Shelly Manne

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Shelly Manne_table_infobox_0

Shelly ManneShelly Manne_header_cell_0_0_0
Background informationShelly Manne_header_cell_0_1_0
Birth nameShelly Manne_header_cell_0_2_0 Sheldon ManneShelly Manne_cell_0_2_1
BornShelly Manne_header_cell_0_3_0 (1920-06-11)June 11, 1920

New York City, New York, U.S.Shelly Manne_cell_0_3_1

DiedShelly Manne_header_cell_0_4_0 September 26, 1984(1984-09-26) (aged 64)

Los Angeles, California, U.S.Shelly Manne_cell_0_4_1

GenresShelly Manne_header_cell_0_5_0 Jazz, cool jazz, third streamShelly Manne_cell_0_5_1
Occupation(s)Shelly Manne_header_cell_0_6_0 Drummer, percussionist, composer, bandleaderShelly Manne_cell_0_6_1
InstrumentsShelly Manne_header_cell_0_7_0 Drums, percussionShelly Manne_cell_0_7_1
Years activeShelly Manne_header_cell_0_8_0 1939–1984Shelly Manne_cell_0_8_1

Sheldon Manne (June 11, 1920 – September 26, 1984), professionally known as Shelly Manne, was an American jazz drummer. Shelly Manne_sentence_0

Most frequently associated with West Coast jazz, he was known for his versatility and also played in a number of other styles, including Dixieland, swing, bebop, avant-garde jazz and fusion, as well as contributing to the musical background of hundreds of Hollywood films and television programs. Shelly Manne_sentence_1

Family and origins Shelly Manne_section_0

Manne's father and uncles were drummers. Shelly Manne_sentence_2

In his youth he admired many of the leading swing drummers of the day, especially Jo Jones and Dave Tough. Shelly Manne_sentence_3

Billy Gladstone, a colleague of Manne's father and the most admired percussionist on the New York theatrical scene, offered the teenage Shelly tips and encouragement. Shelly Manne_sentence_4

From that time, Manne rapidly developed his style in the clubs of 52nd Street in New York in the late 1930s and 1940s. Shelly Manne_sentence_5

His first professional job with a known big band was with the Bobby Byrne Orchestra in 1940. Shelly Manne_sentence_6

In those years, as he became known, he recorded with jazz stars like Coleman Hawkins, Charlie Shavers, and Don Byas. Shelly Manne_sentence_7

He also worked with a number of musicians mainly associated with Duke Ellington, like Johnny Hodges, Harry Carney, Lawrence Brown, and Rex Stewart. Shelly Manne_sentence_8

In 1942, during World War II, Manne joined the Coast Guard and served until 1945. Shelly Manne_sentence_9

In 1943, Manne married a Rockette named Florence Butterfield (known affectionately to family and friends as "Flip"). Shelly Manne_sentence_10

The marriage would last 41 years, until the end of Manne's life. Shelly Manne_sentence_11

When the bebop movement began to change jazz in the 1940s, Manne loved it and adapted to the style rapidly, performing with Dizzy Gillespie and Charlie Parker. Shelly Manne_sentence_12

Around this time he also worked with rising stars like Flip Phillips, Charlie Ventura, Lennie Tristano, and Lee Konitz. Shelly Manne_sentence_13

Manne rose to stardom when he became part of the working bands of Woody Herman and, especially, Stan Kenton in the late 1940s and early 1950s, winning awards and developing a following at a time when jazz was the most popular music in the United States. Shelly Manne_sentence_14

Joining the hard-swinging Herman outfit allowed Manne to play the bebop he loved. Shelly Manne_sentence_15

The controversial Kenton band, on the other hand, with its "progressive jazz", presented obstacles, and many of the complex, overwrought arrangements made it harder to swing. Shelly Manne_sentence_16

But Manne appreciated the musical freedom that Kenton gave him and saw it as an opportunity to experiment along with what was still a highly innovative band. Shelly Manne_sentence_17

He rose to the challenge, finding new colors and rhythms, and developing his ability to provide support in a variety of musical situations. Shelly Manne_sentence_18

In California Shelly Manne_section_1

In the early 1950s, Manne left New York and settled permanently on a ranch in an outlying part of Los Angeles, where he and his wife raised horses. Shelly Manne_sentence_19

From this point on, he played an important role in the West Coast school of jazz, performing on the Los Angeles jazz scene with Shorty Rogers, Hampton Hawes, Red Mitchell, Art Pepper, Russ Freeman, Frank Rosolino, Chet Baker, Leroy Vinnegar, Pete Jolly, Howard McGhee, Bob Gordon, Conte Candoli, Sonny Criss, and numerous others. Shelly Manne_sentence_20

Many of his recordings around this time were for Lester Koenig's Contemporary Records, where for a period Manne had a contract as an "exclusive" artist (that is, he needed permission to record for other labels). Shelly Manne_sentence_21

Manne led a number of small groups that recorded under his name and leadership. Shelly Manne_sentence_22

One consisting of Manne on drums, trumpeter Joe Gordon, saxophonist Richie Kamuca, bassist Monty Budwig, and pianist Victor Feldman performed for three days in 1959 at the Black Hawk club in San Francisco. Shelly Manne_sentence_23

Their music was recorded on the spot, and four LPs were issued. Shelly Manne_sentence_24

Highly regarded as an innovative example of a "live" jazz recording, the Black Hawk sessions were reissued on CD in augmented form years later. Shelly Manne_sentence_25

West Coast jazz Shelly Manne_section_2

Main article: West Coast jazz Shelly Manne_sentence_26

Manne is often associated with the once frequently criticized West Coast school of jazz. Shelly Manne_sentence_27

He has been considered "the quintessential" drummer in what was seen as a West Coast movement, though Manne himself did not care to be so pigeonholed. Shelly Manne_sentence_28

In the 1950s, much of what he did could be seen as in the West Coast style: performing in tightly arranged compositions in what was a cool style, as in his 1953 album named The West Coast Sound, for which he commissioned several original compositions. Shelly Manne_sentence_29

Some of West Coast jazz was experimental, avant-garde music several years before the more mainstream avant-garde playing of Cecil Taylor and Ornette Coleman (Manne also recorded with Coleman in 1959); a good deal of Manne's work with Jimmy Giuffre was of this kind. Shelly Manne_sentence_30

Critics would condemn much of this music as overly cerebral. Shelly Manne_sentence_31

Another side of West Coast jazz that also came under critical fire was music in a lighter style, intended for popular consumption. Shelly Manne_sentence_32

Manne made contributions here too. Shelly Manne_sentence_33

Best known is the series of albums he recorded with pianist André Previn and with members of his groups, based on music from popular Broadway shows, movies, and television programs. Shelly Manne_sentence_34

(The first and most successful of these was the My Fair Lady album based on songs from the musical, recorded by Previn, Manne, and bassist Leroy Vinnegar in 1956.) Shelly Manne_sentence_35

The recordings for the Contemporary label, with each album devoted to a single musical, are in a light, immediately appealing style aimed at popular taste. Shelly Manne_sentence_36

This did not always go over well with aficionados of "serious" jazz, which may be one reason why Manne has been frequently overlooked in accounts of major jazz drummers of the 20th century. Shelly Manne_sentence_37

Much of the music produced on the West Coast in those years, as Robert Gordon concedes, was in fact imitative and "lacked the fire and intensity associated with the best jazz performances". Shelly Manne_sentence_38

But Gordon also points out that there is a level of musical sophistication, as well as an intensity and "swing", in the music recorded by Manne with Previn and Vinnegar (and later Red Mitchell) that is missing in the many lackluster albums of this type produced by others in that period. Shelly Manne_sentence_39

West Coast jazz, however, represented only a small part of Manne's playing. Shelly Manne_sentence_40

In Los Angeles, and occasionally returning to New York and elsewhere, Manne recorded with musicians of all schools and styles, ranging from those of the swing era through bebop to later developments in modern jazz, including hard bop, usually seen as the antithesis to the cool jazz frequently associated with West Coast playing. Shelly Manne_sentence_41

Collaborations Shelly Manne_section_3

From the 78-rpm recordings of the 1940s to the LPs of the 1950s and later, to the hundreds of film soundtracks he appeared on, Manne's recorded output was enormous and often hard to pin down. Shelly Manne_sentence_42

According to the jazz writer Leonard Feather, Manne's drumming had been heard on well "over a thousand LPs"—a statement that Feather made in 1960, when Manne had not reached even the midpoint of his 45-year-long career. Shelly Manne_sentence_43

An extremely selective list of those with whom Manne performed includes Benny Carter, Earl Hines, Clifford Brown, Zoot Sims, Ben Webster, Maynard Ferguson, Wardell Gray, Lionel Hampton, Junior Mance, Jimmy Giuffre, and Stan Getz. Shelly Manne_sentence_44

In the 1950s, he recorded two solid albums with Sonny RollinsWay Out West (Contemporary, 1957) received particular acclaim and helped dispel the notion that West Coast jazz was always different from jazz made on the East Coast—and, in the 1960s, two with Bill Evans. Shelly Manne_sentence_45

Around the same time in 1959, Manne recorded with the traditional Benny Goodman and the iconoclastic Ornette Coleman, a striking example of his versatility. Shelly Manne_sentence_46

One of Manne's most adventurous 1960s collaborations was with Jack Marshall, the guitarist and arranger celebrated for composing the theme and incidental music for The Munsters TV show in that period. Shelly Manne_sentence_47

Two duet albums (Sounds Unheard Of! Shelly Manne_sentence_48 , 1962, and Sounds!, 1966) feature Marshall on guitar, accompanied by Manne playing drums and a wide variety of percussion instruments unusual in jazz, from "Hawaiian slit bamboo sticks", to a Chinese gong, to castanets, to piccolo Boo-Bam. Shelly Manne_sentence_49

Another example of Manne's ability to transcend the narrow borders of any particular school is the series of trio albums he recorded with guitarist Barney Kessel and bassist Ray Brown as "The Poll Winners". Shelly Manne_sentence_50

(They had all won numerous polls conducted by the popular publications of the day; the polls are now forgotten, but the albums endure, now reissued on CD.) Shelly Manne_sentence_51

Manne even dabbled in Dixieland and fusion, as well as "Third Stream" music. Shelly Manne_sentence_52

He participated in the revival of that jazz precursor ragtime (he appears on several albums devoted to the music of Scott Joplin), and sometimes recorded with musicians best associated with European classical music. Shelly Manne_sentence_53

He always, however, returned to the straight-ahead jazz he loved best. Shelly Manne_sentence_54

Style and influences Shelly Manne_section_4

In addition to Dave Tough and Jo Jones, Manne admired and learned from contemporaries like Max Roach and Kenny Clarke, and later from younger drummers like Elvin Jones and Tony Williams. Shelly Manne_sentence_55

Consciously or unconsciously, he borrowed a little from all of them, always searching to extend his playing into new territory. Shelly Manne_sentence_56

Despite these and numerous other influences, however, Shelly Manne's style of drumming was always his own—personal, precise, clear, and at the same time multilayered, using a very broad range of colors. Shelly Manne_sentence_57

Manne was often experimental, and had participated in such musically exploratory groups of the early 1950s as those of Jimmy Giuffre and Teddy Charles. Shelly Manne_sentence_58

Yet his playing never became overly cerebral, and he never neglected that element usually considered fundamental to all jazz: time. Shelly Manne_sentence_59

Whether playing Dixieland, bebop, or avant-garde jazz, in big bands or in small groups, Manne's self-professed goal was to make the music swing. Shelly Manne_sentence_60

His fellow musicians attested to his listening appreciatively to those around him and being ultra-sensitive to the needs and the nuances of the music played by the others in the band, his goal being to make them—and the music as a whole—sound better, rather than calling attention to himself with overbearing solos. Shelly Manne_sentence_61

Manne refused to play in a powerhouse style, but his understated drumming was appreciated for its own strengths. Shelly Manne_sentence_62

In 1957, critic Nat Hentoff called Manne one of the most "musical" and "illuminatively imaginative" drummers. Shelly Manne_sentence_63

Composer and multi-instrumentalist Bob Cooper called him "the most imaginative drummer I've worked with". Shelly Manne_sentence_64

In later years this kind of appreciation for what Manne could do was echoed by jazz notables like Louie Bellson, John Lewis, Ray Brown, Harry "Sweets" Edison, and numerous others who had worked with him at various times. Shelly Manne_sentence_65

Composer, arranger, bandleader, and multi-instrumentalist Benny Carter was "a great admirer of his work". Shelly Manne_sentence_66

"He could read anything, get any sort of effect", said Carter, who worked closely with Manne over many decades. Shelly Manne_sentence_67

Though he always insisted on the importance of time and "swing", Manne's concept of his own drumming style typically pointed to his melody-based approach. Shelly Manne_sentence_68

He contrasted his style with that of Max Roach: "Max plays melodically from the rhythms he plays. Shelly Manne_sentence_69

I play rhythms from thinking melodically". Shelly Manne_sentence_70

Manne had strong preferences in his choice of drum set. Shelly Manne_sentence_71

Those preferences, however, changed several times over his career. Shelly Manne_sentence_72

He began with Gretsch drums. Shelly Manne_sentence_73

In 1957, intrigued by the sound of a kind of drum made by Leedy (then owned by Slingerland), he had a line made for him that also became popular with other drummers. Shelly Manne_sentence_74

In the 1970s, after trying and abandoning many others for reasons of sound or maintainability, he settled on the Japanese-made Pearl Drums. Shelly Manne_sentence_75

Singers Shelly Manne_section_5

Manne was also acclaimed by singers. Shelly Manne_sentence_76

Jackie Cain, of the vocal team of Jackie and Roy ("Roy" being Roy Kral), claimed that she had "never heard a drummer play so beautifully behind a singer". Shelly Manne_sentence_77

Jackie and Roy were only two of the many singers he played behind, recording several albums with that husband-and-wife team, with their contemporary June Christy, and with Helen Humes, originally made famous by her singing with the Count Basie orchestra. Shelly Manne_sentence_78

Over decades, Manne recorded additional albums, or sometimes just sat in on drums here and there, with renowned vocalists like Ella Fitzgerald, Mel Tormé, Peggy Lee, Frank Sinatra, Ernestine Anderson, Sarah Vaughan, Lena Horne, Blossom Dearie, and Nancy Wilson. Shelly Manne_sentence_79

Not all the singers Manne accompanied were even primarily jazz artists. Shelly Manne_sentence_80

Performers as diverse as Teresa Brewer, Leontyne Price, Tom Waits, and Barry Manilow included Manne in their recording sessions. Shelly Manne_sentence_81

Film and television Shelly Manne_section_6

At first, jazz was heard in film soundtracks only as jazz bands performed in the story. Shelly Manne_sentence_82

Early in his career, Manne was occasionally seen and heard in the movies, for example in the 1942 film Seven Days Leave, as the drummer in the highly popular Les Brown orchestra (soon to be known as "Les Brown and His Band of Renown"). Shelly Manne_sentence_83

In the 1950s, however, jazz began to be used for all or parts of film soundtracks, and Manne pioneered in these efforts, beginning with The Wild One (1953). Shelly Manne_sentence_84

As jazz quickly assumed a major role in the musical background of films, so did Manne assume a major role as a drummer and percussionist on those soundtracks. Shelly Manne_sentence_85

A notable early example was 1955's The Man with the Golden Arm; Manne not only played drums throughout but functioned as a personal assistant to director Otto Preminger and tutored star Frank Sinatra. Shelly Manne_sentence_86

The Decca soundtrack LP credits him prominently for the "Drumming Sequences". Shelly Manne_sentence_87

From then on, as jazz became more prominent in the movies, Manne became the go-to percussion man in the film industry; he even appeared on screen in some minor roles. Shelly Manne_sentence_88

A major example is Johnny Mandel's jazz score for I Want to Live! Shelly Manne_sentence_89

in 1958. Shelly Manne_sentence_90

Soon, Manne began to contribute to film music in a broader way, often combining jazz, pop, and classical music. Shelly Manne_sentence_91

Henry Mancini in particular found plenty of work for him; the two shared an interest in experimenting with tone colors, and Mancini came to rely on Manne to shape the percussive effects in his music. Shelly Manne_sentence_92

Breakfast at Tiffany's (1961), Hatari! Shelly Manne_sentence_93

(1962) and The Pink Panther (1963) are only a few of Mancini's films where Manne's drums and special percussive effects could be heard. Shelly Manne_sentence_94

Manne frequently collaborated with Mancini in television as well, such as in the series Peter Gunn (1958–1961) and Mr. Lucky (1959–1960). Shelly Manne_sentence_95

Although Mancini developed such a close partnership with Manne that he was using him for practically all his scores and other music at this time, the drummer still found time to perform on movie soundtracks and in TV shows with music by others, including the series Richard Diamond (music by Pete Rugolo, 1959–1960), and Checkmate (music by John Williams, 1959–1962), and the film version of Leonard Bernstein's West Side Story (1961). Shelly Manne_sentence_96

In the late 1950s, Manne began to compose his own film scores, such as that for The Proper Time (1959), with the music also played by his own group, Shelly Manne and His Men, and issued on a Contemporary LP. Shelly Manne_sentence_97

In later years, Manne divided his time playing the drums on, adding special percussive effects to, and sometimes writing complete scores for both film and television. Shelly Manne_sentence_98

He even provided a musical setting for a recording of the Dr. Shelly Manne_sentence_99 Seuss children's classic Green Eggs and Ham (1960) and later performed in and sometimes wrote music for the backgrounds of numerous animated cartoons. Shelly Manne_sentence_100

For example, he joined other notable jazz musicians (including Ray Brown and Jimmy Rowles) in playing Doug Goodwin's music for the cartoon series The Ant and the Aardvark (1969–1971). Shelly Manne_sentence_101

Notable examples of later scores that Manne wrote himself and also performed in are, for the movies, Young Billy Young (1969) and Trader Horn (1973), and, for television, Daktari, 1966–1969. Shelly Manne_sentence_102

With these and other contributions to cartoons, children's stories, movies, television programs (and even commercials), Manne's drumming became woven into the popular culture of several decades. Shelly Manne_sentence_103

(Some unspecified quantity of the original material was later lost to history. Shelly Manne_sentence_104

On June 25, 2019, The New York Times Magazine listed Shelly Manne among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.) Shelly Manne_sentence_105

Later career Shelly Manne_section_7

A star in Stan Kenton's famous orchestra in the 1940s and 1950s, as well as that of Woody Herman, also in the 1940s, and winner of numerous awards, Manne slipped from public view as jazz became less central in popular music. Shelly Manne_sentence_106

In the 1960s and early 1970s, however, he helped keep jazz alive on the Los Angeles scene as part owner of the nightclub Shelly's Manne-Hole on North Cahuenga Boulevard. Shelly Manne_sentence_107

There, the house band was Shelly Manne and His Men, which featured some of his favorite sidemen, such as Russ Freeman, Monty Budwig, Richie Kamuca, Conte Candoli, and later Frank Strozier, John Morell, and Mike Wofford, among many other notable West Coast jazz musicians. Shelly Manne_sentence_108

Also appearing at the club was a roster of jazz stars from different eras and all regions, including Ben Webster, Rahsaan Roland Kirk, Les McCann, Bill Evans, John Coltrane, Sonny Stitt, Thelonious Monk, Michel Legrand, Carmen McRae, Milt Jackson, Teddy Edwards, Monty Alexander, Lenny Breau, Miles Davis, and many, many others. Shelly Manne_sentence_109

Stan Getz was the last to be featured (at a briefly occupied second location at Tetou's restaurant on Wilshire Boulevard), when, late in 1973, Manne was forced to close the club for financial reasons. Shelly Manne_sentence_110

From that point, Manne refocused his attention on his own drumming. Shelly Manne_sentence_111

It might be argued that he never played with more taste, refinement, and soulful swing than in the 1970s, when he recorded numerous albums with musicians like trumpeter Red Rodney, pianist Hank Jones, saxophonists Art Pepper and Lew Tabackin, and composer-arranger-saxophonist Oliver Nelson. Shelly Manne_sentence_112

From 1974 to 1977 he joined guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, and bassist Ray Brown to perform as the group The L.A. Four, which recorded four albums before Manne left the ensemble. Shelly Manne_sentence_113

In the 1980s, Manne recorded with such stars as trumpeter Harry "Sweets" Edison, saxophonist Zoot Sims, guitarists Joe Pass and Herb Ellis, and pianist John Lewis (famous as the musical director of the Modern Jazz Quartet). Shelly Manne_sentence_114

Meanwhile, he continued to record with various small groups of his own. Shelly Manne_sentence_115

Just one representative example of his work in this period is a live concert recorded at the Los Angeles club "Carmelo's" in 1980 with pianists Bill Mays and Alan Broadbent and bassist Chuck Domanico. Shelly Manne_sentence_116

With their enthusiasm and spontaneity, and the sense that the audience in the intimate ambience of the club is participating in the music, these performances share the characteristics that had been celebrated more than two decades before in the better-known Black Hawk performances. Shelly Manne_sentence_117

Although this phase of his career has frequently been overlooked, Manne, by this time, had greatly refined his ability to back other musicians sympathetically, yet make his own musical thoughts clearly heard. Shelly Manne_sentence_118

Manne's heavy load of Hollywood studio work sometimes shifted his attention from his mainstream jazz playing. Shelly Manne_sentence_119

Even in lackluster films, however, he nevertheless often succeeded in making art of what might be called hackwork. Shelly Manne_sentence_120

Still, for all his tireless work in the studios, Manne's labor of love was his contribution to jazz as an American art form, to which he had dedicated himself since his youth and continued to work at almost to the last day of his life. Shelly Manne_sentence_121

Manne died somewhat before the popular revival of interest in jazz had gained momentum. Shelly Manne_sentence_122

But in his last few years, his immense contribution to the music regained at least some local recognition, and the role Manne had played in the culture of his adopted city began to draw public appreciation. Shelly Manne_sentence_123

Two weeks before his sudden death of a heart attack, he was honored by the City of Los Angeles in conjunction with the Hollywood Arts Council when September 9, 1984 was declared "Shelly Manne Day". Shelly Manne_sentence_124

Discography Shelly Manne_section_8

Main article: Shelly Manne discography Shelly Manne_sentence_125

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: Manne.