Shron Tate

Buddy Tate was one of the most relaxed, humorous and amenable of musicians, with a personal style that was glowingly reflected in the supple and occasionally gently mocking elegance of his saxophone playing. Like many of the lyrical and romantic jazz performers of his era, Tate could perform miniature miracles with minimal materials. Shuffling a handful of soft, buttery notes and mingling them with a textural repertoire of intimately whispering intonations, was one of the most agreeable experiences in postwar jazz. But Tate could also be an exciting, hard-swinging player too, and his control of the horn in its upper register predated many of the technical advances in saxophone playing that were made by the modernists in hard bop and the avantgarde.

Let's Jam is an album by pianist Claude Hopkins with saxophonist Buddy Tate and trumpeter Joe Thomas recorded in 1961 and originally released by the Swingville label.

A powerful and inspiring biography of Merze Tate, a trailblazing Black woman scholar and intrepid world traveler

The idea of writing classical concert music based on Native American materials dates back to the so-called "Indianist" school of the early 20th century, but the execution of the idea by Native American composers is much rarer and is devoutly to be wished. Composer Jerod Impichchaachaaha' Tate holds dual citizenship in the U.S. and the Chickasaw Nation, and he is an important practitioner of this difficult art. Lowak Shoppala' is a multimedia piece in eight scenes, featuring orchestra, multiple narrators, a Chickasaw children's chorus, traditional Chickasaw and modern dancers and vocal soloists, and Native American storytellers. Each scene "depicts a part of Chickasaw culture and history," from traditional spiritual ideas to the removal of the tribe from its traditional Southeastern U.S. homelands. The narration is in English, but the musical sections in the libretto by Linda Hogan, are in the Chickasaw language. This is remarkable, for the number of fluent speakers of Chickasaw numbers only in the dozens; Tate and Hogan are two of these. Tate's basic mode is to expand the pitch and melodic content of traditional chants into larger orchestral and choral structures.

Early influences are often the strongest and in jazz a musician’s formative years tend to set his style and sound. Miles Davis grew up in St. Louis where he heard such St. Louis trumpeters as Clark Terry, Irving Randolph and Shorty Baker when he was a boy, so Miles followed the “St. Louis trumpet tradition”. In the state of Texas it is tenor players, most of who seem to have grown up with big sounds and plenty of confidence, men such as Illinois Jacquet, Arnett Cobb, Jimmy Giuffre and King Curtis.