(b Port Chester, NY, Dec 16, 1944; d Cortlandt Manor, NY, Aug 22, 2017). American jazz guitarist, composer, and bandleader. He grew up in Greenwich, CT, and began playing guitar at the age of 14. He was primarily self taught until he studied at the Berklee College of Music (1962–6) and with Jack Petersen. Abercrombie joined Johnny Hammond’s touring band after the blues organist had spotted him performing with other Berklee students at Paul’s Mall in Boston. After studying briefly at the University of North Texas, in 1969 he moved to New York where he performed and recorded in Billy Cobham’s jazz-rock band Dreams (1970), joined Chico Hamilton’s group, and recorded with Gato Barbieri (1971), Barry Miles (1972), and Gil Evans (1974). Abercrombie attracted wider attention performing with Cobham’s fusion band Spectrum from 1974. He also toured with Jack DeJohnette and recorded his debut album, ...
J. Bradford Robinson
(b Dairen, China, Dec 12, 1929). Japanese jazz composer, pianist and bandleader. She studied classical music and turned to jazz only in 1947 after moving to Japan. There she was discovered by Oscar Peterson, who urged her to take up a career in the USA. After studying at Berklee College of Music (1956–9) she became a highly regarded bop pianist, especially in groups with the alto saxophonist Charlie Mariano (who was at that time her husband). She worked in Japan (1961), joined Charles Mingus in the USA (1962–3), then returned to Japan until 1965. In 1973 she founded a large rehearsal band in Los Angeles with the tenor saxophonist and flautist Lew Tabackin, whom she had married in 1969. Its first album, Kogun (1974, RCA), was commercially successful in Japan, and the group attracted increasing popularity and critical acclaim until, by ...
Terence J. O’Grady
revised by Bryan Proksch
(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 ...
(b Memphis, TN, Feb 3, 1898; d Chicago, IL, Aug 27, 1971). American jazz pianist, singer, bandleader, and composer. She studied keyboard privately from an early age and had hopes of becoming a concert pianist. While she was enrolled at Fisk University, her mother and stepfather moved to Chicago, where in 1917 she took a job as a sheet music demonstrator, which led to her joining the Original Creole Jazz Band as its pianist. It was her first job playing jazz and she decided not to return to Fisk. She subsequently worked with several bands, including King Oliver’s Creole Jazz Band, with which she performed in San Francisco in 1921 and made her recording debut in 1923. By this time the band included louis Armstrong, whom she married in 1924. Armstrong’s place in jazz history was assured by her participation on Oliver’s Gennett recordings and Louis’ Hot Five sessions for Okeh. She played an important role in Louis’ move into a brighter spotlight before their separation in ...
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....
Charles Fox and Digby Fairweather
(b Welwyn Garden City, April 17, 1930). English jazz trombonist, arranger and bandleader. He studied the trombone and the double bass at the GSM in London, and formed his first traditional jazz band in 1949. In 1953 he helped to organize a band that was led by Ken Colyer, at that time the most ardent British propagandist for traditional New Orleans music. The following year Barber took over the band; Colyer was replaced by Pat Halcox, and the ensemble soon became one of the most popular and technically accomplished groups of its kind. From the mid-1950s Barber helped foster British interest in blues by bringing over such American musicians as Muddy Waters, the harmonica player Sonny Terry and the guitarist and singer Brownie McGhee. He made several tours of the USA beginning in 1959, and also recorded two albums with his American Jazz Band, which included Sidney De Paris, Edmond Hall and Hank Duncan. Barber expanded his interests, recording classic rags (scored for his band) long before the popular rediscovery of Scott Joplin, and working with musicians from other areas of jazz (notably the Jamaican saxophonists Bertie King and Joe Harriott). Renewed interest in traditional jazz in the early 1960s brought wide success to Barber and his group, which included as its singer his wife, Ottilie Patterson. After rhythm-and-blues achieved general popularity in the early 1960s he re-formed his group as Chris Barber’s Jazz and Blues Band, and, while retaining his roots in New Orleans jazz, engaged rock and blues musicians guitarist John Slaughter and the drummer Pete York. During the 1970s the band toured frequently in Europe. In ...
(b Lisle, IL, Nov 8, 1955). American singer, pianist, composer, and bandleader. Her father played with the Glenn Miller band and her mother was a professional blues singer. After studying psychology and classical piano at the University of Iowa, Barber returned to Chicago and began playing five nights a week at the Gold Star Sardine Bar, where she attracted varying critical attention for her husky voice and the inclusion of pop songs, including “Black Magic Woman” and “A Taste of Honey,” in her repertoire. She recorded her first album, Split (Floyd), in 1989 and her second album, A Distortion of Love (Antilles) in 1991. She subsequently moved to the independent label Premonition, which was bought by Blue Note in 1998. In 2003 Barber became the first songwriter to be awarded a Guggenheim Fellowship. Under its aegis she composed a song cycle based on Ovid’s Metamorphoses. She is the subject of a documentary, ...
(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 ...
(b Baltimore, MD, Sept 26, 1940). American jazz alto and soprano saxophonist, bandleader, composer, and vocalist. He began playing in Baltimore, where his father owned the well-known club the North End Lounge. He attended the Juilliard School between 1957 and 1958 and then studied at the Peabody Conservatory. After moving to New York he worked with Charles Mingus (1962–4) and Max Roach (1964 and 1968–9, when he traveled to Europe and the Middle East). He also performed and recorded with Art Blakey’s Jazz Messengers (1965–6) and Miles Davis (1970–71). Between 1969 and 1974 Bartz led his own ensemble, Ntu Troop, which recorded six albums blending African music and funk with jazz. In the late 1970s and 1980s, he worked occasionally with Woody Shaw’s group as well as with McCoy Tyner. After playing with Kenny Barron (1990s), Bartz was a member of the ensemble Sphere (...
[Borg, Lovella May]
(b Oakland, CA, May 11, 1936). American jazz composer, arranger, bandleader, pianist, and organist. She is best known for her idiosyncratic multi-genre compositions for large ensembles and her sense of humor, omnipresent throughout her oeuvre. Her harmonic language and rich chordal structures are inspired by Duke Ellington, Charles Mingus, and Gil Evans, then infused with rock, tango, Indian music, and the music of European composers, including Kurt Weill and Eric Satie, often in the form of parody and satire. Her experimentalism is widespread and ranges from avant-garde jazz to big band, small formats, chamber music, and soundtracks. During the 1960s she was at the center of the free jazz movement and was instrumental in co-creating independent musicians’ collectives, labels, and distribution services.
Except for music lessons from her father, a church musician who taught her piano from age three, she was largely self-taught. In her teens, she went to New York to immerse herself in the music she admired. She listened nightly to first-rate jazz, working at the Birdland jazz club, where she met the pianist Paul Bley, who encouraged her to compose. They married in ...