In Jazz and Rock
Flutes were rarely used in early jazz. Drummer and bandleader Chick Webb was among the first to use flutes in jazz, beginning in the late 1930s. Frank Wess was among the first noteworthy flautists in jazz, in the 1940s. Since Boehm's fingering is used in saxophones as well as in concert flutes, many flute players "double" on saxophone for jazz and small ensembles and vice versa.
Since 1950, a number of notable performers have used flutes in jazz. Frank Foster and Frank Wess (Basie band), Jerome Richardson (Jones/Lewis big band) and Lew Tabackin (Akiyoshi/Tabackin big band) used flutes in big band contexts. In small band contexts notable performers included Bud Shank, Herbie Mann, Rahsaan Roland Kirk, Charles Lloyd, Hubert Laws and Moe Koffman. Several modal jazz and avant-garde jazz performers have utilized the flute: Eric Dolphy, Sam Rivers and James Spaulding.
Jethro Tull is probably the best-known rock group to make regular use of the flute (played by Ian Anderson). The flute has a cameo role on You've Got to Hide Your Love Away by The Beatles (played by John Scott) and Supper's Ready by Genesis (Peter Gabriel).
Other groups that have used the flute in their pop/rock songs include the The Moody Blues, Australian group Men At Work, the Canadian Prog-Rock group Harmonium, and the British groups Traffic and Van der Graaf Generator.
Read more about this topic: Western Concert Flute
Famous quotes containing the words jazz and/or rock:
“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)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)