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Sheldon "Shelly" Manne (June 11, 1920 – September 26, 1984), was an American jazz drummer. 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. ==Family and origins== Manne's father and uncles were drummers. In his youth he admired many of the leading swing drummers of the day, especially Jo Jones and Dave Tough.〔Tough was his "idol" as well as his mentor on the 52nd Street scene. Brand, p. 94.〕 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.〔Brand, p.5; Feather, p. 320.〕 From that time, Manne rapidly developed his style in the clubs of 52nd Street in New York in the late 1930s and 1940s.〔Other major influences he found on "The Street" were drummer legends "Big Sid" Catlett and Kenny Clarke, the father of modern jazz drumming. Brand, p. 12.〕 His first professional job with a known big band was with the Bobby Byrne Orchestra in 1940.〔See Brand, pp. 5–7.〕 In those years, as he became known, he recorded with jazz stars like Coleman Hawkins, Charlie Shavers, and Don Byas. He also worked with a number of musicians mainly associated with Duke Ellington, like Johnny Hodges, Harry Carney, Lawrence Brown, and Rex Stewart.〔According to Eugene Chadbourne he held a job in Van Alexander's orchestra when he was sixteen years old. See (Van Alexander ) at Allmusic. But this is impossible, since Manne didn't even learn to play the drums until late 1938, when he was eighteen. After that he began to sit in on 52nd Street and then played for a few months aboard a cruise ship in early 1939, after he graduated from high school. Following further engagements at resorts in the Catskill Mountains and more sitting in here and there, he got his job with Bobby Byrne in 1940. George T. Simon says that Alexander gave Manne his start in 1938. (Simon, p. 459.) While conceivable that Manne did perform briefly and informally with Alexander in late 1938, this is unlikely, as Manne was just learning the drums and still attending high school at that time. See Brand, pp. 5–7.〕 In 1943, Manne married a Rockette named Florence Butterfield (known affectionately to family and friends as "Flip").〔Brand, p. 15.〕 The marriage would last 41 years, until the end of Manne's life. 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.〔When Gillespie came to 52nd Street, Manne was an eager listener and sat in when he could. He was, notably, the drummer on the first recording of Gillespie's "A Night in Tunisia" in 1945. In the words of Jack Brand, "Shelly...literally slid into the next era....His ears were always open, his mind ready to adjust...."(pp. 17-18).〕 Around this time he also worked with rising stars like Flip Phillips, Charlie Ventura, Lennie Tristano, and Lee Konitz. 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.〔This popularity coincided largely with the growth of the big bands of the swing era. As James Lincoln Collier put it, "the swing band movement....brought jazz into the mainstream of American culture". See Collier, p. 277.〕 Joining the hard-swinging Herman outfit allowed Manne to play the bebop he loved. 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.〔Manne complained that playing with Kenton felt like "chopping wood". Gioia, p. 267.〕 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.〔Arganian, pp. 59-63.〕 He rose to the challenge, finding new colors and rhythms, and developing his ability to provide support in a variety of musical situations.〔Brand, pp. 36-37.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Shelly Manne」の詳細全文を読む スポンサード リンク
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