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94 pages

English

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My 3rd book on music, post bop jazz improvisation for all instruments by Olegario Diaz.

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Music

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Publié par	eBookIt.com
Date de parution	21 décembre 2015
Nombre de lectures	0
EAN13	9781456626075
Langue	English

Informations légales : prix de location à la page 0,1000€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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JOHN COLTRANE
MICHAEL BRECKER
LEGACY
POST BOP JAZZ IMPROVISATION FOR ALL INSTRUMENTS

BY OLEGARIO DIAZ

John Coltrane Michael Brecker Legacy
by Olegario Diaz
Copyright 2015 Olegario Diaz
All rights reserved
Edited by Hector Becerra
Published in eBook format by eBookIt.com
http://www.eBookIt.com
ISBN-13: 978-1-4566-2607-5
No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the author. The only exception is by a reviewer, who may quote short excerpts in a review.
Introduction
John Coltrane was, after Charlie Parker, the most revolutionary and widely imitated saxophonist in jazz. Coltrane grew up in High Point, North Carolina, where he learned to play E-flat alto horn, clarinet, and alto saxophone. Afterwards he enrolled at the Ornstein School of Music and the Granoff Studios.
He played alto saxophone in the bands led by Joe Webb and King Kolax, then changed to the tenor to work with Eddie "Cleanhead" Vinson (1947-48). Also performed on either instrument as circumstances demanded while in groups led by Jimmy Heath, Howard McGhee, Dizzy Gillespie (with whom he made his first recording in 1949), Earl Bostic, and lesser-known rhythm-and-blues musicians, but by the time of his membership in Johnny Hodges's septet (1954) he was firmly committed to the tenor instrument. He performed infrequently for about a year, then leaped to fame in Miles Davis' quintet with Red Garland, Paul Chambers, and Philly Joe Jones.
Throughout the 1950s addiction to drugs and then alcoholism disrupted his career. Shortly after leaving Davis, however, he overcame these problems; his album A Love Supreme celebrated this victory and the profound religious experience associated with it.
Coltrane next played in Thelonious Monk's quartet, but owing to contractual conflicts took part in only one early recording session of this legendary group. He rejoined Davis and worked in various quintets and sextets with Cannonball Adderley, Bill Evans, Chambers, Jones, and others. While with Davis he discovered the soprano saxophone.
Having led numerous studio sessions, established a reputation as a composer, and emerged as the leading tenor saxophonist in jazz, Coltrane was now prepared to form his own group; it made its debut at New York's Jazz Gallery in early May 1960. After briefly trying Steve Kuhn, Pete La Roca, and Billy Higgins, Coltrane hired two musicians who became longstanding members of his quartet, McCoy Tyner and Elvin Jones; the third, Jimmy Garrison, joined in 1961. With these sidemen the quartet soon acquired an international following. At times Art Davis added a second double bass to the group; Eric Dolphy also served as an intermittent fifth member on bass clarinet, alto saxophone, and flute, Roy Haynes was the most regular replacement for Elvin Jones during the latter's incarceration for drug addiction.
Coltrane turned to increasingly radical musical styles in the mid-1960s. These controversial experiments attracted large audiences, and by 1965 he was surprisingly affluent. From autumn 1965 his search for new sounds resulted in frequent changes of personnel in his group. New members included Pharoah Sanders, Alice Coltrane (his wife), Rashied Ali (a second drummer until Jones' departure), several drummers as seconds to Ali, and a number of African-influenced percussionists.