Kenny G (everyone knows it, right? Haha...)

Kelly King (Kenny .G)

A famous American saxophonist. Born in Seattle, USA on June 5, 1956. As a boy, he studied in Franklin. When he was 10 years old, he watched a musical and became obsessed with the saxophone. When he was in middle school, he tried to join a jazz band, but failed, which shows that he was not a musical genius. In accordance with his mother's wishes, he studied finance and graduated with honors from the Accounting Department of the University of Washington. Kelly King's musical achievements depend entirely on his love for the saxophone and his long-term and unremitting hard work. For many years, he insisted on practicing piano for 3-4 hours every day. Kelly King's style of music is my music. He currently lives in Los Angeles with his wife, and his happy family provides great support for his music career. It should be said that Kelly King changed people's understanding of the saxophone, and he has become the most popular saxophone player in the world in the past 10 years.

The albums recorded and published include (before 1997)

1 "Kenny G" (1982)

2 "G Force" (1983)

3 "Gravity" (1985)

4 "Duotones" (1986), in which Songbird was written for his girlfriend, who is now his wife.

5 "Silhouette" (1988)

6 "Live" (1989)

7 "The Collection" (1990)

8 "Montage" (1990)

9 "Dying Young" (1991)

10 "Breathless" (1992)

11 "Forever in love" ( 1992)

12 "Miracles, the Holidy Album" (1994)

13 "The best of Kenny G" (1994)

14 "In America" (1995) This album was not released in the United States

15 "The Moment" (1996)

16 "The Moment—Kenny G" (1996)

17 "Past Moment—Kenny" (1997)

18 "Six of Heart" (1997)

19 "Havanas" (1997)

20 "Kenny G's" Greatest Hits" (1997)

The main works in recent years include "Classics in the key of G", "Paradise", "Wishes" and "Ultimate Kenny G"

Candy Dulfer

Candy Dufour is a rare talent in the contemporary jazz scene. Her first public appearance was in the music video "Partyman" by the rock genius Prince. Dufour not only has beautiful blond hair and a pretty face, but her skills in playing the alto saxophone are also top-notch.

Dufour was influenced by her father who played soprano saxophone since she was a child. Sonny Rollins, Coleman Hawkins, and Dexter Gordon were all her idols. Since her father was a well-known musician in the Netherlands, Dufour was easily introduced to the jazz world. She has been performing with the band of Rosa King, an exiled musician from the United States to the Netherlands, since she was 12 years old. Formed his own band Funky Stuff at the age of 15. Due to their outstanding personality, the band was also invited by the famous rock singer Madonna to participate in her European tour.

After becoming famous for his work with Prince, Dufour enlisted the help of music producer Dave Stewart to record some critically acclaimed songs.

Dufour’s first solo album was released in 1991. Her slightly funk-style saxophone caused a pop whirlwind as soon as it was released and became an important component of contemporary jazz. Her subsequent works have absorbed more and more musical elements, showing more abundant and active creativity.

Main albums

1991 Saxuality·Arista

1993 Sax-A-Go-Go·RcA

1997 Gititon·N2K

1994 Candy-A-Go-Go·Arista Japan

1996 Big Girl·RcA

1997 For the Love of You·N2K

1998 The Boes of Candy Dulfer·N2K

1999 What Dose It Take·N—Coded/Warloc

2001 Girls Nighe Out·BMG

2001 Candy Live in Amsterdam·BMG

2003 Right in My Soul·Eagle

Benny Carter

The king of versatile jazz musicians--Benny Carter

To describe Benny Carter's career as a musician by simply saying that he had a compelling and productive life would be to underestimate his achievements. As an alto saxophonist, an arranger, a composer, a bandleader, and an infrequent trumpet player, Benny Carter has always been one of the best at what he does. one of them. He has been one of the finest jazz musicians since at least 1928, and amazingly, in 1996, when he was 88 years old, he was still playing on stage and performing His energy and intelligence are not limited by his age at all. Sometimes if people just listen to his performance rather than watch it live, they may even think that he is in his heyday in the 1930s, and his charm has not diminished at all. When he was only in his twenties, Benny Carter won the hearts of his audiences and became one of the finest big band conductors of his time.

He is always full of energy and confidence, and can always bring unexpected surprises to people. This reflects the spirit of jazz: if a master plays the same piece of music twenty years later, his performance can still bring new feelings to people! Jazz has never been, and never will be, simple repetition. Innovation is the spirit of jazz. All this brings people musical inspiration, and the source of inspiration comes from the reflection of the musicians' souls. Like many of the early masters of jazz, Benny Carter learned to play instruments basically on his own. After playing the C-key saxophone for a while, he started playing the trumpet, and eventually turned to the alto saxophone, which eventually became his best job related to band performances. In 1927, Benny Carter recorded his first album with Charlie Johnson's Paradise Band. In 1928, he had his first big band. The band's first performance was held at the Arcadia Ballroom in New York. Benny Carter was a great success after his first try. Fletcher Henderson was Carter's collaborator from 1930 to 1931, and Carter briefly took over the management of McKinney's "Cotton Pickers," a band that was all the rage at the time.

The young Kaji became an important figure in the big band era.

By the early 1930s, Carter had become as famous an alto saxophonist as Johnny Hodges, and his live performances in particular were widely welcomed by jazz fans. His talents in arranging and composing were praised, and his technique was impeccable. Although there were not many opportunities for his trumpet playing, he was always wonderful. It has been a recognized fact sixty years ago that Benny Cardiff was an all-rounder in terms of band performance. He made tenor saxophone records, clarinet records, and piano records, and he even tried singing, although his few singing proved that even he was not superhuman. In 1935, when swing music was at its peak, Benny Carter arrived in Europe. In London, British bandleader Henry Hall invited him to join the band. This is the famous British BBC Orchestra. In the band, Carter served as an arranger, which gave him the opportunity to fully display his arranger talents. Due to the huge influence of the BBC Band in the UK, Carter's name became a household name in the UK, and jazz also spread in this European island country. Benny Carter played an important role in the popularity of jazz in the UK. In 1938, the political situation in Europe was turbulent and war was approaching day by day. Benny Kachi, who was very worried about his future, returned to the United States and reorganized a big band. This was a traditional big band, but the band had a strong commercial flavor and focused more on popularity than on artistry. In the end, it ended in failure and was disbanded in 1941. After the big band disbanded, Kadai formed a septet with him as the core. In 1943, Benny Carter ended his eight-year wandering career and chose Los Angeles on the West Coast as his permanent residence. For a successful jazz musician, this place seemed like an unexplored virgin land. He originally planned to spend the rest of his life here, but he never expected that this would become the place where he would become stubborn again.

In the 1940s, the West Coast of the United States became the new center of jazz. Many new styles and new genres were born there. Carter found his ideal place. He played a drummer in the 1943 film "A Hard Day's Day," sharing the screen with another master, Fanz Waller. After that, he worked hard and concentrated on providing soundtracks for film sets. Over the next three years, he tried to recreate the glory of the first day and established a big band. His band lineup is strong. However, there is no doubt that the big band era is gone forever after the war. This is a trend in the development of jazz that even Benny Carter cannot reverse. His band was not as successful as he had hoped. Eventually he ended his attempts, gave up his efforts, disbanded the big band, and devoted himself entirely to the creation of film music. The history of Carter's film music creation lasted for half a century. In the 1940s and 1950s, Benny Carter still returned to his old profession from time to time, recording his alto saxophone performance. He has toured with the Jazz Philharmonic Orchestra, a classic band in the history of jazz, and participated in the recording of improvisational sessions by the famous jazz producer Norman Granz. These have enriched his glorious musical history. By the mid-1960s, Carter was busy with day-to-day tasks and had little opportunity to play alto saxophone. He did not return to playing the alto saxophone until the early 1970s. His schedule of performances and creations is full, which cannot but be considered a miracle for an old man who is nearly seventy years old.

Sidney Bechet (the first pioneer to use the saxophone in jazz)

In the history of jazz, Sidney Bechet was the first solo musician to record , is also a wonderful soprano saxophonist and clarinetist who makes extensive use of vibrato techniques in his playing. Whether people like it or not, Becher has always maintained a consistent style in his playing. And, throughout the many years, his enthusiasm and creativity never lost.

Bettcher first learned to play clarinet in New Orleans. His musical talent made him progress rapidly, so when he was still a child, he began to perform with the top local bands.

One of his earliest performances was at his brother's birthday party, his first time playing with adults, when members of Freddie Coppard's band were brought in to entertain. The band's performance was so wonderful that Becher was almost fascinated. He suppressed the urge to play, took out the clarinet given to him by his brother, and started playing. At first, he stood in the corner of the kitchen door. Later, the band's musicians They always felt that their music was a bit strange, so they found this poor performer. They couldn't believe their eyes. One of them smiled and said, "Although you are not old, your voice is really not small. We They all heard your performance, and to be honest, it’s really bad luck.” Everyone took him back to the kitchen, where they brought the little guy a chair, gave him a glass of wine, and gathered around him to listen to his performance. These were the earliest performances of this precocious musician. In 1917, he came to Chicago. In 1919, he joined Will Marius Cook's orchestra. He visited Europe with Cook's orchestra and won the invitation of the famous conductor Ernest Unsema. Highly insightful review. While still overseas, by chance, he discovered an instrument in a store window, which aroused his interest. He immediately bought it and began to try to play it. This was the soprano saxophone that he continued to play. After returning to the United States, Becher made his first recording with Clarence Williams in 1923. During the next two years of recording, he used blues singers singing as background vocals. He and Louis Armstrong influenced each other and played many incredible solos.

He also collaborated with another jazz giant, Duke Ellington, who was still relatively unknown at the time. However, Sidney Becher did not continue to develop his career in the United States. He came to Europe again, visiting and performing in various countries, as far as Russia. But his decisions were not always correct. This restless man caused a series of troubles in Europe. He was deported by the British and French governments, the former because he was arrested for rape, and the latter because he was arrested for rape. Montmartre in Paris participated in a shootout. Beyne Smith and Josephine Baker both had their fair share of sweet moments with him. He was so daring that he even taught a prominent figure to play the saxophone in Moscow after the October Revolution. It is said that this person was as powerful as his boss "M" in the "007" series. Compared to others of his generation, Sidney was a loner. Almost everyone who comes into contact with him always ends up unhappy. As long as he is present, he will always be the protagonist and the leader. Others can only follow his methods and only serve as his foil. In the self-centered jazz scene, jazz musicians find that the managers they work with often treat them like musical monsters. The jokes that others used to describe Victor Hugo were very appropriate for Bettcher, a man who almost went crazy imagining that he was a man named Sidney Bettcher, and all his hallucinations were because they were undeniable. The role of talent becomes a reality. For the dead Hugo, the French reopened the Pantheon; for Bécher, they erected a statue. The 1930s was a rather dull period for Becher. He worked with Norb Schishler and had a wonderful concert with the New Orleans Foot Stoves. He also once opened his own tailor shop, which was famous not because of how much money he paid, but because there were often wonderful improvisational sessions there.

In 1938, Bettcher finally gave people a surprise, and his "Summer" became a hit song. Bettcher's base of work was primarily in New York, where he attended Eddie Condon's performances at the City Music Hall. He made another unsuccessful attempt in 1945 to form his own band, but failed to find suitable partners. Here Becher has begun to feel that his future is becoming less and less optimistic and that it is becoming harder and harder to find a job.

He hoped to open a music school, but the end result was that it was not worthy of the name, and only one of his students was slightly famous. In 1949, Sidney's life seemed to have completely ended, and his life changed dramatically. He was invited to participate in the Sir Salle Pleyel Festival held in Paris. He revisited his hometown and felt many emotions in his heart. He decided to settle down here and regard this city that made him succeed and saw him fail as his life. own destination. For many years, almost no one in his home country knew his name, and people seemed to be strangers to him and the band's music. However, in Paris, a foreign country far away from his hometown, people not only remembered his name, but also respected him as a talented artist. This treatment was the same as that of his close friend, Josephine Baker, who was also from the United States. are similar.

In the United States, people judge a person’s achievements by skin color. If a person of color achieves the same artistic achievements as a white person, or even surpasses a white person in talent, then It must be regarded as an incredible and unforgivable mistake. There were many wonderful concerts and recordings in Becher's last ten years, and he returned to the United States to perform more than once, until he was killed by cancer. His vivid memoir "Treat It Tenderly" and his album "Jazz Wizards", which details his life as John Clinton, can make people understand his extraordinary life experience.

Sonny Rollins

Sonny Rollins has retired from the music scene three times, and each time he returns, he appears with a new look. He is one of the most "introspective" and prolific musicians in the jazz world, and his "thematic improvisation" makes him unique in the past and present.

Rollins first learned piano and switched to saxophone at the age of 16. In 1949, he teamed up with Bud Powell and J. J. John Xun's cooperation left a deep impression on people. Rollins absorbed a lot of the playing techniques and improvisational styles of famous saxophone players such as Charlie Parker and Sonny Stitt. By the early 1950s, when he collaborated with Miles Davis and Thelonious Monk, his The status cannot be underestimated. Rollins soon left the music scene, and when he returned in 1954, he showed even more amazing creative power.

In the late 1950s, Rollins felt pressure from John Cotten and once again announced his retirement. In 1961, he formed a quartet with Jim Hall. At this time, he also accepted Onie Coleman's innovative ideas, and his playing style became increasingly intense and casual. In 1968, Rollins left the jazz scene for the third time, and people were no longer surprised by his style of continuous withdrawal, meditation, and comeback. When he reappeared in 1971 with a new music style with R&B and pop elements, people were already impressed by his artistic persistence. He constantly tried to establish a new order, open up new horizons and seek good music. His spirit was later imitated by jazz musicians.

1954 Sonny Rollins Plays Jazz Classice·Prestige

1954 Moving Out·Orig. Jazz

1955 Taking Care of Business·Prestige

1956 Sonny Rollins Plus Four ·Prestige/OJC

1957 Alternate Takes·Contemporery

1958 Freedom Suite·Riverside/OJC

1962 The Bridge·Bluebird/RCA

1966 Alfie·Impulse

1972 Next Album·Milestone/OJC

1999 A Night at the Village Vanguard[2 CD Set][live]·Blue Note