John Coltrane & Art Taylor RARE autographed 4 1/4 X 5 3/4 card Jazz

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John Coltrane & Art Taylor autographed approximately 4 1/4 X 5 3/4  index card
Art Taylor, a leading jazz drummer and bandleader who taught or inspired many young musicians, died yesterday at Beth Israel Hospital in Manhattan. He was 65.
Mr. Taylor was a marvel on the bandstand. He swung like a strong breeze and tried to make every performance conversational, pushing and prodding soloists into exchanges, elevating jazz into a fully improvisational art. He was a complete drummer: his brush work was extraordinary in its quiet drive, and he was a master of changing dynamics. In his later years he assimilated the expansiveness of post-be-bop drumming, but he never forgot how to swing a band with his ride cymbal or how to use his intensity and power in a quietly effective way.
Mr. Taylor's gifts as a musician made him one of the most sought-after drummers in the 1950's. Between Blue Note and Prestige, the two most important independent jazz record labels of the 1950's and early 60's, he recorded roughly 100 sessions. And he recorded or played with some of the great figures of the era, including Charlie Parker, John Coltrane, Bud Powell, Coleman Hawkins, Miles Davis, Thelonious Monk, Buddy DeFranco, Art Farmer, Gene Ammons, George Wallington, Gigi Gryce, Donald Byrd and Sonny Rollins. Along with Art Blakey, Max Roach and Philly Joe Jones in the 1950's, he helped define the sound of modern jazz drumming.
He can be heard on a number of celebrated albums, including John Coltrane's "Giant Steps," Miles Davis's "Miles Ahead," many of Bud Powell's better sessions for Blue Note and Thelonious Monk's Town Hall recordings.
Mr. Taylor was born in New York City and as a teen-ager became part of the fertile New York be-bop scene of the late 1940's and early 50's, joining a group that included Sonny Rollins, Jackie McLean and Percy Heath. His first professional work was with the trumpeter Howard McGhee in 1948. Mr. Taylor often transcribed the improvisations of Parker, Powell and Monk and learned much of his music from them.
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Mr. Taylor was an important collaborator, but he also led groups and recorded under his own name during the late 1950's and early 60's, including a fine session for Prestige featuring both Jackie McLean and Charlie Rouse on saxophones. Mr. Taylor also recorded "A.T.'s Delight" for Blue Note, a session that featured Stanley Turrentine on saxophone.
Disenchanted with the jazz scene and American politics, Mr. Taylor left for Europe in 1963. He lived in France until 1970 and then in Belgium until 1980, when he returned to the United States. While in Europe, he put together "Notes and Tones," a collection of interviews with other musicians in which they expressed concerns about racism, drugs and other issues.
Mr. Taylor spent the last 10 years of his life in New York. In the late 1980's he began performing more regularly with his band, Taylor's Wailors, which eventually included a number of young musicians, among them the pianists Jacky Terrasson and Marc Cary and the saxophonists Abraham Burton and Willie Williams.
It is hard to overestimate the importance of Mr. Taylor's band over the last half decade: not only did he hire and train young musicians, but he showed them how to establish a relationship to the audience, using extraordinary small-group arrangements, dynamics and more. He also taught them how to swing, and his performances in Manhattan were regularly attended by other musicians. He helped set the standard for what could be achieved by a small group. Mr. Taylor recorded several albums for Enja and Verve, and had recently finished recording a session with the organist Jimmy Smith.
He is survived by a daughter, Sylvie Taylor of California.
Arthur S. Taylor, Jr. (April 6, 1929 – February 6, 1995) was an American jazz drummer who "helped define the sound of modern jazz drumming".[1]
Contents
1
Career
2
Discography
2.1
As leader
2.2
As sideman
3
References
Career
As a teenager, Taylor joined a local Harlem band that featured Sonny Rollins, Jackie McLean and Kenny Drew. After playing in the bands of Howard McGhee (1948), Coleman Hawkins (1950–51), Buddy DeFranco (1952), Bud Powell (1953), George Wallington and Art Farmer (1954), Powell and Wallington again (1954–55), Gigi Gryce and Donald Byrd (1956), he formed his own group, Taylor's Wailers.[2] Between 1957 and 1963 he toured with Donald Byrd, recorded with Miles Davis, Gene Ammons and John Coltrane, and performed with Thelonious Monk; he also was a member of the original Kenny Dorham Quartet of 1957.
In 1963 he moved to Europe, where he lived mainly in France and Belgium for 20 years, playing with local groups and jazz musicians such as Johnny Griffin, John Bodwin and with travelling American musicians such as Woody Shaw during the latter's tenure in Paris. He returned to the United States to help his mother, who was ill.[3] He continued freelancing after returning to the United States, and in 1993 organized a second band called Taylor's Wailers. He died in Beth Israel Hospital in Manhattan.[1]
He is the author of Notes and Tones, a book based on his interviews with other musicians.
Discography
As leader
Taylor's Wailers (Prestige, 1957)
Taylor's Tenors (Prestige, 1959)
A.T.'s Delight (Blue Note, 1960)
Mr. A.T. (Enja, 1991)
Wailin' At The Vanguard (Verve, 1991)
As sideman
With Thelonious Monk and Sonny Rollins
Thelonious Monk and Sonny Rollins (Prestige, 1956)
With Gene Ammons
The Happy Blues (Prestige, 1956)
Jammin' with Gene (Prestige, 1956)
Funky (Prestige, 1957)
Jammin' in Hi Fi with Gene Ammons (Prestige, 1957)
The Big Sound (Prestige, 1958)
Groove Blues (Prestige, 1958)
Blue Gene (Prestige, 1958)
Boss Tenor (Prestige, 1960)
Velvet Soul (Prestige, 1960 [1964])
Angel Eyes (Prestige, 1960 [1965])
Up Tight! (Prestige, 1961)
Boss Soul! (Prestige, 1961)
With Chris Anderson
My Romance (Vee-Jay, 1960 [1983]),
With Dorothy Ashby
In a Minor Groove (New Jazz, 1958)
Hip Harp (Prestige, 1958)
With Benny Bailey
Big Brass (Candid, 1960)
With Kenny Burrell
All Night Long (Prestige, 1956)
All Day Long (Prestige, 1957)
2 Guitars – with Jimmy Raney (Prestige, 1957)
Just Wailin' (New Jazz, 1958) with Herbie Mann, Charlie Rouse and Mal Waldron
With Donald Byrd
2 Trumpets (Prestige, 1956) – with Art Farmer
Jazz Eyes (Regent, 1957) – with John Jenkins
Off to the Races (Blue Note, 1958)
Byrd in Hand (Blue Note, 1959)
With Paul Chambers
Bass on Top (1957)
With Sonny Clark
Sonny's Crib (Blue Note, 1957)
With James Clay
The Sound of the Wide Open Spaces!!!! (Riverside, 1960) – with David "Fathead" Newman
With Jimmy Cleveland
A Map of Jimmy Cleveland (Mercury, 1959)
With Arnett Cobb
Party Time (Prestige, 1959)
More Party Time (Prestige, 1960)
Movin' Right Along (Prestige, 1960)
With Pepper Adams, et al.
Baritones and French Horns (1957)
With John Coltrane
Wheelin' & Dealin' (1957)
Trane's Blues (1957)
The Dealers (1957)
Black Pearls (1958)
Lush Life (1958)
The Believer (1958)
Settin' the Pace (1958)
The Last Trane (1958)
Jazz Way Out (1958)
Traneing In (1958)
Soultrane (1958)
Giant Steps (1959)
Bahia (1964)
Alternate Takes (1975)
With Continuum
Mad About Tadd (1980, Palo Alto Records)[4]
With Eddie "Lockjaw" Davis
Goin' to the Meeting (Prestige, 1962)
With Miles Davis
Miles Ahead (1957)
With Walter Davis Jr.
Davis Cup (1959)
With Kenny Dorham
Show Boat (1960)
With Art Farmer
The Art Farmer Septet (Prestige, 1953–54)
When Farmer Met Gryce (Prestige, 1955) – with Gigi Gryce
With Tommy Flanagan
Thelonica (Enja, 1982)
With Red Garland
A Garland of Red (Prestige, 1956)
Red Garland Revisited! (Prestige, 1957 [1969])
The P.C. Blues (Prestige 1956–57 [1970])
Groovy (Prestige, 1956–57)
All Mornin' Long (Prestige, 1957)
Soul Junction (Prestige, 1957)
High Pressure (Prestige, 1957 [1962])
The Red Garland Trio (Moodsville, 1958 [1960])
All Kinds of Weather (Prestige, 1958)
The Red Garland Trio + Eddie "Lockjaw" Davis (Moodsville, 1959)
Halleloo-Y'-All (Prestige, 1960)
With Matthew Gee
Jazz by Gee (Riverside, 1956)
With Benny Golson
Gettin' with It (New Jazz, 1959)
Free (Argo, 1962)
| style="text-align: left; vertical-align: top; " | With Dexter Gordon
One Flight Up (Blue Note, 1964)
The Squirrel (Blue Note, 1967 [1997])
A Day in Copenhagen (MPS, 1969) – with Slide Hampton
With Bennie Green
Hornful of Soul (1960)
With Johnny Griffin
Do Nothing 'til You Hear from Me (Riverside, 1963)
With Tiny Grimes
Tiny in Swingville (Swingville, 1959) – with Jerome Richardson
With Gigi Gryce
Jazz Lab (Columbia, 1957) – with Donald Byrd
Gigi Gryce and the Jazz Lab Quintet (Riverside, 1957)
Modern Jazz Perspective (Columbia, 1957) – with Donald Byrd
New Formulas from the Jazz Lab (RCA Victor, 1957) with Donald Byrd
Jazz Lab (Jubilee, 1958) with Donald Byrd
Doin' the Gigi (Uptown, 2011)
With Ernie Henry
Presenting Ernie Henry (Riverside, 1956)
With Elmo Hope and Frank Foster
Hope Meets Foster (Prestige, 1955)
With Milt Jackson
Bags & Flutes (Atlantic, 1957)
With Thad Jones
After Hours (Prestige, 1957)
With Clifford Jordan
Cliff Jordan (Blue Note, 1957)
With Duke Jordan
Flight to Jordan (Blue Note, 1960)
With Ken McIntyre
Looking Ahead (New Jazz, 1960) with Eric Dolphy
With Jackie McLean
Lights Out! (Prestige, 1956)
4, 5 and 6 (Prestige, 1956)
McLean's Scene (Prestige, 1957)
Alto Madness (Prestige, 1957)
Strange Blues (Prestige, 1957)
A Long Drink of the Blues (Prestige, 1957)
Makin' the Changes (Prestige, 1957 [1959])
Swing, Swang, Swingin' (Blue Note, 1959)
Capuchin Swing (Blue Note, 1960)
With Lee Morgan
Introducing Lee Morgan (1956)
City Lights (Blue Note, 1957)
Candy (Blue Note, 1957)
With Oliver Nelson
Meet Oliver Nelson (New Jazz, 1959)
With Cecil Payne
Patterns of Jazz (Savoy, 1956)
With The Prestige All Stars
Interplay for 2 Trumpets and 2 Tenors (Prestige, 1957)
With Bud Powell
The Amazing Bud Powell, Vol. 2 (Blue Note, 1954)
With Julian Priester
Spiritsville (Jazzland, 1960)
With Dizzy Reece
Blues in Trinity (1958)
With Charlie Rouse
Takin' Care of Business (Jazzland, 1960)
With Sahib Shihab
Jazz Sahib (Savoy, 1957)
With Horace Silver
Silver's Blue (Columbia, 1956)
With Jimmy Smith
Damn! (Verve, 1995)
With Johnny "Hammond" Smith
Talk That Talk (New Jazz, 1960)
Open House (Riverside, 1963)
With Louis Smith
Here Comes Louis Smith (Blue Note, 1958)
With Sonny Stitt
Stitt Meets Brother Jack (Prestige, 1962) – with Jack McDuff
With Buddy Tate
Tate-a-Tate (Swingville, 1960) with Clark Terry
With Clark Terry
Top and Bottom Brass (Riverside, 1959)
With Toots Thielmans
Man Bites Harmonica! (Riverside, 1957)
With Stanley Turrentine
ZT's Blues (1961)
With Mal Waldron
Mal-2 (1957)
With Randy Weston
African Cookbook (Polydor [France], 1969)
Niles Littlebig (Polydor [France], 1969)
With Julius Watkins and Charlie Rouse
Les Jazz Modes (Dawn, 1957)
With Kai Winding & J. J. Johnson
The Great Kai & J. J. (Impulse!, 1960)
With Frank Wright
Uhuru na Umoja (America, 1970)
John William Coltrane emerged as one of the most innovative and influential jazz musicians of the 20th century. Born in Hamlet, North Carolina on September 23, 1926, the son of John Robert and Alice Blair Coltrane, he grew up in High Point, North Carolina where his grandfather, Rev. William W. Blair, an African Methodist Episcopal (AME) minister, was one of the community leaders.  John Coltrane's childhood attendance at his family's black church shaped the spiritual dimensions of his musical orientation.  Following his father's death and the family’s sudden impoverishment, he and his mother moved to Philadelphia, Pennsylvania in 1943 to ensure he would have a proper education.  Coltrane’s mother Alice worked as a domestic servant while nurturing her son's musical interest and encouraged him to enroll at the Ornstein School of Music.
Coltrane’s musical education was interrupted when he was drafted into the U.S. Navy at the end of World War II, where he played with a Hawaii-based naval band.  By this point Coltrane found that he was increasingly attracted to jazz.  After he left the Navy in 1945 he made his professional debut as an artist.  Coltrane worked for a number of bandleaders including Dizzy Gillespie and Earl Bostic.  As his reputation grew, John Coltrane began to work with the most famous jazz artists of the era.  Between 1955 and 1959, he played in a band led by the legendary trumpeter Miles Davis.  He also worked intermittently with the famed jazz pianist Thelonious Monk.
In 1960 John Coltrane formed a group which eventually became known as the Classic Quartet and put into practice a unique compositional and improvisational technique he had developed based on "modal" playing.  Coltrane quickly emerged as the leading jazz tenor saxophonist of the era.  Described by some jazz critics as the “high priest” of avant-garde jazz, Coltrane's style involved dense, rapidly changing chords with complex extensions built upon each note.  Rejecting traditional harmonies, his quartet soon became a platform for introducing new ideas into jazz.
John Coltrane’s innovative style was evident on his 1959 album Giant Steps, which remains a marker of musical excellence.  Coltrane incorporated African musical traditions, slave spirituals and the blues into his compositions as well as elements of classical European and Indian musical traditions.  Coltrane’s ability to draw inspiration from a variety of musical traditions was also evident on his albums India, Ascension, and especially A Love Supreme which was released in 1964 and soon became his most successful recording.
By the late 1960s as the post-bebop era emerged, John Coltrane had gained status as the cultural saint of the Black Arts movement. A strong supporter of the civil rights movement, Coltrane's song Alabama, written in response to the 1963 Birmingham church bombing that killed four little girls, symbolized the fusing of his musical, political and cultural consciousness and stood as a model for the emerging black power/ black consciousness movement of the period.  Compositions such as Africa, Liberia, Dahomey Dance, Bakai, Dakar, and Afro Blue celebrated a new black aesthetic and freedom that expressly linked African America with Africa, thus celebrating the pan-Africanist transnational imagination.  Coltrane was revered by a younger generation of revolutionary poets and writers who found comfort and inspiration in his music.
John Coltrane died on July 17, 1967 of liver cancer.