jazz  musicians  who  frequented  Brooklyn 
clubs  and  jam  sessions  on  a  regular  basis.  Such 
musicians  as  Thelonious  Monk  and  Duke  Ellington 
would  have  a  lasting  influence  on  Weston's  music,  both  in 
terms  of  his  piano  playing  and  composition. 

After  a  1945  stint  in  the  Army,  Weston  began  playing 
piano  with  such  rhythm  and  blues  bands  as  Bull  Moose 
Jackson  and  Eddie  "Cleanhead"  Vinson.  At  the  Music  Inn 
educational  retreat  in  Lenox,  Massachusetts  in  1954,  he  took 
work  as  a  cook  during  the  summer,  while  playing  the  piano 
at  night.  The  head  of  Riverside  Records  heard  him  and 
signed  Weston  to  do  a  record  of  Cole  Porter  standards. 

Weston's  recording  sessions  frequently  included  contri- 
butions from  his  Brooklyn  neighborhood  buddies  Copeland, 
Payne,  and  bassist  Ahmed  Abdul-Malik.  It  was  at  this  early 
juncture  that  he  also  began  his  long  and  fruitful  musical 
partnership  with  trombonist-arranger  Melba  Liston  (a  listing 
of  some  of  the  albums  on  which  they  collaborated  can  be 


*j 


> 


Uhuru  Africa/Highlife, 
Roulette,  1960-63 

Blues  to  Africa,  Arista/Freedom,  1974 

Portraits  of  Monk,  Verve,  1989 

The  Spirit  of  Our  Ancestors, 
Verve,  1991 

Spirit!  The  Power  of  Music, 
Sunnyside,  2000 


found  in  the  Liston  Selected 

Discography),  a  relationship  that 
would  continue  until  her  death  in 
1999,  forming  some  of  Weston's 
best  recordings. 

Weston's  interest  in  the 
African  continent  was  sparked  at 
an  early  age,  and  he  lectured  and 
performed  in  Africa  in  the  early 
1960s.  He  toured  14  African  coun- 
tries with  his  ensemble  in  1967  on  a 
State  Department  tour,  eventually  set- 
tling in  Rabat,  Morocco.   He  later 
moved  to  Tangier,  opening  the  African 
Rhvthms  Club  in  1969.  It  was  in  Morocco  that 
Weston  first  forged  unique  collaborations  with  Berber  and 
Gnawan  musicians,  infusing  his  jazz  with  African  music 
and  rhythms. 

Since  returning  to  the  U.S.  in  1972,  he  has  lived  in 
Brooklyn,  traveling  extensively  overseas  with  bands  that 
generally  include  trombonist  Benny  Powell  and  longtime! 
musical  director,  saxophonist  Talib  Kibvve  (aka  T.K.  Blue). 
In  recent  years,  a  number  of  Weston's  U.S.  concert  appear- 
ances have  been  true  events,  including  1998  and  1999 
Brooklyn  and  Kennedy  Center  collaborations  with  the 
Master  Musicians  of  Gnawa,  and  a  triumphant  1998  recre- 
ation of  his  masterwork  suite  "I  Ihuru  Africa"  in  Brooklyn, 
Main  ol  Weston's  compositions,  such  as  "Hi  Fly"  and 

"Berkshire  nines,"  have  become  jazz  standards, 


INTEA  Jazz  Masters      91 


lams 


VOCALIST 


Born  December  12, 1918  in  Cordele,  GA 
Died  March  29, 1999 


# 


J"oe  Williams'  versatile  baritone  voice  made  him  one  of 
the  signature  male  vocalists  in  jazz  annals,  responsible 
for  some  of  the  Count  Basie  band's  main  hits  in  the 
1950s. 

Though  born  in  Georgia,  Williams  was  raised  in  that 
great  haven  of  the  blues,  Chicago,  Illinois.  His  first 
professional  job  came  with  clarinetist  Jimmie 
Noone  in  1937.  In  the  1940s,  in  addition  to 
singing  in  Chicago  area  groups,  he  worked 
with  tire  big  bands  of  Coleman  Hawkins, 
Lionel  Hampton,  and  Andy  Kirk.  Later 
he  sang  with  two  of  Cafe  Society's 
renowned  pianists,  Albert  Amnions  and 
Pete  Johnson.  From  1950-53,  he  worked 
mostly  with  the  Red  Saunders  band. 
What  came  after  would  be  a  job  he  would 
cherish  and  return  to  frequently  through- 
out his  career:  fronting  the  Coimt  Basie 
band.  Often  referred  to  jokingly  as  "Count 
Basic's  #1  son,"  he  stepped  right  into  the  band 
upon  the  departure  of  Jimmy  Rushing.  Williams  was 
1 1 m  perfect  replacement  in  that  he  did  not  just  duplicate 


»> 


Rushing's  vocal  style,  but  offered  a  new  range  of  opportuni- 
ties for  Basie  to  use.  Williams'  sound  was  smoother,  strong 
on  ballads  and  blues,  while  Rushing  was  a  more  aggressive 
singer,  best  on  the  up-tempo  numbers. 

Williams'  hits  with  the  Basie  band  included  "Alright, 
Okay,  You  Win,"  "The  Comeback,"  and  what  would 
c-£E£>  DISCogg  become  one  of  his  most  requested  tunes,  "Every 

Day."  Starting  in  the  1960s,  he  was  a  vocal 
soloist,  fronting  trios  led  by  such  pianists 
as  Norman  Simmons  and  Junior  Mance. 
Simmons  would  later  become  his  longest 
tenured  musical  director-pianist.  He 
also  toured  with  fellow  Basie  alumnus 
Harry  "Sweets"  Edison.  He  continued 
to  expand  his  range,  becoming  a  supe- 
rior crooner  and  exhibiting  a  real  depth 
of  feeling  on  ballads. 
Among  his  many  awards  and  citations 
were  a  number  of  jazz  poll  commendations 
and  honors.  Late  in  life,  he  had  a  recurring 
role  on  the  Cosby  Show  television  program  as  the 
star's  father-in-law. 


Every  Day — The  Best 
of  the  Verve  Years,  Verve,  1955-90 

Count  Basie,  Count  Basie  Swings/ 
Joe  Williams  Sings,  Verve,  1 955-56 

Count  Basie,  Count  on  the  Coast, 
Vol.  7  &  2,  Phontastic.  1 958 

Me  and  the  Blues,  BCA,  1963 

Here's  to  Life,  Telarc,  1993 


92     NEA  Jazz  Masters 


TRUMPETER    COMPOSER   ARRANGER    BANDLEADER 


QBlMlti, 


son 


Born  September  4, 1918  in  Shelby,  MS 


Gerald  Wilson's  use  of  multiple  harmonies  is  a  hall- 
mark of  his  big  bands,  earning  him  a  reputation  as  a 
leading  composer  and  arranger.  His  band  was  one  of 
the  greats  in  jazz,  leaning  heavily  on  the  blues  but  integrat- 
ing other  styles.  His  arrangements  influenced  many  musi- 
cians that  came  after  him,  including  multi-instrumentalist 
Eric  Dolphy,  who  dedicated  the  song  "G.W."  to  Wilson  on 
his  1960  release  Outward  Bound. 

Wilson  started  out  on  the  piano,  learning  from  his 
mother,  then  taking  formal  lessons  and  classes  in  high 
school  in  Memphis,  Tennessee.  The  family  moved  to  Detroit 
in  1934,  enabling  him  to  study  in  the  noted  music  program 
at  Cass  Tech  High  School.  As  a  professional 
trumpeter,  his  first  jobs  were  with  the  Plantation 
Club  Orchestra.  He  took  Sy  Oliver's  place 
in  the  Jimmie  Lunceford  band  in  1939, 
remaining  in  the  seat  until  1942,  when 
he  moved  to  Los  Angeles. 

In  California,  he  gained  work  in  the 
bands  of  Benny  Carter,  Les  Hite,  and 
Phil  Moore.   When  the  Navy  sent  him  to 
its  Great  Lakes  Naval  Training  Station  in 
Chicago,  lie  found  work  in  Willie  Smith's 


S» 


gfQD  DISCOq^ 


1945-46,  Classics,  1945-46 
Love  You  Madly,  Discovery,  1982 
State  Street  Sweet,  Mama,  1995 
Theme  For  Monterey,  Mama,  1 998 


band.  He  put  together  his  own  band  in  late  1944,  which 
included  Melba  Liston,  and  replaced  the  Duke  Ellington 
band  at  the  Apollo  Theatre  when  they  hit  New  York. 
Wilson's  work  as  a  composer-arranger  enabled  him  to 
work  for  the  Count  Basie  and  Dizzy  Gillespie  bands. 
Wilson  then  accompanied  Billie  Holiday  on  her  tour  of 
the  South  in  1949. 

In  the  early  1960s,  he  again  led  his  own  big  bands. 
His  series  of  Pacific  Jazz  recordings  established  his  unique 
harmonic  voice,  and  Mexican  culture — especially  the  bull- 
fight tradition — influenced  his  work.  His  appearance  at  the 
1963  Monterey  Jazz  Festival  increased  his  popularity. 

He  has  contributed  his  skill  as  an  arranger  and 
composer  to  artists  ranging  from  Duke  Ellington, 
Stan  Kenton,  and  Ella  Fitzgerald  to  the  Los 
Angeles  Philharmonic  to  his  guitarist-son 
Anthony.  Additionally  he  has  been  a 
radio  broadcaster  at  KBCA  and  a  frequent 
jazz  educator.  Among  his  more  noted 
commissions  was  one  for  the  40th 
anniversary  of  the  Monterey  Jazz 
Festival  in  1998. 


M 


'', 


> 


New  York,  New  Sound, 
Mack  Avenue,  2003 


NEA  Jazz  Masters      93 


Nancy 


/ 


Wilson 


Born  February  20, 1937  in  Chillicothe,  OH 


VOCALIST    BROADCASTER 


Nancy  Wilson  first  found  her  voice  singing 
in  church  choirs,  but  found  her  love 
of  jazz  in  her  father's  record  collec- 
tion. It  included  albums  by  Little  Jimmy 
Scott,  Nat  "King"  Cole,  Billy  Eckstine, 
Dinah  Washington,  and  Ruth  Brown; 
this  generation  of  vocalists  had  a  pro- 
found influence  on  Wilson's  singing 
style.  She  began  performing  on  the 
Columbus,  Ohio  club  circuit  while  still 
in  high  school,  and  in  1956  she  became 
a  member  of  Rusty  Bryant's  Carolyn 
Club  Band. 

She  also  sat  in  with  various  performers, 
such  as  Julian  "Cannonball"  Adderley,  who  sug- 
gested that  she  come  to  New  York.  When  Wilson  took  his 
advice,  her  distinctive  voice  enchanted  a  representative 
from  Capitol  Records  and  she  was  signed  in  1959.  In  the 
years  that  followed,  Wilson  recorded  37  original  albums  for 
the  label.  Her  first  hit,  "Cuess  Who  I  Saw  Today."  came  in 
1961.   One  year  Later,  a  collaborative  album  with  Adderley 
solidified  her  standing  in  the  jazz  community  and  provided 
the  foundation  for  her  growing  fame  and  career.  During  her 
years  with  ( lapitol,  she  was  second  in  sales  only  to  the 


Nancy  Wilson  and  Cannonball 
Adderley,  Capitol,  1962 


Yesterdays  Love  Songs — Today's  Blues. 
Capitol  1963 

But  Beautiful,  Blue  Note,  1969 

Ramsey  Lewis  &  Nancy  Wilson, 
Meant  To  Be.  Narada,  2002 

B.S.V.P.  (Rare  Songs,  Very  Personal), 
MCG  Jazz,  2004 


Beatles,  surpassing  Frank  Sinatra,  the  Beach  Boys, 
and  even  Nat  King  Cole. 

Wilson  also  has  worked  in  television, 
where  in  1968  she  won  an  Emmy  Award 
for  her  NBC  series,  The  Nancy  Wilson 
Show.  She  has  performed  on  The  Andy 
Williams  Show  and  The  Carol  Burnett 
Show  and  has  appeared  in  series  such 
as  Hawaii  Five-O,  The  Cosby  Show, 
Moesha,  and  The  Parkers. 

Although  she  often  has  crossed  over  to 
pop  and  rhvthm-and-blues  recordings,  she 
still  is  best  known  for  her  jazz  performances. 
In  the  1980s,  she  returned  to  jazz  with  a  series 
of  performances  with  such  jazz  greats  as  Art 
Farmer,  Benny  Golson.  and  Hank  Jones.  And  to  start 
the  new  century,  Wilson  teamed  with  pianist  Ramsey 
Lewis  for  a  pair  of  highly  regarded  recordings. 

She  has  been  the  recipient  of  numerous  awards  and 
accolades,  including  honorary  degrees  from  Berklee  School 
of  Music  and  Central  State  University  in  Ohio.  Wilson  can 
be  heard  on  National  Public  Radio  as  the  host  of  Jazz 
Profiles,  a  weekly  documentary  series. 


94     NEA  Jazz  Masters 


PIANIST   ARRANGER    EDUCATOR 


uson 


Born  November  24, 1912  in  Austin,  TX 
Died  July  31, 1986 


Teddy  Wilson  was  one  of  the  swing  era's  finest  pianists, 
a  follower  of  Earl  Hines'  distinctive  "trumpet-style" 
piano  playing.  Wilson  forged  his  own  unique 
approach  from  Hines'  influence,  as  well  as  from  the  styles  of 
Art  Tatum  and  Fats  Waller.  He  was  a  truly  orchestral  pianist 
who  engaged  the  complete  range  of  his  instrument, 
and  he  did  it  all  in  a  slightly  restrained,  wholly  dignified 
manner  at  the  keyboard. 

Raised  in  Tuskegee,  Alabama,  Wilson  studied 
piano  at  nearby  Talladega  College  for  a  short 
time.  Among  his  first  professional  experi- 
ences were  Chicago  stints  in  the  bands  of 
Jimmie  Noone  and  Louis  Armstrong. 
In  1933,  he  moved  to  New  York  to  join 
Benny  Carter's  band  known  as  the 
Chocolate  Dandies,  and  made  records  with 
the  Willie  Bryant  band  during  1934-35. 
In  1936,  he  became  a  member  of  Benny 
Goodman's  regular  trio,  which  included 
drummer  Gene  Krupa,  and  remained  until 
1939,  participating  on  a  number  of  Goodman's 
small  group  recordings.  Wilson  was  the  first  African 
American  musician  to  work  with  Goodman,  one  of  the 
first  to  integrate  a  jazz  band.  Wilson  later  appeared  as  him- 
self in  the  cinematic:  treatment  of  The  Benny  Goodman  Story. 


c^DDISCOG^ 


'/. 


> 


1934-35,  Classics,  1934-35 


Benny  Goodman,  The  Complete  Small 
Group  Recordings,  RCA,  1 935-39 

Masters  of  Jazz,  Vol  11,  Storyville,  1968- 

With  Billie  in  Mind,  Chiaroscuro,  1972 

Runnin' Wild,  Black  Lion,  1973 


During  his  time  with  Goodman,  Wilson  made  some  of 
his  first  recordings  as  a  leader.  These  records  featured  such 
greats  as  Lester  Young,  Billie  Holiday,  Lena  Home,  and  Ella 
Fitzgerald.  Wilson's  arrangements  with  Holiday  in  particu- 
lar constitutes  some  of  the  singer's  finest  work,  mostly  due 
to  Wilson's  ability  to  find  the  right  sound  to  complement 
Holiday's  voice  and  singing  style. 

Following  his  Goodman  days,  he  led  his  own 
big  band  for  a  short  time,  but  most  of  his  work 
came  with  his  own  small  groups,  particu- 
larly a  sextet  that  played  regularly  at  the 
famous  Cafe  Society  in  New  York.    In 
1946,  he  was  a  staff  musician  at  CBS 
Radio,  and  also  conducted  his  own 
music  school.  During  the  early  1950s, 
he  taught  at  the  (uilliard  School,  one 
of  the  first  jazz  musicians  to  do  so. 
Wilson's  relationship  with  Goodman 
was  his  most  noted,  and  was  an  ongoing 
factor  in  his  work.  He  was  part  of 
Goodman's  storied  Soviet  tour  in  1962.  and 
continued  to  work  occasional  festival  gigs  with 
the  enigmatic  clarinetist. 


NEA  Jazz  Masters       95 


96     NEA  Jazz  Masters 


1982-2006 


1982 

Roy  Eldridge* 
Dizzy  Gillespie* 
SunRa* 

1983 

Count  Base* 
Kenny  Clarke* 
Sonny  Rollins 

1984 

Ornette  Coleman 
Miles  Davis* 
Max  Roach 

1985 

Gil  Evans* 
Ella  Fitzgerald* 
Jo  Jones* 

1986 

Benny  Carter* 
Dexter  Gordon* 
Teddy  Wilson* 

1987 

Cleo  Brown* 
Melba  Liston* 
Jay  McShann 

1988 

Art  Blakey* 
Lionel  Hampton* 
Billy  Taylor 

1989 

Barry  Harris 
Hank  Jones 
Sarah  Vaughan* 

1990 

George  Russell 
Cecil  Taylor 
Gerald  Wilson 


i  i 


1991 

Danny  Barker* 
Buck  Clayton* 
Andy  Kirk* 
Clark  Terry 

1992 

Betty  Carter* 
Dorothy  Donegan* 
Sweets  Edison* 

1993 

Jon  Hendricks 
Milt  Htnton* 
Joe  Williams* 

1994 

Loute  Bellson 
Ahmad  Jamal 
Carmen  McRae* 

1995 

Ray  Brown* 
Roy  Haynes 
Horace  Silver 

1996 

Tommy  Flanagan* 
Benny  Golson 
J.J.  Johnson* 

1997 

Billy  Higgins* 
Milt  Jackson* 
Anita  O'Day 

1998 

Ron  Carter 
James  Moody 
Wayne  Shorter 

1999 

Dave  Brubeck 
Art  Farmer* 
Joe  Henderson* 


2000 

David  Baker 
Donald  Byrd 
Marian  McPartland 

2001 

John  Lewis* 
Jackie  McLean 
Randy  Weston 

2002 

Frank  Foster 
Percy  Heath* 
McCoy  Tyner 

2003 

Jimmy  Heath 
Elvin  Jones* 
Abbey  Lincoln 

2004 

Jim  Hall 
Chico  Hamilton 
Herbie  Hancock 
Luther  Henderson* 
Nat  HENroFF 
Nancy  Wilson 

2005 

Kenny  Burrell 
Paquito  D 'Rivera 
Slide  Hampton 
Shirley  Horn* 
Jimmy  Smith* 
Artie  Shaw* 
George  Wein 

2006 

Ray  Barretto 
Tony  Bennett 
Bob  Brookmeyer 
Chick  Corea 

Buddy  DkFkanco 
Freddie  Hubbard 
foHN  Lew 


NEA  Jazz  Masters      97 


Credits 

This  publication  is  published  by: 
National  Endowment  for  the  Arts 
Office  of  Communications 
Felicia  Knight.  Director 
Don  Ball.  Publications  Manager 

3rd  Edition:  2006 

Designed  by: 

Fletcher  Design,  Washington  DC 

Cover  Photo  of  NEA  Jazz  Masters 
Dizzy  Gillespie  and  Ornette  Coleman 
at  the  Jazz  Gallery  in  New  York  City, 
December  5,  I960  by  Bob  Parent 

Special  Thanks: 

Ray  Avery  (and  Cynthia  Sesso  of  CTS1MAGES),  Vance  Jacobs, 
Dale  Parent  (on  behalf  of  Bob  Parent),  Tom  Pich,  Lee  Tanner,  and 
Michael  Wilderman  for  the  use  of  their  photographs,  A.B.  Spellman 
for  his  introduction,  and  Wayne  Brown,  Jan  Stunkard,  Gail  Syphax, 
Stuart  Klawans,  Willard  Jenkins,  and  the  International  Association 
for  Jazz  Education  for  their  contributions  to  the  text. 

The  following  reference  texts  were  used  in  researching 
biographical  information  of  the  NEA  Jazz  Masters: 

All  Music  Guide  to  Jazz 

by  Vladimir  Bogdanov.  Chris  Woodstra,  and  Stephen  Thomas 

Erlewine,  Backbeat  Books,  2002 

American  Musicians  II 

by  Whitney  Balliett,  Oxford  University  Press,  1996 

Biographical  Encyclopedia  of  Jazz 
by  Leonard  Feather  and  Ira  Gitler, 
Oxford  University  Press,  1999 

Four  Lives  in  the  Bebop  Business 

by  A.B.  Spellman,  Limelight  Editions,  1994 

Jazz:  The  Rough  Guide 

by  Ian  Carr,  Digby  Fairweather,  and  Brian  Priestley, 

Rough  Guides,  1995 

Penguin  Guide  to  Jazz  on  CD,  4th  Edition 

by  Richard  Cook  and  Brian  Morton,  Penguin.  1998 

Talking  Jazz:  An  Oral  History 

by  Ben  Sidran,  Da  Capo  Press,  1995 

Voice/TTY: 

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For  individuals  who  are  deaf  or  hard-of-hearing. 

Iinli\  iduals  who  do  not  use  conventional  print  mav  contact 
the  Arts  Endowment's  Office  for  AccessAbility  to  obtain  this 
publication  in  an  alternate  format.  Telephone:  (202)  682-5532 

National  Endowment  for  the  Arts 
I  LOO  Pennsylvania  Avenue,  N.W. 
Washington,  D.C.  20506-0001 
(202)  682-5400 


Additional  i  opies  oi  this  publication  can  be  obtained  free  of  charge 
on  the  NEA  Web  site:  www.arts.gov.  Additional  information  about 
the  jazz  artists  noted  in  this  publii  ation  can  In;  accessed  at  the 
International  Assoi  iation  For  |;i/.z  Education  Web  site:  www.iaje.org. 

(*)  printed  on  m  w  led  p 


98     NEA  Jazz  Masters 


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A  Great  Day  f 


Some  of  the  greatest  jazz  musicians  the  world  has  ever  known- 
all  NEA  Jazz  Masters — were  brought  together  by  the  National 
Endowment  for  the  Arts  for  a  historic  reunion  luncheon  in  New 
York  City  on  January  23,  2004. 

NEA  Jazz  Masters,  left  to  right  from  back  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,  NEA  Chairman  Dana  Gioia. 


A  Great  Nation  Deserves  Great  Art. 


National  Endowment  for  the  Arts 

1100  Pennsylvania  Avenue,  N.W. 

Washington,  D.C.  20506-0001 

202.682.5400 

www.arts.gov