Civil Rights
Movements, leaders, victories and the continuing fight for equality.
Explore the people, places, events, achievements, struggles and stories that shaped our journey.
Movements, leaders, victories and the continuing fight for equality.
Innovation, patents, science, technology and world-changing contributions.
Pioneers, champions, Negro Leagues, records, activism and excellence.
Meet the people whose lives, choices and achievements shaped the journey.
Black towns, communities, institutions and places where history happened.
Moments that changed communities, movements, institutions and the nation.
Mansa Musa was the ruler of the Mali Empire in West Africa. Details recorded here should be sourced; unknown information is left blank.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
Albert Dailey | |
|---|---|
From the cover of That Old Feeling, 1978 | |
| Background information | |
| Born | Albert Preston Dailey June 16, 1939 |
| Died | June 26, 1984 (aged 45) |
| Genre | Jazz |
| Occupation | Musician |
| Instrument | Piano |
Albert Preston Dailey (June 16, 1939 – June 26, 1984) was an American jazz pianist.
Dailey was born in Baltimore, Maryland. His parents were Albert Preston Dailey Sr, and Gertrude Johnson Dailey.[1] He began studying piano as a child, and his first professional appearances were with the house band of the Baltimore Royal Theater in the early 1950s.[2] Later in the decade, he studied at Morgan State University and the Peabody Conservatory.
He backed Damita Jo DuBlanc on tour from 1960 to 1963, and following this briefly put together his own trio in Washington, D.C., playing at the Bohemian Caverns. In 1964, he moved to New York City, where he played with Dexter Gordon, Roy Haynes, Sarah Vaughan, Charles Mingus, and Freddie Hubbard. In 1967, he played with Woody Herman at the Monterey Jazz Festival, and played intermittently with Art Blakey's Jazz Messengers from 1968 to 1969.[1]
In the 1970s, Dailey played with Sonny Rollins, Stan Getz, Elvin Jones, and Archie Shepp. In the 1980s, he undertook concerts at Carnegie Hall and was a member of the Upper Manhattan Jazz Society with Charlie Rouse, Benny Bailey, and Buster Williams.
Dailey died in Denver on June 26, 1984, aged 45, from the effects of pneumonia. He is survived by his three children, five grandchildren and four great-grandchildren.[1][3]
| Year recorded | Title | Label | Notes |
|---|---|---|---|
| 1972 | The Day After the Dawn | Columbia | |
| 1977? | Renaissance | Catalyst | |
| 1978 | That Old Feeling | SteepleChase | Trio, with Buster Williams (bass), Billy Hart (drums) |
| 1981? | Textures | Muse | with Arthur Rhames (sax), Rufus Reid (bass), Eddie Gladden (drums) |
| 1983 | Poetry | Blue Note | Two tracks solo piano; most tracks duo, with Stan Getz (tenor sax) |
With Ray Alexander
With Gary Bartz
With Art Blakey
With Junior Cook
With Larry Coryell
With Walt Dickerson
With Art Farmer
With Ricky Ford
With Frank Foster
With Stan Getz
With Bunky Green
With Slide Hampton
With Tom Harrell
With Freddie Hubbard
With Elvin Jones
With Lee Konitz
With Oliver Nelson
With Dizzy Reece
With Charlie Rouse
With Archie Shepp
With Malachi Thompson
With Harold Vick
Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
Albert Preston Dailey (June 16, 1939 – June 26, 1984) was an American jazz pianist.
That Old Feeling is the third album led by pianist Albert Dailey which was recorded in 1978 and released on the SteepleChase label.
Backlash is a 1967 album by trumpeter Freddie Hubbard, his first released on the Atlantic label. It features performances by Hubbard, James Spaulding, Albert Dailey, Bob Cunningham, Otis Ray Appleton and Ray Barretto.
Poetry is a duo album by saxophonist Stan Getz and pianist Albert Dailey, which was recorded in 1983 and released on the Elektra/Musician label. It was reissued on CD on the Blue Note label in 2001.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Madam C.J. Walker