Jayant_S
Well-Known Member
I love his early work with the Paul Butterfield Blues band!An incredible jazz virtuoso. One of my all-time favourite artists... David Sanborn! Still living..
Jazz artists who made it big, stayed relatively clean and lived a long, meaningful life
- Thread starter Jayant_S
- Start date
Sushant Sharma
Well-Known Member
-What about stating political views or your rebelion or your personal situation and portraying it through your music? Isn't that wholesome/enough? I can imagine everybody after a time looks for a higher and bigger perspective/purpose to convey.
-Art forms in music and why and how they came about and were birthed in the first place (e.g. jazz)? Not all music forms evolved and came into being under the same circumstances.
- Folk music in India and I will take it as akin to Blues came first and gave rise to Classical (closer to home) /Jazz. Gharanas and rigour came later. Sometimes this can be shackling too. Kumar Ghandarv was an established prodigy performing classical in early teens in Calcutta auditoriums to then move to folk later which was unheard of at the time and people advised him against it. I do not know what his reasons were for singing about folk/Kabir were though?
Various forms of music have become more established and hence more organized but there might have been a time when a "Imran Khan" could bring on board a raw and prodigious talent who he saw fit and exciting, into the Pakistani cricket team and it wasn't a bad decision at all and worked.
Substance abuse could have various reasons ranging from depression, easy availability, prevalent use in surroundings, peer pressure, misgivings of enhanced creativity, compulsive personalities (like it is noted on a post before mine). While I think the earlier thread was more focused on this specific issue and was great fun, maybe this one (the yang It will still remain) should not rely and look at jazz artists (in its title and othewise) through the perspective of addiction or the lack of it. just ignore me if I am being too prescriptive now, Jayant.
-Lets not place undue reverence on any one form of music and make it "this vs that" debate. I personally only have my biased, personal and limited perspective and am just raising a few questions and shooting from the hip.
-Art forms in music and why and how they came about and were birthed in the first place (e.g. jazz)? Not all music forms evolved and came into being under the same circumstances.
- Folk music in India and I will take it as akin to Blues came first and gave rise to Classical (closer to home) /Jazz. Gharanas and rigour came later. Sometimes this can be shackling too. Kumar Ghandarv was an established prodigy performing classical in early teens in Calcutta auditoriums to then move to folk later which was unheard of at the time and people advised him against it. I do not know what his reasons were for singing about folk/Kabir were though?
Various forms of music have become more established and hence more organized but there might have been a time when a "Imran Khan" could bring on board a raw and prodigious talent who he saw fit and exciting, into the Pakistani cricket team and it wasn't a bad decision at all and worked.
Substance abuse could have various reasons ranging from depression, easy availability, prevalent use in surroundings, peer pressure, misgivings of enhanced creativity, compulsive personalities (like it is noted on a post before mine). While I think the earlier thread was more focused on this specific issue and was great fun, maybe this one (the yang It will still remain) should not rely and look at jazz artists (in its title and othewise) through the perspective of addiction or the lack of it. just ignore me if I am being too prescriptive now, Jayant.
-Lets not place undue reverence on any one form of music and make it "this vs that" debate. I personally only have my biased, personal and limited perspective and am just raising a few questions and shooting from the hip.
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Jayant_S
Well-Known Member
Absolutely, Sushant. Stories of artists being driven by a cause, overcoming hardships, being socially aware and active....all are tales of hope and worth sharing/reading about.
All opinions enrich the thread and are most welcome! Unfortunately substance and alcohol addiction was so rampant in the Jazz world, it's almost always part of the discussion. Having said that, every story that offers up a lesson of recovery and hope is a Yang in my book and I'll be glad to read them. Keep posting!
Far from it - we wouldn't dare to pit one form against the other!
Like Sachin said, the statisticians in us are doing a conditioned correlation study
Jayant_S
Well-Known Member
My favorite band member by a mile is guitar God Al Di Meola! Hes recently released an album with his take on Beatles classics.
Heres a literally Fab sample
How wonderful to see the young Chick Corea!
Jayant_S
Well-Known Member
She was "The First Lady of Song"
The most popular female Jazz singer for over 50 years, she won 13 Grammy awards, including the breakthrough for being the first African American woman to do so.
She made over 40 million in album sales during her lifetime.
The Verve Record Label was launched to exclusively produce her music.
Her voice was flexible, wide-ranging, accurate and ageless. She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra. All the jazz greats from Duke Ellington, Louis Armstrong, Count Basie and Nat King Cole, to Dizzy Gillespie and Benny Goodman had the honor of working with her.
Let's remember the legendary Lady Ella!
Early Years
Born on April 25, 1917, in Newport News, Virginia, Ella Fitzgerald experienced a troubled childhood that began with her parents separating shortly after her birth.
With her mother, she moved to Yonkers, New York. They lived there with her mother's boyfriend. Struggling financially, the young Ella helpedout by working as a messenger "running numbers" and acting as a lookout for a brothel. Her first career aspiration was to become a dancer.
After her mother's death in 1932, Ella ended up moving in with an aunt. She started skipping school. She was then sent to a special reform school but didn't stay there long.
By 1934, Fitzgerald was trying to make it on her own and living on the streets. Still harboring dreams of becoming an entertainer, she entered an amateur contest at Harlem's Apollo Theater.
Ella went to the theater that night planning to dance, but when the frenzied Edwards Sisters closed the main show, Ella changed her mind. "They were the dancingest sisters around," Ella said, and she felt her act would not compare.
Once on stage, faced with boos from the rowdy crowd, a scared and disheveled Ella made the last minute decision to sing. She asked the band to play Hoagy Carmichael's "Judy," a song she knew well because Connee Boswell's rendition of it was among her mother's favorites. Ella quickly quieted the audience, and by the song's end they were demanding an encore. She obliged and sang the flip side of the Boswell Sister's record, "The Object of My Affections."
Off stage, and away from people she knew well, Ella was shy and reserved. She was self-conscious about her appearance, and for a while even doubted the extent of her abilities. On stage, however, Ella was surprised to find she had no fear. She felt at home in the spotlight.
"Once up there, I felt the acceptance and love from my audience," Ella said. "I knew I wanted to sing before people the rest of my life."
In the band that night was saxophonist and arranger Benny Carter. Impressed with her natural talent, he began introducing Ella to people who could help launch her career. In the process he and Ella became lifelong friends, often working together.
Fueled by enthusiastic supporters, Ella began entering - and winning - every talent show she could find. In January 1935 she won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. It was there that Ella first met drummer and bandleader Chick Webb. He offered Ella the opportunity to test with his band when they played a dance at Yale University.
"If the kids like her," Chick said, "she stays."
Despite the tough crowd, Ella was a major success, and Chick hired her to travel with the band for $12.50 a week.
In mid 1936, Ella made her first recording. "Love and Kisses" was released under the Decca label, with moderate success.
By this time she was performing with Chick's band at the prestigious Harlem's Savoy Ballroom, often referred to as "The World's Most Famous Ballroom."
Shortly afterward, Ella began singing a rendition of the song, "(If You Can't Sing It) You Have to Swing It." During this time, the era of big swing bands was shifting, and the focus was turning more toward bebop. Ella played with the new style, often using her voice to take on the role of another horn in the band. "You Have to Swing It" was one of the first times she began experimenting with scat singing, and her improvisation and vocalization thrilled fans. Throughout her career, Ella would master scat singing, turning it into a form of art.
In 1938, at the age of 21, Ella recorded a playful version of the nursery rhyme, "A-Tisket, A-Tasket." The album sold 1 million copies, hit number one, and stayed on the pop charts for 17 weeks. Suddenly, Ella Fitzgerald was famous.
More on Ella's life in subsequent posts!
Inputs from : http://www.ellafitzgerald.com and biography.com
The most popular female Jazz singer for over 50 years, she won 13 Grammy awards, including the breakthrough for being the first African American woman to do so.
She made over 40 million in album sales during her lifetime.
The Verve Record Label was launched to exclusively produce her music.
Her voice was flexible, wide-ranging, accurate and ageless. She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra. All the jazz greats from Duke Ellington, Louis Armstrong, Count Basie and Nat King Cole, to Dizzy Gillespie and Benny Goodman had the honor of working with her.
Let's remember the legendary Lady Ella!
Early Years
Born on April 25, 1917, in Newport News, Virginia, Ella Fitzgerald experienced a troubled childhood that began with her parents separating shortly after her birth.
With her mother, she moved to Yonkers, New York. They lived there with her mother's boyfriend. Struggling financially, the young Ella helpedout by working as a messenger "running numbers" and acting as a lookout for a brothel. Her first career aspiration was to become a dancer.
After her mother's death in 1932, Ella ended up moving in with an aunt. She started skipping school. She was then sent to a special reform school but didn't stay there long.
By 1934, Fitzgerald was trying to make it on her own and living on the streets. Still harboring dreams of becoming an entertainer, she entered an amateur contest at Harlem's Apollo Theater.
Ella went to the theater that night planning to dance, but when the frenzied Edwards Sisters closed the main show, Ella changed her mind. "They were the dancingest sisters around," Ella said, and she felt her act would not compare.
Once on stage, faced with boos from the rowdy crowd, a scared and disheveled Ella made the last minute decision to sing. She asked the band to play Hoagy Carmichael's "Judy," a song she knew well because Connee Boswell's rendition of it was among her mother's favorites. Ella quickly quieted the audience, and by the song's end they were demanding an encore. She obliged and sang the flip side of the Boswell Sister's record, "The Object of My Affections."
Off stage, and away from people she knew well, Ella was shy and reserved. She was self-conscious about her appearance, and for a while even doubted the extent of her abilities. On stage, however, Ella was surprised to find she had no fear. She felt at home in the spotlight.
"Once up there, I felt the acceptance and love from my audience," Ella said. "I knew I wanted to sing before people the rest of my life."
In the band that night was saxophonist and arranger Benny Carter. Impressed with her natural talent, he began introducing Ella to people who could help launch her career. In the process he and Ella became lifelong friends, often working together.
Fueled by enthusiastic supporters, Ella began entering - and winning - every talent show she could find. In January 1935 she won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. It was there that Ella first met drummer and bandleader Chick Webb. He offered Ella the opportunity to test with his band when they played a dance at Yale University.
"If the kids like her," Chick said, "she stays."
Despite the tough crowd, Ella was a major success, and Chick hired her to travel with the band for $12.50 a week.
In mid 1936, Ella made her first recording. "Love and Kisses" was released under the Decca label, with moderate success.
By this time she was performing with Chick's band at the prestigious Harlem's Savoy Ballroom, often referred to as "The World's Most Famous Ballroom."
Shortly afterward, Ella began singing a rendition of the song, "(If You Can't Sing It) You Have to Swing It." During this time, the era of big swing bands was shifting, and the focus was turning more toward bebop. Ella played with the new style, often using her voice to take on the role of another horn in the band. "You Have to Swing It" was one of the first times she began experimenting with scat singing, and her improvisation and vocalization thrilled fans. Throughout her career, Ella would master scat singing, turning it into a form of art.
In 1938, at the age of 21, Ella recorded a playful version of the nursery rhyme, "A-Tisket, A-Tasket." The album sold 1 million copies, hit number one, and stayed on the pop charts for 17 weeks. Suddenly, Ella Fitzgerald was famous.
More on Ella's life in subsequent posts!
Inputs from : http://www.ellafitzgerald.com and biography.com
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In 1953 Norman Granz took over as Ella’s manager and released her from Decca. She was in her thirties - an age when other divas went downhill - but in her case she reached newer heights. She did a lot of songbook releases for Granz’s Verve.
Cole Porter was so impressed that he is supposed to have said - “My, what marvelous diction that girl has.”
Her songbooks for George and Ira Gershwin , Arden, Berlin , Mercer are essential listening. She continued working with top drawer talents including the guitar virtuoso Joe Pass with whom she did a duet and other cats like Tomy Flanagan and Paul Smith.
What is your favorite Ella songbook ?
Mine is George and Ira Gershwin.
Cole Porter was so impressed that he is supposed to have said - “My, what marvelous diction that girl has.”
Her songbooks for George and Ira Gershwin , Arden, Berlin , Mercer are essential listening. She continued working with top drawer talents including the guitar virtuoso Joe Pass with whom she did a duet and other cats like Tomy Flanagan and Paul Smith.
What is your favorite Ella songbook ?
Mine is George and Ira Gershwin.
Jayant_S
Well-Known Member
Very tough for me to pick my favorite. Toss up between the Gershwins and Cole Porter song book
Cole Porter for me
Jayant_S
Well-Known Member
The Norman Granz Years
While on tour with Dizzy Gillespie's band in 1946, Ella fell in love with bassist Ray Brown. The two were married and eventually adopted a son, whom they named Ray, Jr.
At the time, Ray was working for producer and manager Norman Granz on the "Jazz at the Philharmonic" tour. Norman saw that Ella had what it took to be an international star, and he convinced Ella to sign with him. It was the beginning of a lifelong business relationship and friendship.
Under Norman's management, Ella joined the Philharmonic tour, worked with Louis Armstrong on several albums and began producing her famous songbook series. From 1956-1964, she recorded covers of other musicians' albums, including those by Cole Porter, Duke Ellington, the Gershwins, Johnny Mercer, Irving Berlin, and Rodgers and Hart. The series was wildly popular, both with Ella's fans and the artists she covered.
"I never knew how good our songs were until I heard Ella Fitzgerald sing them," Ira Gershwin once remarked.
While on tour with Dizzy Gillespie's band in 1946, Ella fell in love with bassist Ray Brown. The two were married and eventually adopted a son, whom they named Ray, Jr.
At the time, Ray was working for producer and manager Norman Granz on the "Jazz at the Philharmonic" tour. Norman saw that Ella had what it took to be an international star, and he convinced Ella to sign with him. It was the beginning of a lifelong business relationship and friendship.
Under Norman's management, Ella joined the Philharmonic tour, worked with Louis Armstrong on several albums and began producing her famous songbook series. From 1956-1964, she recorded covers of other musicians' albums, including those by Cole Porter, Duke Ellington, the Gershwins, Johnny Mercer, Irving Berlin, and Rodgers and Hart. The series was wildly popular, both with Ella's fans and the artists she covered.
"I never knew how good our songs were until I heard Ella Fitzgerald sing them," Ira Gershwin once remarked.
Jayant_S
Well-Known Member
Global Stardom and Latter Years
She toured all over the world, sometimes performing two shows a day in cities hundreds of miles apart. In 1974, Ella spent a legendary two weeks performing in New York with Frank Sinatra and Count Basie. Still going strong five years later, she was inducted into the Down Beat magazine Hall of Fame, and received Kennedy Center Honors for her continuing contributions to the arts.
Outside of the arts, Ella had a deep concern for child welfare. Though this aspect of her life was rarely publicized, she frequently made generous donations to organizations for disadvantaged youths, and the continuation of these contributions was part of the driving force that prevented her from slowing down.
In 1987, United States President Ronald Reagan awarded Ella the National Medal of Arts. It was one of her most prized moments.
By the 1990s, Ella had recorded over 200 albums. In 1991, she gave her final concert at New York's renowned Carnegie Hall. It was the 26th time she performed there.
On June 15, 1996, Ella Fitzgerald died in her Beverly Hills home. Hours later, signs of remembrance began to appear all over the world. A wreath of white flowers stood next to her star on the Hollywood Walk of Fame, and a marquee outside the Hollywood Bowl theater read, "Ella, we will miss you."
She toured all over the world, sometimes performing two shows a day in cities hundreds of miles apart. In 1974, Ella spent a legendary two weeks performing in New York with Frank Sinatra and Count Basie. Still going strong five years later, she was inducted into the Down Beat magazine Hall of Fame, and received Kennedy Center Honors for her continuing contributions to the arts.
Outside of the arts, Ella had a deep concern for child welfare. Though this aspect of her life was rarely publicized, she frequently made generous donations to organizations for disadvantaged youths, and the continuation of these contributions was part of the driving force that prevented her from slowing down.
In 1987, United States President Ronald Reagan awarded Ella the National Medal of Arts. It was one of her most prized moments.
By the 1990s, Ella had recorded over 200 albums. In 1991, she gave her final concert at New York's renowned Carnegie Hall. It was the 26th time she performed there.
On June 15, 1996, Ella Fitzgerald died in her Beverly Hills home. Hours later, signs of remembrance began to appear all over the world. A wreath of white flowers stood next to her star on the Hollywood Walk of Fame, and a marquee outside the Hollywood Bowl theater read, "Ella, we will miss you."
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Sushant Sharma
Well-Known Member
wow. To have a record label come up for your talent. The 8+1 songbooks that were made in 8 years are a great body of work. I am just familiar with a couple of songs here and there. Thanks for the insights Jayant. Look forward to more.
Jayant_S
Well-Known Member
What doesn't get published much is the physical abuse she faced in her childhood from her step dad and a sequence of failed relationships. She overcame so much hardship to be the brightest, longest lived and loved Jazz vocalist. An inspirational life!
Clear headed and inspiring: Sonny Rollins at 90
www.newyorker.com
Sonny Rollins on the Pandemic, Protests, and Music
The legendary saxophonist, approaching ninety, discusses civil rights, jazz, and creative change.
Jayant_S
Well-Known Member
Thanks for sharing this, Kishore. I love hearing or reading anything Sonny Rollins has to sayClear headed and inspiring: Sonny Rollins at 90
Sonny Rollins on the Pandemic, Protests, and Music
The legendary saxophonist, approaching ninety, discusses civil rights, jazz, and creative change.
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