(b Philadelphia, PA, July 19, 1843; d Philadelphia, PA, 1918). American pianist, singer, educator, and composer. He studied music with his father Thomas à Becket Sr. (b 17 March 1808; d 6 Jan 1890) and in Philadelphia public schools. The father, a music teacher, actor and composer, wrote Columbia, the Gem of the Ocean. In 1855 Thomas à Becket Jr. performed at the Walnut Street Theatre in a work written by his father. He developed into one of the finest, most sought after accompanists in the city, joining with leading artists and singing groups. Member and president of the Mendelssohn Club, he sang in a series of 35 light operas produced at the Amateur Drawing Room (1868–72) and accompanied the Orpheus Club (1877–98). An important educator, from 1873 until he died à Becket taught and played the organ at Girard College, a residential school for orphaned boys. À Becket became a member of a group of professional musicians who evaluated music teaching methods in the Philadelphia Public Schools. À Becket family archives at The New York Public Library for the Performing Arts include diaries (...
Martha Furman Schleifer
revised by Ole Kongsted
[Sistinus, Theodoricus; Malmogiensis, Trudo Haggaei]
(fl 1593–1625). Danish composer and organist. He was appointed organist of Vor Frue Kirke (now the cathedral), Copenhagen, on 23 June 1593 after having ‘pursued and learnt his art during a long period both in Germany and Italy’. He received a number of preferments, such as the free residence formerly set aside for the palace preacher, awarded to him in 1603. He was also on at least two occasions sent on commissions for the king, once to Prague (1600). He published under his latinized name Theodoricus Sistinus a set of secular Cantiones for three voices (Hamburg, 1608; ed. in Dania sonans, ii, 1966), his only known published music. The publication is dedicated to King Christian IV of Denmark, and it may be assumed that it won his approval, for during the period 1609–11 he received payments from the royal treasury in addition to his salary as organist, perhaps for teaching at the court. As early as ...
(bKouvola, Finland, Dec 12, 1935). Finnishtenor and alto saxophonist and flutist. He learned to play guitar and tenor saxophone during his years of schooling and army service, and spent three years in Sweden without playing; after returning to Finland he took up baritone saxophone, then changed to the alto instrument. He studied flute at the Sibelius Academy in Helsinki and later spent a period in Boston at the Berklee College of Music. In the 1950s he played in a sextet led by the trumpeter Heikki Rosendahl in Inkeroinen. He moved to Helsinki in 1961 and worked frequently as a studio musician, except during the late 1970s, when a three-year government grant gave him the freedom to pursue his own musical interests. At the same time he made a name as a lyrical free-jazz and jazz-rock soloist, recording with Eero Koivistoinen (1969–73), Edward Vesala (from ...
(bToronto, Jan 27, 1910; dCanada, Nov 1970). Americanreed player. He played alto saxophone and in 1942 recorded with Jack Teagarden. After moving to Hollywood he performed and recorded with the bandleaders Horace Heidt (1943–5, 1948–9) and Skinnay Ennis (1945–8), then toured Europe and Asia and recorded with Les Brown, first on clarinet and alto saxophone (...
(bPittsburgh, March 23, 1932). Americantrumpeter and flugelhorn player. He studied music in Pittsburgh (1947–50), Evanston, Illinois (with Renold Schilke of the Chicago Symphony Orchestra, 1951–3), and at Wayne State University, Detroit (mid-1950s), where he worked for seven nights a week in the band at the Flame Show Bar. From 1956 to 1957 he played at Klein’s Showbar with Yusef Lateef, Pepper Adams, Kenny Burrell, Louis Hayes, and Tommy Flanagan, after which he was a member of Barry Harris’s band at the Bluebird Inn. He performed with Wild Bill Davis (1961), then joined Count Basie while working in a club in Washington, DC; he toured and recorded with Basie from August 1961 to July 1969, and in 1965 appeared as a soloist with the group on Blues for Ilean on the show “Jazz from WGN-TV.” After moving to Los Angeles he worked in television, and recorded with Ray Brown and Milt Jackson (both ...
(b Vilnius, USSR [now Lithuania], March 28, 1959). Lithuanian pianist. He played accordion from the age of four, studied piano from 1966 to 1977, and took courses in composition and jazz history at the M. K. Čiurlionis Gymnasium of Arts. At that time he admired rock music, but a recording by Oscar Peterson led to his interest in jazz. From 1977 he studied classical piano and composition at the Lithuanian music academy. In 1978 he formed a trio, which continued with a few changes in membership until 1994, and in the 1980s he led Jazz Archiv, a fusion group. He ceased to perform in public in 1992, though the trio played together for two more years. Abarius is admired for his use of impressionistic harmonies, his pure strong sound, and his impeccable technique, as heard on his album Reminiscence Blues (1988, Mel. C60-27877-007). He also plays other keyboard instruments and composes....
Gary W. Kennedy
(b Fall River, MA, May 31, 1947). American alto saxophonist. He attended the Berklee School of Music (1966–71), after which he moved to Hollywood and worked in various local bands. He later toured internationally as a member of Ray Charles’s orchestra (1973–5), in which he succeeded David “Fathead” Newman, and then settled in Providence, Rhode Island, where he led a fusion group, Channel One (1979–84). He was a regular member of Artie Shaw’s orchestra from 1985 to 1987, and continued to work with him intermittently until 1994; during this time he also co-led a quintet with the leader of Shaw’s band, Dick Johnson. Abate performed in California, Quebec, and Spain with Jerome Richardson, and appeared with Red Rodney at Town Hall, New York, in a tribute concert to Charlie Parker. In 1991 he made his first recording as a leader and by the late 1990s he was working mainly on the East Coast and in Europe. An effective bop soloist, he has often worked in groups incorporating two saxophones. He also plays tenor and soprano saxophone, and flute....
revised by Gary R. Boye
(b Bitonto, nr Bari; d after 1651). Italian composer and guitarist. He is known by four books of pieces for five-course Baroque guitar. They consist mainly of simple battute accompaniments to popular songs and dances of the early 17th century such as the passacaglia, ciaccona, folia, Ruggiero and aria di Fiorenza. The accompaniments are set down in the alphabet system of chord notation (alfabeto) devised by Girolamo Montesardo, in which letters of the alphabet designate fingering positions for various major and minor chords. Each of Abatessa’s books contains instructions concerning the interpretation of the alphabet tablature, the fingering of the chords and the tuning of the guitar; the 1652 book also explains how to tune the guitar with the harp, presumably for the simultaneous playing of continuo parts. The 1627 collection gives instructions regarding the execution of certain kinds of strum such as the trillo and ...
Giovanni Carli Ballola
revised by Roberta Montemorra Marvin
(b Alessandria, March 20, 1851; d Alessandria, May 2, 1894). Italian organist and composer. He began his musical studies with his stepfather, Pietro Cornaglia. From 1868 to 1871 he attended the Milan Conservatory, studying the piano with Antonio Angeleri and composition with Lauro Rossi and Mazzucato. His graduation exercise, the cantata Caino e Abele, won the first prize and a medal of honour. He toured abroad as a concert pianist, but from 1880 until his death was organist at the cathedral in Alessandria, where he also founded a school of composition, singing and piano, and conducted concerts for the Associazione filarmonica alessandrina. He composed three operas, Isabella Spinola (1877, Milan), Maria di Warden (1884, Venice) and Una partita a scacchi (1892, Pavia), the latter based on Giuseppe Giacosa's popular comedy. In these works, which did not have much success, Abbà Cornaglia remained uninfluenced by the innovatory tendencies of the ‘Scapigliatura’ and of Catalani and by the new ...
Rainer E. Lotz
(bMinneapolis, May 7, 1900; dMinneapolis, Sept 15, 1975). Americanbandleader and violinist. He began his career playing light and classical music as a member of J. Rosamond Johnson’s orchestra (1920–25). In 1925 he recorded as a soloist with Clara Smith (If you only knowed, Col. 14058D, and You better keep the home fires burning, Col. 14062D) and began to lead his own band. The following year he directed the Savoy Bearcats, and in 1927 he reorganized the group for a tour of Brazil, Argentina, and Uruguay; he also took a band to England. Between 1928 and 1939 he toured extensively in Europe and visited India twice. After returning to the USA he organized a band in 1940 for Ethel Waters, toured with a small group, and then settled in Chicago, where he played regularly with a trio until 1964. Although he was not a jazz soloist, Abbey employed excellent sidemen, including Fletcher Allen, Emile Christian, Bill Coleman, Peter DuConge, and Crickett Smith. His jazz recordings as a leader remain unissued except for ...