What Is Bonded Builder

Diana Krall - "I Don't Know Enough About You"

Diana Krall - piano, vocals, Anthony Wilson - Guitar, John Clayton - bass; Peter Erskine - Drums

Diana Krall is now one of the most successful and most famous jazz singers and pianists in the United States and worldwide. And not only that, but it Autret on stage is stunning, and her form haut en masse to people and fans.

for pre-order their album "The Look Of Love" on the Verve label was not only a Grammy but numerous appearances in TV shows - including here in Jay Lennos famous talk show. Together with her band, consisting of Anthony Wilson on guitar, John Clayton on bass and Peter Erskine on drums Krall shows her exceptional skills before a large audience of millions, and their presence is awesome.

The song "I Do not Know Enough About You" is one of the highlights of Krall's career, in addition to famous songs like "East Of The Sun" or "Deed I Do."

International Hairdressing Colour Wheel

John Coltrane - Tenor Madness

John Coltrane was one of the most important saxophonists the jazz music. He changed his music to jazz, enriched posterity with his musical heritage and coined the term "Sheets of Sound" is a whole generation of musicians. It is the story of a man who was, together with Louis Armstrong, Miles Davis, Charlie Parker, Dizzy Gillespie and Thelonious Monk to the best of jazz. The story of John Coltrane. Born

John William Coltrane was born on 23 September 1926 in Hamlet, North Carolina in the United States of America. But it did not pull his family together with their children and their grandparents in High Point, a small industrial town located near Hamlet in order.

Coltrane's childhood takes place in an orderly fashion, a privilege that could not be experienced by all jazz musicians. John's grandfather, a preacher, a well known personality in the vicinity of High Point, and especially by his presence gets Coltrane in his early years a lot to do with religion, which will determine his future religious world view as well. Because at home, many religious songs are sung, Coltrane is also the first time in touch with music and shows immediate interest.

seems up to the age of twelve Coltrane's childhood therefore to have been very happy. Although he has until then to do not much music by Coltrane lived his childhood in a very secure and protected environment. Later, once this period of his life devoted Coltrane composition "Cousin Mary", named after his cousin Mary, with whom he spent his childhood very much like his time.

Coltrane's most important period of his life, however, begin with the moment when he gets his first instrument, a clarinet. At a certain Mr. Steele, head of the small Amateurkappellen and also a music teacher, he now receives music lessons. John performs very eager and surprised with his soon appropriated Can his music teacher much.

But in 1939, meets John Coltrane, then a fatal blow that would change his life from now on. In just a short distance, his father died, his grandfather and uncle. Specifically, the loss of Coltrane's father and grandfather, who brought him the first time with the music of the name, the young Coltrane makes things difficult for the beginning. But he is brave and consoles himself for his mother, who now has to go to work to keep the family afloat.

possessed by the music from then on Coltrane deals almost exclusively with his musical development, verbringt jede freie Minute mit dem Üben und hört sich im Radio die großen Musiker der Jazzmusik - allen voran Louis Armstrong – an und versucht diesen Stil, der ihm sehr gefällt zu imitieren. Coltranes erstes richtiges Vorbild wird jedoch der Tenorsaxophonist Lester Young, der zu dieser Zeit noch im Orchestra vom Pianisten Count Basie spielt.

Auch Coltranes direkter Bezug zur Musik verändert sich in dieser Zeit, er wechselt von der Klarinette zum Saxophon. Da sein Lehrer ihm und seiner Mutter jedoch von einem Tenorsaxophon abrät, da es für einen kleinen Jungen ein sehr schwer zu spielendes Instrument sei, entscheidet sich Coltrane für das Altsaxophon, das er ab da an bis zu seinem 21. Lebensjahr spielen sollte. Damit changes but also his model and the sound of Coltrane alto saxophonist Johnny Hodges tries to emulate what he succeeds remarkably well. Even then slowly seems to be certain that more and more Coltrane correctly oriented toward the music.

In the summer of 1943, John Coltrane and then with two friends from High Point on to Philadelphia. Philadelphia has over the years so forth brought some famous jazz musicians, starting with Ray Bryant, Stan Getz, Benny Golson and the Heath Brothers of Philly Joe Jones, Lee morning, Red Rodney, Bobby Timmons and Charlie Ventura. Philadelphia is in the early forties a rallying point to the great jazz musicians. There then followed his first jobs in dance bands.

is short on "Trane" then also with the Navy, but here he manages to get a job as a musician. But when he then a year later, returning from military service has changed in the meantime a lot of jazz. The bebop revolution is well under way, led by alto saxophonist Charlie Parker and the trumpeter Dizzy Gillespie. Above all, Parker had done particularly the young Coltrane. Even in life is "Bird" a legend, almost a myth, and so fascinating, he may have acted on Coltrane, as intimidating is his way of playing on the same instrument that plays Coltrane.

plays this time Coltrane just an engagement at Joe Webb, moving musically in the milieu of the Rhythm and Blues. After admission, from Benny Golson to Coltrane's sound have sounded so strong and full, that Coltrane is said to have surpassed even his own model of Johnny Hodges.

After this engagement at Joe Webb, he joins the band leader Eddie Cleanhead Vinson. This decision changed Trane's musical career once again, for he is now forced to upgrade to the tenor saxophone, as Vinson already playing the alto saxophone. He hesitates at the beginning of something, but soon this revised and developed on the tenor saxophone sound irresistible, the fact that it now opens up a much higher hearing range. Intensiv setzt er sich nun mit allen möglichen Tenorsaxophonisten auseinander, wodurch er einiges an Technik hinzulernt. Das anspruchsvolle Übungsfeld der Jazzmusiker, die Jam Sessions im Umfeld von Philadelphia, werden dabei zu Coltranes Lehrstunden.

Im Jahre 1947 folgt Coltranes erstes wichtiges Zusammentreffen mit einem Jazzmusiker, mit dem er fortan lange zusammenarbeiten wird und durch den er berühmt werden wird, indem er in seinem ersten legendären Quintett mitspielt – der Trompeter Miles Davis. Durch ihn beginnt Coltranes internationale Karriere und im Schatten des Saxophonisten Sonny Rollins, zu dieser Zeit die Nummer 1 am Tenorsaxophon, Coltrane is slowly struggling out of his shadow. But he remains in Philadelphia, and only occasionally ventures to trips to New York, the "world capital of jazz."
meets Throughout this time, John Coltrane, but also on his greatest enemy, the drugs. It develops a vicious circle, Coltrane is addicted to heroin and missed so now more and more jobs and gigs, has earned all his money in the drug and is very hard to work after is out, he's a junkie. Even Miles Davis throws him later because of his drug addiction from the band until Coltrane should do it only in 1957 again to get away from drugs and start a whole new life. Still, it is possible

Coltrane continue working with great musicians, some of which are also addicted to drugs. Shall enter Coltrane beginning of the year 1949 with the famous bebop pianist Bud Powell, drummer Art Blakey and the saxophonist Sonny Rollins. By the saxophonist Jimmy Heath , who also hails from Philadelphia as Coltrane, Coltrane manages in the same year as well into the band of trumpeter Dizzy Gillespie, one of the best trumpeters in jazz history. Here are more such engagement with great musicians of jazz music.

In 1954, John Coltrane then learns Naima, his first wife know. You get to know and discover by chance sofort eine Menge übereinstimmender Dinge. Auf dem Album „Giant Steps“ widmet Coltrane ihr später auch die Komposition „Naima“ als Ausdruck der Liebe. Am 03. Oktober 1955 folgt ein Jahr darauf auch die Heirat in Baltimore statt.

Für beide ist es eine sehr glückliche Zeit, in der auch endlich Johns Jugendtraum war wird, weil er Arbeit beim Altsaxophonisten Johnny Hodges bekommt. Außerdem spielt Coltrane nun einige Monate mit dem Organisten Jimmy Smith zusammen und die Arbeit mit dem Orgel-Superstar, der zu der Zeit viel für das Label Blue Note produziert, bringt Coltrane groß raus. Es scheint ihm so sehr bei Smith zu gefallen, dass er im Jahre 1955 nur zögerlich ein Angebot des Trompeters Miles Davis and drummer Philly Joe Jones takes. But these performances just with the "New Miles Davis Quintet" help Coltrane to the final break. Follow along with Miles Davis on trumpet, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums in 1956 records like "Round Midnight" and "Cookin '", "Relaxin'", "Steamin '" and "Workin '". Coltrane does now also recorded as leader, including many at the New York label Prestige.

It is an extremely productive Time for Coltrane and although he is still in the same year, thrown by Davis of the band is to Coltrane for the beginning of a new section, which he manages to free himself from drugs and starts in 1957 with new energy - clean this time - by. It follows the sacking at Davis a long involvement with Thelonious Monk in which Coltrane not only with renewed force even better play, but to also learn many new things - for example, exploiting the harmonic material and the expansion of technical things, as also playing with false fingerings.

The resulting album, the same year "Blue Train" is Coltrane's largest to date Erfolg als Leader seiner Karriere. Auch Miles Davis nimmt Coltrane nun wieder in seine Band, als er hört, das Coltrane von den Drogen weg ist und damit beginnt eine zweite Epoche in Davis Band, die nun vor allem durch Coltranes Anwesenheit zu einer der besten Bands der Jazzgeschichte aufsteigt und in den folgenden 3 Jahren Alben wie „Kind Of Blue“ aufnehmen sollte. Durch den Einstieg des Altsaxophonisten Cannonball Adderley wird das Quintett nun auch zum Sextett ausgeweitet und startet mit neuer Energie in die Sechziger Jahre hinein.

Im Juli 1958 kommt es dann zu einem sehr umstrittenen Auftritt beim Newport Jazzfestival. Während Davis in gewohnter Form spielt wird Coltrane vom amerikanischen Jazzmagazin „Down Beat“ as the "angry young tenor" and his sound as a personification of movement without progress in jazz. The term "Sheets Of Sound" (Sound area), for the first time by the jazz critic Ira Gitler is used henceforth for Coltrane's new style of play. But Coltrane's ascent is now his efforts are futile.

replaced the late sixties Coltrane to the label Atlantic Records and produced here in 1960, the album "Giant Steps", one of the largest and best jazz albums in history. Coltrane's Giant steps are unstoppable. Coltrane's album "My Favorite Things" is a hit at Atlantic as well as already "Giant Steps" but the special feature of this Album that Coltrane used for the first time in his career, the soprano saxophone (with tenor saxophone) is. Albums like "Olé" and "Africa / Brass" also follow for Atlantic Records, Impulse Records.

It follows that time, however, a change in Coltrane himself, not only in his music. After he had fought his drug addiction in 1957, finally, life for him now has a completely different meaning. Coltrane deals you strong with all world religions, and is even strongly religious. He not only believes in one religion but all the same. Coltrane's happening with the inner change, ultimately, an external change, an audible change.



The 1959 and 1960 thus marks a transition in Coltrane's playing. Coltrane quartet experimented with different formations and works among others with the pianist Wynton Kelly, Tommy Flanagan, Cedar Walton, McCoy Tyner on until he finally meets with whom he now works closely in the sixties. On bass Coltrane changes every now and then between Steve Davis, Reggie Workman, Art Davis and Jimmy Garrison, until he finally decides to Garrison. With Elvin Jones then also the last musical partner meets Coltrane, the legendary quartet of the sixties should be complete years.

with this ensemble brings John Coltrane in 1964 to his largest string of: The album "A Love Supreme" at the label pulses, a profession of faith in the music of Coltrane. It is Coltrane's most successful album, which should make it the best album ever and is the history of jazz music, a classic that changed millions of musicians. But in the same year to separate the paths of Coltrane and his wife, Naima. Alice McLeod Coltrane's later wife, but even at the time of the recordings of "A Love Supreme" is a close partner Coltrane. The two married in 1965.

Coltrane's music is aimed at that time to now more and more to free jazz. The things for Coltrane in the year 1959 with "Kind Of Blue" with Davis' modal jazz band began to sit down now slowly away. With musicians such as Archie Shepp, Eric Dolphy and Pharaoh Sanders and his top-class musicians to follow in his band. But the old such legendary Quartet breaks slowly and so is leaving as the last in March 1966, the drummer Elvin Jones, Coltrane, in order to pursue other things.

Despite his precarious health status of the 1967 John Coltrane does, however, continuously make more music. His death on 17 July 1967 is a shock to the entire jazz world. His early death at the age of 30 years was clearly too early, but Coltrane left to posterity a unique musical offspring.

tried today, everyone aspiring saxophonist Coltrane zueifern after the game and many of his albums and compositions are today's best examples of a musician who came and changed the music through his playing. Even today, Coltrane's spirit is enlivened by reoccurring old tapes again and his albums are also in this century will be as popular as they were 40 years ago.



More on John Coltrane: Here
More information about John Coltrane: Here

Where Is Laura Love From Bangbros

The Real Book - The Story Of A Jazz Bibel

The Real Book is now the most popular and widely Jazz Fake Book. But what is the Real Book, as it was created and who created the work, working with the now millions of jazz musicians. The story of a bible of jazz.

The Real Book is a collection of the most important jazz standards and jazz compositions from the past 60 years, the transcribed with the melody and chord symbols (Changes) the subject of a piece mentioned, is to be improvised on the solo. This type of sheet music quite common in jazz and there and call themselves "lead sheet". The Real Book thus comprises a collection of jazz pieces that are most frequently played at concerts and jam sessions.

result, the real book sometime in the seventies on Beerkle College of Music, one of the most prestigious universities of music in the U.S., which has spawned a number of famous musicians (such as the pianist and jazz singer Diana Krall). This should have the bassist Steve Swallow and pianist Paul Bley, the glorious idea to create a book that contains the most important jazz standards and thus make the musician's life easier. With the help of many other students, they started such a huge Sammlung an transkribierter Jazz-Kompositionen zu erstellen, die nach und nach wuchs und am Ende drei volle Bücher umfasste, Vol. 1, Vol. 2 und Vol. 3. Die ersten beiden Bücher waren noch zunächst größtenteils per Hand geschrieben, das dritte per Computer. So umfasste dieses aller erste Real Book am Anfang noch viele Kompositionen von Swallow und Bley selbst, aber auch schon viele allgemein bekannte Jazz-Kompositionen.

Sehr schnell verbreitete sich dieses neu entstandenen Real Book in der Jazz-Szene und wurden fortan zu einer wichtigen Grundlage vieler Sessions. Dadurch, dass sie auch noch schwer aufzutreiben waren, waren sie daher umso beliebter bei Musikern und die Idee von so genannten Fake Books verbreitete sich rasend schnell. So appeared increasingly more Fake Books on - for example, the Latin Real Book ", the" All-Jazz Real Book "or the" Real Jazz Standards Fake Book "and many more - which is not only in quality but also in the implementation of the first "real" Real Books distinction. But even this was missing an important basis Real Books. When the collection was the copyrights of those jazz standards, and so was completely neglected in the end more and more a wonderful work of jazz pieces, but all had no license and therefore were illegal simply. But even that could stop the success of the Real Books are no longer widely used and so the books within a few years an immense number

The term "Real Book" since its existence is not quite clear, and as with the Real Book and the name Fake Book, a term that is largely in has the language of jazz naturalized, but is not specific for the Jazz, but also in blues, country and even pop is used. This term can be derived from the English word "to fake" deduce what "fake" as much as means. He comes from a time when musicians played more often in jazz clubs and bars and a tip for the music score wishes fulfilled. With a Fakebook So you could almost pretend to know a jazz song, and his audition, as if they had rehearsed it. All this, of course, but based on improvisation and years of hard work for a musician to master this.

And that is also already reached the main point of playing to mastering this art, after the Real Book , is necessary: \u200b\u200bThe ability out of the situation to improvise no matter what musicians or with which band, and "Yamen" too. It is the art of a true professional musician from an separate, it operates only as a hobby and does not invest the time in this work. to play musicians who have mastered it, all songs from the Real Book - and usually by heart! - Include specifically in the category of jazz to the best and most highly worthy musicians.

is the other point that the Real Book is a unique music collection, which is ubiquitous at every jam session, but is sometimes misinterpreted. Undoubtedly, the Real Book is the best way to jazz to enter and go with a professional attitude to work, but a real book should be on the path of their musical existence more than a reference work sein, d.h. häufig gespielte Standards sollten am besten auswendig gelernt werden, da ein zu häufiges Nachschlagen des gleiche Songs auf die Dauer nicht sehr gut zum Publikum rüberkommt und die Besonderheit jener Stücke damit verloren gehen.


Zum anderen ist in dieser Hinsicht auch zu bedenken, dass früher keine Real Book artige Notensammlung existierte und Musiker sich diese Jazz-Standards selber und durch ihr gutes Gehör aneigneten. Was heute an Hochschulen für Musiker unterrichtet und gelehrt wird, wurde sich früher selber angeeignet durch das blanke Hören der Radiosender oder Konzerte bzw. Broadwayshows, aus denen die Most of the jazz standards by composers such as Irving Berlin, Jerome Kern and Otto Harbach, Cole Porter or Richard Rodgers and Lorenz Hart are from the early thirties and forties. Today there are musicians who have mastered 1000 to 1500 jazz standard by heart, and in most music scene is a basic vocabulary of about 400 jazz standards prerequisite to may even play with other musicians (likely as such a tough patch is probably New York call). To have achieved this, it is undoubtedly years of experience in the music to life and endless jam sessions and other opportunities, such knowledge ultimately implement them. Of course, but are similar in many standards their shape, the structure or the cadences. An example is the ever constant Blue regimens common II-VI cadences or the key and melody.

important when using the Real Books is not only to advance elaborate as an individual and personal musician, but to pay attention to other things. This applies above all to listen to other musicians in the band active and melodic or rhythmic motives of the musicians as quickly as possible to understand and assimilate in order to develop a feel for the shape of each piece, so you must not count the beats for example. About everything is still the improvisation that is without question the most difficult to master.

Since the seventies a number of such collections of jazz standards has emerged in terms of their quality, faithfulness and differ considerably, especially in view of their copyright status, for the most part.

special way the first versions of the Real Books often significant errors. Although there are of course no music collection that can be described as a 100% error-free, but here we clearly differentiate. In the first versions of the Real Books to 5th Edition had an above-average number of errors crept in, as it also written from scratch by hand were.


Most errors are found to be less in the melody, but mostly in the chords and changes. It is in this situation, of course, very difficult to know which are the "right", or rather the 'normal' chords and which chords simply "wrong", or do not fit into the musical form of a piece. The only problem seems to be more of that, especially young musicians initially played the pieces as they are in the Real Books, without complying with older recordings on which the right chords were used. Sun creep in gradually, small Faults, can have a bad fall later to load.

With the appearance of a newly revised Real Book, the 6th edition which has this year on the market and the first is really legal times, thus decreased the error rate in the Real Book and therefore the latest version of this book is really only recommended because it an ideal medium for getting into the jazz music is simply perfect.

The great advantage of the latest issue is that this time they appeared not illegal, so is the one no copycat Fakebook, for now, all other compositions have licenses, that the musicians are paid for their music. The only downside is that with this version include some items in their Key have been changed and therefore especially older fans of the Real Books, first with the new problems have to be and would rather rely on the older 5th Edition.

Either way, the Real Book has changed the Jazz in the previously more than 30 years of its existence from then on, it brought to both musicians and non musicians the possibility to give an insight and much to get more into the great world of jazz. The Real Book is now not only the most famous of all jazz books acquired, it is now also become the most valued, even if millions of illegal versions still in circulation , it has enriched the jazz and popular and it looks like the next 30 years with no loss in this success.


More information about the Real Books: Here
"Real Books" Now

Real Book Listening Guide: Here

Funny Having Baby Wishes

Art Blakey - Drum Solo

Art Blakey - Drums ; (and Various Artists)

Art Blakey was one of the most important, most important and herausragentsen Schlgzeugern in jazz music and not only that, he was also one of the most famous and successful Bandleader of all time. Together with his group The Jazz Messengers "he made, especially in the fifties and sixties great success and drew until his death in 1990, more young talent in the band - as in the eighties such as the trumpeter Wynton Marsalis.

This video shows Blakey but not his abilities as a leader or driver of the band, but as a soloist in a stunning drum solo that makes his unique skills perfectly unmistakable.

released this video clip on the DVD "Legendary Drum Solos Vol 1 +2" to let out, there are also other legendary solos gifted drummer. Blakey's solo here is however quite clear to the circle of the unique.

Halo Nevus Scar On Nose

Rudy Van Gelder - The Genius Of Recording

The sound of Rudy Van Gelder is jazz history, his way of working both legendary and his reputation among musicians as well as top bosses amazing. The story of the man who managed to change the jazz, without ever even made it an instrument in the hand.

Rudy Van Gelder. This name represents the history and the sound of jazz. It changed everything alone with his work, and although he played no instrument, he was successful. But who is this strange man who is found on so many recordings of independent, small jazz labels as a sound engineer? How it worked? Among musicians and producers are circulating stories that report the curious audience from a bespectacled gentleman who went with picky care to work. But who Van was really money?

In the jazz scene in the name of Rudy Van Gelder has now just a mythical overtones. He is one of the few non-musician, whose review of half a century, inferior to that of the artist in anything. As the most important Self-employed in the jazz music he has the sound of not only one but a number of major record labels - especially Blue Note Records, Prestige Records, Impulse Records - able to define. All alone and out of nowhere, he created one of the major studios for the music and gave the small towns of Hackensack (his first home until he moved) and Englewood Cliffs, New Jersey a name on the jazz map.

begun But everything was quite different. Born on 2 November 1924 Jersey City, New Jersey Van Gelder showed as a teenager interested in recording technique, was in his school days jedoch zunächst als Augenoptiker ausbilden. Nach der Schulzeit führte er dies dann auch fort. Er besaß einen kleinen Optikerladen in New Jersey Teaneck, nicht weit entfernt von seinem eigentlichen Wohnort Hackensack, wo er im Haus seiner Eltern wohnte. Dort fing alles mit der Leidenschaft zur Jazzmusik und zur Tontechnik an. Mit ein paar Musikerfreunden veranstaltete er zu Hause bei sich kleine Jamsessions, die er aufnahm und langsam seinen eigenen Ton und Sound schuf. Der Ort des Geschehens war damals noch das Wohnzimmer des Hauses.

Doch mit zunehmender Popularität verbreitete sich der Ruf Van Gelders blitze schnell. Schon bald war Van Gelder eines der begehrtesten Tontechniker und Ingenieure in der New Yorker Jazzszene und viele Musiker scheuten it unacceptable like to go further in the pampas of New Jersey to work with Van Gelder can. Sun took Van Gelder on soon not only good friends but was used by record labels as Blue Note and Prestige Records for panel sessions contracted and worked with the greatest musicians of modern jazz: Pianist Thelonious Monk , saxophonist Sonny Rollins and John Coltrane , trombonist JJ Johnson and trumpeter Miles Davis - all loved the sound and the operation of Van Gelder's coming and for shots again and again to "Rudy," as they called him only.

It does not change the environment of the recordings, and so was Van Gelder lack of money is still dependent in their own living room in his parents' home record. Many images of the photographer Francis Wolff, a co-founder of the legendary Blue Note label show at the Van Gelder's recording sessions in a small studio floor lamps, blinds or wall cabinets and let them appear as natural accessories of a studio appointment.

was therefore slow, but increased the problems in 1957, and Van Gelder plagued with growing concern. For ten years he had now seen how had to be an unfinished hobby gradually developed a second career. Furthermore, studied and practiced it during the day as an optician, but he was more often found in the living room at home, busy, placing microphones and use rotary control. One day he made eye examinations at his shop in Teaneck, the next day he took again to musicians like Miles Davis.

increasing number of missing Van Gelder from now to the time for his actual work and his studio soon hit the limit of capacity, availability and space. Since he still lived in his parents' house, it was difficult to combine his hobby with his everyday life and to meet the requests of the musicians who were standing outside his house every day and wanted to take pictures. Would rise the pressure on Van Gelder himself more and he had to act and now own a bigger house, and especially where he could set up a bigger studio.

After he had found on a point of land in Englewood Cliffs, a city that is also located in New Jersey, only a quarter of an hour drive from Hackensack, did he draw on his terms plans for a house with an attached recording studio. The building's exterior is reminiscent of the Nordic style because the most striking feature was a large, on the north side of the house drawn deep down roof of almost 15 meters high. Van Gelder had it all calculated exactly and the ceiling height and the width of the house had just been measured, a stunning sound that was inside the studio. Visitors to this new studio were entered for the first time amazed by the acoustics and the pyramidal roof of this house. On the south side of Van had set up funds a small control room, which was behind a glass pane enough space for the necessary equipment such as the recording and the control units and for himself. increase

To the pleasant atmosphere of the recording room again, and to strengthen, Van funds out around the area where the musicians played potted plants and decided to build the house for a light, that radiated a warm ambience. Sometimes he dims the light and completely to the atmosphere in the recording room to change for the musicians and the music to lead to a new level. Here

Van Gelder then took in 1959 on the operation and moved with his wife and equipment of the old studios in the new premises. He dedicated himself to perfect the newly created job and had, from morning to evening, all week long with the exception of Sunday, recordings for various labels, but still remained Van Gelder independent and tied firmly never to a specific label, which Van Gelder was asked nor sought after by various labels in the jazz world.

Eine weitere große Neuerung des neuen Studios war außerdem, dass nun viel mehr Musiker auf einmal aufgenommen werden konnten. Zuvor konnte nur eine beschauliche Menge an Musikern bei den Aufnahmeterminen Van Gelders teilnehmen, meistens Gruppen die sich in der Größe von Trios und Septetten bewegten, doch nun bot das neue Studio genug Platz für ein gesamtes Orchester. Mit dem neuen Studio stieg auch die Wichtigkeit Van Gelders für die Musiker als auch für die Plattenproduzenten.

Doch wie kann man die Arbeitsweise Van Gelders beschreiben oder in Worte fassen?

Van Gelders Arbeitsweise war für viele Musiker ein Phänomen. He was always perfectly prepared and entered as the musicians, the studio was Van Gelder mostly already in the wings, had coordinated all of its microphones on each individual musicians around the room and already worked extensively with the arrangement of the instruments in space. He wore it at work, always wear gloves and forbade the eating, drinking and smoking in the accommodation space altogether. To have no insight to offer to his work, he always deliberately removed the brand name of his recording equipment. All of this was the specialty of Van Gelder Operation: Mysterious, but precise and always aiming to capture the individual musicians as alive as possible. What was there

Van Gelder's trademark, was his piano sound. He placed the piano for most of his sessions right in the middle of the room and reached so that the piano was the band in which the chords were clearly defined and the acoustics and volume of the instruments were tuned. Here, Van Gelder differed, however, fundamentally different from other sound engineers this time because, unlike many, he placed the drums never far away from the band, but used it sometimes even directly in the center with a single - as in many sessions the drummer Art Blakey .

Another trademark was that Rudy Van Gelder sparingly bypassed the microphones and use only as many as were ultimately necessary. achieved with little reverb in the room He also has a good balance between music and spatial sound. Van Gelder's methods have been revolutionary at the time and there are some even today. The fruitful cooperation

with a label created in 1953 by the encounter with the Van Gelder both owners of the New York jazz label Blue Note, Alfred Lion and Francis Wolff. In 1953 she made the baritone saxophonist Gil Melle, a musician and also have a designer at Blue Note, together with recordings of Van Gelder Lion and Wolff's attention to the unique qualities of the sound engineer from the Far New Jersey. As one of the few board owner Alfred Lion was in fact willing to pay fees for trial dates to the musicians, so The musicians were relaxed and better prepared to enter the recording studio and thus facilitated the work in the studio many times.

The list of legendary plates, which is by Van Gelder's work were very long and goes over Art Blakey, John Coltrane , Miles Davis, Hank Mobley, Thelonious Monk and Horace Silver. Thus in the fifties in Van Gelder's studio legendary recordings as John Coltrane's album "Blue Train" and Art Blakey's album "Moanin '" with Blue Note Records, or Miles Davis' albums for Prestige Records such as "Walkin '" or "Cookin '" Relaxin' "," Steamin '"and" Workin' "and in the sixties records like John Coltrane's landmark" A Love Supreme "for Impulse Records. Thelonious Monk was once a special tribute to Van Gelder, as he one of his pieces which he wrote the mid-fifties, "Hackensack", called the place of the first studio of Van Gelder.


Until now lives Rudy Van Gelder in Englewood Cliffs, New Jersey, in the same house and studio, where he started from the end of the fifties, plates for many independent record companies record. Even today he is still working as a sound engineer and enjoys today a highly popular jazz fans who buy the dozen by Van Gelder's new in the 24-bit format remastered albums of the label Blue Note (RVG series for Blue Note Records) and still enjoy this unique sound. They also offer also many alternate takes and bonus material, which make them a further testament Van Gelder.


Today's sound engineer Rudy Van Gelder's praiseworthy work still in high notes and keep Stating again his ability to shape the sound of the music as authentic as possible. Matter how many microphones he is now using the devices and what he arrangement in Space provided for, the evidence for his contribution to jazz provides the unused sound fresh, even 40 years after the birth of the most recordings in the fifties and sixties, is available today. To listen to Van Gelder's painstaking work and the respect he has gained from the musicians of his special shows in this category. Van Gelder was a genius and is still one, and as long as he is still alive, he is the Jazz again what enrich new, if there are new images or old treasures, which he only gradually from the cabinets of famous record companies refers to Blue Note. Rudy Van Gelder's contribution to jazz is the next 100 years many people the most exciting time of the Sun Jazz gut wie möglich nahe bringen.

Mehr zu Rudy Van Gelder: Hier

Mehr Informationen zu Rudy Van Gelder: Hier

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Duke Ellington - "Satin Doll"

Duke Ellington - Piano; (and his Orchestra)

Duke Ellington war der King, der Duke des Big Band Jazz. Als Amerikas erfolgreichster Komponist und Songwriter steuerte er etliche Jazzstandards wie "Sophisticated Lady", "It don't mean a Thing", "C-Jam Blues," "Solitude," "Caravan," "Mood Indigo" or "Satin Doll", which demonstrated here Ellington and his orchestra.

It is not only visible, that Ellington was a great composer, but also that he is an incredible pianist and conductor was a Big Band, for his orchestral formations were legendary (for example, at the Newport Jazz Festival 1956).

changed with his way of composing and playing jazz Ellington and his musical legacy is still the repertoire of many - if not all - jazz musician.

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Lee Morgan - The Hard Bopper

Lee Morgan was a prodigy of the Hard Bop, an incredible Virtuose and der Trompete und zudem noch ein sehr erfolgreicher, der schon in jungen Jahren von sich überzeugen ließ. Es ist die Geschichte eines der besten Trompetern der Jazzgeschichte.

Lee Morgan wird am 10. Juli 1938 in Philadelphia, USA geboren und gilt schon früh als Ausnahmetalent an der Trompete, da er ein unheimlich virtuoser und mutiger Musiker ist. Viel dazu trägt auch Morgan’s musikalisches Umfeld bei, Philadelphia stellt sich in den Vierziger Jahren als unwahrscheinlich kreatives Pflaster der Jazzmusik dar mit vielen guten Musikern wie den Saxophonisten John Coltrane , Benny Golson und Jimmy Heath And his brothers Percy Heath on bass and Albert "Tootie" Heath on drums .

At the age of 15 years, Morgan directs his first professional group of jazz musicians together with bassist James "Splanky" Debre, a school friend of Morgan. By this time he was already regularly attend the workshops in the Music City night club, where he met then also the first time his role model and mentor Clifford Brown.

He visited during these years the "mast High School in Philadelphia, a school that also many other prominent musicians will create. Already at that time, Morgan, after the tragic accident of the trumpeter Clifford Brown, who had an accident in 1955 at the age of 26 years in a tragic accident, chosen as his successor.

After Morgan graduated from the "mast High School" in his pocket, he hesitates then not long and does from now on its way to New York City, the "World Capital of Jazz" to go along with his friend Debra finally successfully be. But the landing is on the hard pavement New York is not easy, but Morgan gets lucky and soon after his arrival in a short package Art Blakey's group, The Jazz Messengers ". But after two weeks, he ended this arrangement and for something new.




The first time Morgan does, however, only as a member of Dizzy Gillespie's Big Band at the focal point of the jazz world. On that occasion also Alfred Lion and Francis Wolff, two German founder of the successful New York jazz label Blue Note to Morgan attention and take him immediately in 1956 under contract. So it is that it successfully with a young age of 18 years as at the time still quite unknown trumpet player goes into the jazz scene. During the period of 15 months followed by a further 6 albums as a leader and many more as a sideman with other musicians on Blue Note Records, which for a young trumpeter from Morgan's format at this time what is really extraordinary.

A highly successful appearance on Lee Morgan then in 1957 in receiving "Blue Train" by John Coltrane . Although Morgan takes only as a sideman-led Coltrane group, a secondary role is largely thanks to his solos that this plate Coltrane's most successful should be at this time and this success is only 8 years later by "A Love Supreme" should be offered. It turns out that Morgan is also very well placed, the music of other musicians to join and that the album during the recording is seen that Coltrane and Morgan are also very good because they have both spent their early years together in Philadelphia, even though Coltrane is a mere 12 years older than Morgan, and therefore more likely plays a role as a teacher for him. He is someone who sucks up all over something and it turned into his own style. His most successful to date

time, however, should first time at Art Blakey and his Jazz Messengers "are. The line-up to the time was still one of the best in almost 30 years of the group and together with Benny Golson, Bobby Timmons and Jymie Merritt this force is really strong. Morgan developed here more and more a representative of the hard bop on trumpet and his solo in the song "Moanin '" is considered the most famous catchy tune of Blakey's Messengers.

But in this time slipping and Lee Morgan - like many others (especially black) musicians - from drugs to a rail, the rest of his life he probably never more should get away from them. In 1961 he moved to then completely for almost two years ago from New York's jazz scene and goes back to his hometown of Philadelphia, where he tried to withdraw from drugs. This may not succeed, but in 1963, Morgan comes back with even more fresh and new energy to then with "The Sidewinder" , seinem größten Erfolg wieder durchzustarten.

Obwohl Morgan den Erfolg dieser Platte nie mehr toppen sollte, gibt sie ihm den nötigen Aufschwung und vor allem die Publicity und Popularität, die Morgan hilft, wieder aus seinem Tief zu kommen und genauso erfolgreich da weiterzumachen, wo er letzten Endes aufgehört hat.

Die letzten vier Jahre seines Lebens ist dann Morgan Mitleiter einer sehr wichtigen Formation für den Jazz, dem „Jazz and People’s Movement“, die mit vielem Auftritten in Talk Shows amerikaweit bekannt wird. Auch hier bleibt Morgan dem Hard Bop still firmly attached.

On 19 Ends in February 1972 Lee Morgan's life but then suddenly and unexpectedly. In a drama of jealousy shot him Helen More, one of his friends, outside the front door to the New York jazz club Slug's.

With the death of Morgan's death thus much of the hard bop and followed many of his longtime colleagues such as Art Blakey him later, but left his spirit alive.




More on Lee Morgan: Here
More information about Lee Morgan: Here

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Lester Young - Various Tunes

Lester Young - tenor saxophone; Ella Fitzgerald - vocals, Ray Brown - bass, Buddy Rich - Drums, (and Various Artists)

It was Lester Young, who with his saxophone playing jazz and in particular the importance of the saxophone in jazz changed abruptly. "Prez" came, and brought his playing much new in the jazz, to keep such as a unique technique of the saxophone (he thought it was wrong while playing always easy to obtain an indi vidual sound) or play it. This video shows

Young his extraordinary skill once before the camera, together with the singer Ella Fitzgerald, dem Bassisten Ray Brown, dem Drummer Buddy Rich und vielen anderen berühmten Musikern seltene Eindrücke mit dem Auge in sein Spielen.

Wunderschön zu sehen ist hier wie das Video aufgenommen und aufgebaut wurde. Es beginnt mit einer kurzen Intro durch Piano und Bass, das Licht im Aufnahmeraum ist noch beträchtlich gedimmt und langsam wird es heller, die Musiker, zuerst Buddy Rich hinterm Schlagzeug, schließlich auch Lester Young selbst, und dann geht die Post ab, indem ein neues Stück angezählt wird und die Band durch das Thema und die jeweiligen Solos fegt.

Beim nächsten Stück kommen noch einmal weiter Musiker, zum Beispiel ein Trompeter dazu und ergänzen Young und die Band noch um ein weiteres. Am Ende kommt mit dem Hizustoßen von Ella Fitzgerad der Höhepunkt dieser Aufnahme. Ein wahrlich wunderbarer Anblick von ihr und Lester Young.

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The Sidewinder (Lee Morgan)

„The Sidewinder“ ist ein Album von Trompeter Lee Morgan , das 1963 beim Jazzlabel „Blue Note Records“ entstand und Morgan’s größter Erfolg wurde.

If one looks at the career of Lee Morgan to get almost never on an album by the trumpeter, which was established in 1963 after his return from a break in 1961: "The Sidewinder". describe

But the value of this plate to first and foremost a look at Morgan's resulting career is necessary.


Lee Morgan on 10 July 1938 in Philadelphia, USA born and is considered early as an exceptional talent on the trumpet, because he is an incredibly courageous and virtuoso musicians. Much to bear and Morgan at's musical environment, Philadelphia was raised in the forties unlikely creative paving the jazz music is with many good musicians like the saxophonist John Coltrane , Benny Golson and Jimmy Heath , and his brothers Percy Heath on bass and Albert "Tootie" Heath on drums .

He visited during these years the "Mast Tree High School, a school that also many other prominent musicians will create. Even at this Time, Morgan, after the tragic accident of the trumpeter Clifford Brown, who had an accident in 1955 at the age of 26 years in a tragic accident, chosen as his successor.

The first time Morgan does, however, only as a member of Dizzy Gillespie's Big Band at the focal point of the jazz world. On that occasion also Alfred Lion and Francis Wolff, two German founder of the successful New York jazz label Blue Note to Morgan attention and take him immediately in 1956 under contract. So it is that it successfully with a young age of 18 years as at the time still quite unknown trumpet player goes into the jazz scene.

A highly successful appearance on Lee Morgan then in 1957 in receiving "Blue Train" by John Coltrane . Although Morgan takes only as a sideman-led Coltrane group, a secondary role is largely thanks to his solos that this plate Coltrane's most successful should be at this time and this success is only 8 years later by "A Love Supreme" should be offered. It turns out that Morgan is also very well placed, the music of other musicians to join and that during the recording of the album is seen that Coltrane and Morgan are also very good because they both have their early years in Philadelphia spent together, even if all the Coltrane 12 Jahre älter als Morgan ist und daher eher eine Rolle als ein Lehrer für ihn einnimmt. Er ist jemand, der überall etwas aufsaugt und dies zu seinem eigenen Stil verarbeitet.

Seine bis dato erfolgreichste Zeit sollte jedoch erst die Zeit bei Art Blakey und seinen „Jazz Messengers“ werden. Die Besetzung der Band zu dieser Zeit zählt noch heute zu der besten im fast 30-jährigen Bestehen der Gruppe und zusammen mit Benny Golson, Bobby Timmons und Jymie Merritt ist diese Truppe auch wirklich eine starke. Morgan entwickelt sich hier mehr und mehr zum Vertreter des Hard Bop an der Trompete und sein Solo beim Song „Moanin’“ gilt als der bekannteste Ohrwurm von Blakey’s Messengers.

But in this time slipping and Lee Morgan - like many others (especially black) musicians - from a drug rail, the rest of his life he probably never more should get away from them. In 1961 he moved to then completely for almost two years ago from New York's jazz scene and goes back to his hometown of Philadelphia, where he tried to withdraw from drugs. This may not succeed, but in 1963, Morgan comes back with even more fresh and new energy to then durchzustarten with "The Sidewinder", his greatest success again.


On 21 December 1963 it was time. The album was in Englewood Cliffs, New Jersey in the recording studio des Toningenieur Rudy Van Gelder aufgenommen, der auch eine Vielzahl anderer Blue Note Alben aufnahm. Vor allem dem Sound von Rudy Van Gelder, einem Genie der Tontechnik ist es zu verdanken, dass die Platte eine so gute Klangqualität besitzt, auch über 40 Jahre nach ihrem Entstehen.


Hier die Musiker, die „The Sidewinder“ entstehen ließen:

Lee Morgan – Trumpet
Joe Henderson – Tenor Saxophon
Barry Harris – Piano
Bob Cranshaw – Bass
Billy Higgins - Drums


Morgan schafft es zu dieser Session eine echte Meistergruppe zusammen zu bekommen. Es ist eines der Aspekte, warum dieses Album auch more successful than any previous one was also the fact that Morgan with the musicians on the album - Joe Henderson, Barry Harris, Bob Cranshaw and Billy Higgins - already could play a few times together and so the atmosphere at the recording session was great, what is also clear can hear.
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In each case, the rhythm section to Cranshaw and Higgins and around the horn section for Henderson and Morgan add themselves but only together they give a very full and funky hard bop, which corresponded to the contemporary trend.

Here Summary Title:


"The Sidewinder"

The eponymous title track starts the record even with a funky rhythm. There is an extensive scheme Blue over 24 bars, which is also heavily influenced by Latin. But it was blown by the strong theme of Morgan and Henderson wins the play of force and energy. In 17 or 18 clock every chorus is then one unexpected change that is caused by a minor chord. That single chord gives the whole piece again a completely new sound space, which the left in so special.

After the solo by Morgan, one of the true Issue a really funky solo blows then follow Henderson and Harris as soloist. At the end of the piece then engages inclined Cranshaw still on the topic and is playing his solo, then in that with the piece ending theme and a small credit marks the end of the piece. By Billy Higgins presence on the drums is a unique sound for each individual soloists created and otherwise convinced Higgins at full line.

The title of these pieces and thus the whole album can only be explained Morgan himself. The idea came to him, that he was the subject of the title to a kind of pimp - just to English "Sidewinder" - remember, a malignant type, der durch seine draufgängerische Art charakterisiert ist.


„Totem Pole“

Auf „The Sidewinder“ folgt dann darauf „Totem Pole“ als zweites Stück auf der Platte. Durch das Eb-Thema wird eine besondere Spannung im Lied erzeugt. Während sich über die ersten 16 Takte, dem A-Teil, hinweg sich die pure Energie der Band anzustauen scheint folgt dann im B-Teil mit 8 Takten das Entladen. Am Ende folgen wieder 8 Takte des A-Teils.

Mit diesem Motiv ist die ganze Komposition, auch über die Solos hinweg, gestaltet und die Umsetzung der Idee von Morgan klappt auch prima. Während jeder einzelne Solist zum einen zum Motiv beiträgt schafft es Harris at the piano with his chords to create the necessary musical tension that this is also needed before he even picks up the piece in his own solo. Also succeeds well in which he's crippled by the pianist Bud Powell influenced style is transferred to the piece.

The idea for this piece was Morgan at a concert by Dizzy Gillespie, who played well that night "The Moochie". Of these, Lee Morgan was so impressed that he is at home right after sitting down to "Totem Pole" to write. The relationship of the two songs can still be seen especially in the form.


"Gary's Notebook

"Gary's Notebook" is a piece that Morgan devoted a same friend called Gary, who was said to be a very quiet, intellectual man after Morgan's descriptions. This too can listen out on closer listening, when you think that the reason Morgan wrote this piece.

corresponds to the shape of the piece a fast waltz with a minor motif that after 16 cycles intro in the 24-bar solo, and then it goes into the solos. With a series of mutual Exaggerating of drum and bass solos here are accompanied in a special way. Harris also manages the piano again a great Mood, both as accompanist and soloist to produce.


"Boy, What A Night"

With the song "Boy, What A Night" is followed then again a composition that is tied to the blues, but this time in a different reaction than "The Sidewinder". Although it is a funky piece also, it is characterized mainly by the 12 / 8 time, a rather unusual time signature that is reminiscent of Miles Davis' play "All Blues". By rhythmic changes, for example, views a jump in the double-time, or alteration is in a 3 / 4 time also brought out even more from the topic.

But most of all by the soloist gets the piece again his trademark. At first, Morgan Henderson and then sweep through the piece with tremendous energy, that all one can wonder remains, accompanied by a great rhythm section.


"Hocus-Pocus"

with "Hocus-Pocus" ends the record with a very nice piece that is dedicated to the typical hard bop. Although the chord changes are the same as the jazz standard "Mean To Me" it's still a great interpretation by Morgan.

It is actually a not very difficult piece, a very simpeler Aufbau, eine AABA Form im Thema sowie auch im Solo, doch trotzdem ist das Lied doch wieder ein gelungener Abschluss für eine solch großartige Platte, wie sie Morgan später nie wieder machen sollte.

Henderson startet diesmal wieder als erstes in sein Solo und darauf folgen ihm Morgan, Harris und Higgins in einem Solo bzw. zum Schluss zu den Breaks am Schlagzeug (4/4). Hiermit endet dann auch schließlich das Stück mit einer Wiederholung des Themas.




Als Morgan zum ersten Mal für das Label „Blue Note Records“ im Jahre 1956 als einer der begabtesten, jungen Trompeter der New Yorker Jazzszene Platten aufnahm he left the writing of songs and compositions, mostly other musicians around him who were in most cases very much more experienced than Morgan. But at the beginning of his time at Art Blakey he began occasionally to provide some music for albums, but only "The Sidewinder" was now the first album on which Morgan a repertoire of five self-penned songs recorded, and thus something new , sparked a revival in his career - with full success, as we saw later.

The album was not only very important for Morgan but also for the label "Blue Note", the album brought out. "The Sidewinder" was with John Coltrane's album "Blue Train" the successful recording of Alfred Lion and his label and the label even brought a huge commercial boost.

"The Sidewinder" became from then on to Morgan's most successful album, and although the success of this plate with subsequent albums - or exceed the total of 25 recordings as a leader in his career never again - such as "Cornbread" and "The Rumproller" gave it his career was a big kick and on the whole, Morgan benefited from lessons because of its very popularity. He succeeded with his increasingly abstraktren modal oriented and above all "avant-hard bop" to appeal to a relatively larger audience.

"The Sidewinder was also musically except to Morgan's death in 1971 a success. The users in 1965, the American automaker Chrysler in a TV commercial, the title track of the album and so Morgan was again a new burst of fame. Even musically was "The Sidewinder" is a compelling musical document and is also the next forty years, just as successfully survive, as the record has done so far.

Mehr Informationen zu Lee Morgan: Hier

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Coleman Hawkins & Charlie Parker - Various Tunes

Coleman Hawkins - Tenor Saxophon; Charlie Parker - Alto Saxophon; Ray Brown - Bass; Buddy Rich - Drums; (and Various Artists)

Coleman Hawkins, eines der besten Saxophonisten der Jazzmusik, zeigt in diesem Video sein unheimlich sensibeles und einfühlsames Spielen in einer Ballade zusammen mit Musikern wie der Saxophonist Charlie Parker, der am Anfang im Hintergrund von Coleman Hawkins zu sehen ist, Ray Brown am Bass oder Buddy Rich am Schlagzeug. Auch Brown und Rich zeigen sich auf diesem Video von ihrer besten Page and provide a great rhythm section for "Bean" and "Bird" dar.

Charlie Parker played here only a short solo and remains in the first part of the video otherwise rather plain smoking in the background and listening music delighted the Hawkins' to.

in the second part of the video but then Parker himself to the beat and plays together with the Buddy Rich Band at a fast bebop piece. A pleasure and a Charlie Parker, who is at the peak of his abilities. Hawkins is all over this time.

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52nd Street - The Street Of Jazz

The 52nd Street - the monopoly of the dazzling jazz scene of New York City in the forties and fifties.

Der Block zur 52nd Street zwischen der 5. und 6. Avenue war im 20. Jahrhundert bekannt für seine vielen Jazzclubs und Bars, die das wilde Straßenleben in New York City in der ersten Hälfte dieses Jahrhunderts ausmachten.

Die 52nd Street bestand ab Mitte der Vierziger Jahre aus den berühmtesten Jazzclubs Manhattans wie dem Birdland - benannt nach Charlie Parker -, Bop City, dem Downbeat, dem Royal Roost, dem Small’s Paradise oder dem Three Deuces. Es spielten hier in den Vierziger und Fünfziger Jahren Jazz Legenden wie Miles Davis, Dizzy Gillespie, Coleman Hawkins, Billie Holiday, Thelonious Monk , Charlie Parker, Art Tatum, Ben Webster and many other notable jazz musicians. This high quality of musicians made of this great road of jazz. could


"The Street", as she was known simply by musicians and their audience was also known for their "after-hour jam sessions" experiment in which musicians again after their big band commitments according to your mood or improvise Thus, the rather bland and could escape to the time boring games in the Big Bands and Dance Orchestras of the country. There were no more rules, improvisation is very important and there was an interpretation of jazz music.

Here therefore was the mid-forties the „Bebop“, angeführt vom Saxophonisten Charlie Parker , dem Trompeter Dizzy Gillespie , dem Pianisten Thelonious Monk und dem Schlagzeuger Kenny Clarke. Die Musik, die sich durch schnelle Tempi, komplizierte Harmonieschemata und einen höheren Stellenwert des Solisten als der Band charakterisiert wurde passte nur zu gut zur 52nd Street. Künstler wollten nicht mehr nur als Unterhalter gesehen werden, sie wollten als Künstler geachtet und anerkannt werden. Da die Musik bei vielen umstritten war und blanke Empörung auslöste konnte den Siegeszug der Jazzmusik in der 52nd Street in dieser Zeit jedoch auch nicht aufhalten.

Ende der späten Fünfziger Jahre zeigte sich dann jedoch mit the slow decline of jazz, a decline of 52nd Street. The jazz scene began to go like this and the rock and roll became more popular. Many jazz clubs on 52nd Street then began their processes to close because not enough viewers came and went because the clubs and after bankruptcy. Concluded the last club in 1968, its doors, ending a legendary capital of the jazz end of the sixties.

reminiscent of the past is no more. The 52nd Street is now full of banks, shops and other stores and thus show almost no traces of jazz of the fifties. As one of the few surviving clubs is still the "Birdland" the very day in New York City - now in a different place than it used to - do. But with the 52nd Street jazz disappeared for a short time and since the late seventies and New York is back to a functioning center of the jazz scene in the United States and around the world.

More to 52nd Street: Here
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Charlie Parker & Dizzy Gillespie - "Hot House" (Teil 1)

Charlie Parker - Alto Saxophone; Dizzy Gillespie - Trompete

Am 24. Februar 1952 waren der Saxophonist Charlie Parker und der Trompeter Dizzy Gillespie in einer Fernsehshow beim Dumont Network TV Broadcast eingeladen und erhielten jeweils eine Down Beat Poll Auszeichnung für das Jahr 1952, die traditionell die besten Jazzmusiker der Vereinigten Staaten auszeichnete.

Das Besondere an diesem Video ist, dass es eines der sehr seltenen Momente ist, in denen man Charlie "Bird" Parker sprechen hören kann und später zeigen er und Gillespie ihr Können schließlich beim Spielen des Stücks "Hot House von Tadd Dameron.

Parker lived then not for long, his drug addiction forced him already 3 years later in the knees, and with it one of the most important saxophonists in jazz perished, but the musical masterpiece that he left behind was unique.

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Charlie Parker & Dizzy Gillespie - "Hot House" (Teil 2)

Charlie Parker - Alto saxophone, Dizzy Gillespie - trumpet

It was in 1952 when Charlie Parker and Dizzy Gillespie appeared on a television show to first Down Beat Poll Awards to think that made them the best instrumentalists in jazz, but more specifically of bebop, and then Tadd Dameron's famous play "Hot House" to demonstrate to viewers.

It is one of the few videos that show playing Charlie Parker and he demonstrated his skills tadelos, supported by a good humored Dizzy Gillespie.

Even today, the video is often used for documentary and other reports on the Bebop (such as in Ken Burns' documentary "Jazz"), because there are rare impressions of the controversial music late forties and early fifties.

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Art Blakey - The Jazzmessenger

Art Blakey was one of the most exciting drummers in jazz. But this is only a part of history. Until his death, he fought for the universal recognition of jazz and promoted junge Talente.

Art Blakey wird am 11. Oktober 1919 in Pittsburgh, USA geboren, wo er in seiner Kindheit auch aufwächst. Blakey versucht sich anfangs zuerst als Pianist in der Pittsburgher Jazzszene, aber die Präsenz eines jungen Pianisten namens Erroll Garner, ein kleiner Typ, der später als eines der besten Pianisten des Jazz in die Geschichte eingehen soll, in Blakey’s selbst geleiteter Band, macht ihm ziemliche Schwierigkeit. Es stellt sich raus, dass Garner schon zu dieser Zeit viel besser als herkömmliche Pianisten ist und der erst 15-jährige Blakey muss mit anblicken, wie er aus seiner eigenen Band rausgeworfen wird, Just because he plays much worse than Garner. A club owner in Pittsburgh threatens to Blakey during his playing even once with the weapon, he should free up the space and Garner remains Blakey no other choice than to clear the square and look for a different instrument.

but Blakey is not his wish to be musician, despite this negative event for him, but then warping the drums, where he now runs up unexpectedly, their best. He later said that he has never regretted this step and it was not until the drums his true love for music and jazz.

In den Vierziger Jahren betritt Blakey dann als Schlagzeuger die Jazzszene und erzielt fortan große Erfolge. Es war eine Zeit, in der die Bebop-Revolte grade, angeführt von Charlie Parker, Dizzy Gillespie und Thelonious Monk, wütete und den Big-Band-Swing schwer erschütterte. Blakey ist grade zu fasziniert vom Bebop und beginnt ebenfalls in dieser Stilistik zu spielen.

Ende der Vierziger Jahre tourt er dann mit einer waren All-Star Band, angeführt durch den Sänger Billy Eckstine, Sarah Vaughn, Charlie Parker, Dizzy Gillespie, Lester Young, oder auch zeitweise Miles Davis durchs ganze Land und wird zunehmend berühmter. Zunehmend eignet sich Blakey nun seinen eigenen Stil an, der ihn später so einzigartig machen sollte. Geprägt ist dieser Stil, wie bei den meisten Drummern, vom Bebop-Drummer Kenny Clarke, der das Schlagzeugspielen in den nächtlichen Jassessions im Minton’s Playhouse, einem New Yorker Jazzclub, wo der Bebop entstand, neu „erfand“, indem er den Groove von der Bassdrum aufs Ride-Becken verlegte. angeführt von einem erdigen, dynamischen Beckenbeat, der so viel Farben in sich barg wie ein ganzes Ensemble von Melodieinstrumenten in anderen Bands, seinem legendären Snare-Drum Wirbel und vorantreibenden Akzenten, wie es ihn vorher noch nie gegeben hat. Seine Schlagzeugtechnik ist nicht so filigran wie die eines Max Roach, aber sie zieht den Beat der Band nach vorne und schafft ein indescribable feeling every listener, and also in the band. Even with Fletcher Henderson and singer Mary Lou Williams Blakey is now working closely together.

late forties Blakey then converts to a longer trip to Africa to Islam and takes some time for the name of Abdullah Ibn Buhaina. From Africa, he takes but also musically with some things that he includes in his later games, and describes his experiences in Africa on tracks like "ritual" or "Drum Suite".


In 1954 he then formats with pianist Horace Silver, a group called "The Jazz Messengers, "which he should now belong to the end of his life. However, it will probably never be entirely clear who is from the both the name of that band now. Blakey said very clearly it was his idea, but Silver is because different opinion, claiming the other hand, Blakey had stolen his idea. Whatever the case, the group is developing now a success for Blakey and catapulted him in no time become one of the most successful band leaders of New York (and history).

Over the years, Horace Silver, however, leaves the band in order to found his own, but there are rumors also that quarrels between him and Blakey was about the band. Clearly, however, that even from Blakey Anfang an der heimliche Leader der Gruppe war, sie am Schlagzeug antrieb und auch meistens die Band und die Stücke am Mikrophon vorstellte. Daher musste Silver schon von Anfang an eine untergeordnete Rolle annehmen, was ihm schließlich am Ende nicht mehr passte und der Hauptgrund für sein Gehen gewesen sein mag.

Doch am Erfolg der Messengers kann auch der Ausstieg von Silver nichts gegen tun. In verschiedenen Besetzungen ist die Geschichte der Band bis zu Blakey’s Tod eine Erfolgsgeschichte. In wandelnder Besetzung sorgt der Schlagzeuger jedoch auch immer dafür, dass die Gruppe jung und frisch bleibt. So ist die Liste der Musiker in der Geschichte der Gruppe lange und geht von Lee Morgan Benny Golson and Wayne Shorter, and up to Bobby Timmons. In these occupations he played famous albums such as "Moanin," "The Big Beat", "A Night In Tunisia" or "Free For All".

Blakey is also considered the discoverer of the trumpeter Wynton Marsalis, the son of pianist Ellis Marsalis from New Orleans, which caused a sensation in the eighties and today is one of the best jazz musicians. Blakey heard him play the first time at a gig in New York and immediately took him into the band, where he announced, a phenomenal debut, and later as leader of his own band had much success. Later he also followed his brother Branford Marsalis in the band and other talented young musicians like Terence Blanchard, Jean Touissant, Bill Pierce, Donald Harrison, James Williams, Geoff Keezer, Mulgrew Miller, Lonnie Plaxico.

Even as a sideman was Art Blakey in the fifties and sixties very active and has participated in many recordings of the record label Blue Note Records. Many musicians chose him for their sessions on the drums, because his presence on the drums unique.

Art Blakey was a musician who was incapable of giving less than his best. This and the youth of most of his partners made the Jazz Messengers to a constantly better ensemble. Yet for all its ferocity and dynamics Blakey was also a good listener and trained his young musicians carefully to the sound of the band to listen. Blakey was unique as a leader and although he wrote no own songs for the group was he always good musicians, who took over as musical director for the ensemble (such as the saxophonist Benny Golson end of the fifties and Wayne Shorter in the early sixties).

Art Blakey died on 16 October 1990 in New York, but his drumming is still legendary and unique among all the drummers that existed in jazz and still are.

more information about Art Blakey: Here

Best Rugby Initiation

Miles Davis - "So What"

musician:

Miles Davis - Trumpet; John Coltrane - Tenor saxophone ; Cannonball Adderley - Alto Saxophone (due to illness at admission date been there), Wynton Kelly - Piano; Paul Chambers - bass ; Jimmy Cobb-Drums

Am 22. April 1959 trat Miles Davis zusammen mit seinem legendärem Sextett, bestehend aus John Coltrane am Tenorsaxophon, Cannonball Adderley am Altsaxophon, Wynton Kelly am Piano, Paul Chambers am Bass und Jimmy Cobb am Schlagzeug im CBS-Fernsehstudio 61 in New York auf und präsentierte seinen neusten Sound den Fernsehzuschauern: "Kind Of Blue" , ein Meilenstein in der Geschichte der Jazzmusik.

The recording of "The Sound Of Miles Davis" was carried out with the participation of well-known jazz journalist Whitney Balliett and Nat Hentoff. For the broadcast "The Sound of Jazz," a highly successful documentary about jazz musicians and jazz legends of that time, was hired Miles Davis, who was regarded as the No. 1 trumpeter of the United States.

On 21 July 1960 "The Sound Of Miles Davis" will be broadcast and became a success for the station. In a time of already possessed 90 percent of American households have a TV (in 1956 there were only 52 per cent) Miles Davis reached a large audience and gave his career a new boom, which made his reputation grow outside the U.S..

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Jimmy Cobb - Spotlight On Drums

Jimmy Cobb is a legend on the drums and one of the few musicians from the golden age of jazz music that has survived until today and today is active and from his legendary time Miles Davis report to know.

"A lot of guys, when they finally get a chance to step onto the bandstand, they try and play all the stuff they've practiced all week - Whether it fits the context of that tune or not. But did you see, I have a lot of patience, and I do not do. everyone I just try and get with the bass player and have it swing and make it come out how would like it. I was always an accompanist. I played with a lot of people and tried not to be in the way, to prop things up and make things sound good. I mean, when they first started making bebop records, everyone would play their asses off for like two choruses and be in and out of the whole damn tune in under three minutes."

- Jimmy Cobb (Drums)

The legendary drummer Jimmy Cobb was born on 20 January 1929 in Washington DC, USA.

His first recordings as a musician Jimmy Cobb made with saxophonist Earl Bostic. The list of musicians with whom Cobb is long due to playing together and go from Dianah Washington and Billie Holiday, Clark Terry and Dizzy Gillespie to Wynton Kelly, Wes Montgomery and Kenny Burrell. A very close musical connection used Cobb to Sarah Vaughn, with whom he worked alone for 9 years. Even with the musicians got to know how John Coltrane and Cannonball Adderley, Miles Davis at the Cobb, Jimmy Cobb has worked in the heyday of jazz, the late fifties and early sixties closely together. Even for the American President Jimmy Carter Cobb played once again. His career to date is really quite amazing.

His most significant appearance in his music career was the participation in the legendary Miles Davis quintet of the fifties and recordings, together with Davis, most notably "Kind Of Blue" , one of the most famous and best selling boards in music history, or in other records like "Sketches of Spain", "Someday My Prince Will Come" and "Porgy and Bess." The background, as Cobb met with Miles Davis is a little bizarre. In front of him filled Philly Joe Jones on drums in the place of Miles' band, has been chastened by his drug addiction for Davis this increasingly unreliable. He often appeared not to appearances, and then much too late. Davis upset the after some time and therefore decided to throw them out of the band and replaced him for Cobb, who won by his good rapport with Cannonball Adderley Davis' attention. When he got the call from Davis, the band played, two hours later was back in Boston, and Cobb was still in New York. So he hastily packed up his drums and went directly to Boston, where he took a taxi and the same zum Club kam, wo die Band schon auf ihn wartete. Als er eintrat hatte man schon ohne ihn angefangen, doch Cobb schraubte sein Schlagzeug zusammen und stieg ein.

Die Beziehung zu Miles Davis sollte daraufhin bis Anfang der Sechziger (genauer gesagt bis 1963) halten, bis er zusammen mit Wynton Kelly und Paul Chambers die Band verließ und mit den beiden ein Trio gründete. Seine Zeit bei Davis gehört jedoch ganz klar zu einer der besten in seiner Karriere.

Jimmy Cobb ist aus dieser Ära um Miles Davis herum der Einzige, der noch am Leben ist und regelmäßig auf Auftritten oder CD-Aufnahmen meist jüngerer Musiker zu sehen ist. Alle anderen, ob Miles Davis selbst, John Coltrane , Cannonball Adderley, Paul Chambers or are all already dead. But even though many musicians because of their drug addiction early deaths (for example, Charlie Parker at the age of 35 years or Paul Chambers at the age of 34 years) continued his career successfully Cobb continued after his spectacular appearance in Davis' band.

course, own recordings were not long in coming and may Cobb today show a total of 5 albums as a leader well-chosen music together. These albums are "Cobb's Groove," "Cobb Is Back In Italy "," So Nobody Else Can Hear "," Yesterdays "and" Only For The Pure Of Heart ".

Jimmy Cobb is also one of the few drummers of that time are still alive. Only Max Roach, Chico Hamilton, Roy Haynes with him survived the time and are still active today. Whether Art Blakey, Elvin Jones, Papa Jo Jones, Art Taylor or Philly Joe Jones, unfortunately, all those excellent musicians are already dead and therefore Cobb with a large part of jazz history with it.


And today is Jimmy Cobb This amazing career as a musician by playing with more and more young musicians and his experience can speak. This list is also longer than the previous one, and goes to Michael Brecker to Jon Faddis. Cobb also regularly toured the U.S. and will be out in July (on 21 and 22 July 2006) for a few days in Germany, where it will then show Jazzkeller Frankfurt his mad skills.

More on Jimmy Cobb: Here
More information on the website of Jimmy Cobb: Here