Archive for the ‘Bio’ Category

Robert Menescal

In Bio on November 11, 2018 at 5:40 pm
From Wikipedia, the free encyclopedia

Roberto Menescal (born Octobermenescal 25, 1937) is a Brazilian composer, producer, guitarist/vocalist, important to the founding of bossa nova. In many of his songs there are references to things related to the sea, including his best-known composition “O Barquinho” (“Little Boat”).

He is also known for work with Carlos Lyra, Nara Leão, Wanda Sá, Ale Vanzella, and many others. Menescal has performed in a variety of Latin music mediums, including Música popular brasileira (Brazilian pop), Bossa Nova and Samba. He was nominated for a Latin Grammy for his work with his son’s bossa group Bossacucanova in 2002 and will receive the “2013 Latin Recording Academy Special Awards” in Las Vegas in November 2013.[1]
The composer of bossa nova classics like “O Barquinho,” “Ah, Se Eu Pudesse,” “Errinho à Tôa,” “Nós e o Mar,” “Rio,” “Você,” and “Vagamente,” Roberto Menescal started his professional career in 1957 as Sylvia Telles’ sideman (on guitar) in a tour around Brazil. In 1958, he opened a guitar school in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and her sister Danuza Leão. In the same year, he formed, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Conjunto Roberto Menescal, one of the first instrumental groups of bossa nova. The group accompanied Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles.

Also in 1958, he participated, with Telles, Carlos Lyra, and other artists, in a show at the Clube Hebraica (Rio), when the words “bossa nova” were used (inadvertently, by the club’s secretary) for the first time to advertise the event. Having taken part with his group in the recording of Garotos da Bossa Nova in 1959, he participated in the I Festival de Samba Session at the Teatro de Arena theater of the School of Architecture at the State University of Rio de Janeiro. Such informal venues were important vehicles for bossa nova among the middle-class university people who were more inclined to absorb and disseminate it, and Menescal was instrumental for the promotion of such concerts in 1959, 1960, and 1961. In 1959, he had his first recorded composition, “Jura de Pombo” (with Ronaldo Bôscoli), by Alaíde Costa.

His “O Barquinho” (with Ronaldo Bôscoli), a bossa nova classic, was simultaneously recorded by Maysa, Perry Ribeiro, and Paulinho Nogueira in 1960. In 1962, he accompanied Maysa in her Argentinean tour and, with Eumir Deodato’s group, he performed in Marlene’s program on TV Rio, having been hired for two years with his own group to back up artists on that TV station.
In November 1962, he participated in the historic Bossa Nova Festival at Carnegie Hall in New York, NY, with Tom Jobim, Carlos Lyra, and others, interpreting “O Barquinho” in one of his few performances as a singer. From 1964 to 1968, he worked as an arranger and, invited by André Midani, he started to work as an independent producer and arranger at PolyGram. In 1968, he accompanied Elis Regina in her performance at the MIDEM (International Phonographic Market and Music Publishers) in Cannes, France, and in her subsequent European tour, having been Regina’s sideman until 1970, when he became PolyGram’s A&R. Already established as a major producer (having worked with Caetano Veloso, Gilberto Gil, Jorge Ben Jor, Gal Costa, Maria Bethânia, and many others), instrumentalist (as a session man he worked with Lúcio Alves, Maysa, Claudette Soares, Nara Leão, Jair Rodrigues, and Elis Regina), he had several compositions of his included in soundtracks of broadly popular TV soap operas and also wrote music for the cinema (Bye Bye Brasil, Joana Francesa, both by Cacá Diegues, and Vai Trabalhar Vagabundo, by Hugo Carvana). In 1985, having accompanied Nara Leão in performances in Brazil and abroad, he launched with her the LP Um Cantinho, Um Violão/Nara Leão e Roberto Menescal.

In the next year, he abandoned his career in A&R and dedicated himself to his solo career. He has also been participating in jazz projects, among others with Joe Henderson. In 2001, he participated with Wanda Sá, Danilo Caymmi, and Marcos Valle in the Fare Festival (Pavia, Italy). Menescal also owns the label Albatroz, which released albums by Danilo Caymmi, Emílio Santiago, and others.

 

Ramon “Ray” Ricker

In Bio, Scales, Solfège, Theorie on November 9, 2018 at 2:49 pm
From Wikipedia, the free encyclopedia

Ramon “Ray” Ricker is a classical and jazz performer, music educator, composer and arranger.ramon3

Ricker was professor of saxophone, director of the Institute for Music Leadership and senior associate dean for professional studies at the Eastman School of Music of the University of Rochester. He is professor emeritus of saxophone and interim director of the school’s Institute for Music Leadership. In addition to a career as a performing artist and studio teacher, he served as director of the Catherine Filene Shouse Arts Leadership Program, is editor-in-chief of Polyphonic.org, and was an affiliate faculty: jazz studies and contemporary media.

As a senior administrator at Eastman, Ricker helped found Eastman’s Institute for Music Leadership, with its arts leadership curriculum that offers courses in entrepreneurship, careers, leadership, performance, contemporary orchestral issues and musician’s injury prevention and rehabilitation; and its Center for Music Innovation. In September 2013, the Eastman School of Music honored Ricker as the first faculty member to receive the Dean’s Medal in recognition of extraordinary leadership, dedication, service and philanthropy.

Career

Ricker first began his musical studies on the clarinet. At age 16, while continuing to study the clarinet, his interest in jazz led him to begin taking saxophone lessons. Throughout his professional career he has continued to perform on both instruments and is often a featured saxophone and clarinet soloist and chamber musician in venues throughout Europe and North America.ramon4

He received a bachelor of music education degree in clarinet from the University of Denver (BME 1965), a Master of Music degree in woodwind performance from Michigan State University (MM 1967), and a doctor of musical arts degree in music education and clarinet from the Eastman School (DMA 1973). He began his tenure as a full-time Eastman faculty member in 1972 and later became the first titled saxophone professor at the school. For nine years he served as the chair of the Department of Winds, Brass and Percussion (1989-1998).

His association with the Rochester Philharmonic Orchestra began as a clarinet soloist in 1972 and in 1973 he won a position in the RPO as a member of the clarinet section. He continues to play in the orchestra today. From 1996-2005 he has served on its board of directors.

For eight summers (1993-2000) he was music adviser to the Schlossfestspiele in Heidelberg, Germany, where he directed the participation of the Eastman School Philharmonia in its five-week residency at the German music festival. His most recent book, Lessons From a Street-Wise Professor: What You Won’t Learn at Most Music Schools (2011, Soundown Music) was an award finalist in the Business: Entrepreneurship and Small Business category of USA Book News’ Best Books 2011 Awards.

Ricker’s doctor of musical arts (DMA) dissertation was “A Survey of Published Jazz-Oriented Clarinet Study Materials: 1920-1970”. Among the jazz and popular music artists enlisting Ricker as a session and stage performer are Buddy Rich, Stan Getz, Chuck Mangione, Steely Dan and the Moody Blues.

Notable musicians who studied under Ricker include Chien-Kwan Lin, Bob Sheppard, Ben Wendel, Walt Weiskopf and Andrew Sternman.ramon1

Select bibliography

Published books

  • Pentatonic Scales for Jazz Improvisation (1976, Alfred)
  • Technique Development in Fourths for Jazz Improvisation (1976, Alfred)
  • Études sur la Gamme Diminuée pour Saxophone (Etudes on the Diminished Scale for Saxophone) (1990, Alphonse LEDUC)
  • Coltrane: A Player’s Guide to his Harmony (co-authored with Walt Weiskopf, (1991, Jamey Aebersold)
  • The Augmented Scale in Jazz (co-authored with Walt Weiskopf, 1993, Jamey Aebersold)
  • The Ramon Ricker Improvisation Series (Four Volumes, 1996, Schott Music, Germany; Japanese language editions of the above published by ATN, Tokyo)
  • Lessons From a Street-Wise Professor: What You Won’t Learn at Most Music Schools (2011, Soundown Music)ramon2

Published articles

  • “The Clarinet in Jazz”, parts one, two and three, Music Journal, 1973
  • “A Conversation with Buddy DeFranco”, International Musician, January 1974
  • “To Jazz Scientists Everywhere”, Jazz Educators Journal, October 1989
  • Published music – jazz
  • “Viper Cipher”, Schott Music, 1994
  • “Passing Glances”, Schott Music, 1994
  • “Jazz Sonata for Saxophone and Piano”, Schott Music, 1994
  • “Morning Star”, Schott Music, 1996
  • “Passion Flower”, Schott Music, 1996
  • “Three Jazz Settings for Saxophone Quartet”, Schott Music, 2000

Published music – non-jazz

  • “Mein Junge Leben Hat Ein End”, JP Sweelinck, transcribed for wind ensemble, G. Schirmer, 1975
  • Cello suites 1, 2, 3 and 4 of JS Bach for solo saxophone, Dorn Publications, 1978
  • “Solar Chariots for Soprano Saxophone and Piano”, Dorn Publications, 1978
  • “When I’m Sixty-four” by Lennon/McCartney, arranged for saxophone quartet, Kendor 1982

Recordings as a performer

  • Eastman American Music Series Vol. 2, “Heaven to Clear When Day Did Close”
  • “Jazz Sonata”, Eastman American Music Series Vol. 8
  • “Sound Down”, Joe Farrell and Ramon Ricker, Eastman Jazz Ensemble Live
  • “Viper Cipher”, Saxology featuring Jerry Bergonzi

Record production

  • My First Concert: Rochester Philharmonic Orchestra (1984)
  • Saxology featuring Jerry Bergonzi (1996)
  • Saxology featuring Bob Mintzer (1996)
  • “Jazz Sonata”, Eastman American Music Series Vol. 8 (1999)

Compositions for television and commissioned works

  • Arrangements and orchestrations for The Late, Great Me (ABC made-for-television movie)
  • Arrangements and orchestrations for Yesteryear, Dick Cavett (HBO)
  • “Saints Go Marching In” for the Cincinnati Symphony’s Tale of Two Cities (with J. Tyzik) for Doc Severinsen and symphony orchestra (1983)

Contracting and performing of television commercials and program themes[edit]

  • NBC Sports, including themes for the 1988 Olympics
  • “ABC Sunday Night Movie Theme”, ABC Theater
  • Cinemax and HBO’s Main Movie intro and themes, HBO Championship Boxing, tennis baseball, and football
  • Sports Illustrated Awards
  • A&E Network main theme

Personal life

Ricker lives in Fairport, New York, with his wife, Judith.

Jamey Aebersold

In Bio, Scales, Solfège, Theorie, Training on November 9, 2018 at 2:26 pm
From Wikipedia, the free encyclopedia

Website: www.jazzbooks.com

Wilton Jameson “Jamey” Aebersold (born July 21, 1939) is an American publisher, educator, and jazz saxophonist. His Play-A-Long series of instructional books and CDs, using the chord-scale system, the first of which was released in 1967, are an internationally renowned resource for jazz education. His summer workshops have educated students of all ages since the 1960s.

Jamey_Aebersold1

Aebersold was born in New Albany, Indiana. When he was fifteen, he played with local bands, then attended Indiana University in Bloomington while leading bands in southern Indiana and Kentucky. During the late 1960s, he taught at Indiana University Southeast and in the 1970s and 1990s at the University of Louisville. He began weeklong summer workshops for students which have spread throughout the world into countries such as Canada, England, Scotland, Germany, Denmark, and Australia. Aebersold plays saxophone, piano, banjo, and double bass.

Play-A-Long series

Most of the volumes in Aebersold’s Play-A-Long series feature a selection of ten to twelve jazz standards, though some focus on scales, standardized chord progressions (like the blues), or original compositions by Aebersold’s collaborators. The books contain charts for the tunes in question, transposed as necessary for instruments in C, B-flat, E-flat, and bass clef. The recordings normally feature a professional rhythm section (typically piano, bass, and drums, occasionally including guitar) performing an improvised accompaniment (comping) to each song. Melody instruments like saxophone and trumpet are omitted, enabling a jazz student to practice the song’s melody and improvise over the chord changes with accompaniment. Piano and bass tracks are panned to opposite channels so that a pianist or bassist can easily omit the recorded piano or bass part by muting the appropriate channel.

Perhaps the most well-known feature of the “Play-A-Long” series is Aebersold’s voice, which counts off the tempo for each track on most Aebersold recordings.

WorkshopsJamey_Aebersold2

For over 50 years, Aebersold has also run summer jazz workshops at the University of Louisville. The week-long event is billed as a place to learn jazz through hands-on experience and provides an intensive learning environment for musicians of varying ages and levels. The standard curriculum includes master classes, ear-training sessions, jazz theory classes from beginning to advanced, and concerts by faculty.The official website of the workshops notes that summer 2018 will be the final sessions.Jamey_Aebersold3

Aebersold regularly performs and presents clinics at the jazz festival at Murray State University in Murray, Kentucky. The festival was renamed the Jamey Aebersold Jazz Festival in 2015 to honor his many years of service to the jazz program at that institution.

Awards and honors

  • Given membership to Alpha Alpha national honorary chapter of Phi Mu Alpha Sinfonia, 2009
  • Charles E. Lutton Man of Music Award, 2009
  • NEA Jazz Masters, 2014

Dan Haerle

In Bio on November 9, 2018 at 12:53 pm

DanHearleDan Haerle (born July 23, 1937) is a jazz pianist, composer, author and teacher, based in Denton, Texas. He is a retired professor emeritus of Jazz Studies at the University of North Texas.

Early life and education

Dan Haerle attended Quincy High School. In 1953 he moved with his family to New York where he attended Flushing High School and graduated from Hicksville High School in 1955. In 1957 he moved to Cedar Rapids, Iowa, where he attended Coe College and graduated with a Bachelor of Music Education degree in 1961. Haerle earned a Master of Music in Composition from North Texas State University in 1966.

Career

Haerle began teaching in 1961 at Tri-County Community Schools in What Cheer, Iowa, where he was the Instrumental music director for elementary, junior high and high school.

In 1963 to 1966, as a graduate student at North Texas State University, Dan was one of three teaching assistants to Leon Breeden, director of the jazz studies program.

In 1966, he became an Assistant Professor of Music at Kansas State University, where he taught freshman and sophomore theory.

In 1968, Haerle moved to Monterey Peninsula College, where he was an Instructor of Music, teaching class piano, music theory, jazz history, jazz improvisation, and directing jazz ensemblesdanhaerle2

In 1971, he taught at the University of Miami in Coral Gables Florida as an Assistant Professor of Music, teaching classical theory, jazz piano, jazz improvisation, jazz history, jazz arranging and also directed jazz ensembles

In 1973, Haerle returned to New York City to be a freelance professional.

In 1975, Haerle became an Associate Professor of Music and co-director of the Jazz Studies degree program. at Arizona State University in Tempe, Arizona. He taught jazz piano, jazz improvisation, jazz history, jazz styles and directed jazz ensembles

In 1977, he moved to the University of North Texas in Denton, Texas as a Professor of Music. He was appointed Regents Professor in 1992. While there he organized the Dan Haerle Quartet, including recent graduates of the University music program.

Haerle wrote a number of instructional books about jazz performance, as well as a series of jazz/rock charts.

In 2002 Haerle retired from full-time teaching, but continued to teach private jazz piano lessons and the online jazz theory coursedanlanguage

In 2007- he was named UNT Professor Emeritus and became a member of the adjunct teaching faculty.

As of 2015, Haerle continues to perform with his trio and quartet and offers online instruction to students around the world.

Honors

  • 1992 Regents Professor appointment
  • 2003 Hall of Fame – International Association of Jazz Education
  • 2012 LeJENd of Jazz Education – Jazz Education Network

Publications

  • Jazz-Rock Voicings for the Contemporary Keyboard Player – Alfred Music
  • Scales for Jazz Improvisation – Alfred Music
  • Jazz Improvisation for Keyboard Players – Alfred Music
  • Jazz Tunes for Improvisation (with Matteson & Petersen) – Warner Bros
  • The Jazz Language – Alfred Music
  • The Jazz Sound – Hal Leonard
  • Jazz Piano Voicing Skills – JA Music
  • Jazz Improvisation, A Pocket Guide – JA Music
  • Magic Motives – JA Music
  • The Essential Jazz Harmony Book – JA Music
  • Six compostions for jazz ensemble– Sierra Music Publications, Inc.
  • Twelve compositions for jazz combo– C. L. Barnhouse CompanyscalesDan

Discography

  • “Witch Hunt (1974) – Jamey Aebersold, saxophone; Dan Haerle, piano; Rufus Reid, bass; Charlie Craig, drums
  • “1965…Then to Now (1994) – Pete Magadini, drums and leader; Dan Haerle electric piano; Jim Zoechler, saxophone; Dave Young, bass. Selection: My Funny Valentine, 1976
  • Seagulls (1978) – Dan Haerle, piano; Pete Brewer, saxophones; Bob Bowman, bass; Steve Houghton, drums
  • Tuba Jazz Superhorns (1978) – Rich Matteson, Ashley Alexander, Buddy Baker, euphoniums; Harvey Phillips, Dan Perantoni, Winston Morris, tubas; Jack Petersen, guitar; Dan Haerle, piano; Rufus Reid, bass; Ed Soph, drums. Selections: Spoofy, Lucky Southern
  • Kaleidoscope (1986) – Dan Haerle, keyboards; Pete Brewer, saxophones, flute & Lyricon; Rick Peckham, guitars; Gerald Stockton, basses; Harrell Bosarge and George Honea, drums
  • Lunar Octave (1995) – Janice Borla, voice and leader; Fareed Haque, guitars; Art Davis, trumpet; Brad Stirtz, vibes; Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums
  • …and into the light (1996) – Greg Waits, trombone and leader; David Liebman, saxophone; Larry Spencer, trumpet; Tim Miller, guitar; Dan Haerle, piano; John Adams, bass; Ed Soph, drums
  • Second Wind (1997) – Pete Brewer, sax, flute and leader; Dan Haerle, piano, Fred Hamilton, bass; Ed Soph, drums
  • The Truth of the Matter (1999) – Dan Haerle, keyboards; Bob Bowman, bass; Jack Mouse, drums
  • Kenny Wheeler at North Texas (2000) – Kenny Wheeler, trumpet and flugelhorn; Dan Haerle, piano, Fred Hamilton, guitar; Lynn Seaton, bass; Ed Soph, drums. (Available from North Texas Jazz, PO Box 304050, Denton, TX 76203)
  • Gentle Giants (2002) – Dan Ramsey, trumpet; John Alexander, saxophone; Dan Haerle, piano; Steve Bailey, bass; Gregg Bissonette, drums
  • Agents of Change (2003) – Janice Borla, voice and leader; Rich Fudoli, saxophones; Fareed Haque, guitars; Art Davis, trumpet; Brad Stirtz, vibes; Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums
  • Standard Procedure (2004) – Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums
  • Everybody’s Songs But My Own (2005) – Dan Ramsey, trumpet; John Alexander, saxophone; Dan Haerle, piano; Steve Bailey, bass; Gregg Bissonette, drums
  • From Every Angle (2006) – Janice Borla, voice and leader; Art Davis, trumpet; John McLean, guitar; Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums
  • Aspiration (2011) – Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums
  • Live at Luminous Sound (2012) – Dan Haerle, piano; Brad Leali, saxophone; James Driscoll, bass; Ed Soph, drums
  • Twenty one Jamey Aebersold Playalong Recordings: Vol. 2 – Nothin’ But Blues, Vol. 3 – The II/V7/I Progression, Vol. 4 – Movin’ On, Vol. 5 – Time To Play Music, Vol. 7 – Miles Davis, Vol. 8 – Sonny Rollins, Vol. 10 – David Baker, Vol. 22 – 13 Favorite Standards, Vol. 30 – Rhythm Section Workout, Vol. 37 – Sammy Nestico, Vol. 41 – Body and Soul, Vol. 43 – Groovin’ High, Vol. 45 – Bill Evans, Vol. 48 – In A Mellow Tone, Vol. 60 – Freddie Hubbard, Vol. 61 – Burnin, Vol. 63 – Tom Harrell, Vol. 67 – Tune Up, Vol. 71 – East of the Sun, Vol. 79 – Avalon, Vol. 109 – Fusion (Collection of Dan Haerle original tunes)

Wayne Shorter Bio

In Bio, Black Nile on November 8, 2018 at 10:50 am

Early life and career

Weather_Report_(Wayne_Shorter)

Convocation Hall, Toronto, November 27, 1977

Wayne Shorter was born in Newark, New Jersey, and attended Newark Arts High School, from which he graduated in 1952. He loved music, being encouraged by his father to take up the clarinet as a teenager; his older brother Alan played alto saxophone before switching to the trumpet in college. While in high school Wayne also performed with the Nat Phipps Band in Newark, NJ. After graduating from New York University with a degree in music education in 1956, Shorter spent two years in the U.S. Army, during which time he played briefly with Horace Silver. After his discharge, he played with Maynard Ferguson. In his youth Shorter had acquired the nickname “Mr. Gone”, which later became an album title for Weather Report.  

His early influences include Sonny Rollins, John Coltrane and Coleman Hawkins. In 1959, Shorter joined Art Blakey’s Jazz Messengers where he stayed for four years, and eventually became the band’s musical director. Together they toured the US, Japan and Europe, recorded several recognized albums and he also composed pieces for the band. During this time Shorter “established himself as one of the most gifted of the young saxophonists” and received international acknowledgment.

With Miles Davis (1964–70)

When John Coltrane left Miles Davis’ band in 1960 to pursue his own group, Coltrane proposed Shorter as a replacement, but Shorter was unavailable. Davis went with Sonny Stitt on tenor, followed by a revolving door of Hank Mobley, George Coleman, and Sam Rivers. In 1964 Davis persuaded Shorter to leave Blakey and join his quintet alongside Herbie Hancock, Ron Carter and Tony Williams. Davis’s so-called Second Great Quintet (to distinguish it from the quintet with Coltrane) that included Hancock and Shorter has frequently been cited by musicians and critics as one of the most influential groups in the history of jazz, and Shorter’s compositions are a primary reason. He composed extensively for Davis (e.g. “Prince of Darkness”, “E.S.P.”, “Footprints”, “Sanctuary”, “Nefertiti”, and many others); on some albums, he provided half of the compositions.

Hancock said of Shorter’s tenure in the group: “The master writer to me, in that group, was Wayne Shorter. He still is a master. Wayne was one of the few people who brought music to Miles that didn’t get changed.”  Davis said, “Wayne is a real composer. He writes scores, write the parts for everybody just as he wants them to sound. … Wayne also brought in a kind of curiosity about working with musical rules. If they didn’t work, then he broke them, but with musical sense; he understood that freedom in music was the ability to know the rules in order to bend them to your own satisfaction and taste.”

Ian Carr, musician and Rough Guide author, states that with Davis Shorter found his own voice as a player and composer. “Blakey’s hard-driving, straightahead rhythmns had brought out the muscularity in Shorter’s tenor playing, but the greater freedom of the Davis rhythmn-section allowed him to explore new emotional and technical dimensions.”

Shorter remained in Davis’s band after the breakup of the quintet in 1968, playing on early jazz fusion recordings including In a Silent Way and Bitches Brew (both 1969). His last live dates and studio recordings with Davis were in 1970.

Until 1968, he played tenor saxophone exclusively. The final album on which he played tenor in the regular sequence of Davis albums was Filles de Kilimanjaro. In 1969, he played the soprano saxophone on the Davis album In a Silent Way and on his own Super Nova (recorded with then-current Davis sidemen Chick Corea and John McLaughlin). When performing live with Davis, and on recordings from summer 1969 to early spring 1970, he played both soprano and tenor saxophones; by the early 1970s, however, he chiefly played soprano.

Solo Blue Note recordings

Simultaneous with his time in the Davis quintet, Shorter recorded several albums for Blue Note Records, featuring almost exclusively his own compositions, with a variety of line-ups, quartets and larger groups, including Blue Note favourites such as Freddie Hubbard. His first Blue Note album (of 11 in total recorded from 1964 to 1970) was Night Dreamer, recorded at Rudy Van Gelder’s studio in 1964 with Lee Morgan, McCoy Tyner, Reggie Workman and Elvin Jones.

JuJu and Speak No Evil are well known recordings from this era. Shorter’s compositions on these albums are notable for their use of pentatonic melodies harmonised with pedal points and complex harmonic relationships; structured solos that reflect the composition’s melody as much as its harmony; and long rests as an integral part of the music, in contrast with other, more effusive, players of the time such as John Coltrane]

The later album The All Seeing Eye was a workout with a larger group, while Adam’s Apple of 1966 was back to carefully constructed melodies by Shorter leading a quartet. Then a sextet again in the following year for Schizophrenia with Hancock and Carter plus trombonist Curtis Fuller, alto saxophonist/flautist James Spaulding and strong rhythms by drummer Joe Chambers.

Shorter also recorded occasionally as a sideman (again, mainly for Blue Note) with Donald Byrd, Tyner, Grachan Moncur III, Hubbard, Morgan, and bandmates Hancock and Williams.

Weather Report (1971–1986)

Wayne-Shorter_in_Amsterdam,_1980

Shorter with Weather Report in Amsterdam, in 1980

Following the release of Odyssey of Iska in 1970, Shorter formed the fusion group Weather Report with Davis veteran keyboardist Joe Zawinul. The other original members were bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. After Vitous’ departure in 1973, Shorter and Zawinul co-led the group until the band’s break-up in late 1985. A variety of musicians would make up Weather Report over the years (most notably the revolutionary bassist Jaco Pastorius) helping the band produce many high-quality recordings in diverse styles, with funk, bebop, Latin jazz, ethnic music, and futurism being the most prevalent denominators.

Solo and side projects

Shorter also recorded critically acclaimed albums as a bandleader, notably 1974’s Native Dancer, which featured Hancock and Brazilian composer and vocalist Milton Nascimento.

In the late 1970s and the early 1980s, he toured in the V.S.O.P. quintet. This group was a revival of the 1960s Davis quintet, except that Hubbard filled the trumpet chair. Shorter appeared with the same former Davis bandmates on the Carlos Santana double LP The Swing of Delight, for which he also composed a number of pieces.

From 1977 through 2002, he appeared on 10 Joni Mitchell studio albums, gaining him a wider audience. He played an extended solo on the title track of Steely Dan’s 1977 album Aja.

Wayne_Shorter

Shorter performing in 2006

Later career

After leaving Weather Report, Shorter continued to record and lead groups in jazz fusion styles, including touring in 1988 with guitarist Carlos Santana, who appeared on This is This!, the last Weather Report disc. There is a concert video recorded at the Lugano Jazz Festival in 1987, with Jim Beard, keyboards, Carl James, bass, Terri Lyne Carrington, drums, and Marilyn Mazur, percussion. In 1989, he contributed to a hit on the rock charts, playing the sax solo on Don Henley’s song “The End of the Innocence” and also produced the album Pilar by the Portuguese singer-songwriter Pilar Homem de Melo. He has also maintained an occasional working relationship with Herbie Hancock, including a tribute album recorded shortly after Miles Davis’s death with Hancock, Carter, Williams and Wallace Roney. He continued to appear on Mitchell’s records in the 1990s and can be heard on the soundtrack of the Harrison Ford film The Fugitive (1993).

In 1995, Shorter released the album High Life, his first solo recording for seven years. It was also his debut as a leader for Verve Records. Shorter composed all the compositions on the album and co-produced it with the bassist Marcus Miller. High Life received the Grammy Award for best Contemporary Jazz Album in 1997.

Shorter worked with Hancock once again in 1997, on the much acclaimed and heralded album 1+1. The song “Aung San Suu Kyi” (named for the Burmese pro-democracy activist) won both Hancock and Shorter a Grammy Award.

In 2009, he was announced as one of the headline acts at the Gnaoua World Music Festival in Essaouira, Morocco. His 2013 album Without a Net is his first with Blue Note Records since Odyssey of Iska.

Quartet

Wayne_Shorter_quartet

The Wayne Shorter Quartet at the Teatro degli Arcimboldi, Milan, 2010

In 2000, Shorter formed the first permanent acoustic group under his name, a quartet with pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade, playing his own compositions, many of them reworkings of tunes going back to the 1960s. Three albums of live recordings have been released, Footprints Live! (2002), Beyond the Sound Barrier (2005) and Without A Net (2013). The quartet has received great acclaim from fans and critics, especially for the strength of Shorter’s tenor saxophone playing. The biography Footprints: The Life and Work of Wayne Shorter by journalist Michelle Mercer examines the working life of the musicians as well as Shorter’s thoughts and Buddhist beliefs.  Beyond the Sound Barrier received the 2006 Grammy Award for Best Instrumental Jazz Album.

Shorter’s 2003 album Alegría (his first studio album for 10 years, since High Life) received the 2004 Grammy Award for Best Instrumental Jazz Album; it features the quartet with a host of other musicians, including pianist Brad Mehldau, drummer Carrington and former Weather Report percussionist Alex Acuña. Shorter’s compositions, some new, some reworked from his Davis period, feature the complex Latin rhythms that he specialised in during his Weather Report days.

Lifetime achievement recognition

On September 17, 2013, Shorter received a Lifetime Achievement Award from the Thelonious Monk Institute of Jazz.

On December 18, 2014, the Recording Academy announced that Shorter was awarded the Grammy Lifetime Achievement Award in honor of his “prolific contributions to our culture and history”.

In 2016, Shorter was awarded a Guggenheim Fellowship in the field of music composition, the only jazz artist to receive the honor that year.

In 2017, Shorter was announced as the joint winner of the Polar Music Prize. The award committee stated: “Without the musical explorations of Wayne Shorter, modern music would not have drilled so deep.”

Wayne Shorter: Zero Gravity

In 2015, producer/director Dorsay Alavi began filming a documentary about the life of Wayne Shorter called Wayne Shorter: Zero Gravity. The film is set to be released in 2018.

Mega Nova

In 2016, it was announced that Shorter, Carlos Santana, and Herbie Hancock would begin touring under the name Mega Nova. Also included within the supergroup was bassist Marcus Miller and drummer Cindy Blackman Santana. Their first show together was on August 24, 2016 at the Hollywood Bowl.

Personal life

Shorter met Teruko (Irene) Nakagami in 1961. They were later married and had a daughter, Miyako. Some of his compositions are copyrighted as “Miyako Music” and Shorter dedicated the pieces “Miyako” and “Infant Eyes” to his daughter. The couple separated in 1964

Shorter met Ana Maria Patricio in 1966 and they were married in 1970. In 1985, their daughter Iska died of a grand mal seizure at age 14. Ana Maria and the couple’s niece, Dalila, were both killed on July 17, 1996, on TWA Flight 800, while travelling to visit him in Italy. Dalila was the daughter of Ana Maria Shorter’s sister and her husband, jazz vocalist Jon Lucien. In 1999, Shorter married Carolina Dos Santos, a close friend of Ana Maria. He practices Nichiren Buddhism and is a longtime member of the Buddhist association Soka Gakkai International.

Composer and producer Rick Shorter, who died in September 2017, was a cousin.

Discography

Main article: Wayne Shorter discography

  • Introducing Wayne Shorter (Vee-Jay 1959)
  • Second Genesis (Vee-Jay 1960)
  • Wayning Moments (Vee-Jay 1962)
  • Night Dreamer (Blue Note 1964)
  • JuJu (Blue Note 1964)
  • Speak No Evil (Blue Note 1965)
  • The Soothsayer (Blue Note 1965)
  • Et Cetera (Blue Note 1965)
  • The All Seeing Eye (Blue Note 1965)
  • Adam’s Apple (Blue Note 1966)
  • Schizophrenia (Blue Note 1967)
  • Super Nova (Blue Note 1969)
  • Odyssey of Iska (Blue Note 1970)
  • Moto Grosso Feio (Blue Note 1970)
  • Native Dancer with Milton Nascimento (1974)
  • Atlantis (1985)
  • Phantom Navigator (1986)
  • Joy Ryder (1988)
  • Carlos Santana and Wayne Shorter – Live at the Montreux Jazz Festival 1988 (1988)
  • High Life (1995)
  • 1 + 1 with Herbie Hancock (1997)
  • Footprints Live! (2002)
  • Alegría (2003)
  • Beyond the Sound Barrier (2005)
  • Without a Net (2013)
  • Emanon (2018)

Awards

  • 1962: Down Beat Poll Winner New Star Saxophonist
  • 1979: Grammy Award for Best Jazz Fusion Performance for Weather Report’s 8:30
  • 1987: Grammy Award for Best Instrumental Composition for “Call Sheet Blues” by Shorter, Herbie Hancock, Ron Carter and Billy Higgins (on The Other Side of Round Midnight Featuring Dexter Gordon)
  • 1994: Grammy Award for Best Jazz Instrumental Performance, Individual or Group for A Tribute to Miles
  • 1996: Grammy Award for Best Contemporary Jazz Album for High Life
  • 1996: Miles Davis Award, Montreal International Jazz Festival
  • 1997: Grammy Award for Best Instrumental Composition for “Aung San Suu Kyi” (on 1 + 1)
  • 1998: NEA Jazz Masters
  • 1999: Honorary Doctorate of Music by the Berklee College of Music
  • 1999: Grammy Award for Best Jazz Instrumental Solo for “In Walked Wayne” (on J. J. Johnson’s Heroes)
  • 2003: Grammy Award for Best Instrumental Composition for “Sacajawea” (on Alegría)
  • 2003: Grammy Award for Best Jazz Instrumental Performance, Individual or Group for Alegría
  • 2005: Grammy Award for Best Jazz Instrumental Performance, Individual or Group for Beyond the Sound Barrier
  • 2006: Jazz Journalists Association Jazz Award Small Ensemble Group of the Year to the Wayne Shorter Quartet
  • 2014: Grammy Award for Best Jazz Instrumental Solo for “Orbits” (on Without a Net)
  • 2017: Polar Music Prize

Joe Henderson – Bio

In Bio, Recorda Me on November 8, 2018 at 10:21 am
Joe Henderson

Joe Henderson

Joe Henderson
Tenor Saxophone
April 24, 1937 — June 30, 2001

“Joe Henderson is always in the middle of a great solo.”

–Richard Cook & Brian Morton

Joe Henderson was born in Lima, Ohio, on April 24, 1937. Lima is fifty miles south of Toledo, Ohio, sixty miles north of Dayton, Ohio, sixty miles east of Ft. Wayne, Indiana, and about a hundred and twenty miles from Detroit–which is probably the reason why Joe went to Detroit to live and study.

He finished high school in Lima, and gives credit to a home town drummer, John Jarette, who advised him to listen to Charlie Parker, among others. Getz was the one who got through to him first because of his sound, taste and simplicity; however, later, Charlie Parker became his great inspiration.

There were a couple of piano players around Lima who gave him a working knowledge of the piano, namely Richard Patterson and Don Hurless. They were older fellows who went to school with his older brothers and sisters. Incidentally, there were fifteen brothers and sisters, and there being no night baseball or T.V., this might have possibly accounted for such a large family.

Joe’s first saxophone teacher, Herbert Murphy, was responsible for his embryonic understanding of the instrument. Joe was still in high school, and he did quite a bit of writing for the school concert band and also for various “rock” groups that came through Lima.

“My older brother James T. encouraged me to go to college to cultivate the talent he thought I had. I went to Kentucky State College for one year, then to Wayne University in Detroit where I met Yusef Lateef, High Lawson, Donald Byrd and all the other motor city musicians.”

In Detroit, Joe studied with Larry Teal at the Teal School of Music, learning theory, harmony and the finer points of saxophone playing. He also studied flute and string bass at Wayne University. During the latter part of 1959, he formed his own group. Prior to his army induction, he was commissioned by “UNAC,” an organization similar to NAACP or the Urban League, to do a suite called “Swing and Strings” which showcased some originals arranged by him, played by an orchestra comprised of ten members from the Detroit Symphony Orchestra combined with the local dance band of Jimmy Wilkins, the brother of Ernie Wilkins.

1960 found Joe Henderson in the United States Army Band at Fort Benning, GA. He had competed in the army talent show and won first place with a 4 piece combo, which qualified him for the all army entertainment contest. Later he was chosen at Fort Belvoir, Virgina, to tour with a show around the world to entertain troops. This tour led him to Okinawa, Korea, Japan, Panama, Italy, Spain, Germany, France, England and other countries. While in Paris, he sat in with Kenny Clarke and Kenny Drew.

In the late summer of 1962, a bearded young 25 year old tenor saxophonist, slight of build, with might in his fingers, rolled into New York town in a sleek black Mercedes-Benz. He was just discharged from the United States Army in Maryland where he had concluded a two year hitch. The first stop was at a party at a friend’s place (saxophonist Junior Cook) where I was introduced to this bearded, goateed astronaut of the tenor sax. Later I suggested that we go down to see Dexter Gordon who was headlining the Birdland Monday night “Jazz Jamboree.” Boarding the “A” train, we were at 52nd Street and Broadway some twenty five minutes later. Once inside Birdland, Henderson was introduced to one of the “swingingest swingers” in jazzdom’s history, Dexter Gordon. “Long Tall Dexter” asked the young man if he’d like to play some.

Minutes afterward, the musical astronaut was on the launching pad, and the count down was in progress with a three man crew (rhythm section) behind him. There was a thunderous (Art Blakey type) roar from the battery man, and the saxophonist was off and soaring his (lyrical) way to new heights on a Charlie Parker blues line. At the end of the chorus (and I do mean 15 to 20), there was a warm and exhilarating applause for Joe, and as for Dex, sitting on the side, he looked “gassed.”

Here’s hoping that the young gentleman from Lima, Ohio, can cash in on all of his wonderful talents–his arranging, composing and tenor “saxophoning” extraordinary. Here’s hoping that his skies remain blue and his horizon clear, and that he receives his due, and that all who hear him will support the boy from “Soulsville.”

–KENNY DORHAM, from the liner notes,
Page One, Blue Note.


A selected discography of Joe Henderson albums.

  • Page One, 1963, Blue Note.
  • Our Thing, 1963, Blue Note.
  • In ‘n Out, 1964, Blue Note.
  • Inner Urge, 1964, Blue Note.
  • Mode For Joe, 1966, Blue Note.
  • Relaxin’ at Camarillo, 1979, Contemporary.
  • Lush Life, 1991, Verve.

from: http://hardbop.tripod.com/henderson.html