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john hicks
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John Hicks:
"It was Clark Terry who got me into the mess I'm in today," quipped John Hicks, his sarcasm laced with huge appreciation. "Clark, along with (fellow St. Louis natives) Miles Davis and Oliver Nelson, encouraged me to come to New York."
And since relocating to New York City from St Louis more than 30 years ago, John Hicks is so firmly established among the most in-demand, prolific jazz pianists and composers on the recording and live appearance scenes, critics seem to have permanently affixed the adjective "ubiquitous" to his name. As a leader or first-call sideman, playing inside the chord changes or outside, presenting sparkling ballads or burning up the keyboard at torrid tempos, Hicks is as versatile as he is omnipresent.
John's varied influences include Fats Waller piano rolls, Methodist church music, George Gershwin and bebop, and among his musical mentors were such immortals as Lucky Thompson, Miles Davis and Clark Terry. Hicks played road gigs with blues legends Little Milton and Albert King, and jazz greats Al Grey, Johnny Griffin and Pharaoh Sanders before he arrived in New York in 1963. John then worked with, among numerous others, Kenny Dorham, Lou Donaldson and Joe Henderson before becoming a full-time member of Art Blakey's Jazz Messengers. After two years with the seminal Messengers band, John joined the Betty Carter Trio, another important incubator for world-class beboppers. His productive stints with the vocalist Carter (1966-68) and (1975-80) and a 20-month residency with the Woody Herman Big Band helped to propel John's career as a recording artist into national notice.
The intervening years also saw Hicks appear live and on record with a galaxy of jazz giants that included Sonny Rollins, Freddie Hubbard, Frank Foster, Roy Haynes, Sonny Stitt, Jon Hendricks and James Moody ...
"It was Clark Terry who got me into the mess I'm in today," quipped John Hicks, his sarcasm laced with huge appreciation. "Clark, along with (fellow St. Louis natives) Miles Davis and Oliver Nelson, encouraged me to come to New York."
And since relocating to New York City from St Louis more than 30 years ago, John Hicks is so firmly established among the most in-demand, prolific jazz pianists and composers on the recording and live appearance scenes, critics seem to have permanently affixed the adjective "ubiquitous" to his name. As a leader or first-call sideman, playing inside the chord changes or outside, presenting sparkling ballads or burning up the keyboard at torrid tempos, Hicks is as versatile as he is omnipresent.
John's varied influences include Fats Waller piano rolls, Methodist church music, George Gershwin and bebop, and among his musical mentors were such immortals as Lucky Thompson, Miles Davis and Clark Terry. Hicks played road gigs with blues legends Little Milton and Albert King, and jazz greats Al Grey, Johnny Griffin and Pharaoh Sanders before he arrived in New York in 1963. John then worked with, among numerous others, Kenny Dorham, Lou Donaldson and Joe Henderson before becoming a full-time member of Art Blakey's Jazz Messengers. After two years with the seminal Messengers band, John joined the Betty Carter Trio, another important incubator for world-class beboppers. His productive stints with the vocalist Carter (1966-68) and (1975-80) and a 20-month residency with the Woody Herman Big Band helped to propel John's career as a recording artist into national notice.
The intervening years also saw Hicks appear live and on record with a galaxy of jazz giants that included Sonny Rollins, Freddie Hubbard, Frank Foster, Roy Haynes, Sonny Stitt, Jon Hendricks and James Moody ...
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Jan 7, 2006
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Other links at Keyboard, Piano > piano players: jazz
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Peggy has composed, played, recorded, and toured in a wide variety of situations: from solos to octets to jazz choruses. Her compositions range from highly original pieces to reharmonized jazz standards. "Everything she writes wants to dance, " says Ken Dais of Jazziz.
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Much like the most celebrated icons of jazz past, pianist/composer Michele Rosewoman is fiercely determined to use her knowledge of and respect for the genre's tradition to carry it into a new generation. As evidenced by glowing reviews of her live and recorded performances, this determination has served her well, giving birth to a strikingly original voice with an all-embracing style.
Ms. Rosewoman's musical growth and professional career began in Oakland, California where she started playing piano at age six, and studied jazz traditions with the great pianist/organist Edwin Kelly. In her late teens she began playing percussion and studying African-based drum and vocal traditions, specifically Cuban and Haitian folkloric styles. Her experience as a percussionist continues to shape many aspects of her musicality, as composer, performer and bandleader.
Before moving to New York in 1978, Michele Rosewoman performed at major venues in the Bay Area with musicians such as Julian Priester, Julius Hemphill, Baikida Carroll and Oliver Lake, as well as with her own ensembles. In New York she formed new ensembles and continued to present her original music as she nurtured associations with notable New York-based jazz artists and went on to perform with Gary Bartz, Jimmy Heath, Rufus Reid, Reggie Workman, Freddie Waits, James Spaulding, John Stubblefield, Billy Hart, Howard Johnson and Carlos Ward, among others. In 1981 she began to perform with Cuban dance bands and also to study and work with the Cuban master drummer/vocalist, Orlando "Puntilla" Rios. Ms. Rosewoman performed with his group Nueva Generacion, as well as with Celia Cruz, Paquito D'Rivera, Daniel Ponce, Chocolate, Nicky Marrero and Roberto Borrell, among others.
Her life-long immersion in both traditions inevitably led Michele Rosewoman to form an ensemble with a unique synthesis of contemporary jazz and traditional religious Cuban folkloric music. In 1983 Rosewoman received a National Endowment for the Arts grant for the formation of New Yor-Uba, A Musical Celebration of Cuba in America, a 14-piece ensemble conceived to perform her original compositions and arrangements of traditional Yoruban (Nigeria) and Arara (Dahomey) chants in a contemporary jazz setting. With the support of the 1983 NEA grant, New Yor-Uba made its debut before a standing-room-only crowd at New York's Public Theater. Drummer/vocalist Orlando "Puntilla" Rios, a master of the various Cuban musical forms, has been both her mentor and a member of this ensemble since its inception, providing Rosewoman with a valuable organic source as she creates the group's repertoire.
1984 brought great opportunity and success including a New Yor-Uba tour with appearances at festivals throughout Europe and the release of her first recording as pianist/arranger/musical director for the Cuban songo group, Los Kimy. She was also awarded an ASCAP/Meet the Composer Commission for Emerging Composers by a panel made up of jazz masters Dizzy Gillespie, Marian McPartland and Lester Bowie. This resulted in a new work, "The Heart of Answers", performed by the 40-piece Brooklyn Philharmonic Orchestra and a quintet of improvisers, including Rufus Reid, Howard Johnson and Greg Osby, with performances at Cooper Union Great Hall in New York City and the Paramount Center for the Arts in Peekskill, New York. Also in 1984, her debut recording as a leader, THE SOURCE (Soul Note) was released and received critical praise for its radiance and ingenuity. In a review published by DownBeat, Rosewoman's direction was likened to that of master innovator Charles Mingus. With her maiden voyage on record, she had distinguished herself as both a talented player and a composer of unique vision ...
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