#Claude Thornhill

[jazzdailyblog]

Nick Fatool: The Perfect Jazz Percussionist of Swing and Dixieland

Introduction: Nick Fatool, a drummer who seamlessly transitioned between the swing and Dixieland jazz eras, left an indelible mark on American jazz music. Known for his impeccable timing, versatile drumming style, and ability to adapt to various bandleaders’ unique styles, Fatool carved out a prominent role in the evolution of jazz from the 1930s through the 1960s. His legacy continues to…

[dayniac]

Columbia Records ad in Life magazine- November 3, 1947.

[oldshowbiz]

Claude Thornhill and his Orchestra at the Hollywood Palladium on Sunset Blvd

[keepersofnostalgia]

One of my favorite people to turn on while I'm cooking...Ms. Maxine Sullivan, photographed possibly in the early 1940s.

Sullivan sang with everyone from Claude Thornhill to Louis Armstrong to Jimmie Lunceford. She also sang with her husband of two years, John Kirby, and had an orchestra of her own.

You can listen to the smooth vocals of Maxine Sullivan on this week's episode of WINE-DOWN SUNDAYS - TONIGHT at 9PM EST on AG Marie TV.

[New York Public Library Digital Collections]

[liberty1776]

My Grandfather on left, assistant football coach at University of Pittsburgh, with Claude "Tiny" Thornhill on right. Thornhill played college football at the University of Pittsburgh under legendary coach Glenn "Pop" Warner. An All-American guard and tackle, Thornhill was given the ironic nickname "Tiny" due to his imposing size. Following his graduation from Pitt, Tiny became an assistant coach to Pop Warner but left midway through the season to play pro football with the Massillon Tigers, with teammates that included Knute Rockne, Jock Sutherland, Gus Dorais, Bob Higgins, and Bob Peck.[2] He also played in the first-ever National Football League season in 1920 for the Cleveland Tigers and Buffalo All-Americans.

My dad told me a story his father had told him about Tiny Thornhill, one summer Thornhill had spent a lot of time in the sun and had a dark suntan. This was before college football was racially intergrated. In one of the first games of the season an opposing player on the line across from Thornhill told him , " I ain't never played with no N word slur before" Thornhill quipped back, "Thats OK, you woln't be playing long!" a few plays later the opposing player was carried from the field.

[iwtvfanevents]

I don't know if this has been pointed out but the music played in episode 2 during the claudia & louis conversation

is Snowfall by Claude Thornhill and his Orchestra

It was bugging me bc I thought it was daniel hart but oo it's such a beautiful piece from the early 40s ! So lush <3

Oh, fantastic find, thank you so much for sharing!

It's a gorgeous piece ❤️

[savage-kult-of-gorthaur]

"THEIR SHORT-LIVED QUARTET GAVE THE JAZZ WORLD OF THE EARLY 1950s AN EXIT RAMP FROM THE INCREASINGLY HARD AND EDGY BEBOP SCENE."

PIC(A) INFO: Spotlight on Chet Baker and Gerry Mulligan of Gerry Mulligan's original 1952-53 piano-less quartet with Chet Baker.

PIC #2: The same photograph, used for the cover art to "The Best of Gerry Mulligan Quartet with Chet Baker," released in March 1991 on Compact Disc by Pacific Jazz.

MINI-OVERVIEW: "When it comes to the beginnings of West Coast jazz (Cool Jazz, if you prefer), there was probably no more influential pairing than Gerry Mulligan and Chet Baker. Their short-lived quartet gave the jazz world of the early 1950s an exit ramp from an increasingly hard and edgy bebop scene, where listeners could refresh with music that was like a warm breeze and a cool drink. Even all these decades later it has that same effect.

PART II: After writing for several big bands (such as that of Claude Thornhill) it was Mulligan’s writing that got him an invitation to Miles’ Davis’ select group of 1949-50, which would become remembered as a pioneer of the cool jazz or west coast jazz movement of the early 1950’s. And it is hard to forget a tall, lanky redhead playing a baritone sax in the jazz world of that time.

PART III: After the Davis group packed it in, Mulligan began a gig writing arrangements for Stan Kenton and performing informally in a New York club called The Hague. It was there that he met a young trumpet player named Chesley (Chet) Baker.

PART IV: Baker was much less formed as a musician than was Mulligan and played largely by ear, but the two of them soon began playing regularly together. When the piano was taken out of the club to accommodate a new headline act, the two decided on the unusual form of a quartet with no piano, just Mulligan and Baker backed by a bass and drums (Bob Whitlock and the versatile Chico Hamilton). With the two horns doing 100% of the actual music (although I may get some bass and drum players upset by this characterization) the two had their hands full without a piano to help set the chords. But as you will see, they managed quite nicely."

-- J.P. CAVANAUGH L, "Gerry Mulligan and Chet Baker -- Two Cool Cats," published March 12, 2021

Sources: www.flickr.com/photos/poberlin/2000679776 & https://jpcavanaugh.com/2021/03/12/gerry-mulligan-and-chet-baker-two-cool-cats.

[sempiternal-meridians]

Snowfall Softly Gently drift down Snowflakes Whisper "Neath my window Covering trees Misty lights Velvet breeze "Round my doorstep Gently Softly Silent Snowfall Snowfall Lyrics by: Claude Thornhill

[ayliffe]

37, 50, 69, 91?

37) lone digger - caravan palace 50) born to die - lana del rey 69) answered here 91) snowfall - claude thornhill and his orchestra

[jazzdailyblog]

Bill Crow: A Life in Jazz, Stories, and Swing

Introduction: When it comes to jazz, the spotlight is often on the front-line players—the saxophonists, the trumpeters, and the vocalists. But behind the scenes and rhythms of many iconic performances are the bassists, the unsung heroes of jazz ensembles. One such figure, Bill Crow, has not only held down the low end with unmatched skill but has also captured the spirit of the jazz world through…

[sheetmusiclibrarypdf]

Tom Jobim (1927-1994) Bossa Nova and Jazz together

Tom Jobim (1927-1994) Bossa Nova and Jazz together Best Sheet Music download from our Library. Please, subscribe to our Library. Thank you! Tom Jobim Live Concert 1986, Festival International de Jazz de Montréal, Canada (Ao vivo em Montreal) Download Jobim's complete sheet music from our Library. Track List:

Tom Jobim (1927-1994) Bossa Nova and Jazz together

It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil—and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source. Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning.

As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner. Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the time he turned 20, the lure of music was too powerful, and so he started playing piano in nightclubs and working in recording studios. He made his first record in 1954 backing singer Bill Farr as the leader of “Tom and His Band” (Tom was Jobim's lifelong nickname), and he first found fame in 1956 when he teamed up with poet Vinicius de Morales to provide part of the score for a play called Orfeo do Carnaval (later made into the famous film Black Orpheus). In 1958, the then-unknown Brazilian singer Joao Gilberto recorded some of Jobim's songs, which had the effect of launching the phenomenon known as bossa nova. Jobim's breakthrough outside Brazil occurred in 1962 when Stan Getz and Charlie Byrd scored a surprise hit with his tune “Desafinado”—and later that year, he and several other Brazilian musicians were invited to participate in a Carnegie Hall showcase. Fueled by Jobim's songs, the bossa nova became an international fad, and jazz musicians jumped on the bandwagon, recording album after album of bossa novas until the trend ran out of commercial steam in the late '60s. Jobim himself preferred the recording studios to touring, making several lovely albums of his music as a pianist, guitarist and singer for Verve, Warner Bros., Discovery, A&M, CTI and MCA in the '60s and '70s, and Verve again in the last decade of his life. Early on, he started collaborating with arranger/conductor Claus Ogerman, whose subtle, caressing, occasionally moody charts gave his records a haunting ambiance. When Brazilian music was in its American eclipse after the '60s, a victim of overexposure and the burgeoning rock revolution, Jobim retreated more into the background, concentrating much energy upon film and TV scores in Brazil. But by 1985, as the idea of world music and a second Brazilian wave gathered steam, Jobim started touring again with a group containing his second wife Ana Lontra, his son Paulo, daughter Elizabeth and various musician friends. At the time of his final concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at last was receiving the universal recognition he deserved, and a plethora of tribute albums and concerts followed in the wake of his sudden death in New York City of heart failure. Jobim's reputation as one of the great songwriters of the century is now secure, nowhere more so than on the jazz scene where every other set seems to contain at least one bossa nova. Composer Antonio Carlos Jobim AKA Tom Jobim was born on January 25, 1927 in Tijuca, Rio de Janeiro, Brazil. He showed a natural curiosity towards music early on and at age 13 discovered an old piano in his parents’ school and started experimenting with sounds and notes. Although he took some private piano lessons he was for the most part self-taught. At age 20 he gave up on his original plans to become an architect and devoted himself completely to music. He started his career in 1952 playing piano in small cafes around the city. His early musical influences included the legendary composer Pixinguinha, Claude Debussy and jazz. In 1954 he cut his first record with his band called “Tom and His Band” backing the singer Bill Farr. The same year he apprenticed to arranger Radames Gnatali from whom he learned the rudiments of arranging and shifted careers and for a while and became an arranger for local singers. In 1956 he collaborated with poet and diplomat Vinicius de Moraes on an operetta entitled Orfeo do Carnaval that opened to great acclaim at the Metropolitan Opera House in Rio. The French director Marcel Camus transferred it to the big screen under the title Black Orpheus. The film was honored by the Cannes Film Festival with a Palme D’Or in 1959. His first hit was Felicidade from this operetta. The song gained immense popularity when Billy Eckstine added English lyrics to it in the late 1950s. Moraes and Jobim also teamed up on other hits including Girl from Ipanema and Agua de Beber among others. In 1958 Brazilian guitarist and vocalist Joao Gilberto released a record of Jobim songs that marked the beginning of the bossa nova phenomenon. 1962 marked an important change in Jobim’s career when he broke out into the world scene after Stan Getz popularized his tune “Desafinado”. He and his colleagues were invited to perform at Carnegie Hall and the popularity of the bossa nova took off. From 1962 till the end of the 60s, some jazz musicians recorded multitude of bossa nova albums. Jobim himself, in addition to becoming one of the most recorded composers, cut several albums for a variety of labels, often in collaboration with Claus Ogerman. The 1970s and 80s marked a time of low popularity for jazz and for Brazilian music due to the rock explosion. Jobim returned to Brazil and worked on TV and film scores. By 1985 though bossa nova and Brazilian music experienced a renaissance and Jobim started touring again performing up to few months before his death in New York City of heart failure on December 8, 1994.

Tom Jobim Live Concert 1986, Festival International de Jazz de Montréal, Canada (Ao vivo em Montreal)

Download Jobim's complete sheet music from our Library.

https://www.youtube.com/watch?v=uadORQdlb9k

Track List:

4:06 Água de Beber 7:34 Chega de Saudade 11:40 Two Kites 16:27 Wave (Instrumental) 19:26 Borzeguim 24:04 Falando de amor 27:22 Gabriela 36:27 A Felicidade 40:59 Read the full article

[radiomax]

In Memoriam: Don Sebesky (1937 - 2023)

Don Sebesky (December 10, 1937 – April 29, 2023) was an American composer, arranger, conductor, and jazz trombonist/keyboardist. Sebesky trained in trombone at the Manhattan School of Music; in his early career, he played with Kai Winding, Claude Thornhill, Tommy Dorsey, Warren Covington, Maynard Ferguson and Stan Kenton. In 1960 he began devoting himself primarily to arranging and conducting;…

[pythagoreancenter]

On Immortality

On Immortality

A Dialogue by George Santayana Set to music by Don Stratton Directed by Dan Barrett with Nancy Ellen Ogle and Gregory Shaw, narrators and the Swingmatism Jazz Ensemble: Jay Bregman, tenor saxophone Dan Barrett, trombone Colin Graebert, piano Bob Roman, bass Bobby Duron, drums

Notes An ancient Greek myth about the after-life turns out to have been true. A stranger who has recently died finds herself on a raft crossing the River Styx, being ferried along with other newly departed souls to the Island of Remembrance by the god Charon.

In this modern version of the myth, Santayana engages the departed soul in conversation with the gaunt ferryman, exploring issues of life and death. In Santayana’s view, truth is simply everything that has actually happened; as such, it is impossible for anyone to live in the present and, at the same time, live in the truth. On realizing this view, the stranger becomes liberated from previous notions about living and dying and is newly able to enjoy the phenomena of existence as they arise.

Don Stratton (1928-2016) was a teacher, composer and trumpet player of national acclaim. In 1976, Don's “The Seasons in Maine” was performed by the Bangor Symphony at the Kennedy Center in Washington D.C., representing our State in the national bicentennial celebrations.

A Clark Terry protégé, Don was known as a trumpet player influenced by Bix Beiderbecke (as well as modern jazz trumpet players. Notably he blew with Phil Woods, Kenny Clarke), Elliot Lawrence and Claude Thornhill. His American Post-Forty Blues, for orchestra and solo trumpet is a perfect example of Third Stream Music.

As Professor of Music at UMaine, Don created the 20th Century Music Ensemble, in which students enthusiastically performed a wide variety of jazz along with far out experimental works and lyrical compositions. Don's music is archived in a special collection at the Bangor Public Library.

Philosopher George Santayana (1863-1952) wrote in a broad spectrum of genres. His major works include The Life of Reason (5 vols.), The Realms of Being (4 vols.) and a best-selling novel, The Last Puritan. He spent his final years living in Rome, where he wrote “On Immortality,” which was published posthumously.

Emeritus Professor of History, and member of the Board of Directors of the International Society for Neoplatonic Studies, Jay Bregman has taught at UCLA, UC Berkeley and Howard University, as well as at UMaine, where he has taught History of Jazz for over 30 years. He studied Jazz with Lennie Tristano, Yusef Lateef and Don Stratton, and played with Don. For a decade, he and Don taught an Honors Seminar on American Aesthetics and Subcultures, covering such topics as the New England Transcendentalists, Zen, Ives and Monk, Neoplatonism, the Beat Authors and Pythagorean Aesthetics. Tonight’s composition reflects that interdisciplinarity.

UMaine Professor Nancy Ellen Ogle’s work with contemporary composers is available on recordings on Capstone, Cormorant, Woodsum, New Media Productions and Parma labels. In 2014, Nancy was a Grammy nominee in the category of best classical solo vocal recording for a CD of Scott Brickman’s music featuring Ogle singing his Dear Darwin songs (Ravello Recordings). Nancy has premiered several of Don Stratton’s compositions, including A Recital of Birds and Ktaadn.

A fellow of the F.S.A., Gregory J. Shaw is Professor of Religious Studies at Stonehill College (Massachusetts, USA). His research interests include Religions of Late Antiquity, especially Neoplatonism; history of divination with an emphasis on dreams; contemporary religious movements that draw from Hermetic and Platonic sources; Jungian psychology; UFO phenomena.

Dan Barrett teaches trombone, tuba, jazz improvisation, jazz piano and arranging, and runs the jazz combo program at the University of Maine. He has been privileged to perform with many jazz greats including Bob Mintzer, Conrad Herwig, Andy Martin, John Fedchock, Thomas Gansch, Ingrid Jensen, Phil Markowitz, Eric Marienthal and Byron Stripling.

Colin Graebert has been playing jazz piano in Maine for almost twenty years. He is an active member or the Maine music scene as an accompanist, choir director, vocalist, musical theatre director and clinician. He recently graduated from the University of Maine with a Bachelor of Music in Music Education and is looking forward to officially joining the ranks of Maine’s music teachers. He lives in Stockton Springs with his wife, Hilary, and two children, Eric and Ruth.

UMaine graduate and student of Don Stratton, Bob Roman maintains an active performing schedule. In addition to this ensemble, he is also a member of the house band on “The Nite Show with Danny Cashman” and many others.

Bobby Duron has been playing drums professionally for over 40 years. Originally from Dallas, Texas, he now resides in Hampden, Maine, where he is a professor at Husson University and an active freelance musician and clinician in the greater Bangor area.

[oldshowbiz]

This song was a standard of the Tonight Show orchestra between 1964 and 1967. 

You can hear it frequently when they're returning from commercial. 

Just fantastic.

[twafordizzy]

Bijna alle dagen muziek: Queen en Quill

Bijna alle dagen muziek: Queen en Quill

Queen (’70, ’80 en ’90) is British glamrock, hardrock en symfo-rock. Maar ook pop, opera en theater. Ik heb er een haat-liefde-verhouding mee. Als ik voor de 10-miljoenste keer Bohemian R hoor, zap ik verder. Zo uitgekauwd. Is er dan niets anders dan die hits? Ik ben anders. Ik verveel me snel bij alles wat veel en vaak te horen is en door iedereen ‘erg’ gewaardeerd wordt. Ik vlucht de kamer uit,…

[mosaicrecords]

Remembering Lee Konitz

Richard Williams has, as usual, written a brilliant essay on the unusual artistry Lee Konitz whom we lost last week. Lee was artistic loner who was a willing and open-minded joiner when it made sense. He was also one of the driest and funniest of jazz musicians. To give you an example, he started to play an improvised alto saxophone solo at Ira Gitler’s memorial last year. About a minute into it, a woman walked into the back of the room and sat down. Lee took the horn out of his mouth and said, “I’ll start again.”

-Michael Cuscuna

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