Related Research Articles
Norman Granz was an American jazz record producer and concert promoter. He founded the record labels Clef, Norgran, Down Home, Verve, and Pablo. Granz was acknowledged as "the most successful impresario in the history of jazz". He was also a champion of racial equality, insisting, for example, on integrating audiences at concerts he promoted.
Joseph Vernon "Big Joe" Turner Jr. was an American blues shouter from Kansas City, Missouri. According to songwriter Doc Pomus, "Rock and roll would have never happened without him". Turner's greatest fame was due to his rock and roll recordings in the 1950s, particularly "Shake, Rattle and Roll", but his career as a performer endured from the 1920s into the 1980s.
Dinah Washington was an American singer and pianist, one of the most popular black female recording artists of the 1950s. Primarily a jazz vocalist, she performed and recorded in a wide variety of styles including blues, R&B, and traditional pop music, and gave herself the title of "Queen of the Blues". She was also known as "Queen of the Jukeboxes". She was a 1986 inductee of the Alabama Jazz Hall of Fame, and was inducted into the Rock and Roll Hall of Fame in 1993.
Carlos Wesley "Don" Byas was an American jazz tenor saxophonist, associated with swing and bebop. He played with Count Basie, Duke Ellington, Art Blakey, and Dizzy Gillespie, among others, and also led his own band. He lived in Europe for the last 26 years of his life.
William Clarence Eckstine was an American jazz and pop singer and a bandleader during the swing and bebop eras. He was noted for his rich, almost operatic bass-baritone voice. In 2019, Eckstine was posthumously awarded the Grammy Lifetime Achievement Award "for performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording". His recording of "I Apologize" was given the Grammy Hall of Fame Award in 1999. The New York Times described him as an "influential band leader" whose "suave bass-baritone" and "full-throated, sugary approach to popular songs inspired singers like Earl Coleman, Johnny Hartman, Joe Williams, Arthur Prysock, and Lou Rawls."
Andrew Dewey Kirk was an American jazz bandleader and saxophonist who led the Twelve Clouds of Joy, a band popular during the swing era.
Shelton "Shelly" Glen Berg is an American classical and jazz pianist and music educator. He is the dean of the Frost School of Music at the University of Miami in Coral Gables, Florida and the school's Patricia L. Frost Professor of Music.
Percy Mayfield was an American rhythm and blues singer with a smooth vocal style. He was also a songwriter, known for the songs "Please Send Me Someone to Love" and "Hit the Road Jack", the latter being a song first recorded by Ray Charles.
Edward Heywood Jr. was an American jazz pianist and composer particularly active in the 1940s and 1950s.
Frankie "Half-Pint" Jaxon, born Frank Devera Jackson, was an African American vaudeville singer, stage designer and comedian, popular in the 1920s and 1930s.
Barbara Morrison was an American jazz singer.
George Ewing Lee was an American jazz bandleader.
Monette Moore was an American jazz and classic female blues singer.
Jeffrey Nath Bhasker is an American record producer, songwriter, and multi-instrumentalist based in Los Angeles. He won the Grammy Award for Producer of the Year in 2016 and was nominated for the award in 2013.
Mary Louise Tobin was an American jazz singer and musician. She appeared with Benny Goodman, Bobby Hackett, Will Bradley, and Jack Jenney. Tobin introduced "I Didn't Know What Time It Was" with Goodman's band in 1939. Her biggest hit with Goodman was "There'll Be Some Changes Made", which was number two on Your Hit Parade in 1941 for 15 weeks. Tobin was the first wife of trumpeter and bandleader Harry James, with whom she had two sons.
Dick Wilson was an American jazz tenor saxophonist, best known for his work with the Andy Kirk big band.
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.
Felix Jackson was a German-born American screenwriter and film and television producer.
Monica Lewis was an American jazz singer and film actress. Lewis was the longtime voice of Chiquita Banana in that company's animated ad campaign, beginning in 1947.
Stacy Johnson was an American R&B singer and songwriter best known as a vocalist in the Ike & Tina Turner Revue. Johnson also released solo records and sang in the St. Louis based group the Sharpees led by Benny Sharp.
References
- [no author given]. "Pha Terrell". In Kernfeld, Barry. The New Grove Dictionary of Jazz, 2nd edition . Oxford, 2001.
- Chadbourne, Eugene. Pha Terrell biography, Allmusic.com.
| International | |
|---|---|
| National | |
| Artists | |
| Other | |
