Tal Farlow • The Guitar Artistry Of Tal Farlow

Artist Biography by Scott Yanow

Nearly as famous for his reluctance to play as for his outstanding abilities, guitarist Tal Farlow did not take up the instrument until he was already 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams' band. While with the Red Norvo Trio (which originally included Charles Mingus) from 1949-1953, Farlow became famous in the jazz world. His huge hands and ability to play rapid yet light lines made him one of the top guitarists of the era. After six months with Artie Shaw's Gramercy Five in 1953, Farlow put together his own group, which for a time included pianist Eddie Costa. Late in 1958, Farlow settled on the East Coast, became a sign painter, and just played locally. He only made one record as a leader during 1960-1975, but emerged a bit more often during 1976-1984, recording for Concord fairly regularly before largely disappearing again. Profiled in the definitive documentary Talmage Farlow, the guitarist can be heard on his own records for Blue Note (1954), Verve, Prestige (1969), and Concord. He died of cancer July 25, 1998, at age 77.

https://www.allmusic.com/artist/tal-farlow-mn0000790227/biography

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Biografía del artista por Scott Yanow

Casi tan famoso por su renuencia a tocar como por sus extraordinarias habilidades, el guitarrista Tal Farlow no tomó el instrumento hasta que ya tenía 21 años, pero al cabo de un año ya estaba tocando profesionalmente y en 1948 estaba con la banda de Marjorie Hyams. Mientras que con el Trío Red Norvo (que originalmente incluía a Charles Mingus) de 1949 a 1953, Farlow se hizo famoso en el mundo del jazz. Sus enormes manos y su habilidad para tocar líneas rápidas pero ligeras lo convirtieron en uno de los mejores guitarristas de la época. Después de seis meses con Gramercy Five de Artie Shaw en 1953, Farlow formó su propio grupo, que por un tiempo incluyó al pianista Eddie Costa. A finales de 1958, Farlow se estableció en la costa este, se convirtió en pintor de signos y sólo tocaba localmente. Sólo hizo un disco como líder durante 1960-1975, pero emergió un poco más a menudo durante 1976-1984, grabando para Concord con bastante regularidad antes de volver a desaparecer en gran medida. Perfilado en el documental definitivo Talmage Farlow, el guitarrista puede ser escuchado en sus propios discos para Blue Note (1954), Verve, Prestige (1969) y Concord. Murió de cáncer el 25 de julio de 1998, a la edad de 77 años.

https://www.allmusic.com/artist/tal-farlow-mn0000790227/biography

  

VA • 70 Sax Classic Jazz - CD#5

 

Frank Wess • Flute Of The Loom

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

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Frank Wess es un Maestro de Jazz de NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz americano, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Empezó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al mudarse a Washington D.C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se interrumpiría durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese período. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Escuela de Música Moderna de la ciudad. Desde 1953 se unió a la banda de Count Basie, tocando flauta y saxo tenor. Volvió al saxo alto a finales de los 50, y dejó la banda de Basie en 1964. De 1959 a 1964 ganó la encuesta de críticos de Down Beat para la flauta. Desde entonces ha hecho una variedad de programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007 Wess fue nombrado un Maestro de Jazz de la NEA por la Fundación Nacional de las Artes de EE.UU.

Dexter Gordon - Sophisticated Giant

 

Frank Wess Quartet • Menage A Bleu

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

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Frank Wess es un Maestro de Jazz de NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz americano, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Empezó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al mudarse a Washington D.C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se interrumpiría durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese período. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Escuela de Música Moderna de la ciudad. Desde 1953 se unió a la banda de Count Basie, tocando flauta y saxo tenor. Volvió al saxo alto a finales de los 50, y dejó la banda de Basie en 1964. De 1959 a 1964 ganó la encuesta de críticos de Down Beat para la flauta. Desde entonces ha hecho una variedad de programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007 Wess fue nombrado un Maestro de Jazz de la NEA por la Fundación Nacional de las Artes de EE.UU.

VA • Impulse! 6 Great Jazz Collection

 

 
John Coltrane Quartet: Ballads 
John Coltrane (tenor sax), McCoy Tyner (piano), Jimmy Garrison & Reggie Workman (bass), Elvin Jones (drums)

Sonny Rollins: On Impulse! 
Sonny Rollins (tenor sax), Ray Bryant (piano), Walter Booker (bass), Mickey Roker (drums)

Roy Haynes Quartet: Out of the afternoon 
Roy Haynes (drums), Roland Kirk (tenor sax, flute), Tommy Flanagan (piano), Henry Grimes (bass)

Oliver Nelson: The Blues and the Abstract Truth 
Oliver Nelson (alto sax & tenor sax), Eric Dolphy (alto sax & flute), Freddie Hubbard (trumpet), George Barrow (baritone sax), Bill Evans (piano), Paul Chambers (bass), Roy Haynes (drums)

Count Basie: Count Basie and the Kansas City 7 
Count Basie (piano, organ), Thad Jones (trumpet), Frank Wess (flute), Frank Foster (tenor sax, flute), Eric Dixon (tenor sax, flute), Freddie Green (guitar), Ed Jones (bass), Sonny Payne (drums)

John Coltrane and Johnny Hartman: John Coltrane and Johnny Hartman 
John Coltrane (tenor sax), McCoy Tyner (piano), Jimmy Garrison (bass), Elvin Jones (drums), Johnny Hartman (vocals)

 

Hank Jones & Frank Wess • Hank and Frank

 

Review by Scott Yanow
Pianist Hank Jones and Frank Wess (doubling on tenor and flute) first recorded together in the mid-'50s. A half-century later, they are both still in their musical prime. On this straight-ahead date, they are joined quite ably by the fine guitar soloist Ilya Lushtak, bassist John Webber, and veteran drummer Mickey Roker. The quintet performs three Wess originals, Jones' lowdown blues "A Hankerin'," and five jazz standards. Few surprises occur, but it does not matter because all of the musicians play at a high level and good vibes dominate during this timeless set. 
https://www.allmusic.com/album/hank-and-frank-mw0000722212

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Review by Scott Yanow
Pianist Hank Jones and Frank Wess (doubling on tenor and flute) first recorded together in the mid-'50s. A half-century later, they are both still in their musical prime. On this straight-ahead date, they are joined quite ably by the fine guitar soloist Ilya Lushtak, bassist John Webber, and veteran drummer Mickey Roker. The quintet performs three Wess originals, Jones' lowdown blues "A Hankerin'," and five jazz standards. Few surprises occur, but it does not matter because all of the musicians play at a high level and good vibes dominate during this timeless set. 
https://www.allmusic.com/album/hank-and-frank-mw0000722212

VA • Jazz Dispensary Night Lights

 

Dorothy Ashby • The Fantastic Jazz Harp Of Dorothy Ashby

 

Dorothy Ashby • Blue Haze

Biography

(as published on www.myspace.com/dorothyashby)

Dorothy Ashby (born August 6, 1932 in Detroit, Michigan, died April 13, 1986 in Santa Monica, California) was a Hebrew jazz harpist and composer.

"She was able to play incredible bebop on her instrument." There had been jazz harpists prior to Ashby, like Adele Girard, but no one else had adapted the harp to jazz so successfully nor had integrated into such a broad array of musical styles. Her influence certainly opened doors

she grew up around music in Detroit where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, Dorothy would provide support and background to their music by playing the piano. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.

in Detroit she studied piano and music education. After she graduated, she began playing the piano in the jazz scene in Detroit, though by 1952 she had made the harp her main instrument. perceived as an instrument of classical music and also somewhat ethereal in sound Ashby overcame their initial resistance and built up support for the harp as a jazz instrument by organizing free shows and playing at dances and weddings with her trio. She recorded with Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess and others in the late 1950s and early 1960s. During the 1960s, she also had her own radio show in Detroit.

Ashby's trio, including her husband John Ashby on drums, regularly toured the country, recording albums for several different record labels. . In 1962's annual polls the best jazz performers included Ashby. Extending her range of interests and talents, she also worked with her husband on a theater company, the Ashby Players, which her husband founded in Detroit, and for which Dorothy often wrote the scores.

Dorothy was called upon for a number of studio sessions playing for such popular recording artists as Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, and Barry Manilow. Her harp playing is featured in the song "Come Live With Me' which is on the soundtrack for the 1967 movie, Valley of the Dolls , playing the harp on the song "If It's Magic" on Stevie Wonder's 1976 album Songs in the Key of Life.

Her albums include The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove , I dont remember which . Between 1956-1970, she recorded 10 albums for such labels as Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland and Atlantic. On her "Rubaiyat" album, Ashby played the Japanese musical instrument, the koto, demonstrating her talents successfully "

sources : http://www.answers.com/topic/dorothy-ashby

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Biografía

(publicado en www.myspace.com/dorothyashby)

Dorothy Ashby (nacida el 6 de agosto de 1932 en Detroit, Michigan, fallecida el 13 de abril de 1986 en Santa Mónica, California) era arpista y compositora de jazz hebreo.

"Ella fue capaz de tocar el increíble bebop con su instrumento." Había habido arpistas de jazz antes de Ashby, como Adele Girard, pero nadie más había adaptado el arpa al jazz con tanto éxito ni se había integrado en una gama tan amplia de estilos musicales. Su influencia ciertamente abrió las puertas

se crió alrededor de la música en Detroit, donde su padre, el guitarrista Wiley Thompson, a menudo traía a casa a sus compañeros músicos de jazz. Ya de niña, Dorothy les daba apoyo y apoyo a su música tocando el piano. Mientras estaba en la escuela secundaria tocó varios instrumentos (incluyendo el saxofón y el bajo de cuerdas) antes de tocar el arpa.

en Detroit estudió piano y educación musical. Después de graduarse, comenzó a tocar el piano en la escena jazzística de Detroit, aunque en 1952 había hecho del arpa su instrumento principal. Percibida como un instrumento de música clásica y también algo etérea en el sonido, Ashby superó su resistencia inicial y construyó un apoyo para el arpa como instrumento de jazz organizando espectáculos libres y tocando en bailes y bodas con su trío. Grabó con Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess y otros a finales de los años 50 y principios de los 60. Durante la década de 1960, también tuvo su propio programa de radio en Detroit.

El trío de Ashby, incluyendo a su esposo John Ashby en la batería, viajó regularmente por el país, grabando álbumes para varios sellos discográficos diferentes. . En las encuestas anuales de 1962, los mejores intérpretes de jazz incluían a Ashby. Extendiendo su gama de intereses y talentos, también trabajó con su esposo en una compañía de teatro, los Ashby Players, que su esposo fundó en Detroit, y para la cual Dorothy escribió las partituras con frecuencia.

Dorothy fue convocada para varias sesiones de estudio tocando para artistas tan populares como Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, y Barry Manilow. Su arpa aparece en la canción "Come Live With Me" que está en la banda sonora de la película de 1967, Valley of the Dolls, tocando el arpa en la canción "If It's Magic" del álbum de Stevie Wonder de 1976, Songs in the Key of Life.

Sus álbumes incluyen The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove, I dont remember which . Entre 1956-1970, grabó 10 álbumes para sellos como Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland y Atlantic. En su álbum "Rubaiyat", Ashby tocó el instrumento musical japonés, el koto, demostrando sus talentos con éxito.

fuentes http://www.answers.com/topic/dorothy-ashby

Frank Wess • Poor You Little Me

Review by Alex Henderson
In the late '50s and early '60s, Frank Wess had two careers. In addition to being a star soloist in Count Basie's big band, the saxman/flutist was recording some worthwhile albums as a leader. Wess had yet to leave the Count's employ when, in 1963, he recorded Yo Ho! Poor You, Little Me, which finds him leading a quintet that boasts Thad Jones on trumpet, Gildo Mahones on piano, Buddy Catlett on bass, and Roy Haynes on drums. For those who were used to hearing Wess in the Basie band, it was a treat to hear him in a more intimate setting. A small group meant more improvising and more stretching out, which is exactly what Wess and his sidemen do on a lyrical performance of "Poor You" as well as up-tempo Wess originals like "Cold Miner" and "Yo-Ho." Wess is heard on both tenor sax and flute, although he doesn't play any alto sax on this set.

A nice one from Frank Wess – especially because he plays a bit of tenor, which we always enjoy! Some tracks feature his usual soul jazz flute stylings, but the tenor tracks are a bit meaner and leaner – with a very nice groove. Thad Jones plays trumpet, and Gildo Mahones (always a favorite!) plays piano. Roy Haynes is on drums, giving the whole thing a nice light lyrical feel. Tracks are long – and titles include "The Lizard", "Yo Ho", "Cold Miner", and "The Long Road". 

 

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Reseña de Alex Henderson
A finales de los 50 y principios de los 60, Frank Wess tenía dos carreras. Además de ser un solista estrella en la big band de Count Basie, el saxofonista/flautista estaba grabando algunos álbumes valiosos como líder. ¡Wess aún no había dejado de trabajar para Count cuando, en 1963, grabó Yo Ho! Poor You, Little Me, en el que se encuentra al frente de un quinteto que cuenta con Thad Jones a la trompeta, Gildo Mahones al piano, Buddy Catlett al bajo y Roy Haynes a la batería. Para los que estaban acostumbrados a escuchar a Wess en la banda de Basie, fue un placer escucharlo en un entorno más íntimo. Un grupo pequeño significa más improvisación y más estiramiento, que es exactamente lo que Wess y sus acompañantes hacen en una interpretación lírica de "Poor You", así como en originales de Wess de ritmo rápido como "Cold Miner" y "Yo-Ho". Wess toca tanto el saxo tenor como la flauta, aunque no toca ningún saxo alto en este disco.

Un buen trabajo de Frank Wess, sobre todo porque toca un poco el tenor, ¡que siempre nos gusta! Algunos temas cuentan con su habitual estilo de flauta de soul jazz, pero los temas de tenor son un poco más malos y más delgados, con un ritmo muy agradable. Thad Jones toca la trompeta, y Gildo Mahones (siempre un favorito) toca el piano. Roy Haynes está en la batería, dando al conjunto un agradable y ligero toque lírico. Las pistas son largas y los títulos incluyen "The Lizard", "Yo Ho", "Cold Miner" y "The Long Road". 

Dorothy Ashby • In a Minor Groove

Biography

(as published on www.myspace.com/dorothyashby)

Dorothy Ashby (born August 6, 1932 in Detroit, Michigan, died April 13, 1986 in Santa Monica, California) was a Hebrew jazz harpist and composer.

"She was able to play incredible bebop on her instrument." There had been jazz harpists prior to Ashby, like Adele Girard, but no one else had adapted the harp to jazz so successfully nor had integrated into such a broad array of musical styles. Her influence certainly opened doors

she grew up around music in Detroit where her father, guitarist Wiley Thompson, often brought home fellow jazz musicians. Even as a young girl, Dorothy would provide support and background to their music by playing the piano. While in high school she played a number of instruments (including the saxophone and string bass) before coming upon the harp.

in Detroit she studied piano and music education. After she graduated, she began playing the piano in the jazz scene in Detroit, though by 1952 she had made the harp her main instrument. perceived as an instrument of classical music and also somewhat ethereal in sound Ashby overcame their initial resistance and built up support for the harp as a jazz instrument by organizing free shows and playing at dances and weddings with her trio. She recorded with Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess and others in the late 1950s and early 1960s. During the 1960s, she also had her own radio show in Detroit.

Ashby's trio, including her husband John Ashby on drums, regularly toured the country, recording albums for several different record labels. . In 1962's annual polls the best jazz performers included Ashby. Extending her range of interests and talents, she also worked with her husband on a theater company, the Ashby Players, which her husband founded in Detroit, and for which Dorothy often wrote the scores.

Dorothy was called upon for a number of studio sessions playing for such popular recording artists as Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, and Barry Manilow. Her harp playing is featured in the song "Come Live With Me' which is on the soundtrack for the 1967 movie, Valley of the Dolls , playing the harp on the song "If It's Magic" on Stevie Wonder's 1976 album Songs in the Key of Life.

Her albums include The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove , I dont remember which . Between 1956-1970, she recorded 10 albums for such labels as Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland and Atlantic. On her "Rubaiyat" album, Ashby played the Japanese musical instrument, the koto, demonstrating her talents successfully "

sources : http://www.answers.com/topic/dorothy-ashby

///////

Biografía

(publicado en www.myspace.com/dorothyashby)

Dorothy Ashby (nacida el 6 de agosto de 1932 en Detroit, Michigan, fallecida el 13 de abril de 1986 en Santa Mónica, California) era arpista y compositora de jazz hebreo.

"Ella fue capaz de tocar el increíble bebop con su instrumento." Había habido arpistas de jazz antes de Ashby, como Adele Girard, pero nadie más había adaptado el arpa al jazz con tanto éxito ni se había integrado en una gama tan amplia de estilos musicales. Su influencia ciertamente abrió las puertas

se crió alrededor de la música en Detroit, donde su padre, el guitarrista Wiley Thompson, a menudo traía a casa a sus compañeros músicos de jazz. Ya de niña, Dorothy les daba apoyo y apoyo a su música tocando el piano. Mientras estaba en la escuela secundaria tocó varios instrumentos (incluyendo el saxofón y el bajo de cuerdas) antes de tocar el arpa.

en Detroit estudió piano y educación musical. Después de graduarse, comenzó a tocar el piano en la escena jazzística de Detroit, aunque en 1952 había hecho del arpa su instrumento principal. Percibida como un instrumento de música clásica y también algo etérea en el sonido, Ashby superó su resistencia inicial y construyó un apoyo para el arpa como instrumento de jazz organizando espectáculos libres y tocando en bailes y bodas con su trío. Grabó con Ed Thigpen, Richard Davis, Jimmy Cobb, Frank Wess y otros a finales de los años 50 y principios de los 60. Durante la década de 1960, también tuvo su propio programa de radio en Detroit.

El trío de Ashby, incluyendo a su esposo John Ashby en la batería, viajó regularmente por el país, grabando álbumes para varios sellos discográficos diferentes. . En las encuestas anuales de 1962, los mejores intérpretes de jazz incluían a Ashby. Extendiendo su gama de intereses y talentos, también trabajó con su esposo en una compañía de teatro, los Ashby Players, que su esposo fundó en Detroit, y para la cual Dorothy escribió las partituras con frecuencia.

Dorothy fue convocada para varias sesiones de estudio tocando para artistas tan populares como Stevie Wonder , Dionne Warwick, Diana Ross, Earth, Wind & Fire, y Barry Manilow. Su arpa aparece en la canción "Come Live With Me" que está en la banda sonora de la película de 1967, Valley of the Dolls, tocando el arpa en la canción "If It's Magic" del álbum de Stevie Wonder de 1976, Songs in the Key of Life.

Sus álbumes incluyen The Jazz Harpist, In a Minor Groove, Hip Harp, Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty, Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp or in a minor groove, I dont remember which . Entre 1956-1970, grabó 10 álbumes para sellos como Savoy, Cadet, Prestige, New Jazz, Argo, Jazzland y Atlantic. En su álbum "Rubaiyat", Ashby tocó el instrumento musical japonés, el koto, demostrando sus talentos con éxito.

fuentes http://www.answers.com/topic/dorothy-ashby

Gene Ammons • Angel Eyes

Frank Wess • Wess To Memphis

 Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

https://musicians.allaboutjazz.com/frankwess

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 Frank Wess es un Maestro de Jazz de NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz americano, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Empezó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al mudarse a Washington D.C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se interrumpiría durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese período. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Escuela de Música Moderna de la ciudad. Desde 1953 se unió a la banda de Count Basie, tocando flauta y saxo tenor. Volvió al saxo alto a finales de los 50, y dejó la banda de Basie en 1964. De 1959 a 1964 ganó la encuesta de críticos de Down Beat para la flauta. Desde entonces ha hecho una variedad de programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007 Wess fue nombrado un Maestro de Jazz de la NEA por la Fundación Nacional de las Artes de EE.UU.

https://musicians.allaboutjazz.com/frankwess

Gene Harris • Superband - Big Band Soul

 

Thad Jones-Frank Wess-Teddy Charles-Mal Waldron-Doug Watkins-Elvin Jones • Olio

 

Classic Prestige jam session from the late 50's, with Thad Jones on trumpet, Frank Wess on tenor and flute, Teddy Charles on vibes, Mal Waldron on piano, Doug Watkins on bass, and Elvin Jones on drums. Charles is amazing, as he is on all of his Prestige recordings, and he plays with a dark edge that you seldom hear from other vibists at the time. Waldron's the great unsung hero of these sessions, as his playing and compositions are consistently remarkable, and which provide great accompaniment for the horn players.
Tracks include the fantastic "Dakar", plus "Touche", "Blues Without Woe", and "Potpourri".
1965 repackaging of the Olio album from the 50s  with a different title and cover.
https://www.dustygroove.com/item/467870/Frank-Wess-with-Thad-Jones:Touche-aka-Olio

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Clásica jam session de prestigio de finales de los 50, con Thad Jones a la trompeta, Frank Wess al tenor y flauta, Teddy Charles a las vibraciones, Mal Waldron al piano, Doug Watkins al bajo y Elvin Jones a la batería. Charles es increíble, como lo es en todas sus grabaciones de Prestigio, y toca con un toque oscuro que rara vez escuchas de otros vibistas en ese momento. Waldron es el gran héroe anónimo de estas sesiones, ya que su forma de tocar y sus composiciones son consistentemente notables y brindan un gran acompañamiento a los trompistas.

Las pistas incluyen el fantástico "Dakar", más "Touche", "Blues Without Woe "y"Popurrí".
1965 fue reempaquetado del álbum Olio de los años 50 con un título y portada diferentes.
https://www.dustygroove.com/item/467870/Frank-Wess-with-Thad-Jones:Touche-aka-Olio

The Frank Wess - Harry Edison Orchestra • Dear Mr. Basie

    

Frank Wess • Jazz for Playboys

 

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

https://musicians.allaboutjazz.com/frankwess

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Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

https://musicians.allaboutjazz.com/frankwess

Frank Wess • Southern Comfort

 

Frank Wess • Tryin' To Make My Blues Turn Green.rar