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77  

Mark Gardner

Record company and label. The company was established in 1957 by Doug Dobell (b London, 1918; d Nice, France, 10 July 1987), the owner of a record store in London. The first discs to be released were 10-inch EPs, which were put out in limited quantities. Later the catalogue was expanded to include 12-inch LPs; by the mid-1970s the company had issued more than 50 albums, mostly of traditional and mainstream jazz. The catalogue included recordings made by such English musicians as Tubby Hayes, Bruce Turner, Dick Morrissey, Keith Smith, Kenny Baker, and Tony Coe and items by visiting Americans, among them Bud Freeman, Eddie Miller, Buck Clayton, Albert Nicholas, and George Lewis (i). In 1962 the company sponsored and issued the results of Jack McVea’s first session as a leader in 15 years. Much of the repertory was produced by Dobell, who, as a pianist himself, was responsible for recording albums by Dick Wellstood, Dill Jones, Brian Lemon, Don Ewell, Dick Katz, Joe Turner (i), and Ralph Sutton. In addition 77 issued some albums first put out by Delmark and other small American labels....

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A (i)  

David Fallows

(It.).

A preposition found particularly in 16th- and 17th-century editions of polyphonic music where works are described as being a due (a 2), a tre (a 3), a dieci (a 10), etc., meaning in two, three or ten voices respectively. Many prints had it with an accent (à 2, etc.), but in modern Italian à is a variant form of ha (‘he has’) so is perhaps better avoided in this context wherever possible. It is the current French form, however, and is found particularly in French orchestral scores, à 2 (à deux) meaning the same as the Italian A due. As one of the commonest words in the Italian language, a occurs in many compound tempo and expression marks and has different meanings that may be found in any Italian dictionary. It appears before a vowel as ad and contracts with the definite article as ...

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A (v)  

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Article

A.F.O  

Val Wilmer

[All for One]

Organization and record label formed in New Orleans in 1961 by the alto saxophonist and arranger Harold Battiste, Jr. He and the other board members – Peter Badie, John Boudreaux, Jr., Melvin Lastie, Alvin “Red” Tyler, the pianist Allen Toussaint, and the guitarist Roy Montrell – sought to retain control of their music by organizing their own recording sessions and keeping the profits within the African-American musicians’ community. They produced a number of popular recordings, including the hit I Know (1961, A.F.O. 302), by the singer Barbara George, and a jazz album with Ellis Marsalis as leader. The A.F.O. Combo, also known as the A.F.O. Executives, comprised Battiste, Badie, Boudreaux, Lastie, and Tyler and played both jazz and rhythm-and-blues.

J. Broven: Walking to New Orleans: the Story of New Orleans Rhythm and Blues (Bexhill-on-Sea, England, 1974; Gretna, LA, 1983, as Rhythm & Blues in New Orleans), 161 H. Battiste: Liner notes, ...

Article

Pekka Gronow

[Junnu]

(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 ...

Article

[Alvin]

(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 (...

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Thomas Owens

(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 ...

Article

Michel Laplace

(b Paris, Jan 16, 1920). French clarinetist and bandleader. In 1941 he put together a jazz band which by 1943 had been joined by Boris Vian and was considered the first revival band in France. At its peak, in the years 1944–6, Abadie introduced such musicians as Claude Luter, Jef Gilson, and, from 1945, the Fol brothers, who may be heard on Tin Roof Blues (1946, Swing 212) and I’ve found a new baby (1946, Pathé 1013 [EP]). The band was strongly influenced by the Chicagoans and Bix Beiderbecke. In 1949 Abadie assembled a new band with such young players as Benny Vasseur and Jean-Claude Fohrenbach. He then retired from music (1952–63), but from 1965 led a modern-jazz nonet or tentet, which included the tenor saxophonist Paul Vernon (playing in a style influenced by Lester Young), with a repertory consisting of compositions by Ahmad Jamal, John Lewis, John Coltrane, and others....

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Abaris