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Straight-ahead jazz is a genre of jazz that developed in the 1960s, with roots in the prior two decades. It omits the rock music and free jazz influences that began to appear in jazz during this period, instead preferring acoustic instruments, conventional piano comping, walking bass patterns, and swing- and bop-based drum rhythms.
Formerly of. Miles Davis. William McKinley " Red " Garland Jr. (May 13, 1923 – April 23, 1984) [1] was an American modern jazz pianist. Known for his work as a bandleader and during the 1950s with Miles Davis, Garland helped popularize the block chord style of playing in jazz piano. [2][3]
Regina Carter at Bach Dancing & Dynamite Society, Half Moon Bay CA 3/1/20. Carter returned to the U.S. and first came into the spotlight as the violinist for the all female pop-jazz quintet Straight Ahead in 1987, [5] with Cynthia Dewberry, Gayelynn McKinney, Eileen Orr, and Marion Hayden.
Harriott's free-form compositions normally formed only a portion of live gigs. Indeed, the final album recorded by the quintet, 1964's High Spirits (Columbia), was a straight-ahead jazz interpretation of compositions from the musical of that name, which was based on the Noël Coward play Blithe Spirit. [5]
1973–present. Labels. Candid, Brownstone, Blue Chip, Koko, Whaling City Sound. Website. www.gregabate.com. Greg Abate (born May 31, 1947) [1][2] is a jazz saxophonist, flautist, composer, and arranger. He grew up in Woonsocket, Rhode Island. In the fifth grade he began to play clarinet.
The Miles Davis Quintet was an American jazz band from 1955 to early 1969 led by Miles Davis. The quintet underwent frequent personnel changes toward its metamorphosis into a different ensemble in 1969. Most references pertain to two distinct and relatively stable bands: the First Great Quintet from 1955 to 1958, and the Second Great Quintet ...
Footprints (composition) " Footprints " is a jazz standard composed by saxophonist Wayne Shorter and first recorded for his album Adam's Apple in 1966. [1] The first commercial release of the song was a different recording on the Miles Davis album Miles Smiles recorded later in 1966, but released earlier. [2]
In his review for AllMusic, Michael G. Nastos states "The second recording for Jason Adasiewicz with his quintet Rolldown takes the band into a distinct modern jazz arena, sporting equal parts of straight-ahead mainstream pacings alongside the bold, inventive, improvisational music of latter and current day Chicago."