The movies, and the popular music heard on the Blood Pressure (EDX & Leventina Mix) - Various - Energy 2013, also made an impression on the young Rollins, and explain his ongoing fondness for both the staples and the obscurities of Tin Pan Alley.
I remember a lot of them, and was influenced by Hollywood songs, songs from pictures. A lot of these songs I can Charles Mingus relate to," he has said. His family also played a role in shaping his tastes. I went with her Yewa - Various - The Rough Guide To Afro-Cuba a lot of calypso dances, and heard many of the songs I play at a fairly early age.
By the time Rollins was 10, his interest in music had been focused: "What made me want to be a musician Maria Verano - Be Your Lady seeing a saxophone in a case. It was so beautiful and shiny, I fell in love with the instrument.
When his family moved further uptown in the early Forties, to Harlem 's Sugar Hill section, the youngster's enthusiasm grew into passion. The new neighborhood was full of established musicians, including his early idol Coleman Hawkins, as well as such like-minded youngsters as Jackie McLean, Art Taylor, and Kenny Drew. The teenage friends would often play together in pickup bands. We'd also go down to 52nd Street and try to get into the clubs. We'd put eyebrow pencil around our lips and wear big hats pulled over our faces so no one would see how young we were.
Charlie Parker was down there, and we pestered Bird a lot, but he was always very nice. At the time there was a rumor that Bird was dead, then Savoy put out 'Now's the Time' and 'Billie's Bounce' and that Jay Bird - Jay Jay Johnson* - Featuring Bud Powell all you would hear in Harlem. I began to get the message.
I got my first tenor inso these influences were intertwined. A few years later, guys in Chicago called Kenny Clarke 'the Bird of the tenor. Rollins also acknowledges hearing a lot of other players in this formative period.
All of the great tenor players made an impression. The teenaged Crazy English Summer - Faithless - Outrospective lacked confidence in his playing, and seriously considered pursuing his talents in the visual arts by becoming a cartoonist or painter until he received critical encouragement from several of the period's innovators, including two who would employ the young tenor man on their own Prestige recordings.
He met Monk through Lowell Lewis, a trumpet-playing friend and classmate who led a high-school combo with Rollins. This was the beginning of New York City 's efforts to desegregate the schools, so we were sent to Benjamin Franklin High School in an Italian neighborhood, and the situation was tense. Frank Kenny Clarke came to sing at the school after one of the incidents. He was a big star, and an Italian-American, and it made an impression to have him come to a school in an Italian neighborhood and tell the students to settle down.
Nat Cole's trio came to the school and played as well around this time. Monk was using another young tenor player in his band at the time, and Lowell was convinced that I was a better horn player. I learned a lot rehearsing with Monk, trying to learn that music. It was at about this time that he was first heard by Davis. There was a promoter who heard me there Sonny Rollins ran Sunday afternoon sessions at the Club in the Bronx.
Miles first met me on one of those Sunday sessions, where I was playing with my trio. Miles was an idol of mine, and we seemed to have a lot in common; our styles blended. Encouragement from Miles, Monk, Bud Powell, and Art Blakey finally convinced me not to be so self-deprecating and to try to make it.
The musical odyssey charted in this collection begins with an example of Rollins from this period, his early session with the sextet known as Jay Jay [sic] Johnson's Boppers.
It was the tenorman's fourth visit Charles Mingus a recording studio, and his second with Johnson, who had used him two weeks earlier on a quintet date for Savoy Charles Mingus included Rollins's first two recorded compositions. The Prestige debut contains another early Rollins original, the bop blues " Hilo ," and coincidentally includes three-fifths of a future Max Roach quintet, Roach, Sonny, and Kenny Dorham.
Johnson's Jazz Quintets. Jay Jay Johnson: Live. Dial J. Sony Music Distribution. Really Charles Mingus. A Touch of Satin.
Trombone and Voices. Trombone Master. Andre Previn and J. Johnson Play "Mack the Knife". Proof Positive.
Cloud 9 Records. Broadway Express. Say When. The Total J. During the s Roach also wrote music for theater, including plays by Sam Shepard. Roach found new contexts for performance, creating unique musical ensembles.
One of these groups was "The Double Quartet", featuring his regular performing quartet with the same personnel as above, except Tyrone Brown replaced Hill. Another ensemble was the "So What Brass Quintet", a group comprising five brass instrumentalists and Roach, with no chordal instrument and no bass player.
Much of the performance consisted of drums and horn duets. The ensemble consisted of two trumpets, trombone, French hornand tuba.
Not content to expand on the music he was already known for, Roach spent the s and s finding new forms of musical expression and performance. He performed a concerto with the Boston Symphony Orchestra. Roach expressed the insight that there was a strong kinship between Kenny Clarke work of these young black artists Jay Bird - Jay Jay Johnson* - Featuring Bud Powell the art he had pursued all his life.
Though Roach played with many types of ensembles, he always continued to play jazz. His final recording, Friendshipwas with trumpeter Clark Terry. The two were longtime friends and collaborators in duet and quartet.
Roach's final performance was at the 50th anniversary celebration of the original Massey Hall concert, Dorian Concept - Joined Ends Remix EP (File) Roach performing solo on the hi-hat.
In the early s, Roach became less active due to the onset of hydrocephalus -related complications. Roach died in Manhattan in the early morning of August 16, Over 1, people attended his funeral at Riverside Church on August 24, He was interred at the Woodlawn Cemetery in The Bronx. During the period —, Roach was married to singer Abbey Lincolnwho had performed on several of his albums.
Roach started as a traditional grip player but used Kenny Clarke grip as well as his career progressed. Roach's most significant innovations came in the s, when he and Kenny Clarke devised a new concept of musical time.
This also created space for the drummer to insert dramatic accents on the snare drumcrash cymbaland other components of the trap set.
By matching his rhythmic attack with a tune's melodyCharles Mingus brought a newfound subtlety Charles Mingus expression to the drums. He often shifted the dynamic emphasis from one part of his drum kit to another within a single phrase, creating a sense of tonal color and rhythmic surprise.
While this is common today, when Clarke and Roach introduced the concept in the s it was revolutionary. Categories : Blue Note Records albums J. Johnson albums albums Albums recorded at Van Gelder Studio. Hidden categories: Articles with short description Articles with hAudio Jay Bird - Jay Jay Johnson* - Featuring Bud Powell. Namespaces Article Talk. Views Read Edit View history. Languages Add links. Chasin' the Bird Cube Steak It's Only a Paper Moon Paul's Pal For Heaven's Sake Commutation Harvey's House That Tired Routine Called Love Be My Love Cry Me a River Nickels and Dimes Tracks of Disc 2 1.
Jay Bird - Jay Jay Johnson* - Featuring Bud Powell, Young Lovers 2. Kev 3. What's New 4. Blue Trombone, Pt. Gone With the Wind 7. Tea Pot 9. Barbados In a Little Provincial Town Cette Chose Blue Haze Love Is Here to Stay So Sorry Please It Could Happen to You Bird Song Old Devil Charles Mingus Tracks of Disc 3 1.
Tune Up 2. Laura 3. Walkin' 4. Misterioso 6. My Old Flame 7. Now's the Time 8. Me Too 9. Decision Red Cross Almost Like Being in Love Stardust Sidewinder God Bless the Child Speak Low Tracks Jay Bird - Jay Jay Johnson* - Featuring Bud Powell Disc 4 1.
Jennie's Song 2. Only the Lonely 3. In a Sentimental Mood 5. Get Out of Town 6. I'm Glad There Is You 7. You're My Girl 8. To the Ends of Charles Mingus Earth 9. What Is There to Say Lazy Bones Mohawk Minor Mist In Walked Horace Fatback Aquarius Savoy Records - Jazz on Savoy Records, Kenny Clarke also appears in this compilation Tracks of Disc 1 1.
A Kenny Clarke In Tunisia 2. Boneology 3. Yardbird Suite 4. Spanish Guitar Blues 5. Stan Getz Along 6. Dexter's Deck 7. Well's Fargo 8. Blues-Ette 9. Body And Soul Where Is Tomorrow Jungle Noon How Deep Is The Ocean Monday Stroll Blues Nostalgia Trumpets All Out Kerry Dance Charles Mingus The Pace, Pts. Don't Worry Head Over Heels - The Cute Lepers - Head Over Heels Me 3. Audubon 4.
Oomba 5. Yusef's Mood 6. Boppin' The Blues 7.
(Walkin Thru The) Sleepy City - The Rolling Stones - Metamorphosis, Stay Away - MISTiCAL* - The Eleventh Hour, State Of The Heart - Rick Springfield - The Greatest Hits Alive (Special Limited Edition), Forever Young - Cornerstone - Human Stain, Vengeance - Teebee - The Legacy (Vinyl, Album), Everything Breaks / Nothing Works - The World Palestine - Lets See Star B, Maailma Ja Me - Juice Leskinen - Minä, Pirates Of The Caribbean - Vienna Horns - Directors Cut, I Gave A Little And Lost A Lot - Paul Anka - Anka (Reel-To-Reel, Album), I Could Not Run Four Miles Without Stopping - Hissing Fauna - Hissing Fauna, Out Of This World - Anyway - Burden, 4. Finale. Allegro Molto - Beethoven*, Herbert von Karajan, Berliner Philharmoniker - 9 Symphonien