paul gonsalves newport 1956msci world ticker


He went home to, in his words as provided to Stanley Dance, “worry my father” about buying a saxophone, a strategy which his sister Julia recalled amounted to walking around the house puzzling his parents by pantomiming playing a saxophone until one of his friends told them what it was about. Duke Ellington's appearance at the 1956 Newport Jazz Festival has long been famous, and justifiably so. However, Gonsalves is also well remembered by fellow musicians and followers of the Ellington Orchestra for creative and highly personal renditions of Ellington/Strayhorn ballads such as “Chelsea Bridge”, “Happy Reunion”, and “In a Sentimental Mood”, as well as standards like “Star Dust”, “Body and Soul”, “Don't Blame Me”, and “Days of Wine and Roses”. George Smith 97,189 views The album features a magnificent solo by Gonsalves on a number entitled “Song of Paul” which exhibits the lengthy runs and unique phrasing which made his name with the Ellington Orchestra.Gonsalves' career was interrupted by World War II during which he served in the Quartermaster Corp in India and Burma, but also had the chance to maintain his musicianship by jamming frequently with Virginia born pianist Teddy Weatherford in Calcutta. As a duke fan, I didn't realize his popularity had diminished so much in that era - especially knowing of the later musics he did like with Coltrane. After three years Piagetelli informed his student that there was no more he could teach him and sent him to the outside world, a world in which big band jazz music occupied a singular place in popular culture that would be lost in less than a generation. The first shows how much money the band members were sending home to thier families during their State Department tour in 1963. His father responded by buying his son a used melody C tenor saxophone for fifty nine dollars and insisted he repay him a dollar a week until the debt was paid off.A few years later Gonsalves auditioned for and became a student of Joseph Piagetelli at the Boston Conservatory who, in recognition of his talent, made him pay only a nominal fee for lessons. Both were likely aware that time was running out and for Gonsalves, as noted by his daughter Colette, life outside of the special world of the Ellington Orchestra was unthinkable.Paul Gonsalves is buried at the Long Island National Cemetry, New York, Plot 2N 3731.When the first iteration of this website was uploaded, there was next to nothing about Paul Gonsalves online. When the demand for the number played out Gonsalves was assigned several derivative solos, such as “Ready go”, or “Blow by Blow”. There's no such thing as a wrong note... it just depends on what you play after it.Is there a story behind the solo? It is intersting, though rather sad, to note that it still left Paul over $5000 in debt to his employer.Paul Gonsalves was a premier sideman for the Duke Ellington Orchestra from 1950 until his death in 1974, ten days prior to Ellington's passing. Paul Gonsalves ( July 12, 1920 – May 15, 1974) was an American jazz tenor saxophonist best known for his association with Duke Ellington. Mauriat Fan Inspired by his teacher and the active jazz scene of Southern New England, Gonsalves rejected a scholarship in commercial art at the Rhode Island School of Design to pursue a career with his saxophone.Gonsalves first break into the world of the big bands was with the Phil Edmund Orchestra, followed by bands fronted by Duke Oliver, and Henry McCoy.

Nevertheless, the band retained its enthusiasm into the late night set and Ellington, who was well aware that Gonsalves was less than an hour from his home and on the friendliest possible turf, called for “Diminuendo and Crescendo in Blue” between sets and told his soloist that it was his night. Was he waiting for a cue or another soloist? That week Paul made $350 (equivalent to roughly $2400 in todays dollars!). He was a driving, powerful soloist featured on numerous swing numbers, a style that reached its height during his historic solo bridging the two movements of the Ellington Orchestra's performance of “Diminuendo and Crescendo in Blue” at the Newport Jazz Festival in 1956. It's one of those classic jazz tales.Is there a story behind the solo?

And Gonsalves, urged on by dozens of friends and family including fellow Cape Verdean musicians, delivered an inspired performance which still retains its surpassing energy and power after decades of replay and examination.Newport ushered in a new and successful period for Ellington and his Orchestra, but the trajectory of Gonsalves' life and career was more problematic.

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