142-700: Arthur Stewart Farmer (August 21, 1928 – October 4, 1999) was an American jazz trumpeter and flugelhorn player. He also played flumpet , a trumpet–flugelhorn combination especially designed for him. He and his identical twin brother, double bassist Addison Farmer , started playing professionally while at high school in Los Angeles. Art gained greater attention after the release of a recording of his composition "Farmer's Market" in 1952. He subsequently moved from Los Angeles to New York, where he performed and recorded with musicians such as Horace Silver , Sonny Rollins , and Gigi Gryce and became known principally as
284-558: A Juilliard -trained pianist, at the jazz club Birdland in New York City. In the mid-1960s, Gillespie settled down in Englewood, New Jersey , with his wife. The local Englewood public high school, Dwight Morrow High School , named its auditorium after him: the 'Dizzy Gillespie Auditorium'. Gillespie has been described as the "sound of surprise". The Rough Guide to Jazz describes his musical style: The whole essence of
426-532: A bebop player. As Farmer's reputation grew, he expanded from bebop into more experimental forms through working with composers such as George Russell and Teddy Charles . He went on to join Gerry Mulligan 's quartet and, with Benny Golson , to co-found the Jazztet . Continuing to develop his own sound, Farmer switched from trumpet to the warmer flugelhorn in the early 1960s, and he helped to establish
568-518: A "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing ' ". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror
710-440: A 'story' in each solo". At this time, Farmer also rented his trumpet on a nightly basis to Miles Davis, who had pawned his own due to his drug dependency. From the middle of the 1950s, Farmer featured in recordings by leading arrangers of the day, including George Russell , Quincy Jones and Oliver Nelson , being in demand because of his reputation for being able to play anything. The wide range of styles these arrangers represented
852-463: A 1985 article in The New Yorker , he reported losing 30 pounds in weight a couple of years earlier, and stopping smoking and drinking a couple of years before that; Farmer "used to think he couldn't play without drinking; now he couldn't play and drink", was the interviewer's summary of Farmer's habits, which appear to have avoided the drug-related problems of many of his contemporaries. From
994-448: A Gillespie solo was cliff-hanging suspense: the phrases and the angle of the approach were perpetually varied, breakneck runs were followed by pauses, by huge interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he always took listeners by surprise, always shocking them with a new thought. His lightning reflexes and superb ear meant his instrumental execution matched his thoughts in its power and speed. And he
1136-543: A Viennese banker named Mechtilde Lawugger, and their son, Georg, was born in the early 1970s. They lived together in a house that they had built in Vienna, and Farmer reported contentment with his lifestyle; notably, in contrast with his homeland, he did not experience racism in Europe. Farmer described himself in 1985 as "an introvert, and kind of reclusive"; a soundproof room in his Austrian house allowed him to practice alone for
1278-479: A broad audience; recordings of it were released in 2005. He started to organize big bands in late 1945. Dizzy Gillespie and his Bebop Six, which included Parker, started an extended gig at Billy Berg's club in Los Angeles in December 1945. Reception was mixed and the band broke up. In February 1946 he signed a contract with Bluebird , gaining the distribution power of RCA for his music. He and his big band headlined
1420-495: A case of 'mistaken identity' of who I might shoot." He was classified 4-F . In 1943, he joined the Earl Hines band. Composer Gunther Schuller said, ... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years later I read that that
1562-526: A coherent tradition". Duke Ellington , one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues , a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around
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#17327907458721704-452: A concert given when Farmer was 67 was that "his style was continuing to evolve"; he "delivered several solos in which his characteristically flowing lines were interrupted by sudden, wide melodic leaps and disjunct rhythmic accents". A few months before his death, although faster numbers had become perhaps too challenging, The Guardian observed, Farmer's playing on slower tunes achieved a new level of emotional expression. Jazz Jazz
1846-472: A crisis from what turned out to be pancreatic cancer . He performed one more night but cancelled the rest of the tour for medical reasons, ending his 56-year touring career. He led his last recording session on January 25, 1992. On November 26, 1992, Carnegie Hall , following the Second Baháʼí World Congress , celebrated Gillespie's 75th birthday concert and his offering to the celebration of
1988-473: A drum made by stretching skin over a flour-barrel. Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Usually such music was associated with annual festivals, when
2130-526: A few bands, most notably Ella Fitzgerald 's orchestra, composed of members of the Chick Webb 's band. Gillespie did not serve in World War II . At his Selective Service interview, he told the local board, "in this stage of my life here in the United States whose foot has been in my ass?" and "So if you put me out there with a gun in my hand and tell me to shoot at the enemy, I'm liable to create
2272-482: A gift from Jon Faddis ). Gillespie favored mouthpieces made by Al Cass . In December 1986 Gillespie gave the National Museum of American History his 1972 King "Silver Flair" trumpet with a Cass mouthpiece. In April 1995, Gillespie's Martin trumpet was auctioned at Christie's in New York City with instruments used by Coleman Hawkins , Jimi Hendrix , and Elvis Presley . An image of Gillespie's trumpet
2414-607: A hobby, and one was a professional trombonist. Art's grandfather was a minister in the African Methodist Episcopal Church . This influenced Farmer's first choice of instrument, as his mother played piano for the church choir. The bass tuba was for use in a marching band and was Farmer's instrument for a year, until a cornet became available. Phoenix schools were segregated , and no one at Farmer's school could provide useful music lessons. He taught himself to read music and practiced his new main instrument,
2556-789: A jazz cruise to Havana. Sandoval toured with Gillespie and defected in Rome in 1990 while touring with Gillespie and the United Nations Orchestra . In the 1980s, Gillespie led the United Nations Orchestra. For three years Flora Purim toured with the Orchestra. She credits Gillespie with improving her understanding of jazz. In 1982, he was sought out by Motown musician Stevie Wonder to play his solo in Wonder's 1982 hit single, " Do I Do ". He starred in
2698-707: A jazz musician. He won a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia in 1935. Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and later Teddy Hill , replacing Frankie Newton as second trumpet in May 1937. Teddy Hill's band
2840-483: A joke but proceeds went to Congress of Racial Equality , Southern Christian Leadership Conference and Martin Luther King Jr. ; in later years they became a collector's item. In 1971, he announced he would run again but withdrew before the election . Shortly after the death of Charlie Parker, Gillespie encountered an audience member after a show. They had a conversation about the oneness of humanity and
2982-410: A limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice". Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in
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#17327907458723124-429: A member of Wardell Gray's sextet. The latter session produced six tracks that were released as singles. These included "Farmer's Market", a piece that was written by Farmer and brought him greater attention. Farmer worked in Los Angeles for a time as a hotel janitor and a hospital file clerk, before joining Lionel Hampton 's orchestra in 1952. He toured Europe with the orchestra from September to December 1953, and shared
3266-460: A multi- strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords . Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time. The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below. African-based rhythmic patterns such as tresillo and its variants,
3408-429: A part of him I haven't fully gotten over". Farmer's third wife died from cancer in 1992; speaking three years later, he remarked that "I guess I never will really recover from that because we had been together for over 20 years when she died". After his own death, he was described as being survived by his companion and manager, Lynne Mueller, and son. Descriptions of Farmer's playing style typically stress his lyricism and
3550-524: A party for his wife Lorraine at Snookie's, a club in Manhattan, where his trumpet's bell got bent upward in an accident, but he liked the sound so much he had a special trumpet made with a 45-degree raised bell, a customization that would become his trademark. In 1956 Gillespie organized a band to go on a State Department tour of the Middle East which was well-received internationally and earned him
3692-648: A pianist replaced him; this was ultimately Steve Kuhn . In 1964, this new quartet recorded the album Sing Me Softly of the Blues for the Atlantic label. These bands played laid back, melodious music during a period when avant-garde jazz was becoming more common. Farmer toured Europe in 1965–66, then returned to the US and led a small group with Jimmy Heath . His stylistic development continued during this period of his career, in part because he "absorbed, understood, and had
3834-660: A popular music form. Handy wrote about his adopting of the blues: The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key
3976-439: A repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score , with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on
4118-740: A sextet that included Farmer on its performances on a version of the Steve Allen Show , broadcast on television on June 10, 1955. The following month, Farmer played in the Charles Mingus sextet's performance at the Newport Jazz Festival . Farmer recorded only twice with Horace Silver's group, as Silver recorded for Blue Note Records , while Farmer was signed to Prestige. Feuds between the label bosses ruled out extensive cross-label collaboration. The transition from Silver's piano-led quintet to Mulligan's piano-less quartet
4260-492: A single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands , Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near
4402-416: A soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist. In avant-garde and free jazz , the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. Since
Art Farmer - Misplaced Pages Continue
4544-699: A symbol of the new music. His big bands of the late 1940s also featured Cuban rumberos Chano Pozo and Sabu Martinez , sparking interest in Afro-Cuban jazz. He appeared frequently as a soloist with Norman Granz 's Jazz at the Philharmonic . Gillespie and his Bee Bop Orchestra was the featured star of the 4th Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin Sr. on September 12, 1948. The young maestro had recently returned from Europe where his music rocked
4686-520: A trumpet–flugelhorn hybrid, the flumpet , which was constructed for him by instrument maker David Monette . This instrument allowed him to play with more expression in a range of settings, from small groups to big bands. In 1997, Monette presented him with a personalized flumpet, with decorations symbolising important people and places in Farmer's life. Farmer's determination to keep exploring forms of expression continued throughout his life. One comment on
4828-481: A week for this job put great pressure on his technique, which was insufficiently developed to cope with such physical demands. His lip eventually became lacerated, and he could no longer play. He then received technique training in New York, where he worked for a time as a janitor and played as a freelance musician during 1947 and 1948. An audition for Dizzy Gillespie 's big band was unsuccessful, and Farmer returned to
4970-750: A year, then left and freelanced with other bands. In 1939, with the help of Willis, Gillespie joined Cab Calloway 's orchestra. He recorded one of his earliest compositions, "Pickin' the Cabbage", with Calloway in 1940. After an altercation between the two, Calloway fired Gillespie in late 1941. The incident is recounted by Gillespie and Calloway's band members Milt Hinton and Jonah Jones in Jean Bach 's 1997 film, The Spitball Story . Calloway disapproved of Gillespie's mischievous humor and his adventuresome approach to soloing. According to Jones, Calloway referred to it as "Chinese music". During rehearsal, someone in
5112-500: Is a music genre that originated in the African-American communities of New Orleans , Louisiana , in the late 19th and early 20th centuries, with its roots in blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . Since the 1920s Jazz Age , it has been recognized as a major form of musical expression in traditional and popular music . Jazz
5254-529: Is a "white jazz" genre that expresses whiteness . White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine , who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". The Original Dixieland Jazz Band , whose members were white, were the first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of
5396-693: Is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora . Tresillo
5538-753: Is based on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by Mario Bauza , a Latin jazz trumpet player. Chano Pozo became Gillespie's conga drummer for his band. Gillespie also worked with Mario Bauza in New York jazz clubs on 52nd Street and several famous dance clubs such as the Palladium and the Apollo Theater in Harlem . They played together in the Chick Webb band and Cab Calloway's band, where Gillespie and Bauza became lifelong friends. Gillespie helped develop and mature
5680-469: Is characterized by swing and blue notes , complex chords , call and response vocals , polyrhythms and improvisation . As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles , biguine , ragtime and blues with collective polyphonic improvisation . However, jazz did not begin as
5822-493: Is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed." In
Art Farmer - Misplaced Pages Continue
5964-468: Is summarized by critic Whitney Balliett , commenting on his performance on Hal McKusick 's 1957 album Hal McKusick Quintet : "Farmer has become one of the few genuinely individual modern trumpeters. (Nine out of ten modern trumpeters are true copies of Dizzy Gillespie or Miles Davis.)" Farmer was one of 57 jazz musicians to appear in the 1958 photograph " A Great Day in Harlem " and was later interviewed for
6106-400: Is that jazz can absorb and transform diverse musical styles. By avoiding the creation of norms, jazz allows avant-garde styles to emerge. For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of "an oppressive and racist society and restrictions on their artistic visions". Amiri Baraka argues that there
6248-476: Is well documented. It is believed to be related to jasm , a slang term dating back to 1860 meaning ' pep, energy ' . The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a 'jazz ball' "because it wobbles and you simply can't do anything with it". The use of the word in a musical context
6390-537: The Alice Tully Hall in New York. Farmer also recorded extensively as a leader throughout his later career, including some pieces of classical music with US and European orchestras. Farmer's level of playing even towards the end of his career was noted in a review by Scott Yanow of one of his last recordings, Silk Road , from 1996: "the warm-toned and swinging Farmer is consistently the main star, and at age 68 he proves to still be in his prime". In 1999 Farmer
6532-630: The American Society of Composers, Authors, and Publishers Duke Ellington Award for 50 years of achievement as a composer, performer, and bandleader. In 1989, Gillespie was awarded with an honorary doctorate of music from Berklee College of Music . In 1991, Gillespie received the Golden Plate Award of the American Academy of Achievement presented by Awards Council member Wynton Marsalis . In 1993 he received
6674-570: The Atlantic slave trade had brought nearly 400,000 Africans to North America. The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns. An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and
6816-879: The Polar Music Prize in Sweden. In 2002, he was posthumously inducted into the International Latin Music Hall of Fame for his contributions to Afro-Cuban music. He was honored on December 31, 2006 in A Jazz New Year's Eve: Freddy Cole & the Dizzy Gillespie All-Star Big Band at The John F. Kennedy Center for the Performing Arts. In 2014, Gillespie was inducted into the New Jersey Hall of Fame . Samuel E. Wright played Dizzy Gillespie in
6958-471: The swing era of the 1920s–40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz,
7100-948: The 1920s. The Chicago Style was developed by white musicians such as Eddie Condon , Bud Freeman , Jimmy McPartland , and Dave Tough . Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s. Many bands included both Black and white musicians. These musicians helped change attitudes toward race in the U.S. Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter , Ella Fitzgerald , Adelaide Hall , Billie Holiday , Peggy Lee , Abbey Lincoln , Anita O'Day , Dinah Washington , and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong , trumpeter Valaida Snow , and songwriters Irene Higginbotham and Dorothy Fields . Women began playing instruments in jazz in
7242-476: The 1940s, Gillespie, with Charlie Parker , became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis , Jon Faddis , Fats Navarro , Clifford Brown , Arturo Sandoval , Lee Morgan , Chuck Mangione , and balladeer Johnny Hartman . He pioneered Afro-Cuban jazz and won several Grammy Awards. Scott Yanow wrote: "Dizzy Gillespie's contributions to jazz were huge. One of
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#17327907458727384-499: The 1946 film Jivin' in Be-Bop . After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson , John Coltrane , Lalo Schifrin , Ray Brown , Kenny Clarke , James Moody , J. J. Johnson , and Yusef Lateef ) and put together his successful big bands starting in 1947. He and his big bands, with arrangements provided by Tadd Dameron , Gil Fuller , and George Russell , popularized bebop and made him
7526-451: The 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from
7668-429: The 1994 documentary of the same title . Farmer formed the Jazztet in 1959, with the composer and tenor saxophonist Benny Golson , after each man independently came to the conclusion that the other should be a member of his new sextet. The Jazztet lasted until 1962, recorded several albums for Argo and Mercury Records , and assisted in the early careers of pianist McCoy Tyner and trombonist Grachan Moncur III . In
7810-573: The Afro-Cuban jazz style. Afro-Cuban jazz was considered bebop-oriented, and some musicians classified it as a modern style. Afro-Cuban jazz was successful because it never decreased in popularity and it always attracted people to dance. Gillespie's most famous contributions to Afro-Cuban music are "Manteca" and "Tin Tin Deo" (both co-written with Chano Pozo); he was responsible for commissioning George Russell 's "Cubano Be, Cubano Bop", which featured Pozo. In 1977, Gillespie met Arturo Sandoval during
7952-627: The Austrian Radio Orchestra. The latter job initially required only ten days a month of his time, so he was able to play with other well-known expatriates such as Don Byas , Dexter Gordon , and Ben Webster . As the orchestra's music gradually changed in style from jazz to simpler forms and took up more of Farmer's time, he found that it was getting in the way of his musical ambitions, so he left after three or four years. Pursuing these ambitions meant that Farmer traveled extensively worldwide. He said in 1976: "I'm traveling 90 percent of
8094-509: The Black middle-class. Blues is the name given to both a musical form and a music genre, which originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from their spirituals , work songs , field hollers , shouts and chants and rhymed simple narrative ballads . The African use of pentatonic scales contributed to
8236-464: The Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing . In the opinion of jazz historian Ernest Borneman , what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as tresillo
8378-665: The Starlight Roof at the famed Waldorf-Astoria Hotel . He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s. Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and
8520-549: The West Coast in 1948 as a member of Jay McShann 's band. Club and studio work was hard to get in Los Angeles from the late 1940s and into the 1950s, as it was dominated by white musicians. Farmer played and toured with Benny Carter , Roy Porter and Gerald Wilson , then played with Wardell Gray in 1951–52. The hazards of the touring jazz musician's lifestyle were also present: while travelling overnight by car between Phoenix and El Paso , to get to another Roy Porter-led gig,
8662-815: The White House would be renamed the Blues House, and he would have a cabinet composed of Duke Ellington (Secretary of State), Miles Davis (Director of the CIA), Max Roach (Secretary of Defense), Charles Mingus (Secretary of Peace), Ray Charles (Librarian of Congress), Louis Armstrong (Secretary of Agriculture), Mary Lou Williams (Ambassador to the Vatican), Thelonious Monk (Travelling Ambassador) and Malcolm X (Attorney General). He said his running mate would be Phyllis Diller . Campaign buttons had been manufactured years before by Gillespie's booking agency as
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#17327907458728804-400: The age of 16, performing in the bands of Horace Henderson , Jimmy Mundy , and Floyd Ray, among others. These opportunities came about through a combination of his ability and the absence of numerous older musicians, who were still in the armed forces following World War II . Around this time in Los Angeles, there were abundant opportunities for musical development, according to Farmer: "During
8946-546: The band threw a spitball. Already in a foul mood, Calloway blamed Gillespie, who refused to take the blame. Gillespie stabbed Calloway in the leg with a knife. Calloway had minor cuts on the thigh and wrist. After the two were separated, Calloway fired Gillespie. A few days later, Gillespie tried to apologize to Calloway, but he was dismissed. During his time in Calloway's band, Gillespie started writing big band music for Woody Herman and Jimmy Dorsey . He then freelanced with
9088-419: The bebop era like Charlie Parker , Thelonious Monk , Bud Powell , Kenny Clarke , Oscar Pettiford , and Gillespie. Through these musicians, a new vocabulary of musical phrases was created. With Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House . Parker's system also held methods of adding chords to existing chord progressions and implying additional chords within
9230-552: The blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic , rural blues and early jazz "was largely based on concepts of heterophony ". During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European American minstrel show performers in blackface popularized
9372-431: The boys were four years old, and their steelworker father was killed in a work accident not long after this. Art moved with his grandfather, grandmother, mother, brother and sister to Phoenix, Arizona , when he was still four. He started to play the piano while in elementary school, then moved on to bass tuba and violin before settling on cornet and then trumpet at the age of 13. His family was musical: most of them played as
9514-549: The car that Farmer was in overturned at high speed, leaving him concussed and Porter with broken ribs. Farmer's first studio recording appears to have been on June 28 or July 2, 1948, in Los Angeles, under the leadership of vocalist Big Joe Turner and pianist Pete Johnson . They recorded "Radar Blues", and at some point in the same or the following year they added a further seven sides; the eight tracks were released as four singles by Swing Time Records . Farmer recorded further singles with Roy Porter and then, on January 21, 1952, as
9656-539: The centenary of the passing of Baháʼu'lláh . Gillespie was to appear at Carnegie Hall for the 33rd time. The line-up included Jon Faddis , James Moody , Paquito D'Rivera , and the Mike Longo Trio with Ben Brown on bass and Mickey Roker on drums. Gillespie was too unwell to attend. "But the musicians played their real hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their friend, this great soul and innovator in
9798-418: The continent. The program description noted "the musicianship, inventive technique, and daring of this young man has created a new style, which can be defined as off the chord solo gymnastics." Also on the program that day were Frankie Laine , Little Miss Cornshucks , The Sweethearts of Rhythm , The Honeydrippers , Big Joe Turner , Jimmy Witherspoon , The Blenders, and The Sensations. In 1948, Gillespie
9940-473: The contribution of the composer, if there is one, and more on the performer. The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures. In early Dixieland , a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies . In
10082-423: The conventional design. According to Gillespie's autobiography, this was originally the result of accidental damage caused by the dancers Stump and Stumpy falling onto the instrument while it was on a trumpet stand on stage at Snookie's in Manhattan on January 6, 1953, during a birthday party for Gillespie's wife Lorraine. The constriction caused by the bending altered the tone of the instrument, and Gillespie liked
10224-518: The day you would go to somebody's house and play. At night there were after-hours clubs [...and] anybody who wanted to play was free to come up and play". Farmer left high school early but persuaded the principal to give him a diploma, which he did not collect until a visit to the school in 1958. At this time, as an adolescent in Los Angeles, bebop and the swing era big bands both attracted Farmer's attention. Decades later, he stated that, at that time, "I knew I had to be in jazz. Two things decided me –
10366-555: The development of blue notes in blues and jazz. As Kubik explains: Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: W. C. Handy became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within
10508-509: The early 1920s, drawing particular recognition on piano. When male jazz musicians were drafted during World War II, many all-female bands replaced them. The International Sweethearts of Rhythm , which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO , touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson . Beginning in
10650-516: The early 1960s Farmer established a trio with guitarist Jim Hall and bassist Steve Swallow ; his relationship with Hall lasted from 1962 to 1964, and included two tours of Europe, one of which had concerts recorded for the BBC 's Jazz 625 programme, which were later released on DVD. Hall left the second tour while the quartet, which included Swallow and drummer Pete La Roca , was engaged in Berlin, and
10792-610: The early 1990s, Farmer had a second house in New York and divided his time between Vienna and there. He had regular gigs with Clifford Jordan at the Sweet Basil Jazz Club and, later, with Ran Blake and Jerome Richardson at the Village Vanguard , both in New York. Farmer was awarded the Austrian Gold Medal of Merit in 1994. In the same year, a concert in honor of his achievements was held at
10934-480: The education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows , and in vaudeville , during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed. Ragtime appeared as sheet music, popularized by African-American musicians such as
11076-532: The effect. He had the trumpet straightened out the next day, but he could not forget the tone. Gillespie sent a request to Martin to make him a "bent" trumpet from a sketch produced by Lorraine, and from that time forward played a trumpet with an upturned bell. By June 1954 he was using a professionally manufactured horn of this design, and it was to become a trademark for the rest of his life. Such trumpets were made for him by Martin (from 1954), King Musical Instruments (from 1972) and Renold Schilke (from 1982,
11218-542: The elimination of racism from the perspective of the Baháʼí Faith . Impacted by the assassination of Martin Luther King Jr. in 1968, he became a Baháʼí that same year. The universalist emphasis of his religion prodded him to see himself more as a global citizen and humanitarian, expanding on his interest in his African heritage. His spirituality brought out generosity and what author Nat Hentoff called an inner strength, discipline, and "soul force". Gillespie's conversion
11360-593: The emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Regarding the Dixieland jazz revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences. On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view
11502-525: The end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The mid-1950s saw the emergence of hard bop , which introduced influences from rhythm and blues , gospel , and blues to small groups and particularly to saxophone and piano. Modal jazz developed in the late 1950s, using the mode , or musical scale, as the basis of musical structure and improvisation, as did free jazz , which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in
11644-556: The entertainer Ernest Hogan , whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley". Also in 1897, the white composer William Krell published his " Mississippi Rag " as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. Classically trained pianist Scott Joplin produced his " Original Rags " in 1898 and, in 1899, had an international hit with " Maple Leaf Rag ",
11786-596: The film The Winter in Lisbon that was released as El invierno en Lisboa in 1992 and re-released in 2004. The soundtrack album, featuring him, was recorded in 1990 and released in 1991. The film is a crime drama about a jazz pianist who falls for a dangerous woman while in Portugal with an American expatriate's jazz band. In December 1991, during an engagement at Kimball's East in Emeryville, California, he suffered
11928-415: The first written music which was rhythmically based on an African motif (1803). From the perspective of African-American music, the "habanera rhythm" (also known as "congo"), "tango-congo", or tango . can be thought of as a combination of tresillo and the backbeat . The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired
12070-633: The flugelhorn as a soloist's instrument in jazz. He settled in Europe in 1968 and continued to tour internationally until his death. Farmer recorded more than 50 albums under his own name, a dozen with the Jazztet, and dozens more with other leaders. His playing is known for its individuality – most noticeably, its lyricism, warmth of tone and sensitivity. Art Farmer was born an hour before his twin brother, on August 21, 1928, in Council Bluffs, Iowa , reportedly at 2201 Fourth Avenue. Their parents, James Arthur Farmer and Hazel Stewart Farmer, divorced when
12212-399: The four or five hours a day that he desired. His personality was often described by others as mirroring his playing: Leonard Feather , for instance, observed in 1990 that Farmer was "mellow, relaxed and [...] gentle". Farmer was affected by the sudden death of his twin brother in 1963: more than 20 years later, he said that he still dreamed of his sibling, and admitted that, "It seems there's
12354-474: The greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [....] Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time". The youngest of nine children of Lottie and James Gillespie, Dizzy Gillespie
12496-532: The habanera rhythm and cinquillo , are heard in the ragtime compositions of Joplin and Turpin. Joplin's " Solace " (1909) is generally considered to be in the habanera genre: both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass". In
12638-459: The improvised lines. Gillespie compositions like " Groovin' High ", " Woody 'n' You ", and " Salt Peanuts " sounded radically different, harmonically and rhythmically, from the swing music popular at the time. " A Night in Tunisia ", written in 1942, while he was playing with Earl Hines's band, is noted for having a feature that is common in today's music: a syncopated bass line. "Woody 'n' You"
12780-512: The individuality of the performing jazz musician". A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of
12922-424: The influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre. By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square , famous for its African dances. By 1866,
13064-460: The instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Louisiana Creole and African-American musicians played in vaudeville shows which carried jazz to cities in
13206-578: The late 1950s into the 1990s. Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate. Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to
13348-455: The late 1960s and early 1970s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 21st century, such as Latin and Afro-Cuban jazz . The origin of the word jazz has resulted in considerable research, and its history
13490-955: The many top players he employed, such as George Brunies , Sharkey Bonano , and future members of the Original Dixieland Jass Band . During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez . Louis Armstrong started his career in Storyville and found success in Chicago. Storyville
13632-697: The music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures. The Black Codes outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in
13774-583: The music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery. Although the pattern is only half a clave , Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz. The abolition of slavery in 1865 led to new opportunities for
13916-673: The nickname "the Ambassador of Jazz". During this time, he also continued to lead a big band that performed throughout the United States and featured musicians including Pee Wee Moore and others. This band recorded a live album at the 1957 Newport jazz festival that featured Mary Lou Williams as a guest artist on piano. In the late 1940s, Gillespie was involved in the movement called Afro-Cuban music , bringing Afro-Latin American music and elements to greater prominence in jazz and even pop music, particularly salsa . Afro-Cuban jazz
14058-404: The northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe 's symphonic Clef Club orchestra in New York City, which played a benefit concert at Carnegie Hall in 1912. The Baltimore rag style of Eubie Blake influenced James P. Johnson 's development of stride piano playing, in which the right hand plays the melody, while the left hand provides
14200-618: The northern and western parts of the U.S. Jazz became international in 1914, when the Creole Band with cornettist Freddie Keppard performed the first ever jazz concert outside the United States, at the Pantages Playhouse Theatre in Winnipeg , Canada. In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of
14342-431: The organization's trumpet chairs with Clifford Brown , Quincy Jones and Benny Bailey . This aided his musical development considerably, as did his 1953 membership of Teddy Charles ' New Directions band – the compositions he encountered in this band allowed him to consider a broader range of expression during improvisation. Farmer relocated to New York and, on July 2, 1953, had his first recording session as leader. This
14484-500: The period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War. Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals . The origins of
14626-494: The plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans. The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture. Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman
14768-459: The post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms ," observed
14910-676: The pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music. The music of New Orleans , Louisiana had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums. Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville . In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals ). The instruments used by marching bands and dance bands became
15052-410: The rhythm and bassline. In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by
15194-600: The same year as the Cuban Missile Crisis , it uses audio from an improvised conversation between the two debating the causes of accidents and the possibility of accidentally launching nuclear weapons . The short went on to win the Academy Award for Best Animated Short Film the following year. During the 1964 United States presidential campaign , Gillespie put himself forward as an independent write-in candidate . He promised that if he were elected,
15336-474: The significance of rhythm there and all about how music can transport people spiritually." In Gillespie's obituary, Peter Watrous describes his performance style: In the naturally effervescent Mr. Gillespie, opposites existed. His playing—and he performed constantly until nearly the end of his life—was meteoric, full of virtuosic invention and deadly serious. But with his endlessly funny asides, his huge variety of facial expressions and his natural comic gifts, he
15478-526: The sound of a trumpet section in a big band and hearing a jam session ". Farmer's trumpet influences in the 1940s were Dizzy Gillespie , Miles Davis and Fats Navarro , but, in his own words, "then I heard Freddie Webster , and I loved his sound. I decided to work on sound because it seemed like most of the guys my age were just working on speed". Farmer left school to tour with a group led by Johnny Otis , but this job lasted for only four months, as Farmer's lip gave out. Performing for long periods seven days
15620-588: The technical and artistic gifts to put to personal use the [John] Coltrane innovations of the ' Giant Steps ' period of the early 1960s". Work opportunities, however, were diminishing as rock became more popular in the mid-1960s, so Farmer joined the pit orchestra of Elliot Lawrence for the production of The Apple Tree on Broadway , for six months. The visits to Europe continued. Farmer moved there in 1968 and ultimately settled in Vienna , where he performed with The Kenny Clarke/Francy Boland Big Band and joined
15762-414: The time. I can live anywhere. It's just a matter of getting to the airport". A 1982 revival of the Jazztet, with Golson, led him to play more frequently in the United States than he had over the previous decade. In the 1980s Farmer also created a quintet, featuring saxophonist Clifford Jordan , that toured internationally. In the early 1980s, Farmer had also made some changes to his lifestyle. Interviewed for
15904-401: The trumpet, saxophone, piano, bass and drums. Dizzy recommended Fats Navarro for the job with Eckstine, who proved to be an ample replacement. Bebop was known as the first modern jazz style. However, it was unpopular in the beginning and was not viewed as positively as swing music was. Bebop was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in
16046-408: The trumpet. Farmer and his brother moved to Los Angeles in 1945, attending the music-oriented Jefferson High School , where they got music instruction and met other developing musicians such as Sonny Criss , Ernie Andrews , Big Jay McNeely , and Ed Thigpen . The brothers earned money by working in a cold-storage warehouse and by playing professionally. Art started playing trumpet professionally at
16188-500: The twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the cakewalk , ragtime , and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. Habaneras were widely available as sheet music and were
16330-575: The use of tresillo-based rhythms in African-American music. New Orleans native Louis Moreau Gottschalk 's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively. The figure was later used by Scott Joplin and other ragtime composers. Comparing
16472-598: The warmth of his sound. The Los Angeles Times obituary writers noted that his playing had "a sweetly lyrical tone and a melodic approach to phrasing, neither of which minimized his capacity to produce rhythmically swinging phrases". The equivalent comments in The Guardian were that "Farmer avoided the bright, penetrating sound of orthodox trumpet playing and was influenced by the more reserved articulation of Miles Davis and Kenny Dorham ", and that, although he could seem more restrained than Davis or Lee Morgan , "Farmer
16614-587: The world of jazz." A longtime resident of Englewood , New Jersey, Gillespie died of pancreatic cancer on January 6, 1993, at the age of 75 and was buried in Flushing Cemetery , Queens, New York City. His grave is unmarked. Mike Longo (who was present the night of Gillespie's death) delivered a eulogy at his funeral. In 1962, Gillespie and actor George Mathews starred in The Hole , an animated short film by John and Faith Hubley . Released
16756-498: The writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured." African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza ) gained international popularity. Musicians from Havana and New Orleans would take
16898-436: The year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from
17040-470: Was 'bop' and the beginning of modern jazz ... but the band never made recordings. Gillespie said of the Hines band, "[p]eople talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference
17182-527: 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. In
17324-448: Was as much a pure entertainer as an accomplished artist. Wynton Marsalis summarized Gillespie as a player and teacher: His playing showcases the importance of intelligence. His rhythmic sophistication was unequaled. He was a master of harmony—and fascinated with studying it. He took in all the music of his youth—from Roy Eldridge to Duke Ellington—and developed a unique style built on complex rhythm and harmony balanced by wit. Gillespie
17466-466: Was born in Cheraw, South Carolina . His father was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four. Gillespie's father died when he was only ten years old. He taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge , on the radio, he dreamed of becoming
17608-431: Was combined with another recorded 11 months later to form the eight-track Prestige LP, The Art Farmer Septet , featuring arrangements by Quincy Jones and Gigi Gryce . Farmer became "one of the most sought-after trumpeters of the fifties": he continued to work with Gryce (1954–56), and also with Horace Silver (1956–58) and Gerry Mulligan (1958–59), among others. One of the others was pianist Thelonious Monk , who led
17750-442: Was concerned at all times with swing—even taking the most daring liberties with pulse or beat, his phrases never failed to swing. Gillespie's magnificent sense of time and emotional intensity of his playing came from childhood roots. His parents were Methodists, but as a boy he used to sneak off every Sunday to the uninhibited Sanctified Church. He said later, "The Sanctified Church had deep significance for me musically. I first learned
17892-497: Was documented as early as 1915 in the Chicago Daily Tribune . Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about "jas bands". In an interview with National Public Radio , musician Eubie Blake offered his recollections of the slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It
18034-487: Was extended when Farmer took part in a series of experimental sessions with composer Edgard Varèse in 1957. Varèse used approximate notation and wanted the musicians to improvise within its structure; at least some of the seasoned jazz musicians present regarded this process of creation as similar to their own familiar creations of spontaneously produced head arrangements , but their efforts influenced Varèse's composition, Poème électronique . Farmer's playing around this time
18176-410: Was in his way a true original. His phrasing was always distinctive, letting the beat run ahead of him rather in the manner of Billie Holiday 's vocals". Farmer moved from trumpet to playing mostly flugelhorn from the early 1960s, utilising the latter instrument's more mellow sound and Farmer's ability to get what he wanted from it without having to use a mute. In 1989, he played a major part in creating
18318-439: Was in how you got from here to here to here ... naturally each age has got its own shit." Gillespie joined the big band of Hines's long-time collaborator Billy Eckstine , and it was as a member of Eckstine's band that he was reunited with Charlie Parker , a fellow member. In 1944, Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing
18460-452: Was involved in a traffic accident when the bicycle he was riding was bumped by an automobile. He was slightly injured and found that he could no longer hit the B-flat above high C. He won the case, but the jury awarded him only $ 1000 in view of his high earnings up to that point. In 1951, Gillespie founded his record label, Dee Gee Records ; it closed in 1953. On January 6, 1953, he threw
18602-433: Was major ... , and I carried this device into my melody as well. The publication of his " Memphis Blues " sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"). This composition, as well as his later " St. Louis Blues " and others, included the habanera rhythm, and would become jazz standards . Handy's music career began in
18744-575: Was most affected by Bill Sears ' book Thief in the Night . Gillespie spoke about the Baháʼí Faith frequently on his trips abroad. He is honored with weekly jazz sessions at the New York Baháʼí Center in the memorial auditorium. A concert in honor of his 75th birthday was held in New York City's Carnegie Hall, 26 November 1992, in conjunction with the second Baha'i world congress, however, he
18886-466: Was not straightforward: "to suddenly find yourself in a pianoless group was like walking down the street naked", commented Farmer. As a member of Mulligan's band, Farmer appeared on film twice – in I Want to Live! (1958) and The Subterraneans (1960) – and again toured Europe, as part of a Jazz at the Philharmonic tour, helping him to develop an international reputation. In New York, Farmer worked with Lester Young , who told him to "tighten up and tell
19028-525: Was recorded in a session led by Coleman Hawkins with Gillespie as a featured sideman on February 16, 1944 ( Apollo ), the first formal recording of bebop. He appeared in recordings by the Billy Eckstine band and started recording prolifically as a leader and sideman in early 1945. He was not content to let bebop sit in a niche of small groups in small clubs. A concert by one of his small groups in New York's Town Hall on June 22, 1945, presented bebop to
19170-555: Was selected as a National Endowment for the Arts Jazz Master . A few months later, on October 4, Farmer died of a heart attack at home in Manhattan , aged 71. Farmer first married in the mid-1950s, to a woman from South America. They divorced after about a year, but the marriage produced one son, Arthur Jr, who died in 1994. Farmer's second wife was a distant cousin; this marriage also ended in divorce. He married again, to
19312-665: Was selected for the cover of the auction program. The battered instrument was sold to Manhattan builder Jeffery Brown for $ 63,000, the proceeds benefiting jazz musicians with cancer. In 1989, Gillespie was given the Grammy Lifetime Achievement Award . The next year, at the Kennedy Center for the Performing Arts ceremonies celebrating the centennial of American jazz, Gillespie received the Kennedy Center Honors Award and
19454-521: Was shut down by the U.S. government in 1917. Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. Dizzy Gillespie John Birks " Dizzy " Gillespie ( / ɡ ɪ ˈ l ɛ s p i / gil- ESP -ee ; October 21, 1917 – January 6, 1993)
19596-441: Was so quick-minded, he could create an endless flow of ideas at unusually fast tempo. Nobody had ever even considered playing a trumpet that way, let alone had actually tried. All the musicians respected him because, in addition to outplaying everyone, he knew so much and was so generous with that knowledge... Gillespie's trademark trumpet featured a bell which bent upward at a 45-degree angle rather than pointing straight ahead as in
19738-651: Was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The American Dialect Society named it the Word of the 20th Century . Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock -infused fusion . Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as
19880-536: Was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history". Shep Fields also helped to popularize "Sweet" Jazz music through his appearances and Big band remote broadcasts from such landmark venues as Chicago's Palmer House , Broadway's Paramount Theater and
20022-506: Was too ill to personally attend. Gillespie married dancer Lorraine Willis in Boston on May 9, 1940. They remained together until his death in 1993; Lorraine converted to Catholicism with Mary Lou Williams in 1957. Lorraine managed his business and personal affairs. The couple had no children, but Gillespie fathered a daughter, jazz singer Jeanie Bryson , born in 1958 from an affair with songwriter Connie Bryson. Gillespie met Bryson,
20164-482: Was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D.C., Gillespie met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York City circuit which included the Apollo Theater . Willis was not immediately friendly but Gillespie was attracted anyway. The two married on May 9, 1940. Gillespie stayed with Teddy Hill's band for
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