很少地如此的意見一致地不節省讚美在比較不自己-慶祝接受者上被授予。同樣地和藹和事實的離開檯子當做他在鑰匙猛烈個別, 工人帶著上班的食物弗拉納根處理他的世界班級排名與一個平靜、謙遜, 一個容易的友誼不總是以靈魂負擔聯合存在一號。 也許因為他的同儕和全世界的愛幾乎立即早承認在哪一個他數年以來已經被他們捉住已經在工人帶著上班的食物弗拉納根的爵士樂的叢林中往一個溫暖和有藝術有益的棲木去。 或也許它由於他的有益健康起源, 當做六個孩子之一一向上地努力, 在底特律的音樂上狂熱的家庭。
任何的, 弗拉納根在 1945 年在 15 歲製造了他的專業初次登場，和同伴的馬達城市萌芽的重量級人物參加軍隊使受精
、 Thad 鍾斯、 Elvin鍾斯和肯尼Burrell, 玩像知更鳥的俱樂部, 底特律是有名的爵士樂的房間。 弗拉納根在 1956 年擊中紐約, 他的第一個輕便馬車在芽鮑威爾的 Birdland 作為一個附屬的工作, 他取消當做在他自己的早發展方面的主要的影響力, 連同藝術 Tatum 和 Nat 一起科爾。 弗拉納根的自己禮物如此不遲疑明顯，很快地，他為用如寶貝羅林、約翰Coltrane 、查爾斯Mingus 和里戴維斯的爵士樂的聖像記錄日期被輕打了。
在 1957 年，弗拉納根使他的第一個三人一組成為相簿了, "工人帶著上班的食物弗拉納根在海外 , " 與 Elvin 鍾斯和威爾伯，少，已經被許多次在發行而且是現在一個搜集家的項目。他創下了超過 100 錄音從 1956 到 1968 ，哪一個已經變得必要至任何的嚴重爵士樂的多數記錄圖書館。
從 1968 到 1978 ，弗拉納根廣泛地和埃拉費茲傑羅遊覽。 在那期間，他的被最近在發行的三人一組相簿， " Montreux 77",被記錄了。 它和埃拉費茲傑羅在一起他賺了他的斑紋作為一個爵士樂的至高伴奏者，一個指示在工業各處廣泛地承認。
在 1978 年，在重大的離開，弗拉納根形成了他自己的三人一組而且自從已經幾乎獨有地以那的格式運行后。 他的記錄事業有自從花開著的以後與 15 普遍地讚美相簿作為一個獨奏者或帶領他的三人一組。數年以來，工人帶著上班的食物弗拉納根三人一組已經自豪如 Elvin 鍾斯的重要鼓手， Al 養育和藝術泰勒。 他也已經僱用如肯尼華盛頓的有天才的比較年輕的鼓手和比較最近路易斯納什。 自從～之後發射他的三人一組, 低音樂器演奏者弗拉納根已經最特別地用已經是喬治Mraz,捷克美術通。 Mraz 的能力跟隨弗拉納根大量有創造力, 曾經令人驚訝的蹤跡是令人印象深刻的。
弗拉納根已經有四個葛萊美獎提名, 二為最好的爵士樂的表現 (小組) 和二為最好的爵士樂的表現 (獨奏者).
工人帶著上班的食物弗拉納根的抒情詩調的風格, 立刻強硬、溫和, 而且以快活的幽默反彈, 表達比博普爵士樂的美好擦亮和有旋律邊。 它在區別和成熟方面已經穩定地生長, 而且經過它，全部，它搖擺。
Rarely has such unanimously unstinting praise been bestowed on a less self-congratulatory recipient. As genial and matter-of-fact off the stand as he is fiercely individual at the keys, Tommy Flanagan handles his world class ranking with an equanimity, a modesty, an easy friendliness not always associated with the psychic burden of being Number One. Perhaps because almost instant early recognition by his peers and the universal affection in which he has been held by them over the years has made for a warm and artistically rewarding roost in the jazz jungle for Tommy Flanagan. Or perhaps it is owing to his wholesome origins, as one of six children of an upwardly striving, musically enthusiastic family in Detroit.
Whatever, Flanagan made his professional debut in 1945 at age 15, joining forces with fellow Motor City budding heavyweights Milt Jackson, Thad Jones, Elvin Jones and Kenny Burrell, playing clubs like the Bluebird, Detroit』s renowned jazz room. Flanagan hit New York in 1956, his first gig being a sub job at Birdland for Bud Powell, whom he recalls as a major influence on his own early development, along with Art Tatum and Nat Cole. Flanagan』s own gifts were so readily apparent, in short order he was tapped for recording dates with such jazz icons as Sonny Rollins, John Coltrane, Charles Mingus and Miles Davis.
In 1957 Flanagan made his first trio album, 「Tommy Flanagan Overseas,」 with Elvin Jones and Wilbur Little, which has been reissued many times and is now a collectors』 item. He made more than 100 recordings from 1956 through 1968, many of which have become essential to any serious jazz record library.
From 1968 to 1978, Flanagan toured extensively with Ella Fitzgerald. During that time his recently reissued trio album, 「Montreux 77,」 was recorded. It was with Ella Fitzgerald that he earned his stripes as a jazz』s supreme accompanist, a designation widely acknowledged throughout the industry.
In 1978, in a momentous departure, Flanagan formed his own trio and has since performed almost exclusively in that format. His recording career has since flowered with 15 universally admired albums as a soloist or leading his trio. Over the years the Tommy Flanagan Trio has boasted such significant drummers as Elvin Jones, Al Foster and Art Taylor. He has also employed such gifted younger drummers as Kenny Washington and more recently Lewis Nash. Since launching his trio, the bassist Flanagan has used most notably has been George Mraz, the Czech virtuoso. Mraz』s ability to follow Flanagan』s abundantly creative, ever surprising trail is impressive.
Flanagan has had four Grammy nominations, two for Best Jazz Performance (Group) and two for Best Jazz Performance (Soloist).
He was voted Top Jazz Pianist in DownBeat』s most recent Readers』 Poll as well as winning Jazz Times』 both Critics』 and Readers』 Poll.
Tommy Flanagan』s lyrical style, at once tough, tender, and bouncing with jaunty humor, expresses a beautifully polished and melodic side of bebop. It has steadily grown in distinction and maturity, and through it all, it swings.
Born: March 16, 1930