Aaron M. Johnson | |
|---|---|
 Johnson in 2022 | |
| Born | June 9, 1991 Coos Bay, Oregon, U.S. |
| Occupation(s) | Saxophonist, writer, performance artist |
| Years active | 2009–present |
| Relatives | Joanne Verger (grandmother) |
| Musical career | |
| Genres | Jazz, bebop, swing |
| Instrument(s) | Saxophone, clarinet, flute |
| Website | aaronjohnsonisunderground |
Aaron Michael Johnson (born June 9, 1991) is an American jazz saxophonist, writer and performance artist. [1]
Aaron Johnson began expressing interest in music at a young age. [2] While he could play music fluently by the age of 13, he still could not read notation. His earliest woodwinds instructor Matt Utal [3] recounted, "He was precocious, very bright and advanced for his age. I stressed the importance of learning to read, and he bogged down for a long time and became a great reader." [4] Johnson was educated at Manhattan School of Music. [2] [5]
At 18 Johnson was chosen as lead alto saxophonist in the Gibson/Baldwin Grammy Jazz Ensemble, with whom he performed and attended 51st Annual Grammy week. [6]
In 2014, in New York, he produced an historically accurate recreation of the Charlie Parker with Strings albums, [2] thenceforth becoming a fixture on New York's bebop scene, initially with his ensemble Aaron Johnson's Reboppers, [6] [7] and eventually with the Aaron Johnson Quartet. [8]
In 2009, at 17, Johnson became the youngest musician ever to be awarded the Outstanding Soloist title at the Monterey Next Generation Jazz Festival. [7]
Charles Mingus Jr. was an American jazz upright bassist, composer, bandleader, pianist, and author. A major proponent of collective improvisation, he is considered to be one of the greatest jazz musicians and composers in history, with a career spanning three decades and collaborations with other jazz greats such as Duke Ellington, Charlie Parker, Max Roach, and Eric Dolphy. Mingus's work ranged from advanced bebop and avant-garde jazz with small and midsize ensembles, to pioneering the post-bop style on seminal recordings like Pithecanthropus Erectus (1956) and Mingus Ah Um (1959), and progressive big band experiments such as The Black Saint and the Sinner Lady (1963).
Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.
John Birks "Dizzy" Gillespie was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality have made him an enduring icon.
Charles Parker Jr., nicknamed "Bird" or "Yardbird", was an American jazz saxophonist, band leader and composer. Parker was a highly influential soloist and leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and advanced harmonies. He was a virtuoso and introduced revolutionary rhythmic and harmonic ideas into jazz, including rapid passing chords, new variants of altered chords, and chord substitutions. Primarily a player of the alto saxophone, Parker's tone ranged from clean and penetrating to sweet and somber.
J. J. Johnson, born James Louis Johnson and also known as Jay Jay Johnson, was an American jazz trombonist, composer and arranger.
Grant Green was an American jazz guitarist and composer.
Cool jazz is a style of modern jazz music inspired by bebop and big band that arose in the United States after World War II. It is characterized by relaxed tempos and a lighter tone than that used in the fast and complex bebop style. Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that of contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest, "the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors."
John Aaron Lewis was an American jazz pianist, composer and arranger, best known as the founder and musical director of the Modern Jazz Quartet.
Roy Owen Haynes is an American jazz drummer. He is among the most recorded drummers in jazz. In a career lasting over 80 years, he has played swing, bebop, jazz fusion, avant-garde jazz and is considered a pioneer of jazz drumming. "Snap Crackle" was a nickname given to him in the 1950s.
Joshua Redman is an American jazz saxophonist and composer. He is the son of jazz saxophonist Dewey Redman (1931–2006).
Minton's Playhouse is a jazz club and bar located on the first floor of the Cecil Hotel at 210 West 118th Street in Harlem, Manhattan, New York City. It is a registered trademark of Housing and Services, Inc. a New York City nonprofit provider of supportive housing. The door to the actual club itself is at 206 West 118th Street where there is a small plaque. Minton's was founded by tenor saxophonist Henry Minton in 1938. Minton's is known for its role in the development of modern jazz, also known as bebop, where in its jam sessions in the early 1940s, Thelonious Monk, Bud Powell, Kenny Clarke, Charlie Christian, Charlie Parker and Dizzy Gillespie pioneered the new music. Minton's thrived for three decades until its decline near the end of the 1960s, and its eventual closure in 1974. After being closed for more than 30 years, the newly remodeled club reopened on May 19, 2006, under the name Uptown Lounge at Minton's Playhouse. However, the reopened club was closed again in 2010.
Paul Bley, CM was a Canadian jazz pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing and his early live performance on the Moog and ARP synthesizers. His music has been described by Ben Ratliff of the New York Times as "deeply original and aesthetically aggressive". Bley's prolific output includes influential recordings from the 1950s through to his solo piano recordings of the 2000s.
Dillon "Curley" Russell was an American jazz musician, who played bass on many bebop recordings.
Frank Morgan was a jazz saxophonist with a career spanning more than 50 years. He mainly played alto saxophone but also played soprano saxophone. He was known as a Charlie Parker successor who primarily played bebop and ballads.
Cecil Payne was an American jazz baritone saxophonist born in Brooklyn, New York. Payne also played the alto saxophone and flute. He played with other prominent jazz musicians, in particular Dizzy Gillespie and Randy Weston, in addition to his solo work as bandleader.
"Yardbird Suite" is a bebop standard composed by jazz saxophonist Charlie Parker in 1946. The title combines Parker's nickname "Yardbird" and a colloquial use of the classical music term "suite". The composition uses an 32-bar AABA form. The "graceful, hip melody, became something of an anthem for beboppers."
George Walker "Big Nick" Nicholas was an American jazz saxophonist and singer. Strongly influenced by his hero, Coleman Hawkins, Nicholas in turn influenced a young John Coltrane to compose his tribute "Big Nick", included on the 1962 album Duke Ellington & John Coltrane.
Allen Eager was an American jazz tenor and alto saxophonist who also competed in auto racing and took part in LSD experiments.
In the early 1940s in jazz, bebop emerged, led by Charlie Parker, Dizzy Gillespie, Thelonious Monk and others. It helped to shift jazz from danceable popular music towards a more challenging "musician's music." Differing greatly from swing, early bebop divorced itself from dance music, establishing itself more as an art form but lessening its potential popular and commercial value. Since bebop was meant to be listened to, not danced to, it used faster tempos. Beboppers introduced new forms of chromaticism and dissonance into jazz; the dissonant tritone interval became the "most important interval of bebop" and players engaged in a more abstracted form of chord-based improvisation which used "passing" chords, substitute chords, and altered chords. The style of drumming shifted as well to a more elusive and explosive style, in which the ride cymbal was used to keep time, while the snare and bass drum were used for accents. This appealed to a more specialized audiences than earlier forms of jazz, with sophisticated harmonies, fast tempos and often virtuoso musicianship. Bebop musicians often used 1930s standards, especially those from Broadway musicals, as part of their repertoire. Among standards written by bebop musicians are Gillespie's "Salt Peanuts" (1941) and "A Night in Tunisia" (1942), Parker's "Anthropology" (1946), "Yardbird Suite" (1946) and "Scrapple from the Apple" (1947), and Monk's "'Round Midnight" (1944), which is currently the most recorded jazz standard composed by a jazz musician. An early 1940s style known as "jumping the blues" or jump blues used small combos, uptempo music, and blues chord progressions. Jump blues drew on boogie-woogie from the 1930s. Kansas City Jazz in the 1930s as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s. These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds. To hostile critics, bebop seemed to be filled with "racing, nervous phrases". Despite the initial friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach.
Theodore Samuel Reig was a self-described "jazz hustler" who worked as a record producer, A&R man, promoter, and artist manager from the 1940s through the 1970s. As a record producer, he captured the work of dozens of legendary jazz innovators. He also influenced rhythm and blues, rock and roll, and Latin music.
