QUINCY JONES BAND AUTOGRAPHS BUD JOHNSON PHIL WOODS CLARK TERRY BENNY BAILEY +++

Description: THE QUINCY JONES BAND AUTOGRAPH PAGE AS IT APPEARED IN THE BLUES OPERA FREE AND EASY AT THE PARIS ALHAMBRA, 1960 SIGNED BY BUD JOHNSONCLARK TERRYJIMMY CLEVELANDBENNY BAILEYSAHIB SHIHABPHIL WOOD Albert J. "Budd" Johnson III (December 14, 1910 – October 20, 1984)[1] was an American jazz saxophonist and clarinetist who worked extensively with, among others, Ben Webster, Benny Goodman, Big Joe Turner, Coleman Hawkins, Dizzy Gillespie, Duke Ellington, Quincy Jones, Count Basie, Billie Holiday and, especially, Earl Hines.[2][3] Contents1Life and career2Discography2.1As leader/coleader2.2As sideman2.3As arranger3References4External linksLife and careerJohnson initially played drums and piano before switching to tenor saxophone. In the 1920s he performed in Texas and parts of the Midwest, working with Jesse Stone among others. Johnson had his recording debut while working with Louis Armstrong's band in 1932-33 but he is more known for his work, over many years, with Earl Hines. It is contended that he and Billy Eckstine, Hines' long-term collaborator, led Hines to hire "modernists" in the birth of bebop, which came largely out of the Hines band. Johnson was also an early figure in the bebop era, doing sessions with Coleman Hawkins in 1944. In the 1950s he led his own group and did session work for Atlantic Records - he is the featured tenor saxophone soloist on Ruth Brown's hit "Teardrops from My Eyes". In the mid-1960s he began working and recording again with Hines. His association with Hines is his longest lasting and most significant. In 1975 he began working with the New York Jazz Repertory Orchestra. He was inducted into the Big Band and Jazz Hall of Fame in 1993. His grandson, Albert Johnson (aka Prodigy), was a member of the hip-hop duo Mobb Deep.[4] DiscographyAs leader/coleader1958: Blues a la Mode (Felsted)1960: Budd Johnson and the Four Brass Giants (Riverside) with Ray Nance, Clark Terry, Nat Adderley and Harry Edison1960: Let's Swing! (Swingville)1963: French Cookin' (Argo)1964: Ya! Ya! (Argo)1964: Off the Wall (Argo) with Joe Newman1970: Ya! Ya! (Black & Blue)1974: The Dirty Old Men (Black & Blue) with Earl Hines - rereleased as Mr. Bechet1978: In Memory of a Very Dear Friend (Dragon)1984: The Old Dude and the Fundance Kid (Uptown) with Phil WoodsAs sidemanWith Cannonball Adderley Domination (Capitol, 1965)WIth Count Basie The Legend (Roulette, 1961)Kansas City 8: Get Together (1979)With Ruth Brown Miss Rhythm (Atlantic, 1959)With Benny Carter 'Live and Well in Japan! (Pablo Live, 1978)With Roy Eldridge What It's All About (Pablo, 1976)With Duke Ellington and Count Basie First Time! The Count Meets the Duke (Columbia, 1961)With Gil Evans Great Jazz Standards (Pacific Jazz, 1959)Out of the Cool (Impulse!, 1960)With Dizzy Gillespie The Complete RCA Victor Recordings (Bluebird, 1937-1949 [1995])Dee Gee Days: The Savoy Sessions (Savoy, 1951-1952 [1976])Jazz Recital (Norgran, 1955)With Coleman Hawkins Rainbow Mist (Delmark, 1944 [1992]) compilation of Apollo recordingsWith Earl Hines The Father Jumps (Bluebird, 1939-1945 [1975])With Claude Hopkins Swing Time! (Swingville, 1963) with Vic DickensonWith Etta Jones Lonely and Blue (Prestige, 1962)With Quincy Jones The Birth of a Band! (Mercury, 1959)The Great Wide World of Quincy Jones (Mercury, 1959)I Dig Dancers (Mercury, 1960)Quincy Plays for Pussycats (Mercury, 1959-65 [1965])With Jimmy McGriff The Big Band (Solid State, 1966)With Carmen McRae Something to Swing About (Kapp, 1959)With Bud Powell Earl Bud Powell, Vol. 1: Early Years of a Genius, 44–48 (1948)With Carrie Smith Carrie Smith (West 54 Records, 1978)With Jimmy Smith Monster (Verve, 1965)With Sonny Stitt Broadway Soul (Colpix, 1965)With Clark Terry Color Changes (Candid, 1960)Clark Terry Plays the Jazz Version of All American (Moodsville, 1962)With Ben Webster Ben Webster and Associates (Verve, 1959)With Randy Weston Uhuru Afrika (Roulette, 1960)Highlife (Colpix, 1963)Tanjah (Polydor, 1973)As arrangerWith Jimmy Witherspoon Goin' to Kansas City Blues (RCA Victor, 1958) with Jay McShann Budd Johnson, a versatile saxophonist and arranger who was a catalytic figure in the movement of jazz from swing to be-bop during the 1930's and 40's, died of a heart attack on Saturday in Kansas City, Mo. He was 73 years old. Mr. Johnson, who lived in Hempstead, L.I., was in Kansas City for a performance. The career of Mr. Johnson, who was born Albert Johnson in Dallas on Dec. 14, 1910, spanned 60 years, starting in 1924 when he was the drummer in a teen-age band. He soon switched to saxophone and in 1933 was leading a group jointly with the pianist Teddy Wilson when they both joined Louis Armstrong's Orchestra. The following year he joined the Earl Hines Orchestra and for the next eight years he was Mr. Hines musical director. He brought the then little-known be-bop musicians Dizzy Gillespie and Charlie Parker into the Hines band in 1942. Arranger for Big Bands He wrote arrangements for the early bop-oriented big bands led by Billy Eckstine, Boyd Raeburn, Woody Herman and Mr. Gillespie and in 1944 was a member with Mr. Gillespie of the first be-bop group to play on 52d Street in New York. Shortly later he organized the first be-bop recording date, released under Coleman Hawkins' name on the Apollo label. In the 1950's and 60's, Mr. Johnson played with the orchestras of Count Basie, Quincy Jones and Benny Goodman and toured the Soviet Union with Mr. Hines. For several years he was co-leader with Oliver Jackson and Bill Pemberton of the JPJ Quartet and was active as a lecturer and conductor of music clinics at colleges. Mr. Johnson is survived by his wife, Bernice; a son, Albert Jr., of Hempstead; a sister, Ruth Hickman of Dallas, and a grandson. A funeral service will be held on Thursday at 7:30 P.M. at St. Peter's Church, Lexington Avenue at 54th Street. Clark Virgil Terry Jr.[1] (December 14, 1920 – February 21, 2015) was an American swing and bebop trumpeter, a pioneer of the flugelhorn in jazz, and a composer and educator. He played with Charlie Barnet (1947), Count Basie (1948–51),[2] Duke Ellington (1951–59),[2] Quincy Jones (1960), and Oscar Peterson (1964-96). He was with The Tonight Show Band from 1962 to 1972. His career in jazz spanned more than 70 years, during which he became one of the most recorded jazz musicians, appearing on over 900 recordings. Terry also mentored Quincy Jones, Miles Davis, Herbie Hancock, Wynton Marsalis, Pat Metheny, Dianne Reeves, and Terri Lyne Carrington.[3] Contents1Early life2Big band era3Later career4Death and tributes5Awards and honors6Discography6.1As leader6.2As sideman7See also8Bibliography9References10External linksEarly lifeTerry was born to Clark Virgil Terry Sr. and Mary Terry in St. Louis, Missouri, on December 14, 1920.[1][2] He attended Vashon High School and began his professional career in the early 1940s, playing in local clubs. He served as a bandsman in the United States Navy during World War II. His first instrument was valve trombone.[4] Terry at the 1981 Monterey Jazz FestivalBig band eraBlending the St. Louis tone with contemporary styles, Terry's years with Basie and Ellington (who secretly recruited Terry away from Basie)[5] in the late 1940s and 1950s established his prominence. During his period with Ellington, he took part in many of the composer's suites and acquired a reputation for his wide range of styles (from swing to hard bop), technical proficiency, and good humor. Terry influenced musicians including Miles Davis and Quincy Jones, both of whom acknowledged Terry's influence during the early stages of their careers. Terry had informally taught Davis while they were still in St Louis,[6] and Jones during Terry's frequent visits to Seattle with the Count Basie Sextet.[7] After leaving Ellington in 1959, Clark's international recognition soared when he accepted an offer from the National Broadcasting Company (NBC) to become a staff musician. He appeared for ten years on The Tonight Show as a member of the Tonight Show Band until 1972, first led by Skitch Henderson and later by Doc Severinsen, where his unique "mumbling" scat singing led to a hit with "Mumbles".[8] Terry was the first African American to become a regular in a band on a major US television network. He said later: "We had to be models, because I knew we were in a test.... We couldn't have a speck on our trousers. We couldn't have a wrinkle in the clothes. We couldn't have a dirty shirt."[9] Terry continued to play with musicians such as trombonist J. J. Johnson and pianist Oscar Peterson,[10] and led a group with valve-trombonist Bob Brookmeyer that achieved some success in the early 1960s. In February 1965, Brookmeyer and Terry appeared on BBC2's Jazz 625.[11] and in 1967, presented by Norman Granz, he was recorded at Poplar Town Hall, in the BBC series Jazz at the Philharmonic, alongside James Moody, Dizzy Gillespie, Coleman Hawkins, Benny Carter, Teddy Wilson, Bob Cranshaw, Louie Bellson and T-Bone Walker.[12] In the 1970s, Terry concentrated increasingly on the flugelhorn, which he played with a full, ringing tone. In addition to his studio work and teaching at jazz workshops, Terry toured regularly in the 1980s with small groups (including Peterson's) and performed as the leader of his Big B-A-D Band (formed about 1970). After financial difficulties forced him to break up the Big B-A-D Band, he performed with bands such as the Unifour Jazz Ensemble. His humor and command of jazz trumpet styles are apparent in his "dialogues" with himself, on different instruments or on the same instrument, muted and unmuted. Later career Terry in New York City, 1976From the 1970s through the 1990s, Terry performed at Carnegie Hall, Town Hall, and Lincoln Center, toured with the Newport Jazz All Stars and Jazz at the Philharmonic, and was featured with Skitch Henderson's New York Pops Orchestra. In 1998, Terry recorded George Gershwin's "Let's Call the Whole Thing Off" for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease. In November 1980, he was a headliner along with Anita O'Day, Lionel Hampton and Ramsey Lewis during the opening two-week ceremony performances celebrating the short-lived resurgence of the Blue Note Lounge at the Marriott O'Hare Hotel near Chicago. Prompted early in his career by Billy Taylor, Clark and Milt Hinton bought instruments for and gave instruction to young hopefuls, which planted the seed that became Jazz Mobile in Harlem. This venture tugged at Terry's greatest love: involving youth in the perpetuation of jazz. From 2000 onwards, he hosted Clark Terry Jazz Festivals on land and sea, held his own jazz camps, and appeared in more than fifty jazz festivals on six continents. Terry composed more than two hundred jazz songs and performed for eight U.S. Presidents.[13] He also had several recordings with major groups including the London Symphony Orchestra, the Dutch Metropole Orchestra, and the Chicago Jazz Orchestra, hundreds of high school and college ensembles, his own duos, trios, quartets, quintets, sextets, octets, and two big bands: Clark Terry's Big Bad Band and Clark Terry's Young Titans of Jazz. In February 2004, Terry guest starred as himself, on Little Bill, a children's television series. Terry was a resident of Bayside, Queens, and Corona, Queens, New York, later moving to Haworth, New Jersey, and then Pine Bluff, Arkansas.[14][15] His autobiography was published in 2011.[3] Taylor Ho Bynum wrote in The New Yorker that it "captures his gift for storytelling and his wry humor, especially in chronicling his early years on the road, with struggles through segregation and gigs in juke joints and carnivals, all while developing one of most distinctive improvisational voices in music history."[16] According to his own website Terry was "one of the most recorded jazz artists in history and had performed for eight American Presidents."[17] In April 2014, the documentary Keep on Keepin' On, followed Terry over four years, to document his mentorship of the 23-year-old blind piano prodigy Justin Kauflin, as the Kauflin prepared to compete in an elite, international competition.[18] In December 2014 the Jazz at Lincoln Center Orchestra with Wynton Marsalis and Cécile McLorin Salvant visited Terry, who had celebrated his 94th birthday on December 14, at the Jefferson Regional Medical Center. A lively rendition of "Happy Birthday" was played.[19] Death and tributes Terry performing at the White House with singer Nnenna Freelon in 2006On February 13, 2015, it was announced that Terry had entered hospice care to manage his advanced diabetes.[20] He died on February 21, 2015.[21][22] Writing in The New York Times, Peter Keepnews said Terry "was acclaimed for his impeccable musicianship, loved for his playful spirit and respected for his adaptability. Although his sound on both trumpet and the rounder-toned flugelhorn (which he helped popularize as a jazz instrument) was highly personal and easily identifiable, he managed to fit it snugly into a wide range of musical contexts."[23] Writing in UK's The Daily Telegraph, Martin Chilton said: "Terry was a music educator and had a deep and lasting influence on the course of jazz. Terry became a mentor to generations of jazz players, including Miles Davis, Wynton Marsalis and composer-arranger Quincy Jones."[9] Interviewing Terry in 2005, fellow jazz trumpeter Scotty Barnhart said he was "... one of the most incredibly versatile musicians to ever live ... a jazz trumpet master that played with the greatest names in the history of the music ..."[24] Southeast Missouri State University hosts the Clark Terry/Phi Mu Alpha Jazz Festival, an annual tribute to the musician. The festival began in 1998, and has grown in size every year. The festival showcases outstanding student musicians and guest artists at the university's River Campus.[25][26] The University of New Hampshire hosts the Clark Terry Jazz Festival every year; it showcases middle- and high-school jazz musicians from all over New England.[27] On June 25, 2019, The New York Times Magazine listed Clark Terry among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[28] Awards and honors Terry performing with the Great Lakes Navy Band Jazz EnsembleOver 250 awards, medals and honors, including: Induction into the Jazz at Lincoln Center Nesuhi Ertegun Jazz Hall of Fame (2013)[29]The 2010 Grammy Lifetime Achievement Award, two Grammy certificates, three Grammy nominations[30]Induction into the Down Beat Jazz Hall of Fame[31]The National Endowment for the Arts Jazz Master Award (1991)[32]In 1988 an Honorary Doctorate of Music from Berklee College of Music.[33]Sixteen honorary doctorates[34]Keys to several cities[35]Jazz Ambassador for U.S. State Department tours in the Middle East and Africa[36]A knighthood in Germany[37]Charles E. Lutton Man of Music Award, presented by Phi Mu Alpha Sinfonia fraternity in (1985). Terry was awarded honorary membership in the Fraternity by the Beta Zeta Chapter at the College of Emporia (1968).An honorary member of the Iota Phi chapter of Kappa Kappa Psi, National Honorary Band Fraternity (2011), at the University of New Hampshire.The French Order of Arts and Letters (2000)[38]A life-sized wax figure for the Black World History Museum in St. LouisInducted into the St. Louis Walk of Fame (1996)[39]NARAS Present's Merit Award (2005)[40]Trumpeter of the Year by the Jazz Journalists Association (2005)[34]DiscographyAs leaderClark Terry (EmArcy, 1955)The Jazz School with Joe Gordon, Paul Gonsalves (Wing, 1955)Serenade to a Bus Seat (Riverside, 1957)Duke with a Difference (Riverside, 1957)Out on a Limb with Clark Terry (Argo, 1957)In Orbit with Thelonious Monk (Riverside, 1958)Top and Bottom Brass (Riverside, 1959)Everything's Mellow (Prestige/Moodsville, 1961)Color Changes (Candid, 1961)Clark Terry Plays the Jazz Version of All American (Moodsville, 1962)Back in Bean's Bag (Columbia, 1963)Tread Ye Lightly (Cameo, 1964)What Makes Sammy Swing (20th Century Fox, 1964)The Happy Horns of Clark Terry (Impulse!, 1964)The Power of Positive Swinging with Bob Brookmeyer (Mainstream, 1965)Tonight with Bob Brookmeyer (Mainstream, 1965)Gingerbread Men with Bob Brookmeyer (Mainstream, 1966)Mumbles (Mainstream, 1966)Spanish Rice with Chico O'Farrill (Impulse!, 1966)It's What's Happenin' (Impulse!, 1967)Soul Duo with Shirley Scott (Impulse!, 1967)At the Montreux Jazz Festival (Polydor, 1970)Previously Unreleased Recordings with Bob Brookmeyer (Verve, 1973)Clark Terry's Big B-A-D Band Live at the Wichita Jazz Festival (Vanguard, 1975)Oscar Peterson and Clark Terry (Pablo, 1975)Wham/Live at the Jazz House (MPS, 1976)Professor Jive (Inner City, 1976)The Globetrotter (Vanguard, 1977)Clark After Dark: The Ballad Artistry of Clark Terry (MPS, 1978)Ain't Misbehavin' (Pablo, 1979)Mother ! Mother ! with Zoot Sims (Pablo, 1980)Memories of Duke (Pablo, 1980)Yes, the Blues (Pablo, 1981)To Duke and Basie (Enja, 1986)Live 1964 (Emerald, 1987)Portraits (Chesky, 1989)Having Fun (Delos, 1990)Live at the Village Gate (Chesky, 1991)Music in the Garden (Jazz Heritage, 1993)What a Wonderful World (Red Baron, 1993)Marian McPartland's Piano Jazz with Guest Clark Terry (Jazz Alliance, 1994)Big Band Basie with Frank Wess (Reference, 1995)The Second Set: Recorded Live at the Village Gate (Chesky, 1995)Clark Terry with Peewee Claybrook and Swing Fever (D'Note, 1995)Live in Chicago Vol. 1 (Monad, 1995)Live in Chicago Vol. 2 (Monad, 1995)Clark Terry Express (Reference, 1996)The Songs Ella and Louis Sang with Carol Sloane (Concord Jazz, 1997)One on One (Chesky, 2000)Mellow Moods (Prestige, 2001)The Hymn (Candid, 2001)Live in Concert (Image, 2001)Friendship with Max Roach (Columbia, 2002)George Gershwin's Porgy and Bess (Americana, 2004)Live at Marihans (Chiaroscuro, 2005)Louie and Clark Expedition 2 with Louie Bellson (Percussion Power, 2008)Carnegie Blues: The Music of Duke Ellington (Squatty Roo, 2015)As sidemanWith Gene Ammons Soul Summit Vol. 2 (Prestige, 1962)Late Hour Special (Prestige, 1964)Velvet Soul (Prestige, 1964)With Dave Bailey One Foot in the Gutter (Epic, 1960)Gettin' Into Somethin' (Epic, 1961)With Ray Bryant Gotta Travel On (Cadet, 1966)Lonesome Traveler (Cadet, 1966)With Eddie "Lockjaw" Davis Afro-Jaws (Riverside, 1960)Trane Whistle (Prestige, 1960)With Duke Ellington Ellington Uptown (Columbia, 1952)Premiered by Ellington (Capitol, 1953)Dance to the Duke! (Capitol, 1954)Ellington '55 (Capitol, 1955)Ellington Showcase (Capitol, 1955)Blue Rose (Columbia, 1956)A Drum Is a Woman (Columbia, 1956)Ellington at Newport (Columbia, 1956)Such Sweet Thunder (Columbia, 1957)Ella Fitzgerald Sings the Duke Ellington Song Book (Verve, 1957)All Star Road Band (Doctor Jazz, 1957 [1983])Ellington Indigos (Columbia, 1958)Black, Brown and Beige (Columbia, 1958)Duke Ellington at the Bal Masque (Columbia, 1958)The Cosmic Scene (Columbia, 1958)Festival Session (Columbia, 1959)The Ellington Suites (Columbia, 1959)Blues in Orbit (Columbia, 1960)The Greatest Jazz Concert in the World (1967)With Stan Getz Big Band Bossa Nova (Verve, 1962)Stan Getz Plays Music from the Soundtrack of Mickey One (MGM, 1965)With Dizzy Gillespie Gillespiana (Verve, 1960)Carnegie Hall Concert (Verve, 1961)The Trumpet Kings Meet Joe Turner (Pablo, 1974)The Trumpet Summit Meets the Oscar Peterson Big 4 (Pablo, 1980)With Johnny Griffin The Big Soul-Band (Riverside, 1960)White Gardenia (Riverside, 1961)With Johnny Hodges Creamy (Norgran, 1955)Ellingtonia '56 (Norgran, 1956)Duke's in Bed (Verve, 1956)The Big Sound (Verve, 1957)With Milt Jackson Big Bags (Riverside, 1962)For Someone I Love (Riverside, 1963)Ray Brown / Milt Jackson with Ray Brown (Verve, 1965)With J. J. Johnson J.J.! (RCA Victor, 1964)Goodies (RCA Victor, 1965)Concepts in Blue (Pablo Today, 1981)With Quincy Jones The Birth of a Band! (Mercury, 1959)I Dig Dancers (Mercury, 1960)The Quintessence (Impulse! 1962)Big Band Bossa Nova (Mercury, 1962)Quincy Jones Plays Hip Hits (Mercury, 1963)Quincy Jones Explores the Music of Henry Mancini (Mercury, 1964)Quincy Plays for Pussycats (Mercury, 1959-65 [1965])The Hot Rock OST (Prophesy, 1972)With Mundell Lowe Themes from Mr. Lucky, The Untouchables and Other TV Action Jazz (RCA Camden, 1960)Satan in High Heels (soundtrack) (Charlie Parker, 1961)With Herbie Mann Latin Fever (Atlantic, 1963)My Kinda Groove (Atlantic, 1964)Our Mann Flute (Atlantic, 1966)The Beat Goes On (Atlantic, 1967)The Herbie Mann String Album (Atlantic, 1967)With Gary McFarland The Jazz Version of "How to Succeed in Business without Really Trying" (Verve, 1962)Tijuana Jazz (Impulse!, 1965)With Charles Mingus Mingus Revisited/ (Mercury/Limelight, 1960 [reissue, 1965])The Complete Town Hall Concert (Blue Note, 1962 [1994])With Blue Mitchell Smooth as the Wind (1961)A Sure Thing (1962)With Gerry Mulligan Gerry Mulligan and the Concert Jazz Band at the Village Vanguard (Verve, 1960)Gerry Mulligan '63 (Verve, 1963)With Oliver Nelson Impressions of Phaedra (United Artists, 1962)Full Nelson (Verve, 1962)Oliver Nelson Plays Michelle (Impulse!, 1966)Happenings (Impulse!, 1966)Encyclopedia of Jazz (Verve, 1966)The Sound of Feeling (Verve, 1966)The Spirit of '67 (Impulse!, 1967)With Oscar Peterson Oscar Peterson and the Trumpet Kings – Jousts (Pablo, 1975)Oscar Peterson Trio + One (Verve, 1964)The Trumpet Summit Meets the Oscar Peterson Big 4 (Pablo, 1980)Jazz at the Philharmonic – Yoyogi National Stadium, Tokyo 1983: Return to Happiness (1983)With Dave Pike Bossa Nova Carnival (New Jazz, 1962)Jazz for the Jet Set (Atlantic, 1966)With Lalo Schifrin New Fantasy (Verve, 1964)Once a Thief and Other Themes (Verve, 1965)With Sonny Stitt The Matadors Meet the Bull (Roulette, 1965)I Keep Comin' Back! (Roulette, 1966)With Billy Taylor Taylor Made Jazz (Argo, 1959)Kwamina (Mercury, 1961)With Cal Tjader Several Shades of Jade (Verve, 1963)Live at the Monterey Jazz Festival 1958–1980 (Concord, 2008)With others Ernestine Anderson, My Kinda Swing (Mercury, 1960)George Barnes, Guitars Galore (Mercury, 1961)George Benson, Goodies (Verve, 1968)Willie Bobo, Bobo's Beat (Roulette, 1962)Bob Brookmeyer, Gloomy Sunday and Other Bright Moments (Verve, 1961)Clifford Brown, Jam Session (EmArcy, 1954)Ruth Brown, Ruth Brown '65 (Mainstream, 1965)Kenny Burrell, Lotsa Bossa Nova (Kapp, 1963)Gary Burton, Who Is Gary Burton? (RCA, 1962)Charlie Byrd, Byrd at the Gate (Riverside, 1963)Al Caiola, Cleopatra and All That Jazz (United Artists, 1963)Al Cohn, Son of Drum Suite (RCA Victor, 1960)Tadd Dameron, The Magic Touch (1962)Art Farmer, Listen to Art Farmer and the Orchestra (Mercury, 1962)Ella Fitzgerald, Ella Abraça Jobim (Pablo, 1981)Paul Gonsalves, Cookin' (Argo, 1957)Bunky Green, Transformations (Vanguard, 1977)Dave Grusin, Homage to Duke (1993)Chico Hamilton, The Further Adventures of El Chico (Impulse!, 1966)Jimmy Hamilton, It's About Time (Swingville, 1961)Lionel Hampton, You Better Know It!!! (Impulse!, 1965)Jimmy Heath, Really Big! (Riverside, 1960)John Hicks, Friends Old and New (Novus, 1992)Kenyon Hopkins, The Yellow Canary (Verve, 1960)Budd Johnson, Budd Johnson and the Four Brass Giants (Riverside, 1960)Elvin Jones, Summit Meeting (Vanguard, 1976)Sam Jones, Down Home (Riverside, 1962)Lambert, Hendricks & Bavan, At Newport '63 (RCA, 1963)Yusef Lateef, The Centaur and the Phoenix (Riverside, 1960)Michel Legrand, Michel Legrand Plays Richard Rodgers (Philips, 1962)Abbey Lincoln, The World Is Falling Down (Polydor/Verve, 1990)Junior Mance, The Soul of Hollywood (Jazzland, 1962)Jay McShann, Some Blues (Chiaroscuro, 1993)Modern Jazz Quartet, Jazz Dialogue (Atlantic, 1965)Mark Murphy, That's How I Love the Blues! (Riverside, 1962)Chico O'Farrill, Nine Flags (Impulse!, 1966)Oscar Pettiford, Basically Duke (Bethlehem, 1954)Gene Roland, Swingin' Friends (Brunswick, 1963)Sonny Rollins, Sonny Rollins and the Big Brass (1958)Jimmy Rushing, Every Day I Have the Blues (BluesWay, 1967)Jimmy Smith, Hobo Flats (Verve, 1963)Buddy Tate, Tate-a-Tate (Swingville, 1960)Cecil Taylor, New York City R&B (Candid, 1961)Ed Thigpen, Out of the Storm (Verve, 1966)Teri Thornton, Devil May Care (Riverside, 1961)Stanley Turrentine, Joyride (Blue Note, 1965)McCoy Tyner, Live at Newport (Impulse, 1964)Dinah Washington, Dinah Jams (EmArcy, 1954)Randy Weston, Uhuru Afrika (Roulette, 1960)Joe Williams, At Newport '63 (RCA, 1963)Gerald Wilson, New York, New Sound (Mack Avenue, 2003)Kai Winding, Kai Olé (Verve, 1961)Jimmy Woode, The Colorful Strings of Jimmy Woode (Argo, 1957)See alsoCircular breathingBibliographyLet's Talk Trumpet: From Legit to Jazz (with Phil Rizzo), 1973Clark Terry's System of Circular Breathing for Woodwind and Brass Instruments (with Phil Rizzo), 1975Interpretation of the Jazz Language, Bedford, Ohio: M. A. S. Publishing Company, 1977TerryTunes, anthology of 60 original compositions (1st edn, 1972; 2nd edn w/doodle-tonguing chapter, 2009)"Clark Terry – Jazz Ambassador: C.T.'s Diary" [cover portrait], Jazz Journal International 31 (May 6, 1978): pp. 7–8."Jazz for the Record" [Clark Terry Archive at William Paterson University], The New York Times (December 11, 2004).Beach, Doug, "Clark Terry and the St. Louis Trumpet Sound", Instrumentalist 45 (April 1991): 8–12.Bernotas, Bob, "Clark Terry", Jazz Player 1 (October–November 1994): 12–19.Blumenthal, Bob, "Reflections on a Brilliant Career" [reprint of JazzTimes 25, No. 8], Jazz Educators Journal 29, No. 4 (1997): 30–33, 36–37.Ellington, Duke, "Clark Terry" chapter in Music is My Mistress (Garden City, NY: Doubleday, 1973): 229–230.LaBarbera, John, "Clark Terry: More Than 'Mumbles'", ITG Journal (International Trumpet Guild) 19, No. 2 (1994): 36–41.Morgenstern, Dan, "Clark Terry" in Living With Jazz: A Reader (New York: Pantheon, 2004): 196–201. [Reprint of Down Beat 34 (June 1, 1967): 16–18.]Owens, Thomas, "Trumpeters: Clark Terry", in Bebop: The Music and the Players (New York: Oxford, 1995): 111–113.Terry, C. Clark: The Autobiography of Clark Terry, University of California Press (2011), ISBN 978-0520268463 James Milton Cleveland (May 3, 1926 – August 23, 2008) was an American jazz trombonist born in Wartrace, Tennessee.[1] Cleveland worked with many other jazz musicians, including Lionel Hampton, Miles Davis, Sarah Vaughan, Antonio Carlos Jobim, Quincy Jones, Lucky Thompson, Gigi Gryce, Oscar Peterson, Oscar Pettiford and James Brown. He also recorded a sequence of albums for EmArcy/Mercury Records in the 1950s. He continued to make records with Zion Records later in his career. Cleveland died August 23, 2008 in Lynwood, California at age 82.[1] Contents1Discography1.1As leader1.2As sideman2ReferencesDiscographyAs leaderIntroducing Jimmy Cleveland and His All Stars (EmArcy, 1955)Cleveland Style (EmArcy, 1957)A Map of Jimmy Cleveland (Mercury, 1958)Rhythm Crazy (EmArcy, 1959 [1964])As sidemanwith Julian Cannonball Adderley Julian "Cannonball" Adderley (EmArcy, 1955)With Gene Ammons Free Again (Prestige, 1971)With Dorothy Ashby The Fantastic Jazz Harp of Dorothy Ashby (Atlantic, 1965)With Art Blakey Art Blakey Big Band (Bethlehem, 1957)With Brass Fever Time Is Running Out (Impulse!, 1976)with James Brown Soul on Top (King/Verve, 1970)With Ruth Brown Miss Rhythm (Atlantic, 1959)With Kenny Burrell Blues - The Common Ground (Verve, 1968)Night Song (Verve, 1969)With Donald Byrd Jazz Lab (Columbia, 1957) - co-led with Gigi GryceModern Jazz Perspective (Columbia, 1957) - co-led with Gigi GryceI'm Tryin' to Get Home (Blue Note, 1965)with Clifford Coulter Do It Now! (Impulse!, 1971)With Hank Crawford Mr. Blues Plays Lady Soul (Atlantic, 1969)With Eddie "Lockjaw" Davis Trane Whistle (Prestige, 1960)with Miles Davis: Miles Ahead (Columbia, 1957)Porgy and Bess (Columbia, 1958)With Teddy Edwards Mississippi Lad (Verve/Gitanes, 1991)with Gil Evans Gil Evans & Ten (Prestige, 1957)The Individualism of Gil Evans (Verve, 1964)Blues in Orbit (Enja, 1969–71)With Art Farmer The Art Farmer Septet (Prestige, 1953–54)Brass Shout (United Artists, 1959)The Aztec Suite (United Artists, 1959)Listen to Art Farmer and the Orchestra (Mercury, 1962)With Maynard Ferguson Ridin' High (Enterprise, 1967)With Dizzy Gillespie Jazz Recital (Norgran, 1955)With Benny Golson Benny Golson's New York Scene (Contemporary, 1957)With Johnny Griffin White Gardenia (Riverside, 1961)with Gigi Gryce: Street Scenes (Vogue, 1953)Orchestra and Quartet (Signal, 1955); reissued as Nica's Tempo (Savoy)With Chico Hamilton The Gamut (Solid State, 1968)With Milt Jackson Plenty, Plenty Soul (Atlantic, 1957)Big Bags (Riverside, 1962)For Someone I Love (Riverside, 1963)Ray Brown / Milt Jackson with Ray Brown (Verve, 1965)Memphis Jackson (Impulse!, 1969)with Antonio Carlos Jobim: The Composer of "Desafinado", Plays (Verve, 1962)Wave (CTI, 1967)With J. J. Johnson J.J.! (RCA Victor, 1964)With Quincy Jones Jazz Abroad (Emarcy, 1955)This Is How I Feel About Jazz (ABC-Paramount, 1957)The Birth of a Band! (Mercury, 1959)The Great Wide World of Quincy Jones (Mercury, 1959)I Dig Dancers (Mercury, 1960)Quincy Plays for Pussycats (Mercury, 1959-65 [1965])With Sam Jones Down Home (Riverside, 1962)with Gene Krupa Gene Krupa Plays Gerry Mulligan Arrangements (Verve, 1958)with Melba Liston Melba Liston and Her 'Bones (MetroJazz, 1958)With Mundell Lowe TV Action Jazz! (RCA Camden, 1959)Satan in High Heels (soundtrack) (Charlie Parker, 1961)With Junior Mance The Soul of Hollywood (Jazzland, 1962)With Gary McFarland Soft Samba (Verve, 1963)With Carmen McRae Something to Swing About (Kapp, 1959)With Charles Mingus The Complete Town Hall Concert (United Artists, 1962 [Blue Note, 1994])With Blue Mitchell Smooth as the Wind (Riverside, 1961)With the Modern Jazz Quartet Jazz Dialogue (Atlantic, 1965)With Thelonious Monk Thelonious Monk Nonet Live in Paris 1967 (France's Concert)With Wes Montgomery Movin' Wes (Verve, 1963)With James Moody Moody and the Brass Figures (Milestone, 1966)With Oliver Nelson Happenings with Hank Jones (Impulse!, 1966)Encyclopedia of Jazz (Verve, 1966)The Sound of Feeling (Verve, 1966)The Spirit of '67 co-led with Pee Wee Russell (Impulse!, 1967)With Phineas Newborn, Jr. Phineas Newborn, Jr. Plays Harold Arlen's Music from Jamaica (RCA Victor, 1957)With Joe Newman Salute to Satch (RCA Victor, 1956)With Duke Pearson Now Hear This (Blue Note, 1968)With Tony Perkins On a Rainy Afternoon (RCA Victor, 1958)with Oscar Peterson With Respect to Nat (Verve, 1965)with Oscar Pettiford Basically Duke (Bethlehem, 1954)The Oscar Pettiford Orchestra in Hi-Fi (ABC-Paramount, 1956)With Specs Powell Movin' In (Roulette, 1957)With Jerome Richardson Midnight Oil (New Jazz, 1959)With Sonny Rollins Sonny Rollins and the Big Brass (MetroJazz, 1958; reissued as Brass & Trio, Verve)with Jimmy Rushing Five Feet of Soul (Roulette, 1963)with Lalo Schifrin New Fantasy (Verve, 1964)Once a Thief and Other Themes (Verve, 1965)With Shirley Scott For Members Only (Impulse! 1963)with Jimmy Smith: Bashin': The Unpredictable Jimmy Smith (Verve, 1962)Any Number Can Win (Verve, 1963)The Cat...The Incredible Jimmy Smith (Verve, 1964)Christmas '64 (Verve, 1964)Jimmy & Wes: The Dynamic Duo w/ Wes Montgomery (Verve, 1966)Stay Loose (Verve, 1968)With Sonny Stitt Sonny Stitt Plays Arrangements from the Pen of Quincy Jones (Roost, 1955)Sonny Stitt & the Top Brass (Atlantic, 1962)Broadway Soul (Colpix, 1965)With Idrees Sulieman Roots (New Jazz, 1957) with the Prestige All Starswith Billy Taylor My Fair Lady Loves Jazz (ABC-Paramount, 1957; reissued on Impulse!)Kwamina (Mercury, 1961)with Clark Terry: Clark Terry (EmArcy, 1955)with Lucky Thompson: Lucky Thompson Featuring Oscar Pettiford, Vol. 2 (ABC-Paramount, 1956; reissued on Tricotism, Impulse)with Stanley Turrentine: Always Something There (Blue Note, 1968)with Sarah Vaughan: ¡Viva! Vaughan (Verve, 1958)with Dinah Washington: For Those In Love (Mercury, 1955)The Swingin' Miss "D" (Verve, 1956)With Randy Weston Uhuru Afrika (Roulette, 1960)Highlife (Colpix, 1963)With Gerald Wilson Lomelin (Discovery, 1981)Jessica (Trend, 1982)With Kai Winding The In Instrumentals (Verve, 1965)With Phil Woods Round Trip (Verve, 1969) Jimmy Cleveland, a trombonist whose recording credits included work for Quincy Jones, Lionel Hampton, Miles Davis, Sarah Vaughan, James Brown, Oscar Peterson, Antonio Carlos Jobim, Lucky Thompson, Oscar Pettiford and others, died August 23 in Lynwood, Calif. He was 82. Born in Wartrace, Tennessee in 1926, Cleveland recorded a number of albums as a leader for the EmArcy label in the 1950s, but most of his contributions were made on others’ recordings. In addition to the above, Cleveland worked with Cannonball Adderley, Art Farmer, Gene Krupa, Charles Mingus, Wes Montgomery, Sonny Rollins, Jimmy Rushing, Jimmy Smith, Clark Terry, Dizzy Gillespie, James Moody, Gerry Mulligan and Dinah Washington. He played in Thelonious Monk’s 1967 octet and then went on to play in the house band for The Merv Griffin Show on TV. Ernest Harold "Benny" Bailey (13 August 1925 – 14 April 2005) was an American jazz trumpeter.[1] Contents1Biography2Discography3See also4References5External linksBiographyA native of Cleveland, Ohio, Bailey briefly studied flute and piano before turning to trumpet. He attended the Cleveland Conservatory of Music.[2] He was influenced by Cleveland native Tadd Dameron and had a significant influence on other Cleveland musicians, such as Albert Ayler, Bob Cunningham, Bobby Few, Bill Hardman, and Frank Wright. Bailey played with Tony Lovano, father of Joe Lovano. In the early 1940s he worked with Bull Moose Jackson and Scatman Crothers.[1] He later worked with Dizzy Gillespie and toured with Lionel Hampton.[3] During a European tour with Hampton he remained in Europe and spent time in Sweden, where he worked with Harry Arnold's big band.[1] He preferred big bands over small groups, and he became associated with several big bands in Europe, including the Kenny Clarke/Francy Boland Big Band. His time with Quincy Jones led to a brief return to the United States in 1960. He was invited to the studio as part of Freddie Redd's sextet to record Redd's Blues after meeting the pianist during a tour in Sweden. He returned to Europe, first to Germany, then the Netherlands, where he settled permanently. In 1969 he played on Eddie Harris and Les McCann's album Swiss Movement, recorded live at the Montreux Jazz Festival, although it was not his usual style of music. In 1988 he worked with British clarinetist Tony Coe[1] and recorded albums until 2000 when he was in his mid-70s. Bailey died at home in Amsterdam on April 14, 2005.[1] DiscographyQuincy - Here We Come (Metronome, 1959) also released as The Music of Quincy Jones by Argo in 1961Big Brass (Candid, 1960)Soul Eyes (MPS 1968)Folklore in Swing (MPS, 1966)The Balkan in My Soul (MPS, 1968)Soul Eyes: Jazz Live at the Domicile Munich (MPS 1968)Mirrors (The Amazing Benny Bailey) (Freedom 1971)Islands (Enja 1976)Serenade to a Planet (Ego, 1976)East of Isar with Sal Nistico (Ego, 1978)Grand Slam (Jazzcraft, 1978)While My Lady Sleeps (Gemini, 1990)No Refill (TCB, 1994)Angel Eyes (Laika, 1995)Peruvian Nights (TCB, 1996)I Thought About You (Laika, 1996)The Satchmo Legacy (Enja, 2000)With Count Basie Basie in Sweden (Roulette, 1962)With the Kenny Clarke/Francy Boland Big Band Jazz Is Universal (Atlantic, 1962)Handle with Care (Atlantic, 1963)Now Hear Our Meanin' (Columbia, 1965 [1963])Swing, Waltz, Swing (Philips, 1966)Sax No End (SABA, 1967)Out of the Folk Bag (Columbia, 1967)17 Men and Their Music (Campi, 1967)All Smiles (MPS, 1968)Faces (MPS, 1969)Latin Kaleidoscope (MPS, 1969)Fellini 712 (MPS, 1969)All Blues (MPS, 1969)More Smiles (MPS, 1969)Clarke Boland Big Band en Concert avec Europe 1 (Tréma, 1992 [1969])Off Limits (Polydor, 1970)November Girl with Carmen McRae (Black Lion, 1975 [1970])Change of Scenes with Stan Getz (Verve, 1971)With Eric Dolphy Berlin Concerts (1961)With Stan Getz Imported from Europe (Verve, 1958)With Benny Golson Stockholm Sojourn (Prestige, 1964)With Dexter Gordon Sophisticated Giant (Columbia, 1977)Revelation (SteepleChase, 1995 [1974])The Rainbow People (Steeplechase, 2002 [1974])Round Midnight (SteepleChase, 1991 [1974])With Quincy Jones Quincy's Home Again (Metronome, 1958) - also released as Harry Arnold + Big Band + Quincy Jones = Jazz! (EmArcy)I Dig Dancers (Mercury, 1960)Quincy Plays for Pussycats (Mercury, 1965 [1959-65])With Billy Mitchell De Lawd's Blues (Xanadu, 1980)With Freddie Redd Redd's Blues (Blue Note, 1961)With Charlie Rouse The Upper Manhattan Jazz Society (Enja, 1985 [1981])With Sahib Shihab Companionship (Vogue Schallplatten, 1971 [1964-70])With Randy Weston Uhuru Afrika (Roulette, 1960)With Jimmy Witherspoon Some of My Best Friends Are the Blues (Prestige, 1964)With Phil Woods Rights of Swing (Candid, 1961)See alsoVocalese, an album by Manhattan Transfer with a tribute song entitled "Meet Benny Bailey" Benny Bailey, who died in Amsterdam on April 14 aged 79, was a superb trumpet player whose presence added distinction to European jazz and radio orchestras for half a century. Quincy Jones described Bailey as "a completely authoritative trumpet player who never resorts to clichés and is never at a loss". In addition to these qualities, Bailey could also lead an orchestral brass section with firmness and unmatched precision. Ernest Harold "Benny" Bailey was born in Cleveland, Ohio, on August 13 1925. His father was an amateur saxophonist and his mother played the piano. As a child he learned piano and flute, but finally settled on the trumpet, which he studied at the Cleveland Conservatory. "There was a Cleveland style on trumpet," he said. "All the guys were very melodic and had a brilliant sound." His first jazz inspiration was Freddie Webster, the Cleveland trumpeter who also inspired Miles Davis. He later fell under the spell of Roy Eldridge and Dizzy Gillespie. Bailey began playing professionally, while still in his teens, with the rhythm and blues singers Bull Moose Jackson and Scatman Crothers. He joined Dizzy Gillespie's band in 1947, making his first visit to Europe the following year. On his return he joined the Lionel Hampton Orchestra and remained until 1953. He appears with Hampton in the short 1950 film, Air Mail Special. During this period, Hampton enjoyed great popularity in Europe and toured there regularly. Attracted by the continental lifestyle, Bailey stayed on in Sweden at the end of a tour and became a prominent figure on the Scandinavian jazz scene. From 1957 to 1959, he was in Harry Arnold's radio band in Stockholm, with which he recorded a piece written for him by Quincy Jones, Meet Benny Bailey. Jones was putting together a band to tour Europe with the show Free And Easy, and Bailey joined it. The show flopped, but Jones toured France, Germany and Scandinavia until his money ran out. In 1960 Bailey returned briefly to the United States, where he took part in the "alternative" Newport Jazz Festival mounted by a group of disgruntled musicians, including the drummer Max Roach, with whom he recorded an album. He returned to Europe soon afterwards and settled in Cologne, where he became a founder-member of the Clarke-Boland Big Band. This ensemble, founded by the American drummer Kenny Clarke and the Belgian pianist and composer Francy Boland, was a truly international outfit, with leading musicians from many European countries, including Britain's Ronnie Scott, and a large contingent of expatriate Americans. Benny Bailey remained a member until 1974, when the band was dissolved. He features prominently on all its recordings. Although he had neither an agent nor a personal manager, Bailey managed to maintain an extremely complicated schedule which entailed constant travel. In 1961 he recorded in Berlin with the avant-garde saxophonist Eric Dolphy; in 1969 he made a celebrated appearance with the pianist Les McCann at the Montreux Festival; he also regularly appeared alongside a parade of top soloists around Europe. It was said that, if a composer or bandleader anywhere in Europe had a particularly tricky or demanding job for a trumpeter, Benny Bailey's phone would ring. In this role he appeared with the orchestras of Kurt Edelhagen, Jack Diéval and many others, as well as with the Danish Radio Orchestra, the Metropole Orchestra of Dutch radio, the BBC Big Band and regional radio bands in Germany. Bailey made occasional visits home; during one such trip, in 1981, he recorded an album with the saxophonist Charlie Rouse, under the group name of the Upper Manhattan Jazz Society. Despite the esteem in which he was held, Bailey made remarkably few records under his own name. A rare exception was the CD For Heaven's Sake, recorded in London with the British saxophonist Tony Coe in 1988, which perhaps captures his mellow yet adventurous style best of all. Benny Bailey's death was sudden and unexpected. His diary was full for the coming months. ahib Shihab (born Edmund Gregory; June 23, 1925, Savannah, Georgia – October 24, 1989, Nashville, Tennessee) was an American jazz and hard bop saxophonist (baritone, alto, and soprano) and flautist. He variously worked with Luther Henderson, Thelonious Monk, Fletcher Henderson, Tadd Dameron, and Dizzy Gillespie amongst others.[1] Contents1Biography2Discography2.1Por leader2.2As sideman3ReferencesBiography This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Find sources: "Sahib Shihab" – news · newspapers · books · scholar · JSTOR (December 2017) (Learn how and when to remove this template message)Edmund Gregory first played alto saxophone professionally for Luther Henderson at age 13[2] and went on to study at the Boston Conservatory and to play with trumpeter Roy Eldridge. He played lead alto with Fletcher Henderson in the mid 1940s. He was one of the first jazz musicians to convert to Islam and changed his name in 1947. During the late 1940s, Shihab played with Thelonious Monk and on July 23, 1951 he recorded with Monk for the Lp Genius of Modern Music: Volume 2. During this period, he also appeared on recordings by Art Blakey, Kenny Dorham and Benny Golson. The invitation to play with Dizzy Gillespie's big band in the early 1950s was of particular significance as it marked Shihab's switch to baritone. On August 12, 1958, Shihab was one of the musicians photographed by Art Kane in his famous photograph known as "A Great Day in Harlem". In 1959, he toured Europe with Quincy Jones after getting disillusioned with racial politics in United States and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. In 1961, he joined the Kenny Clarke/Francy Boland Big Band and remained a member of the band for the 12 years it existed. He married a Danish woman and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues. In the Eurovision Song Contest 1966, Shihab accompanied Lill Lindfors and Svante Thuresson on stage for the Swedish entry "Nygammal Vals". In 1973, Shihab returned to the United States for a three-year hiatus, working as a session man for rock and pop artists and also doing some copy writing for local musicians. He spent his remaining years between New York and Europe and played in a partnership with Art Farmer.[3] From 1985-86, Shihab was a visiting artist at Rutgers University.[4] Shihab died October 24, 1989, in Nashville, Tennessee, United States, aged 64.[1] DiscographyPor leader1957: The Jazz We Heard Last Summer (Savoy) split album shared with Herbie Mann1957: Jazz Sahib (Savoy)1963: Sahib's Jazz Party (Debut) also released as Conversations1964: Summer Dawn (Argo)1965: Sahib Shihab and the Danish Radio Jazz Group (Oktav)1968: Seeds (Vogue Schallplatten)1964-70: Companionship (Vogue Schallplatten)1972: Sentiments (Storyville)1972: La Marche dans le Désert - Sahib Shihab + Gilson Unit (Futura)1973: Flute Summit (Atlantic) with Jeremy Steig, James Moody and Chris Hinze1988: Soul Mates (Uptown) with Charlie Rouse1998: And All Those Cats (compilation)As sidemanWith Art Blakey Theory of Art (1957)Art Blakey Big Band (Bethlehem, 1957)With Brass Fever Time Is Running Out (Impulse!, 1976)With Donald Byrd Jazz Lab (Columbia, 1957) with Gigi GryceModern Jazz Perspective (Columbia, 1957) with Gigi GryceWith Betty Carter Out There (1958)I Can't Help It (1992)With the Kenny Clarke/Francy Boland Big Band Jazz Is Universal (Atlantic, 1962)Handle with Care (Atlantic, 1963)Now Hear Our Meanin' (Columbia, 1963 [1965])Swing, Waltz, Swing (Philips, 1966)Sax No End (SABA, 1967)Out of the Folk Bag (Columbia, 1967)17 Men and Their Music (Campi, 1967)All Smiles (MPS, 1968)Faces (MPS, 1969)Latin Kaleidoscope (MPS, 1968)Fellini 712 (MPS, 1969)All Blues (MPS, 1969)More Smiles (MPS, 1969)Clarke Boland Big Band en Concert avec Europe 1 (Tréma, 1969 [1992])Off Limits (Polydor, 1970)November Girl (Black Lion, 1970 [1975]) with Carmen McRaeChange of Scenes (Verve, 1971) with Stan GetzWith John Coltrane Coltrane (1957)With Tadd Dameron Fontainebleau (1956)With Art Farmer Manhattan (Soul Note, 1981)With Curtis Fuller and Hampton Hawes Curtis Fuller and Hampton Hawes with French Horns (Status, 1957 [1962]) - also released as Baritones and French Horns (Prestige, 1957)With Dizzy Gillespie Jazz Recital (Norgran, 1955)The Dizzy Gillespie Reunion Big Band (MPS, 1968)With Benny Golson Benny Golson's New York Scene (Contemporary, 1957)Take a Number from 1 to 10 (Argo, 1961)With Johnny Griffin Lady Heavy Bottom's Waltz (1968)Griff 'N BagsWith George Gruntz Noon in Tunisia (1967)With Roy Haynes Jazz Abroad (Emarcy, 1955)With Milt Jackson Plenty, Plenty Soul (Atlantic, 1957)With Philly Joe Jones Drums Around the World (Riverside, 1959)With Quincy Jones The Birth of a Band! (Mercury, 1959)The Great Wide World of Quincy Jones (Mercury, 1959)I Dig Dancers (Mercury, 1960)Quincy Plays for Pussycats (Mercury, 1959-65 [1965])With Abbey Lincoln It's Magic (Riverside, 1958)With Howard McGhee The Return of Howard McGhee (Bethlehem, 1955)With Thelonious Monk Genius of Modern Music: Volume 1With Phineas Newborn, Jr. Phineas Newborn, Jr. Plays Harold Arlen's Music from Jamaica (RCA Victor, 1957)With Oscar Pettiford The Oscar Pettiford Orchestra in Hi-Fi Volume Two (ABC-Paramount, 1957)With Specs Powell Movin' In (Roulette, 1957)With A. K. Salim Blues Suite (Savoy, 1958)With Tony Scott The Modern Art of Jazz (1957, Seeco) - with Bill Evans, Paul MotianFree Blown Jazz (1957, Carlton) - with Bill Evans, Paul MotianWith Mal Waldron Mal-2 (1957)With Julius Watkins and Charlie Rouse The Jazz Modes (Atlantic, 1959)With Randy Weston Uhuru Afrika (Roulette, 1960)With Gene Quill, Hal Stein and Phil Woods Four Altos (Prestige, 1957)]With Phil Woods Rights of Swing (Candid, 1961)With Idrees Sulieman The Camel (Columbia, 1964) Besides being one of the first jazz musicians to convert to Islam and change his name (1947), Sahib Shihab was also one of the earliest boppers to use the flute. But he was also a fluent soloist on the alto, as well as the baritone sax, the latter being the instrument with which he became most frequently associated. Shihab first worked professionally with the Luther Henderson band at the age of 13 while still studying with Elmer Snowden. At 16, he attended the Boston Conservatory (1941-1942) and later worked as the lead alto in the 1944-1945 Fletcher Henderson band, billed as Eddie Gregory. After his religious conversion, he fell in with the early bop movement, recording several now-famous sides on alto with Thelonious Monk for Blue Note in 1947 and 1951, and playing with Art Blakey in 1949-1950 and the Tadd Dameron band in 1949. Following some empty patches where he had to work odd jobs for a living, Shihab played with Dizzy Gillespie in 1951-1952, Illinois Jacquet in 1952-1955, and the Oscar Pettiford big band in 1957. After arriving in Europe with Quincy Jones' big band in 1959-1960, he remained there until 1986 (mostly in Copenhagen), except for a long Los Angeles interlude (1973-1976). While on the Continent, he played in the Clarke-Boland big band for nearly a decade (1963-1972); he can be heard applying advanced vocal effects to his attractive flute work on the superb Clarke-Boland Big Band LP (Atlantic, 1963). He recorded only a handful of albums as a leader over the decades for Savoy, Argo, Atlantic, and Chess; a 1963 live date in Copenhagen is available on Black Lion. Philip Wells Woods (November 2, 1931 – September 29, 2015) was an American jazz alto saxophonist, clarinetist, bandleader, and composer. Contents1Biography2Awards3Discography3.1As leader/co-leader3.2Compilation3.3As sideman4Notes5References6External linksBiographyWoods was born in Springfield, Massachusetts. He studied music with Lennie Tristano, who influenced him greatly, at the Manhattan School of Music and at the Juilliard School. His friend, Joe Lopes, coached him on clarinet as there was no saxophone major at Juilliard at the time. Although he did not copy Charlie "Bird" Parker, he was known as the New Bird, a nickname also given to other alto saxophone players such as Sonny Stitt and Cannonball Adderley. In the 1950s, Woods began to lead his own bands. Quincy Jones invited him to accompany Dizzy Gillespie on a world tour sponsored by the U.S. State Department. A few years later he toured Europe with Jones, and in 1962 he toured Russia with Benny Goodman.[1] After moving to France in 1968, Woods led the European Rhythm Machine, a group which tended toward avant-garde jazz. He returned to the United States in 1972 and, after an unsuccessful attempt to establish an electronic group, he formed a quintet which was still performing, with some changes of personnel, in 2004. As his theme, Woods used a piece titled "How's Your Mama?" Woods earned the top alto sax player award almost 30 times in Downbeat magazine's annual readers' poll. His quintet was awarded the top small combo title several times.[1] In 1979, Woods made the recording More Live at the Armadillo World Headquarters in Austin, Texas. Perhaps his best known recorded work as a sideman is a pop piece, his alto sax solo on Billy Joel's 1977 "Just the Way You Are". He also played the alto sax solo on Steely Dan's "Doctor Wu" from their 1975 album Katy Lied, as well as Paul Simon's "Have a Good Time" from the 1975 album Still Crazy After All These Years. Woods in 1983Although Woods was primarily a saxophonist, he was also a clarinet player and solos can be found scattered through his recordings. One particular example is his clarinet solo on "Misirlou" on the album Into the Woods. Woods, along with Rick Chamberlain and Ed Joubert, founded the organization Celebration of the Arts (COTA) in 1978 late one night in the bar at the Deer Head Inn in Delaware Water Gap. The organization would eventually become the Delaware Water Gap Celebration of the Arts. Their initial goal was to help foster an appreciation of jazz and its relationship to other artistic disciplines. Each year, the organization hosts the Celebration of the Arts Festival in the town of Delaware Water Gap in September. In 2005, Jazzed Media released the documentary Phil Woods: A Life in E Flat – Portrait of a Jazz Legend, directed by Rich Lerner and produced by Graham Carter.[2] Woods was married to Chan Parker, the common-law wife of Charlie Parker, for seventeen years and was the stepfather to Chan's daughter, Kim.[1] On September 4, 2015, he performed a tribute to Charlie Parker with Strings at the Manchester Craftsmen's Guild and announced at the end of the show that he would be retiring. He died on September 29, 2015, at the age of 83.[3] On June 25, 2019, The New York Times Magazine listed Phil Woods among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[4] AwardsGrammy Award, Best Large Jazz Ensemble Performance: Images, 1975[5]Grammy Award, Best Instrumental Jazz Performance, Individual or Group: Live from the Show Boat (1977), More Live (1982), At the Vanguard (1983)[5]NEA Jazz Masters, 2007Discography Woods in Oslo, 2007As leader/co-leader1954: Pot Pie (Prestige)1955: Woodlore (Prestige)1956: Pairing Off (Prestige)1956: The Young Bloods (Prestige) with Donald Byrd1957: Four Altos (Prestige) with Gene Quill, Hal Stein, Sahib Shihab1957: Phil and Quill with Prestige with Gene Quill1957: Sugan (Status)1957: Warm Woods (Epic)1961: Rights of Swing (Candid)1967: Greek Cooking (Impulse!)1968: Alto Summit (MPS) with Lee Konitz, Pony Poindexter and Leo Wright1968: Alive And Well In Paris (Pathé)1969: Round Trip (Verve)1970: Phil Woods and his European Rhythm Machine at the Frankfurt Jazz Festival (Embryo)1970: Phil Woods and his European Rhythm Machine at the Montreux Jazz Festival (MGM)1972: Live At Montreux 72 (Verve)1974: New Music by the New Phil Woods Quartet (Testament)1974: Musique du Bois (Muse)1975: Floresta Canto (RCA) with Chris Gunning Orchestra1975: Images (RCA Victor) with Michel Legrand1976: Phil Woods & The Japanese Rhythm Machine (RCA Victor)1976: The New Phil Woods Album1976: Altology (Prestige)1977: Live from the Show Boat1977: Summer Afternoon Jazz (Hindsight)1978: Song for Sisyphus (King (Japan))1979: I Remember (Gryphon)1980: Phil Woods Quartet Live (Clean Cuts)1980: Phil Woods/Lew Tabackin (Omnisound) with Lew Tabackin1981: Three for All (Enja) with Tommy Flanagan and Red Mitchell1981: 'More' Live (Adelphi)1982: Live from New York (Palo Alto)1983: At the Vanguard (Antilles)1984: Integrity (Red)1984: Heaven (Evidence)1986: Dizzy Gillespie Meets Phil Woods Quintet (Timeless) with Dizzy Gillespie1987: Bop Stew; Bouquet (Concord)1988: Evolution; Here's to My Lady (Concord)1989: Embracable You (Philology)1989: My Man Benny, My Man Phil (MusicMasters) with Benny Carter1989: Here's to My Lady (Chesky)1990: Flash (Concord)1990: Phil's Mood (Philology)1991: All Bird Children; Real Life (Concord)1991: Flowers for Hodges (Concord)1991: Real Life, The Little Big Band (Chesky)1992: Full House (Milestone)1994: Just Friends; Our Monk (Philology)1995: Plays the Music of Jim McNeely (TCB)1996: Mile High Jazz Live in Denver (Concord)1996: Another Time, Another Place (Evening Star) with Benny Carter1996: Astor and Elis (Chesky)1996: The Complete Concert (JMS) with Gordon Beck1997: Celebration! (Concord)1998: The Rev and I (Blue Note) with Johnny Griffin1999: Cool Woods (somethin' else)2003: The Thrill Is Gone (Venus)2006: Pass the Bebop (Cowbell) with Benjamin Koppel and Alex Riel Trio2006: Tel Aviv Jazz Festival (Philology) with Robert Anchipolovsky and Tony Pancella Trio2011: Man with the Hat (Pazz) with Grace Kelly2011: Phil & Bill with Bill Mays (Palmetto)Compilation1996: Into the Woods (The Best of Phil Woods) (Concord)As sidemanWith Franco Ambrosetti Heartbop (Enja, 1981)With Manny Albam Jazz Goes to the Movies (Impulse!, 1962)The Soul of the City (Solid State, 1966)With Benny Bailey Big Brass (Candid, 1960)With Louis Bellson and Gene Krupa The Mighty Two (Roulette, 1963)With Bob Brookmeyer Gloomy Sunday and Other Bright Moments (Verve, 1961)With Kenny Burrell A Generation Ago Today (Verve, 1967)With Gary Burton Who is Gary Burton? (RCA, 1962)The Groovy Sound of Music (RCA, 1963)With Benny Carter Further Definitions (Impulse!, 1961)With Ron Carter Anything Goes (Kudu, 1975)With the Kenny Clarke/Francy Boland Big Band Latin Kaleidoscope (MPS, 1968)With Al Cohn Jazz Mission to Moscow (Colpix, 1962)With Eddie Costa Eddie Costa Quintet (Interlude, 1957)With Lou Donaldson Rough House Blues (1964)With Bill Evans Symbiosis (1974)With Gil Evans The Individualism of Gil Evans (1964)With Art Farmer Listen to Art Farmer and the Orchestra (Mercury, 1962)With Dizzy Gillespie World Statesman (Norgran, 1956)Dizzy in Greece (Verve, 1957)The New Continent (Limelight, 1962)Rhythmstick (CTI, 1990)With Stephane Grappelli Classic Sessions: Stephane Grappelli (1987)With Kenyon Hopkins The Hustler (soundtrack) (Kapp, 1961)With Milt Jackson Ray Brown / Milt Jackson with Ray Brown (Verve, 1965)With Billy Joel Just The Way You Are on album The Stranger CBS, 1977)New York State of Mind second studio version for compilation Greatest Hits (1985) and subsequent compilations and re-releases of album Turnstiles (replacing original saxophone by Richie Cannata)With Quincy Jones The Birth of a Band! (Mercury, 1959)The Great Wide World of Quincy Jones (Mercury, 1959)I Dig Dancers (Mercury, 1960)The Quintessence (Impulse!, 1961)Quincy Jones Explores the Music of Henry Mancini (Mercury, 1964)Golden Boy (Mercury, 1964)I/We Had a Ball (Limelight, 1965)Quincy Plays for Pussycats (Mercury, 1959-65 [1965])With Michel Legrand Legrand Jazz (Philips, 1958)After the Rain (Pablo, 1982)Michel Legrand and Friends (RCA, 1975)With John Lewis Essence (Atlantic, 1962)With Mundell Lowe Satan in High Heels (soundtrack) (Charlie Parker, 1961)With Bryan Lynch Simpático (The Brian Lynch/Eddie Palmieri Project) (ArtistShare, 2006)Bolero Nights for Billie Holiday (Venus, 2008)With Herbie Mann The Jazz We Heard Last Summer (Savoy, 1957)Yardbird Suite (Savoy, 1957)With Gary McFarland The Jazz Version of "How to Succeed in Business without Really Trying" (Verve, 1962)With Nellie McKay Obligatory Villagers (2007)With Carmen McRae Something to Swing About (Kapp, 1959)With the Modern Jazz Quartet Jazz Dialogue (Atlantic, 1965)MJQ & Friends: A 40th Anniversary Celebration (Atlantic, 1994)With Thelonious Monk The Thelonious Monk Orchestra at Town Hall (1959)Big Band and Quartet in Concert (Columbia, 1963)With Oliver Nelson Impressions of Phaedra (United Artists, 1962)Full Nelson (Verve, 1963)More Blues and the Abstract Truth (Impulse!, 1964)Fantabulous (Argo, 1964)Oliver Nelson Plays Michelle (Impulse!, 1966)Happenings with Hank Jones (Impulse!, 1966)The Sound of Feeling (Verve, 1966)Encyclopedia of Jazz (Verve, 1966)The Spirit of '67 with Pee Wee Russell (Impulse!, 1967)The Kennedy Dream (Impulse!, 1967)Jazzhattan Suite (Verve, 1968)With Joe Newman Salute to Satch (RCA Victor, 1956)With Anita O'Day All the Sad Young Men (Verve, 1962)With Pony Poindexter Pony's Express (Epic, 1962)With Jimmy Raney Jimmy Raney Quintet 10 inch LP (Prestige, 1954)With Jimmy Raney or Dick Hyman Early Quintets (1953, 1954 (Prestige 1969)With Lalo Schifrin Samba Para Dos with Bob Brookmeyer (Verve, 1963)Once a Thief and Other Themes (Verve, 1965)With Shirley Scott Roll 'Em: Shirley Scott Plays the Big Bands (Impulse!, 1966)With Sahib Shihab Jazz Sahib (Savoy, 1957)With Jimmy Smith Monster (Verve, 1965)Hoochie Coochie Man (Verve, 1966)Got My Mojo Workin' (Verve, 1966)With Chris Swansen Crazy Horse (Atlas, 1979)With Billy Taylor Kwamina (Mercury, 1961)With Clark Terry The Happy Horns of Clark Terry (Impulse!, 1964)Squeeze Me! (Chiaroscuro, 1989)With George Wallington Jazz for the Carriage Trade (Prestige 1956)The New York Scene (Prestige 1957)Jazz at Hotchkiss (Savoy, 1957)With Kai Winding Kai Olé (Verve, 1961) Phil Woods, an alto saxophonist revered in jazz circles for his bright, clean sound and his sterling technique — and widely heard on songs by Billy Joel, Paul Simon and others — died on Tuesday in East Stroudsburg, Pa. He was 83. The cause was complications of emphysema, Joel Chriss, his longtime booking agent, said. Mr. Woods was one of the leading alto saxophonists in the generation that followed Charlie Parker, who had set an imposing new bar for the instrument while defining the terms of bebop. Rigorous, complex and brisk, bebop’s stylistic language would be a constant for Mr. Woods throughout his prolific career, as both a leader and a sideman. For much of that career, he was a sought-after section player in big bands because of his ability, unusual at the time, to read sheet music with as much breezy authority as he brought to his solos. He recorded with the composer-arrangers Oliver Nelson, Michel Legrand and George Russell, among many others, and helped the trumpeter Clark Terry establish his Big Bad Band. One of Mr. Woods’s early supporters was Quincy Jones, who in 1956 brought him on a State Department-sponsored tour with the trumpeter and bebop pioneer Dizzy Gillespie. Mr. Woods quickly became a Gillespie protégé, and in some respects a surrogate for Parker, Gillespie’s former front-line partner, who had died in 1955. Parker’s nickname was Bird, and for a while Mr. Woods was known to some, admiringly if a little back-handedly, as “the new Bird.” The association was solidified when he married Parker’s widow, Chan, in 1957. (That marriage ended in divorce.) On the recommendation of the producer Phil Ramone, an old classmate at the Juilliard School, Mr. Woods was featured on Mr. Simon’s 1975 album, “Still Crazy After All These Years,” playing a quicksilver bebop cadenza on the song “Have a Good Time.” That same year he played a solo on the Steely Dan tune “Doctor Wu.” And in 1977 Mr. Woods was prominently featured on Mr. Joel’s ballad “Just the Way You Are,” which became a Top 10 hit and won two Grammy Awards. Unlock more free articles.Create an account or log inPhilip Wells Woods was born on Nov. 2, 1931, in Springfield, Mass. After inheriting a saxophone at age 12, he began taking lessons at a local music shop and discovered that he was a quick study with a gifted ear. His first hero on the alto saxophone was Benny Carter, followed soon thereafter by Johnny Hodges, a star soloist in the Duke Ellington Orchestra, and then Parker. While still in high school, Mr. Woods often took the bus to New York City, haunting jazz clubs and studying with the pianist-composer Lennie Tristano. He also studied classical music at Juilliard for four years. He moved to France in 1968, frustrated with a working life dominated by commercial jingles and other work for hire. He found success almost immediately, touring with a band he called the European Rhythm Machine. Editors’ Picks ‘I Saw Another Woman on the Platform Do an Obvious Double Take’ They Survived the Spanish Flu, the Depression and the Holocaust Stress Baking More Than Usual?After five years, Mr. Woods returned to the United States an accomplished solo artist. From 1974 on, he led a band with the bassist Steve Gilmore and the drummer Bill Goodwin; in recent years the group has also included Brian Lynch on trumpet and either Bill Charlap or Bill Mays on piano. Mr. Woods also became a mentor to young musicians like the alto saxophonist Grace Kelly, with whom he released an album, “The Man With the Hat,” in 2011. Mr. Woods won four Grammy Awards, beginning in 1975 with “Images,” an orchestral album he made with Mr. Legrand. In 2007 he was named a National Endowment for the Arts Jazz Master and received a Living Jazz Legend Award from the Kennedy Center. Mr. Woods, who lived in Delaware Water Gap, Pa., is survived by his wife, Jill Goodwin; a son, Garth; three stepdaughters, Kim Parker and Allisen and Tracy Trotter; and a grandson. Mr. Woods often declared, with a touch of self-deprecation, that he was more a stylist than an innovator. While he wrote dozens of compositions, they often pointed in the direction of his influences; they include “Charles Christopher” (Parker’s given name) and “All Bird’s Children.” His final concert, early this month in Pittsburgh, was a tribute to the album “Charlie Parker With Strings.” Backed by a local rhythm section and members of the Pittsburgh Symphony Orchestra, he brought his oxygen tank with him onstage.

Price: 533.98 USD

Location: Ann Arbor, Michigan

End Time: 2024-12-13T20:29:52.000Z

Shipping Cost: 0 USD