Encyclopedia of Jazz Musicians
Gridley, Mark C. (Charles)
Gridley, Mark C. (Charles), author, educator, flute, saxophones, oboe; b. 5 January 1947 in Detroit. Grew up in suburb of Royal Oak. Paternal grandfather Floyd Harvey Gridley was violinist-trombonist-composer; conducted the Bendix Symphony Orchestra in South Bend, Indiana, and vaudeville pit orchestra for Liberty Theater in Benton Harbor, Michigan. Father Frederick William Gridley, was amateur saxophonist, violinist, accordianist, became certified public accountant in Detroit. Mother, Helen Lucille Jones played pop piano in Wisconsin, Iowa, and Colorado night clubs during 1940s, earned B.S. and M.A. degrees in music, was public school music teacher in Detroit, Michigan suburbs during 1950s and 60s, accompanist for classical singers and instrumentalists in Michigan 1950s to present.
Mark studied piano and flute during elementary school, studied oboe from 7th grade through high school, played oboe in junior high school and high school band and orchestra, self-taught on sax, played flute and sax in school marching band, played oboe in All-State Band summer sessions at National Music Camp, Interlochen, Michigan. Began playing saxophone professionally in Detroit area at age 15. Led jazz combos and wedding bands in Detroit area during early 1960s, Lansing area during late 1960s. He played oboe until 1964. Led jazz quartets with Bob Budson, Bill Meyer, Mike McGaw, Mike Richer, Bob McDonald, Frank Vojeck, Jim Craig, Bob Theil, at summer resorts on Lake Michigan during late 1960s: South Haven, Charlevoix, Boyne City, Petoskey, Harbor Springs, Mackinac Island, and at Michigan winter ski resorts with Cary Kilner, Jim Kay, Bob Theil, and Mike Richer. Played saxophone and flute with Michigan State University Jazz Band (E. Lansing, MI), 1965-1969. His Michigan State University Quartet with Glen Stevenson, Jim Kay, and Cam Phillips tied for first place with the Indiana University combo of Michael Brecker and Randy Sandke at the 1968 Notre Dame Collegiate Jazz Festival, where Gridley won "Best Flutist" award.
Ph.D. in Psychology (Case Western Reserve University, 1977)
M.S. in Psychology (Case Western Reserve University, 1970)
B.S. in Psychology (Michigan State University, 1969)
He played in Case Western Reserve University Jazz Band (Cleveland, OH), 1969-1971. Led jazz combos in night clubs, coffee houses, supper clubs in Cleveland, Ohio area 1969 to 2005, with Cevera Jeffries, Willis Lyman, Don Banks, Jeff Papez, Marty Barker, Nicky Smith, Roy Valenti, Dan Maier, Jackie Warren, Fred Sharp, Bob Fraser, Don Better, Chuck Smolko, Jeff LeSeuer; also played concerts at Severance Hall, Blossom Music Center, Cleveland Museum of Art, Beck Center, Cleveland Playhouse, Karamu (including the Albert Ayler Memorial Concert with Bobby Few). Worked as sideman with the bands of Raymond Ferris, Al Serafini, Gary Pildner; produced concert series 1971-72 at Case Western Reserve University in which he played with Bill Dobbins, Willis Lyman, Lamar Gaines, Val Kent, Bill DeArango; led jazz demonstration unit for Cleveland chapter of Young Audiences with Drene Ivy, Willis Lyman, Ralph Jackson; toured briefly with Harry "Sweets" Edison in 1973 as accompanist to Redd Foxx road show; brief tour with Les Elgart, 1974. taught self the clarinet and piccolo in 1972 and became full-time musician (saxes, clarinet, flute, etc.) in Front Row Theater staff Orchestra (Cleveland), 1974-76, where he accompanied Sammy Davis, Jr., Tony Bennett, Vic Damone, Steve Lawrence, Edie Gorme, Marlena Shaw, Jackson Five, Temptations, Fifth Dimension, etc. Played saxophone with Chautauqua Symphony Orchestra, Chautauqua, NY, summer 1986.He continues to perform primarily on flute.
Developed and taught jazz history course at Case Western Reserve University 1971-81, for which he wrote his Jazz Styles textbook, based on his 1973 Outline of Jazz. The book eventually became the #1 best-selling jazz history for colleges.
Employment: 1987-present: Heidelberg College Professor of Psychology; 1984-1987 Mercyhurst College (Assistant Professor of Psychology); 1981-1984 John Carroll University (Visiting Assistant Professor of Psychology.
JAZZ STYLES: HISTORY AND ANALYSIS. Prentice-Hall, 1978, 1985, 1988, 1991, 1994, 1997, 445 pages; 1999, 458 pages; 2003, 442 pages, 2005, 464 pages. (English, Japanese, Bulgarian, Danish, Korean, and Polish language editions)
CONCISE GUIDE TO JAZZ. Prentice-Hall, 1992, 230 pages; 2nd Edition, 1998, 230 pages; 3rd Edition, 2000, 246 pages, 4th Edition, 2003, 262 pages.
INSTRUCTORS' RESOURCE MANUAL. Prentice-Hall, 1991, 138 pages; 1999, 186 pages.
HOW TO TEACH JAZZ HISTORY (NAJE Press, 1984, 200 pages; 4th edition, IAJE Press, 1996; 5th edition, 2000)
Articles in Reference Works:
ENCYCLOPEDIA OF THE MIDWEST
ALL-MUSIC GUIDE TO JAZZ
GROVE DICTIONARY OF JAZZ
GROVE DICTIONARY OF AMERICAN MUSIC
ENCYCLOPAEDIA BRITANNICA JUNIOR
ENCYCLOPAEDIA BRITANNICA MICROPAEDIA
"Three Approaches to Defining Jazz" (with Robert Maxham and Robert Hoff). MUSICAL QUARTERLY, 1989, Vol. 73, No. 4, 513-531 (expanded and reprinted in Lewis Porter, Ed., JAZZ: A CENTURY OF CHANGE, Schirmer, 1997, 18-38).
"Trends in Description of Saxophone Timbre." PERCEPTUAL AND MOTOR SKILLS, 1987, 65, 303-311.
"Teaching Jazz History for the First Time." JAZZ EDUCATORS JOURNAL, April, 1987, Vol. 20, No. 4, 16-21, 50-53.
"Is Jazz Popular Music?" THE INSTRUMENTALIST, March, 1987, Vol. 41, No. 8, 18-26, 85 (winner of the Distinguished Achievement Award of the Educational Press Association of America).
"Why Have Modern Jazz Combos Been Less Popular Than Swing Big Bands?" POPULAR MUSIC AND SOCIETY, 1984, Vol. 9., No. 4, 41-45.
"Towards Identification of African Traits in Early Jazz." THE BLACK PERSPECTIVE IN MUSIC, Spring, 1984, Vol. 12, No. 1, 44-56.
Cleveland Jazz History, 1st and 2nd Edition (by Joe Mosbrook, Northeast Ohio Jazz Society), Cleveland Magazine (August 1993)
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