John Hicks

John Hicks出生于密蘇里州的圣路易城，與薩克斯風(fēng)手Lucky Thompson、小號(hào)手Clark Terry和 Miles Davis等偉大的樂手為同鄉(xiāng)。在學(xué)習(xí)音樂的過程中，John Hicks廣泛地吸收了早期的藍(lán)調(diào)鋼琴風(fēng)格如Boogie-Woogie與闊步（stride）、教堂詩歌、百老匯歌舞劇，以及現(xiàn)代爵士樂中的咆勃樂，奠立了他極富彈性的彈奏基礎(chǔ)。影響John Hicks演奏生涯的關(guān)鍵，是從一九六四年加入亞特.布雷基與爵士使者樂團(tuán)（Art Blakey and Jazz Messangers），替代Cedar Walton的位置開始。爵士使者樂團(tuán)不但是當(dāng)時(shí)頂尖的現(xiàn)代爵士樂團(tuán)，也是精純咆勃樂（hard bop）的推廣者和代言人。John Hicks在這個(gè)樂團(tuán)待了三年有余，錄制了 Soul Finger、’S Make It等專輯。后來也曾受邀為Woody Herman大樂團(tuán)編曲，并擔(dān)任歌手Betty Carter的鋼琴伴奏.放眼當(dāng)今爵士樂壇，一個(gè)鋼琴手能夠同時(shí)具備McCoy Tyner最擅長的五聲音階與威力演奏（power play）、Kenny Barron的甘甜與拉丁味、Sonny Clark的律動(dòng)感與架構(gòu)于藍(lán)調(diào)曲式，極其流暢又不落俗套的即興樂句，與Billy Strayhorn的婉約和柔情，John Hicks可能是唯一的一個(gè)?！?br /> 
by Jason Ankeny
 
A longtime fixture of the New York City jazz landscape, pianist John Hicks was an artist of uncommon versatility, moving effortlessly from pop standards to the avant-garde while retaining the dense physicality and intense energy that were the hallmarks of his approach. Born December 12, 1941, in Atlanta, Hicks was still an infant when his preacher father relocated the family to Los Angeles. He spent the better part of his teen years in St. Louis, and counted among his classmates there the young Lester Bowie. Hicks mother was his first piano teacher, and after a stint at Lincoln University in Missouri he attended the Berklee School of Music and the Juilliard School; he later cited influences spanning from Fats Waller to Thelonious Monk to Methodist church hymns, and his catholic listening tastes were instrumental in shaping his far-ranging skills as a player. After touring in support of bluesman Albert King and hard bop tenor saxophonist Johnny Griffin, Hicks backed singer Della Reese during a 1963 New York club residency, and the city remained his home for the rest of his life. In the wake of stints with Kenny Dorham and Joe Henderson, Hicks joined Art Blakeys Jazz Messengers in 1964, collaborating alongside the likes of trumpeters Lee Morgan and Freddie Hubbard. Two years later, he signed on with singer Betty Carter, like Blakey a keen judge of emerging talent. Upon exiting Carters band in 1968, Hicks spent the remainder of the decade with Woody Herman and entered the decade to follow as a first-call sideman. He also moonlighted as an educator, and during the early 70s taught jazz and improvisation at Southern Illinois University.
 
After backing Carter on her 1976 date Now Its My Turn, Hicks returned to her backing group full-time. The exposure vaulted him to new renown, and in 1979 he finally led his own studio effort, After the Morning. With 1981s Some Other Time, cut with bassist Walter Booker and drummer Idris Muhammad, Hicks also emerged as a gifted composer, writing his best-known effort, Naimas Love Song, in honor of his young daughter. He recorded prolifically in the years to follow, concentrating on solo and small ensemble work including stints as member of the Power Trio and the Keystone Trio. He also served as the regular pianist with the Mingus Dynasty Band and for a time led his own big band. Hicks enjoyed his greatest commercial success with a series of tribute LPs celebrating the music of his mentors and influences, highlighted by 1998s Something to Live For (a collection of Billy Strayhorn compositions), 2000s Impressions of Mary Lou (Williams, of course), and 2003s Fathas Day (honoring Earl Hines). Hicks longest and most rewarding collaboration was his partnership with flutist Elise Wood, which launched in 1983 and after several studio sessions and tours culminated in marriage in 2001, around the time of the release of their duo recording Beautiful Friendship. Hicks died suddenly on May 10, 2006. Just three days earlier, he delivered his final performance at Harlems St. Marks United Methodist Church, where his father served as a minister prior to his own death. Hicks was 64 years old.