Jazz
As the Jazz Age began, Detroit quickly emerged as an important musical center, standing alongside New Orleans, Chicago, and St. Louis. Among the musicians who relocated to Detroit were drummer William McKinney, who formed the seminal big band McKinney's Cotton Pickers with the great arranger, bandleader and composer, Don Redman.
Through the 1950s, Detroit was one of America's most important jazz centers. Musicians from Detroit who achieved international recognition include Elvin Jones, Hank Jones, Thad Jones, Howard McGhee, Tommy Flanagan, Lucky Thompson, Louis Hayes, Barry Harris, Paul Chambers, Yusef Lateef, Marcus Belgrave, Milt Jackson, Kenny Burrell, Ron Carter, Curtis Fuller, Julius Watkins, Hugh Lawson, Frank Foster, Doug Watkins, Sir Roland Hanna, Donald Byrd, Kenn Cox, George "sax" Benson, Sonny Stitt, Alice Coltrane, Dorothy Ashby, Roy Brooks, Phil Ranelin, Faruq Z. Bey, Jaribu Shahid, Hakim Jami, Pepper Adams, Tani Tabal, Charles McPherson, Frank Gant, Billy Mitchell, Kirk Lightsey, Lonnie Hillyer, James Carter, Geri Allen, Ralph Armstrong, Ali Jackson Jr., Rick Margitza, Kenny Garrett, Betty Carter, Sippie Wallace, Robert Hurst, Geri Allen, Rodney Whitaker, Clarence Penn, Karriem Riggins, and Carlos McKinney.
Other significant players who spent part of their career in Detroit include Benny Carter, Joe Henderson, Wardell Gray, Grant Green and Don Moye. As this list reflects, Detroit musicians were major contributors to the Hard-bop and post-bop styles, especially in the rhythm sections that drove the classic groups of Miles Davis and John Coltrane, and contributions to the bands of Charles Mingus, Horace Silver and The Jazz Messengers.
Read more about this topic: Music Of Detroit
Famous quotes containing the word jazz:
“The basic difference between classical music and jazz is that in the former the music is always greater than its performance—Beethoven’s Violin Concerto, for instance, is always greater than its performance—whereas the way jazz is performed is always more important than what is being performed.”
—André Previn (b. 1929)
“He could jazz up the map-reading class by having a full-size color photograph of Betty Grable in a bathing suit, with a co- ordinate grid system laid over it. The instructor could point to different parts of her and say, “Give me the co-ordinates.”... The Major could see every unit in the Army using his idea.... Hot dog!”
—Norman Mailer (b. 1923)
“Though the Jazz Age continued it became less and less an affair of youth. The sequel was like a children’s party taken over by the elders.”
—F. Scott Fitzgerald (1896–1940)