One man who was successful in Duke Ellington's band was Jimmy Blanton. Jimmy Blanton was an American jazz double bassist. He joined Duke Ellington's band in 1939. He was credited for starting more complex pizzicato and arco bass solos in a jazz context than previous bassists. Blanton created some of the first essential bass solos in jazz like some compositions from Ellington like "Ko Ko," "Jack the Bear," and "Concerto for Cootie."
Davis’ career was briefly interrupted by a heroin addiction, although he continued to record with other popular bop musicians. 1955 was Miles Davis’ breakthrough year. His performance of "round midnight" at the Newport Jazz Festival alerted the critics that he was "back". Davis form a quintet which included Red Garland, Paul Chambers, Philly Joe Jones, and John Coletrain. In 1957 Davis made the first of many solo recordings with the unusual jazz orchestrations of Gil Evans, and he wrote music for film by Louis Malle.
Since Chuck preferred smaller jazz groups to large “big bands” he and his brother started a quintet in 1958 called the Jazz Brothers during his senior year. The band lasted until 1964 and included Sal Nistico and Roy McCurdy and later on, Jimmy Garrison, Steve Davis, and Ron Carter. The group recorded three albums in the Riverside Label: The Jazz Brothers, Hey Baby!, and Spring Fever. Later on, in 1962, Chuck made an album of his own, called Recuerdo. His biggest break was in 1970 when his recording at the Eastman theatre with the philharmonic was turned into an album.
In 1955, he signed with Riverside and producer Orrin Keepnews persuaded him to record an album of Duke Ellington tunes and one of standards so his music would appear to be more accessible to the average jazz fan. In 1956 came the classic Brilliant Corners album, but it was the following year when the situation permanently changed. Monk was booked into the Five Spot for a long engagement and he used a quartet that featured tenor saxophonist John Coltrane. Finally, the critics and then the jazz public recognized Thelonious Monk's greatness during this important gig. The fact that he was unique was a disadvantage a few years earlier when all modern jazz pianists were expected to sound like Bud Powell, who was ironically a close friend.
Charlie "Bird" Parker a renowned Alto Saxophonist from the late 1930's to the early 1950's endured notoriety from his unusual way of playing the saxophone. Parker's way of playing the saxophone influenced other jazz musicians. Parker battled with his drugs and alcohol while in jazz clubs abroad. There are several aspects that Charlie "Bird" Parker faced while sweeping the jazz scene. Charlie Christopher Parker Jr. was born on August 29,1920 in Kansas City, Kansas to Charlie Sr. and Addie Parker.
At just the age of six Louis and three other boys form a vocal quartet and they would perform on the street corners for tips. In 1922 at the age of 21 Louis moves to Chicago to play second cornet in the band of Joe Oliver. As Louis performs he is slowly being recognized for his music. Finally on April 5 1923 he recorded his first song at the Gennett Studios in Richmond, Indiana as a member of King Oliver’s Creole Jazz Band. In February of 1924 he marries Lil Hardin.
He was the youngest of 4 children and had always had a passion for music. He began by playing the vibraphone, as well as the alto saxophone, but there’s was just something about the trumpet that pulled him to it. Morgan did not touch his first trumpet until his sister gave him one on his thirteenth birthday and he fell in love with it instantly. His first big gig was with the Dizzy Gillespie big band at age 18. His talent was immediately recognized and shortly after he began his recording career.
Born in New York City, Artie Shaw would become one of the top bandleaders in the swing era. He began his musical career as a highly sought-after alto saxophone player in the New York area, and was able to benefit from the growth of radio and studio recordings. As he perfected his technical ability with various dance bands, he was still relatively unknown in the early 30’s when he began to focus exclusively on the Clarinet while Swing music began to grow in popularity. While we may carefully analyze the two pieces to satisfy our curiosity regarding musical evolution in Jazz, we should also not lose sight of the fact that these are two very enjoyable styles of music. From the lively swing orchestras inspiring large audiences to dance, to the softer Bossa Nova sound which is pleasing to hear in a relaxed setting, both have contributed to the growth of musical creativity in Jazz from the 1930’s through today.
While in St. Louis he led small groups of musicians that challenged hardbop and bebop in the 50s. Not only was Davis a brilliant trumpet player he was also a composer, arranger, band leader, and producer. While performing with Charlie Parker, Davis met many other performers that he would soon play with. This was the beginning of the formation of bebop, which is a fast and innovative version of jazz which defined the modern jazz era. In 1946 Davis made his first recording and shortly after that his classic improvisational style formed.
The oldest son of Ellis Marsalis, a New Orleans jazz pianist he was introduced to music at a young age, starting with the clarinet and later moving to the soprano saxophone, as well as the alto saxophone, and tenor saxophone. He always said as a young musician that Jazz was not for him but experiments with music and some persuasion from his father led to a