A Phil Brodie Band
Oakland, California ~ July 24, 1953
Gillespie said about Jon Faddis, "He's the best ever -- including
me!" His trademark is the very high range he plays in. He doesn't
just hit higher notes than everybody, he plays up in that range!
He also can play
very fast and he plays with great feeling! Words just can't describe
how incredible he is! He burst on the scene as a teenager and amazed
everybody with his range, technique and ability to imitate Gillespie,
who has been Faddis' idol since he began playing at the age of eight.
Faddis expanded his repertoire to include Roy Eldridge and Louis Armstrong,
and his own great style.
Roots and Influences:
Dizzy Gillespie, Snooky Young, Charlie Parker, Duke Ellington, Bill
Chase, Bill Catalano, Sanford Gold
Performed Songs By:
Hanna, Dizzy Gillespie, Billy Harper, Steve Turre, Billy Strayhorn,
Greg Phillinganes, Duke Ellington, Carlos Franzetti, Johnny Mercer,
Bernard Ighner, John Coltrane, Eric Clapton, Ron Bridgewater, Irving
Mills, Oscar Peterson, Michel Legrand, Thad Jones, Gil Fuller, Gerry
Marvin Stamm, Charles McCracken, Gary King, George Young, Harold Kohon,
Eddie Daniels, Max Ellen, George Marge, Barry Rogers, Anthony Jackson,
Harry Lookofsky, David Nadien,
the Rolling Stones, Frank Sinatra, Kool and the
Gang, Luther Vandross, Quincy Jones, Billy Joel. . to name a
Dizzy Gillespie, Jon Faddis,
Freddie Hubbard, Jimmy Owens and Wynton Marsalis
TO MUSICIANS [part
teach at the Conservatory of Music at SUNY-Purchase. How do you approach
teaching your students?
Jon Faddis: One of my teaching philosophies is
to immerse students in the music. They need to know how this music started,
how it developed and who some of the major stylists are on the student's
particular instrument. I try to give the students a foundation so that
they can go in any direction they choose. For example, I had a drum
student who liked to play "jungle music" (not Duke Ellington's).
I didn't know what that was. So, I said, "Bring me a tape."
When he did, I said, "You know what? If you studied Elvin Jones's
style and put some of his work with what's on the tape, that would be
bad. He started listening to Elvin, and then he branched out a little
bit into Art Blakey. One of the positives is that the student isn't
so much into the jungle music any more. Now he's into Art Blakey, Philly
Joe Jones and Elvin Jones.
JazzReview: You've said that students should listen
directly to Louis Armstrong, instead of "listening to [Armstrong]
by way of Wynton Marsalis."
Jon Faddis: If a young musician can be drawn into
the music by someone who is currently on the scene, that's good. But
eventually he or she will have to go back to the source. And that's
Louis Armstrong with my love. It doesn't matter which instrument a student
plays. He or she should study Louis Armstrong. You must first understand
Bryant, James Moody, Frank Wess, Jon Faddis,
Clark Terry, Louie Bellson, 4 May 2002
in Oakland, CA, on July 24, 1953, Jon Faddis began playing trumpet at
age eight, inspired by an appearance of Louis Armstrong on "The
Ed Sullivan Show." Three years later, his trumpet teacher Bill
Catalano, an alumnus of the Stan Kenton band, turned the jazz- struck
youngster on to Dizzy Gillespie. By his mid-teens, Jon had not only
met Dizzy, he'd even sat in with his hero's combo at the famed Jazz
Workshop in San Francisco.
Upon graduating high school in 1971, Jon joined Lionel Hampton's band
as a featured soloist and moved to New York. That same year, responding
to an invitation from Mel Lewis to drop by the Village Vanguard whenever
he got to New York, Jon sat in with the Thad Jones/Mel Lewis Big Band
on one of their regular Monday night sessions. That sit-in turned into
four years of Monday nights playing with the band, as well as a tour
of the Soviet Union with the highly acclaimed unit. Jan also toured
with Charles Mingus and recorded on the Pablo label with Dizzy and Oscar
highlights included filling in (at age of 18) for an ailing Roy Eldridge
in an all-star concert led by Charles Mingus at New York's Philharmonic
Hall; a Carnegie Hall gig with Sarah Vaughan; two years in attendance
at the Dick Gibson~s Annual Colorado Jazz Party where he was featured
in a historic duet with Eubie Blake; performances with Gil Evans' and
Count Basie's big bands; appearances at Radio City Music Hall and festivals
here and abroad; and sitting in with Dizzy whenever possible.
light of these accomplishments -- his recognition in the jazz polls,
myriad accolades from the critical press, burgeoning numbers of international
fans, heady praise from the likes of Diz, Mingus and Mel Lewis, and
the pressure of public life -- is it any wonder that a (then) 20-year
old Jon Faddis opted for the sequestered life of the studio musician?
However, those studio years ultimately proved significant in his artistic
development. Exposure to a diverse spectrum of music helped shape him
into the broad-based interpreter and (creator in) African-American idioms
that he is today. Jon's distinctive trumpet voice would be heard on
albums by performers as disparate as Duke Ellington, the Rolling Stones,
Frank Sinatra, Kool and the Gang, Luther Vandross, Quincy Jones, Billy
Joel and Stanley Clarke, to name a few. His horn was heard on the theme
of "The Cosby Show," on the soundtrack of Clint Eastwood's
films "The Gauntlet" and "Bird," and on many commercials.
Jon Faddis had become one of the most in-demand session musicians in
turning point was the invitation from Dizzy to accompany him on a visit
to the White House in 1982. The occasion was an "In Performance"
ceremony in which Dizzy and several other major American artists showcased
young colleagues they believed to be "on the verge of exceptional
careers." Jon's participation in the event was apparently enough
to convince him he had a lot more to offer than horn section lead on
jingles, or the occasional solo (often uncredited) on a lavish studio
production of a pop star.
a year, he left studio life and was out on the club scene with a working
group that included saxophonist Greg Osby and pianist James Williams.
In 1987, Jon played the major role in organizing and rehearsing Dizzy's
big band, the one that would celebrate the legendary bebopper's 70th
birthday on tour here and abroad. Jon was a featured soloist and later
assumed the same position as musical director of Dizzy's United Nation
Orchestra, another international touring all-star group formed in 1989.
December 1991 Jon Faddis was appointed musical director of the Carnegie
Hall Jazz Band, an 18 piece all-star orchestra which serves as a vehicle
for some of the greatest names in Jazz to present concerts that are
not part of their regular repertoire. The band made its debut in October,
1992, and released its first album on the Blue Note label in 1995. During
the late nineties, Faddis has been touring with the Jimmy Heath-Slide
Hampton-Jon Faddis sextet. He has also played an important role in the
development of the Trumpet Summit Band, which has featured a who is
who of the current trumpet scene, from Clark Terry and Benny Bailey
to Roy Hargrove, Terell Stafford and Nicholas Payton.
has an enduring commitment to the accessible and quality education of
young musicians, regularly leading master classes nationally and internationally.
In May 2003, Faddis received Manhattan School of Music's first-ever
honorary doctorate in Jazz Studies, becoming Dr. Jon Faddis. In 2002,
he received the JD Award for excellence in teaching in New York City
high schools; among numerous others, he has received the Milt Jackson
Award for Excellence and Accessibility in Jazz.
In 1999, Faddis became the first Artist-in-Residence at Purchase College
(SUNY) (www.purchase.edu), where he continues to serve as Artist-in-Residence
and Professor and is, as of 2002, Director of Jazz Performance at the
Conservatory of Music. On December 6, 2002, Faddis informally premiered
original compositions based on sixty-three works by Romare Bearden (none
of which had been publicly exhibited previously, much less together)
at the Neuberger Museum of Art at Purchase College.
Faddis also serves on a number of boards and advisory boards, including
The Commission Project (with which Faddis has worked since he was 18),
the Jazz Foundation of America, the International Trumpet Guild, the
International Association for Jazz Education, and the Louis Armstrong
Educational Foundation. Additionally, he is actively involved with Jazz
Alliance International (among other things, serving in September of
2002, as Musical Director for a benefit and scholarship program honoring
Fats Navarro). In October 2003, Faddis serves as music director for
the opening celebrations for the Louis Armstrong House & Archives,
coordinating over 100 musicians, including over fifteen of the world's
best trumpet players, in tribute to Armstrong.
& Billy [Black-Hawk] Black Hawk
1976 Youngblood Pablo
1978 Good and Plenty Unidisc
1985 Legacy Concord Jazz
1989 Into the Faddisphere Epic
1991 Hornucopia Epic
1995 The Carnegie Hall Jazz Band Blue Note
1998 Remembrances Chesky
Jan Akkerman 3 (1980) Trumpet
Monty Alexander Caribbean Circle (1992)
Peter Allen Continental American (1974) Trumpet
Ashford & Simpson Very Best of Ashford &
Simpson (2002) Trumpet
Patti Austin Real Me (1988) Trumpet, Flugelhorn
Roy Ayers Coffy (1973) Trumpet, Flugelhorn
Roy Ayers Ubiquity Tear to a Smile (1975)
Roy Ayers Evolution: The Polydor Anthology (1995)
Babatunde Level of Intent (1996) Trumpet
Bad News Travels Fast Ordinary Man (1979)
Gato Barbieri Ruby, Ruby (1978) Trumpet,
SONGS APPEAR ON
Oscar Peterson & The Trumpet King Jousts
Oscar Peterson w/ Jon Faddis Oscar Peterson
& Jon Faddis
Various Artists Dance &
The Best of Nick Jr.
Rich Wetzel and His Groovin Highe Live
Buddy DeFranco Dimensions: A Compendium
of the Pablo Y
17-Bar Blues from Jon & Billy [Black-Hawk]
Ballad for Jon Faddis from Jon & Billy
Blues for Birks from Oscar Peterson &
Night in Tunisia from Legacy
Things to Come from Legacy
Water Bridge-Mizu Hashi San from Jon &
Slow Walkin' from Good and Plenty
Riverside Park from Remembrances
Razor Blade from Good and Plenty
Child Is Born from Legacy
PHIL BRODIE BAND TRIBUTE PAGE]