Two week break

 Hello music lovers, It’s that time of year when I have to recharge the old batteries, so I’m off on a cruise  up North hopefully to see the Northern lights. Will be back in about two weeks time. Bye bye!

                                   

Laura Nyro born 18 October 1947

 

Laura Nyro (October 18, 1947 – April 8, 1997) was an American songwriter and singer. She was praised for her emotive three-octave mezzo-soprano voice. 

Laura Nyro was born Laura Nigro in the Bronx section of New York City. Her father Louis Nigro was a jazz trumpet player who also tuned pianos, while her mother Gilda Nigro (born Gilda Mirsky) was a bookkeeper. By her own admission, Laura was not an especially happy child, and she retreated into music and poetry, teaching herself to play piano and soaking up the influences of her mother's favorite singers, among them Nina Simone, Billie Holiday, Judy Garland, and Leontyne Price. By the time she was eight years old, Laura had started writing songs, and she would later attend the Manhattan High School of Music & Art, where developed a greater appreciation for folk and jazz styles. 

In 1966, Artie Mogull, a veteran A&R man and music publisher, hired Louis Nigro to tune the piano in his office, and Louis persuaded Artie to listen to his daughter sing her songs. The next day, Laura sang "Wedding Bell Blues," "And When I Die," and "Stoney End" for Mogull, and he quickly signed her to a publishing deal, while Mogull and his business partner Paul Barry became her managers. Laura had been using a variety of assumed names for her music at that point, and she settled on Laura Nyro as her professional handle once she turned professional. 

                                    

Nyro's new managers got her gigs at the famous San Francisco night club the Hungry i, as well as the groundbreaking 1969 Monterey Pop Festival, and that same year, she released her first album, More Than a New Discovery, on Verve-Folkways Records. Sales were modest, but Peter, Paul & Mary scored a hit with their version of "And When I Die," and Nyro's career began to take off.  David Geffen took over Nyro's management, successfully suing to void her previous contracts as they were signed when she was under 18. With Geffen's help, Nyro established her own publishing company and signed a new record deal with Columbia Records. 

Nyro's first album for the label, 1968's Eli and the Thirteenth Confession, was a more personal and sophisticated effort than her debut, in both songs and arrangements, and it received enthusiastic reviews in the rock press. Sales were good, though not up to the level of her critical acclaim, and the same was true for 1969's New York Tendaberry. However, Nyro was increasingly well regarded as a songwriter. By 1970 she had sold her increasingly lucrative publishing company for $4.5 million, as more hits continued to flow from her pen; "Eli's Coming" was recorded by Three Dog Night to great success, and Barbra Streisand's album Stoney End featured three of Nyro's songs. 

In 1971, Nyro released Gonna Take a Miracle, in which she covered a handful of soul and R&B tunes she loved in her teenage years, with the vocal group Labelle helping her re-create the girl group harmonies of the originals. Later in the year, Nyro married and announced her retirement as she found herself at odds with her growing celebrity and embraced small town life. By 1976, Nyro had divorced, and she returned to the recording studio to cut the album Smile. While most of Nyro's live performances had found her accompanied only by her own piano, she assembled a band to tour in support of Smile, and the concerts produced her first live album, 1977's Seasons of Light. 

 The album was originally intended to be released as a two-LP set, but Columbia opted to edit it down to a single disc; the songs that were cut were later restored for a 2008 CD reissue. Nyro's next album, 1978's Nested, was recorded as she was expecting her first child, and while she played a few shows following its release, after she gave birth Nyro once again walked away from the spotlight to devote herself to her family.  It wasn't until 1984 that Nyro delivered another album, Mother's Spiritual, a lighter and more folk-oriented set that often reflected her views on feminism, the environment, and parenthood. 

Four years later, Columbia Records was eager for Nyro to record a new studio album, but she preferred to go out on tour with a band in tow. Columbia had no interest in releasing a live album from the tour, and 1989's Laura: Live at the Bottom Line, which included five new songs, was instead released by the A&M-distributed Cypress Records. From the late '80s onward, Nyro toured frequently, but it would be 1993 before she released another studio album, Walk the Dog & Light the Light (issued by Columbia), in which she added animal rights to the list of causes she supported in song. 

In late 1996, Nyro, like her mother, was diagnosed with ovarian cancer. After the diagnosis, Columbia Records, with Nyro's involvement, prepared a two-CD retrospective of material from her years at the label. She lived to see the release of Stoned Soul Picnic: The Best of Laura Nyro in 1997. She died of ovarian cancer in Danbury, Connecticut, on April 8, 1997, at 49, the same age at which her mother died. Her ashes were scattered beneath a maple tree on the grounds of her house in Danbury. 

(Edited from AllMusic & Wikipedia)

Jim Seals born 17 October 1941

James Eugene "Jim" Seals (October 17, 1942 - June 6, 2022) was an American folk musician. He was one half of the folk duo Seals and Crofts with Dash Crofts whose cluster of hits in the first half of the 1970s included the breakthrough single Summer Breeze. 

Arriving in the wake of the harmony-drenched Crosby, Stills and Nash, and part of a wave of melodious acts that included America and Bread, Seals and Crofts combined close-harmony singing with spiritually inclined lyrics and some subtle stylistic touches. 

With Seals playing guitar, saxophone and fiddle, while Darrell “Dash” Crofts multitasked on drums, mandolin and keyboards, the pair were able to introduce elements of bluegrass, country and jazz into their arrangements, adding ear-catching twists to lift their music above being mere easy-listening. 

                                   

Born in Sidney, Texas, Jim was the son of Wayland Seals and his wife, Susan (nee Taylor). Wayland worked as a pipe-fitter for the Shell oil company in the Yates oilfield. Jim grew up in Iraan in Pecos County, and was encouraged to make music by his father, a skilled guitar player who performed with Tex Collins and the Tom Cats, and the Oil Patch Boys. When Jim showed an interest in the fiddle, his father bought him one from a Sears catalogue. Jim proved a fast learner and won several competitions, including the Texas state fiddle championship. 

Wayland, Jim and Dan Seals '53

There was enough musical talent in the household to form the impromptu Seals Family Band, including Jim’s younger brother, Danny, who would later form half of the successful duo England Dan & John Ford Coley. 

Jim also learned the saxophone, which he played with Dean Beard and the Crew Cats. From 1958 to 1965 Seals released five singles as "Jimmy Seals"; his first single in 1958 was released under "Jimmy Seals and His Sax". He met Crofts when he replaced the Crew Cats’ drummer at short notice, and the pair struck up a rapport. They then both joined the Champs (best known for their hit Tequila, though Seals and Crofts didn’t play on it), with whom they moved to California. As well as working with the Champs, they wrote and performed with numerous other artists, including the Monkees and Gene Vincent, and in 1961 Seals’s song It’s Never Too Late was the B-side of Brenda Lee’s hit single You Can Depend On Me. 

In 1963 the pair joined with another ex-Champ, Glen Campbell, in Glen Campbell and the GCs, and when that band split up Seals and Crofts joined the Dawnbreakers. The band took its name from The Dawn-Breakers, a book originally written in Persian that detailed the formation of the Bahá’í faith, of which Seals and Crofts both became adherents and which would inform much of their work. By 1969 they had shed their bandmates and become a duo. 

Under a deal with TA Records they made the albums Seals & Crofts (1969) and Down Home (1970), followed by Year of Sunday (1971) for A&M, but it was not until they signed a deal with Warner Bros that they struck it rich. The Summer Breeze album reached the Top 10 of the US album chart in 1972, the title song following suit on the singles chart. They followed up with Diamond Girl, with the album reaching No 4 and the title song No 6 on the singles chart. Crofts had married Billie Lee Day in 1969 and Seals married Ruby Jean Anderson in 1970 – the track Ruby Jean and Billie Lee was written for their wives. 

However, they ran into turbulence with their album Unborn Child (1974). The title track reflected the duo’s Bahá’í -inspired belief that life begins at the moment of conception. This provoked a furious backlash from pro-abortionists and was banned by some radio stations. The album still made the US Top 20, but Seals and Crofts had reached their commercial peak. Their albums there on described a downward trajectory in the charts (though 1975’s Greatest Hits reached No 11 and registered double platinum in the US) and their final Top 10 single was Get Closer (1976), with guest vocals by Carolyn Willis. 

As the 70s drew to a close, the duo was still pulling sizeable live audiences, but became aware of “this change coming where everybody wanted dance music”, as Seals put it. They split up in 1980, having been dropped by Warner Bros, and Seals moved to Costa Rica where he ran a coffee farm and raised three children with Ruby. In 1991 he reunited with Crofts for some concert dates, then in 2004 they recorded a new album, Traces. In the 2000s Seals also toured with his brother Dan, billed as Seals & Seals. 

Seals moved to Nashville, Tennessee where he spent the rest of his life. He suffered a stroke in 2017 and retired from performing. He died at his home in Nashville on June 6, 2022 aged 79 from an unspecified chronic illness. 

(Edited from Adam Sweeting obit @ The Guardian & Wikipedia)

 

Emile Ford born 16 October 1937

Michael Emile Telford Miller (16 October 1937 – 11 April 2016), known professionally as Emile Ford, was a musician and singer born in Saint Lucia, British Windward Islands. He was popular in the United Kingdom in the late 1950s and early 1960s as the leader of Emile Ford & the Checkmates, who had a number one hit in late 1959 with "What Do You Want to Make Those Eyes at Me For?” which was the Christmas number one that year. He was also a pioneering sound engineer. 

Emile Ford was born in Castries, Saint Lucia, in the West Indies. He was the son of Barbadian politician, Frederick Edward Miller, and Madge Murray, a singer and musical theatre director whose father had founded and conducted the St. Lucia Philharmonic Band. His mother married again, taking the name of Sweetnam; some sources erroneously give Emile Ford's birth name as Sweetnam or Sweetman. He was educated at St Mary’s College, Castries. He moved to London with his mother and family in the mid-1950s, partly motivated by his desire to explore improved sound reproduction technology, and studied at the Paddington Technical College in London. 

It was during this time that he taught himself to play a number of musical instruments, including guitar, piano, violin, bass guitar and drums. Using an abbreviated form of his name, as Emile Ford, he first entered show business at the age of 20, and made his first public performance at The Buttery, Kensington. His first appearance with a backing group was at the Athenaeum Ballroom in Muswell Hill. His TV appearances in 1958 included outings on The Music Shop, the Pearl Carr & Teddy Johnson Show, Oh Boy! and Six-Five Special. 

He teamed up in January 1959 with his half-brother, bassist George Sweetnam-Ford (born 1 January 1940, Castries, St. Lucia, British West Indies), electric lead guitarist Ken Street (27 June 1942 – 2 June 1990), sax player Dave Sweetnam-Ford (b. David Sweetnam-Ford, 1939, Castries, St. Lucia, British West Indies) and drummer John Cuffley (born 1939) to form Emile Ford & the Checkmates. The band appeared on the TV programme Sunday Serenade, which ran for six weeks. They won the Soho Fair talent contest in July 1959, but turned down a recording contract with EMI because the company would not allow Ford to produce their records, and instead agreed to a deal with Pye Records. 

                                   

Their first self-produced recording, "What Do You Want to Make Those Eyes at Me For?", a song originally recorded by Ada Jones and Billy Murray in 1917, went to number one in the UK Singles Chart at the end of 1959 and stayed there for six weeks. Ford was the first Black British artist to sell one million copies of a single. 

In January 1960, Ford signed a two-year employment management contract with Leslie Grade. He had several more hits in the UK, and also scored a number one EP in 1960. The readers of the British music magazine New Musical Express voted Emile Ford & the Checkmates as the "Best New Act" in 1960. Ford's debut album was made up of covers. He made several albums, but his last studio recordings were in 1963. His half-brothers George and Dave Sweetnam-Ford were later members of the Ferris Wheel. 

The female singers that backed him were originally called The Fordettes. They consisted of Margot Quantrell, Eleanor Russell, Vicki Haseman and Betty Prescott. They spent a year on the road with Ford in 1960, playing one-nighters. Back in London they left Ford to sing backup for Joe Brown who Vicki Haseman was engaged to. They were then known as The Breakaways. 

Ford, like Jimi Hendrix, had synaesthesia, a condition where the person who can associate certain colours, or even see certain colours in relation to the sound they are hearing. An article about Emile Ford appears in the November 2004 issue of the UK Synaesthesia Association Newsletter. He once said that he was gifted with the ability to see and hear sound differently from others and that gift allowed him to make first-class recordings. 

As a sound engineer, Ford was responsible for creating a backing track system for stage shows, first used in 1960, which provided a basis for what became known as karaoke. In 1969, he set up a recording studio in Barbados with the help of his father, before moving to Sweden. 

While there, he further developed a new open-air playback system for stage shows, patented as the Liveoteque Sound Frequency Feedback Injection System. Emile Ford died in London on 11 April 2016.   (Edited from Wikipedia)

 

Victoria Spivey born 15 October 1906

Victoria Spivey (October 15, 1906 – October 3, 1976),  was an American blues singer, songwriter, and record company founder. During a recording career that spanned 40 years, from 1926 to the mid-1960s, she worked with Louis Armstrong, King Oliver, Clarence Williams, Luis Russell, Lonnie Johnson, and Bob Dylan. 

Victoria Regina Spivey (known as Queen, Vicky or Victoria, and Jane Lucas), blues singer and songwriter, daughter of Grant and Addie (Smith) Spivey, was born in Houston, Texas, she was the daughter of Grant and Addie Spivey. Her father was a part-time musician and a flagman for the railroad; her mother was a nurse. She had three sisters, all three of whom also sang professionally: Leona, Elton "Za Zu", and Addie "Sweet Peas" (or "Sweet Pease") Spivey,  who recorded for several major record labels between 1929 and 1937. She married four times; her husbands included Ruben Floyd, Billy Adams, and Len Kunstadt, with whom she co-founded Spivey Records in 1961. 

Spivey's first professional experience was in a family string band led by her father in Houston. After he died, the seven-year-old Victoria played on her own at local parties. In 1918, she was hired to accompany films at the Lincoln Theater in Dallas. As a teenager, she worked in local bars, nightclubs, and buffet flats, mostly alone, but occasionally with singer-guitarists, including Blind Lemon Jefferson. In 1926 she moved to St. Louis, Missouri, where she was signed by Okeh Records. Her first recording, "Black Snake Blues" (1926), sold well, and her association with the label continued. She recorded numerous sides for Okeh in New York City until 1929, when she switched to the Victor label. 

                                    

The Depression did not put an end to Spivey's musical career. She found a new outlet for her talent in 1929, when the film director King Vidor cast her to play Missy Rose in his first sound film, Hallelujah! Between 1931 and 1937, more recordings followed for Vocalion Records and Decca Records, and, working out of New York, she maintained an active performance schedule. She recorded or performed withKing Oliver, Charles Avery, Louis Armstrong, Henry Red Allen, Lee Collins, Lonnie Johnson, Memphis Minnie (Minnie Douglas Lawless), Bessie Smith, and Tampa Red (Hudson Whittaker). Through the 1930s and 1940s Spivey continued to work in musical films and stage shows, including the hit musical Hellzapoppin (1938), often with her husband, the vaudeville dancer Billy Adams. 

From 1952 to about 1960, she performed only occasionally and largely dropped out of the music scene and settled down at her home in Brooklyn, where she worked as a church administrator and devoted time to her church choir. She returned to secular music in 1961, when she was reunited with an old singing partner, Lonnie Johnson, to appear on four tracks on his Prestige Bluesville album Idle Hours. The folk music revival of the 1960s gave her further opportunities to make a comeback. She recorded again for Prestige Bluesville, sharing an album, Songs We Taught Your Mother, with fellow veterans Alberta Hunter and Lucille Hegamin, and began making personal appearances at festivals and clubs, including the 1963 European tour of the American Folk Blues Festival. 

In 1961, Spivey and the jazz and blues historian Len Kunstadt launched Spivey Records, a low-budget label dedicated to blues, jazz, and related music, prolifically recording established artists, including Sippie Wallace, Lucille Hegamin, Otis Rush, Otis Spann, Willie Dixon, Roosevelt Sykes, Big Joe Turner, Buddy Tate, and Hannah Sylvester, and also newer artists, including Luther Johnson, Brenda Bell, Washboard Doc, Bill Dicey, Robert Ross, Sugar Blue, Paul Oscher, Danny Russo, and Larry Johnson. 

Dylan & Spivey

The 1960s, however, brought a folk and blues revival. With jazz author Len Kunstadt, Spivey started her own label, Spivey Records, in 1961 to produce her own recordings and those of other blues artists. One of her earliest releases was Three Kings and the Queen (1962), which included a young Bob Dylan on blues harmonica and backing vocals. From 1963 to 1966 she contributed articles to Record Research and Sounds and Fury. In 1964, Spivey made her only recording with an all-white band, the Connecticut-based Easy Riders Jazz Band, led by the trombonist Big Bill Bissonnette. It was released first on an LP and later re-released on compact disc. 

In 1970 BMI awarded her the Commendation of Excellence "for long and outstanding contribution to the many worlds of music." Vicky Spivey died at New York on October 3, 1976, , at the age of 69, from an internal hemorrhage  and was buried in Greenfield Cemetery, Hempstead, New York. She was survived by two daughters. She is honored in the Houston Institute for Culture’s Texas Music Hall of Fame. Spivey Records was relaunched in 2007 and offered remastered rare recordings from the label. 

(Edited from Wikipedia & the Texas State Historical Association) 

Brian Knight born 14 October 1939

Brian Knight (October 14, 1939 - September 25, 2001) was a wonderful guitarist, blues singer and harmonica player  who came from that late-1950s repertory company of musicians who provided the cast for the 60s British rhythm and blues boom, but achieved little fame - or money - from it. 

Brian was working class, born in north-west London. In the early 1950s, a radio era dominated by crooners, what impressed him was the black American blues singer Josh White, and interest had been sparked. In the mid-1950s, he got his first job as a panel beater in a London garage. Also employed there was the pioneer British blues harmonica player, Cyril Davies. 

Davies invited Brian to visit the Wardour Street Roundhouse pub - the venue for Davies and Korner's London Skiffle Club and the London Blues and Barrelhouse Club. It was there that Brian heard Sonny Terry and Brownie McGhee, and Muddy Waters. In those days, aficionados of American music headed to its source by the cheapest route, by signing up on a merchant ship. So, like the jazzman Ken Colyer, a New Orleans enthusiast, Brian headed west. He spent two years in the US coastal trade, from the Gulf of Mexico to Maine, learning guitar and absorbing the music, visiting black clubs and gospel halls. 

Brian Jones

Back home in 1957 he played his first gig, at the White Hart in Southall. He turned down an invitation from Korner to join Blues Incorporated, as a vocalist. But then at the beginning of the 60s, he met Brian Jones at an Ealing r 'n' b club. Jones was forming a band, and Brian became its vocalist; but Brian was a devotee of Muddy Waters, while Jones favoured Chuck Berry, and down such sectarian divisions the band plunged. Jones departed for what became the Rolling Stones while Brian created Blues By Six. 

Electric blues was supplanting the "trad" jazz craze, and in clubs Blues By Six, featuring drummer Charlie Watts, became immensely popular, and also backed touring American bluesmen. They gained prestigious London residencies at the Marquee and 100 Club, often supported by The Rollin' Stones Group. Overworked Watts, still holding down a day job, moved on, to Alexis Korner's Blues Incorporated.

                Here’s “Movin’ Down Country” from above album.

                                   

The times did not treat Brian kindly. In 1964 Cyril Davies died of leukaemia. Two years later an exhausted Brian quit the music business and bought a garage. In 1967 he married Davies's widow, Marie. It wasn’t until the early 70's that Brian, itching to play again, was reunited with Geoff Bradford in a band simply called The Bradford - Knight Blues Band. 

As a blues star, Brian continued to shine, and from the 70's - 90's he performed with Fairport Convention's Bruce Rowland, Ian Stewart (the sixth Stone), Charlie Watts, Peter Green, Dana Gillespie, Paul Jones, Ronnie Lane, Georgie Fame, Zoot Money, Chris Farlowe, Micky Moody, Ronnie Wood, Eric Clapton - the list is endless. 

And then there was Terry and McGhee. Brian had the habit of showing up on their tours - and at their after-show jam sessions. One night, at the Half Moon pub in Putney in 1975, the two Americans were playing when in walked Brian. McGhee put down his guitar, and switched to piano. “He was not playing,” he announced, when "there was a proper guitarist" around. 

After two successful decades of touring and performing, he finally got to record his debut in 1976 on the Freedom label. From 1981 he was to record five more albums. In his later years he played acoustic guitar and harmonica in East Anglian pubs, inviting local musicians to join him on stage. Brian was an outstanding musician, and if his life history was closer to those of the black Americans who were his inspiration than those of the rock stars who admired him, well, that is perhaps the way he would have preferred it. 

Brian Knight died of cancer aged 61on September 25, 2001. 

(Edited from a John Pilgrim obit @ The Guardian & Amazon notes)

Lee Konitz born 13 October1927

Leon "Lee" Konitz (October 13, 1927 – April 15, 2020) was an American jazz alto saxophonist and composer. 

Leon Konitz was born October 13, 1927 in Chicago, the third of three sons to Jewish immigrants from Austria (his father Aaron, a laundry owner) and Russia (his mother Anna). At 11, fascinated by fellow Chicagoan Benny Goodman, Konitz began playing clarinet. A year later, he was inspired anew by Lester Young and switched first to tenor, then alto saxophone. (He would also eventually learn to play the soprano sax.) 

Beginning his career in 1945 with a brief stint in Teddy Powell’s big band, he then worked for two years with Jerry Wald. In 1947 he joined Claude Thornhill’s orchestra. It was with Thornhill where he first gained attention, particularly with his daring solo on the band’s recording of Charlie Parker’s “Yardbird Suite.” 

It was also, fatefully, where he met the orchestra’s staff arrangers Gil Evans and Gerry Mulligan. It was Mulligan who recommended Konitz in 1948 to Miles Davis, who was forming a nonet to explore some classical-influenced concepts with Evans and Mulligan. Davis hired Konitz after hearing his lighter but nonetheless chance-taking tone and noting the rarity of an alto saxophonist at the time who didn’t attempt to sound like Parker. Their work together was documented on the 1949-50 sessions for Capitol Records that became known as Birth of the Cool. (Konitz recalled being surprised at Davis’ billing on the record; he had always thought it was Mulligan’s band.) 

Miles Davis, Lee Konitz & Gerry Mulligan

Also in 1949, Konitz appeared on what is generally regarded as cool jazz’s other foundational text: Lennie Tristano’s Crosscurrents sessions. Konitz had first met and worked with Tristano in 1946, and over the next several years he thoroughly absorbed the pianist’s theories about harmony, rhythm, and “pure improvisation.” They would continue to define his music for decades to come. Cool jazz quickly became associated with the U.S. West Coast, and accordingly Konitz moved to Los Angeles in 1952 to join Stan Kenton’s band. After two years, he returned to New York, where he resumed working with Tristano and his associates, particularly pianist Sal Mosca and tenor saxophonist Warne Marsh. However, he soon found the Tristano sphere to be restrictive, and worked to expand his horizons—becoming a prolific leader in his own right. 

                                   

Although Konitz had been leading recording sessions since 1949, he began doing so with newfound determination on the 1956 quartet album Inside Hi-Fi. Thenceforth, he would lead hundreds of sessions—with duets, trios, quartets, big bands, and string sections, almost none of which lasted long enough to be considered working groups. He took a sabbatical from the jazz scene from 1961-64, during which he taught in California, and spent much of 1965-66 in Europe. When he returned to New York in 1967, he made an intriguing and often remarked-upon series of duet recordings with such musicians as violinist Ray Nance, guitarist Jim Hall, and valve trombonist Marshall Brown, who would become a longtime (if intermittent) collaborator. 

Konitz enjoyed a restless 1970s and ’80s, during which he worked as regularly in Europe as in the United States; the latter half of the ’70s found him in one of his rare working groups, a quintet that reunited him with Warne Marsh, as well as with pickup bands, a nonet, and a newly regular series of duets. He also began experimenting in the avant garde, collaborating with Andrew Hill, Anthony Braxton, Ornette Coleman, and Derek Bailey. Duo projects became increasingly common in the 1990s, as Konitz worked with a diverse swath of players from drummer Paul Motian to pianist Marian McPartland to trumpeter Clark Terry. He was awarded the Jazzpar Prize, a Danish award that was the self-described “Oscar of jazz,” in 1992. 

He continued his exploits into the 21st century, playing and recording with everyone who would have him. If anything, his bookings increased: He worked intermittently in a quartet with Motian, pianist Brad Mehldau, and bassist Charlie Haden (as well as in a trio without Motian), and with pianist Ethan Iverson and saxophonist Mark Turner. In the late 2000s, the Europe-based trio Minsarah invited him to play with them, and that collaboration lasted for several years. 

In his last dozen years, Konitz was most frequently in the creative company of pianist Dan Tepfer. The two worked in duo settings as well as with small and large bands and in orchestras. An appearance at the 2013 Winter Jazzfest in New York found Konitz and Tepfer performing with the Harlem String Quartet. Konitz had no interest in retirement. Despite health issues, including a massive stroke that he suffered in Australia in 2011, he carried on intrepidly, celebrating his 90th birthday with a gala concert at the Kennedy Center in Washington, D.C. Noting that his old age found him busy as ever, Konitz remarked, “They all want to get me now, while I’m still around.” 

He died at Lenox Hill Hospital in New York City on April 15, 2020, as a result of pneumonia brought on by COVID-19 during the pandemic in New York City. 

(Edited mainly from a Michael J. West obit @ Jazz Times)