In today's world, John Graas is a topic that is becoming increasingly relevant and interesting. From its impact on society to its influence on people's daily lives, John Graas has become a recurring theme in debates, conversations and analysis. As we move forward in time, John Graas continues to generate deep reflection in different areas, from politics and economics to culture and technology. This is why it is essential to address this issue in a deep and detailed way, to understand its scope and to be able to understand its true impact on our lives. In this article, we will explore different aspects related to John Graas, addressing its importance and meaning today.
John Graas | |
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Born | Dubuque, Iowa, U.S. | March 14, 1917
Died | April 13, 1962 Los Angeles, California | (aged 45)
Genres | Jazz, third stream |
Occupations |
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Instrument | French horn |
Years active | 1941–1962 |
Labels | Trend, Decca, VSOP |
John Graas (March 14, 1917 – April 13, 1962) was an American jazz French horn player, composer, and arranger from the 1940s through 1962. He had a short but busy career on the West Coast, and became known as a pioneer of the French horn in jazz.[1]
Graas was born in Dubuque, Iowa, on March 14, 1917.[2][3] He was educated in classical music and attended Tanglewood Music Center, where he performed under the tutelage of Serge Koussevitsky. He soon became interested in jazz and studied ways to bring jazz and classical music together, an early effort at what would later be called Third Stream music. Following the path of his dual interests, he was a member of the Indianapolis Symphony Orchestra (1941), the Claude Thornhill Orchestra (1942), the Army Air Corps band during World War II (1942–1945), the Cleveland Orchestra (1945–1946), the Tex Beneke Orchestra (1946–1949), and the Stan Kenton Orchestra (1950–1953).[3]
The 1950s were a period of intense activity by Graas, as performer, composer, and arranger. Besides groups under his own name, he appeared in the musical aggregations of Shorty Rogers, Stan Kenton, Maynard Ferguson, Billy May, Pete Rugolo, Mel Lewis, and others. The 1960s began with equal intensity, including recordings with Henry Mancini, Bobby Darin, Heinie Beau, and others, until his career was cut short by his death of a heart attack, at age 45, in the Van Nuys section of Los Angeles.[3][4]
With Benny Carter
With Stan Kenton
With Gerry Mulligan
With Shorty Rogers
With Pete Rugolo