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118-579: Frederick Dewayne Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He played bebop , hard bop , and post-bop styles from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. Hubbard started playing the mellophone and trumpet in his school band at Arsenal Technical High School in Indianapolis , Indiana . Trumpeter Lee Katzman, former sideman with Stan Kenton , recommended that he begin taking trumpet lessons at

236-507: A "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing ' ". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror

354-889: A Dolphy tribute by a Berlin-based group led by Gebhard Ullmann , who had previously founded a quartet named Out to Lunch in 1983. In the United States, the arts group Seed Artists presented a two-day festival entitled Eric Dolphy: Freedom of Sound in Montclair , New Jersey, that year. Dolphy's compositions are the inspiration for many tribute albums, including Oliver Lake 's Prophet and Dedicated to Dolphy , Jerome Harris ' Hidden In Plain View , Otomo Yoshihide 's re-imagining of Out to Lunch! , Silke Eberhard's Potsa Lotsa: The Complete Works of Eric Dolphy , and Aki Takase and Rudi Mahall 's duo album Duet For Eric Dolphy . The ballad "Poor Eric", composed by pianist Larry Willis and appearing on Jackie McLean 's 1966 Right Now! album,

472-526: A coherent tradition". Duke Ellington , one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues , a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around

590-618: A concert in Oslo , Norway, he informed Mingus that he planned to stay in Europe after their tour was finished, partly because he had become disillusioned with the United States' reception of musicians who were trying something new. Mingus then named the blues they had been performing "So Long Eric". Dolphy intended to settle in Europe with his fiancée Joyce Mordecai, who was working in the ballet scene in Paris , France. After leaving Mingus, he performed and recorded

708-467: A drum made by stretching skin over a flour-barrel. Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Usually such music was associated with annual festivals, when

826-663: A few sides with various European bands, and American musicians living in Paris, such as Donald Byrd and Nathan Davis . Last Date , originally a radio broadcast of a concert in Hilversum in the Netherlands, features Misha Mengelberg and Han Bennink , although it was not Dolphy's last public performance. Dolphy was also planning to join Albert Ayler 's group, and, according to Jeanne Phillips, quoted in A. B. Spellman 's Four Jazz Lives ,

944-486: A leader began with Prestige . His association with the label spanned 13 albums recorded from April 1960 to September 1961, though he was not the leader for all of the sessions. Fantasy released a 9-CD box set in 1995 containing all of Dolphy's recorded output for Prestige. Dolphy's first two albums as leader were Outward Bound and Out There ; both featured cover artwork by Richard "Prophet" Jennings . The first, sounding closer to hard bop than some later releases,

1062-410: A limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice". Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in

1180-499: A lot of things we try now that we never tried before. This helped me... We're playing things that are freer than before." Coltrane biographer Eric Nisenson stated: "Dolphy's effect on Coltrane ran deep. Coltrane's solos became far more adventurous, using musical concepts that without the chemistry of Dolphy's advanced style he might have kept away from the ears of his public." In his book Free Jazz , Ekkehard Jost provided specific examples of how Coltrane's playing began to change during

1298-574: A man, a friend, and a musician." After Dolphy died, his mother gave Coltrane his flute and bass clarinet, and Coltrane, who traveled with Dolphy's photograph, hanging it on his hotel room walls, proceeded to play the instruments on several subsequent recordings. Frank Zappa acknowledged Dolphy as a musical influence in the liner notes to the 1966 album Freak Out! and included a Dolphy tribute entitled "The Eric Dolphy Memorial Barbecue" on his 1970 album Weasels Ripped My Flesh . Pianist Geri Allen analyzed Dolphy's music for her master's thesis at

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1416-460: A multi- strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords . Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time. The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below. African-based rhythmic patterns such as tresillo and its variants,

1534-763: A performance was made in his honor of an original composition by Phil Ranelin at the William Grant Still Arts Center in Dolphy's hometown Los Angeles. Additionally, the Los Angeles County Board of Supervisors designated June 20 as Eric Dolphy Day. In 2014, marking 50 years since Dolphy's death, Berlin-based pianists Alexander von Schlippenbach and Aki Takase led a project called So Long, Eric! , celebrating Dolphy's music and featuring musicians such as Han Bennink , Karl Berger , Tobias Delius , Axel Dörner , and Rudi Mahall . That year also saw

1652-652: A popular music form. Handy wrote about his adopting of the blues: The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key

1770-439: A repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score , with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on

1888-492: A single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands , Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near

2006-416: A soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist. In avant-garde and free jazz , the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. Since

2124-492: Is a music genre that originated in the African-American communities of New Orleans , Louisiana , in the late 19th and early 20th centuries, with its roots in blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . Since the 1920s Jazz Age , it has been recognized as a major form of musical expression in traditional and popular music . Jazz

2242-519: Is a "white jazz" genre that expresses whiteness . White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine , who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". The Original Dixieland Jazz Band , whose members were white, were the first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of

2360-663: Is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora . Tresillo

2478-561: Is an ironic footnote for Davis, who was critical of Dolphy's music: in a 1964 DownBeat "Blindfold Test", Miles quipped: "The next time I see [Dolphy] I'm going to step on his foot." However, Davis new quintet's rhythm section had all worked under Dolphy, thus creating a band whose brand of " out " was strongly influenced by Dolphy. Dolphy's virtuoso instrumental abilities and unique style of jazz, deeply emotional and free but strongly rooted in tradition and structured composition, heavily influenced such musicians as Anthony Braxton , members of

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2596-469: Is characterized by swing and blue notes , complex chords , call and response vocals , polyrhythms and improvisation . As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles , biguine , ragtime and blues with collective polyphonic improvisation . However, jazz did not begin as

2714-486: Is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed." In

2832-496: Is one of the rare instances where Dolphy solos on soprano clarinet (others being "Warm Canto" from Mal Waldron 's The Quest , "Densities" from the compilation Vintage Dolphy , and "Song For The Ram's Horn" from an unreleased recording from a 1962 Town Hall concert). Dolphy occasionally recorded unaccompanied saxophone solos; his only predecessors were the tenor players Coleman Hawkins ("Picasso", 1948) and Sonny Rollins (for example, "Body and Soul", 1958), making Dolphy

2950-463: Is quoted as saying, "When I had congestive heart failure and couldn't work, the Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people." After his death, Hubbard's estate requested that tax-deductible donations be made in his name to the Jazz Foundation. Compilation Sortable table with main artist alphabetically as primal order. Jazz Jazz

3068-400: Is that jazz can absorb and transform diverse musical styles. By avoiding the creation of norms, jazz allows avant-garde styles to emerge. For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of "an oppressive and racist society and restrictions on their artistic visions". Amiri Baraka argues that there

3186-468: Is well documented. It is believed to be related to jasm , a slang term dating back to 1860 meaning ' pep, energy ' . The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a 'jazz ball' "because it wobbles and you simply can't do anything with it". The use of the word in a musical context

3304-610: Is well-documented on Revenge! , The Great Concert of Charles Mingus , Mingus in Europe Volume I , and Mingus in Europe Volume II . Dolphy and John Coltrane knew each other long before they formally played together, having met when Coltrane was in Los Angeles with Johnny Hodges in 1954. They would often exchange ideas and learn from each other, and eventually, after many nights sitting in with Coltrane's band, Dolphy

3422-506: The Art Ensemble of Chicago , Oliver Lake , Arthur Blythe , Don Byron , and Evan Parker . Dolphy was posthumously inducted into the DownBeat magazine Hall of Fame in 1964. John Coltrane paid tribute to Dolphy in an interview: "Whatever I'd say would be an understatement. I can only say my life was made much better by knowing him. He was one of the greatest people I've ever known, as

3540-830: The Atlantic album , and observed that on "My Favorite Things", Coltrane "accepted the mode as more or less binding, occasionally aiming away from it... at tones foreign to the scale," whereas on "India", Coltrane, like Dolphy, played " around the mode more than in it." Dolphy's musical presence was also influential to many young jazz musicians who would later become prominent. Dolphy worked intermittently with Ron Carter and Freddie Hubbard throughout his career, and in later years he hired Herbie Hancock , Bobby Hutcherson and Woody Shaw to work in his live and studio bands. Out to Lunch! featured yet another young performer, drummer Tony Williams , and Dolphy's participation on Hill's Point of Departure session brought him into contact with

3658-570: The Atlantic slave trade had brought nearly 400,000 Africans to North America. The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns. An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and

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3776-795: The National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award. On December 29, 2008, Hubbard died in Sherman Oaks, Los Angeles , California from complications caused by a heart attack he suffered on November 26. Hubbard's body was cremated, with his ashes given to his family. Hubbard had close ties to the Jazz Foundation of America in his later years. The Jazz Foundation of America's Musicians' Emergency Fund took care of him during times of illness. He

3894-633: The University of Pittsburgh , and paid tribute to Dolphy in tunes like "Dolphy's Dance," recorded and released on her 1992 album Maroons . In 1989, Po Torch Records released an album titled "The Ericle of Dolphi," featuring Evan Parker , Paul Rutherford , Dave Holland , and Paul Lovens . In 1997, the Vienna Art Orchestra released Powerful Ways: Nine Immortal Non-evergreens for Eric Dolphy as part of its 20th anniversary box-set. In 2003, to mark what would have been Dolphy's 75th birthday,

4012-609: The University of Southern California . When aged 13, he received a "Superior" award on clarinet from the California School Band and Orchestra festival. He attended Dorsey High School , where he continued his musical studies and learned additional instruments. By 1946, he was co-director of the Youth Choir at the Westminster Presbyterian Church run by Reverend Hampton B. Hawes, father of the jazz pianist of

4130-471: The swing era of the 1920s–40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz,

4248-943: The 1920s. The Chicago Style was developed by white musicians such as Eddie Condon , Bud Freeman , Jimmy McPartland , and Dave Tough . Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s. Many bands included both Black and white musicians. These musicians helped change attitudes toward race in the U.S. Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter , Ella Fitzgerald , Adelaide Hall , Billie Holiday , Peggy Lee , Abbey Lincoln , Anita O'Day , Dinah Washington , and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong , trumpeter Valaida Snow , and songwriters Irene Higginbotham and Dorothy Fields . Women began playing instruments in jazz in

4366-451: The 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from

4484-461: The 1960s, he recorded eight studio albums as a bandleader for Blue Note, and more than two dozen as a sideman. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, his Blue note associate James Spaulding , pianist Kenny Barron and drummer Louis Hayes . This group recorded for Atlantic. It was during this time that he began to develop his own sound, distancing himself from

4602-614: The Arthur Jordan Conservatory of Music (now the Jordan College of the Arts at Butler University ) with Max Woodbury, principal trumpeter of the Indianapolis Symphony Orchestra . In his teens, Hubbard worked locally with brothers Wes and Monk Montgomery , and worked with bassist Larry Ridley and saxophonist James Spaulding . In 1958, at the age of 20, he moved to New York and began playing with some of

4720-499: The Black middle-class. Blues is the name given to both a musical form and a music genre, which originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from their spirituals , work songs , field hollers , shouts and chants and rhymed simple narrative ballads . The African use of pentatonic scales contributed to

4838-460: The Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing . In the opinion of jazz historian Ernest Borneman , what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as tresillo

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4956-654: The Netherlands, from which came Feel the Wind . In 1988, Hubbard played with Elton John , contributing trumpet and flugelhorn and trumpet solos on the track " Mona Lisas and Mad Hatters (Part Two) " for John's Reg Strikes Back album. In 1990, he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune , pianists George Duke and Benny Green , bass players Ron Carter , and Rufus Reid , with jazz vocalist Salena Jones . He also performed at

5074-525: The Showplace during 1960 (memorialized in the poem "Mingus at the Showplace" by William Matthews ), and appeared on the leader's two Candid label albums, Charles Mingus Presents Charles Mingus and Mingus . Dolphy, Mingus said, "was a complete musician. He could fit anywhere. He was a fine lead alto in a big band. He could make it in a classical group. And, of course, he was entirely his own man when he soloed.... He had mastered jazz. And he had mastered all

5192-565: The Sky (1979). Hubbard's trumpet playing was featured on the track "Zanzibar" from the 1978 Billy Joel album 52nd Street (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An unfaded version was released on the 2004 Billy Joel boxed set My Lives . In the 1980s Hubbard was again leading his own jazz group – this time with Billy Childs and Larry Klein , among others, as members – attracting favorable reviews, playing at concerts and festivals in

5310-658: The Starlight Roof at the famed Waldorf-Astoria Hotel . He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s. Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and

5428-465: The U.S. Army in 1950 and was stationed at Fort Lewis , Washington. Beginning in 1952, he attended the Navy School of Music . Following his discharge in 1953, he returned to L.A., where he worked with many musicians, including Buddy Collette , Eddie Beal , and Gerald Wilson , to whom he later dedicated the tune "G.W.", recorded on Outward Bound . Dolphy often had friends come by to jam, enabled by

5546-627: The US and Europe, often in the company of Joe Henderson , playing a repertory of hard bop and modal jazz pieces. Hubbard played at the Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson ). He and Woody Shaw recorded two albums as co-leaders for Blue Note and played live concerts together from 1985 to 1987. In 1987, he was a co-leader with Benny Golson on the Stardust album. In 1988, he again teamed up with Blakey at an engagement in

5664-475: The Warsaw Jazz Festival, at which Live at the Warsaw Jazz Festival (Jazzmen 1992) was recorded. Following a long setback of health problems and a serious lip injury in 1992 when he subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the level he set for himself during his earlier career. His best records ranked with the finest in his field. In 2006,

5782-774: The age of 23 in October 1961. Dolphy also performed on key recordings by George Russell ( Ezz-thetics ), Oliver Nelson ( Screamin' the Blues , The Blues and the Abstract Truth , and Straight Ahead ), and Ornette Coleman ( Free Jazz: A Collective Improvisation and the Free Jazz outtake on Twins ). He also worked and recorded with Gunther Schuller ( Jazz Abstractions ), multi-instrumentalist Ken McIntyre ( Looking Ahead ), bassist Ron Carter ( Where? ), and pianist Mal Waldron ( The Quest ). Dolphy's recording career as

5900-536: The album takes its name. In 1964, Dolphy signed with Blue Note Records and recorded Out to Lunch! with Freddie Hubbard , Bobby Hutcherson , Richard Davis and Tony Williams . This album features Dolphy's fully developed avant-garde yet structured compositional style rooted in tradition. It is often considered his magnum opus . After Out to Lunch! and an appearance on pianist/composer Andrew Hill 's Blue Note album Point of Departure , Dolphy left for Europe with Charles Mingus' sextet in early 1964. Before

6018-429: The albums he recorded later in the decade were attacked by critics for their commercialism. First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands , guitarists Eric Gale and George Benson , bassist Ron Carter , drummer Jack DeJohnette , and percussionist Airto Moreira . In 1994, Hubbard, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney , had lyrics set to

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6136-420: The best jazz players of the era, including Philly Joe Jones , Sonny Rollins , Slide Hampton , Eric Dolphy , J. J. Johnson , and Quincy Jones . On June 19, 1960, Hubbard made his first record as a leader, Open Sesame , at the beginning of his contract with Blue Note Records , with saxophonist Tina Brooks , pianist McCoy Tyner , bassist Sam Jones , and drummer Clifford Jarvis . Six days later he returned

6254-552: The blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic , rural blues and early jazz "was largely based on concepts of heterophony ". During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European American minstrel show performers in blackface popularized

6372-575: The composer's Density 21.5 for solo flute at the Ojai Music Festival in 1962. Dolphy also participated in Gunther Schuller 's and John Lewis 's Third Stream efforts of the 1960s, appearing on the album Jazz Abstractions , and admired the Italian flute virtuoso Severino Gazzelloni , after whom he named his composition Gazzelloni . Around 1962–63, one of Dolphy's working bands included

6490-473: The contribution of the composer, if there is one, and more on the performer. The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures. In early Dixieland , a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies . In

6608-541: The development of blue notes in blues and jazz. As Kubik explains: Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: W. C. Handy became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within

6726-506: The early 1920s, drawing particular recognition on piano. When male jazz musicians were drafted during World War II, many all-female bands replaced them. The International Sweethearts of Rhythm , which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO , touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson . Beginning in

6844-460: The early influences of Clifford Brown and Morgan, and won the DownBeat jazz magazine "New Star" award on trumpet. Throughout the '60s, Hubbard played as a sideman on some of the most important albums from that era, including Oliver Nelson 's The Blues and the Abstract Truth , Eric Dolphy 's Out to Lunch! , Herbie Hancock 's Maiden Voyage , and Wayne Shorter 's Speak No Evil . Hubbard

6962-480: The education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows , and in vaudeville , during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed. Ragtime appeared as sheet music, popularized by African-American musicians such as

7080-588: The emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Regarding the Dixieland jazz revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences. On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view

7198-525: The end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The mid-1950s saw the emergence of hard bop , which introduced influences from rhythm and blues , gospel , and blues to small groups and particularly to saxophone and piano. Modal jazz developed in the late 1950s, using the mode , or musical scale, as the basis of musical structure and improvisation, as did free jazz , which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in

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7316-556: The entertainer Ernest Hogan , whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley". Also in 1897, the white composer William Krell published his " Mississippi Rag " as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. Classically trained pianist Scott Joplin produced his " Original Rags " in 1898 and, in 1899, had an international hit with " Maple Leaf Rag ",

7434-509: The fact that his father had built a studio for him in the family's backyard. Recordings made in 1954 with Clifford Brown document this early period. Dolphy had his big break when he was invited to join Chico Hamilton 's quintet in 1958. With the group he became known to a wider audience and was able to tour extensively through 1958–59, when he left Hamilton's group and moved to New York City. Dolphy appears on flute with Hamilton's band in

7552-465: The favor to Brooks and recorded with him on True Blue . In December 1960, Hubbard was invited to play on Ornette Coleman 's Free Jazz , after Coleman heard him performing with Don Cherry . In May 1961, Hubbard played on Olé Coltrane , John Coltrane 's final session for Atlantic Records . Coltrane also hired Hubbard, Eric Dolphy and Art Davis , who all appeared on Olé , to record Africa/Brass , Coltrane's first album with Impulse! , which

7670-654: The featured soloist on their renditions of " Naima ". A 2001 Pablo box set, drawing on recordings of Coltrane's performances from his European tours of the early 1960s, features tunes absent from the 1961 Village Vanguard material, such as " My Favorite Things ", which Dolphy performs on flute. Trumpeter Booker Little and Dolphy had a short-lived musical partnership. Little's leader date for Candid , Out Front , featured Dolphy mainly on alto sax, though he played bass clarinet and flute on some ensemble passages. In addition, Dolphy's album Far Cry , recorded for Prestige , features Little on five tunes (one of which, "Serene",

7788-545: The film Jazz on a Summer's Day , documenting a performance at the 1958 Newport Jazz Festival . Charles Mingus had known Dolphy from growing up in Los Angeles, and the younger man joined Mingus' Jazz Workshop in 1960, shortly after arriving in New York. He took part in Mingus' big band recording Pre-Bird (sometimes re-released as Mingus Revisited ), and is featured on "Bemoanable Lady". Later he joined Mingus' working band at

7906-567: The first thing about music (...) it hurt me to see [Dolphy] get hurt in this thing." The initial release of Coltrane's residency at the Vanguard selected three tracks , only one of which featured Dolphy. After being issued haphazardly over the next 30 years, a comprehensive box-set featuring the music recorded at the Vanguard was released on Impulse! in 1997, called The Complete 1961 Village Vanguard Recordings . The set features Dolphy heavily on both alto saxophone and bass clarinet, with Dolphy

8024-412: The first time Dolphy played with Bobby Hutcherson , whom he knew from Los Angeles, and whose sister he dated at one point. The sessions are perhaps best known for the three duets Dolphy performs with bassist Richard Davis on "Alone Together", "Ode To Charlie Parker", and "Come Sunday"; the aforementioned release Muses adds another take of "Alone Together" and an original composition for duet from which

8142-651: The first to do so on alto. The album Far Cry contains his performance of the Gross - Lawrence standard " Tenderly " on alto saxophone, and, on his subsequent tour of Europe, Billie Holiday 's " God Bless the Child " was featured in his sets. (The earliest known version was recorded at the Five Spot during his residency with Booker Little .) He also recorded two takes of a short solo rendition of "Love Me" in 1963, released on Conversations and Muses . Twentieth-century classical music

8260-415: The first written music which was rhythmically based on an African motif (1803). From the perspective of African-American music, the "habanera rhythm" (also known as "congo"), "tango-congo", or tango . can be thought of as a combination of tresillo and the backbeat . The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired

8378-532: The habanera rhythm and cinquillo , are heard in the ragtime compositions of Joplin and Turpin. Joplin's " Solace " (1909) is generally considered to be in the habanera genre: both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass". In

8496-507: The individuality of the performing jazz musician". A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of

8614-424: The influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre. By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square , famous for its African dances. By 1866,

8732-721: The instruments he played. In fact, he knew more than was supposed to be possible to do on them." In the same year, Dolphy took part in the Mingus led Jazz Artist Guild project and its Newport Rebels recording session. Touring in Europe with Mingus in 1961, Dolphy continued on to perform as a solo artist, and he was recorded in Scandinavia and Berlin . (See The Berlin Concerts , The Complete Uppsala Concert , Eric Dolphy in Europe Volumes 1, 2, and 3 (1 and 3 were also released as Copenhagen Concert ), and Stockholm Sessions . ) He

8850-455: The instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Louisiana Creole and African-American musicians played in vaudeville shows which carried jazz to cities in

8968-567: The late 1950s into the 1990s. Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate. Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to

9086-455: The late 1960s and early 1970s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 21st century, such as Latin and Afro-Cuban jazz . The origin of the word jazz has resulted in considerable research, and its history

9204-924: The many top players he employed, such as George Brunies , Sharkey Bonano , and future members of the Original Dixieland Jass Band . During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez . Louis Armstrong started his career in Storyville and found success in Chicago. Storyville

9322-679: The music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures. The Black Codes outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in

9440-485: The music of First Light . In 1977, Hubbard joined the all-star V.S.O.P. band, which also featured Herbie Hancock , Tony Williams , Ron Carter and Wayne Shorter . All of the band's members except Hubbard were members of the mid-1960s Miles Davis Quintet . Several live recordings of this group were released as V.S.O.P , V.S.O.P. The Quintet , V.S.O.P. Tempest in the Colosseum (all 1977) and V.S.O.P. Live Under

9558-578: The music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery. Although the pattern is only half a clave , Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz. The abolition of slavery in 1865 led to new opportunities for

9676-460: The northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe 's symphonic Clef Club orchestra in New York City, which played a benefit concert at Carnegie Hall in 1912. The Baltimore rag style of Eubie Blake influenced James P. Johnson 's development of stride piano playing, in which the right hand plays the melody, while the left hand provides

9794-596: The northern and western parts of the U.S. Jazz became international in 1914, when the Creole Band with cornettist Freddie Keppard performed the first ever jazz concert outside the United States, at the Pantages Playhouse Theatre in Winnipeg , Canada. In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of

9912-495: The period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War. Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals . The origins of

10030-488: The pianist Herbie Hancock , who can be heard on The Illinois Concert , Gaslight 1962 , and the unissued Town Hall concert with poet Ree Dragonette . In July 1963, producer Alan Douglas arranged recording sessions for which Dolphy's sidemen were emerging musicians of the day, and the results produced the albums Iron Man and Conversations , as well as the Muses album released in Japan in late 2013. These sessions marked

10148-487: The plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans. The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture. Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman

10266-459: The post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms ," observed

10384-672: The pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music. The music of New Orleans , Louisiana had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums. Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville . In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals ). The instruments used by marching bands and dance bands became

10502-410: The rhythm and bassline. In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by

10620-440: The same name), with Elvin Jones and Jimmy Garrison . Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records , overshadowing Stanley Turrentine , Hubert Laws , and George Benson . Although his early 1970s jazz albums Red Clay , First Light , Straight Life , and Sky Dive were particularly well received and considered among his best work,

10738-491: The same name. He graduated in 1947, then attended Los Angeles City College , during which time he played contemporary classical works such as Stravinsky 's L'Histoire du soldat and, along with Jimmy Knepper and Art Farmer , performed with Roy Porter 's 17 Beboppers . He went on to make eight recordings with Porter by 1949. On these early sessions, Dolphy occasionally played baritone saxophone , as well as alto saxophone , flute, and soprano clarinet . Dolphy entered

10856-418: The tenor player Joe Henderson . There is a celebration held at Le Moyne College based on a Frank Zappa song, " The Eric Dolphy Memorial Barbecue ," inspired by him. Carter, Hancock and Williams would go on to become one of the quintessential rhythm sections of the decade, both together on their own albums and as the backbone of Miles Davis 's second great quintet . This aspect of the second great quintet

10974-477: The time he spent with Dolphy, noting that Coltrane started using wider melodic intervals like sixths and sevenths, and began focusing on integrating sound coloration and multiphonics into his solos. Jost contrasted Coltrane's solo on "India", recorded in November 1961 while Dolphy was with the group, and released on Impressions , with his solo on " My Favorite Things ", recorded roughly a year earlier, and released on

11092-500: The twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the cakewalk , ragtime , and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. Habaneras were widely available as sheet music and were

11210-566: The use of tresillo-based rhythms in African-American music. New Orleans native Louis Moreau Gottschalk 's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively. The figure was later used by Scott Joplin and other ragtime composers. Comparing

11328-498: The writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured." African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza ) gained international popularity. Musicians from Havana and New Orleans would take

11446-493: The year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from

11564-491: Was absolutely without a need to hurt." Dolphy is buried in Angelus-Rosedale Cemetery in Los Angeles. His headstone bears the inscription: "He Lives In His Music." John Coltrane acknowledged Dolphy's influence in a 1962 DownBeat interview, stating: "After he sat in... We began to play some of the things we had only talked about before. Since he's been in the band, he's had a broadening effect on us. There are

11682-433: Was also part of Dolphy's musical career. He was very familiar with the music of composers such as Anton Webern and Alban Berg , had a large record collection that included music by these composers, as well as by Debussy , Ravel , Stravinsky , and Bartók , and owned scores by composers such as Milton Babbitt , Donald Erb , Charles Ives , and Olivier Messiaen . He visited Edgard Varèse at his home, and performed

11800-584: Was asked to become a full member in early 1961. Coltrane had gained an audience and critical notice with Miles Davis 's quintet, but alienated some leading jazz critics when he began to move away from hard bop . Although Coltrane's quintets with Dolphy (including the Village Vanguard and Africa/Brass sessions) are now accepted, they originally provoked DownBeat magazine to brand Coltrane and Dolphy's music as 'anti-jazz'. Coltrane later said of this criticism: "they made it appear that we didn't even know

11918-606: Was begun just after Olé . In August 1961, Hubbard recorded Ready for Freddie (Blue Note), which was also his first collaboration with saxophonist Wayne Shorter . Hubbard became Shorter's bandmate when he replaced Lee Morgan in Art Blakey 's Jazz Messengers later in 1961. He played on more than 10 live and studio recordings with Blakey during one of the most acclaimed eras of the Jazz Messengers, including Caravan , Ugetsu , Mosaic , and Free for All . In all, during

12036-460: Was born and raised in Los Angeles , California . His parents were Sadie and Eric Dolphy, Sr., who immigrated to the United States from Panama . He began music lessons at the age of six, studying clarinet and saxophone privately. While still in junior high, he began to study the oboe, aspiring to a professional symphonic career, and received a two-year scholarship to study at the music school of

12154-537: Was characterized by the use of wide intervals , in addition to employing an array of extended techniques to emulate the sounds of human voices and animals. He used melodic lines that were "angular, zigzagging from interval to interval, taking hairpin turns at unexpected junctures, making dramatic leaps from the lower to the upper register." Although Dolphy's work is sometimes classified as free jazz , his compositions and solos were often rooted in conventional (if highly abstracted) tonal bebop harmony. Eric Dolphy

12272-407: Was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the 1960s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension , as well as on Sonny Rollins' " new thing " track, " East Broadway Run Down " (on the 1966 album of

12390-489: Was diagnosed as being in a diabetic coma. After being administered a shot of insulin he lapsed into insulin shock and died". A later documentary and liner notes dispute this, saying Dolphy collapsed on stage in Berlin and was brought to a hospital. Allegedly, the attending hospital physicians did not know Dolphy was a diabetic and assumed, based on a stereotype of jazz musicians, that he had overdosed on drugs. In this account, he

12508-488: Was documented as early as 1915 in the Chicago Daily Tribune . Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about "jas bands". In an interview with National Public Radio , musician Eubie Blake offered his recollections of the slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It

12626-477: Was hospitalized that night, but his condition worsened. On June 29, Dolphy died after falling into a diabetic coma . While certain details of his death are still disputed, it is largely accepted that he fell into a coma caused by undiagnosed diabetes. The liner notes to the Complete Prestige Recordings box set say that Dolphy "collapsed in his hotel room in Berlin and when brought to the hospital he

12744-523: Was later among the musicians who worked on Mingus Mingus Mingus Mingus Mingus in 1963, and is featured on "Hora Decubitus". In early 1964, Dolphy returned to Mingus' working band, now including Jaki Byard , Johnny Coles , and Clifford Jordan . This sextet worked at the Five Spot before playing at Cornell University and Town Hall in New York (both were recorded: Cornell 1964 and Town Hall Concert ) and subsequently touring Europe. The short tour

12862-540: Was left in a hospital bed for the drugs to run their course. Ted Curson recalled the following: "That really broke me up. When Eric got sick on that date [in Berlin], and him being black and a jazz musician, they thought he was a junkie . Eric didn't use any drugs. He was a diabetic—all they had to do was take a blood test and they would have found that out. So he died for nothing. They gave him some detox stuff and he died, and nobody ever went into that club in Berlin again. That

12980-433: Was major ... , and I carried this device into my melody as well. The publication of his " Memphis Blues " sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"). This composition, as well as his later " St. Louis Blues " and others, included the habanera rhythm, and would become jazz standards . Handy's music career began in

13098-508: Was not included on the original LP release). Dolphy and Little also co-led a quintet at the Five Spot during 1961. The rhythm section consisted of Richard Davis , Mal Waldron and Ed Blackwell . One night was documented and has been released as At the Five Spot (plus a Memorial Album ) as well as the compilation Here and There . In addition, both Dolphy and Little backed Abbey Lincoln on her album Straight Ahead and played on Max Roach 's Percussion Bitter Sweet . Little died at

13216-501: Was passed on to the musician James Newton . It was announced in May 2014 that six boxes of music papers had been donated to the Library of Congress . On June 27, 1964, Dolphy traveled to West Berlin to play with a trio led by Karl Berger at the opening of a jazz club called The Tangent. He was apparently seriously ill when he arrived, and during the first concert was barely able to play. He

13334-495: Was preparing himself to play with Cecil Taylor . He also planned to form a band with Woody Shaw , Richard Davis, and Billy Higgins , and was writing a string quartet , Love Suite . Dolphy was engaged to marry Joyce Mordecai, a classically trained dancer who lived in Paris. He did not smoke and did not use drugs or alcohol. Before he left for Europe in 1964, Dolphy left papers and other effects with his friends Hale Smith and Juanita Smith. Eventually much of this material

13452-517: Was recorded at Rudy Van Gelder 's studio in New Jersey with trumpeter Freddie Hubbard , who shared rooms with Dolphy for a time when the two men first arrived in New York. The album features three Dolphy compositions: "G.W.", dedicated to Gerald Wilson , and the blues "Les" and "245". Out There is closer to third stream music, which would also form part of Dolphy's work, and features Ron Carter on cello. Charles Mingus 's "Eclipse" from this album

13570-420: Was shut down by the U.S. government in 1917. Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. Eric Dolphy His improvisational style

13688-647: Was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The American Dialect Society named it the Word of the 20th Century . Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock -infused fusion . Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as

13806-429: Was the end of that club." Shortly after Dolphy's death, Curson recorded and released Tears for Dolphy , featuring a title track that served as an elegy for his friend. Charles Mingus remarked of Dolphy shortly after his death that "Usually, when a man dies, you remember—or you say you remember—only the good things about him. With Eric, that's all you could remember. I don't remember any drags he did to anybody. The man

13924-529: Was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history". Shep Fields also helped to popularize "Sweet" Jazz music through his appearances and Big band remote broadcasts from such landmark venues as Chicago's Palmer House , Broadway's Paramount Theater and

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