(b Los Angeles, CA, March 31, 1935). American trumpeter, composer, bandleader, and record company executive. He studied trumpet as a child and left college to play in the army for a two-year period. After three years of producing records on his own, he launched A&M Records with Jerry Moss in 1962. A&M’s first issue was also Alpert’s first recording as a trumpeter and bandleader, The Lonely Bull (A&M, 1962). The title track included sounds from the bullring in Tijuana, Mexico, so Alpert dubbed his band the Tijuana Brass. His music exploited a distinctive combination of Mexican mariachi-style brass with jazz rhythms, which was dubbed Ameriachi. A string of hits including “Mexican Shuffle” (A&M, 1964) and “Tijuana Taxi” (A&M, 1965) followed. In 1966 Alpert had five recordings simultaneously listed on the Billboard Top 20. His cover of “This guy’s in love with you” reached no.1 in ...
Terence J. O’Grady
revised by Bryan Proksch
David F. Garcia
(b Santiago de Cuba, March 2, 1917; d San Diego, CA, Dec 2, 1986).American entertainer, bandleader, and television producer of Cuban birth. Arnaz left Santiago for the United States when his father, the mayor, was exiled upon the fall of the Machado government in 1933. Arnaz began his career as a singer in Miami and joined the internationally famous Xavier Cugat orchestra in the late 1930s. He started his own band, which recorded with Columbia in 1941 and Victor from 1946 through 1951. While Arnaz was the leader and featured singer, the band also recorded with prominent American singers, including the Andrews Sisters and Jane Harvey. Arnaz also appeared in the Broadway and film versions of Too Many Girls in 1939 and 1940, respectively. He married the film actress Lucille Ball, and the couple eventually starred in and produced their classic television show, I Love Lucy (featuring Arnaz as a bandleader), from ...
John L., Jr. Clark
(b Chattanooga, TN, Sept 19, 1887; d Chicago, IL, July 10, 1972). American jazz and blues pianist, composer, bandleader, arranger, and music director. After studying at Roger Williams University (Nashville) and Knoxville College, she performed on the TOBA circuit and toured accompanying her second husband Buster Austin. In the early 1920s Austin moved to Chicago, where for almost 20 years she directed shows for touring stage performers as the music director and bandleader at the Monogram and Joyland theaters. From 1923 to 1926 she also led the house band at Paramount Records, accompanying blues singers and making instrumental recordings featuring such jazz musicians as Tommy Ladnier, Al Wynn, Johnny Dodds, and Jimmy O’Bryant. After working in a defense plant during World War II, Austin returned to music, working in dancing schools. Her final recording, in 1961 for Riverside Records, was a reunion with her friend Alberta Hunter and several musicians she had previously worked with in Chicago....
(b Brooklyn, NY, April 29, 1929; d Hackensack, NJ, Feb 17, 2006). American conga player, bandleader, and producer of Puerto Rican descent. He began playing percussion informally during time in Germany as part of the US occupation army (1946–9). Returning to New York City in 1949, he participated in the lively jam-session scene in Harlem, playing bongos in sessions with Charlie Parker and Dizzy Gillespie. In 1957, he replaced Mongo Santamaría in Tito Puente’s band. By 1960, he became the house percussionist for various jazz labels (Blue Note, Prestige, Riverside), recording his first album as leader for Riverside in 1961. The Charanga La Moderna was his first full-fledged Latin dance band, beginning in 1962. In 1963, his song El Watusi became the first Latin tune to enter the Billboard Top 20. By 1990, his salsa career stagnant, he formed a small, jazz-influenced sextet, New World Spirit, recording a number of Grammy-nominated albums....
(b Edgard, LA, Dec 24, 1920). American Trumpeter, arranger, producer, songwriter, bandleader, and singer. He started his career as a trumpeter playing with established bands led by, among others, Papa Celestin, Joe Robichaux, and Claiborne Williams before joining Fats Pichon’s ensemble, considered one of the top groups in New Orleans, in 1939. During World War II he played in the 196th AGF (Army Ground Forces) Band, where he met Abraham Malone, who taught him how to write and arrange. After the war, he formed his own band in New Orleans, which made its debut at the Dew Drop Inn and later performed at Sam Simoneaux’s club Graystone where many of the city’s top instrumental players, including the drummer Earl Palmer and the saxophonists Lee Allen and Red Tyler, were showcased.
Bartholomew is best known for his talents as an arranger and songwriter. In the 1950s and 60s he worked with many of the biggest stars of the day, including Smiley Lewis, Lloyd Price, Shirley and Lee, and Joe Turner. By the 1970s he had associations with some of rock and roll’s most established talents, including Paul McCartney, Elton John, and the Rolling Stones. His most productive association was with fats Domino, whom he met through Lew Chudd, the owner of Imperial Records, where he worked as a house arranger, an A&R man and an in-house bandleader. From ...
Ryan D.W. Bruce
(b Montreal, Canada, Nov 10, 1932). Canadian jazz pianist, composer, record producer, and bandleader. He was established by the age of 17, when Oscar Peterson recommended him as his replacement for the last year of an engagement at the Alberta Lounge in Montreal. After moving to New York to attend the Juilliard School (1950–54), he became part of the traditional and modern music scenes and recorded his first album as leader, with Charles Mingus and Art Blakey among his sidemen (Introducing Paul Bley, 1953, Debut). He also played with other notable musicians such as Ben Webster, Lester Young, Roy Eldridge, and Charlie Parker during the 1950s. In 1957 he moved to Los Angeles where he performed at the Hillcrest Club. His quintet, which included Charlie Haden, Billy Higgins, Don Cherry, and Ornette Coleman, became Coleman’s quartet when Bley left for New York in 1959. During the early 1960s he again played with Mingus, as well as with George Russell, Jimmy Giuffre, and Sonny Rollins. As a founding member of the Jazz Composers Guild (from ...
[Bohannon, Hamilton Frederick ]
(b Newman, GA, March 7, 1942). American drummer, bandleader, and producer. He received a BA in music education from Clark College in Atlanta and taught music in public schools. While in Atlanta, he met Jimi Hendrix, who became a major influence on his style. He began his professional performing career in 1965 as a drummer for Stevie Wonder. In 1967 he became the leader of the Motown’s leading road band—known on radio as Bohannon and the Motown Sound—and spent the next five years on tour backing such acts as Gladys Knight and the Pips, the Temptations, Diana Ross and the Supremes, the Spinners, Smokey Robinson and the Miracles, and the Four Tops. When Motown moved its headquarters from Detroit to Los Angeles, Bohannon left the company and signed a contract with Dakar, a small label based in Chicago. There he began writing and arranging, and produced a series of disco albums, dominated by his percussion playing, which blended mellow funk with primitive, irrepressible rhythms. In ...
(b St Peter, Barbados, 1953). English reggae guitarist, bandleader and producer. He grew up in London where in the early 1970s he co-founded Matumbi, one of the first reggae groups in Britain, and also ran the Jah Sufferer sound system. Although he recorded with such rock and punk bands as the Pop Group and the Slits, his true strength was dub music which he recorded under the name Blackbeard (Strictly Dub Wize, Tempus, 1978). Brain Damage (Fontana, 1981), released under his own name, provides an overview of Bovell's creative production, with its shrieks, deep echo effects and syncopated hi-hats. In 1979 Matumbi recorded Point of View which placed traditional reggae toasting in a big band setting. Bovell is perhaps best known for his collaborations, in the studio and on tour, with the political dub poet Linton Kwesi Johnson. Among their best work is Dread Beat an' Blood...
John W. Rumble
(b Westmoreland, TN, Oct 21, 1915; d Nashville, TN Jan 7, 1998). American record producer, arranger, and bandleader. Adept at piano and other instruments, he began playing professionally by age 15, following his family’s move to Nashville. By 1940, he was leading his own dance band and broadcasting on local radio, and in 1942, with fellow WSM musicians Marvin Hughes and Beasley Smith, he composed “Night Train to Memphis,” a hit for rising Grand Ole Opry star Roy Acuff. After World War II, Bradley became WSM’s music director.
In 1947, Decca Records country recording chief Paul Cohen tapped Bradley to head the company’s Nashville office and assist in sessions. Bradley recorded for the Bullet, Coral, and Decca labels, and he made his reputation by working with Decca hit makers Ernest Tubb, Red Foley, Kitty Wells, Webb Pierce, Bobby Helms, and Brenda Lee, the last gaining pop stardom before releasing a series of country hits in the 1960s. After assuming Cohen’s position in ...
(b Honolulu, HI, Nov 9, 1909; d Honolulu, HI, April 27, 1992). Hawaiian singer, musician, bandleader, composer, and impresario. Sol Bright was a master entertainer of the old school: an energetic showman, accomplished musician, comic hula dancer, composer, raconteur, and entertainment director during Hawaiian music’s era of greatest international appeal, the 1920s through the 1960s.
His professional experience began as a teenager playing drums with his sister Hannah’s dance band. In 1928 an offer to play rhythm guitar and sing with Sol Ho`opi`i took him to Kaleponi (California), where a large community of Hawaiian musicians had formed. He started his own group, The Hollywood Hawaiians, in 1932. Playing steel guitar and singing, he recorded prolifically for major labels. He also appeared on radio and in four films: South Sea Rose,Charlie Chan’s Greatest Case,Flirtation Walk, and White Woman. Bright composed a number of songs that have become standards, including the jazzy English language “Sophisticated Hula” and “Hawaiian Cowboy,” a show-stopping novelty song in Hawaiian. With rapid-fire verses, reflective of fast ...