汤米·弗拉纳根TOMMYFLANAGAN
很少地如此的意见一致地不节省赞美在比较不自己-庆祝接受者上被授予。同样地和蔼和事实的离开台子当做他在钥匙猛烈个别, 工人带着上班的食物弗拉纳根处理他的世界班级排名与一个平静、谦逊, 一个容易的友谊不总是以灵魂负担联合存在一号。 也许因为他的同侪和全世界的爱几乎立即早承认在哪一个他数年以来已经被他们捉住已经在工人带着上班的食物弗拉纳根的爵士乐的丛林中往一个温暖和有艺术有益的栖木去。 或也许它由于他的有益健康起源, 当做六个孩子之一一向上地努力, 在底特律的音乐上狂热的家庭。
任何的, 弗拉纳根在 1945 年在 15 岁制造了他的专业初次登场，和同伴的马达城市萌芽的重量级人物参加军队使受精杰克森、 Thad 钟斯、 Elvin 钟斯和肯尼 Burrell, 玩像知更鸟的俱乐部, 底特律是有名的爵士乐的房间。 弗拉纳根在 1956 年击中纽约, 他的第一个轻便马车在芽鲍威尔的 Birdland 作为一个附属的工作, 他取消当做在他自己的早发展方面的主要的影响力, 连同艺术 Tatum 和 Nat 一起科尔。 弗拉纳根的自己礼物如此不迟疑明显，很快地，他为用如宝贝罗林、约翰 Coltrane 、查尔斯 Mingus 和里戴维斯的爵士乐的圣像记录日期被轻打了。
在 1957 年，弗拉纳根使他的第一个三人一组成为相簿了, "工人带着上班的食物弗拉纳根在海外 , " 与 Elvin 钟斯和威尔伯，少，已经被许多次在发行而且是现在一个搜集家的项目。他创下了超过 100 录音从 1956 到 1968 ，哪一个已经变得必要至任何的严重爵士乐的多数记录图书馆。
从 1968 到 1978 ，弗拉纳根广泛地和埃拉费兹杰罗游览。 在那期间，他的被最近在发行的三人一组相簿， " Montreux 77",被记录了。 它和埃拉费兹杰罗在一起他赚了他的斑纹作为一个爵士乐的至高伴奏者，一个指示在工业各处广泛地承认。
在 1978 年，在重大的离开，弗拉纳根形成了他自己的三人一组而且自从已经几乎独有地以那的格式运行后。 他的记录事业有自从花开着的以后与 15 普遍地赞美相簿作为一个独奏者或带领他的三人一组。数年以来，工人带着上班的食物弗拉纳根三人一组已经自豪如 Elvin 钟斯的重要鼓手， Al 养育和艺术泰勒。 他也已经雇用如肯尼华盛顿的有天才的比较年轻的鼓手和比较最近路易斯纳什。 自从～之后发射他的三人一组, 低音乐器演奏者弗拉纳根已经最特别地用已经是乔治 Mraz,捷克美术通。 Mraz 的能力跟随弗拉纳根大量有创造力, 曾经令人惊讶的踪迹是令人印象深刻的。
弗拉纳根已经有四个葛莱美奖提名, 二为最好的爵士乐的表现 (小组) 和二为最好的爵士乐的表现 (独奏者).
他被投票强拍最近的读者的投票的高层爵士乐钢琴家和嬴得爵士乐的次的批评家和读者的投票。
工人带着上班的食物弗拉纳根的抒情诗调的风格, 立刻强硬、温和, 而且以快活的幽默反弹, 表达比博普爵士乐的美好擦亮和有旋律边。 它在区别和成熟方面已经稳定地生长, 而且经过它，全部，它摇摆。
人物介绍的英文原版
Rarely has such unanimously unstinting praise been bestowed on a less self-congratulatory recipient. As genial and matter-of-fact off the stand as he is fiercely individual at the keys, Tommy Flanagan handles his world class ranking with an equanimity, a modesty, an easy friendliness not always associated with the psychic burden of being Number One. Perhaps because almost instant early recognition by his peers and the universal affection in which he has been held by them over the years has made for a warm and artistically rewarding roost in the jazz jungle for Tommy Flanagan. Or perhaps it is owing to his wholesome origins, as one of six children of an upwardly striving, musically enthusiastic family in Detroit.
Whatever, Flanagan made his professional debut in 1945 at age 15, joining forces with fellow Motor City budding heavyweights Milt Jackson, Thad Jones, Elvin Jones and Kenny Burrell, playing clubs like the Bluebird, Detroit’s renowned jazz room. Flanagan hit New York in 1956, his first gig being a sub job at Birdland for Bud Powell, whom he recalls as a major influence on his own early development, along with Art Tatum and Nat Cole. Flanagan’s own gifts were so readily apparent, in short order he was tapped for recording dates with such jazz icons as Sonny Rollins, John Coltrane, Charles Mingus and Miles Davis.
In 1957 Flanagan made his first trio album, “Tommy Flanagan Overseas,” with Elvin Jones and Wilbur Little, which has been reissued many times and is now a collectors’ item. He made more than 100 recordings from 1956 through 1968, many of which have become essential to any serious jazz record library.
From 1968 to 1978, Flanagan toured extensively with Ella Fitzgerald. During that time his recently reissued trio album, “Montreux 77,” was recorded. It was with Ella Fitzgerald that he earned his stripes as a jazz’s supreme accompanist, a designation widely acknowledged throughout the industry.
In 1978, in a momentous departure, Flanagan formed his own trio and has since performed almost exclusively in that format. His recording career has since flowered with 15 universally admired albums as a soloist or leading his trio. Over the years the Tommy Flanagan Trio has boasted such significant drummers as Elvin Jones, Al Foster and Art Taylor. He has also employed such gifted younger drummers as Kenny Washington and more recently Lewis Nash. Since launching his trio, the bassist Flanagan has used most notably has been George Mraz, the Czech virtuoso. Mraz’s ability to follow Flanagan’s abundantly creative, ever surprising trail is impressive.
Flanagan has had four Grammy nominations, two for Best Jazz Performance (Group) and two for Best Jazz Performance (Soloist).
He was voted Top Jazz Pianist in DownBeat’s most recent Readers’ Poll as well as winning Jazz Times’ both Critics’ and Readers’ Poll.
Tommy Flanagan’s lyrical style, at once tough, tender, and bouncing with jaunty humor, expresses a beautifully polished and melodic side of bebop. It has steadily grown in distinction and maturity, and through it all, it swings.
Born: March 16, 1930