Product Code Database
Example Keywords: hat -wheels $29-143
barcode-scavenger
   » » Wiki: Woody Shaw
Tag Wiki 'Woody Shaw'.
Tag

Woody Shaw
Search for shaw woody
 ( ) 

 C O N T E N T S 
Rank: 100%
Bluestar Bluestar Bluestar Bluestar Blackstar
  1. Wiki
  2. Comments
  3. Media

Woody Herman Shaw Jr. (December 24, 1944 – May 10, 1989) was an American jazz trumpeter, , , composer, arranger, band leader, and educator. Shaw is widely known as one of the 20th century's most important and influential jazz trumpeters and composers. He is often credited with revolutionizing the technical and harmonic language of modern jazz trumpet playing, and is regarded by many as one of the major innovators of the instrument. He was an acclaimed virtuoso, mentor, and spokesperson for jazz and worked and recorded alongside many of the leading musicians of his time.

Biography
Early life and background
Woody Shaw was born in Laurinburg, North Carolina.
(1992). 9780851125800, Guinness Publishing.
When Shaw was a year old, his parents, Rosalie Pegues and Woody Shaw Sr., took their son to Newark, New Jersey,. Shaw's father was a member of the African American gospel group, The Diamond Jubilee Singers. Both parents attended the same secondary private school as : Laurinburg Institute. Shaw's mother and Gillespie were both from the same town, Cheraw, South Carolina.

Shaw began playing the when he was age nine and performed in the Newark Junior Elks, Junior Mason, and Washington Carver Drum and Bugle Corps. Though not his first choice of instrument, he began studying classical trumpet with Jerome Ziering at Cleveland Junior High School at the age of 11.

In a 1978 interview, Shaw explained:

The trumpet was not my first choice for an instrument. In fact, I ended up playing it by default. When we were asked what we wanted to play in the Eighteenth Avenue School Band, I chose the violin, but I was too late since all the violins were taken. My second choice was the saxophone or the trombone but they were also all spoken for. The only instrument that was left was the trumpet, and I felt why did I have to get stuck with this "tinny" sounding thing.

When I complained to my music teacher that I didn't think it was fair that all the other kids got to play the instruments they wanted, he told me to just be patient. He said he had a good feeling about me and the trumpet, and he assured me I'd grow to love it. Of course my teacher was right, and it didn't take long for me to fall in love with the trumpet. In retrospect, I believe there was some mystical force that brought us together.

Ziering encouraged him to continue his study of classical trumpet playing and pursue an education at the of music with trumpet instructor William Vacchiano, but Shaw had a deep interest in jazz. His first influences were and . After skipping two grades, he began attending Newark Arts High School (alma mater of , , , , Larry Young, and many others), from which he graduated. "A Brief History of Arts High" , Arts High School. Accessed October 24, 2013.

As a teenager, Shaw worked professionally at weddings, dances, and night clubs. He eventually left school but continued his study of the trumpet under the influence of Gillespie, , , , , and . He later discovered that he had picked up the trumpet during the same month and year that Brown died: June 1956.

Paris and Eric Dolphy (early 1960s)
In 1963, after many local professional jobs, Shaw worked for (with and ), and performed and recorded as a sideman with , with whom he made his recorded debut, Iron Man. Dolphy, who was living in Paris, unexpectedly died in June 1964. Shaw was nonetheless invited to Paris to join Dolphy's colleague, Nathan Davis, and the two men found steady work all over Europe. While living in Paris, they frequented the club Le Chat Qui Peche, and Shaw crossed paths with musicians such as , , , , , other lesser-known musicians such as John Bodwin, and French musicians including Jean-Louis Chautemps, , Jacques Thollot and . After some time, Shaw demanded that two of his contemporaries, organist Larry Young and drummer Billy Brooks, be relocated to Paris. The four young musicians – Davis, Shaw, Young, and Brooks – continued living and performing in France, intermittently touring cities in Europe, including , Germany.

Blue Note Records (mid-to-late 1960s)
By the mid-1960s, Shaw had successfully absorbed the concepts and influence of his mentor and friend, saxophonist Dolphy, and was meanwhile exploring the harmonic innovations of saxophonist and pianist . Both musicians contributed greatly to the development of Shaw's style as a trumpeter and composer.

Shaw returned to the U.S. from Paris in 1965, and began his career as one of the Blue Note label's regular trumpet players, working steadily with their roster of artists. He replaced in the quintet (1965–1966), and made his Blue Note debut on Silver's The Cape Verdean Blues, followed by Larry Young's Unity (1965); the album with Young featured three of his compositions ("Zoltan", "Moontrane", and "Beyond All Limits"). "Moontrane", dedicated to Coltrane, was written when Shaw was 18 years old and was his earliest composition.

Shaw also collaborated frequently and recorded with Corea (1966–67, 1969), (1967), (1968), Tyner (1968), Andrew Hill (1969), , and . In 1968–69, he worked intermittently with , touring with him in Iran. Shaw also worked as a studio musician, in pit orchestras, and on Broadway musicals.

Contemporary and Muse (early-to-mid 1970s)
In 1970, Shaw recorded his first album as a leader, Blackstone Legacy, for Contemporary Records. Blackstone Legacy featured , , , , Clint Houston, and . This was followed by a second release under Shaw's name, entitled Song of Songs. During this time, Shaw moved to San Francisco to explore new opportunities and became closely associated with musicians on the West Coast such as , Eddie Moore, Eddie Marshall, and Henry Franklin.

In 1974, Shaw returned from California to New York, beginning an association with Muse Records, recording the albums – , , Little Red's Fantasy and Iron Men, with musicians from the mid-western creative black arts scene such as , and Muhal Richard Abrams.

Columbia Records (late-1970s)
After working frequently with Hutcherson, , Tyner and others, Shaw emerged as a band leader during the early 1970s, which was a time when many jazz artists began to explore . A younger statesman among his elders, Shaw saw himself as an heir to the musical legacy of trumpeters such as Gillespie, Navarro, and Brown, and, being an alumnus of Blakey's Jazz Messengers, felt responsible for upholding the integrity and appreciation of the tradition.

After releasing several albums for the label, Shaw signed to in 1977 following an endorsement from Miles Davis. He then recorded the albums Rosewood, , , For Sure!, and United.

Rosewood was nominated for two and was voted Best Jazz Album of 1978 in the Readers' Poll, which also voted Shaw Best Jazz Trumpeter of the Year, and No. 4 Jazz Musician of the Year.

1980s
Throughout the 1980s, Shaw continued performing and recording as a leader with sidemen such as pianists Onaje Allan Gumbs, , and , bassist David Williams, drummer Terri Lyne Carrington, and trombonist , recording a number of more "traditional" but highly lyrical albums ( Solid, Setting Standards, In My Own Sweet Way) consisting mainly of standards and tunes from the hard bop repertoire. During this time he also worked on projects with saxophonists , and , as well as fellow trumpeter on three albums ( Double Take, and The Eternal Triangle, reissued on Blue Note as The Freddie Hubbard and Woody Shaw Sessions) and Golson's .

Health issues and death
By the late 1980s, Shaw was nearly blind from retinitis pigmentosa, an incurable degenerative eye disease. A user throughout his adult life, Shaw was in poor health when he returned to the U.S. in early 1989 from a lengthy stay in Europe and needed a wheelchair at the airport.
(2025). 9781578064533, University of Mississippi Press. .
On the morning of February 27, 1989, Shaw was struck by a subway car in Brooklyn, New York, which mangled his left arm and caused other injuries including head trauma; doctors were forced to amputate his arm. The night before the accident, Max Roach sent a limousine to Newark where Shaw was staying, to bring Shaw to the to hear Roach play. After the set, Roach put Shaw into a taxi around midnight with enough money to get back to Newark. Shaw did not go to Newark; it is unclear what led to the accident later that morning. During his hospital stay at Bellevue, Shaw suffered kidney failure, was put on a respirator and lost consciousness for more than a month. He died from kidney failure on May 10, 1989, aged 44.

Awards
  • Talent Deserving Wider Recognition, Downbeat International Jazz Critics Poll (1977)
  • Jazz Album of the Year, Downbeat Readers Poll: Rosewood (Columbia 1978)
  • Best Trumpeter, Downbeat Readers Poll (1978)
  • Grammy Nomination – Best Jazz Instrumental Performance, Soloist: Rosewood (1979)
  • Grammy Nomination – Best Jazz Instrumental Performance, Group: Woody Shaw Concert Ensemble, Rosewood (1979)
  • Best Trumpeter, Downbeat Readers Poll (1980)
  • Downbeat Hall of Fame (1989)

Legacy revival
The years between 2003 and 2013 saw a resurgence of interest in, and recognition of, Shaw's music. In 2003, Shaw's son, Woody Louis Armstrong Shaw III, launched The Official Woody Shaw Website, which helped to bolster appreciation for Shaw's contribution to music. Since then, many of Shaw's long-out-of-print recordings have been reissued, remastered and repackaged, under the curatorial oversight of Shaw's son and long-time producer .

In 2012, PopMarket, a division of Sony Legacy, released , and in 2013, Mosaic Records released , for which NPR described Shaw as "the last great trumpet innovator".West, Michael J. (August 14, 2013) "Woody Shaw: The Last Great Trumpet Innovator". npr.org. Retrieved October 24, 2013.

Shaw III, the primary inspiration for Shaw's third Columbia album, (dedicated to Shaw's father and newborn son), is the sole heir to his father's legacy. Today, Shaw III preserves the Shaw legacy through the production, management, archiving and preservation of his father's life's work. Shaw's legacy is kept active and relevant through the use of social media and the official website.

Innovations
Shaw was noted for his mastery and innovative use of "wide" intervals, often fourths and fifths, which are considered relatively unnatural to the trumpet and difficult to employ skillfully due to (a) the technical facility required to do so, (b) the architecture of the instrument, (c) the trumpet's inherent tendencies based on the , and (d) its traditional association with intervals based more commonly on thirds and relationships.

In both his improvisations and his compositions, Shaw frequently used , the combination of two or more tonalities or keys (i.e. multiple chords or harmonic structures) at once. In his solos, he often superimposed highly complex permutations of the and sequences of intervals that modulated unpredictably through numerous key centers. He was a master of and used a wide range of harmonic color, generating unusual contrasts, using tension and resolution, dissonance, odd rhythmic groupings, and "over the barline" phrases, yet always resolving his ideas according to the form and harmonic structure of a given composition while adhering to the conventions of jazz improvisation and simultaneously creating new ones.

His "attack" was remarkably clean and precise, regardless of tempo (Shaw often played extremely fast passages). He had a rich, dark tone that was distinctive with a near-vocal quality to it; his intonation and articulation were highly developed, and he greatly utilized the effects of the lower register, usually employing a deep, extended vibrato at the end of his phrases. Shaw also often incorporated the , which gave his melodic lines a subtle fluidity that seemed to allow him to weave "in and out" of chords seamlessly from all "angles".

Shaw was also born with an extraordinary memory and . Max Roach once stated: "He was truly one of the greatest. I first had occasion to work with Woody on a trip to Iran. One of the most amazing things was his uncanny memory. I was just flabbergasted. After one look, he knew all of the charts, no matter how complex they were."

Shaw's improvisational and composing style bears the influences of his idols Dolphy, Coltrane and Tyner, as well as many European modern classical and 20th-century composers such as Béla Bartók, Zoltán Kodály, Arnold Schoenberg, , , , Alexander Scriabin, , , , , , , , , , and . Shaw also listened closely to traditional , , Indian classical music, , and various other musics of the world.

Educator
Throughout his career, Shaw gave countless clinics, master classes and private lessons to students around the world. During the 1970s, he and Joe Henderson were faculty members in 's jazz camp. NEA Grant recipients who studied with Shaw include (musical director of Jazz at Lincoln Center), and (Quincy Jones Professor of African American Music, Harvard University). Other students and apprentices include , , and Terence Blanchard.

Admiration among musicians
As a musician and trumpeter, Shaw was held in high esteem by his colleagues and is seen as one of the most technically and harmonically advanced trumpet players in the history of jazz and of the instrument itself. , a notoriously harsh critic of fellow musicians, once said of Shaw: "Now there's a great trumpet player. He can play different from all of them." Trumpeter Dave Douglas stated: "It's not only the brilliant imagination that captivates with Woody Shaw – it's how natural those fiendishly difficult lines feel... Woody Shaw is now one of the most revered figures for trumpeters today."

Shaw is credited with having extended the harmonic and technical vocabulary of the trumpet. Upon hearing of Shaw's death in 1989, Wynton Marsalis stated: "Woody added to the vocabulary of the trumpet. His whole approach influenced me tremendously." Multi-genre producer, instrumentalist and rapper, Madlib, also cites Shaw as an inspiration. In an interview with Red Bull Music Academy, Madlib listed Shaw as his favorite trumpet player, saying of his music: "It’s electric and acoustic, traditional and non-traditional — that’s what I’m all about."

Travels
Throughout his life, Shaw travelled all over Europe. He first moved to France at 19. As a sideman with Roach, he traveled to Iran in 1969. He also toured such places as Japan, Great Britain, Italy, Germany, Sweden, Switzerland, Netherlands, Belgium, and Czechoslovakia.

During a 1980s tour for the United States Information Service, Shaw ventured to such countries as Egypt, Sudan, and the United Arab Emirates. Recently, it has been discovered that Shaw spent significant time performing and giving clinics in India, working in cities such as New Delhi, Bombay, Bangalore, and Calcutta. When asked by film producer Chuck France in an interview whether he thought traveling was important, Shaw responded: "Most definitely. I think every great artist should share his music with the world."

Discography
As leader/co-leader
  • 1965: In the Beginning (, 1983)
  • 1970: Blackstone Legacy (Contemporary, 1971)
  • 1972: Song of Songs (Contemporary, 1973)
  • 1974: (Muse, 1975)
  • 1975: San Francisco Express – Getting It Together (Reynolds, 1979)
  • 1975: (Muse, 1976)
  • 1976: Little Red's Fantasy (Muse, 1978)
  • 1976: The Woody Shaw Concert Ensemble at the Berliner Jazztage (Muse, 1977) – live
  • 1977: Lausanne 1977 with (TCB, 1977) – live
  • 1977: The Iron Men with (Muse, 1980)
  • 1977: Woody Shaw Live Volume One (, 2000) – live
  • 1977: Woody Shaw Live Volume Two (HighNote, 2001) – live
  • 1977: Woody Shaw Live Volume Three (HighNote, 2002) – live
  • 1977: Rosewood (Columbia, 1978)
  • 1978: (Columbia, 1979) – live
  • 1978–79: (Columbia, 1979)
  • 1979: At Onkel Pö's Carnegie Hall Hamburg 1979 Vol.1 (Jazzline, 2019)
  • 1979: For Sure! (Columbia, 1980)
  • 1981: United (Columbia, 1981)
  • 1981: Tokyo '81 (Elemental Music, 2018) – live
  • 1981: Woody Shaw Live Volume Four (HighNote, 2005) – live
  • 1982: Lotus Flower (, 1982)
  • 1982: Master of the Art (Elektra/Musician, 1982) – live
  • 1982: Night Music (Elektra/Musician, 1983) – live
  • 1983: The Time Is Right (, 1983) – live
  • 1983: Setting Standards (Muse, 1984)
  • 1983: Live in Bremen 1983 (Elemental Music, 2018) – live
  • 1985: Woody Shaw with the Tone Jansa Quartet ( 1985)
  • 1985: Double Take with (Blue Note, 1985)
  • 1986: Bemsha Swing (Blue Note, 1997)
  • 1986: Solid (Muse, 1987)
  • 1986: Dr. Chi with the Tone Jansa Quartet (Timeless, 1989)
  • 1986: 2 MFs - Live at The Closet 1986 with (bandcamp, 2020)digital – live
  • 1987: In My Own Sweet Way (In + Out, 1989) – live
  • 1987: The Eternal Triangle with (Blue Note, 1987)
  • 1987: Imagination (Muse, 1988)

Compilations

  • Woody Plays Woody (HighNote, 2012) – compilation drawn from the HighNote live albums above
  • Field Recordings of A Jazz Master (International Trumpet Guild, 2012)

Box-sets

  • The Complete CBS Studio Recordings of Woody Shaw (, 1992)
  • (Columbia Legacy, 2011)
  • (Mosaic, 2013)

As sideman
With
  • Child's Dance (Prestige, 1972)
  • (Prestige, 1973)
  • (Prestige, 1973)

With

  • The Free Slave (Muse, 1972) – rec. 1970
  • Duet in Detroit (Enja, 1983)

With

  • Tones for Joan's Bones (Atlantic/Vortex, 1966)
  • The Complete "Is" Sessions (Solid State,1969)

With Nathan Davis

  • Peace Treaty (SFP, 1965)
  • Happy Girl (Polydor, 1965)

With

  • Conversations (Douglas, 1963)
  • Iron Man (Douglas, 1963)

With

  • (Columbia, 1976) – live
  • Sophisticated Giant (Columbia, 1977)
  • Gotham City (Columbia, 1981) – rec. 1980

With

  • For Flying Out Proud (MPS, 1977)
  • GG-CJB (MPS, 1979)

With

  • Ichi-Ban with (Timeless, 1976)
  • The Real Thing (Muse, 1977)

With

  • If You're Not Part of the Solution, You're Part of the Problem (Milestone, 1970)
  • Joe Henderson Quintet at the Lighthouse (Milestone, 1970)

With Andrew Hill

  • Grass Roots (Blue Note, 1968)
  • Lift Every Voice (Blue Note, 1970)
  • (Blue Note, 2003) - rec. 1969

With

  • Bobby Hutcherson Live at Montreux (Blue Note, 1973)
  • Cirrus (Blue Note, 1974)

With

  • 'Bout Soul (Blue Note, 1969) - rec. 1967
  • Demon's Dance (Blue Note, 1970) - rec. 1967

With

  • Reach Out! (Blue Note, 1968)
  • Thinking of Home (Blue Note, 1970)

With

  • The Cape Verdean Blues (Blue Note, 1965)
  • The Jody Grind (Blue Note, 1966)

With

  • (Prestige, 1968)
  • Pure Dynamite (Mainstream, 1972)

With

  • The Git Go – Live at the Village Vanguard (Soul Note, 1987) – live rec. 1986
  • The Seagulls of Kristiansund (Soul Note, 1987) – live rec. 1986

With others

External links

: , , , , , , , , , , , , , , , , , , , , , , ,
Page 1 of 1
1
Page 1 of 1
1

Account

Social:
Pages:  ..   .. 
Items:  .. 
Click to view the UPC Scavenger App on google play.

Navigation

General: Atom Feed Atom Feed  .. 
Help:  ..   .. 
Category:  ..   .. 
Media:  ..   .. 
Posts:  ..   ..   .. 

Statistics

Page:  .. 
Summary:  .. 
1 Tags
10/10 Page Rank
5 Page Refs
1s Time