Jazz Legends

There are some musicians that are so influential that they transcend time and their instrument. Bill Evans (born Aug 16, 1929) was one such musician. His extensive use of impressionist harmony, block chords, innovative chord voicings, and trademark rhythmically independent "singing" melodic lines continue to influence jazz pianists today. His trios featured many of the greatest players over the years as well. He introduced the innovative Scott Lafaro to a wider audience and his long association with bassist Eddie Gomez freed the role of the bass in trio settings. Drummers Paul Motian, Philly Joe Jones, Marty Morell, and Joe LaBarbara all provided the sometimes subtle, sometimes driving rhythmic propulsion to the trio.

Saxophonist/composer Joe Henderson (born April 24th, 1937) was one of the most distinctive voices on his instrument. His light, airy tone with a core of iron was immediately recognizable as his alone, and many of his original compositions have stood the test of time to become beloved jazz standards. His solos are often characterized by shifting in and out of time, lagging a bit here and there, and immediately snapping back into time, a kind of toying with the listener.

Pianist and composer Andrew Hill (born June 30, 1931) never really received the widespread recognition and acceptance his talents warranted. Jazz critic John Fordham described Hill as a "uniquely gifted composer, pianist and educator" although "his status remained largely inside knowledge in the jazz world for most of his career."
 
His dozen albums as a leader for Blue Note records featured some of the outstanding musicians of the time, and his original compositions are fiercely original and cutting edge. His work as a sideman on numerous Joe Henderson outings is vital to the success of those dates.

Pianist, Composer/Arranger Billy Strayhorn (born Nov 29, 1915) is often more or less dismissed as Duke Ellington’s alter ego, but he was so much no more than that. He was a true musical genius in his own right. Jazz pianist Fred Hersch wrote of Strayhorn, "He was a quadruple threat: a great composer of jazz tunes, a first-rate jazz pianist, a remarkable songwriter (music and lyrics), and one of the all-time great arrangers for jazz orchestra." His compositions are uniquely Strayhorn, harmonically, melodically, and lyrically.

This week we feature the music of two of the most important bassists in jazz: Ron Carter (born May 4, 1937) and Oscar Pettiford (born Sept 30, 1922). Both musicians advanced the technical possibilities of their instrument in jazz and contributed to its acceptance as a solo voice in the music. While Ron Carter is often remembered as the bassist in the second great Miles Davis quintet, he is one of the most recorded bassists of all time, and continues to play, compose, and record prolifically in his eighties.
 
While Pettiford had a much briefer life, his contributions to the music far outweigh his comparatively brief lifespan. Jazz bassist Christian McBride called Pettiford "probably the most important bass player of that bebop generation in terms of creating new language for the bass." A number of his tunes have become jazz standards as well.