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Trio Beyond

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Trio Beyond is an avant - jazz fusion organ trio , formed in 2003.

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44-482: The trio was formed in 2003 by drummer Jack DeJohnette as a way of paying tribute to the importance of fellow drummer Tony Williams . Guitarist John Scofield and Larry Goldings , on electric piano, Hammond B-3 organ and sampling, joined. Goldings had been asked by Williams to join an organ trio in 1997, but the drummer died before the band could be formed. A concert from the Queen Elizabeth Hall at

88-688: A community-based organization almost simultaneously. Each has existed for over three decades. McLean died on March 31, 2006, in Hartford, Connecticut , after a long illness. In 2006 he was elected to the DownBeat Jazz Hall of Fame via the International Critics Poll. He is interred in Woodlawn Cemetery , The Bronx , New York City, with an image of him playing the saxophone, etched in black granite, high on

132-730: A drummer, e.g. on Pictures (1977) or on New Directions In Europe (live in concert in 1979, released 1980). Jackie McLean John Lenwood McLean (May 17, 1931 – March 31, 2006) was an American jazz alto saxophonist , composer, bandleader, and educator. He is one of the few musicians to be elected to the DownBeat Hall of Fame in the year of their death. McLean was born in Harlem , New York City . His father, John Sr., played guitar in Tiny Bradshaw 's orchestra. After his father's death in 1939, Jackie's musical education

176-468: A gift for spotting talent. Saxophonist Tina Brooks , trumpeter Charles Tolliver , pianist Larry Willis , trumpeter Bill Hardman , and tubist Ray Draper were among those who benefited from McLean's support in the 1950s and 1960s. Drummers such as Tony Williams , Jack DeJohnette , Lenny White , Michael Carvin , and Carl Allen gained important early experience with McLean. In 1967, his recording contract, like those of many other progressive musicians,

220-441: A hill. A. B. Spellman 's 1966 study, Black Music, Four Lives: Cecil Taylor, Ornette Coleman, Herbie Nichols, Jackie McLean , still in print, includes extensive mid-career reflections by McLean on his youth and career to date. Derek Ansell's full-length biography of McLean, Sugar Free Saxophone . details the story of his career and provides a full analysis of his music on record. Compilations The sortable table's default

264-946: A live recording of a concert commemorating Tony Williams in London in 2004. In 2008, DeJohnette toured with Bobby McFerrin , Chick Corea , and the Jarrett trio, and the next year won the Grammy Award for Best New Age Album with Peace Time . In 2010, he founded the Jack DeJohnette Group, featuring Rudresh Mahanthappa on alto saxophone, David Fiuczynski on double-neck guitar, George Colligan on keyboards and piano, and long-time associate Jerome Harris on electric and acoustic bass guitars. In 2012, DeJohnette released Sound Travels , which included appearances by McFerrin, Quintero, Bruce Hornsby , Esperanza Spalding , Lionel Loueke , and Jason Moran . The same year, he

308-490: A pianist, studying from age four with Antoinette Rich, the leader of an all-female symphony orchestra in Chicago, and first playing professionally at the age of 14. When Jack was 13, he switched to drums and was taught drumming techniques from a local jazz drummer, Bobby Miller Jr, who lived in the same neighborhood. DeJohnette credits his uncle, Roy Wood Sr. (1915–1995), a Chicago disc jockey and vice president/co-founder of

352-514: A problem with tendinitis . His drumming style has been called unique; one critic writes that he is not merely a drummer but a "percussionist, colourist and epigrammatic commentator mediating the shifting ensemble densities" and that "his drumming is always part of the music's internal construction." In a 2004 interview, Modern Drummer magazine called DeJohnette's drumming "beyond technique." DeJohnette calls himself an "abstract thinker" when it comes to soloing, saying that he puts "more weight on

396-483: A quartet consisting of himself, Herbie Hancock , Pat Metheny , and his long-time collaborator Holland, and released Parallel Realities with this group the same year. In 1992 he released a major collaborative record, Music for the Fifth World , which was inspired by studies with a Native American elder and brought him together musically with players like Vernon Reid and John Scofield . He had also, during

440-605: A sideman as well, rejoining Stan Getz's quartet from 1973 to October 1974, and also enticing Dave Holland to join Getz's rhythm section. This stint briefly preceded the formation of the Gateway Trio , a group that DeJohnette helped form but did not lead. This group came directly out of DeJohnette's time with Getz, as Holland joined him in this group along with guitarist John Abercrombie , both of whom would become associated with DeJohnette throughout his career. His next group effort

484-513: A tribute to DeJohnette's friend Tony Williams and his trio Lifetime (consisting of Williams, Larry Young and John McLaughlin ), featuring John Scofield and Larry Goldings . DeJohnette also founded his own label, Golden Beams Productions, in 2005. That same year, he released Music in the Key of Om on his new label, an electronic album which he created for relaxing and meditative purposes on which he played synthesizer and resonating bells, which

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528-493: Is a stub . You can help Misplaced Pages by expanding it . Jack DeJohnette Jack DeJohnette (born August 9, 1942) is an American jazz drummer, pianist, and composer. Known for his extensive work as leader and sideman for musicians including Charles Lloyd , Freddie Hubbard , Keith Jarrett , Bill Evans , John Abercrombie , Alice Coltrane , Sonny Rollins , Miles Davis , Joe Henderson , Michael Brecker , Pat Metheny , Herbie Hancock and John Scofield , DeJohnette

572-535: Is a jazz saxophonist and flautist as well as a jazz educator. Also in McLean's Hartford group was Mark Berman , the jazz pianist and broadway conductor of Smokey Joe's Cafe and Rent. In 1979 he reached No. 53 in the UK Singles Chart with "Doctor Jackyll and Mister Funk". This track, released on RCA as a 12" single, was an unusual sidestep for McLean to contribute towards the funk/disco revolution of

616-441: Is highly regarded and includes leadership and sideman dates with a wide range of musicians, including Donald Byrd , Sonny Clark , Lee Morgan , Ornette Coleman , Dexter Gordon , Freddie Redd , Billy Higgins , Freddie Hubbard , Grachan Moncur III , Bobby Hutcherson , Mal Waldron , Tina Brooks and many others. In 1962, he recorded Let Freedom Ring for Blue Note. This album was the culmination of attempts he had made over

660-714: The National Black Network of Black Broadcasters , as his inspiration to play music. DeJohnette played R&B , hard bop , and avant-garde music in Chicago. He led his own groups in addition to playing with Richard Abrams , Roscoe Mitchell and other eventual core members of the Association for the Advancement of Creative Musicians (founded in 1965). He also occasionally performed with Sun Ra and his Arkestra , and later in New York as well. In

704-495: The 1980s, resumed playing piano, which led to his 1994 tour as an unaccompanied pianist. He also began working again with Abercrombie and Holland, reviving the Gateway trio. In 1990, DeJohnette was awarded an Honorary Doctorate of Music from Berklee College of Music . In 2004, he was nominated for a Grammy award for his work on Keith Jarrett's live album The Out-of-Towners , and continued to work with that group into 2005. In

748-400: The 2004 London Jazz Festival was released in 2006 as Saudades . The material was from Williams's Lifetime band. Trio Beyond toured Europe in 2006. In 2007, Scofield/Goldings/DeJohnette's Trio Beyond - Saudades (ECM) was recognized with a Best Instrumental Jazz Album Grammy nomination for their searing live recording at London's Queen Elizabeth Hall. This article on a jazz ensemble

792-516: The abstract than, 'What were you thinking in bar 33?' I don't like to think that way. I can do it, but I like to be more in the flow." In terms of what he feels when he plays, DeJohnette said that when he plays, he goes "into an altered state, a different headspace. I plug into my higher self, into the cosmic library of ideas." He has remarked that he has to play with a lot of restraint when playing in Keith Jarrett's trio, in order "to play with

836-511: The album, he played melodica as well as drums, often allowing his mentor, Roy Haynes , to sit behind the set. He also recorded, in the early 1970s, the albums Have You Heard , Sorcery , and Cosmic Chicken . He released these first four albums on either the Milestone or Prestige labels, and then switched to ECM for his next endeavors; ECM gave him a "fertile platform" for his "atmospheric drumming and challenging compositions." He

880-685: The assimilation of all influences was complete. In 1970, he and his wife, Dollie McLean , along with jazz bassist Paul (PB) Brown , founded the Artists Collective, Inc. of Hartford, an organization dedicated to preserving the art and culture of the African Diaspora . It provides educational programs and instruction in dance, theatre, music and visual arts. The membership of McLean's later bands were drawn from his students in Hartford, including Steve Davis and his son René , who

924-444: The avant-garde plus the discipline of traditional jazz compositions." DeJohnette's work with Special Edition has been interrupted regularly by other projects, the most significant of which are his recordings in 1983 and tours from 1985 as a member of Keith Jarrett's trio, which was totally devoted to playing jazz standards . The trio included his long-time compatriot Jarrett and bassist Gary Peacock , and all three have been members of

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968-514: The band. DeJohnette contributed to such Davis albums as Live-Evil (1971), Jack Johnson (1971), and On the Corner (1972), along with sessions later released on the 1981 compilation album Directions . He left the Davis group in mid-1971, although he returned for several concerts through the rest of that year. DeJohnette's first record, The DeJohnette Complex , was released in 1968; on

1012-420: The bassist. McLean's early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without abandoning his foundation in hard bop. Throughout his career he was known for a distinctive tone, akin to the tenor saxophone and often described with such adjectives as "bittersweet", "piercing", or "searing", a slightly sharp pitch , and a strong foundation in the blues . McLean

1056-586: The early 1960s, DeJohnette had the opportunity to sit in for three tunes with John Coltrane and his quintet, an early foray into playing with big-name jazz musicians. In 1966 DeJohnette moved to New York City , where he became a member of the Charles Lloyd Quartet. A band that recognized the potential influence of rock and roll on jazz, Lloyd's group was where DeJohnette first encountered pianist Keith Jarrett , who would work extensively with him throughout his career. However, DeJohnette left

1100-585: The group for over 25 years. At the start of the 1980s, DeJohnette played on the album 80/81 with Pat Metheny , Charlie Haden , Dewey Redman and Michael Brecker . In 1981, DeJohnette performed at the Woodstock Jazz Festival , held in celebration of the 10th anniversary of the Creative Music Studio . DeJohnette continued to work with Special Edition into the 1990s, but did not limit himself to that. In 1990 he toured in

1144-423: The group in early 1968, citing Lloyd's deteriorating, "flat" playing as his main reason for leaving. While Lloyd's band was where he received international recognition for the first time, it was not the only group DeJohnette played with during his early years in New York, as he also worked with groups including Jackie McLean , Abbey Lincoln , Betty Carter , and Bill Evans . DeJohnette joined Evans' trio in 1968,

1188-533: The late 1970s. Many people, at the time, in the clubs where it was played confused the female singers on the track with his name thinking he was actually female. He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001 and numerous other national and international awards. McLean was the only American jazz musician to found a department of studies at a university and

1232-488: The music was being played, as it was developing, Miles would get new ideas ... He'd do a take, and stop, and then get an idea from what had just gone on before, and elaborate on it ... The recording of Bitches Brew was a stream of creative musical energy. One thing was flowing into the next, and we were stopping and starting all the time." While he was not the only drummer involved in the project, as Davis had also enlisted Billy Cobham , Don Alias , and Lenny White , DeJohnette

1276-606: The next few years, DeJohnette would begin and lead three new projects, the first of which was the Latin Project consisting of percussionists Giovanni Hidalgo and Luisito Quintero, reedman Don Byron , pianist Edsel Gomez, and bassist Jerome Harris . The other two new projects were the Jack DeJohnette Quartet, featuring Harris again alongside Danilo Perez and John Patitucci , and the Trio Beyond ,

1320-672: The same year the group headlined the Montreux Jazz Festival and produced the album Bill Evans at the Montreux Jazz Festival . In November 1968, he worked briefly with Stan Getz and his quartet, which led to his first recordings with Miles Davis . In 1969, DeJohnette left the Evans trio and replaced Tony Williams in Miles Davis's live band. Davis had seen DeJohnette play many times, one of which

1364-613: The subtlety that the music requires." Whilst DeJohnette is most famous and mostly active as a drummer, he is also a schooled pianist. He began studying piano at age four and later took piano lessons at the Chicago Conservatory of Music and played both as a pianist and as a drummer in his early career. Later on, he would return to the piano, releasing solo piano albums in 1985 and 2016 and touring as an unaccompanied pianist in 1994. He has also played piano, organ and synthesizer keyboard instruments on albums on which he plays as

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1408-597: The years to deal with harmonic problems in jazz, incorporating ideas from the free jazz developments of Ornette Coleman and the "new breed" which inspired his blending of hard bop with the "new thing": "the search is on, Let Freedom Ring". Let Freedom Ring began a period in which he performed with avant-garde jazz musicians rather than the veteran hard bop performers he had been playing with previously. His adaptation of modal jazz and free jazz innovations to his vision of hard bop made his recordings from 1962 on distinctive. McLean recorded with dozens of musicians and had

1452-479: Was Directions , a group formed in 1976 featuring saxophonist Alex Foster , bassist Mike Richmond , and Abercrombie, showing the links between the members of the Gateway trio. This was another short-lived group, yet it led directly to the formation of DeJohnette's next group, New Directions , which featured Abercrombie again on guitar along with Lester Bowie on trumpet and Eddie Gómez on bass. This group coexisted with another DeJohnette group, Special Edition, which

1496-421: Was 20 years old. As a young man he also recorded with Gene Ammons , Charles Mingus (for Pithecanthropus Erectus ), George Wallington , and as a member of Art Blakey 's Jazz Messengers . McLean joined Blakey after reportedly being punched by Mingus. Fearing for his life, McLean pulled out a knife and contemplated using it against Mingus in self-defense, but later stated he was grateful that he had not stabbed

1540-538: Was a heroin addict throughout his early career, and the resulting loss of his New York City cabaret card forced him to undertake a large number of recording dates to earn income in the absence of nightclub performance opportunities. Consequently, he produced an extensive body of recorded work in the 1950s and 1960s. He was under contract with Blue Note Records from 1959 to 1967, having previously recorded for Prestige . Blue Note offered better pay and more artistic control than other labels, and his work for this organization

1584-468: Was also featured on First Light , an album by trumpeter Freddie Hubbard , released by CTI in 1971. The musical freedom he had while recording for ECM offered DeJohnette many dates as a sideman and opportunities to start his own groups. He first formed the group Compost in 1972, but this was a short-lived endeavor, and DeJohnette cited the music as far too experimental to achieve commercial success. During this period, DeJohnette continued his career as

1628-426: Was awarded an NEA Jazz Masters Fellowship for his "significant lifetime contributions [which] have helped to enrich jazz and further the growth of the art form." DeJohnette's style incorporates elements of jazz , free jazz , world music , and R&B , contributing to him being one of the most highly regarded and in-demand drummers. Initially a traditional grip player, he later switched to matched grip due to

1672-670: Was considered the leader of the rhythm section within the group. He played on the live albums that would follow the release of Bitches Brew , taken from concerts at the Fillmore East in New York and Fillmore West in San Francisco . These ventures were undertaken at the behest of Clive Davis , then president of Columbia Records . DeJohnette continued to work with Davis for the next three years, which led to collaborations with other Davis band members John McLaughlin , Chick Corea , and Holland; he also drew Keith Jarrett into

1716-413: Was continued by his godfather, his record-store-owning stepfather, and several noted teachers. He also received informal tutoring from neighbors Thelonious Monk , Bud Powell , and Charlie Parker . During high school McLean played in a band with Kenny Drew , Sonny Rollins , and Andy Kirk, Jr. (the saxophonist son of Andy Kirk ). Along with Rollins, McLean played on Miles Davis ' Dig album when he

1760-577: Was during a stint with Evans at Ronnie Scott's Jazz Club in London in 1968, where he also first heard bassist Dave Holland . Davis recognized DeJohnette's ability to combine the driving grooves associated with rock and roll with improvisational aspects associated with jazz. DeJohnette was the primary drummer on Bitches Brew . DeJohnette and the other musicians saw the Bitches Brew sessions as unstructured and fragmentary, but also innovative: "As

1804-567: Was inducted into the Modern Drummer Hall of Fame in 2007. He has won two Grammy Awards and been nominated for five others. DeJohnette was born in Chicago , Illinois , to Jack DeJohnette (1911–2011) and Eva Jeanette DeJohnette (née Wood, 1918–1984). Although of predominantly African-American heritage, he has stated that he has some Native American ancestry, specifically Seminole and Crow . He began his musical career as

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1848-496: Was nominated for a Grammy in the Best New Age Album category . DeJohnette continued to make albums as a leader and sideman throughout this period as well, one of which was The Elephant Sleeps But Still Remembers , a collaboration that documents the first meeting of DeJohnette and guitarist Bill Frisell in 2001 and led to another tour, with Frisell and Jerome Harris. The next year Trio Beyond released Saudades ,

1892-729: Was terminated by Blue Note's new management. His opportunities to record promised so little pay that he abandoned recording as a way to earn a living, concentrating instead on touring. In 1968, he began teaching at The Hartt School of the University of Hartford . He later set up the university's African American Music Department (now the Jackie McLean Institute of Jazz) and its Bachelor of Music degree in Jazz Studies program. His Steeplechase recording New York Calling , made with his son René McLean , showed that by 1980

1936-489: Was the first DeJohnette-led group to receive critical acclaim. This group also helped the careers of many lesser-known young horn players, as it had a rotating front line that included David Murray , Arthur Blythe , Chico Freeman , and John Purcell , among others. During this period, especially with Special Edition, DeJohnette offered "the necessary gravity to keep the horns in a tight orbit" in his compositions while also treating his listeners to "the expanded vocabulary of

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