{"id":8730,"date":"2017-10-12T21:23:22","date_gmt":"2017-10-13T04:23:22","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=8730"},"modified":"2017-10-12T21:23:22","modified_gmt":"2017-10-13T04:23:22","slug":"grady-tate-rip","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/10\/grady-tate-rip\/","title":{"rendered":"Grady Tate RIP"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-8731\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/10\/Tate-RIP.jpg\" alt=\"\" width=\"210\" height=\"172\" \/>Grady Tate died on Sunday at his home in New York City. He was 85. His wife Vivian said that he had dementia. In demand for years as a drummer, he was encouraged by Peggy Lee to begin singing publicly and launched a new career as a vocalist. Tate\u00e2\u20ac\u2122s professional debut was with the organist Wild Bill Davis in 1959. In the decades that followed, he worked with major jazz artists including Duke Ellington, Count Basie, Oliver Nelson, Ella Fitzgerald, Blossom Dearie, Lena Horne, Wes Montgomery, Stan Getz, J.J. Johnson, Zoot Sims and dozens of others. When he was in Ms. Lee\u00e2\u20ac\u2122s rhythm section for a 1968 New York club engagement, she invited him to sing. Soon, he was loved as a singer by listeners around the world who may have known nothing of his prominence as a drummer.<\/p>\n<p>Among Tate\u00e2\u20ac\u2122s collaborations were those with the singer and songwriter Nancy Harrow. He was prominent in her albums <em>Maya The Bee<\/em>, <em>The Marble Faun<\/em> and <a href=\"http:\/\/amzn.to\/2zkqiDV\"><em>Winter Dreams: The Life and Passions of F. Scott Fitzgerald<\/em><\/a>. Here, he sings \u00e2\u20ac\u0153My Lost City\u00e2\u20ac\u009d from the Fitzgerald album.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/IdHQwJIph8M\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">Here\u00e2\u20ac\u2122s Tate the drummer with Jimmy Smith, organ; Kenny Burrell, guitar; and Stanley Turrentine, tenor saxophone, playing Jay McShann\u00e2\u20ac\u2122s classic \u00e2\u20ac\u0153The Jumpin\u00e2\u20ac\u2122 Blues.\u00e2\u20ac\u009d<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/SaUCSAEToaQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">For a comprehensive article about Grady Tate, <a href=\"https:\/\/www.nytimes.com\/2017\/10\/12\/obituaries\/grady-tate-dead-jazz-drummer-turned-vocalist.html?_r=0\" target=\"_blank\" rel=\"noopener\">see his obituary<\/a> by Richard Sandomir in today\u00e2\u20ac\u2122s <em>New York Times<\/em>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Grady Tate died on Sunday at his home in New York City. He was 85. His wife Vivian said that he had dementia. In demand for years as a drummer, he was encouraged by Peggy Lee to begin singing publicly and launched a new career as a vocalist. Tate\u00e2\u20ac\u2122s professional debut was with the organist [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8731,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-8730","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8730","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=8730"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8730\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8731"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8730"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8730"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8730"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}