George Russell (composer) - Early Career

Early Career

After his release from the hospital, he played drums with Benny Carter's band, but decided to give up drumming as a vocation after hearing Max Roach, who replaced him in the orchestra. Inspired by hearing Thelonious Monk's "'Round Midnight", Russell moved to New York in the early 1940s, where he became a member of a coterie of young innovators who frequented the 55th Street apartment of Gil Evans, a clique which included Miles Davis, Charlie Parker, Gerry Mulligan, and John Lewis, later involved with the Modern Jazz Quartet.

In 1945-46, Russell was again hospitalized for tuberculosis for 16 months. Forced to turn down work as Charlie Parker's drummer, during that time he worked out the basic tenets of what was to become his Lydian Chromatic Concept of Tonal Organization, a theory encompassing all of equal-tempered music which has been influential well beyond the boundaries of jazz. The first edition of his book was published by Russell in 1953, while he worked as a salesclerk at Macy's. At that time, Russell's ideas were a crucial step into the modal music of John Coltrane and Miles Davis on his classic recording, Kind of Blue, and served as a beacon for other modernists such as Eric Dolphy and Art Farmer.

While working on the theory, Russell was also applying its principles to composition. His first famous composition was for the Dizzy Gillespie Orchestra, the two-part "Cubano Be, Cubano Bop" (1947) and part of that band's pioneering experiments in fusing bebop and Cuban jazz elements; "A Bird in Igor's Yard" (a tribute to both Charlie Parker and Igor Stravinsky) was recorded in a session led by Buddy DeFranco the next year. Also, a lesser known but pivotal work of Russell's was recorded in January 1950 by Artie Shaw entitled "Similau" that employed techniques of both the works done for Gillespie and DeFranco.

Russell began playing piano, leading a series of groups which included Bill Evans, Art Farmer, Hal McKusick, Barry Galbraith, Milt Hinton, Paul Motian, and others. Jazz Workshop was his first album as leader, and one where he played relatively little, as opposed to masterminding the events (rather like his colleague Gil Evans). He was to record a number of impressive albums over the next several years, sometimes as primary pianist.

In 1957, Russell was one of six jazz musicians commissioned by Brandeis University to write a piece for their Festival of the Creative Arts. He wrote a suite for orchestra, All About Rosie, which featured Bill Evans among other soloists, and has been cited as one of the few convincing examples of composed polyphony in jazz.

Members of the orchestra on his 1958 extended work, New York, N.Y., included Bill Evans, John Coltrane, Art Farmer, Milt Hinton, Bob Brookmeyer, and Max Roach, among others, and featured wrap-around raps by singer/lyricist Jon Hendricks. Jazz in the Space Age (1960) was an even more ambitious big band album, featuring the unusual dual piano voicings of Bill Evans and Paul Bley. Russell formed his own sextet in which he played piano. Between 1960 and 1963, the Russell Sextet featured musicians like Dave Baker and Steve Swallow and memorable sessions with Eric Dolphy (on Ezz-thetics) and singer Sheila Jordan (their bleak version of "You Are My Sunshine" on The Outer View (1962) is highly regarded).