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38-403: American jazz band The New York Jazz Quartet was founded by pianist Roland Hanna . Initially consisting of flautist Hubert Laws , bassist Ron Carter , and drummer Billy Cobham , the lineup changed in 1974 to Frank Wess , bassist George Mraz , and drummer Ben Riley . Richie Pratt and Grady Tate also contributed to the group. The group recorded for

76-430: A bravura technique that led him into areas where many jazz pianists don't go. He learned how to integrate his classical background into much of what he composed and played. ... Roland had the rare gift of being able to truly improvise from scratch, letting his imagination take him almost anywhere on a given theme. He was not dependent on any specific style to tell his stories. Like Earl Hines and few others, he never played

114-464: A brief reunion with Rollins in 1965. Later the same year, Flanagan left Fitzgerald and was part of Art Farmer 's short-lived New York Jazz Sextet, which recorded Group Therapy . Flanagan then became accompanist to Tony Bennett for part of 1966, and lived on the West Coast. Flanagan returned to working with Fitzgerald in 1968. In addition to being her pianist, mostly as part of a trio, he

152-465: A decade. After leaving Fitzgerald in 1978, Flanagan attracted praise for the elegance of his playing, which was principally in trio settings when under his own leadership. In his 45-year recording career, he recorded more than three dozen albums under his own name and more than 200 as a sideman. By the time of his death, he was one of the most widely admired jazz pianists and had influenced both his contemporaries and later generations of players. Flanagan

190-448: A few years he preferred the piano. The family had a piano in the house, and Flanagan received lessons from one of his brothers, Johnson, and Gladys Wade Dillard, who also taught Kirk Lightsey and Barry Harris . Flanagan graduated from Northern High School , which he attended with other future musicians, including saxophonist Sonny Red . Flanagan's early influences included Art Tatum and Teddy Wilson , both of whom he heard on

228-537: A lean, swinging character". Although he acknowledged the influence of other pianists, Flanagan stated that, "I like to play like a horn player, like I'm blowing into the piano. The sound of a piece – its over-all tonality – is what concerns me." In concerts, Flanagan typically played a range of composers' works and, once he had become established as a small-group leader, he often played songs by Tadd Dameron , Duke Ellington , Benny Golson , Thad Jones , Tom McIntosh , and Thelonious Monk . During his career, Flanagan

266-544: A piece the same way twice." Posthumous compilations The New York Jazz Quartet Mingus Dynasty With Pepper Adams With Kenny Burrell With Ron Carter With Richard Davis With Elvin Jones With Jimmy Knepper With Red Rodney With Sonny Stitt With others Tommy Flanagan Thomas Lee Flanagan (March 16, 1930 – November 16, 2001)

304-582: A recording contract with a major label for more than one album. In late October 2001, Flanagan played in a John Coltrane tribute at the San Francisco Jazz Festival . The following month, he was admitted to Mount Sinai hospital in Manhattan ; less than two weeks later, on November 16, he died there, from complications related to the aneurysm he had suffered a decade earlier. Flanagan first married in 1960, to Ann. The couple had

342-463: A son and two daughters, and divorced in the early 1970s; Ann was killed in a car accident in 1980. Flanagan's mother died in 1959, and his father in 1977. Flanagan married Diana, his second wife, in 1976. He was survived by Diana, the three children from his first marriage, and six grandchildren. Flanagan was usually self-effacing, reserved and amiable. His personality was summarized by his second wife: "His gentleness and quietness are deceptive. He

380-470: A trio in New York. In 1962, Flanagan was asked by jazz impresario Norman Granz to become Ella Fitzgerald's full-time accompanist. Flanagan was looking for steadier work than was available with Hawkins, so he accepted. He worked with Fitzgerald from 1962 to 1965. They toured internationally, including to Japan in 1964. He also played with other bands when not required by the vocalist; these included

418-406: A viral infection of the heart, on November 13, 2002. Critic and jazz pianist Len Lyons grouped Hanna with fellow "Detroit" pianists Hank Jones , Barry Harris , and Flanagan for their "tasteful accompaniment and the sophisticated use of modern jazz elements in their soloing and trio work." Noted jazz pianist Dick Katz observed, "Because of Roland's extensive [classical] training ... he developed

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456-559: Is a strong man, and he has a lot of spirit and firmness." Whitney Balliett stated that Flanagan was the most consistent of the pianists influenced by Wilson, Tatum and Cole, and invariably created something new in his playing: he "often states the melody with dissonant, levering chords played offbeat or staccato. Never decorative, they [...] reveal both a respect for the melody and an intense desire to alter it"; during his main improvising, he used "interval-filled descending figures [...] charging rhythmic phrases whose accented first notes make

494-605: Is different from Wikidata Roland Hanna Hanna studied classical piano from the age of 11, but was strongly interested in jazz, having been introduced to it by his friend, pianist Tommy Flanagan . This interest increased after his time in military service (1950–1952). He studied briefly at the Eastman School of Music in 1953 and then enrolled at the Juilliard School when he moved to New York City two years later. He worked with several big names in

532-696: The Blue Bird Inn in Detroit. In 1950, he played with Rudy Rutherford , until the clarinetist returned to the Count Basie band. Flanagan then played jazz and rhythm and blues with saxophonist George Benson in Toledo, Ohio , before being drafted into the army in 1951. After basic training in Fort Leonard Wood , Missouri , Flanagan auditioned as a pianist for an army show. He gained

570-1631: The Inner City , Enja , Salvation and Sonet Records from 1972 to 1982. Discography [ edit ] In Concert In Japan with Ron Carter , Ben Riley , Frank Wess (Salvation, 1975) Song of the Black Knight with George Mraz, Richard Pratt , Frank Wess (Sonet, 1977) Surge with George Mraz, Richard Pratt , Frank Wess (Enja, 1977) Blues for Sarka with George Mraz, Grady Tate , Frank Wess (Enja, 1978) New York Jazz Quartet in Chicago with George Mraz, Ben Riley, Frank Wess ( Bee Hive , 1981) Oasis with George Mraz, Ben Riley, Frank Wess (Enja, 1981) References [ edit ] ^ Allmusic Authority control databases [REDACTED] International ISNI VIAF National United States France BnF data Israel Artists MusicBrainz Other IdRef Retrieved from " https://en.wikipedia.org/w/index.php?title=New_York_Jazz_Quartet&oldid=1249672690 " Categories : 1972 establishments in New York (state) 1982 disestablishments in New York (state) Jazz ensembles from New York (state) New York Jazz Quartet members Enja Records artists Inner City Records artists Musical groups established in 1972 Musical groups disestablished in 1982 Hidden categories: Articles with short description Short description

608-532: The 1950s, including Benny Goodman and Charles Mingus , and graduated in 1960. Between 1963 and 1966, Hanna led his own trio, then from 1966 to 1974 he was a regular member of The Thad Jones/Mel Lewis Orchestra . Hanna also toured the Soviet Union with the orchestra in 1972. During the 1970s, he was a member of the New York Jazz Quartet . Roland Hanna was in semi-retirement for most of

646-617: The 1980s, though he played piano and wrote the song "Seasons" for Sarah Vaughan 's 1982 album Crazy and Mixed Up , and returned to music later in the decade. In the late 1980s and early 1990s, Hanna was a member of the Lincoln Center Jazz Orchestra and the Smithsonian Jazz Masterworks Orchestra . Around this time, he also began composing chamber and orchestral music; a ballet he wrote has also been performed. In 1970, Hanna

684-446: The early 1990s, Mraz was replaced by Peter Washington , whose heavier bass lines added urgency to the trio's sound. Flanagan's reputation gradually grew after he moved on from being primarily an accompanist: in a 1992 article, critic Leonard Feather suggested that "Flanagan is the pianist most likely to be named a personal idol by other jazz pianists, whether they be swing veterans or avant-gardists ". This made him more in demand;

722-404: The pedals, holding down keys long enough to sustain notes in decisively different ways, and working out inflections that evoke the voice – sighs, moans, swells, purrs". Critic John S. Wilson described Flanagan's solo piano style on ballads in 1978: "He drifts through ballads with a dreamy langourous flow, but it is not a soft or flabby style. There is, beneath the surface, a vitality that gives it

760-601: The quartet that made The Incredible Jazz Guitar of Wes Montgomery ; his playing complemented that of the guitarist, using controlled force on bebop numbers and delicacy on a ballad track. Flanagan was with trumpeter Harry Edison in 1959–60, and tenor saxophonist Coleman Hawkins in 1961–62, including a UK tour. In this period, Flanagan recorded albums with several leaders from an earlier era, including Lionel Hampton , Jo Jones , and Pee Wee Russell , as well as one with Edison and around 10 with Hawkins. Flanagan then played with guitarist Jim Hall and bassist Percy Heath as

798-399: The radio and playing in the Detroit area, as well as Nat King Cole and local pianists Earl Van Riper and Willie Anderson. These, however, played in an earlier style, and the young Flanagan and his friends were more interested in the newer bebop , including that played by pianist Bud Powell , who had a strong effect on Flanagan's musical thinking and improvising. Flanagan's first concert

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836-587: The role, which prevented him from being sent to the Korean War at that time; approximately a year later, however, he was sent to Kunsan , with the war ongoing. There, he worked as a motion-picture projectionist. After two years' service he was discharged and returned to Detroit, where he soon became pianist at the Blue Bird again. He again worked with Burrell, as well as Donald Byrd and Yusef Lateef , among others. Flanagan moved to New York in 1956. He

874-463: The saxophonist's "first genuinely iconic record". The technical complexity of the music, particularly of the title track, meant that there were numerous false starts and rejected takes, and the initially released take of " Giant Steps " is a rare instance on record of Flanagan sounding uncertain. Another appearance on a landmark recording came in January of the following year: Flanagan was a member of

912-589: The succeeding notes snap , double-time phrases that race ahead to clear the way, and legato phrases that form sauntering rear guards." In a review of a 1989 concert, Feather commented that Flanagan used "subtle dynamic shadings", while "bursts of upsweeping chords sometimes lent an element of surprise, with a nimble left hand offering graceful filigree fills" and occasional musical quotes that added humor. Other techniques he employed were, in Stanley Crouch 's description, "crooning effects achieved by manipulating

950-578: The workload may have contributed to his collapse in 1991 and subsequent quadruple bypass heart surgery . He returned to playing within weeks, but also returned to hospital for treatment for an aneurysm . Flanagan was awarded the Danish Jazzpar Prize in 1993. Three years later, he was selected for a National Endowment for the Arts Jazz Masters Fellowship . In 1990, 1993 and 1997, Flanagan toured Japan, where he

988-406: Was a guest on the first series of Marian McPartland 's Piano Jazz radio programs. He continued to work with other players, including as a trio with Tal Farlow and Red Mitchell in 1980. For much of the 1980s, he led a trio that featured bassist George Mraz and various drummers. By around 1990, Flanagan was concentrating on his own appearances and recordings rather than sideman activities. In

1026-631: Was an American jazz pianist and composer. He grew up in Detroit, initially influenced by such pianists as Art Tatum , Teddy Wilson , and Nat King Cole , and then by bebop musicians. Within months of moving to New York in 1956, he had recorded with Miles Davis and on Sonny Rollins ' album Saxophone Colossus . Recordings under various leaders, including Giant Steps of John Coltrane , continued well into 1962, when he became vocalist Ella Fitzgerald 's full-time accompanist. He worked with Fitzgerald for three years until 1965, and then in 1968 returned to be her pianist and musical director, this time for

1064-490: Was around 1945, with trombonist Frank Rosolino . Given Flanagan was only around 15 years old at the time, he could not stay in the bar area of the club between sets, so he went to another room and did some homework. As a teenager, he played in a band led by Lucky Thompson that also contained Pepper Adams and Kenny Burrell . Still in his teens, Flanagan also sat in on piano for some appearances by Charlie Parker in Detroit. During 1949, Flanagan had his first residence, at

1102-483: Was born in Conant Gardens , Detroit, Michigan , on March 16, 1930. He was the youngest of six children – five boys and a girl. His parents were both originally from Georgia . His father, Johnson Sr, was a postman, and his mother, Ida Mae, worked in the garment industry. At the age of six, Flanagan's parents gave him a clarinet for Christmas. He learned to read music from playing the clarinet, but within

1140-645: Was given an honorary knighthood by President William Tubman of Liberia in recognition of concerts he played in the country to raise money for education. Thereafter, Hanna was often known as "Sir Roland Hanna." Hanna was a professor of jazz at the Aaron Copland School of Music at Queens College in Flushing , New York, and taught at several other music schools. He was a resident of Teaneck, New Jersey . He died in Hackensack, New Jersey , of

1178-424: Was her musical director. Her profile was high enough for the group to tour for 40–45 weeks a year, including at least one tour of Europe a year (29 cities on the continent in 1970, for example). During these concerts, Flanagan often played a set as part of his trio, without the singer. Beginning in 1974, he again began to perform and record as a leader: his 1975 trio release, The Tommy Flanagan Tokyo Recital ,

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1216-545: Was his first as leader since 1960. Prior to these performances, he had felt that his technique was inadequate for a soloist, but he enjoyed the extra exposure of being a leader, so decided to continue. Flanagan ended his role with Fitzgerald in 1978, after he had a heart attack and had become tired of extensive touring. After the heart attack, he stopped smoking, reduced the amount that he drank, and exercised by walking more than he had previously. Soon after leaving Fitzgerald, Flanagan played solo piano in New York. In 1979, he

1254-597: Was in the same category, for Flanagan's solo on "Sunset & the Mockingbird", from A Great Night in Harlem . Flanagan's influence on pianists extended from his contemporaries to younger performers. Contemporaries included fellow Detroit players Barry Harris and Roland Hanna . Lightsey was influenced by Flanagan's musical creative thinking and pianistic fluidity. Alan Broadbent also acknowledged Flanagan as an influence, as did Helen Sung , who changed from being

1292-785: Was leader for another session three months later: Saxophone Colossus , which was labeled an "undisputed masterpiece" by The Penguin Guide to Jazz . Flanagan also first accompanied Ella Fitzgerald in 1956, for around a month, including at the Newport Jazz Festival . Later that year, he joined trombonist J. J. Johnson , with whom he recorded several albums in 1957 and then toured Europe. While in Sweden, Flanagan, with bassist Wilbur Little and drummer Elvin Jones , recorded his first album as leader, Overseas . Late in 1957, he

1330-461: Was nominated for five Grammy Awards . The first occasion was in 1983: The Magnificent Tommy Flanagan for Best Jazz Instrumental Performance, Soloist; and Giant Steps for Best Jazz Instrumental Performance, Group. Two years later, Thelonica was nominated for Best Jazz Instrumental Performance, Soloist. The next nomination was in 1998, for Best Jazz Instrumental Solo for his solo on "Dear Old Stockholm" from Sea Changes . The last, in 2003,

1368-502: Was part of Miles Davis' band for a short period, before returning to Johnson early the following year, for another stay of 10 months. A period leading his own trio in 1958 was followed by working with trombonist Tyree Glenn . Throughout the late 1950s and early 1960s, Flanagan made frequent appearances in recording studios, for many leaders and record labels. In May 1959, he was part of a groundbreaking recording: John Coltrane 's Giant Steps , described by The Penguin Guide to Jazz as

1406-468: Was unsure of how long he would stay, having been persuaded to go by Burrell; the two men initially stayed with Burrell's aunt in Harlem. Flanagan soon found work in clubs and studios, including recording Detroit – New York Junction with Thad Jones in March. Later that month, he returned to recording, this time with Miles Davis and Sonny Rollins , for tracks released on Collectors' Items . Rollins

1444-505: Was very popular, with 100 Golden Fingers, a 10-pianist group. Flanagan continued to be praised for the elegance of his playing – critic Ben Ratliff commented in 1998 that the trio with Washington and drummer Lewis Nash was, "in its controlled, elegant way, [...] one of the more extraordinarily coordinated piano trios in jazz's history". Despite the near-unanimous praise from critics and musicians for Flanagan's recordings and concert performances after he left Fitzgerald, he did not secure

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