|
Bean And The Boys
"Bean and the Boys" is a bebop composition written in 1948 by the American jazz tenor saxophonist Coleman Hawkins. It is a contrafact of "Lover Come Back to Me". The composition has been covered by numerous artists including notable recordings by Barry Harris, Bill Mays, Art Blakey, Jackie McLean, Bud Powell, and Tommy Flanagan. Covered * Barry Harris ''Magnificent'' (1969) * Bill Mays, ''Bick's Bag'' (2004) See also * List of jazz contrafacts A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be re ... References 1948 songs {{1940s-jazz-composition-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bebop
Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody. Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-style with a new "musician's music" that was not as danceable and demanded close listening.Lott, Eric. Double V, Double-Time: Bebop's Politics of Style. Callaloo, No. 36 (Summer, 1988), pp. 597–605 As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coleman Hawkins
Coleman Randolph Hawkins (November 21, 1904 – May 19, 1969), nicknamed "Hawk" and sometimes "Bean", was an American jazz tenor saxophonist.Yanow, Scot"Coleman Hawkins: Artist Biography" AllMusic. Retrieved December 27, 2013. One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: "there were some tenor players before him, but the instrument was not an acknowledged jazz horn". Hawkins biographer John Chilton described the prevalent styles of tenor saxophone solos prior to Hawkins as "mooing" and "rubbery belches." Hawkins cited as influences Happy Caldwell, Stump Evans, and Prince Robinson, although he was the first to tailor his method of improvisation to the saxophone rather than imitate the techniques of the clarinet. Hawkins' virtuosic, arpeggiated approach to improvisation, with his characteristic rich, emotional, and vibrato-laden tonal style, was the main influence on a generation of tenor players that included Chu Berry, Charlie Bar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrafact
A contrafact is a musical work based on a prior work. The term comes from classical music and has only since the 1940s been applied to jazz, where it is still not standard. In classical music, contrafacts have been used as early as the parody mass and In Nomine of the 16th century. More recently, ''Cheap Imitation'' (1969) by John Cage was produced by systematically changing notes from the melody line of ''Socrate'' by Erik Satie using chance procedures. In jazz, a contrafact is a musical composition consisting of a new melody overlaid on a familiar harmonic structure.. As a compositional device, it was of particular importance in the 1940s development of bop, since it allowed jazz musicians to create new pieces for performance and recording on which they could immediately improvise, without having to seek permission or pay publisher fees for copyrighted materials (while melodies can be copyrighted, the underlying harmonic structure cannot be). Contrafacts are not to be confus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lover Come Back To Me
"Lover, Come Back to Me" is a popular song composed by Sigmund Romberg with lyrics by Oscar Hammerstein II for the Broadway show ''The New Moon'', where the song was introduced by Evelyn Herbert and Robert Halliday (as Robert Misson). The song was published in 1928. Film versions The song was performed by Lawrence Tibbett and Grace Moore in '' New Moon'', the 1930 film adaptation of ''The New Moon'', and by Jeanette MacDonald and Nelson Eddy in the 1940 adaptation, also titled '' New Moon''. Barbra Streisand version Arranged and conducted by George Williams, the song was released as Barbra Streisand's second single in November 1962 as a double single with " My Coloring Book". Produced by Mike Berniker, and recorded before Streisand's first album sessions, the single was sent to radio. In 1963, Streisand re-recorded the song for her second album ''The Second Barbra Streisand Album'', which appeared on the compilation ''The Essential Barbra Streisand''. In her first television ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barry Harris
Barry Doyle Harris (December 15, 1929 – December 8, 2021) was an American jazz pianist, bandleader, composer, arranger, and educator. He was an exponent of the bebop style. Life and career Harris was born in Detroit, Michigan, on December 15, 1929, to Melvin Harris and Bessie as the fourth of their five children. Harris took piano lessons from his mother at the age of four. His mother, a church pianist, asked him if he was interested in playing church music or jazz. Having picked the latter, he was influenced by Thelonious Monk and Bud Powell. In his teens, he learned bebop largely by ear, imitating solos by Powell. He described Powell's style as being the "epitome" of jazz. He performed for dances in clubs and ballrooms. He was based in Detroit through the 1950s and worked with Miles Davis, Sonny Stitt, and Thad Jones, and substituted for Junior Mance in the Gene Ammons band. In 1956, he toured briefly with Max Roach, after Richie Powell, the band's pianist and younger brot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bill Mays
William Allen Mays (born February 5, 1944), known professionally as Bill Mays, is an American jazz pianist from Sacramento, California. Biography Mays came from a musical family and at the age of 15 became interested in jazz at an Earl Hines concert. From 1969 to the early 1980s Mays worked as a studio session musician in Los Angeles. He has been an accompanist to singers Al Jarreau, Peggy Lee, Anita O'Day, Frank Sinatra, Sarah Vaughan and Dionne Warwick, and also worked with artists such as Don Ellis, Mel Lewis, Barry Manilow, Shelly Manne, Bob Mintzer, Red Mitchell, Gerry Mulligan, Art Pepper, Bud Shank, Bobby Shew, Sonny Stitt, Paul Winter, Phil Woods and Frank Zappa. In 1984, he moved to New York City and began to do more work as a bandleader, composer, and arranger. He has recorded over three dozen albums under his own name, and has been heard on hundreds more by others. Discography As leader * ''A Musical Cocktail: The Music of Cole Porter'' (MCR, 1976) * ''Two of a Mind' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art Blakey
Arthur Blakey (October 11, 1919 – October 16, 1990) was an American jazz drummer and bandleader. He was also known as Abdullah Ibn Buhaina after he converted to Islam for a short time in the late 1940s. Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine. He then worked with bebop musicians Thelonious Monk, Charlie Parker, and Dizzy Gillespie. In the mid-1950s, Horace Silver and Blakey formed the Jazz Messengers, a group that the drummer was associated with for the next 35 years. The group was formed as a collective of contemporaries, but over the years the band became known as an incubator for young talent, including Freddie Hubbard, Wayne Shorter, Lee Morgan, Benny Golson, Kenny Dorham, Hank Mobley, Donald Byrd, Jackie McLean, Johnny Griffin, Curtis Fuller, Chuck Mangione, Chick Corea, Keith Jarrett, Cedar Walton, Woody Shaw, Terence Blanchard, and Wynton Marsalis. ''The Biographical Encyclopedia of Jazz'' calls the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jackie McLean
John Lenwood "Jackie" McLean (May 17, 1931 – March 31, 2006) was an American jazz alto saxophonist, composer, bandleader, and educator, and is one of the few musicians to be elected to the ''DownBeat'' Hall of Fame in the year of their death. Biography McLean was born in 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 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 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bud Powell
Earl Rudolph "Bud" Powell (September 27, 1924 – July 31, 1966) was an American jazz pianist and composer. Along with Charlie Parker, Thelonious Monk, Kenny Clarke and Dizzy Gillespie, Powell was a leading figure in the development of modern jazz. His virtuosity led many to call him the Charlie Parker of the piano. Powell was also a composer, and many jazz critics credit his works and his playing as having "greatly extended the range of jazz harmony".Grove Life and career Early life He was born in Harlem, New York, United States. Powell's father was a stride pianist.Gitler, p. 112. Powell started classical piano lessons at the age of five. His teacher, hired by his father, was a West Indian man named Rawlins. At 10 years of age, Powell showed interest in the swing music that could be heard all over the neighborhood. He first appeared in public at a rent party,Crawford, p. 12. where he mimicked Fats Waller's playing style. The first jazz composition that he mastered was Ja ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tommy Flanagan
Thomas Lee Flanagan (March 16, 1930 – November 16, 2001) 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 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 h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Jazz Contrafacts ...
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition. This article is a list of notable contrafacts by jazz artists. References Further reading * * * . * * * * * External links Searchable Realbook Indexat www.seventhstring.co.uk "Charlie Parker I: – Hot House", article by Bernard Chazelle (Princeton, Collège de France), Sep. 9, 2008 {{Music theory lists Musical techniques Jazz contrafacts, list of Contrafacts A contrafact is a musical work based on a prior work. The term comes from classical music and has only since the 1940s been applied to jazz, where it is still not standard. In classical music, contrafacts have been used as early as the parody ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Coleman Hawkins")
