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THIS IS AN AUTHENTICALLY AUTOGRAPHED LP BY THAD JONES AND MEL LEWIS.. THAD JONES AND MEL LEWIS(PHILADELPHIA INTERNATIONAL KZ 33152)POTPOURRI. PHOTO COVER IS SIGNED BY THAD JONES AND MEL LEWIS. TRACKS:BLUES IN A MINUTE, ALL MY YESTERDAYS, QUIET LADY, DONT YOU WORRY BOUT A THING, FOR THE LOVE OF MONEY, YOURS AND MINE, AMBIANCE, LIVING FOR THE CITY. CONDITION OF THE VINYL,COVER, AND AUTOGRAPHS IS VERY GOOD. Thaddeus Joseph Jones (March 28, 1923 - August 21, 1986) was an American jazz trumpeter, composer, and bandleader. He was born in Pontiac, Michigan to a musical family of ten (an older brother was pianist Hank Jones and a younger brother was drummer Elvin Jones). Thad Jones was a self taught musician, performing professionally by the age of sixteen. He served in U.S. Army bands during World War II (1943-46). After the war, Thad Jones continued his professional music career, eventually winding up with Count Basie in 1954, for whom he arranged, composed, and performed. He stayed with Basie for nine years. Thad achieved critical acclaim during this time, but not for his work with Basie. Much of Jones's music was stylistically original and didn't always fit in with the Basie group which he left in 1963. In the early sixties he became a free lance arranger and performer in the New York area. In 1965, he and drummer Mel Lewis formed the Thad Jones/Mel Lewis Big Band. The group initially began with informal late night jam sessions amongst New York's top studio musicians. The group eventually began performing at the Village Vanguard, to wide acclaim, and continued with Jones in the lead for twelve years. They won a 1978 Grammy Award for their album Live in Munich.[1] Jones also taught at William Paterson College in New Jersey. Jones' big band arranging style was unique, especially from the standpoint of featuring dissonant voicings in a tonal context. This required the members of his big band to play correctly in tune, otherwise the dense chords he wrote would not sound correct. Minor 2nds and major 7ths are often featured in his voicings, especially when the entire band plays a long, powerful chord that some would describe as having "bite". One of the more notable albums he made in this regard is Suite for Pops recorded on the A&M Records "Horizon" label (now out of print) in the early 70's. It also featured the intense bebop improvisations of saxophonist Billy Harper and the high note screech playing of lead trumpet player Jon Faddis. In 1978, Thad suddenly moved to Copenhagen, Denmark, (to the great surprise of his New York band mates), where several other American jazz musicians had gone to live. There, he formed a new band Eclipse, composed for The Danish Radio Big Band and taught jazz at the Royal Danish Conservatory in Copenhagen. A year before his death, Jones came back to the U.S. to lead the Count Basie Orchestra but had to step down due to ill health. He returned to his home in Copenhagen for the last few months of his life. He died on August 21, 1986 after being hospitalized for months but his cause of death was not published. At the time of his death he had a six year old child, also named Thad Jones, with his wife Lis Jones, a daughter Thadia and a son Bruce. He is buried there in the Vestre Kirkegard Cemetery (Western Churchyard Cemetery).[2] Charles Mingus called Jones "...the greatest trumpet player I've heard in this life." In later years his playing ability was overshadowed by his composing and arranging skills. His best known composition is the standard A Child is Born. Mel Lewis (May 10, 1929 - February 2, 1990) was a drummer, jazz musician and band leader. He was born in Buffalo, New York to Russian immigrant parents. His birth name was Melvin Sokoloff. He started playing professionally as a teen, eventually joining Stan Kenton in 1954. His musical career brought him to Los Angeles in 1957 and New York in 1963. In 1966 in New York, he teamed up with Thad Jones to lead the Thad Jones/Mel Lewis Big Band. The group started as informal jam sessions with the top studio and jazz musicians of the city, but eventually began performing regularly on Monday nights at the famed Village Vanguard. In 1979 the band won a Grammy for their album Live in Munich.[1] Like all of the musicians in the band, it was only a side line. In 1976, he released an album titled "Mel Lewis and Friends" that featured him leading a smaller sextet that allowed freedom and improvisation. The band became the Mel Lewis and The Jazz Orchestra in 1978, when Thad moved to Denmark. Lewis continued to lead the band, recording and performing every Monday night at the Village Vanguard until shortly before his death from cancer at age 60. The band still performs on most Monday nights at the Village Vanguard; today it's known as The Vanguard Jazz Orchestra and has released several CDs. Lewis's cymbal work was unique and added qualities to his groups that are hard to describe, but that are recognized immediately and virtually impossible to emulate (Buddy Rich once said that "Mel Lewis doesn't sound like anybody except himself"). He insisted on playing genuine Turkish-made cymbals, switching from the Zildjian brand later in his career to the Istanbul brand. His setup included a 20-inch ride on his right, an 18-inch crash-ride on his left, and his signature sound, a 22-inch swish "knocker" with rivets on his far right. The dark, overtone-rich sound of these rather lightweight cymbals, combined with the rich, warm sound of his wood-shell drums (he almost exclusively played Gretsch drums) equipped with natural calfskin heads (again, Lewis was a purist) exuded a veritable treasure trove of sound. Lewis once described his playing philosophy of not "pushing or pulling" but "supporting." "If you watch me, it doesn't look like I'm doing much," he said in an interview, describing his subtle but highly musical style. He could play at a break-neck tempo for lengthy periods and hardly break a sweat. He wasn't flashy or loud--just tasteful, and highly musical. He had fourteen Grammy nominations, authored a drumming book, and taught at the William Patterson State
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