Saxes never hurt anyone, the people of Sidangkou doubly so.
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Did you ever work out if you prefer flutes or saxes?
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Kenny also said if anyone's thinking about snatching his saxes at auction after he dies ... think again!
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And super cool ... Kenny shows us one of his oldest saxes, a vintage one he's had since high school!
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There were only four alto saxes, but there were moments when they sounded like a thousand angry Terry Rileys.
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We encountered a zillion local brass bands, including one of schoolkids going crazy on saxes and tubas at Peters Street and Ursulines Avenue.
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Kenny G famously set the world record for longest note ever played on a sax at 45 minutes by circular breathing with a soprano saxophone, the smallest of the four primary saxes.
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This track opens with Mike Lewis and Vernon dueting on a saxophone vocoder, and as the song progresses, layers and layers of saxes pile on top of each other to create a velvety woodwind soundscape behind the vocals.
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In any case, it goes without saying that the use of saxes and flutes is an extremely hip-hop thing to do, seeing as horn-led smooth soul and jazz samples formed the bulk of the genre's 90s sound, especially in New York.
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But the way the tempo picks up two minutes into the 12.27 "Beni Said" is friendly enough for me, especially followed by the diddleybeat Brown lays under the de facto raveup "Cummins Falls" and the saxes and side percussion that thicken the 15-minute closer.
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The World Saxophone Quartet — a saxes-only ensemble that spun through a mix of styles, from gospel to free jazz — was among the most successful jazz groups of the late 210s and '22016s, touring constantly and eventually releasing five albums on a major label, Nonesuch, an Elektra subsidiary.
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Now, saxes are one of the most-memed instruments on the planet, so their resurgence in this decade is as fueled by that humor element as much is it is by the perpetual appeal of 80s cheese and Kenny G. Plus, as the flute jams of 2017 showed, there's an appetite for woodwinds playing memorable melodies.
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In 2009, they reunited back in the line up from 1976: Mose Davis (hammond organ, vocals), Leroy Emmanuel (guitar, vocals), Demo Cates (saxes,vocals), Jimmy "Junebug" Jackson (drums,vocals) and Jimmy Brown (saxes,voc). The band's Cotillion LP has been reissued, and the first Westbound LP is also in print as a CD.
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Holman wrote for other big bands. Examples of Holman's work for Woody Herman are "Mulligan Tawny" and "Blame Boehm" that were recorded for Columbia in 1954. Probably the most well known arrangement for the Herman band is Holman's up tempo chart on "After You've Gone" from the Grammy nominated album Woody Herman '64. The band used three tenor saxes and a baritone sax (no alto saxes).
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In 1980 Treloar performed with the Bruce Cale Quartet with Bruce Cale (bass) Roger Frampton (piano and saxes) and Dale Barlow (saxes). Two live concerts by this group have been recorded, The Bruce Cale Quartet Live (Adelaide concert) and On Fire – The Sydney Concert. Under the guidance of Dr. Graham Hair he received the B.Mus. degree, composition major, from the Sydney Conservatorium of Music, 1988.
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Saxes: Toots Mondello; Hymie Schertzer; Ed Zuhlke; etc. Piano: Hank Jones. Drums: Specs Powell/Howard Smith. Percussion: Milton Schlesinger who similarly played from the first to last show.
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Shearing won six consecutive Top Pianist Melody Maker polls from this time onwards. Around that time he was also a member of George Evans's Saxes 'n' Sevens band.
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During the War, Evans also played, sang, and did arrangements for with the George Melachrino combined Forces Orchestra, and broadcast with them. He also recorded for Decca Records with a band comprising five trumpets, ten saxes, and four rhythm. The recordings were credited to the George Evans Orchestra directed by Leslie Evans, his brother. Evans left the Welsh Guards in 1946, and formed a new band with ten saxes and five trumpets.
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4 Freshmen and 5 Saxes is an album by an American male vocal band quartet The Four Freshmen, released in 1957. It reached number 25 on the Billboard Pop Albums chart.
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The musicians on the session were Jimmy Cleveland (trombone); King Curtis, Budd Johnson (tenor saxes); Mike Stoller (piano); Al Caiola (guitar); Abie Baker (bass); and Joe Marshall (drums). Atlantic Records Discography: 1959, JazzDisco.org.
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Scott Yanow of Allmusic states that Giuffre's "arrangements for five saxes (including the great tenor Warne Marsh) and a trio led by pianist Bill Evans are sometimes equally influenced by classical music and bop".
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As an adult, she is a multi-faceted musician who has performed jazz as both pianist and also woodwind "doubler" (clarinet/flute/saxes) in big bands, small jazz combos, theatre productions, and charity concerts.
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Production of oboes and clarinets was started in a workshop located in la Couture-Boussey, in the Eure department, cradle of French artisan manufacture. SML ceased production of saxophones in 1982; at the time, the company was making 400 saxes a year. It was also selling saxes to King Musical Instruments, which marketed them under the name,"King Marigaux." A company spokesperson said SML stopped making saxophones because "we just couldn't compete with Selmer anymore" and would "... devote itself entirely to the improvement of the oboe and the clarinet".
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The band consists of four vocalists, an eight-piece rhythm section, four trumpets, four trombones, two alto saxes, four tenor saxes, and a 15-member stage crew. The crew can be farther divided into jobs including sound technicians, guitar effects technicians, light and effects technicians, a fog technician, two spotlight operators, and a crew manager. Evolutionary band and crew member students are between the ages of 14 and 18. The band was featured on Canada AM in April 2007 for its success in breaking the Guinness world record for 'deepest concert below the Earth's surface'.
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He was in the following line-up when Sarah Vaughan joined it (with Dizzy Gillespie, McConnell, Miller and Gail Brockman on trumpets, Charlie Parker and Thomas Crump on tenor saxes, Andrew "Goon" Gardner and Carry on alto saxes, John Williams on baritone, Cliff Smalls (also on piano), Gus Chappell, Bennie Green and Howard "Scotty" Scott (later Mohammed Sadiq) on trombones, Wilson on drums, Connie Wainwright on guitar and Paul O. Simpson and/or Ted "Mohawk" Sturgis on bass).Gourse, Leslie (2009) Sassy: The Life of Sarah Vaughan, p. 21.
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The band marches clarinets, trumpets, mellophones, alto and tenor saxes, trombones and bass trombones, euphoniums, and sousaphones. The percussion section consists of eight snare drums, four timbales, four duo- tenor drums, four pitched bass drums, and four pitched cymbals.
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Morphine's instrumentation was unusual for a rock band: Sandman's primary instrument was a two-string bass guitar (with the strings usually tuned to a 5th or octave interval) played with a slide; however, on the group's records he added touches of guitar, piano, electronic organ, and other self-invented guitar instruments such as the tritar, featuring two guitar strings and one bass string. Colley played primarily baritone saxophone, along with soprano or tenor saxes, and the rare bass saxophone, and he sometimes played two saxes at once, a la Roland Kirk; he also played occasional percussion, and Dobro on a B-side.
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" Wakeman did, and earned £9 for his efforts. Saxophones were played by Ian McDonald of King Crimson. Producer Visconti later recalled: "He played all the saxes, one baritone and two altos. I kept the baritone separate but bounced the altos to one track.
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After the Synthophone, several other MIDI saxes have been released that offer real sax fingerings: in 2019 the Travel Sax by Odisei Music, and in 2020 the YDS-150 digital saxophone by Yamaha. These MIDI saxes have sensors for breath pressure to adjust the volume, but they do not read lip pressure and thus do not allow the pitch to be controlled by the embouchure or by the manner of breathing. With the YDS-150, pitch bend can be achieved using a separate input on the instrument. Both the Travel Sax and the YDS-150 provide for settings customisation using a Bluetooth-connected mobile app.
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The Fletcher Henderson Orchestra in 1927 consisted of two trumpets, two trombones, three reeds, piano, banjo, tuba, and drums. The Goodman band in 1935 had three trumpets, two trombones, the leader’s clarinet, two alto saxes, two tenor saxes, piano, guitar, bass, and drums, fourteen pieces in all, compared to Henderson’s eleven in the earlier days. The piano- guitar-bass-drums rhythm section had become standard and kept a steady and uncluttered beat that was very easy to follow. Goodman was quite skilled at setting the perfect dance tempo for each song while alternating wild “killer dillers” with slower ballads.Berendt, Joachim, “Swing – 1930.” In The Jazz Book, 58-61.
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In 1945, he recorded in New York with Don Byas and Hal Singer. At the beginning of 1947, Powell was with Illinois Jacquet and his Orchestra, which featured Miles Davis, Marion Hazel, Fats Navarro and Joe Newman on trumpets, Gus Chapwell, Ted Kelly, Eli Robinson and Dickie Wells on trombones, Ray Perry and Powell on alto saxes, Jacquet and Big Nick Nicholas on tenor saxes, Leo Parker on baritone sax, Bill Doggett and Leonard Feather on piano, Al Lucas on bass and Shadow Wilson on drums, together with Tadd Dameron and Jimmy Mundi as arrangers.Carr, Ian (1991) Miles Davis, p. 266. Editions Parenthèses At Google Books.
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Felder played a King Super 20 tenor sax with a metal 105/0 Berg Larsen mouthpiece. He also used Yamaha saxes. He played a Fender Telecaster bass, and also played Aria bass guitars. Felder died in 2015 at his home in Whittier, California from multiple myeloma.
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Diccionario de la música cubana. La Habana. p306 but evidently there were earlier groups. In 1924 Moisés Simons (piano) founded a group which played on the roof garden of the Plaza Hotel in Havana, and consisted of piano, violin, two saxes, banjo, double bass, drums and timbales.
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Diccionario de la música cubana. La Habana. p306 but evidently there were earlier groups. In 1924 Moisés Simons (piano) founded a group which played on the roof garden of the Plaza Hotel in Havana, and consisted of piano, violin, two saxes, banjo, double bass, drums and timbales.
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John recorded the song in New York City on September 20, 1955. He provides the vocal, accompanied by Robert "Bubber" Johnson on piano, Mickey Baker on guitar, Milton Hinton on bass, Calvin Shields on drums, Willis Jackson and David Van Dyke on tenor saxes, and Reuben Phillips on baritone sax.
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He started working as bass guitarist, percussionist, and synthesizer player and as a composer. He works with his own band of saxophonist Andy Panayi, pianist Barry Green, and drummer Paul Robinson. With his quartet, including Iain Ballamy (saxes), Ross Stanley (piano) and Paul Robinson (drums), he frequently visits venues around the world.
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Despite working intensively as a sideman in recording sessions, Brea released only three records in his long-lived career. His first solo album Another Point Of View was released in 1995 and consists of his takes on jazz standards of people like Duke Ellington and Glenn Miller, arranged with more contemporanean brushes. It includes tunes like Moonlight Serenade and Summertime, as well as a jazzy version of the andean classic El Cóndor Pasa. His second album Un Viejo Amor is a more romantic offering and less jazzy, while Christmas Saxes was a production made by him in solitary; recording the soprano, alto, tenor and baritone saxes tracks himself in counterpoint, with the diligent aid of sound engineer Javier Alquati in his own home studio.
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This is the first opera Nyman has scored with his band in mind. The studio recording includes five violins, two violas, one cello, two double basses, two each soprano and alto saxes (doubled), baritone sax, flute, alto flute, piccolo, trumpet and flugelhorn (doubled), French horn, bass trombone (doubled), tuba (doubled), euphonium (doubled), and electric guitar.
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Clutch is the 29th studio album by Peter Hammill, released on his Fie! label in 2002. Clutch contains nine tracks played exclusively on acoustic guitar with accompaniments on saxophones and other instruments. The album was produced and played by Hammill himself, with contributions from Stuart Gordon on violin and David Jackson on flute and saxes.
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In 1980 he performed with the Bruce Cale Quartet with Dale Barlow (saxes) Bruce Cale (bass) and Phil Treloar (drums). Two live concerts by this group have been recorded, The Bruce Cale Quartet Live (Adelaide concert) and On Fire - The Sydney Concert. These recordings feature some of the best examples of Frampton's work as a pianist, saxophonist and composer.
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At a minimum the band would perform on the show with three trumpets, one trombone, five saxes, piano, bass, guitar and drums plus one male and one female vocalist. In the show's heyday in 1962 and 1963 a typical line up would include Ian Hamer, Tony Mabbett and Derek Healey on trumpet; Charlie Messenger on trombone; Cecil Pressling, David Ede, Gene Cotterill, Johnny Evans, Bill Suett, and ‘Rocking’ Rex Morris on saxes; Arthur Greenslade on piano; Laurie Steele on guitar; Andy White on drums; and Ron Prentice on bass. Female vocals were provided at various times by Lorie Mann, Barbara Kay, Marion Williams, and Kay Garner. Male vocalists included Ray Pilgrim (who was on the show for more than three years), Colin Day, Johnny Towers and Bobby Sansom.
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The Penguin Guide to Blues Recordings said "Burnin' is another album cut at a single session but it has more texture and spirit than Travelin. Hooker presides over 11 tracks of uncomplicated danceable music, pushed by the saxes". AllMusic reviewer Al Campbell stated: "Burnin was released in 1962 and combines 12 tracks of electric material performed by Hooker backed by a band... recommended".
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They utilized trumpets, saxes, and flutes. Lyrical concepts are fully developed, and set between the comical and crowd concepts. Upon its release, the album was a commercial success as it sold over half a million copies, and was certified Gold by the RIAA. However, compared to the duo's previous work, the album was considered a letdown, only selling half as many copies.
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The size of the band, through the years varied from 9-12 members. This consisted of 3 saxes/clarinets, 2 trumpets, a trombone, piano, bass and drums. When additional members were carried, they were added to the sax or trumpet sections. The sound of the band, most closely resembled that of the more widely known Guy Lombardo and Jan Garber orchestras.
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And > that's basically the combination of a dance-band brass, rhythm and saxophone > section, so four trumpets, four trombones, five saxes who all double, and a > rhythm section, who are all very specific specialists in this style. And > then on top of that you have a woodwind and French horn section. > But I think the key thing is getting the right string players.
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On this Monday evening, Dr. Bauza > leaned over the piano and instructed Varona to play the same piano vamp he > did the night before. Varona's left hand began the introduction of Gilberto > Valdes' El Botellero. Bauza then instructed Julio Andino what to play; then > the saxes; then the trumpets. The broken chord sounds soon began to take > shape into an Afro-Cuban jazzed up melody.
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The Either/Orchestra (E/O) is a jazz group formed by Russ Gershon in Cambridge, Massachusetts, USA, in 1985. E/O is configured as a "small big band", with three saxes, two trumpets and one or two trombones. E/O's is characterized by a heavier and more orchestrated sound than that of a smaller jazz combo, but remains more streamlined and improvisation-oriented than most big bands.
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The brothers comprising the Six Brown Brothers were, William, Tom (1881–1950), Alec, Percy, Fred, and Vern Brown. The band was led by Tom Brown. (Additional non-family members also played with the group.) The Brown Brothers lived in Lindsay, Ontario until 1893. The first instrumentation consisted of a saxophone quintet (bass, baritone, tenor, and 2 alto saxes), and in 1913 they added a second baritone sax.
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Thomas Chapin (March 9, 1957 - February 13, 1998) was an American composer and saxophonist/multi-instrumentalist. Though primarily an alto saxophonist, he also played sopranino, as well as soprano, tenor, baritone saxes and flute. Many of his recordings as a leader were in a trio with bassist Mario Pavone and drummer Michael Sarin. Chapin studied with Jackie McLean and Paul Jeffrey and studied with Lionel Hampton.
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However, during the bebop era, the rapid tempo and complicated chord progressions made it increasingly harder to play "by ear." Along with other improvisers, such as saxes and piano players, bebop-era jazz guitarists began to improvise over the chord changes using scales (whole tone scale, chromatic scale, etc.) and arpeggios.Jazzology: The Encyclopedia of Jazz Theory for All Musicians, by Robert Rawlins, Nor Eddine Bahha, Barrett Tagliarino. Hal Leonard Corporation, 2005 , .
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Galactic's Skinman Keeps It Up Christopher Blagg, offBEAT.com, Mar 1, 2002, Retrieved June 22, 2007 Moore's concept for the album "was to have two saxes, bass and drums, and to improvise over loops..." building the tracks upon rhythm. Melodies then developed through improvisation and composition by the saxophonists. "Magnolia Triangle" is a classic New Orleans composition in 5/4 meter from famed New Orleans drummer and composer James Black.
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The band spent " a lot of time" recording Polar Bear, Seb Rochford stating that he wanted the album "to have the saxes not so much soloing, but more interacting with (Leafcutter) John, and it took a while for everyone to get their heads round improvising in that way". The album was initially released on Tin Angel in 2008, but was re-issued by The Leaf Label in 2014.
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Later he recorded with Geronimo Black and the Grandmothers. In 1980 Gardner and other members from the Mothers of Invention reunited to form the Grandmothers, recording a few albums and reuniting again in 2002. Gardner has done a few projects with Don Preston, a member of the Mothers, making a few albums and touring with him. Gardner also plays flute, piccolo, clarinet, bass clarinet, bassoon, and bass and soprano saxes.
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Soon afterward, she and Paul Brown were in the studio recording her first album, Tequila Moon. Since beginning her career, she has toured with other jazz artists, such as Jeff Lorber, Jeff Golub, Euge Groove, Paul Brown, and Gerald Albright. In 2008/2009, she toured as a part of the Guitars & Saxes tour. In 2010 she Toured with Norman Brown and Brenda Russell in the Summer Storm Jazz tour.
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The Glenn Miller Orchestra recorded the song on February 5, 1940 in New York. The personnel on the Glenn Miller recording: Saxes: Hal McIntyre, Tex Beneke, Wilbur Schwartz, Jimmy Abato, Al Klink; Trumpets: Clyde Hurley, John Best, R. D. McMickle, Legh Knowles; Trombones: Glenn Miller, Tommy Mack, Paul Tanner, Frank D'Annolfo; Piano: Chummy MacGregor; String Bass: Rowland Bundock; Guitar: Richard Fisher; Drums: Moe Purtill.The Essential Glenn Miller. Recording Information, p. 30.
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In 2011, he switched from LA SAX Saxes to Dakota Saxophones, which the owner, Peter LaPlaca, sold for Dakota. In 2005, Elliot joined trumpeter Rick Braun to co-found their own label, ARTizen Music Group (now known as Artistry Music). Among the first albums on that label is Elliot's own Metro Blue. Elliot played the lyricon on several songs on the album Mirage a Trois (1983) by the Yellowjackets.
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Phil Treloar was born in Sydney on 7 December 1946. He commenced his musical career in the late 1960s, playing drums with various groups at local Sydney venues and in the early 1970s was very active in the Australian jazz scene, playing with musicians such as Alan Lee, with Roger Frampton and Barry Guy, Erroll Buddle, Judy Bailey, and Bernie McGann, then worked with Frampton again in the Intersection group in 1984, which toured Asia. During the first half of the 1970s he was also a member of the Jazz Co-Op, along with Roger Frampton (piano and saxes), Howie Smith (saxes), and Jack Thorncraft (bass). The Jazz Co-op was one of the most influential jazz units in Sydney during the 70s, and worked at major venues such as The Sydney Opera House, Sydney Town Hall and played to packed houses at over 30 engagements at Sydney's premier jazz club at that time, The Basement.
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Malone retired in 1956 and the band gained a bassist in Bob Cowle. Laurie Gooding replaced Gibson on clarinet around 1960. The group disbanded when Ansell moved to Wagga Wagga in 1960 and (with wife Shirley Ansell on piano, John Costelloe on trombone, David Kennedy on saxes and clarinet, Graeme Callander on tuba and George Ceeley on drums) founded the Riverina Jazz Band, still going strong in 1995 with virtually the same lineup.
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The first Cab Calloway Orchestra comprised Earres Prince on piano; Walter "Foots" Thomas and Thornton Blue on alto saxes; Andrew Brown on tenor sax; Morris White on banjo; Jimmy Smith on tuba; and DePriest Wheeler on trombone; Leroy Maxey on drums; R. Q. Dickerson and Lammar Wright on trumpets. Shipton, Alyn (2010) Hi-de-ho: The Life of Cab Calloway, p. 284. Oxford University Press At Google Books. Retrieved 18 May 2013.
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After a disagreement over money, Snowden was forced out of the band and Duke Ellington was elected as the new leader. They were booked at a Times Square nightspot called the Kentucky Club for three years where they met Irving Mills, who produced and published Ellington's music. Hardwick occasionally doubled on violin and string bass in the 1920s, but specialized on alto sax. He also played clarinet and bass, baritone and soprano saxes.
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In 1956, Powell was a member of the Dizzy Gillespie Big Band that recorded Groovin' High live at Birdland with Walter Bishop on piano, Nelson Boyd on bass, Marty Flax on baritone, Gillespie, Quincy Jones, Carl Warwick and Joe Gordon on trumpets, Benny Golson and Ernie Wilkins on tenor, Ernie Henry and Phil Woods on alto saxes, Roy Levitt and Melba Liston on trombones. He went on to record several albums with Gillespie.
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After serving in the Second World War, King returned to London and took tenor sax and clarinet lessons. His first professional work was with Jiver Hutchinson in 1947, before going on to join the bands of Kenny Graham, Teddy Foster, and Leon Roy. In 1948, he was first tenor in George Evans' Saxes ‘n’ Sevens with Tony Arnopp, Kenny Clare and Les Evans. He played with Oscar Rabin 1948–50 and Kathy Stobart 1950–52.
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This event was filmed and recorded and was released as a live album and DVD in 2019. Also, 2018 saw the release of another single on Dome Records from Simon Law :- Look To The Sky (NK OK and Blue Lab Beats Remix) Feat. Jazzie B and Lain Gray with Gary Barnacle on Tenor and Alto Saxes. He also played Sax on the Geoff Everett album Night Patrol which was released in 2018.
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This band followed the American model, and featured 5 saxes, 4 trombones, 4 trumpets, piano, guitar, Bass and Drums. The new Ted Heath Band, originally organised as a British "All Star Band" playing only radio dates, was first heard on a BBC broadcast in 1944. In 1945, the BBC decreed that only permanent, touring bands could appear on radio. So Ted Heath and his Music was officially formed on D-Day, 1944.
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The Soft Machine name was used for the 1981 record Land of Cockayne (with Jack Bruce on bass and, again, Allan Holdsworth on guitar, plus Ray Warleigh and Dick Morrissey on saxes and John Taylor on electric piano), and for a final series of dates at London's Ronnie Scott's Jazz Club in the summer of 1984, featuring Jenkins and Marshall leading an ad hoc lineup of Etheridge, Warleigh, pianist Dave MacRae and bassist Paul Carmichael.
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After the Cornell Big Red scores in football, the trumpet section demonstrates their appreciation by doing pushups for each point scored by the team. In addition, the flute section also joins in with a series of "flute ups"; the section tosses a member of their section into the air for each point scored. Recently, the saxophone section has begun a similar tradition by lifting their saxes in the air while counting the points scored.
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It was sold to Thomas Mejer of Switzerland in July 2002; he has recorded on it with Peter A. Schmid as the "Two Tubax Duo." The tubax has had debate over whether it is really in the saxophone family. Its bore is not as wide as other saxophones that size are, and the tubing is very thin compared to other saxes. Some authorities classify it as its own family of instruments, while others consider it in the saxophone family.
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5 9 A big band-style brass section with trumpets and saxes was backed by a trap drum, piano, bass and a Cuban bongo.Leymarie, Isabelle; 1997; "Cuban Fire: The Story of Salsa and Latin Jazz;" pg. 159 Several weeks later, in early January 1941, Machito took on Bauza as musical director;Interviews Cited Bauzá, Mario. Interview by John Storm Roberts, Jazz Oral History Project, Smithsonian Institution. 13 December 1978. a role he kept for 34 years.
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Devon became a vocalist for the Tito Burns jazz band and developed the skill for scat singing. She sang ballads and her voice was occasionally used instrumentally alongside the trumpet and saxes in arrangements. On occasion, Burns and Devon sang together as a duo in the manner created by the American husband and wife duo Jackie Cain and Roy Kral. Her songs for Decca Records were Be Bop Spoken Here, a duet with Burns, and I'm Forever Blowing Bubbles.
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These three combinations were proposed during the planning of the re-organisation but were never implemented. The E1 (7 players) was to comprise 4 trumpets, an electric organ, bass and drums. The E2 (29 players) was the largest combination, with 10 violins, 4 violas, 4 cellos, 2 flutes, oboe, 4 trombones, percussion, harp, guitar and piano, with the addition of a bass. The E3 (20 players) would have 10 violins, 2 violas, 2 cellos, bass and 5 saxes.
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Dinah Washington On the album: Dinah! Recorded November 11, 1955, Los Angeles (audio on YouTube) Hal Mooney, arranger Accompanied by Maynard Ferguson, Conrad Gozzo, Ray Linn, Mannie Klein (trumpets); Tommy Pederson, Frank Rosolino, Si Zentner (trombones); Herb Geller, Skeets Herfurt (alto saxes); Georgie Auld, Babe Russin (tenor saxes); Chuck Gentry (né Charles Thomas Gentry; 1911–1987) (bari sax); Wynton Kelly (piano); Al Hendrickson (de) (guitar); Keter Betts (bass); Jimmy Cobb (drums); Harold "Hal" Mooney (director) Matrix 12401-4 EmArcy MG36065 15. Soundtrack From the 1957 film Designing Woman Album title: Miss Dolores Gray: Legendary Star of Stage and Screen (video on YouTube)' Blue Pear Records 1014 16. Billie Holiday Billie Holiday With Ray Ellis And His Orchestra Accompanied by Harry "Sweets" Edison (trumpet), Joe Wilder (trumpet), Billy Byers (trombone), Al Cohn (tenor sax), Danny Bank (bari sax), Hank Jones (piano), Barry Galbraith (guitar), Milt Hinton (bass), Osie Johnson (drums), Ray Ellis (arranger, conductor) Recorded March 11, 1959 (audio on YouTube) 59XY445: "There'll Be Some Changes Made" MGM SE-3764 Verve (E)2304120 (MGM) 17.
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The Red Hot Peppers was a New Zealand band formed in 1975 by Robbie Laven. The band members were Robbie Laven who played multiple instruments including mandolin, ang klungs, congas, saxes (alto and barritone), flute, guitars, clarinet, fiddle, Glockenspiel, zither, banjo, harmonica, dobro and penny whistle, Marion Arts, who did vocals, Mike Farrell who played the guitar, Paul Baxter who played bass and was replaced by Peter Kershaw, and Jim McMillan who played the drums and was replaced by Vaughan Mayberry.
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When he entered Horace Mann High School, he was eager to study music and play the saxophone for the school band but they were out of saxes. His second choice was the trumpet, they too were out, so eventually he settled on the trombone and began to practice hard on that instrument, like his idol Tommy Dorsey. After graduating from high school in 1939, he attended the University of Notre Dame and spent three semesters at the University of Chicago studying engineering.
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He recorded his first album as leader in 1955 with George Duvivier (double bass) and Howard Roberts (jazz guitar) for Pacific Jazz. In the same year Hamilton formed an unusual quintet in L.A. featuring cello, flute/saxes/clarinet, guitar, bass and drums. The quintet has been described as one of the last important West Coast jazz bands. The original personnel included flutist/saxophonist/clarinetist Buddy Collette, guitarist Jim Hall, cellist Fred Katz and bassist Jim Aton, who was later replaced by Carson Smith.
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In 1989, Colley co-founded the dark- spirited band Morphine with front-man Mark Sandman of Boston-based Treat Her Right. The two were joined by drummer Jerome Deupree and quickly garnered a local following. Their debut album, 1992's Good, was picked up by the Rykodisc label in 1993, and the band embarked on extensive, successful touring. Colley's main instrument with the band was baritone sax, but he occasionally sang backing vocals, played percussion or other saxes (tenor, bass or soprano).
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Mark Blake of Q described the album as "carbon-dated to 1986 thanks to those blaring saxes and Fairlight CMI digital sampling synths". He added that "Gabriel crafted an album of user-friendly pop that was still reassuringly odd." Terry Staunton of Classic Rock wrote "Red Rain was familiarly pensive and politically charged, but the radio waves completely surrendered to the record's muscular dance rock and slower tempo eloquence." Staunton concluded that Gabriel had displayed "a masterful confidence, delivering a satisfyingly unified whole".
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Spencer W. Clark (March 15, 1908 – May 27, 1998) was an American jazz bass saxophonist and multi-instrumentalist. In addition to bass saxophone, Clark was also competent on mandolin, cornet, trumpet, clarinet, alto and tenor saxes, guitar, xylophone, and string bass, as well as an occasional vocalist. His first professional experience was on saxophone in a New Rochelle, New York ensemble in 1923. In 1925-26 he subbed for Adrian Rollini in the California Ramblers on record and in movie palaces.
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During the Swing era, many soloists improvised "by ear" by embellishing the melody with ornaments and passing notes. However, during the bebop era, the rapid tempo and complicated chord progressions made it increasingly harder to play "by ear." Along with other improvisers, such as saxes and guitar players, bebop-era jazz pianists began to improvise over the chord changes using scales (whole tone scale, chromatic scale, etc.) and arpeggios.Jazzology: The Encyclopedia of Jazz Theory for All Musicians, by Robert Rawlins, Nor Eddine Bahha, Barrett Tagliarino.
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Bramblett has been described as an outstanding lyricist and vocalist. The songs he wrote during his time with Sea Level have been described as "philosophical, despairing soul and funk tunes and rockers." As of 2017, Bramblett has recorded a total of fourteen albums, with the first two, That Other Mile and Light of the Night, issued by Polydor in the 1975 and 1976, and multiple albums in each succeeding decade. Bramblett's 2001 album, No More Mr. Lucky, features Bramblett playing the Hammond B-3 and saxes.
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Davey Payne left the group permanently in August and was replaced by Gilad Atzmon; this line-up gigged throughout 1999, culminating in their last performance with Ian Dury on 6 February 2000 at the London Palladium. Dury died six weeks later on 27 March 2000. The Blockheads have continued after Dury's death, contributing to the tribute album Brand New Boots And Panties, then Where's The Party. The Blockheads currently comprise Jankel, Watt-Roy, Gallagher, Turnbull, John Roberts on drums, Gilad Atzmon and Dave Lewis on saxes.
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After a residency at the Hammersmith Palais, George Evans was admitted to a sanatorium with tuberculosis and his brother Les took the band on tour until February 1947. After lengthy hospital treatment and recuperation, he returned to singing with Geraldo, wrote arrangements for various bands, and formed a student orchestra. In 1949 he formed a new band, with four trumpets, four trombones, six saxes and four rhythm. They toured widely until 1951, when he secured a residency at the Oxford Galleries, Newcastle upon Tyne.
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Scott Yanow in his review for Allmusic stated, "One of the most exciting new jazz big bands of the period, Ellis' ensemble became notorious for its ability to play coherently in odd time signatures... Ellis enjoyed utilizing unusual combinations of instruments; the instrumentation on this date consists of five trumpets, three trombones, five saxes, piano, three bassists, two drummers and a percussionist... Highly recommended".Yanow, S. Allmusic Review, accessed May 27, 2013 The Penguin Guide to Jazz said "Ellis manages to combine intellectual stimulation and visceral impact".
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The upbeat song, with honking saxes and pounding piano, became a regional hit and was leased to Modern Records, but was covered more successfully by other artists. His follow-up, "All That Oil in Texas", was also successful locally. Oscar McLollie and his Honey Jumpers continued over the next few years to record a series of songs written by Leon or Googie René, including "God Gave Us Christmas", and "Lolly Pop" which was covered by Louis Jordan. McLollie and his band remained popular live performers.
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The critic Simon Price described the new band: "Think Evel Knievel jumpsuits, Red Indian head-dresses and star-shaped warpaint, think lyrics about Bowie vs. Gary rivalry, think parping saxes and stomping stack-heeled beats." The band released a Glam cover of Bruce Springsteen's "Born in the U.S.A.", with a video showing Georgeson and Argos singing the song while driving down the M4. The version was a showcase for their different singing styles, with Argos speak-singing the verses, and Georgeson providing a soaring operatic refrain.
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He also ran his own band, Saxes 'n Sevens, at the Embassy Club, made up of three altos, four tenors, and four musicians in the rhythm section, including leading saxophonists of the day: Hayes, Les Gilbert and Tommy Bradbury, on altos; himself, Jimmy Durrant, Poggy Pogson, Tommy Bradbury, Andy McDevitt, Norman Maloney, and Aubrey Frank on tenors. Later lineups would also include Pete King. The rhythm section consisted of, at various times, Joe Deniz on guitar, Wilkie Davidson on bass, Bobby Midgeley or Kenny Clare on drums and George Shearing or Ronnie Selby on piano.
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Retrieved 30 June 2013 He later recorded briefly and unsuccessfully for Atco Records in New York. Buddy Griffin signed for Chess Records in Chicago, and had a minor R&B; hit in 1955, "I Wanna Hug Ya, Kiss Ya, Squeeze Ya", with Claudia Swann, credited as Buddy & Claudia with the Buddy Griffin Orchestra.Joel Whitburn, Top R&B;/Hip-Hop Singles: 1942-2004, p.57 The band members were "Silly Willie" Wilson (trombone), Chuck Reeves (alto and baritone saxes), Earl Swanson (tenor sax), Lawrence Burgan (bass), and Courtney Brooks (drums).
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Morrissey–Mullen were a British jazz-funk/fusion group of the 1970s and 1980s.[ Biography] Ankeny, Jason. AllMusic Considered one of the most popular jazz groups in London,The Rough Guide to Jazz Rough Guides, 2004 at Google Books the band was led by Dick Morrissey on tenor and soprano saxes and flute, and Jim Mullen on guitar, who joined forces in 1975, playing together for sixteen years, during which they came to be known as "Mr Sax and Captain Axe" because of their hallmark call and response style between guitar and saxophone.
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" A new band for 2013, Chick Corea & The Vigil, featured Corea with bassist Hadrien Feraud, Marcus Gilmore on drums (carrying on from his grandfather, Roy Haynes), saxes, flute, and bass clarinet from Tim Garland, and guitarist Charles Altura. Corea celebrated his 75th birthday in 2016 by playing with more than 20 different groups during a six-week stand at the Blue Note Jazz Club in Greenwich Village, New York City. "I pretty well ignore the numbers that make up 'age'. It seems to be the best way to go.
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Three months after they recorded DJ Play My Blues album for Buddy Guy, they entered the Soto Sound Studio in Chicago again to record a new session, but this time led by Phil Guy. They recorded a bunch of songs, which released on two different albums. The first one was released in 1982, and the next a year later, both on JSP. There was some changes in the line-up, Professor Eddie Lusk connected on keyboards, J.W. Williams returned on the bass, Maurice John Vaughn played some saxes.
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Inspired by the BBC program 6.5 Special, it had a similar format to its rival on the TCN9 network, Bandstand compered by Brian Henderson. This was ABC-TV's very first youth oriented music program, long before the start of Countdown. The show initially opened with American girl Ricki Merriman as compère and Johnny O'Keefe and his band The Dee Jays as guests. The Dee Jays consisted of Greeno and Bluto on saxes (Bluto turned out to be Bob Bertles, who became a leading jazz player), Johnny '"Catfish" Purser on Drums, Keith Williams on Bass, and Lou Katz on Guitar.
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Being the only constant member, Grigsby assembled an everchanging lineup, that featured vocalist Emily Hay, as well as Rod Poole (acoustic guitar), Bridget Convey (piano), Hannes Giger (contrabass), and David Kerman (drums). Grigsby disbanded the group in 1989 to focus on the project U-Totem. Nevertheless, Grigsby and Hay reunited the group in 1997 with a largely expanded lineup, including former members Lynn Johnston (clarinets, saxophone) and Eric Johnson-Tamai (bassoon). The new lineup also featured musicians from 1990s West Coast new jazz scene, such as Vinny Golia (clarinets, saxes), Jeff Kaiser (trumpet), and Brad Dutz (marimba and vibraphone).
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Chandler Travis Three-O is a quartet that was created to play smaller venues than Chandler Travis Philharmonic, it being difficult to find venues with the budget and stage-space to fulfill the Philharmonic's needs. Although they have rearranged songs from the Philharmonic to work with the quartet, there is enough material that the Three-O has quite a different repertoire from the Philharmonic, and they have released two albums. The scaled-down group is: Chandler Travis (guitar/vocals), Fred Boak (vocals), John Clark (upright bass), Berke McKelvey (saxes/clarinets/keyboards), and sometimes Kami Lyle (trumpet, vocals).
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In 2015, the Stafford James Strings, Percussion and Horns Ensemble toured Europe, performing original compositions in tandem with compositions by other Jazz composers. The arrangements by Stafford James featured contrabass soloist, harp, string quartet, flute, trumpet doubling on flugelhorn, saxes doubling on bass clarinet, trombone, tuba, guitar, support bass, drums and percussion. The presentation is that of a double bass concerto. 2016-17 there was a new series of three productions in Chicago of the Stafford James Strings, Percussion and Horns Ensemble, a string quartet and a string quintet at the EDGE Theater located in Edgewater, Chicago.
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Unlike many reed players, Purcell is proficient on virtually all the reeds from piccolo, bass clarinet, flute, alto flute, oboe, tenor, alto and soprano saxes, a great reader who is also an original improvisor which made him a natural to replace Julius Hemphill in "The World Saxophone Quartet" when Hemphill left the group due to illness. Purcell was also a part of Jack DeJohnette's Special Edition This group also helped the careers of many lesser-known young horn players, as it had a rotating front line that included Purcell, David Murray, Arthur Blythe, Chico Freeman, and bassist Rufus Reid.
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He noted that it "…is of the dialect used by the traders and the people of mixed blood in speaking with the Menomonies and Winnebagoes also many of the Sioux, Saxes and Foxes." Although "Broken Oghibbeway" retains many aspects of the complex inflectional morphology that characterizes Ojibwe, it is nonetheless simplified and restructured, with reductions in the treatment of transitivity and gender, with simplification of the system of personal prefixes used on verbs, loss of the negative suffix that occurs on verbs, and loss of inflectional suffixes that indicate grammatical objects.Nichols, John, 1995, pp. 17-18.
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Smith toured the northeastern United States heavily during the 1970s. He concentrated largely on smaller neighborhood venues during this period. His sidemen included Donald Hahn on trumpet, Ronnie Cuber, Dave Hubbard, Bill Easley and George Adams on saxes, George Benson, Perry Hughes, Marc Silver, Billy Rogers, and Larry McGee on guitars, and Joe Dukes, Sylvester Goshay, Phillip Terrell, Marion Booker, Jimmy Lovelace, Charles Crosby, Art Gore, Norman Connors and Bobby Durham on drums. Smith has performed at several prominent jazz festivals with artists including Grover Washington Jr., Ron Carter, Dizzy Gillespie, Lou Donaldson, Ron Holloway, and Santana.
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In his later years he collaborated with pianist Krzysztof Komeda on Komeda's album Astigmatic, recorded in late 1965. In 1968, Stańko formed a quintet whose members included Janusz Muniak - tenor and soprano saxes, flute, Zbigniew Seifert - alto sax and violin, Bronisław Suchanek - bass, Janusz Stefański - drums, percussion. In 1975, he formed the Tomasz Stańko-Adam Makowicz Unit. Stańko established a reputation as a leading figure not only in Polish jazz, but on the world stage as well, working with many notable musicians, including Jack DeJohnette, Dave Holland, Reggie Workman, Rufus Reid, Lester Bowie, David Murray, Manu Katché and Chico Freeman.
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Jonathan Widran of AllMusic stated "Performing here on soprano, alto, tenor, and baritone saxes, he draws upon his artistry as a melodist to capture the emotional spirit of a dozen of opera's most beautiful arias... all with a sensibility that is very much of our day. The Orchestra of St. Lukes is most effective wrapping its lushness around the tenor on a dramatic rendering of Puccini's "Donna Non Vidi Mai." Bassist Ron Carter and pianist Billy Childs complete a beautiful trio. This isn't Grover at his most inventive or exciting, but like everything he did, it's full of pure heart".
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The logistics of touring with the ICP tentet or his octet resulted in Brötzmann reducing the group to a trio with Han Bennink and Fred Van Hove. Bennink was a partner in Schwarzwaldfahrt, an album of duets recorded outside in the Black Forest in 1977 with Bennink drumming on trees and other objects found in the woods. In 1981 Brötzmann made a radio broadcast with Frank Wright and Willem Breuker (saxes), Toshinori Kondo (trumpet), Hannes Bauer and Alan Tomlinson (trombones), Alexander von Schlippenbach (piano), Louis Moholo (drums), Harry Miller (bass). This was released as the album Alarm.
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Orkest de Volharding (perseverance orchestra) is a Dutch music ensemble, founded in 1972 by Louis Andriessen and saxophonist Willem Breuker, named after the eponymous Andriessen work. The line up for the original concert, on 12 May 1972, was three each of trumpets, saxes and trombones, plus Andriessen on the piano. After that the standard line was established with the addition of flute, horn and bass (although for a period 2 clarinets were added as well). Originally conceived as a street band with a political agenda, the group has gradually evolved into a more conventional contemporary music ensemble, adding a conductor in the 1990s.
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Prince was also active as a composer, arranger and producer in the jazz and pop field where he went by the name Bob Prince and contributed to several projects for Columbia Records in the 1950s.Liner notes to Columbia Records CL 842 Contracted to the Warner Brothers label in 1959 he released four albums under his own name. Notable among these albums is Saxes Inc. which is arranged for an ensemble of twelve saxophones and rhythm section and features some of the top New York jazz and studio players of the time including Phil Woods, Gene Quill, Al Cohn and Zoot Sims.
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Tippett and his band also recorded in the 1970s for Giorgio Gomelsky's label, Utopia, releasing the Julie Tippetts album Sunset Glow. Tippett continued to play with various combinations of musicians through the 1970s, playing improvisational jazz and jazz-rock with such musicians as Stan Tracey, Robert Wyatt, Dudu Pukwana, Harry Miller, Elton Dean, Hugh Hopper, and Louis Moholo. From 1979, he also started to release many live albums of solo piano performances, beginning with The Unlonely Raindancer. In the late 1980s, he, along with Paul Dunmall saxes, Paul Rogers bass, and Tony Levin drums, formed the quartet Mujician, playing purely improvised jazz.
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At that time he made many recordings with groups led by George Russell and Jimmy Giuffre. A fine example of his solo playing can be heard on All About Rosie, the lead track on the suite for orchestra featuring Bill Evans (written by George Russell and conducted by Gunther Schuller), recorded live at the Brandeis Jazz Festival in 1957. In 1958 Hal McKusick led a small group with Bill Evans that recorded Cross Section - Saxes which included contributions from Art Farmer, Paul Chambers, Connie Kay, and Barry Galbraith. For this album, McKusick commissioned arrangements from George Handy, Jimmy Giuffre, George Russell and Ernie Wilkins.
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Jordan first formed the band as "The Elks Rendezvous Band", named after the Elks Rendezvous jazz joint in Harlem. The original lineup of the sextet was Jordan (saxes, vocals), Courtney Williams (trumpet), Lem Johnson (tenor sax), Clarence Johnson (piano), Charlie Drayton (bass) and Walter Martin (drums). The various lineups of the Tympany Five (which often featured two or three extra players) included Bill Jennings and Carl Hogan on guitar, renowned pianist-arrangers Wild Bill Davis and Bill Doggett, "Shadow" Wilson and Chris Columbus on drums and Dallas Bartley on bass. Jordan played alto, tenor and baritone saxophone and sang the lead vocal on most numbers.
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Hamilton released Foreststorn in 2001 featuring Euphoria with Cary DeNigris on guitar, Paul Ramsey on bass, and a new two-horn front line with Eric Lawrence on alto and soprano saxes and Evan Schwam on tenor sax, as well as guest appearances from former band members and others. In August 2001, he performed My Funny Valentine: A Tribute to Chico Hamilton at Lincoln Center. In 1997, Hamilton received the New School University Jazz and Contemporary Music Programs' Beacons in Jazz Award in recognition for his "significant contribution to the evolution of Jazz". In 2002, he was awarded the WLIU-FM Radio Lifetime Achievement Award.
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In 2000 he was a regular at age 88 with his band booked, among other places, at a retro big band restaurant called Leon's Steak House in North Hollywood. The Times reported: > When this guy takes his spot in front of a 16-piece ensemble of blaring > trumpets and gleaming saxes—The Way It Was Orchestra, as he calls it—his > frail arms start pumping, his toes tap and his body begins to radiate a > vigor that energizes the old musicians like swigs from a fountain of youth. > . . . nothing stirs the diminutive Bernardi—he's about 5 foot 3, a little > over 100 pounds—like his music.
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Jesse Miller, Jr. (August 16, 1921 – January 24, 1950) was an American jazz trumpeter and bandleader. Born in Houston, Texas, he moved to Chicago where he studied under Captain Walter Dyett at the DuSable High School. Turning professional in 1940, he played in the bands of Tiny Bradshaw and King Kolax. He went on to join Milt Larkin's house band at the Rhumboogie in 1941, with Calvin Ladnier, Clarence Trice and Miller on trumpets, Arnett Sparrow and Streamline Williams on trombones, Frank Dominguez, Tom Archia (billed as Ernest Archey), Moses Grant and Sam Player on saxes, Cedric Haywood on piano, Lawrerence Cato on bass and Alvin Burroughs on drums.
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The band added additional Flippo compositions as well as works by Steve Hashimoto, Dan Hesler and several modern jazz standards to their repertoire and began performing at area colleges, festivals and special events at area museums and art galleries. During the period the instrumentation crystallized into its present form - with Dave Flippo on keys, Dan Hesler on saxes and flute, Donn De Santo on bass, Heath Chappell on drums and Aras Biskis now on percussion. The ensemble released their second CD, Ganesh, in 2001, also on Southport Records. The ensemble tracks were recorded at Donn DeSanto's "Bassplace Productions" studio while the solo piano preludes recorded at Sparrow Sound Design (Southport Records).
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"Play That Funky Music" is a song written by Rob Parissi and recorded by the band Wild Cherry. The single was the first released by the Cleveland-based Sweet City record label in April 1976 and distributed by Epic Records. The performers on the recording included lead singer Parissi, electric guitarist Bryan Bassett, bassist Allen Wentz, and drummer Ron Beitle, with session players Chuck Berginc, Jack Brndiar (trumpets), and Joe Eckert and Rick Singer (saxes) on the horn riff that runs throughout the song's verses. The single hit number one on the Billboard Hot 100 on September 18, 1976; it was also number one on the Hot Soul Singles chart.
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Jordan's first band, drawn mainly from members of the Jesse Stone band, was a nine-piece group that he reduced to a sextet after being hired for a residency at the Elks Rendezvous club at 464 Lenox Avenue in Harlem. The band consisted of Jordan (saxes, vocals), Courtney Williams (trumpet), Lem Johnson (tenor sax), Clarence Johnson (piano), Charlie Drayton (bass), and Walter Martin (drums). In his first billing as the Elks Rendez-vous Band, his name was spelled "Louie" so people could avoid pronouncing it "Lewis". In 1942, Jordan and his band moved to Los Angeles, where he began making soundies, the precursors of music video.
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However, Lutcher was unhappy with Rupe's request that he only record slow blues, and at the behest of his sister Nellie also recorded (as "Joe Lutcher's Jump Band") for Capitol Records. Joe Lutcher's first hit was "Shuffle Woogie" on the Capitol label, which reached # 10 on the Billboard "Race Records" chart in March 1948. "Rockin' Boogie", on Specialty, reached # 14 in September 1948. Besides Lutcher on alto saxophone and occasional vocals, members of his band included Karl George on trumpet, Bill Ellis and Leon Beck on saxes, Harold Morrow on piano, Bill Cooper on bass and novelty vocals, and drummer Dick "Booker" Hart, sometimes augmented with vocals by actor Cliff Holland.
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A duet with Perry Robinson, also on the Tzadik label, Two Voices in the Desert was released in January 2009. Since the mid-1990s Greene has performed and recorded in New York and along the East Coast. Greene's recent performance and recorded groups based in New York include a duet with bassist Mark Dresser; a quartet with trumpeter Roy Campbell, Lou Grassi and Adam Lane; a trio with Ed and George Schuller on bass and drums (recorded on the CIMP label); and a quintet with the Schuller brothers, Russ Nolan on saxes and flute and Paul Smoker on trumpet. His autobiography written over 20 years, Memoirs of a Musical Pesty-Mystic, was published in 2001 (Cadence Jazz Books).
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The Dutch Swing College Band performing at the North Sea Jazz Festival in 1976 or 1979. The Dutch Swing College Band "DSCB" is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort. Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) - among many others.
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Two of the songs – a cover of Alan O'Day's "Caress Me Pretty Music" and a cover of Joe Cocker and Chris Stainton's "There Must Be A Reason" were put out as a single in early 1971. In June of that year Martin traveled to Bakersfield, California, where he judged a Battle of the Bands sponsored by a local radio station. There he spotted the Bill Shaw Madness, whose members included, in addition to Shaw (guitar and vocals), Mark Yeary (piano, organ and vocals), Lew Wilcox (bass and vocals), Daddy Ray Arvizu (saxes), and Eric Griffin (drums). That night Martin tapped Madness as his backup band, intending to tour in support of the material he had recorded for RCA.
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The band includes the following musicians, which have other musical history and commitments as well:Band members' bios Marco Diaz, piano; Charlie Gurke on Saxes; Jeff Cressman,Jeff Cressman discography at CD Universe Greg Saul and Abel Figueroa, trombones; Edgardo Cambón, vocals & congas; Omar Ledezma, bongo drums & background vocals; David Belove,David Belove discography at CD Universe bass, Julio Areas,Julio Areas discography at CD Universe timbales & background vocals and Miguel Martinez on flute and vocals. Many great musicians play occasionally with this 30 years Bay Area musical treasure, like Doug Beavers (Spanish Harlem Orchestra and Eddie Palmieri) on Trombone, Karl Perazzo (from Santana and Avance bands), pianist Israel Tanenbaum, Jesus Diaz and Christian Pepin rotate on percussion as well.
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Varner's first two recordings as a leader were influenced by Ornette Coleman, Steve Lacy, Charles Mingus, Anthony Braxton, and minimalists such as Steve Reich and Philip Glass, and featured Varner's horn with alto sax (Ed Jackson), bass (Fred Hopkins or Ed Schuller) and drums (Billy Hart), with no chordal instrument. His third recording was a more "straight-ahead" jazz project, with Kenny Barron, Jim Snidero, Mike Richmond, and Victor Lewis. The fourth project was a Sonny Rollins-influenced trio of horn, bass (Mike Richmond) and drums (Bobby Previte). From that point (1987) on, most of Varner's work as a leader was for a quintet of horn and two saxes, bass, and drums, with frequent guest artists augmenting the ensembles.
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BMI, the performing rights organization, lists the songwriters/composers as "Myron C. Bradshaw, Sydney Nathan, and Howard Kay". According to music historian Larry Birnbaum, "Mann's name was plainly added to allow Syd Nathan to siphon off a share of the publishing royalties, as label owners routinely did in those days; as for Kay, his identity remains a mystery". The recording session took place on October 6, 1951, in Cincinnati, Ohio. Besides Brashaw, Prysock, and Paul, the other participants were: Leslie Ayers and Lester Bass on trumpets; Andrew Penn on trombone; Ted "Snooky" Holbert on alto and baritone sax; Rufus Gore on tenor saxes; Jimmy Robinson on piano; and Clarence Mack on bass.
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Retrieved 23 June 2013.) was an American jazz saxophonist who played both tenor and baritone saxes. Self-taught on the saxophone, flute and clarinet, by the mid-1950s, he was playing in different line-ups led by Charles Mingus,Jenkins, Todd S. (2006) I Know What I Know: The Music of Charles Mingus, p. 34. Greenwood Publishing Group At Google Books. Retrieved 23 June 2013. including the Quintet (with Eddie Bert, Mal Waldron and Max Roach) before going on to join line-ups led by Ernie Wilkins, including the Ernie Wilkins-Kenny Clarke Septet and the Ernie Wilkins Orchestra, as well as with Oliver Nelson, notably on the classic album The Blues and the Abstract Truth.
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May's charts often featured brisk tempos and intricate brass parts. One distinctive feature of his style is his frequent use of trumpet mute devices; another, a saxophone glissando, is widely known as his "slurping saxes". He wrote in slower tempos, sometimes using string arrangements. Good examples of this aspect of his work include his brass chart for "These Foolish Things (Remind Me of You)" on the Cole album Just One of Those Things, his string arrangement of "April in Paris" on Sinatra's Come Fly With Me album, and his arrangement of "I Can't Get Started" on Keely Smith's Politely, which includes a nod to May in the lyrics ("Billy May arranged this for me").
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John Philip Tate (28 April 1922 - 9 December 2005) was an English dance bandleader.Thedeadrockstarsclub.com - accessed December 2010 Born in Bramley, Leeds, Yorkshire, England, Tate played violin from the age of eight, and was later an autodidact on clarinet and saxophone.[ Allmusic - biography by Jason Ankeny] He formed his own group, the Five Quavers, while in high school, and played in the RAF Silver Wings Dance Orchestra during World War II. The ensemble proved so cohesive that all twelve of its members decided to continue playing together after the war, under the name Phil Tate & His Orchestra, taking a residency at Leas Cliff Hall in Folkestone. Their instrumentation was unusual, featuring five saxes and three flutes.
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Wizzo Band was formed by Roy Wood after Wizzard split in 1975, fulfilling his ambitions to create an ensemble that was more jazz-oriented than rock or pop. The line-up included former Wizzard and Move member Rick Price (pedal steel guitar), alongside Bob Wilson (trombone), Billy Paul (alto and baritone saxes), Paul Robbins (keyboards, backing vocals), Graham Gallery (bass), and Dave Donovan (drums). > A lot of people had been doing jazz-rock stuff. There had been jazz > musicians getting into the rock field, like Chick Corea and Stanley Clarke, > but it's very rare that you find a band doing it the other way around a rock > and roll band getting into jazz, and it's quite interesting.
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George left Nova Express later that year for a solo career, including performing with The Marlboro Big Band, The Barry Veith Big Band, Opus Big Band, and Brian May and the ABC Show Band on a tour of Vietnam, which included Derek Capewell on bass, Garry Hyde on drums and Melbourne musical stalwarts. In 1971, George teamed again with Ken Schroder in his band called 'Plant'. This band featured Schroder on saxes and Steve Miller on trombone along with David Alardyce on piano and Colin Deluka on bass plus the Tasmanian drummer Eric Johnson. She worked with that band until 1973 when Ken Schroder left to travel abroad, and she joined Image Records as a solo artist.
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Lurie in 1992 Parallel to the final version of the Lounge Lizards in the early 1990s, Lurie formed a smaller group, the John Lurie National Orchestra, with Lurie on alto and soprano saxes, Grant Calvin Weston on drums, and Billy Martin on congas, timbales, kalimba, and other small percussion. Unlike the tightly-arranged music of the Lounge Lizards, the Orchestra's music was heavily improvised and compositions were credited to all three musicians. They released an album (Men With Sticks, Crammed Discs 1993) and recorded music for the Fishing With John TV series. In February 2014 the Orchestra released The Invention of Animals, a collection of out-of-print studio tracks and unreleased live recordings from the '90s.
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The B1 Orchestra, with a complement of 30, was effectively a big band with strings in the Billy May/Nelson Riddle style, with 5 saxes, 4 trumpets, 4 trombones, piano, guitar, bass, drums, 10 violins, 2 violas and 2 cellos. All the players in the sax section played one or more other instruments including flutes, piccolo, clarinets and different varieties of saxophones, and the pianist was surrounded by a celeste, an upright "jangle" piano and often an electric organ. This totals 31, as the guitar was an official "augmentation". This lineup was unofficially titled the Radio Showband by radio producers and music staff, as it had the same instrumentation as the BBC Showband of the late 1950s.
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During the late 2000s, former Ferguson manager and sideman Ernie Garside authorised the release of two volumes of previously unissued Ferguson recordings dating from the 1970s, on which Robinson is also prominently featured, although sadly his contributions are often misattributed to other players. Widely recognised for his full-toned delivery, agile technique and harmonic detail, Robinson's style during the 1960s and 1970s reflected the influence of several leading American jazzmen, including Sonny Rollins and Joe Henderson, whose work he closely echoes on the album Space Walk. He also made effective use of the flute, clarinet, alto and soprano saxes. Robinson is also regarded as an authority on saxophone mouthpieces, in particular in adapting and altering their internal dimensions to suit a particular player's style and requirements.
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The Allmusic review by "Blue" Gene Tyranny awarded the album 4 stars stating "A collective improvisation by Derek Bailey on acoustic and electric guitars, George Lewis on trombone, and John Zorn on alto and soprano saxes, clarinets, and game calls. Subtle, droll, hilarious takes on the trivia of baseball sounds: Lewis speaks through the trombone "ball one, ball one...." There are snippets of a slipping and sliding version of "Take Me out to the Ball Game" and so on. Sections are titled "City City City," "The Legend of Enos Slaughter," "Who's on First," followed by "On Golden Pond," a tongue-in-cheek tone poem of the flora and fauna and mosquitoes. "The Warning Track" is about a very tiny railroad system.".
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Super Active Wizzo is the only album by the short-lived Wizzo Band, formed by Roy Wood in 1977 to fulfill his more jazz-oriented ambitions. The band also released the two singles "The Stroll", preceding the album, and "Dancin’ at the Rainbow’s End". Neither singles nor album charted and the band split up in 1978. The line-up included Rick Price (pedal steel guitar), Bob Wilson (trombone), Billy Paul (alto and baritone saxes), Paul Robbins (keyboards, backing vocals), Graham Gallery (bass) and Dave Donovan (drums). "Waitin' at This Door" was also used as the B-side to "Dancin' at the Rainbow’s End", while "Giant Footsteps" later ended up as the B-side to the Wood solo single "Keep Your Hands on the Wheel".
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In November 2004 the Peter Brötzmann Chicago Tentet presented A Homage to Kenneth Patchen at the Chicago Humanities Festival with Mike Pearson reading from The Collected Poems of Kenneth Patchen. A recording was released on the German jazzwerkstatt label entitled Be Music, Night in 2006. Musicians in the performance included Peter Brötzmann (clarinets, alto and tenor saxes), Mats Gustafsson (baritone sax, bass clarinet), Ken Vandermark (baritone sax, clarinet), Joe McPhee (trumpet, alto sax), Jeb Bishop (trombone), Fred Lonberg-Holm (cello), Kent Kessler (bass) and Paal Nilssen-Love and Michael Zerang (drums). In 1984 Brötzmann had recorded a solo dedication to Patchen for FMP titled 14 Love Poems, a collection of short unaccompanied reed pieces that mirror textures and cadences found in the poet's love poems.
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"Hotel Nacional" was described by Estefan as a "very woody, old fashioned sound, cause it's jitterbuggy ... It's got clarinets, it's got saxes, and a whole different vibe-it just sounds like you could be in the 20s but with hardcore dance", while commenting on the tracks included her album on Billboard. On the review for Miss Little Havana, Stephen Thomas Erlewine of Allmusic related the lyrics "cuchi cuchi" to Spanish performer Charo. Eric Henderson of Slant Magazine noted that the track "undercuts its pitched beat with wonky Dixieland clarinet riffs." On the review of the parent album by Soul Bounce, they commended the way producer Motiff reinterprets the "big-band sound loops" of house music in the late '80s on the track.
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All About Jazz stated "For this project, he paired his quartet with a modified string quartet (violin, viola and two cellos) for a strong set of compositions. The "double quartet" is thoroughly integrated—this isn't a simple lush-string-backup horn session. As with writing for a singer or arranging well-known pop songs, Parker proves again that he's skilled at gathering the components needed for a project and then making excellent use of them".Gottschalk, K., All About Jazz review, June 8, 2008 Pitchfork's review observed "There are moments of sharp dissonance and unconventional technique-- strings played on the frog or with the back of the bow, saxes overblown and honked, but these are balanced by passages of strong forward momentum and clarity".
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His most ambitious and complex modernist work, the 1982 orchestral score Variants, was premiered by the Esprit Orchestra in Toronto in the 1987–1988 season, recorded by the Canadian Broadcasting Corporation, as a result of winning the 1986 Micheline Coulombe St-Marcoux Prize (CAPAC). However, two works of the Toronto period point to the future vision of music as a more unified means of expression, without stylistic boundaries: SOUND OFF (1983), for 40 saxes, 30 trombones, 30 trumpets and 8 bass drums (an outdoor performance piece – unperformed until 1999) and Visions (1984), for improvising soloist and string orchestra. This latter work was to become his first CD release in 1988, in a remarkable performance by trumpeter Kenny Wheeler, with the Orchestre de chambre de Montréal.
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Collectors' Items is a 1956 studio album by Miles Davis. There are two sessions collected on the album with largely different musicians. The first 1953 session is "Compulsion", "The Serpent's Tooth" (two takes) and "'Round About Midnight".January 30, 1953 Session Details, Miles Ahead: A Miles Davis Website, accessed July 4, 2014 The second 1956 session is "In Your Own Sweet Way", "Vierd Blues" and "No Line".March 16, 1956 Session Details, Miles Ahead: A Miles Davis Website, accessed July 4, 2014 The personnel for the first session were Davis, Sonny Rollins and Charlie Parker (credited under the pseudonym "Charlie Chan" due to his contractual obligations to a rival label) on tenor saxes, Walter Bishop on piano, Percy Heath on bass and Philly Joe Jones on drums.
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L.T.D. (standing for Love, Togetherness, and Devotion), was formed in Greensboro, North Carolina, in 1968, when Arthur "Lorenzo" Carnegie (alto and tenor saxes, flute, guitar), Jake Riley (trombone) Carle Wayne Vickers (trumpet, flute, soprano sax) and Abraham "Onion" Miller (tenor sax, vocals), who had been working as members of the 15 piece "Fantastic Soul Men Orchestra" backing the ever popular duo of Sam & Dave, along with Jimmy "J.D." Davis (keyboards, vocals), formed their own band named Love Men Ltd. They then drove to New York City, in a car that they purchased together (a 1956 Chevy), and lived in the Hamilton Heights section of Harlem on 149th and Broadway, where Toby Wynn (baritone sax) joined them. While performing on a gig in Providence, Rhode Island, Jeffrey Osborne (drums, lead vocals) was recruited by them.
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Man Jumping was formed by Andy Blake (saxes, flute), Martin Ditcham (percussion, drums), Orlando Gough (keyboards), John Lunn (bass, keyboards), Glyn Perrin (keyboards, cello), Charlie Seaward (keyboards, flute) and Schaun Tozer (keyboards). Their music drew on world and ethnic musics, electronics and funk to create an alternative world dance music. Orlando Gough said in an interview, in March 1985: "I suppose there is some kind of nebulous central core of ideas, which may be to do with us all having come out of systems music and our interest in foreign music but actually we are influenced by Frank Zappa, James Blood Ulmer, Bach". A demo produced by Mike Hedges led to a contract with Bill Nelson's Cocteau Records, who released their first album Jump Cut in early 1985.
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Born in Sydney in 1940, John Pochée began his musical career in 1956, playing at the El Rocco and the Mocambo, Sydney's major jazz venues of that time. In the 1960s he worked as a professional musician with various groups in Sydney, Melbourne and Adelaide. In 1974 he formed The Last Straw and also played and recorded with the Judy Bailey Quartet from 1974 to 1979. The 1970s were an exceptional time for jazz in Sydney and these two groups were in big demand, working at most major venues including The Basement, Sydney Festival and Horst Liepolt's "Music is an Open Sky" concerts The original line up of The Last Straw was Bernie McGann and Ken James (saxes), John Pochée (drums and leader), Dave Levy (piano), and Jack Thorncraft (bass).
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Retrieved 2 July 2013. and which was recorded in Green’s sitting room.Farley, Charles (2011) Soul of the Man: Bobby "Blue" Bland, p. 37. Univ. Press of Mississippi At Google Books. Retrieved 2 July 2013. A previous version of the song had been recorded in September 1951 with King backed by Richard Sanders and Adolph "Billy" Duncan on tenor saxes, Johnny Ace, Green, and Earl Forest on drums."The songs and the artists" PBS. Retrieved 2 July 2013. Bobby Bland’s first recording was also made in Green’s sitting room, and featured Green, Johnny Ace, Earl Forest, M.T. (Matthew) Murphy, Little Junior Parker, Ike Turner,African Americans in Memphis (TN) At Google Books. Retrieved 2 July 2013. and Rosco Gordon,Guralnick, Peter and Robert Santelli, Holly George-Warren (2013) Martin Scorsese Presents The Blues: A Musical Journey.
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The Animals put together a big band to play at the 5th Annual British Jazz & Blues Festival in Richmond. The Animals Big Band made their one public appearance on 5 August 1965. As well as Burdon, Rowberry, Valentine, Chandler, and Steel, they featured a brass/horn section of Ian Carr, Kenny Wheeler and Greg Bown on trumpets, and Stan Robinson, Al Gay, Dick Morrissey and Paul Carroll on saxes. By the mid-1960s, he had over two consecutive years come in second place behind Hayes in the Melody Maker Jazz Poll (1966 & 1967) and many US musicians touring Britain at the time, notably Brother Jack McDuff, a live recording with Jimmy Witherspoon, two LPs with J. J. Jackson, and Sonny Stitt together with guitarist Ernest Ranglin (live at Ronnie Scott's) recorded with him during the Sixties and early Seventies.
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NSX has appeared live twice on WDVE (102.5 FM Pittsburgh) and has been labeled as "swing with sting" for breathing new energy into the classic swing style. The band was named one of Pittsburgh's top jazz performers in City Paper's "Best of Pittsburgh" 2017 poll. In its 20-year history, the band has also opened for or performed the same event as Glenn Miller Orchestra, Big Bad Voodoo Daddy, Preservation Hall Jazz Band, Hot Club of Cowtown, Reverend Horton Heat, Max Weinberg Big Band, Jive Aces, and Jerry Lee Lewis among others. Band members have changed significantly since 1998, but the current line-up includes: Urick, Wally Hunter (various saxes, trumpet, clarinet), Joe Palacki (drums), Steve Tomkowitz (sax), Dave Frye (guitar), Carmen Marotta (keys), Chris Dufalla (trombone), and Randy Miller and Ken Reeser (splitting bass duties).
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Official The Kingpins logo The group formed in 1994 by founding members of the Kingpins: Eric 'Boum Boum' Boulanger on drums, Jordan Swift on bass, Ian 'Hot Tub' Hodkinson on organ, and Lorraine Muller on alto saxophone (later given the nickname "The Queen of Ska" by Bobby Beaton, she went on to play tenor and baritone saxes, and eventually became the lead singer.) The band's first big break came with the release of their first single, "On the Run", written by Hodkinson and Muller which garnered them the 1995 Montreal Independent Music Industry award in the category of Best Single. The single was released with two B-sides, "Spy vs. Spy" (a cover) and "Leave My Girlfriend Alone" (by Nigel Goddard, alto sax). The Montréal ska scene took notice and Kingpins shows attracted increasingly larger crowds.
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In 1972, as part of a revamp of the light orchestras, the BBC changed the structure of the orchestra, to match its London counterpart, the BBC Radio Orchestra, a large studio orchestra of around 65 players which included a full Big Band and symphonic sized wind and strings. This was a grouping that could be used in its entirety or broken down into a series of flexible ensembles prefixed A-E. The New Scottish Radio Orchestra's instrumentation, classified B1, B2 and C1 to match its London counterparts, had a full complement of 32, and was a big band with strings in the Billy May/Nelson Riddle style. The full ensemble was classified as the B1 Orchestra, comprising 5 saxes, flute, 4 trumpets, 4 trombones, piano, guitar, bass, drums, percussion, 10 violins, 2 violas and 2 cellos.
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1939 Glenn Miller recording on RCA Bluebird, B-10286-A1953 sheet music cover from the film The Glenn Miller Story, Lew Music, New YorkIn 1939, Glenn Miller and His Orchestra released a hit version of the song on RCA Bluebird, as an A side 78 single, B-10286-A, in a new arrangement by Bill Finegan backed with "Pavanne". The recording was an early chart hit for Glenn Miller. The song was performed in Glenn Miller's Carnegie Hall concert that year and became a staple of the Glenn Miller Orchestra repertoire and a classic of the Big Band era. The personnel on the Glenn Miller recording: Saxes: Hal McIntyre, Tex Beneke, Wilbur Schwartz, Stanley Aronson, Al Klink; Trumpets: Bob Price, R. D. McMickle, Legh Knowles; Trombones: Glenn Miller, Paul Tanner, Al Mastren; Piano: Chummy MacGregor; String Bass: Rowland Bundock; Guitar: Allen Reuss; Drums: Moe Purtill.
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While not as popular as the alto and tenor saxes in jazz, the soprano saxophone has played a role in its evolution. Greats of the jazz soprano sax include 1930s virtuoso Sidney Bechet, 1950s innovator Steve Lacy, and, beginning with his landmark 1960 album My Favorite Things, John Coltrane. Other well-known jazz players include: Wayne Shorter, Paul McCandless, Johnny Hodges, Walter Parazaider, Oliver Nelson, Bob Berg, Joe Farrell, Lucky Thompson, Sonny Fortune, Anthony Braxton, Sam Rivers, Gary Bartz, Dan Forshaw, Bennie Maupin, Branford Marsalis, Kirk Whalum, Jan Garbarek, Danny Markovitch of Marbin, Paul Winter, Dave Liebman, Evan Parker, Sam Newsome, Kenny G, and Charlie Mariano (including in his work with bassist Eberhard Weber). Other notable soprano saxophonists include Joshua Redman, Jay Beckenstein, Dave Koz, Grover Washington Jr., Ronnie Laws, LeRoi Moore, Sarah Skinner of Red Dirt Skinners, and Nigerian Afrobeat multi-instrumentalist Fela Kuti.
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Collège Louise Wegmann, Lebanon, 1986 Rensselaer Polytechnic Institute, New York - USA, BS Industrial Engineering 1991 The New School for Social Research, New York - USA, MA Media Studies, 1994 In 1988, Ghazi moved to New York and pursued his studies in Industrial Engineering at Rensselaer Polytechnic Institute in Troy. He continued in parallel to play music and still experimented with recording at the University’s studios. Ghazi played with psychedelic rock band “ Nobody’s Fault”, and performed in several venues in Albany and Troy, New York. In 1992, Ghazi moved to New York City to pursue a master's degree in Media Studies at The New School For Social Research. In parallel, he established his first recording studio on Orchard Street and started recording his first album “Crucial”, with fellow musician Ramzi Moufarrej and with the participation of John Benitez on Bass, Bob Franceschini on Saxes and Bassam Saba on Nay.
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White Elephant (Jazz Band 1969-1972), otherwise known as Mike Mainieri & Friends, was a jazz-rock big band made up of session and studio musicians based in New York City.Mike Mainieri at All About Jazz Under the direction of Mike Mainieri (arranger, composer, keyboards, liner notes, percussion, producer & vocals), band members included Michael Brecker (tenor), Frank Vicari (tenor), George Young (alto) & Ronnie Cuber (baritone) on saxes; Randy Brecker, Jon Faddis & Lew Soloff on trumpets; Barry Rogers & Jon Pierson on trombones; as well as Steve Gadd, Tony Levin, Donald MacDonald, Warren Bernhardt, Joe Beck, David Spinozza and Hugh McCracken in the rhythm section. The band also included Nick Holmes (songwriter & vocalist), Sue Manchester (Vocalist), and Annie Sutton, aka Ann E. Sutton, (Vocalist). For the most part, their music was the result of late night jam sessions of various musicians who gathering in New York recording studios.
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John Shand, "Hard bopper kept changing key" (Brian Brown obituary), Sydney Morning Herald, 12 February 2013. (Retrieved 14 February 2013) Multi-instrumental wind player Dale Barlow emerged in the late 1970s as one of the most promising new talents on the Australian scene, and after stints in the Young Northside Big Band and a formative period in the David Martin Quintet (with James Morrison), he moved to New York, where he was a member of two famed groups, the Cedar Walton Quartet and Art Blakey's Jazz Messengers. Barlow has also toured and recorded with many other jazz greats including Sonny Stitt, Chet Baker, Gil Evans, Jackie McLean, Billy Cobham, Curtis Fuller, Eddie Palmieri, Dizzy Gillespie, Benny Golson, Lee Konitz, Sonny Stitt, Helen Merrill, Mulgrew Miller and Kenny Barron. In 1980 he performed at concerts in Adelaide and Sydney with the Bruce Cale Quartet with Roger Frampton (piano and saxes) Bruce Cale (bass) and Phil Treloar (drums).
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" Vocal surf can be interpreted as a regional variant of doo wop music, with tight harmonies on a song's chorus contrasted with scat singing. According to musicologist Timothy Cooley, "Like instrumental surf rock with its fondness for the twelve-bar blues form, the vocal version of Surf Music drew many key elements from African-American genres ... what made the Beach Boys unique was its ability to capture the nation's and indeed the world's imagination about the emerging New Surfing lifestyle now centered in Southern California, as well as the subtle songwriting style and production techniques that identify the Beach Boys' sound." In 1963, Murry Wilson, Brian's father, who also acted as the Beach Boys' manager, offered his definition of surf music: "The basis of surfing music is a rock and roll bass beat figuration, coupled with raunch-type weird-sounding lead guitar, an electric guitar, plus wailing saxes. Surfing music has to sound untrained with a certain rough flavor in order to appeal to teenagers.
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During the Fresco Tour, when this song was premiered, it quickly turned into a new crowd pleaser with its natural sing- along chorus and often opened the show. It very much exploits the musical saxophone talents of Snake Davis who opens the song with a jazzy riff holding the note for an even longer 11 seconds. He also in the middle eight performs the 'battle of the saxes' with Mike Pickering also on sax, when Mike repeats what Snake plays and latterly after the Best of performed 'the battle' with whoever would be playing rhythm guitar. The live version has always stayed pretty faithful to the original with a funkier groove and the additional of rhythm guitar underlying the song throughout; Shovel on percussive duties alternating between playing Bongos and Tambourine, Paul plays chords on second keyboards and Paul Birchall plays first keyboard in place of the grand piano parts originally played by Terry Burrus on the track.
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Composer Dimitri Tiomkin was Jack Warner's choice to score Strangers on a Train. While he had previous Hitchcock experience on Shadow of a Doubt (1943), and would go on to score two more consecutive Hitchcock films, the director and composer "simply never developed much of a kinship" and "the Hitchcock films are not Tiomkin's best". Nevertheless, the score does pick up on the ubiquitous theme of doubles — often contrasting doubles — right from the opening title sequence: "The first shot — two sets of male shoes, loud versus conservative, moving toward a train — carries a gruff bass motif set against Gershwin-like riffs, a two-part medley called "Strangers" and "Walking" that is never heard again." The powerful music accurately underscores the visuals of that title sequence — the massive granite edifice of New York's Pennsylvania Station, standing in for Washington's Union Station—because it was scored for an unusually large orchestra, including alto, tenor and baritone saxes, three clarinets, four horns, three pianos and a novachord.
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The stringed, chord-playing rhythm can be heard in groups which included military band-style instruments such as brass, saxes, clarinets, and drums, such as early jazz groups. As the acoustic guitar became a more popular instrument in the early 20th century, guitar-makers began building louder guitars which would be useful in a wider range of settings. The Gibson L5, an acoustic archtop guitar which was first produced in 1923, was an early “jazz”-style guitar which was used by early jazz guitarists such as Eddie Lang. By the 1930s, the guitar began to displace the banjo as the primary chordal rhythm instrument in jazz music, because the guitar could be used to voice chords of greater harmonic complexity, and it had a somewhat more muted tone that blended well with the upright bass, which, by this time, had almost completely replaced the tuba as the dominant bass instrument in jazz music.
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Original band members were founder Larry Field (lead guitar), Lydia Pense (vocals), Danny Hull (tenor saxophone and songwriter), Larry Jonutz (trumpet; born Mar 15 1947), Pat O'Hara (trombone; born May 25, 1946 (?), died August 1977 of an overdose), Raul Matute (Hammond organ, piano, arranger and songwriter, born Feb 19 1946), Jerry Jonutz (baritone, alto and tenor saxophone; born Mar 15 1947), David Padron (trumpet; born May 4, 1946), Rod Ellicott (bass), and Frank Davis, who was replaced on drums by Sandy McKee (real name Cecil James Stoltie, born 12 July 1945, died 15 October 1995) during the Sisyphus sessions. Narada Michael Walden and Jonathan "Sugarfoot" Moffett both mention McKee on their short list of drummers most influential in their stylistic development. Current personnel are Lydia Pense (vocals), Steve Salinas (keyboards), Steve Dunne (guitar), Mike Morgan (percussion), Evan Palmerston (bass), Rich Armstrong (trumpet, cornet, percussion), Rob Zuckerman (alto, tenor, baritone saxes, and flute) and Donny Baldwin (drums).
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Because timba is highly aggressive and a challenge to dance to some Cuban bands in search of a broader audience have intentionally made music that a majority of Latinos will find easy to dance to, mixing Latino staples such as salsa, merengue, and romantic ballads into the Cuban beat. By 1990, several bands had incorporated elements of funk and hip-hop into their arrangements, and expanded upon the instrumentation of the traditional conjunto with American drum set, saxophones and a two-keyboard format. Along with the Cuban congas and timbales, the drum set provided powerful funk and rock beats that added more punch to the rhythm section, and the bass players began to incorporate the playing techniques associated with funk, slapping, and pulling the strings in a percussive way. The combination of the trumpets and the saxes gave the horn section a more jazzed sound, and the harmony began to evolve on a more contemporary level.
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While at the SA College of Music, McGregor studied composition with Stanley Glasser, who later wrote the music for Mr Paljas – a musical that played at the Labia Theatre in Cape Town around 1962 – Chris McGregor was band leader and pianist in the theatre band, which consisted of Dudu Pukwana and Nick Peterson on alto saxes, Cornelius Kumalo on baritone sax and clarinet, Denis Mpali on trumpet, Blyth Mbityana on trombone, Joe Mal on bass, and Columbus Joya on drums. An LP of the show, Mr Paljas, was released by Gallotone Records (GALP 1207). As McGregor's friend and fellow-student Bruce Arnott wrote in the University of Cape Town's alumni magazine after McGregor's death in 1990: "I am no musicologist, but I believe that Chris was working toward a synthesis of South African black traditional music and the wonderfully evolved black American contribution to jazz." McGregor put together a group to perform at the 1962 Moroka-Jabavu jazz festival in the Johannesburg suburb of Soweto.
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In September 1952 he recorded with the Ronnie Scott Quintet, which also included Dill Jones, Lennie Bush, and Tony Crombie. While playing with the bands Scott formed in the latter half of the 1950s, King was also a member of Jack Parnell's band, and shortly afterwards, together with other musicians left to form Scott's nine-piece orchestra featuring Scott and King on tenor saxes and other leading jazz musicians including Derek Humble (as), Jimmy Deuchar (tp), Ken Wray (tb), Benny Green (bs), Lennie Bush (b), and Tony Crombie (d). In 1956, both King and Scott were members of the Victor Feldman Big Band. After the break-up, in 1959, of Tubby Hayes' and Ronnie Scott's The Jazz Couriers, of which King had been the manager, he and Scott opened Ronnie Scott's jazz club and King effectively gave up playing to run the club, which he continued to do for several years after Scott's death in 1996.
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Kenton soon reverted to a more standard 19-piece lineup. In order to be more commercially viable, Kenton reformed the band in 1951 to a much more standard instrumentation: five saxes, five trombones, five trumpets, piano, guitar, bass, drums. The charts of such arrangers as Gerry Mulligan, Johnny Richards, and particularly Bill Holman and Bill Russo began to dominate the repertoire. The music was written to better reflect the style of cutting edge, be-bop oriented big bands; like those of Dizzy Gillespie or Woody Herman. Young, talented players and outstanding jazz soloists such as Maynard Ferguson, Lee Konitz, Conte Candoli, Sal Salvador, and Frank Rosolino made strong contributions to the level of the 1952–'53 band. The music composed and arranged during this time was far more tailor-made to contemporary jazz tastes; the 1953 album New Concepts of Artistry in Rhythm is noted as one of the high points in Kenton's career as band leader.
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Thirty four years since its establishment, Jazz Studies continues to be a most popular course at the Sydney Conservatorium. From 1974 to 1976 he was a member of the Australian jazz group "Jazz Co-op", which included Roger Frampton (piano and saxes), Phil Treloar (drums) and Jack Thorncraft (bass). There was a very healthy jazz scene in Sydney during the 1970s and the Jazz Co-op were in demand, doing a number of performances at The Basement (Sydney's premier jazz club at that time), the Conservatorium of Music, the Musician's Club, Sydney Town Hall, and a number of the "Music Is An Open Sky" festivals that were presented by jazz producer Horst Liepolt. While in Australia Howie Smith presented a series of concerts in the Sydney Opera House as one of the featured artists for Music Rostrum Australia's "Rostrum '75;" other featured artists were Luciano Berio, Cathy Berberian, Roger Woodward and Yuji Takahashi.
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In 1963 the promoters were very aware of a burgeoning scene in both blues and RnB which arrived at Klooks Kleek in the shape of Georgie Fame and the Blue Flames. The band's mix of Louis Jordan, soft soul, funk and even vocal versions of bebop numbers (“Parker’s Blues”) met the interests of a pretty diverse audience. Their first appearance at KK was on a scheduled Jazz night causing a queue of a rare length and mass approval of their music. They opened the Tuesday RnB nights on 10 September 1963 and performed a further twenty-one times, continuing to appear at this small venue even after two No 1 chart singles. Their legendary manager, Rik Gunnell, [3] allowed them to work for “peanuts” every so often because the band so liked the ambience of KK. Appearing regularly in rotation with Fame were the Graham Bond Organisation. Apart from the prodigious musical skills of the leader on keyboards and saxes, the rhythm section was Ginger Baker and Jack Bruce, Guitarist John McLaughlin (“Mahavishnu Orchestra”) was also a member of GBO.
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The first significant work for the system was for the Orchestra of the Swan with a Time Structured Map (TSM) based work called Traveller, There Are No Paths, Paths Are Made By Walking created in the summer of 2005. A second, much more ambitious work, Four Bridges, was performed in November 2005, it combined the ideas of Simultaneity with the Time Structured Mapping system: the Orchestra of the Swan played from the score in England while pianist Burkhard Finke in Frankfurt, microtonal vocal specialist Toby Twining in Boston and Indian Classical singer Anand Thakore in Mumbai performed simultaneously from the same score, without hearing each other – each performance was recorded and later combined into a work for 8 speakers, which was later broadcast on WNYC New Sounds. In 2009, Time Structured Mapping was used for the creation of the one-hour Insomnia Poems for BBC Radio 3 (Jazz On 3) BBC Radio 3 Jazz On 3. which combined post-beat poet Steve Dalachinsky with a five-piece band consisting of soprano, Evelyne Beech, electronics and processing, Mike Cross, clarinets and saxes, Chris Cundy, bass, Robert Perry and Pete M Wyer on guitar, piano with found sounds and manipulations – each performing with a synchronized stopwatch.
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