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Article

Vasil S. Tole

(b Përmet, Albania, May 2, 1929; d Përmet, Jan 26, 2014). Albanian folk music performer. A clarinettist and vocalist, nicknamed ‘Përmeti’s nightingale’, founder of the instrumental iso-polyphonic group (saze ensemble) in the Southern town of Përmet (1944–2004). At a young age, he showed a special ability to design and make instruments. He was taught to play the lute and the clarinet by the saze masters in the city of Korçë. Then his family returned to Përmet, where he joined the saze of Vangjel Leskoviku (1944). At Përmet, he organized his own saze and participated in the Folk Music Festival in Tirane (1952), where he was awarded the First Prize for the best folk clarinettist. His saze was composed of a clarinet, two lutes, two accordions, a frame drum, and a violin. The saze played instruments and sang at the same time. He is a composer of songs, clarinet ...

Article

Howard Rye

[Chabania, Jacinto]

(b Gary, IN, Jan 23, 1904/1906/1908; d c 1961). American saxophonist, clarinetist, arranger, and singer. Various sources give alternative birth years: 1904 appears on a 1929 passenger list; he gave his age as 20 upon marrying in 1926; 1908 appears on his 1940 draft registration, which he signed as Jacinto Chabania. Blake is the name of his adoptive parents. His birth father was Cuban and his birth mother was reportedly born in France. Blake studied violin, then alto saxophone and clarinet. After playing briefly with Charlie Turner’s Arcadians he took ship for Europe with Sam Wooding (1928), with whom he recorded in Barcelona and Paris (1929). He then moved to New York, played with Chick Webb, toured with Zack Whyte’s Chocolate Beau Brummels, and performed and recorded with Don Redman (late 1933 – spring 1934). In April 1934, calling himself Jacinto Blake, he moved to France to work with Willie Lewis, remaining in Europe until May 1935. He worked with Claude Hopkins, both in New York and on tour (mid-...

Article

Howard Rye

[JackJohn Crawford]

(b Washington, DC, April 29, 1909; d New York, May 9, 2003). American trumpeter and singer. Although Butler gave interviewers the April birthdate shown, and it appears in most official records, his 1942 draft registration card gives March 29, 1909; this card identifies his full name and place of birth. He began playing trumpet at the age of 17. After moving to New York in the late 1920s he worked with Cliff Jackson and with Horace Henderson (1930–31). In 1931 he joined the Alabamians, led by the reed player Marion Hardy, and he remained with the group until it disbanded the following year. Later he led his own band (1934–5) and performed and recorded with Willie Bryant (1936). He then moved to Europe, where he worked mainly with Willie Lewis (late 1936 – 1939). In May 1939 he recorded in Paris with a septet led by Frank “Big Boy” Goudie and from June he toured Scandinavia; he recorded in Oslo in ...

Article

Howard Rye

[née Carroll, Ernestine]

(b Memphis, Aug 5, 1909; d Chicago, Jan 30, 1994). American trumpeter and singer. Her application for social security (filed in 1941) gives a birth year of 1910, but other sources, including her interview in the film Tiny & Ruby, give 1909. She began playing trumpet at Booker T. Washington High School in Memphis at the age of 13 and embarked on her professional career in Kansas City. About October 1935 she toured with the Harlem Play-Girls, but she left the band at the end of 1936 to have a baby. In the early 1940s she was recruited by Jesse Stone to join the International Sweethearts of Rhythm, with which she was a star soloist; she participated in the group’s USO tour of Europe in 1945, appeared with it in the short film How about that Jive (1946), and remained a member until 1947, when she took over a band comprised mainly of former members of the Prairie View Co-Eds. This group, which became known as the Hell Divers, included Bert Etta Davis, the tenor saxophonist Margaret Backstrom, the drummer Helen Cole, and the double bass player Ruby Lucas (also known as Renei Phelan), with whom Davis formed a musical and personal partnership; in ...

Article

John-Carlos Perea

(b Tama, IA, May 13, 1933; d Ames, IA, Aug 16, 2006). Native American (Meskwaki) singer, drummer, and flute player. Kapayou was born on the Meskwaki Indian Settlement in Tama, Iowa, where his mother Lucille, a flute player, taught him sacred and secular repertoires of Meskwaki music. While serving in the Army and working in construction, Kapayou retained his commitment to these traditions. He received a National Heritage Fellowship from the NEA in ...

Article

Rich Kienzle

[Kuczynski, Julius Frank Anthony ]

(b Milwaukee, WI, Feb 18, 1914; d Louisville, KY, March 7, 2000). American country music accordionist, bandleader, songwriter, and vocalist. His musical career was inspired by his father, John, a Polish American who led a local polka band. At 15, he began learning accordion and, in 1930, met popular bandleader Wayne King who suggested the youth take the surname “King” in the interest of simplicity. His first band, the King’s Jesters, played both country music and polkas. In 1934, the group filled in for Gene Autry’s band when Autry, then a star of WLS’s National Barn Dance, toured Wisconsin. King joined Autry (who dubbed him “Pee Wee”) in Louisville until the singer left to launch his Hollywood film career. He briefly led a Louisville band known as the Log Cabin Boys, then in 1937 organized the Golden West Cowboys, who joined the Grand Ole Opry with a distinctive, progressive repertoire blending country, pop, polkas, waltzes, and western swing. From ...

Article

T Herman Keahey, Brigitte Höft, Paul Corneilson, Robert Münster, and Roland Würtz

German family of musicians.

Lebrun [Brün, Le], Ludwig August (b Mannheim, bap. May 2, 1752; d Berlin, Dec 12/15/16, 1790)

Lebrun [née Danzi], Franziska [Francesca] (Dorothea) (b Mannheim, March 24, 1756; d Berlin, May 14, 1791)

Lebrun [Dülken], Sophie (b London, June 20, 1781; d Munich, July 23, 1863)

Lebrun [Stentzsch], Rosine (b Munich, April 29, 1783; d Munich, June 5, 1855)

BrookB; BurneyGN; BurneyH; FétisB; FlorimoN; GerberL; GerberNL; LipowskyBL; MGG1 (R. Münster); SchillingE; WalterG Musikalische Real-Zeitung (Dec 30, 1789; Jan 13, 27, 1790; April 28, 1790)Musikalische Korrespondenz der Teutschen Filarmonischen Gesellschaft (Jan 6, 1791; Feb 16, 1791)C.F.D. Schubart: Ideen zu einer Ästhetik der Tonkunst (Vienna, 1806/R)W.T. Parke: Musical Memoirs (London, 1830)C.F. Pohl: Mozart und Haydn in London (Vienna, 1867/R), ii, 372F. Grandaur: Chronik des königlichen Hof- und Nationaltheaters in München...

Article

Barry Jean Ancelet

(b Pointe Noire, nr Church Point, LA, Oct 28, 1928; d nr Eunice, LA, Oct 8, 1955). American accordionist, vocalist, and songwriter. He was one of the most influential musicians in Cajun music. Born into a musical family, which also included Angelas, Rodney, Vinesse, Eddie, Homer, and Felton Lejeune, Iry was nearly blind and thus hard to employ. Music allowed him to support his family, with whom he lived in his adopted hometown of Lacassine. He was a prolific songwriter, adapting many songs from the earlier repertoire of Amédé Ardoin. In his teens when World War II ended, he led the return of the diatonic accordion in Cajun music, which had dropped the instrument and the French language in favor of western swing and country music, and the English language, which attended the Americanization of the 1930s. In 1948, he went with Virgil Bozman’s Oklahoma Tornadoes to Houston to record “Love Bridge Waltz” and “Evangeline Special” for Opera Records, in French and in a style that harked back to the traditional sounds of earlier in the century. The record was surprisingly popular, especially among Cajuns who were increasingly concerned about drifting away from their cultural and linguistic heritage. He recorded all of his subsequent records with Eddie Shuler of Goldband Records of Lake Charles, Louisiana. He became a mainstay on the Cajun dance circuit, and though he recorded only a couple of dozen more sides before he died in an automobile accident, they are virtually all still being played by contemporary Cajun and Creole musicians. He was a poetic lyricist, a soulful vocalist, and a virtuoso accordionist, easily among the most imitated in Cajun music....

Article

revised by Barry Kernfeld

(b Dayton, OH, Dec 30, 1928; d Dayton, May 5, 2015). American double bass and tuba player and singer. While in France he played with Claude Luter, Claude Bolling, and Don Byas (1948–9). In 1948 he founded the Dixieland Rhythm Kings, a traditional-jazz band that performed frequently in the USA and Canada and recorded several albums, among them ...

Article

Jonas Westover

[Blinky ]

(b Frederiksted, St. Croix, Virgin Islands, Aug 17, 1934). Crucian guitarist, saxophonist, band leader, and singer. He was the son of Ivan McIntosh, a saxophonist active during the early 20th century, and Ethel McIntosh, a singer. He learned music from them as a youth and soon joined a “scratch band,” a local ensemble feature cane flute, gourd rasp, guitar, drum, and bass. By the age of 15, he had joined his father’s group as a guitarist, learning an older repertoire and touring widely throughout the island. During this same period, McIntosh learned traditional songs from his mother, who also encouraged him to study with local storytellers and folk performers. He also joined a carnival-oriented ensemble titled the Wild Indians. By 1955 he created his own “scratch band” called the Pond Bush Hot Shots. In the 1960s he was invited to become the lead alto sax player for the Joe Parris Hot Shots, the country’s leading quadrille group, with whom he recorded into the 1970s. Although he was an active musician during his life, McIntosh labored primarily for the Department of Public Works in St. Croix, as reflected in the name of his next band, Blinky and the Roadmasters (formed in ...

Article

Howard Rye

[Marion Joseph]

(b Indianapolis, July 22, 1912; d after 1975). American trumpeter, singer, and dancer. The birth year quoted is from his 1940 draft registration, which he signed “Joseph Taps Miller”; in the 1950s he told European interviewers he was born in 1915. From 1932 he was featured as a singer and dancer in New York shows, notably Blackbirds of 1939. In 1941 he was a master of ceremonies at Kelly’s Stable and took part in jam sessions as a drummer at Monroe’s Uptown House. He recorded as a singer with Count Basie in May 1942, and he may be seen in the soundie A Song and Dance Man (1943). In 1944–5 he toured North Africa and Asia as a member of a USO unit led by Alberta Hunter; this tour included a month’s residency in Casablanca. In the late 1940s and early 1950s Miller worked around New York; he recorded again as a singer with Basie in ...

Article

Eddy Determeyer

[Melvin James ]

(b Battle Creek, MI, Dec 17, 1910; d New York, NY, May 28, 1988). American arranger, composer, producer, bandleader, trumpeter, and singer. Growing up as an African American musician in Zanesville, Ohio, Oliver was self taught as a trumpeter and arranger. After playing in territory bands in and around Zanesville and Columbus, he became a member of Jimmie Lunceford’s orchestra in 1933. His charts for the Lunceford band were distinguished by contrasts, crescendos, and unexpected melodic variations, thereby setting new standards in big band swing and close-harmony singing. His use of two-beat rhythms also set his arrangements apart.

In 1939 Oliver was hired by the trombonist Tommy Dorsey and turned his band into one of the hardest swinging and most sophisticated ensembles of the early 1940s. In 1946 he started his own big band. During the late 1940s and 1950s he mainly did studio work, as a music director for the labels Decca, Bethlehem, and Jubilee. He continued to lead big bands and smaller ensembles, recycling his old Lunceford and Dorsey successes and performing new arrangements. Along with Duke Ellington and Fletcher Henderson, Oliver must be rated one of the top arrangers of the swing era and infused almost every chart with vigor and surprise....

Article

John Chilton

[Oran Thaddeus ]

(b Dallas, TX, Jan 27, 1908; d New York, NY, Nov 5, 1954). American jazz trumpeter and singer. He worked as a professional musician in his home state of Texas during the 1920s and later maintained that he learned to play authentic blues by listening to the local performers there. He played with Walter Page’s Blue Devils (1928–30) then with Bennie Moten’s band (1931–3 and 1934). In 1936 he worked briefly with Count Basie’s band as a principal soloist, but left to become a solo artist at the behest of Louis Armstrong’s manager Joe Glaser, a move generally regarded as having hurt a potentially illustrious career. Page gained much publicity during a brief stay with Artie Shaw’s band (1941–2). He also made many fine recordings under his own name (1938–54), often leading bands with some of the finest swing musicians, including Earl Bostic, Don Byas, J.C. Higginbotham, and Ben Webster, among his sidemen. His purposeful, exciting trumpet playing and deeply felt blues singing were probably too rugged to gain widespread favor. Throughout his career he thrived on the atmosphere of impromptu jam sessions, in which his searing tone, dramatic phrasing, and improvised blues lyrics were a source of considerable inspiration to fellow musicians....

Article

Mark Tucker

(bandleader, singer and saxophonist)

(b Middletown, CT, Oct 26, 1907; d Old Lyme, CT, Oct 31, 1969). American bandleader, singer, and saxophonist. He began playing as a sideman in the orchestras of John Cavallaro, Irving Aaronson, and Vincent Lopez, before joining Artie Shaw’s band (1936), in which he was a tenor saxophone soloist and singer; “Indian Love Call” (1938, B♭) offers a good example of his throaty, somewhat gruff vocal style. After Shaw dissolved the band Pastor formed his own in 1940, taking some of Shaw’s players with him. Many of the group’s arrangements were written by the guitarist Al Avola, although Budd Johnson, Walter Fuller, and Ralph Flanagan also made contributions. Pastor’s singing was greatly influenced, he acknowledged, by Louis Armstrong and was always an important part of his shows. In the late 1940s Pastor also performed with Betty and Rosemary Clooney. He broke up his big band in ...

Article

John-Carlos Perea

[James Gilbert ]

(b Salem, OR, June 18, 1941; d Portland, OR, Feb 10, 1992). American tenor and soprano saxophonist, singer, bandleader, and composer. Of Native American (Creek and Kaw) heritage, he was raised in Oregon and Oklahoma. Early musical influences included tap dance, big band jazz, Southern Plains powwow music and dance, and peyote music. Pepper moved to New York in 1964 and joined the Free Spirits (1966), an early fusion jazz ensemble featuring Larry Coryell and Bob Moses. After forming the group Everything is Everything (1967) with former members of Free Spirits Chris Hills and Columbus Baker, Pepper recorded “Witchi Tai To,” a composition fusing a peyote song with jazz, rock, and country influences. Released on Everything is Everything featuring Chris Hills (Vanguard Apostolic, 1969), “Witchi Tai To” peaked at number 69 on the Billboard pop charts. By 2011 it had been covered by at least 90 artists ranging from Brewer & Shipley, Jan Garbarek, and Oregon to the Paul Winter Consort and Joy Harjo. Pepper released four albums as a leader: ...

Article

Yoko Suzuki

[Elvira; Meeks, Elvira; Goldberg, Elvira; Avelino, Elvira]

(b Los Angeles, CA, Sept 20, 1928). American jazz alto and soprano saxophonist, singer, and bandleader. Her father Alton Redd was a jazz drummer from New Orleans. Redd started to sing in church at about age 5 and played alto saxophone at about 12, studying with her great-aunt Alma Hightower, a noted music educator in Los Angeles. In about 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks, and began performing professionally as a saxophonist and singer. She had her first son when she was in her late 20s and her second son a few years later. Between 1957 and 1961 she performed less often and taught at public schools. During the 1960s she performed at the renowned club Ronnie Scott’s for ten weeks and toured with Earl Hines and Count Basie. Leonard Feather produced her two albums, Bird Call (1962) and Lady Soul...

Article

Gary Kennedy

revised by Barry Kernfeld

(b North Plains, OR, May 31, 1917; d Las Vegas, NV, Jan 18, 2014). American trumpeter and singer. Born in Oregon, she was raised in Rainier, Washington, and then in Missoula, Montana, as a teenager. Her father was a violinist, her mother was a pianist, and her older brother performed and arranged music. She played in the family band, and then in vaudeville and theater bands. In 1936 she married Guy C. Rogers; they divorced in 1941, but she kept the surname Rogers for her career in jazz.

Upon moving to California she joined Woody Herman’s big band from October 1941 to spring 1943, when she left to form her own group. In April 1944 she married Jack [Barnes E.] Archer, who had been Herman’s road manager; she appears in the Cook County, Illinois, marriage index as Zelda Billie Rogers. She recorded as a leader in 1944 and may be heard playing trumpet and singing on ...

Article

Cathy Ragland

[Domingo ]

(b Marion, TX, May 29, 1936). American accordionist, singer, and songwriter. Texas-Mexican musician Domingo “Mingo” Saldívar is from a musical family and learned traditional ballads and folk songs from his mother. By age 11 he played guitar and accordion. In the 1950s and 60s he played in Los Guadalupanos and Los Caminantes during which time he wrote his first hit song, “Andan diciendo” (“People are talking”). He spent some years in the military and in Alaska where he worked for relatives who owned a restaurant, often playing and singing for customers. In 1975 he formed Los Tremendos Cuatro Espadas (“the four tremendous swordsmen”) and settled in San Antonio, Texas. Saldívar, a fan of the blues and country music, is known for his bilingual interpretation of the Johnny Cash classic “Ring of Fire” (“Rueda de fuego”), which appeared on his popular 1992 Rounder Records recording I love my freedom, I love my Texas...

Article

Chris Albertson

[Cladys ]

(b Pembroke, GA, Dec 24, 1908; d New York, NY, Jan 16, 1991). American jazz trumpeter, valve trombonist, and singer. Sent by his mother to the Jenkins Orphanage in Charleston South Carolina at age six, he learned to play trombone at ten and made fund-raising tours with one of the orphanage’s brass bands. Around 1925 he was given nine dollars and sent home to his mother, but went to his sister in Philadelphia and on to Atlantic City, where bandleader Charlie Johnson hired him and eventually brought him to New York’s Small’s Paradise. He replaced Bubber Miley on a 1927 Duke Ellington recording session, declined an invitation to stay in the orchestra, and accepted a job with James P. Johnson’s and Fats Waller’s Broadway show Keep Shufflin’. When the show disbanded in Chicago at the end of 1928, Smith remained and found ample work. An imaginative trumpeter with a fiery style, he was often likened to Louis Armstrong, which prompted producer Mayo Williams to have him form a quintet that could be the Brunswick label’s answer to Armstrong’s popular Hot Five recordings. The Rhythm Aces recorded 20 selections and sales were disappointing, but these performances would, with time, establish his importance to the evolution of jazz trumpet style. Roy Eldridge, who cited Smith as a vital influence, would later serve as an inspiration to Dizzy Gillespie....

Article

John L. Clark Jr.

(b Chattanooga, TN, 2 June ?1900; d New York, NY, May 30, 1956). American singer, trumpeter, and dancer. Daughter of a mixed-race couple who were both entertainers and musicians, she learned several instruments before deciding to concentrate on trumpet. By the 1920s she was touring the T.O.B.A. circuit with various revues, and in 1926 she visited Shanghai. In 1935, her performance in Blackbirds of 1934 brought her to England, where she began making records that showed her chief instrumental and vocal influence to be Louis Armstrong. After a brief return in 1936 to the United States, where she performed with Earl Hines in Chicago and made films in Hollywood, Snow moved to Europe, where she made more films and recordings. She was incarcerated in a Nazi concentration camp in Denmark in 1940 and was badly injured before being exchanged in 1943. After a recuperation period she continued touring and recording until her death during a comeback appearance at the Palace Theatre. Snow stands out from other women performers of her time in that she was known as much as an instrumentalist as a singer. Her extensive touring probably cost her the name recognition that professional stability might have brought, but her recordings show her to have been a fine, swing-influenced trumpeter and vocalist....