(b Jirapa, Ghana, June 22, 1958). Ghanaian xylophone maker, player, and teacher. Born into a family of gyilli makers and players in northwest Ghana, Doozie began playing at six years of age. When he was 12 his father taught him to make his first gyilli and he was a practised maker by age 15. After secondary school Doozie moved to Accra to become a xylophonist with the Ghana Dance Ensemble. He was also an instructor at the Institute of African Studies at the University of Ghana, Legon. Among other appointments, he has performed with the National SO Ghana and has been associated with the Institute of African Studies and the music and performing arts departments of the University of Ghana. In 1990 he established a workshop to produce xylophones; he made the xylophones used in the Broadway production of The Lion King. He has also restored instruments in museum collections. He continues to teach and perform and is managing director of Dagarti Arts and Music in Accra and a member of the Arts Council of Ghana. He is also involved in promoting fair trade practices. Doozie’s xylophone bars—from eight to 18 for each instrument—are made of aged, fire-dried planks of wood from male shea trees. Gourd resonators are affixed under the bars, which are tied to the curved frame. The tips of the wooden beaters are padded with rubber recycled from tyres....
(b Datu Piang, Philippines, May 1, 1947). Master musician and teacher of kulintang, of Filipino birth. Kalanduyan is a respected artistic figure in Filipino communities around the United States and Canada for promoting Kulintang , an indigenous musical heritage predating Spanish and American colonization of the Philippines. Before settling in San Francisco, California, he was raised in the fishing village of Datu Piang, the artistic center of the Maguindanao people on the island of Mindanao, Philippines. As a young man, he won island-wide competitions on the gandingan (set of four large hanging knobbed gongs). As an undergraduate at Mindanao State University–Marawi, he toured the Far East with the Darangen Cultural Troupe. He was an artist-in-residence at the University of Washington (UW) in Seattle under a Rockefeller Foundation grant in 1976, and graduated from UW with a MA in ethnomusicology in 1984. In 1995 Kalanduyan became the first artist of Filipino descent to be awarded a National Heritage Fellowship by the National Endowment for the Arts. Kalanduyan has taught and performed with nearly all of the ...
Jessica L. Wood
(b Kauia, Territory of Hawaii, Feb 2, 1932; d Ewa, HI, Feb 24, 2002). Hawaiian bandleader, vibraphonist, and arranger. Arthur Lyman’s musical career began on a toy marimba; he taught himself to play along with Benny Goodman and Lionel Hampton recordings. At age 14, he joined a jazz combo called the Gadabouts and a few years later, he began playing the four-mallet vibes at a hotel bar in Honolulu. In 1955 he joined the ensemble of Martin Denny, a group famous among the Hawaii hotel circuit for its style of exoticist jazz, sometimes referred to as “Polynesian” music. To this group, Lyman contributed not only on the vibes, guitar and percussion, but also with vocalized imitations of birdcalls. In 1957, Lyman split from Denny’s group to form his own four-piece jazz band, joined by John Kramer (bass), Alan Soares (piano), and Harold Chang (percussion). The Arthur Lyman Group recorded a number of albums on the HiFi label between ...
(b Sans Souci, Trinidad, Nov 5, 1927). American steel pan musician. Called the “father of the modern steel drum,” Mannette began playing music as a child, and by age 11 he was already performing with the New Town Calvary Tamboo Bamboo. When the colonial British government banned traditional instruments, locals began experimenting with alternatives. Mannette was among those to introduce new percussion instruments made of trash can lids and other found objects, and he and several friends started the Oval Boys, which eventually took the name the Woodbruck Invaders. As a talented machinist, Mannette took oil drums and their lids to produce musical instruments, and he spent decades honing these skills to develop sophisticated creations. By 1951 the Trinidadian government realized the importance of Mannette’s work, and formed an 11-person pan-band called the Trinidad All-Steel Percussion Orchestra that was organized by Lt. Joseph Griffith. Mannette continued to work with the Invaders, however, and in ...
(b New York, NY, June 28, 1903; d Homestead, FL, May 15, 1956). American jazz bass saxophonist and vibraphonist. He was originally a pianist and xylophone player, and worked from 1922 to 1927 with the California Ramblers, with whom he made hundreds of recordings. While with this band he bought his first bass saxophone, and specialized on this instrument throughout the 1920s and early 1930s; he also provoked admiring astonishment among fellow musicians by playing jazz on novelty instruments such as the “hot fountain pen” and the “goofus” (an instrument resembling a toy saxophone and made by Couesnon in France during the 1920s). In these years he became one of the first outstanding white jazz musicians; his adept improvisations on the unusually cumbersome bass saxophone were melodically inventive and possessed rhythmic vitality and swing. He is best remembered for his series of recordings with Bix Beiderbecke, wherein he displays considerable adroitness, both in the improvised ensembles and in his solos. During the 1930s he began to concentrate on playing vibraphone; he never rose above competence on that instrument, however, whereas in his by then rare performances on bass saxophone he still showed mastery. The last years of his life were spent mainly playing commercial engagements in Florida. His brother Art Rollini was a tenor saxophonist with Benny Goodman’s band....
Daniel John Carroll
[McDaniel, Rudy ]
(b Hempstead, NY, June 11, 1956). American jazz electric bass guitarist. His name was Rudy McDaniel until his conversion to Islam. Tacuma began playing the bass at the age of 13 and by the age of 19 was a member of Ornette Coleman’s band Prime Time, an experience that he has described as revelatory. He also recorded his own albums Showstopper (1983), (In the) Nightlife (1983), Renaissance Man (1984), Music World (1986), and Jukebox (1988) for Gramavision. He also played in a duo, Drummer Exchange, with the drummer Cornell Rochester. In addition to performing in traditionally composed jazz ensembles, Tacuma has utilized less conventional instruments in his groups such as the Japanese shamisen and koto and Korean drums. He has also integrated elements of rap with jazz. He describes himself as a musician in a never-ending pursuit of the full potential of the electric bass, rather than confining himself to a background position in an ensemble. This aim is supported by his solo technique: upbeat, highly pointed, and exploiting the full tonal range of the bass....