Chuck Wayne
American jazz guitarist
Chuck Wayne
Chuck Wayne was a jazz guitarist who came to prominence in the 1940s. He is best known for his work with Woody Herman's First Herd, and for being the first guitarist in the George Shearing quintet. He also was Tony Bennett's music director and accompanist from 1954-1957.
Biography
Chuck Wayne's personal information overview.
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Photo Albums
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Relationships
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News
News abour Chuck Wayne from around the web
Coarse Angling: Consistency is the key to big catches - Sunday Sun
Google News - over 5 years
Similar sport at Aldin Grange, where the Silver Lake is still producing fish-a-chuck, Wayne Harrison enjoyed a good session on the match lake, taking a nice 131lb net. The roach in the Derwent Reservoir are certainly on the feed, one terrific net of
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Google News article
Out & About: Art, music featured at Greenhouse - Nevada Appeal
Google News - over 5 years
While enjoying th ear, listen to Chuck Wayne's soothing jazz and Brenda Lockie-Knight's beautiful harp music. Visit all of the artists and vote for your favorites. COST: Free to attend; original artwork for sale. This program gets right to local
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Google News article
Gene Bertoncini: The Jazz-Bossa-Classical Connection - JazzTimes Magazine
Google News - over 5 years
Then there's the gift of youthful encounters with two jazz guitar legends, Johnny Smith and Chuck Wayne, both of whom served as early mentors. Finally there's the gift, leaping decades forward, of playing and recording with bassist Moore in a
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Jazz vet Barbara Carroll headlines Dizzy's Club Coca Cola for five nights in a row - New York Daily News
Google News - over 5 years
"So I did get a trio together — Chuck Wayne on guitar, and Clyde Lombardi on bass. In those days, all the clubs had two acts, one would go on when the other one finished." Gillespie's musical facility on the trumpet allowed him to negotiate
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Festival Ede uit de Kunst: Dutch Prairie Singers - Veenendaalse Krant
Google News - over 5 years
EDE - Het gemengd huwelijk van Chuck Wayne (USA), en zijn oer-Hollandse vrouw Molly, kent bergen en dalen. De cowboy en de kapster kunnen niet met en niet zonder elkaar leven. Er is één ding dat hen bindt, hun kindje:de liefde voor de country
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Dr. Phillip Petillo Included in Distinguished Cambridge Who's Who Registry - PR-USA.net (press release)
Google News - almost 6 years
During this time, Dr. Petillo became good friends with master jazz guitarists Chuck Wayne from Staten Island, NY and Tal Farlow from Sea Girt, NJ With these jazz greats Phillip designed and crafted the first Ebony Tailpiece for and endorsed by Chuck
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Google News article
Joel Chriss: Truth in the Music - JazzTimes Magazine
Google News - almost 6 years
(Actually, I'd been hanging out at Gregory's even before that, when I was a teenager, with Jack Wilkins, Atilla Zoller, Chuck Wayne—Albert Dailey used to play there.) There was also the Brecker Brothers' club, where the Breckers, Jaco Pastorius and
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George Shearing, Jazz Piano Virtuoso With a Distinctive Sound, Dies at 91
NYTimes - about 6 years
George Shearing, the British piano virtuoso who overcame blindness to become a worldwide jazz star, and whose composition ''Lullaby of Birdland'' became an enduring jazz standard, died on Monday in Manhattan. He was 91. The cause was congestive heart failure, said his manager, Dale Sheets. Mr. Shearing had homes in Manhattan and Lee, Mass. In 1949,
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NYTimes article
Music; Ageless at 82 and Still Swinging
NYTimes - almost 15 years
TWO octogenarian pianists who are among the last links to the lost world of 52nd Street, the midtown area that served as an incubator for bebop, came to Manhattan in February. Neither showed any sign of having been diminished by age. But while Hank Jones, 83, drew a roomful of heavy-duty hipsters to Birdland, George Shearing, 82, filled Feinstein's
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NYTimes article
Joe Puma, 72, Jazz Guitarist Of Versatility and a Jaunty Air
NYTimes - over 16 years
Joe Puma, a jazz guitarist whose quietly reflective style placed him in demand as both a soloist and ensemble member, died on May 31 at Calvary Hospital in the Bronx. He was 72 and lived in Yonkers. The cause was cancer, said his daughter Rosalie. Playing a guitar he designed and built himself, Mr. Puma earned accolades across half a century for
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NYTimes article
Chuck Wayne, 74, Guitarist Who Mastered Art of Be-Bop
NYTimes - over 19 years
The jazz guitarist Chuck Wayne, who took part in the beginnings of the be-bop movement in the 1940's, played with delicacy and musical wit, and instructed countless young guitarists in the mysteries of the music, died on Tuesday at his home in Jackson, N.J. He was 74. The cause was emphysema, said a family friend, Dr. Sandy Termotto, of Savannah,
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NYTimes article
Buying Guitars, No Strings Attached
NYTimes - almost 22 years
Scott Chinery bought his first guitar when he was 17. He was working at a music store in Freehold, N.J. "A little old man came in one day with an old, cheap Orpheum No. 16," Mr. Chinery said. "From that moment on I was smitten. I collected as vigorously as I could." "Of course," he added with a smile, "my resources changed over the years."
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NYTimes article
Sounds Around Town
NYTimes - almost 23 years
Shearing Plus George Shearing Duo and Kenny Burrell Trio, Blue Note, 131 West Third Street, Greenwich Village, (212) 475-8592. February has been a month of significant beginnings for George Shearing, a British-born pianist whose first professional job -- playing an old upright piano in a London pub -- began on Feb. 25, 1936, when he was 16. He
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NYTimes article
Crowd Pleasers
NYTimes - over 25 years
Here is a sampling of summer pleasures in New York City. Dates and times are subject to change. This Week MADISON SQUARE GARDEN SUMMER CONCERTS. Jose Luis Rodriguez, a Venezuelan pop star; the tiniest swivel of his hips sends crowds into a frenzy, today, 4 P.M. Elvis Costello with the Replacements, June 22, 8 P.M. Tickets: $20 to $35. Information:
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NYTimes article
Sounds Around Town
NYTimes - over 26 years
LEAD: Vibes and Guitar Vibes and Guitar Warren Chiasson-Chuck Wayne Trio, Fortune Garden Pavilion, 209 East 49th Street (753-0101). The vibraphonist Warren Chiasson and the guitarist Chuck Wayne have been chasing each other around the jazz world for almost three decades. Ten years after Mr. Wayne left the original George Shearing Quintet in 1952,
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NYTimes article
JAZZ, DANCE OR MOVIES, A CHOICE OF CELEBRATIONS; SALUTING BE-BOP AND THE BLUES
NYTimes - over 30 years
JAZZ from points as distant in time and space as New Orleans in the 20's and Russia in the 80's will be part of the JVC Jazz Festival, which starts its 10-day celebration tonight. The festival will also unveil the new look of Count Basie's Orchestra, balance the familiar pop side of Nat (King) Cole with his influence as a great jazz pianist, and
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NYTimes article
Timeline
Learn about memorable moments in the evolution of Chuck Wayne
    LATE_ADULTHOOD
  • 1997
    Age 73
    He died on 29 July 1997.
    More Details Hide Details Wayne was a respected composer. It is now well known that his tune "Sonny" (not SUnny), named for Sonny Berman, was appropriated by Miles Davis - who recorded and took composer credit for it as "Solar". Various other Wayne tunes found their way into the bebop canon, such as "Butterfingers" and "Prospecting" (both of which had been attributed to Zoot Sims). He also took on larger composition and arrangement projects for the theater and cinema.
  • THIRTIES
  • 1963
    Age 39
    Wayne made a famously unpopular album of banjo jazz in 1963.
    More Details Hide Details Wayne loved the crisp, hornlike solo quality possible with the banjo, and was quoted as predicting a "banjo boom in the offing". (Apparently this jazz trend had to wait until another few decades, and for musicians like Bela Fleck.) He also plays banjo on "Lovely", the final track on Morning Mist. The lengthy but partial discographies cited below illustrate the breadth of Wayne's work as a sideman. With Duke Jordan Chuck Wayne invented a system of playing jazz guitar that emulated the style of Charlie Parker. His system included: consecutive-alternate picking, chords, scales, and arpeggios. The following summary reflects material in Wayne's method books. The heart of the Chuck Wayne style for playing jazz bop guitar requires most of the movement of the pick to come from the joints of the first finger and thumb and not from the wrist, hand, or arm. The pick is not held rigidly; its angle changes slightly as it passes over the string. The tip of the pick drags slightly during each stroke, so that the tip points up during a downstroke, and down during an upstroke. (The effect is reminiscent of the appoyando or "rest stroke" used by classical guitarists - particularly if the movement is exaggerated with slow deliberate strokes, allowing the pick to stop on the adjacent string.)
  • TWENTIES
  • 1946
    Age 22
    Wayne's 1946 debut solo album The Jazz Guitarist Chuck Wayne featured Zoot Sims and Brew Moore.
    More Details Hide Details It also included sidemen George Duvivier and Ed Shaughnessy. The album attracted critical attention; it was re-released as Tasty Pudding in 1954. Wayne recorded several more albums, including Tapestry, String Fever (1957), Morning Mist (1964), Interactions (with Joe Puma, Point/Counterpoint (under Warren Chiasson's name), and Alberta Clipper (with Tom Butts). Some of these have been re-released on CD. None proved greatly successful, however.
    Wayne replaced guitarist Billy Bauer in the Herman First Herd in 1946.
    More Details Hide Details He quickly won a more visible role for the guitar in the band, and was featured in exchanges with the likes of Stan Getz and Sonny Berman. Contemporary reviewers regarded him highly. In his heyday, he worked with many great performers, including: In his later career, he was also noted for duo performances in the New York City area with Warren Chiasson, Joe Puma, and Tal Farlow. His style matured, intensified, and made increasing use of contrapuntal improvisation, an eye-opening experience for local guitarists. A generation of performers were heavily influenced by Wayne's playing and instruction - especially during his thoughtful later years. Wayne's discography is impressive, but his work remains relatively obscure. He was instead best known for consistently hot live performances, playing regular gigs on the Manhattan jazz scene - including a long stint at Gregory's on the upper East Side. Sadly, little of this music was recorded; the vitality of live improvisation is often missing from studio recordings of the era. Like many other jazz musicians whose careers took them in and out of the limelight (Tal Farlow and Sonny Rollins come to mind), Wayne was frustrated by the music business, and its ephemeral crowns of success.
  • 1944
    Age 20
    After serving two years in the Army, he joined Joe Marsala's band at The Hickory House in 1944.
    More Details Hide Details Wayne was galvanized after hearing Charlie Parker at the Three Deuces, and focused on playing bebop. At one point, frustrated with the difficulty of getting the guitar to swing with the bop feel he wanted, Wayne nearly switched to saxophone; but ultimately, he found his sound and his style. Bill Crow writes: He was one of the earliest guitarists to learn the bebop style. Chuck recorded with Dizzy Gillespie in 1945, on two sides that helped spread the bebop revolution, "Groovin' High" and "Blue 'n' Boogie."
  • CHILDHOOD
  • 1923
    Born
    Wayne was born Charles Jagelka in New York City on 27 February 1923 to a Czechoslovakian family.
    More Details Hide Details In his youth, he became an expert on the banjo, mandolin, and balalaika. In the early 1940s he began playing jazz on 52nd Street and in the Village.
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