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Happy Birthday Animated Gif Animated Gifs Animations Animated Happy Birthday Keefers

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Miles Davis quotKind of Bluequot Six Eye Columbia Records White Lettering on Black Background Vinyl LP

foxmusic — Mon, 11 May 2009 01:21:31 MDT

Miles Davis quotKind of Bluequot Six Eye Columbia Records White Lettering on Black Background Vinyl LP - JAZZ-LpMilesDavisKindOfBlue.jpg

Kind of Blue isn't merely an artistic highlight for Miles Davis it's an album that towers above its peers a record generally considered as the definitive jazz album a universally acknowledged standard of excellence Why does Kind of Blue posses such a mystique Perhaps because this music never flaunts its genius It lures listeners in with the slow luxurious bassline and gentle piano chords of So What From that moment on the record never really changes pace each tune has a similar relaxed feel as the music flows easily Yet Kind of Blue is more than easy listening It's the pinnacle of modal jazz tonality and solos build from the overall key not chord changes giving the music a subtly shifting quality All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance They return because this is an exceptional band Miles Coltrane Bill Evans Cannonball Adderley Paul Chambers Jimmy Cobb one of the greatest in history playing at the peak of its power As Evans said in the original liner notes for the record the band did not play through any of these pieces prior to recording Davis laid out the themes before the tape rolled and then the band improvised The end results were wondrous and still crackle with vitality Kind of Blue works on many different levels It can be played as background music yet it amply rewards close listening It is advanced music that is extraordinarily enjoyable It may be a stretch to say that if you don't like Kind of Blue you don't like jazz but it's hard to imagine it as anything other than a cornerstone of any jazz collectionThroughout a professional career lasting 50 years Miles Davis played the trumpet in a lyrical introspective and melodic style often employing a stemless Harmon mute to make his sound more personal and intimate But if his approach to his instrument was constant his approach to jazz was dazzlingly protean To examine his career is to examine the history of jazz from the mid'40s to the early '90s since he was in the thick of almost every important innovation and stylistic development in the music during that period and he often led the way in those changes both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions It can even be argued that jazz stopped evolving when Davis wasn't there to push it forwardDavis was the son of a dental surgeon Dr Miles Dewey Davis Jr and a music teacher Cleota Mae Henry Davis and thus grew up in the black middle class of east St Louis after the family moved there shortly after his birth He became interested in music during his childhood and by the age of 12 began taking trumpet lessons While still in high school he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends At 17 he joined Eddie Randle's Blue Devils a territory band based in St Louis He enjoyed a personal apotheosis in 1944 just after graduating from high school when he saw and was allowed to sit in with Billy Eckstine's big band who was playing in St Louis The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker the architects of the emerging bebop style of jazz which was characterized by fast inventive soloing and dynamic rhythm variations It is striking that Davis fell so completely under Gillespie and Parker's spell since his own slower and less flashy style never really compared to theirs But bebop was the new sound of the day and the young trumpeter was bound to follow it He did so by leaving the Midwest to attend the Institute of Musical Art in New York City renamed Juilliard in September 1944 Shortly after his arrival in Manhattan he was playing in clubs with Parker and by 1945 he had abandoned his academic studies for a fulltime career as a jazz musician initially joining Benny Carter's band and making his first recordings as a sideman He played with Eckstine in 19461947 and was a member of Parker's group in 19471948 making his recording debut as a leader on a 1947 session that featured Parker pianist John Lewis bassist Nelson Boyd and drummer Max Roach This was an isolated date however and Davis spent most of his time playing and recording behind Parker But in the summer of 1948 he organized a ninepiece band with an unusual horn section In addition to himself it featured an alto saxophone a baritone saxophone a trombone a French horn and a tuba This nonet employing arrangements by Gil Evans and others played for two weeks at the Royal Roost in New York in September Earning a contract with Capitol Records the band went into the studio in January 1949 for the first of three sessions which produced 12 tracks that attracted little attention at first The band's relaxed sound however affected the musicians who played it among them Kai Winding Lee Konitz Gerry Mulligan John Lewis JJ Johnson and Kenny Clarke and it had a profound influence on the development of the cool jazz style on the West Coast In February 1957 Capitol finally issued the tracks together on an LP called Birth of the Cool Davis meanwhile had moved on to coleading a band with pianist Tadd Dameron in 1949 and the group took him out of the country for an appearance at the Paris Jazz Festival in May But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s His performances and recordings became more haphazard but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years He managed to kick his habit by the middle of the decade and he made a strong impression playing 'Round Midnight at the Newport Jazz Festival in July 1955 a performance that led the major label Columbia Records to sign him The prestigious contract allowed him to put together a permanent band and he organized a quintet featuring saxophonist John Coltrane pianist Red Garland bassist Paul Chambers and drummer Philly Joe Jones who began recording his Columbia debut 'Round About Midnight in October As it happened however he had a remaining five albums on his Prestige contract and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment The latter resulted in the Prestige albums The New Miles Davis Quintet Cookin' Workin' Relaxin' and Steamin' making Davis' first quintet one of his betterdocumented outfits In May 1957 just three months after Capitol released the Birth of the Cool LP Davis again teamed with arranger Gil Evans for his second Columbia LP Miles Ahead Playing flgelhorn Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones Released in 1958 the album was later inducted into the Grammy Hall of Fame intended to honor recordings made before the Grammy Awards were instituted in 1959 In December 1957 Davis returned to Paris where he improvised the background music for the film L'Ascenseur pour l'Echafaud Escalator to the Gallows Jazz Track an album containing this music earned him a 1960 Grammy nomination for Best Jazz Performance Solo or Small Group He added saxophonist Cannonball Adderley to his group creating the Miles Davis Sextet who recorded the album Milestones in April 1958 Shortly after this recording Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums In July Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess Back in the sextet Davis began to experiment with modal playing basing his improvisations on scales rather than chord changes This led to his next band recording Kind of Blue in March and April 1959 an album that became a landmark in modern jazz and the most popular disc of Davis' career eventually selling over two million copies a phenomenal success for a jazz record In sessions held in November 1959 and March 1960 Davis again followed his pattern of alternating band releases and collaborations with Gil Evans recording Sketches of Spain containing traditional Spanish music and original compositions in that style The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance Large Group and Best Jazz Composition More Than 5 minutes they won in the latter categoryBy the time Davis returned to the studio to make his next band album in March 1961 Adderley had departed Wynton Kelly had replaced Bill Evans at the piano and John Coltrane had left to begin his successful solo career being replaced by saxophonist Hank Mobley following the brief tenure of Sonny Stitt Nevertheless Coltrane guested on a couple of tracks of the album called Someday My Prince Will Come The record made the pop charts in March 1962 but it was preceded into the bestseller lists by the Davis quintet's next recording the twoLP set Miles Davis in Person Friday Saturday Nights at the Blackhawk San Francisco recorded in April The following month Davis recorded another live show as he and his band were joined by an orchestra led by Gil Evans at Carnegie Hall in May The resulting Miles Davis at Carnegie Hall was his third LP to reach the pop charts and it earned Davis and Evans a 1962 Grammy nomination for Best Jazz Performance by a Large Group Instrumental Davis and Evans teamed up again in 1962 for what became their final collaboration Quiet Nights The album was not issued until 1964 when it reached the charts and earned a Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group In 1996 Columbia Records released a sixCD box set Miles Davis Gil Evans The Complete Columbia Studio Recordings that won the Grammy for Best Historical Album Quiet Nights was preceded into the marketplace by Davis' next band effort Seven Steps to Heaven recorded in the spring of 1963 with an entirely new lineup consisting of saxophonist George Coleman pianist Victor Feldman bassist Ron Carter and drummer Frank Butler During the sessions Feldman was replaced by Herbie Hancock and Butler by Tony Williams The album found Davis making a transition to his next great group of which Carter Hancock and Williams would be members It was another pop chart entry that earned 1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist or Small Group and Best Instrumental Jazz Performance by a Large Group The quintet followed with two live albums Miles Davis in Europe recorded in July 1963 which made the pop charts and earned a 1964 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group and My Funny Valentine recorded in February 1964 and released in 1965 when it reached the pop charts By September 1964 the final member of the classic Miles Davis Quintet of the 1960s was in place with the addition of saxophonist Wayne Shorter to the team of Davis Carter Hancock and Williams While continuing to play standards in concert this unit embarked on a series of albums of original compositions contributed by the band members starting in January 1965 with ESP followed by Miles Smiles 1967 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group 7 or Fewer Sorcerer Nefertiti Miles in the Sky 1968 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group and Filles de Kilimanjaro By the time of Miles in the Sky the group had begun to turn to electric instruments presaging Davis' next stylistic turn By the final sessions for Filles de Kilimanjaro in September 1968 Hancock had been replaced by Chick Corea and Carter by Dave Holland But Hancock along with pianist Joe Zawinul and guitarist John McLaughlin participated on Davis' next album In a Silent Way 1969 which returned the trumpeter to the pop charts for the first time in four years and earned him another smallgroup jazz performance Grammy nomination With his next album Bitches Brew Davis turned more overtly to a jazzrock style Though certainly not conventional rock music Davis' electrified sound attracted a young nonjazz audience while putting off traditional jazz fans Bitches Brew released in March 1970 reached the pop Top 40 and became Davis' first album to be certified gold It also earned a Grammy nomination for Best Instrumental Arrangement and won the Grammy for largegroup jazz performance He followed it with such similar efforts as Miles Davis at Fillmore East 1971 Grammy nomination for Best Jazz Performance by a Group A Tribute to Jack Johnson LiveEvil On the Corner and In Concert all of which reached the pop charts Meanwhile Davis' former sidemen became his disciples in a series of fusion groups Corea formed Return to Forever Shorter and Zawinul led Weather Report and McLaughlin and former Davis drummer Billy Cobham organized the Mahavishnu Orchestra Starting in October 1972 when he broke his ankles in a car accident Davis became less active in the early '70s and in 1975 he gave up recording entirely due to illness undergoing surgery for hip replacement later in the year Five years passed before he returned to action by recording The Man With the Horn in 1980 and going back to touring in 1981 By now he was an elder statesman of jazz and his innovations had been incorporated into the music at least by those who supported his eclectic approach He was also a celebrity whose appeal extended far beyond the basic jazz audience He performed on the worldwide jazz festival circuit and recorded a series of albums that made the pop charts including We Want Miles 1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist Star People Decoy and You're Under Arrest In 1986 after 30 years with Columbia he switched to Warner Bros Records and released Tutu which won him his fourth Grammy for Best Jazz Instrumental Performance Aura an album he had recorded in 1984 was released by Columbia in 1989 and brought him his fifth Grammy for Best Jazz Instrumental Performance by a Soloist on a Jazz Recording Davis surprised jazz fans when on July 8 1991 he joined an orchestra led by Quincy Jones at the Montreux Jazz Festival to perform some of the arrangements written for him in the late '50s by Gil Evans he had never previously looked back at an aspect of his career He died of pneumonia respiratory failure and a stroke within months DooBop his last studio album appeared in 1992 It was a collaboration with rapper Easy Mo Bee and it won a Grammy for Best Rhythm Blues Instrumental Performance with the track Fantasy nominated for Best Jazz Instrumental Solo Released in 1993 Miles Quincy Live at Montreux won Davis his seventh Grammy for Best Large Jazz Ensemble PerformanceMiles Davis took an allinclusive constantly restless approach to jazz that had begun to fall out of favor by the time of his death even as it earned him controversy during his lifetime It was hard to recognize the bebop acolyte of Charlie Parker in the flamboyantly dressed leader with the hair extensions who seemed to keep one foot on a wahwah pedal and one hand on an electric keyboard in his later years But he did much to popularize jazz reversing the trend away from commercial appeal that bebop began And whatever the fripperies and explorations he retained an ability to play moving solos that endeared him to audiences and demonstrated his affinity with tradition At a time when jazz is inclining toward academia and repertory orchestras rather than moving forward he is a reminder of the music's essential quality of boundless invention using all available means

Miles Davis quotCollectors' Itemsquot Prestige Records LP 7044 Jazz Vinyl Record Album Deep Groove

foxmusic — Mon, 11 May 2009 01:21:44 MDT

Miles Davis quotCollectors' Itemsquot Prestige Records LP 7044 Jazz Vinyl Record Album Deep Groove - JAZZ-LpMilesDavisCollectorsItem-1.jpg

This set lives up to its title by including such interesting sessions as the 1953 date on which Miles Davis welcomed the two tenors of Sonny Rollins and Charlie Parker other meetings with Rollins in 1951 and 1956 and a moody 1955 date with bassist Charles Mingus trombone vibes and drums a young Elvin Jones Highlights include No Line Vierd Blues In Your Own Sweet Way Nature Boy and There's No You It's classic if often overlooked music from a variety of immortal jazzmen Throughout a professional career lasting 50 years Miles Davis played the trumpet in a lyrical introspective and melodic style often employing a stemless Harmon mute to make his sound more personal and intimate But if his approach to his instrument was constant his approach to jazz was dazzlingly protean To examine his career is to examine the history of jazz from the mid'40s to the early '90s since he was in the thick of almost every important innovation and stylistic development in the music during that period and he often led the way in those changes both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions It can even be argued that jazz stopped evolving when Davis wasn't there to push it forwardDavis was the son of a dental surgeon Dr Miles Dewey Davis Jr and a music teacher Cleota Mae Henry Davis and thus grew up in the black middle class of east St Louis after the family moved there shortly after his birth He became interested in music during his childhood and by the age of 12 began taking trumpet lessons While still in high school he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends At 17 he joined Eddie Randle's Blue Devils a territory band based in St Louis He enjoyed a personal apotheosis in 1944 just after graduating from high school when he saw and was allowed to sit in with Billy Eckstine's big band who was playing in St Louis The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker the architects of the emerging bebop style of jazz which was characterized by fast inventive soloing and dynamic rhythm variations It is striking that Davis fell so completely under Gillespie and Parker's spell since his own slower and less flashy style never really compared to theirs But bebop was the new sound of the day and the young trumpeter was bound to follow it He did so by leaving the Midwest to attend the Institute of Musical Art in New York City renamed Juilliard in September 1944 Shortly after his arrival in Manhattan he was playing in clubs with Parker and by 1945 he had abandoned his academic studies for a fulltime career as a jazz musician initially joining Benny Carter's band and making his first recordings as a sideman He played with Eckstine in 19461947 and was a member of Parker's group in 19471948 making his recording debut as a leader on a 1947 session that featured Parker pianist John Lewis bassist Nelson Boyd and drummer Max Roach This was an isolated date however and Davis spent most of his time playing and recording behind Parker But in the summer of 1948 he organized a ninepiece band with an unusual horn section In addition to himself it featured an alto saxophone a baritone saxophone a trombone a French horn and a tuba This nonet employing arrangements by Gil Evans and others played for two weeks at the Royal Roost in New York in September Earning a contract with Capitol Records the band went into the studio in January 1949 for the first of three sessions which produced 12 tracks that attracted little attention at first The band's relaxed sound however affected the musicians who played it among them Kai Winding Lee Konitz Gerry Mulligan John Lewis JJ Johnson and Kenny Clarke and it had a profound influence on the development of the cool jazz style on the West Coast In February 1957 Capitol finally issued the tracks together on an LP called Birth of the Cool Davis meanwhile had moved on to coleading a band with pianist Tadd Dameron in 1949 and the group took him out of the country for an appearance at the Paris Jazz Festival in May But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s His performances and recordings became more haphazard but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years He managed to kick his habit by the middle of the decade and he made a strong impression playing 'Round Midnight at the Newport Jazz Festival in July 1955 a performance that led the major label Columbia Records to sign him The prestigious contract allowed him to put together a permanent band and he organized a quintet featuring saxophonist John Coltrane pianist Red Garland bassist Paul Chambers and drummer Philly Joe Jones who began recording his Columbia debut 'Round About Midnight in October As it happened however he had a remaining five albums on his Prestige contract and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment The latter resulted in the Prestige albums The New Miles Davis Quintet Cookin' Workin' Relaxin' and Steamin' making Davis' first quintet one of his betterdocumented outfits In May 1957 just three months after Capitol released the Birth of the Cool LP Davis again teamed with arranger Gil Evans for his second Columbia LP Miles Ahead Playing flgelhorn Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones Released in 1958 the album was later inducted into the Grammy Hall of Fame intended to honor recordings made before the Grammy Awards were instituted in 1959 In December 1957 Davis returned to Paris where he improvised the background music for the film L'Ascenseur pour l'Echafaud Escalator to the Gallows Jazz Track an album containing this music earned him a 1960 Grammy nomination for Best Jazz Performance Solo or Small Group He added saxophonist Cannonball Adderley to his group creating the Miles Davis Sextet who recorded the album Milestones in April 1958 Shortly after this recording Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums In July Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess Back in the sextet Davis began to experiment with modal playing basing his improvisations on scales rather than chord changes This led to his next band recording Kind of Blue in March and April 1959 an album that became a landmark in modern jazz and the most popular disc of Davis' career eventually selling over two million copies a phenomenal success for a jazz record In sessions held in November 1959 and March 1960 Davis again followed his pattern of alternating band releases and collaborations with Gil Evans recording Sketches of Spain containing traditional Spanish music and original compositions in that style The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance Large Group and Best Jazz Composition More Than 5 minutes they won in the latter categoryBy the time Davis returned to the studio to make his next band album in March 1961 Adderley had departed Wynton Kelly had replaced Bill Evans at the piano and John Coltrane had left to begin his successful solo career being replaced by saxophonist Hank Mobley following the brief tenure of Sonny Stitt Nevertheless Coltrane guested on a couple of tracks of the album called Someday My Prince Will Come The record made the pop charts in March 1962 but it was preceded into the bestseller lists by the Davis quintet's next recording the twoLP set Miles Davis in Person Friday amp Saturday Nights at the Blackhawk San Francisco recorded in April The following month Davis recorded another live show as he and his band were joined by an orchestra led by Gil Evans at Carnegie Hall in May The resulting Miles Davis at Carnegie Hall was his third LP to reach the pop charts and it earned Davis and Evans a 1962 Grammy nomination for Best Jazz Performance by a Large Group Instrumental Davis and Evans teamed up again in 1962 for what became their final collaboration Quiet Nights The album was not issued until 1964 when it reached the charts and earned a Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group In 1996 Columbia Records released a sixCD box set Miles Davis amp Gil Evans The Complete Columbia Studio Recordings that won the Grammy for Best Historical Album Quiet Nights was preceded into the marketplace by Davis' next band effort Seven Steps to Heaven recorded in the spring of 1963 with an entirely new lineup consisting of saxophonist George Coleman pianist Victor Feldman bassist Ron Carter and drummer Frank Butler During the sessions Feldman was replaced by Herbie Hancock and Butler by Tony Williams The album found Davis making a transition to his next great group of which Carter Hancock and Williams would be members It was another pop chart entry that earned 1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist or Small Group and Best Instrumental Jazz Performance by a Large Group The quintet followed with two live albums Miles Davis in Europe recorded in July 1963 which made the pop charts and earned a 1964 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group and My Funny Valentine recorded in February 1964 and released in 1965 when it reached the pop charts By September 1964 the final member of the classic Miles Davis Quintet of the 1960s was in place with the addition of saxophonist Wayne Shorter to the team of Davis Carter Hancock and Williams While continuing to play standards in concert this unit embarked on a series of albums of original compositions contributed by the band members starting in January 1965 with ESP followed by Miles Smiles 1967 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group 7 or Fewer Sorcerer Nefertiti Miles in the Sky 1968 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group and Filles de Kilimanjaro By the time of Miles in the Sky the group had begun to turn to electric instruments presaging Davis' next stylistic turn By the final sessions for Filles de Kilimanjaro in September 1968 Hancock had been replaced by Chick Corea and Carter by Dave Holland But Hancock along with pianist Joe Zawinul and guitarist John McLaughlin participated on Davis' next album In a Silent Way 1969 which returned the trumpeter to the pop charts for the first time in four years and earned him another smallgroup jazz performance Grammy nomination With his next album Bitches Brew Davis turned more overtly to a jazzrock style Though certainly not conventional rock music Davis' electrified sound attracted a young nonjazz audience while putting off traditional jazz fans Bitches Brew released in March 1970 reached the pop Top 40 and became Davis' first album to be certified gold It also earned a Grammy nomination for Best Instrumental Arrangement and won the Grammy for largegroup jazz performance He followed it with such similar efforts as Miles Davis at Fillmore East 1971 Grammy nomination for Best Jazz Performance by a Group A Tribute to Jack Johnson LiveEvil On the Corner and In Concert all of which reached the pop charts Meanwhile Davis' former sidemen became his disciples in a series of fusion groups Corea formed Return to Forever Shorter and Zawinul led Weather Report and McLaughlin and former Davis drummer Billy Cobham organized the Mahavishnu Orchestra Starting in October 1972 when he broke his ankles in a car accident Davis became less active in the early '70s and in 1975 he gave up recording entirely due to illness undergoing surgery for hip replacement later in the year Five years passed before he returned to action by recording The Man With the Horn in 1980 and going back to touring in 1981 By now he was an elder statesman of jazz and his innovations had been incorporated into the music at least by those who supported his eclectic approach He was also a celebrity whose appeal extended far beyond the basic jazz audience He performed on the worldwide jazz festival circuit and recorded a series of albums that made the pop charts including We Want Miles 1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist Star People Decoy and You're Under Arrest In 1986 after 30 years with Columbia he switched to Warner Bros Records and released Tutu which won him his fourth Grammy for Best Jazz Instrumental Performance Aura an album he had recorded in 1984 was released by Columbia in 1989 and brought him his fifth Grammy for Best Jazz Instrumental Performance by a Soloist on a Jazz Recording Davis surprised jazz fans when on July 8 1991 he joined an orchestra led by Quincy Jones at the Montreux Jazz Festival to perform some of the arrangements written for him in the late '50s by Gil Evans he had never previously looked back at an aspect of his career He died of pneumonia respiratory failure and a stroke within months DooBop his last studio album appeared in 1992 It was a collaboration with rapper Easy Mo Bee and it won a Grammy for Best Rhythm amp Blues Instrumental Performance with the track Fantasy nominated for Best Jazz Instrumental Solo Released in 1993 Miles amp Quincy Live at Montreux won Davis his seventh Grammy for Best Large Jazz Ensemble PerformanceMiles Davis took an allinclusive constantly restless approach to jazz that had begun to fall out of favor by the time of his death even as it earned him controversy during his lifetime It was hard to recognize the bebop acolyte of Charlie Parker in the flamboyantly dressed leader with the hair extensions who seemed to keep one foot on a wahwah pedal and one hand on an electric keyboard in his later years But he did much to popularize jazz reversing the trend away from commercial appeal that bebop began And whatever the fripperies and explorations he retained an ability to play moving solos that endeared him to audiences and demonstrated his affinity with tradition At a time when jazz is inclining toward academia and repertory orchestras rather than moving forward he is a reminder of the music's essential quality of boundless invention using all available means

green blue stars hearts

Kiss_Fist — Sat, 9 May 2009 12:56:44 MDT

green blue stars hearts - bkk3fb4fs.png

tattoos

lulita6014 — Mon, 11 May 2009 03:33:35 MDT

tattoos - ear-skull-tattoo.jpg

carabelas

bugs bunny old school

boomsheika — Mon, 11 May 2009 00:51:23 MDT

bugs bunny old school - bugs-bunny-forever.jpg