Related Research Articles
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).
David Warren Brubeck was an American jazz pianist and composer. Often regarded as a foremost exponent of cool jazz, Brubeck's work is characterized by unusual time signatures and superimposing contrasting rhythms, meters, and tonalities.
Shadows is a 1959 American independent drama film directed by John Cassavetes about race relations during the Beat Generation years in New York City. The film stars Ben Carruthers, Lelia Goldoni, and Hugh Hurd as three black siblings, though only one of them is dark-skinned enough to be considered African American. The film was initially shot in 1957 and shown in 1958, but a poor reception prompted Cassavetes to rework it in 1959. Promoted as a completely improvisational film, it was intensively rehearsed in 1957, and in 1959 it was fully scripted.
Le Sony'r Ra, better known as Sun Ra, was an American jazz composer, bandleader, piano and synthesizer player, and poet known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances. For much of his career, Ra led The Arkestra, an ensemble with an ever-changing name and flexible line-up.
Gerald Joseph Mulligan, also known as Jeru, was an American jazz saxophonist, clarinetist, composer and arranger. Though primarily known as one of the leading jazz baritone saxophonists—playing the instrument with a light and airy tone in the era of cool jazz—Mulligan was also a significant arranger working with Claude Thornhill, Miles Davis, Stan Kenton, and others. His piano-less quartet of the early 1950s with trumpeter Chet Baker is still regarded as one of the best cool jazz ensembles. Mulligan was also a skilled pianist and played several other reed instruments. Several of his compositions including "Walkin' Shoes" and "Five Brothers", have become standards.
John Aaron Lewis was an American jazz pianist, composer and arranger, best known as the founder and musical director of the Modern Jazz Quartet.
John Arthur "Jaki" Byard was an American jazz multi-instrumentalist, composer, and arranger. Mainly a pianist, he also played tenor and alto saxophones, among several other instruments. He was known for his eclectic style, incorporating everything from ragtime and stride to free jazz.
Fantasy Records is an American independent record label company founded by brothers Max and Sol Stanley Weiss in 1949. The early years of the company were dedicated to issuing recordings by jazz pianist Dave Brubeck, who was also one of its investors, but in more recent years the label has been known for its recordings of comedian Lenny Bruce, jazz pianist Vince Guaraldi, the last recordings made on the Wurlitzer organ in the San Francisco Fox Theatre before the theatre was demolished, organist Korla Pandit, the 1960s rock band Creedence Clearwater Revival, bandleader Woody Herman, and Disco/R&B singer Sylvester.
Edward Osmund Bland was an American composer and musical director.
"Take Five" is a jazz standard composed by Paul Desmond. It was first recorded in 1959 and is the third track on Time Out by the Dave Brubeck Quartet. Frequently covered by a variety of artists, the track is the biggest-selling jazz song of all time and a Grammy Hall of Fame inductee.
Jazz is a 2001 television documentary miniseries directed by Ken Burns. It was broadcast on PBS in 2001 and was nominated for an Emmy Award for Outstanding Documentary or Nonfiction Series. Its chronological and thematic episodes provided a history of jazz, emphasizing innovative composers and musicians and American history.
West Coast jazz refers to styles of jazz that developed in Los Angeles and San Francisco during the 1950s. West Coast jazz is often seen as a subgenre of cool jazz, which consisted of a calmer style than bebop or hard bop. The music relied relatively more on composition and arrangement than on the individually improvised playing of other jazz styles. Although this style dominated, it was not the only form of jazz heard on the American West Coast.
All Night Long is a 1962 British neo noir drama film directed by Basil Dearden, and starring Patrick McGoohan, Marti Stevens, Paul Harris, Keith Michell, Richard Attenborough and Betsy Blair. The story, by Nel King and Paul Jarrico, writing under the name Peter Achilles, is an updated version of William Shakespeare's Othello, set in the London jazz scene of the 1960s. The action takes place in a single evening, during an anniversary party. The black-and-white film features performances by several prominent British jazz musicians – among them Tubby Hayes and John Dankworth – as well as the Americans Dave Brubeck and Charles Mingus, who were in the UK in 1961 when filming took place and were recruited to participate.
William Marcel "Buddy" Collette was an American jazz flutist, saxophonist, and clarinetist. He was a founding member of the Chico Hamilton Quintet.
Interstellar Low Ways is an album recorded by the American jazz musician Sun Ra and his Myth Science Arkestra, mostly recorded in Chicago, 1960, and released in 1967 on his own El Saturn label. Originally titled Rocket Number Nine, the album had acquired its present name, and the red-on-white sleeve by Claude Dangerfield, by 1969. The album is known particularly for the two songs featuring chants, "Interplanetary Music" and "Rocket Number Nine Take off for the Planet Venus". These would stay in the Arkestra's repertoire for many years.
Rocket Number Nine points toward the music that the Arkestra would be playing on the lower East Side of New York City. The tenor sax solo isn't the work of John Coltrane in 1962, but of John Gilmore in 1960. And not even Ornette Coleman's bassists were playing like Ronnie Boykins at this date.
In the late 1960s, Latin jazz, combining rhythms from African and Latin American countries, often played on instruments such as conga, timbale, güiro, and claves, with jazz and classical harmonies played on typical jazz instruments broke through. There are two main varieties: Afro-Cuban jazz was played in the US right after the bebop period, while Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as Xavier Cugat, Tito Puente, and Arturo Sandoval. Brazilian jazz such as bossa nova is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English. The style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim. The related term jazz-samba describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd.
By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of cool jazz, which favoured long, linear melodic lines. It emerged in New York City, as a result of the mixture of the styles of predominantly white swing jazz musicians and predominantly black bebop musicians, and it dominated jazz in the first half of the 1950s. The starting point were a series of singles on Capitol Records in 1949 and 1950 of a nonet led by trumpeter Miles Davis, collected and released first on a ten-inch and later a twelve-inch as the Birth of the Cool. Cool jazz recordings by Chet Baker, Dave Brubeck, Bill Evans, Gil Evans, Stan Getz and the Modern Jazz Quartet usually have a "lighter" sound which avoided the aggressive tempos and harmonic abstraction of bebop. Cool jazz later became strongly identified with the West Coast jazz scene, but also had a particular resonance in Europe, especially Scandinavia, with emergence of such major figures as baritone saxophonist Lars Gullin and pianist Bengt Hallberg. The theoretical underpinnings of cool jazz were set out by the blind Chicago pianist Lennie Tristano, and its influence stretches into such later developments as Bossa nova, modal jazz, and even free jazz. See also the list of cool jazz and West Coast musicians for further detail.
This is a detailed summary documenting events of Jazzin the year 1920.
Charles Mingus: Triumph of the Underdog is a 1997 documentary film about the life of jazz musician Charles Mingus.
Passing Through is a 1977 American film directed by Larry Clark and co-written by Clark and Ted Lange.
References
- ↑ The Greatest Independent Films of the 20th Century|The New Yorker
- 1 2 3 Ed Bland, ‘‘The Cry of Jazz’’
- 1 2 3 4 5 Matt Rogers, "In Time", Waxpoetics issue 34
- ↑ "Complete National Film Registry Listing". Library of Congress. Retrieved 2020-06-03.
- ↑ "Hollywood Blockbusters, Independent Films and Shorts Selected for 2010 National Film Registry". Library of Congress.
- 1 2 Damon Locks, "The Cry of Jazz: Q&A with Director Edward Bland"
- ↑ "FROM SONNY BLOUNT TO SUN RA: The Chicago Years". campber.people.clemson.edu. Retrieved 2022-10-13.
- ↑ Ed Bland, "Personal Recollections of Sun Ra 1956-1967"
- 1 2 3 Ed Bland, "On "The Cry of Jazz"", Film Culture, 1960
- ↑ "Armond White introduces The Cry of Jazz on Vimeo
- 1 2 Paul Vitello, "Edward Bland Dies at 86; Made 'Cry of Jazz'", New York Times , 28 Mar. 2013
- ↑ Ernest Callenbach and Dominic Salvatore, "The Cry of Jazz", Film Quarterly, Winter 1959
- ↑ BBC, "1959: The Year that Changed Jazz"
- ↑ Scott DeVeaux and Gary Giddins. Jazz. New York: W. W. Norton, 2009. pg. 377.
- ↑ Scott DeVeaux and Gary Giddins. Jazz. New York: W. W. Norton, 2009. pg. 323.
- ↑ Scott DeVeaux and Gary Giddins. Jazz. New York: W. W. Norton, 2009. pg. 353-55.
- ↑ Scott DeVeaux and Gary Giddins. Jazz. New York: W. W. Norton, 2009. pg. 410-413.