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#bebop

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Moody (also released as Moody's Workshop) is an album by saxophonist James Moody composed of sessions from 1954 with a septet arranged by Quincy Jones. The LP was released on the Prestige label.

Scott Yanow, writing for AllMusic, stated: "In the mid-'50s James Moody led a four-horn septet that played music falling somewhere between bop and rhythm & blues. The danceable rhythms and riffing made its recordings somewhat accessible but the solos of Moody (on tenor and alto) and trumpeter Dave Burns also held listener's interests".

youtube.com/watch?v=crGB-Vac6k

Al Minton's un manipolo di musicisti sperimentava il nuovo linguaggio jazz. Charlie Parker, Kenny Clarke, Thelonious Monk e altri si trovavano per amore della musica, spesso dopo aver suonato in altri locali, per lavoro.
Al Minton's potevano suonare quello che volevano, esplorare nuovi territori.

Vai all'articolo 👉 go.leoravera.it/4ee10KN

#CharlieParker #Jazz #Bebop
go.leoravera.it/4ee10KN

leoravera.it · Le notti al Minton's, Charlie Parker e Kenny Clarke suonano Si SiKenny Clarke è stato un grande innovatore della batteria jazz, nelle storiche Jam Session al Minton's ha messo le basi della batteria bebop

"In 1955, as the Soviet Union’s pervasive propaganda about the U.S. and American racism spread globally, Adam Clayton Powell, Jr. convinced President Eisenhower that jazz was the best way to intervene in the Cold War cultural conflict. For the next decade, Dizzy Gillespie, Louis Armstrong, Duke Ellington, Benny Goodman, and Dave Brubeck traveled the globe to perform as cultural ambassadors."—PBS America

The Jazz Ambassadors by Hugo Berkeley >

youtu.be/u6wErAZkXEw?feature=s

“[M]usic was my whole life. It probably still is. I have a little radio behind me in my bed, and I sometimes put on the news. So long as somebody’s talking, I’m writing music in my head. I once wrote a song called “4 am” that came to me when was listening to the radio. I got up at 4:00 in the morning and heard the song in my head.

I had a great marriage. I have great children and great grandchildren. I love them all. But playing music was just as important to me. So was playing with the great players I was able to play with because you’re only as good as what’s behind you.” - Terry Gibbs

Terry Gibbs Dream Band ‘Vol. 7, The Lost Tapes’ out now on Whaling City Sound

#terrygibbs #dreamband #alicecoltrane #dinahwashington #jazzonasummersday #music #art #postgenre #postgenremedia #postgenremusic #jazz #bebop #vibraphone #vibes #recording #interview

postgenre.org/jazz-master-terr

PostGenre - Music beyond category · Jazz Master: A Conversation with Terry Gibbs (Part Two) - PostGenreWe continue our conversation with Terry Gibbs (read part one here), with a discussion of the intersection of Jewish music and jazz, Alice Coltrane, the meaning of music, and more. PostGenre: Jumping ahead a bit - though we will go back - there are stories of how Charlie Parker played at bar mitzvahs. You have

“I was twenty when I joined Benny Goodman‘s band. Benny was forty-two at the time. But after we played about four bars, we were the same age, you know? That’s what jazz does to you. It has nothing to do with race, creed, or age; when two people play together, that’s all that counts.” - Terry Gibbs

Read the first of our two part interview with Terry Gibbs. This conversation was captured four days after Mr. Gibbs’ 100th birthday. In part one, we cover the Dream Band, learning from Fred Albright, working with Benny Goodman and Charlie Parker, providing music for Regis Philbin and Steve Allen, and more. Dream Band’s ‘Vol. 7: The Lost Tapes, 1959’ is out now on Whaling City Sound

#terrygibbs #terrygibbsdreamband #jazz #music #art #swingmusic #bebop #charlieparker #dizzygillespie #buddydefranco #steveallen #vibes #vibraphone #whalingcity #whalingcitysound

postgenre.org/jazz-master-terr

PostGenre - Music beyond category · Jazz Master: A Conversation with Terry Gibbs (Part One) - PostGenreSince 1982, the National Endowment for the Arts has bestowed its Jazz Master award to living legends of the music. The designation is considered by many to be the highest honor an American jazz musician can receive. Generally, the NEA has made wise choices when selecting new Masters. Sonny Rollins (1983), Ron Carter (1998), George