(b Pittsburgh, PA, Jan 29, 1915; d Paterson, NJ, March 18, 1995). American writer on jazz, record producer, and folklorist. He coedited one of the first scholarly books on jazz with Charles Edward Smith, Jazzmen: the Story of Hot Jazz Told in the Lives of the Men who Created It (New York, 1939). Supported in part by Guggenheim Fellowships (1953, 1955), Ramsey conducted extensive fieldwork throughout the American South, photographing African American life and recording interviews and music. The results of his travels are detailed in his books Been Here and Gone (New Brunswick, NJ, 1960) and Where the Music Started (New Brunswick, NJ, 1970). Many of his field recordings were released by Folkways Records as Music of the South (1954). He produced a historical anthology of recordings for Folkways titled Jazz (1950–53). Later, grants from the National Endowment for the Humanities (...
Alex Harris Stein
Alex Harris Stein
(b Toronto, ON, Feb 13, 1913; d Escondido, CA, May 27, 2001). American writer and record producer. In 1934 she settled in Chicago, where she became active as a jazz journalist and promoter, writing for the Chicago Herald-Examiner and Down Beat, founding the Chicago Rhythm Club, and promoting listening concerts featuring such performers as Earl Hines and Billie Holiday. At one such concert, Dance was responsible for bringing together Benny Goodman and Teddy Wilson in one of the first highly publicized interracial collaborations in jazz. She also produced her first recordings for the Okeh label (1935). In 1937 she relocated to New York, where she produced many of the legendary Duke Ellington small band recordings, collaborated with Red Norvo, Mildred Bailey, and Bob Crosby, and managed Chick Webb, organizing swing battles at the Savoy Ballroom in Harlem featuring the Webb Orchestra and Ella Fitzgerald. Among the many concerts that she organized was Benny Goodman’s historic ...
Ryan D.W. Bruce
[Randolph Edward ]
(b Brooklyn, NY, April 6, 1926). American jazz pianist, bandleader, composer, and club owner. Weston did not identify with his classical music lessons as a youth, choosing instead to explore a percussive piano style under the influence of Duke Ellington. Other early influences include Count Basie, Nat “King” Cole, Art Tatum, and Coleman Hawkins. Weston’s playing was transformed after attending a concert by Hawkins and Thelonious Monk in 1945: Monk became Weston’s mentor from 1947–9, and inspired his heavy attack and improvisatory rhythmic displacements. He was hired by Marshall Stearns in 1949 to provide demonstrations of different jazz styles for university lectures given throughout the United States; their work lasted eight summers and fostered Weston’s interest in African music.
Beginning with his debut in 1954, his early recordings acquired critical recognition and included band members such as Art Blakey, Cecil Payne, Ahmed Abdul-Malik, and Coleman Hawkins. Some of his compositions of the time, especially “Little Niles” and “Hi-Fly,” gained popularity and have been recorded by many others. Weston also worked with arranger ...
Gary W. Kennedy and Barry Kernfeld
[Wilton Jameson ]
(b New Albany, IN, July 21, 1939). American educator, publisher, record producer, and saxophonist. He performed locally from the age of 15 and while studying at Indiana University (BM 1961; MM 1962) led groups that worked in southern Indiana and Kentucky. Having taught music education at Indiana University Southeast (1967–9) and classical saxophone at the University of Louisville (1970–72), in the early 1970s he established a week-long jazz workshop (or “jazz camp”) held during the summer; by the late 1990s the workshop took place twice annually. Aebersold also presented workshops in other countries, including Australia, Germany, England, Scotland, Denmark, and Canada. In 1992 he received an honorary doctorate in music from Indiana University and began teaching jazz improvisation at the the University of Louisville.
In addition to his principal instrument, Aebersold plays piano and double bass, but he is far better known as an educator than as a performer. In ...
Brad Madson and Lew Shaw
Organization formed in 1985 to facilitate international communication among jazz societies, festivals, and presenters. It aids operational aspects involving the aforementioned, provides a forum for interaction within the jazz community, researches current trends, and publishes a quarterly newsletter (Federation Jazz) and manuals on operations, membership recruitment and retention, event production and promotion, fund-raising, and jazz education. The organization holds national and regional meetings, has experts available on the Internet, and maintains a Washington legislative watch. With a membership of more than 100,000, it undertakes cooperative ventures with other national and regional groups committed to the preservation, performance, and advancement of jazz. The AFJS maintains a central office in Sacramento, California....
(b Armavir, Russia, March 15, 1919). Record producer and writer of Armenian descent. He grew up in New York, played piano (from 1930), and studied English literature at Yale University (BA 1941); while a student he began to work as a jazz critic for Tempo (1937). Later he was a contributing editor on jazz to Mademoiselle and Pic (1946–8), contributed to Esquire’s 1947 Jazz Book, and, with W. E. Schaap, revised and enlarged Charles Delaunay’s Hot Discography for its first American edition (1948). He wrote articles for Down Beat and Metronome and provided numerous liner notes for jazz albums. Avakian produced the pioneering documentary jazz album Chicago Jazz (1939–40) for Decca, and in early 1940 began to work for Columbia, where he established a series of jazz reissues. After four years of military service he returned to Columbia as a full-time record producer for jazz and popular music; he was director of the international department and later head of the popular album department. In ...
Gary W. Kennedy
[Stephen Alan ]
(b New York, June 3, 1942). American record producer. After working in promotion for the rock music labels MGM (1969–70) and Elektra (1970–71) he joined ABC–Impulse (1971), where he served initially as national director of promotion; he then resurrected the Impulse! label to produce and issue new recordings by, among others, Dewey Redman, Gato Barbieri, Keith Jarrett, Sam Rivers, and Marion Brown. In 1974 he moved to the newly formed company Arista (jazz), for which he created and directed jazz labels, organized the outright purchase of Savoy (ii), and, with the assistance of the producer Bob Porter, supervised the reissue of material from Savoy’s catalogue. Backer left Arista in 1980 and spent a year away from music. Early in 1982 he began to work for both Antilles (as a creative consultant and in artists and repertory) and Windham Hill (as its East Coast general manager); for the latter he created a short-lived jazz label, Magenta. Having joined RCA (mid-...
J. Kent Williams
revised by Barry Kernfeld
[Samuel David ]
(b Portsmouth, VA, Feb 22, 1926). American drummer and administrator. After serving as a pilot in World War II he studied drumming in New York and played with Johnny Hodges, Charles Mingus, Lou Donaldson (with whom he made several albums from 1957 to 1961), Curtis Fuller, and Horace Silver; he is best known for his work with Gerry Mulligan (1954–68) and with Clark Terry and Bob Brookmeyer (in the 1960s); he may be seen with Mulligan in the films Jazz on a Summer’s Day and The Subterraneans (both 1960). He also recorded with Al Sears (1954), Ben Webster (1957), Art Farmer (1958), Fuller (1959, 1961), Charlie Rouse (1960), Mark Murphy (1962), and Vi Redd and Lucky Thompson (both 1963), and in a quintet co-led by Zoot Sims and Brookmeyer (1965...
(b Novosibirsk, Russian SFSR [now Russia], March 16, 1947). Russian drummer, writer, broadcaster, and educator. He began playing jazz in 1962, and after graduating from the state medical institute in Novosibirsk in 1971 he pursued a dual career as a jazz musician and an obstetrician. In 1975 he established Tvorcheskoye Dhazovoye Ob’yedinenie (Creative Jazz Unity), the first association of musicians and jazz promoters east of the Urals. He performed with Vladimir Tolkachev in the Musical Improvising Trio (1975–9), with Igor Dmitriev in various groups (including, from 1977, Zolotoye Gody Dhaza (Golden Jazz Years), with Vytautas Labutis in the quartet SibLitMash (Siberian-Lithuanian Jazz Machine, 1980s), and with Vagif Sadykhov in another quartet (1998), while also working as a freelance with Vladimir Chekasin, Anatoly Vapirov, Igor Butman, Joe Locke, Paul Bollenback, and former members of Art Blakey’s Jazz Messengers, among others. In 1990 he began to broadcast on radio, and in ...
[Benoit, Jean-Louis ]
(b Philadelphia, May 18, 1926; d nr Paris, Feb 10, 1997). American organist and leader. His father was from Martinique. A child prodigy, he grew up in Baltimore, where he was taught by his grandmother; his grandfather was a Baptist minister, and Bennett directed their church choir from the age of 12. After military service (1943–6), during which time he played tuba and thereby developed his ability to invent bass lines, he began his jazz career in Baltimore (1947), leading a piano trio modeled after that of Nat “King” Cole. In 1949, under the influence of Wild Bill Davis, he began to play organ, an instrument he used professionally from 1951. By 1956 he was performing in a style much closer to that of Jimmy Smith rather than Davis, and from 1957 to 1959 he toured the Midwest and the East Coast with his own hard-bop organ trio. The following year he moved to Paris, where he performed at the Blue Note with Jimmy Gourley or René Thomas in Kenny Clarke’s trio, accompanying numerous distinguished guest soloists (until ...