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Thursday, May 27, 2010

Freddie Hubbard



Frederick Dewayne "Freddie" Hubbard
(April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post bop styles from the early 1960s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.

Hubbard started playing the mellophone and trumpet in his school band, studying at the Jordan Conservatory with the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis.
In December 1960, Hubbard was invited to play on Ornette Coleman's Free Jazz after Coleman had heard him playing with Don Cherry.
Then in May 1961, Hubbard played on Olé Coltrane, John Coltrane's final recording session with Atlantic Records. Together with Eric Dolphy, Hubbard was the only 'session' musician who appeared on both Olé and Africa/Brass, Coltrane's first album with ABC/Impulse! Later, in August 1961, Hubbard made one of his most famous records, Ready for Freddie, which was also his first collaboration with saxophonist Wayne Shorter. Hubbard joined Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers. He played on several Blakey recordings, including Caravan, Ugetsu, Mosaic, and Free For All. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, pianist Kenny Barron and drummer Louis Hayes.
It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.
Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including, Oliver Nelson's The Blues and the Abstract Truth, Eric Dolphy's Out to Lunch, Herbie Hancock's Maiden Voyage, and Wayne Shorter's Speak No Evil. He recorded extensively for Blue Note Records in the 1960s: eight albums as a bandleader, and twenty-eight as a sideman. Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the '60s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension.
Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson.. Although his early 1970s jazz albums Red Clay, First Light, Straight Life, and Sky Dive were particularly well received and considered among his best work, the albums he recorded later in the decade were attacked by critics for their commercialism. First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light.
In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of this group were released as VSOP, VSOP: The Quintet, VSOP: Tempest in the Colosseum (all 1977) and VSOP: Live Under the Sky (1979).
Hubbard's trumpet playing was featured on the track Zanzibar, on the 1978 Billy Joel album 52nd Street (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An "unfaded" version was released on the 2004 Billy Joel box set My Lives.
In the 1980s Hubbard was again leading his own jazz group, attracting very favorable reviews, playing at concerts and festivals in the USA and Europe, often in the company of Joe Henderson, playing a repertory of Hard-bop and modal-jazz pieces. Hubbard played at the legendary Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson). He played with Woody Shaw, recording with him in 1985, and two years later recorded Stardust with Benny Golson. In 1988 he teamed up once more with Blakey at an engagement in Holland, from which came Feel the Wind. In 1990 he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, and Rufus Reid, with jazz and vocalist Salena Jones. He also performed at the Warsaw Jazz Festival at which Live at the Warsaw Jazz Festival (Jazzmen 1992) was recorded.
Following a long setback of health problems and a serious lip injury in 1992 where he ruptured his upper lip and subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the high level that he set for himself during his earlier career. His best records ranked with the finest in his field.
In 2006, The National Endowment for the Arts honored Hubbard with its highest honor in jazz, the NEA Jazz Masters Award.
On December 29, 2008, Hubbard's hometown newspaper, The Indianapolis Star reported that Hubbard died from complications from a heart attack suffered on November 26 of the same year.Billboard magazine reported that Hubbard died in Sherman Oaks, California.
Freddie Hubbard had close ties to the Jazz Foundation of America in his later years. Freddie is quoted as saying, “When I had congestive heart failure and couldn't work, The Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people."
The Jazz Foundation of America’s Musicians' Emergency Fund took care of Freddie during times of illness. After his passing Mr. Hubbard’s estate requested that tax deductible donations be made in Freddie’s name to The Jazz Foundation of America.


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Discography


As leader

  • Open Sesame (1960 , Blue Note)
  • Goin' Up (1960, Blue Note)
  • Minor Mishap(1961)
  • Hub Cap (1961,Blue Note)
  • Ready for Freddie (1961, Blue Note) Flac
  • The Artistry of Freddie Hubbard (1962 ,Impulse!)
  • Hub-Tones (1962,Blue Note)
  • Here to Stay (1962 ,Blue Note) 
  • The Body & the Soul (1963 ,Impulse!) 
  • Breaking Point (1964 ,Blue Note)
  • Blue Spirits (1965,Blue Note)
  • The Night of the Cookers (1965,Blue Note)
  • Jam Gems: Live at the Left Bank 2001 ,Label M)
  • Backlash (1966 ,Atlantic) 
  • High Blues Pressure (1968 ,Atlantic)
  • A Soul Experiment (1969,Atlantic)
  • Without a Song, Live in Europe (1969, Blue Note)
  • The Black Angel (1970, Atlantic)
  • The Hub of Hubbard (1970, MPS
  • Red Clay (1970 ,CTI) 
  • Straight Life (1970 ,CTI) 
  • Sing Me a Song of Songmy (1971 ,Atlantic)
  • First Light (1971 ,CTI) 
  • Sky Dive (1973, CTI)
  • Hot Horn (1973, Everest)
  • Freddie Hubbard/Stanley Turrentine In Concert Volume One (1974 ,CTI)
  • In Concert Volume Two (1974 ,CTI)
  • Keep Your Soul Together (1974 ,CTI)
  • High Energy (1974 ,Columbia)
  • Polar AC(1975,CTI)
  • Gleam (1975 ,Sony (Japan))
  • Liquid Love (1975,Columbia)
  • Windjammer (1976,Columbia) 
  • Bundle of Joy (1977 ,Columbia)
  • Super Blue (1978,Columbia) 
  • The Love Connection(1979,Columbia)
  • Freddie Hubbard Quintet Leon Thomas live at Onkel Pö s Carnegie Hall 1979
  • Skagly (1980, Columbia)
  • Live at the North Sea Jazz Festival(1980 ,Pablo)
  • Mistral with Art Pepper (1981 ,Liberty)
  • Outpost (1981 ,Enja)
  • Splash (1981,Fantasy)
  • Rollin'(1982 ,MPS)
  • Keystone Bop Vol. 2: Friday & Saturday (1996,Prestige)
  • Keystone Bop: Sunday Night (1982,Prestige)
  • Born to Be Blue (1982 ,Pablo) 
  • Ride Like the Wind (1982,Elektra/Asylum) 
  • Above & Beyond (1982 ,Metropolitan)
  • Back to Birdland (1982, Real Time)
  • Sweet Return (1983 ,Atlantic)
  • The Rose Tattoo (1983,Baystate (Japan)) 
  • Double Take with Woody Shaw (1985 ,Blue Note) 
  • Life Flight (1987, Blue Note)
  • The Eternal Triangle with Woody Shaw (1987 ,Blue Note) flac 1\ 2
  • Feel the Wind with Art Blakey (1988 ,Timeless)
  • Times are Changing (1989 ,Blue Note)
  • Topsy - Standard Book (1989,Alpha/Compose) 
  • Bolivia (1991,Music Masters)
  • At Jazz Jamboree Warszawa '91: A Tribute to Miles (2000 ,Starburst)
  • Live at Fat Tuesday's (1992,Music Masters)
  • Blues for Miles (1992, Evidence)
  • MMTC: Monk, Miles, Trane & Cannon (1995,Music Masters)
  • New Colors (2001,Hip Hop Essence) 
  • On The Real Side (70th Birthday Celebration) (2008,Times Square Records)
  • Pinnacle, Live And Unreleased From Keystone Korner (2011)

As sideman

  • Wes Montgomery - Fingerpickin' (1958)
  • John Coltrane – Stardust(1958)
  • Paul Chambers-Go (1959) 
  • Kenny Drew – Undercurrent(1960)
  • Hank Mobley – Roll Call(1960)
  • The J. J. Johnson Sextet - J. J. Inc. 1960 
  • Curtis Fuller - Boss Of The Soul Stream Trombone 1960
  • Ornette Coleman - Free Jazz: A Collective Improvisation (1960)
  • Tina Brooks - True Blue (1960)
  • Eric Dolphy-Outward Bound (1960)
  • Slide Hampton Octet -Slide!(1961)
  • John Coltrane-Olé Coltrane (1961)
  • John Coltrane-Africa/Brass (1961)
  • Art Blakey-Mosaic (1961)
  • Art Blakey-Buhaina's Delight (1961)
  • A Jazz Hour with Art Blakey's Jazz Messengers: Blues March (1961)
  • Jackie McLean-Bluesnik(1961)
  • Dexter Gordon - Doin Alright (1961)
  • Oliver Nelson - The Blues and the Abstract Truth (1961)
  • Duke Pearson – Dedication!(1961)
  • Bill Evans - Interplay (1962)
  • Curtis Fuller Soul Trombone 1962
  • Curtis Fuller - Cabin in the Sky (1962)
  • Art Blakey-Three Blind Mice (1962) 
  • Art Blakey-Caravan (1962)
  • Herbie Hancock-Takin' Off (1962)
  • Art Blakey-Ugetsu (1963)
  • Art Blakey- Free For All (1964)
  • Art Blakey-Kyoto (1964)
  • Eric Dolphy-Out to Lunch! (1964)
  • Herbie Hancock-Empyrean Isles (1964)
  • Wayne Shorter - Speak No Evil (1964) Flac
  • John Coltrane-Ascension (1965)
  • Sam Rivers-Contours(1965)
  • Bobby Hutcherson - Dialogue (1965)
  • Herbie Hancock-Maiden Voyage (1965)
  • Wayne Shorter - The Soothsayer(1965)
  • Wayne Shorter – The All Seeing Eye(1965)
  • Hank Mobley – The Turnaround(1965)
  • Sonny Rollins - East Broadway Run Down (1966)
  • Herbie Hancock-Blow-Up (Soundtrack) (1966)
  • Duke Pearson – Sweet Honey Bee(1966)
  • Duke Pearson – The Right Touch(1967)
  • Wes Montgomery - Road Song (1968)
  • George Benson - The Other Side of Abbey Road (1969)
  • Quincy Jones - Walking in Space (1969)
  • Leon Thomas - A Piece of Cake (Palcoscenico Records)
  • Stanley Turrentine - Sugar (1970)
  • Kenny Burrell - God Bless the Child (1971)
  • Dexter Gordon - Generation [1972]
  • Randy Weston - Blue Moses (1972)
  • Milt Jackson - Sunflower (1973)
  • Charles Earland - Leaving This Planet (1973)
  • Don Sebesky - Giant Box (1973)
  • Raul De Souza - Sweet Lucy (1977)
  • Herbie Hancock- VSOP: The Quintet (1977)
  • Herbie Hancock-VSOP: Tempest in the Colosseum (1977)
  • McCoy Tyner - Together (1978) flac
  • Billy Joel - 52nd Street (1978)
  • Herbie Hancock-VSOP: Live Under the Sky (1979)
  • George Cables - Cables' Vision (1979)
  • McCoy Tyner - Quartets 4 X 4 (1980) flac
  • C. Terry, Freddie Hubbard, Dizzy Gillespie, O. Peterson - The Alternate Blues - 1980
  • The Trumpet Summit Meets The Oscar Peterson Big Four 1980
  • Oscar Peterson – Face to Face (1982) flac
  • Herbie Hancock-Round Midnight (Soundtrack) (1986)
  • Benny Golson, Freddie Hubbard - Stardust (1987)
  • Roberto Ávila & Sarava - Come to Brazil (1989)
  • Kirk Lightsey Trio - Temptation (1991)
  • Poncho Sanchez - Cambios (1991)
  • Stanley Turrentine – More Than a Mood(1992)
  • Joe Henderson-Big Band (1996)
  • Quincy Jones feat Tots Thielemans - I Never Told You (1998)

Wednesday, May 26, 2010

Legendary Esther Phillips




Esther Phillips (December 23, 1935 – August 7, 1984) was an American singer. Phillips was known for her R&B vocals,[1] but she was a versatile singer, also performing pop, country, jazz, blues and soul music.

Biography
Early life
Born Esther Mae Jones in Galveston, Texas, when she was an adolescent, her parents divorced, and she was forced to divide her time between her father in Houston and her mother in the Watts area of Los Angeles. Because she was brought up singing in church, she was hesitant to enter a talent contest at a local blues club, but her sister insisted and she complied. A mature singer at age fourteen, she won the amateur talent contest in 1949 at the Barrelhouse Club owned by Johnny Otis. Otis was so impressed that he recorded her for Modern Records and added her to his traveling revue, the California Rhythm and Blues Caravan, billed as 'Little Esther Phillips' (she reportedly took the surname from a gas station sign).

Early career
Her first hit record was "Double Crossing Blues", recorded in 1950 for Savoy Records. After several hit records with Savoy, including her duet with Mel Walker on "Mistrusting Blues", which went to number one that year, as did "Cupid Boogie". Other Phillips records that made it onto the U.S. Billboard R&B chart in 1950 include "Misery" (number 9), "Deceivin' Blues" (number 4), "Wedding Boogie" (number 6), and "Faraway Blues" (number 6). Few female artists, R&B or otherwise, had ever enjoyed such success in their debut year. Phillips left Otis and the Savoy label at the end of 1950 and signed with Federal Records.

But just as quickly as the hits had started, they stopped. Although she recorded more than thirty sides for Federal, only one, "Ring-a-Ding-Doo", charted; the song made it to number 8 in 1952. Not working with Otis was part of her problem; the other part was her drug usage. By the middle of the decade Phillips was chronically addicted to drugs.

In 1954, she returned to Houston to live with her father to recuperate. Short on money, she worked in small nightclubs around the South, punctuated by periodic hospital stays in Lexington, Kentucky, stemming from her addiction. In 1962, Kenny Rogers re-discovered her while singing at a Houston club and got her signed to his brother Lelan’s Lenox label.

Comeback
Phillips ultimately got well enough to launch a comeback in 1962. Now billed as Esther Phillips instead of Little Esther, she recorded a country tune, "Release Me," with producer Bob Gans. This went to number 1 R&B and number 8 on the pop listings. After several other minor R&B hits on Lenox, she was signed by Atlantic Records. Her cover of The Beatles' song "And I Love Him" nearly made the R&B Top Ten in 1965 and the Beatles flew her to the UK for her first overseas performances.]

She had other hits in the 1960s on the label, but no more chart toppers, and she waged a battle with heroin dependency. With her addiction worsening, Phillips checked into a rehab facility. While undergoing treatment, she cut some sides for Roulette in 1969, mostly produced by Lelan Rogers. On her release, she moved back to Los Angeles and re-signed with the Atlantic label. A late 1969 gig at Freddie Jett's Pied Piper club produced the album Burnin'. She performed with the Johnny Otis Show at the Monterey Jazz Festival in 1970.

The 1970s
One of her biggest post-1950s triumphs was in 1972 with her first album for Kudu Records. The song penned by Gil Scott-Heron, "Home Is Where the Hatred Is," - an account of drug use — was lead track on From a Whisper to a Scream which went on to be nominated for a Grammy Award. When Phillips lost to Aretha Franklin, the latter presented the trophy to Phillips, saying she should have won it instead.

Taylor continued to cut albums with her until in 1975, she scored her biggest hit single since "Release Me" with a disco-style update of Dinah Washington's "What a Diff'rence a Day Makes". It reached a high of a Top 20 chart appearance in the U.S., and Top 10 in the UK Singles Chart. On November 8, 1975 she performed the song on an episode of NBC's Saturday Night hosted by Candice Bergen. The accompanying album of the same name became her biggest seller yet, with arranger Joe Beck on guitar, Michael Brecker on tenor sax, David Sanborn on alto sax, and Randy Brecker on trumpet to Steve Khan on guitar and Don Grolnick on keyboards.

She continued to record and perform throughout the 1970s and early 1980s, completing a total of seven albums on Kudu and four with Mercury Records, for whom she signed in 1977. In 1983, she charted for the final time on a tiny independent label, Winning with "Turn Me Out," which reached #85 R&B. She completed recording her final album a few months before her death, but it was not until 1986 that the label (Muse) released the record.

Death
Phillips died at UCLA Medical Center in Carson, California in 1984, at the age of 48 from liver and kidney failure due to drug use. Her funeral services were conducted by Johnny Otis

1951 Hollerin' and Screaming
1963 Release Me
1965 And I Love Him!
1966 Esther Phillips Sings
1966 The Country Side of Esther
1970 Burnin' [live]
1972 From A Whisper To A Scream
1972 Alone Again (Naturally)
1973 Black-Eyed Blues
1974 Performance
1975 What a Diff'rence a Day Makes
1976 Capricorn Princess
1976 Confessin' the Blues
1976 For All We Know
1976 Gold Blues
1977 Live At The Rising Sun Club
1977 You've Come a Long Way, Baby
1978 All About Esther
1978 Esther Phillips
1979 Here's Esther Are You Ready
1981 Good Black Is Hard to Crack
1990 Better Beware
1992 A Way to Say Goodbye

Saturday, May 8, 2010

Legend:Ahmad Jamal


Ahmad Jamal (born July 2, 1930) is a highly-influential Hall of Fame American jazz pianist, composer, arranger, teacher, and jazz theoretician.

Jamal was one of Miles Davis's favorite pianists and was a key influence on the trumpeter's "First Great Quintet" (featuring John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums).
Since the 1980s Jamal has been regularly touring the major clubs of the United States and the large European jazz festivals. He is generally accompanied by bassist James Cammack and drummer Idris Muhammad. He has also performed regularly with saxophonist George Coleman.

Ahmad Jamal is an acclaimed virtuoso jazz pianist and keyboardist, composer, and innovative trio leader. He was born Freddy "Fritz" Jones, in Pittsburgh, Pennsylvania. Jamal attended George Westinghouse High School. He began playing piano at the age of three, when his uncle Lawrence challenged him to duplicate what he was playing on the piano. Jamal began formal piano training at the age of seven with Mary Cardwell Dawson, whom he describes as greatly influencing him. He converted to Ahmadiyya Islam in 1952, officially changing his name at that time. On joining Musicians Union Local 208 in Chicago, he was referred to as Fritz Jones in the minutes of the local's Board meetings until his name change. His first OKeh record was credited in advertisements to the Fritz Jones Trio, but it did not see release until after the name change, so the name Ahmad Jamal appears on all of his released recordings. He is a member of the Ahmadiyya Muslim Community.

Jamal began touring with George Hudson's Orchestra. He joined another touring group known as The Four Strings, which was soon disbanded. He moved to Chicago in 1950, and made his first sides in 1951 for the Okeh label with The Three Strings; the other members were guitarist Ray Crawford and a bassist (at different times, Eddie Calhoun, Richard Davis, and Israel Crosby). Jamal subsequently recorded for Parrot (1953-1955) and Epic (1955) using the piano-guitar-bass lineup. The trio's sound changed significantly when Crawford was replaced with drummer Vernel Fournier in 1957, and the group worked as the "House Trio" at Chicago's Pershing Hotel. The trio released the live album But Not for Me which stayed on the Ten Best-selling charts for 108 weeks. Jamal's well known song "Poinciana" was first released on this album. The financial success of the album allowed Jamal to open a restaurant and club called The Alhambra.

Jamal typically plays with a bassist and drummer; his current trio is with bassist James Cammack and drummer Idris Muhammad. At the Toronto Jazz Festival (June 2008) and perhaps elsewhere, Jamal's group included innovative percussionist Manolo Badrena.Jamal has also recorded with saxophonist George Coleman on the album The Essence; with vibraphonist Gary Burton on the recording "In Concert"; with the voices of the Howard A. Roberts Chorale on the recordings "Bright, Blue and Beautiful" and "Cry Young"; with brass, reeds, and strings celebrating his hometown of "Pittsburgh"; and with "The Assai Quartet", among other non-trio achievements.
In 1994, Jamal received the National Endowment for the Arts American Jazz Masters award and also named a Duke Ellington Fellow at Yale University.

Ahmad Jamal is also known to be a Steinway Artist since 1960. It is rumored that his pianos sometimes needed to be tuned between sets due to the percussive nature of some of his playing. He also became a premier player of the Fender Rhodes piano in the 1970s to 1980s as on the recordings "Digital Works" and on "Jamalca". Mr Jamal is also noted for his flowing lyrical lines, thundering crescendos, ability to run arpeggios from end to end of the 88 keys, and lush, beautiful ballad and Latin jazz playing. Of special note is the influence of Ahmad Jamal on innovative musician and trumpeter Miles Davis who at one point said that all of his inspiration came from Ahmad Jamal; not only on his trumpet playing, song selection, and pianists, but in the area of "modes". Jamal was an early exponent of extended 'vamps' allowing him to solo at great length adding fresh colorations and percussive effects, which Davis was keen to imitate, setting up Davis perfectly for the entrance of true modal music into his own groups with the recording "Kind of Blue."

Miles Davis, Randy Weston, Keith Jarrett, Jack DeJohnette, and Gary Peacock all cite Jamal as a major influence in use of rhythm and space as well as his innovative use of multi-tonal melodic lines and his unique extended 'vamps'. The element of surprise is an important part of Jamal's improvisations to them all. John Coltrane must have also been influenced by Jamal. His composition "Impressions", bears a striking resemblance to a small section of the song "Pavanne" which Ahmad Jamal recorded in 1955 with Israel Crosby and guitarist Ray Crawford. Halfway through the song there is a vamp on the same harmonic progression as "So What" (by Miles Davis) and "Impressions" (John Coltrane). During this vamp Ray Crawford improvises a line which is practically identical to the melody of "Impressions", including the harmonic shift.

At the Pershing: But Not for Me (1958) is considered a jazz classic. The Ahmad Jamal trio played on it and featured Jamal on piano, Israel Crosby on bass, and Vernel Fournier on drums.
Jamal is mentioned in Chuck Berry's "Go Go Go".

Jamal's style has changed steadily over time - from the lighter, breezy style heard on his 1950s recordings to the Caribbean stylings of the 1970s and onto the large open voicings and bravura-laden playing of the nineties. Jamal has always been distinctive however for his use of space, his dramatic crescendos, and for a very staccato orientation with chords.
Clint Eastwood featured two recordings from Jamal's But Not For Me album — "Music, Music, Music" and "Poinciana" — in the 1995 movie The Bridges of Madison County.

The French government has inducted Ahmad Jamal into the prestigious Order of the Arts and Letters by French Culture Minister Renaud Donnedieu de Vabres, naming him Officier de l'Ordre des Arts et des Lettres on June 2007. Mr Jamal continues to tour extensively with his trio.

*******************************************************************

Discography
  • Ahmad's Blues (1951, 1955)
  • Chamber Music of the New Jazz (1955)
  • Count 'Em 88(1956, Argo)
  • Volume 4 (1958)
  • The Ahmad Jamal Trio(1958)
  • At the Pershing: But Not for Me (1958)
  • Portfolio of Ahmad Jamal
  • At The Spotlite Club In 1958 full version 
  • Live at The Pershing,Vol. 2
  • Jamal At The Penthouse (1959)
  • Happy Moods (1960) 
  • Listen to the Ahmad Jamal Quintet(1960)
  • All of You (1961, Argo,)
  • Alhambra (1961, Argo, with Crosby, Fournier)
  • Ahmad Jamal At The Blackhawk(1961)
  • Cross Country Tour 1958-1961 (1962)CD1 CD2
  • Macanudo (1962) 
  • Poinciana (1963)
  • Naked City Theme(1964)
  • 1965-Roar of The Greasepaint - The Smell of the Crowd
  • Extensions (1965)
  • Rhapsody (Cadet ,1965)
  • Heat Wave (1966)
  • Standard Eyes (1967)
  • Cry Young(1967)
  • The Bright, The Blue and The Beautiful (1968)
  • 1969: At The Top - Poinciana Revisited 
  • 1968: Tranquility
  • 1970: The Awakening 
  • 1971: Freeflight  altrn
  • 1972: Outertimeinnerspace
  • '73 (1973) 1 \ 2
  • Jamalca (1974)
  • Jamal Plays Jamal (1974)
  • Steppin Out with a Dream (1976)
  • Live At Oil Can Harry's(1976)
  • One (1978)
  • Intervals(1979)
  • Night Song (1980)
  • Live at Bubba's (1980)
  • Genetic Walk(1980)
  • Ahmad Jamal & Gary Burton In Concert (1981)
  • Digital Works (1985)
  • Live at The Montreal Jazz Festival (1985)
  • Rossiter Road (1986) 
  • Crystal (1987)
  • Pittsburgh 1989
  • Blues Alley.Washington DC(1992)
  • Live in Paris 1992 (1993)
  • Chicago Revisited - Live at Joe Segal's Jazz Showcase (1993) 
  • I Remember Duke, Hoagy & Strayhorn (1995)
  • The Essence Part 1 (1995) 
  • Big Byrd - The Essence Part 2 (1996) 
  • Nature - The Essence Part III (1998)
  • With The Assai Quartet (1998)
  • Picture Perfect (2000)
  • Ahmad Jamal à l'Olympia (2001)
  • In Search of Momentum (2003)
  • Modern Jazz Archive(2004)
  • After Fajr (2005)
  • Legendary Okeh & Epic Recordings (1951-1955) (2005)
  • Complete Live At The Pershing Lounge 1958.(2007)
  • It's Magic (2008)
  • A Quiet Time (2009)
  • The Complete Ahmad Jamal Trio Argo Sessions( 1956-62) (9CD,2010)
  • Blue Moon(2012) 


Friday, May 7, 2010

Legendary Bill Chase



Biography

Bill Chase was born William Edward Chiaiese on October 20, 1934 to an Italian-American family in Boston, Massachusetts; his parents John and Emily changed their name to Chase, realizing Chiaiese was difficult to pronounce. Bill's father had played trumpet in the Gillette Marching Band and encouraged his son's musical interests, which included a flirtation with violin and drums. In his mid-teens Bill settled on the trumpet. While still in high school, in 1950 Chase attended his first Stan Kenton concert—featuring Maynard Ferguson on high note solos—and Bill was hooked from then on. After graduating from high school, he studied classical trumpet at the New England Conservatory, but soon switched to the Schillinger House Of Music, now known as Berklee School of Music. Chase's primary instructors were Armando Ghitalla, John Coffey and Herb Pomeroy.

Chase played lead trumpet with Maynard Ferguson in 1958 and Stan Kenton in 1959, and during the 1960s, played lead trumpet in Woody Herman's Thundering Herd. Recordings of the Herman band from that time period, including Woody's Winners, Live in Antibes, Encore, 1963, My Kind of Broadway, Blue Flame, Live in Seattle, Somewhere, Live at Newport 1966, Heavy Exposure, Woody Herman & the Fourth Herd, and Jazz Hoot are considered some of the most exciting in the Herman discography. The band also filmed several television appearances for the program Jazz Casual. One of Chase's original charts from this period, "Camel Walk," was published in Downbeat magazine.

Chase (the band) released their debut album Chase in April 1971. Bill Chase was joined by Ted Piercefield, Alan Ware, and Jerry Van Blair, three veteran jazz trumpeters who were also adept at vocals and arranging. They were backed up by a rhythm section consisting of Phil Porter on keyboards, Angel South on guitar, Dennis Johnson on bass, and Jay Burrid on percussion. Rounding out the group was Terry Richards, who was featured as lead vocalist on the first album. The album contains Chase's best-known song, "Get It On," released as a single that spent thirteen weeks on the charts beginning in May 1971. The song features what Jim Szantor of Downbeat magazine called "the hallmark of the Chase brass—complex cascading lines; a literal waterfall of trumpet timbre and technique." The band received a Best New Artist Grammy nomination, but was edged out by rising star Carly Simon.

Chase released their second album, Ennea, in March 1972; the album's title is the Greek word for nine, a reference to the nine band members. The original lineup changed midway through the recording sessions, with Gary Smith taking over on drums and G. G. Shinn replacing Terry Richards on lead vocals. Although the first Chase album sold nearly 400,000 copies, Ennea was not as well received by the public. One likely reason was a shift away from trumpet sections. As Bill Chase put it in a Downbeat interview, "I don't want people to be heavily conscious of a trumpet section. They should just hear good things, but not be clobbered over the head with brass." A single, "So Many People," received some radio play, but the side-two-filling "Ennea" suite, with its tightly chorded jazz arrangements and lyrics based on Greek mythology, was less radio-friendly.

Following an extended hiatus, Chase reemerged early in 1974 with the release of Pure Music, their third album. Featuring a new lineup, yet keeping the four-trumpet section headed by Bill Chase, the group moved further from the rock idiom, and became more focused on jazz. Variety magazine called Pure Music "probably Chase's most commercial effort, and their brand of jazz could have a commercial impact." The songs were written by Jim Peterik of the Ides of March, who also sings on two songs on the album, backing up singer and bassist Dartanyan Brown.

Chase's work on a fourth studio album in mid-1974 came to an end on August 9, 1974. While en route to a scheduled performance at the Jackson County Fair, Chase died in a plane crash in Jackson, Minnesota at the age of 39. Also killed, along with the pilot and a female companion, were keyboardist Wally Yohn, drummer Walter Clark, and guitarist John Emma. In 1977 a Chase tribute band (composed primarily of the original lineup, and added Walt Johnson) recorded an album entitled Watch Closely Now.

Discography

  • 1971 - Chase
  • 1972 - Ennea
  • 1974 - Pure Music
  • Live Forever (compilation)

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