(b Kansas City, MO, May 12, 1928). American composer and pianist. He learnt the cello, drums and piano from an early age and developed a particular interest in jazz. He played as a night club pianist, and then served in the army, touring as a pianist (1950–52). He went on to study music at the Mannes College of Music, New York, the New School of Social Research, McGill University, Montreal and gained a scholarship to the Music Academy of the West, Santa Barbara, California. His composition teachers included Milhaud, Martinů and Cowell. Bacharach became an accompanist for Vic Damone, subsequently working with such performers as Polly Bergen, Steve Lawrence, the Ames Brothers and Paula Stewart, to whom he was married from 1953 to 1958. From 1958 to 1961 he toured internationally with Marlene Dietrich. Bacharach began writing arrangements and composing songs in the mid-1950s, working at the Brill Building and collaborating with the lyricist Hal David (...
Michael J. Budds
(b Rio de Janeiro, June 19, 1944). Brazilian composer and singer-songwriter. The son of a prominent historian and intellectual, he began studying architecture at the University of São Paulo in 1963 but decided soon after to pursue a career in popular music. Although he was a great admirer of the bossa nova musician João Gilberto, his first hits, Pedro Pedreiro and Sonho de um Carnaval (both recorded in 1965), as well as Olê Olá, revealed innovative talents. The first piece is an early expression of his concern for and subsequent criticism of some of Brazil's urban social problems. The well-known poet-diplomat Vinicius de Morais, a family friend and fundamental figure of the bossa nova movement, exerted a strong influence on Buarque's music and poetry. Indeed the ‘master of the language’, as Jobim characterized him, went on to produce some of the most sophisticated popular songs of his generation, both poetically and musically. In ...
[Colón Román jr, William Anthony; ‘El malo’]
(b South Bronx, New York, April 28, 1950). American bandleader, composer, arranger, trombonist, popular singer, producer and actor. Dubbed ‘El malo’ (the ‘bad boy’) of salsa, he began playing the trumpet in 1963 with the teenage band the Dandees. Switching to trombone, he made his professional début at 17 with the album El malo (Fania, 1967). Both as a bandleader and a member of the Fania All-Stars, he quickly moved to the fore of the burgeoning New York salsa scene, cementing the raw, trombone-heavy ‘New York sound’ inspired by earlier artists such as Eddie Palmieri and Mon Rivera. Between 1967 and 1973 he made a series of important recordings with vocalist Hector Lavoe, which included the albums Asalto Navideño I and II (Fania, 1972 and 1973) with cuatro virtuoso Yomo Toro, where traditional Puerto Rican Christmas aguinaldos were fused with salsa. During his second period (...
(do Prado Pereira de Oliveira)
(b Juazeiro, Bahia, Brazil, June 10, 1931; d Rio de Janeiro, Brazil, July 6, 2019). Brazilian popular singer, composer, and guitarist. He moved to Rio de Janeiro at the age of 18, singing mostly Romantic samba-canções in various groups and frequenting the nightclub Plaza in Copacobana and the Murray Recordshop in downtown Rio de Janeiro. His first solo recording came in 1952, but it was the July 1958 record containing Jobim’s Chega de Saudade and his own Bim-bom that called attention to his new singing style, unassuming but secure and very intimate. In April 1958 he had accompanied on the guitar the pop singer Elisete Cardoso singing Chega de Saudade, and revealed for the first time his distinctive guitar beat that came to be known as the violão gago (stammering guitar), a trademark of the bossa nova made up of previously unknown syncopated patterns on the samba beat. In November of the same year he recorded Jobim’s ...
(b London, Dec 9, 1847; d Folkestone, March 1, 1912). English actor, singer, composer and writer, father of George Grossmith. He was a courtroom reporter and comic recitalist, like his father of the same name, before becoming a drawing-room entertainer: he was sometimes called ‘G.G. II’, to distinguish him from his father, or ‘G.G.’. He began a 12-year association with the Gilbert and Sullivan Savoy operas when he made his stage début in the title role of The Sorcerer in 1877. Of slight stature, with excellent diction, dapper footwork and a light comic touch, he created what became known as the patter parts or the ‘Grossmith roles’. In 1889 he resumed his lucrative Humorous and Musical Recitals, touring in England and America.
According to contemporary accounts he was not much of a singer, but his own songs display a wider tessitura than the Gilbert and Sullivan repertory suggests. He was the author of and often a performer in eight operettas, nearly 100 musical sketches and some 400 songs and piano pieces. This prolific song output was mostly in a patter style, with an infectious melody and a syllabic setting for fast delivery: a third of them were published and survive, but his manuscripts along with his performing librettos from the Savoy operas were destroyed in World War II. His songs are couched in quotidian detail: London streets and their surly cab drivers and bus conductors, seedy lodging houses, obstreperous babies, and fashionable dances as in ...
[Rhodes (née Guy), Helen M.]
(b Château Hardelot, nr Boulogne, c1858; d London, Jan 7, 1936). French composer, pianist and singing teacher. She was the daughter of an English sea captain and the singer Helen Guy. At the age of 15 she was taken to Paris, where she studied at the Conservatoire under Renaud Maury, and success came in her early 20s with the song Sans toi (words by Victor Hugo). Gounod and Massenet were among those who encouraged her in composition, and those who introduced her songs included Nellie Melba, Victor Maurel and Pol Plançon, as well as Emma Calvé, with whom she went to the USA in 1896 as accompanist. After marrying an Englishman she settled in London, where she continued to produce sentimental songs, about 300 in all, notable for their easy melody and typical dramatic climax. They include Three Green Bonnets (H.L. Harris; 1901), Because (E. Teschemacher; ...
(b Houdain, June 30, 1825; d Paris, Nov 3, 1892). French composer, singer and conductor. On his father's death in 1835, his mother took him to Paris. He found employment at the church of St Roch, where he learnt the rudiments of singing, organ and harmony; he then briefly studied harmony with Elwart at the Conservatoire and later composition with Auber. From 1839 to 1845 he was organist at the Bicêtre asylum and began a music class for the patients, writing songs, choruses and other entertainments for them. For eight years from 1845 he was organist at St Eustache.
For his theatrical career he took the name Hervé, gradually gaining recognition through his Don Quichotte et Sancho Pança (1848) and engagements at the Théâtre de l’Odéon and Théâtre du Palais-Royal, where he appeared as author, composer, conductor, actor, tenor buffo singer and producer, as required. His five-act ...
Deane L. Root
(b Portobello, nr Edinburgh, Aug 4, 1870; d Strathaven, Feb 26, 1950). Scottish baritone music-hall singer and composer. As a young man he won prizes at local singing contests and gained attention at concert parties, and after deciding to become a professional entertainer in 1894 he toured Scotland with the violinist Mackenzie Murdoch.
Lauder’s most successful years as a singer coincided with the most popular years of the music hall, between 1900 and World War I. During this time he became known not only in the best London music halls but also, through concert tours, in Europe and North America. During both world wars he was an ardent recruiter, and was knighted for his efforts (1919). He performed at Buckingham Palace and for several American presidents. Later he made many gramophone recordings for the Victor label.
Lauder’s stage personality was a stereotyped Scotsman, with a kilt and a generalized brogue. He often included an interlude of patter before the final verse of a song, sometimes ending with a jolly laugh; he preferred the sentimental appeal of love-songs and images of his home country, and usually ended his performances in a serious vein with ...
Michael J. Budds
[Olcott, Chancellor John]
(b Buffalo, NY, July 21, 1858; d Monte Carlo, March 18, 1932). American singer, composer and lyricist. He toured with several minstrel and opera companies, then went to London for two years, where he studied singing and appeared in comic opera. He achieved fame after his return to the USA when he joined forces with Augustus Pitou in 1893 and succeeded William J. Scanlan as the leading singer in Pitou’s productions of sentimental operettas on Irish themes. His success, founded on his sweet tenor voice and his ingratiating acting and appearance, led to his concentrating on Irish roles for the remainder of his career.
He contributed librettos, songs and lyrics to many of the works in which he appeared, and wrote the complete scores of Sweet Inniscarra (1897), A Romance of Athlone (1899), Garrett O’Magh (1901), and Old Limerick Town (1902...
(b Hamburg, Jan 29, 1864; d New York, July 30, 1936). German composer, librettist, singer, actor and theatre manager, active in the United States. He began a career as a tenor with operetta companies in Germany and Austria. In 1890 Gustav Amberg brought him to New York to sing operetta roles, though he also sang in opera, most notably in the role of Turridu in Cavalleria rusticana (November 1891). In 1893 Philipp opened the Germania Theater (formerly Aberle’s Theatre), where he produced musical comedies modelled after Harrigan’s stage works, until 1902. He composed, wrote the librettos for, and appeared in such portrayals of German-American immigrant life on New York’s East Side as Der Corner Grocer aus der Avenue A (1893), Arme Maedchen (1893), Ein New Yorker Brauer (1894) and New York bei Nacht (1897). Ein New Yorker Brauer...