(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 ...
(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 Melbourne, Australia, Jan 4, 1919; d Melbourne, Australia, June 17, 2008). Australian trumpeter, washboard player, composer, singer, and bandleader, brother of Graeme Bell. He first worked as a drummer, then in 1938 began to play cornet. Having worked in Melbourne with his brother at Leonard’s Café, he briefly led the band at Heidelberg Town Hall (1943), where he recorded with a visiting Max Kaminsky, before Graeme Bell returned from Queensland to take over the group’s leadership. He remained in Graeme’s dixieland groups during their European tours (1947–8, 1950–52), after which he worked with Max Collie (1953) and in the house band at the Melbourne Jazz Club (from 1958). Bell was active as a freelance musician and led his own band, the Pagan Pipers (a name he had used first in 1949), which with various personnel (notably Len Barnard and Ade Monsbourgh) performed and recorded for many years; among its recordings were a number of Bell’s own compositions. His playing may be heard to advantage on ...
(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 ...
(b Gaston, NC, Aug 28, 1936; d Baltimore, May 16, 2012). American bandleader, singer, guitarist, and composer. He was a musical icon of the Washington, DC metropolitan area. He was widely known as “The Godfather of Go-go” and renowned for his live performances, which emphasized continuous, percussion-driven grooves and audience participation, all staples of the Go-go genre he developed in the 1970s. Brown’s early years were marked by poverty and crime, and he first developed his guitar playing while incarcerated at the Lorton Penitentiary. With his band the Soul Searchers, Brown developed a distinctive sound that is grounded in funk and soul, but also heavily influenced by jazz and Latin genres. His hit songs include “Bustin’ Loose,” “We Need Some Money,” and “Go-Go Swing.” In 1992, Brown recorded The Other Side with vocalist Eva Cassidy, a critically-acclaimed album of jazz and blues material. He received a NARAS Governors Award and an NEA Lifetime Heritage Fellowship Award, and continued to record and perform regularly until his death in ...
(b Barnwell, SC, May 3, 1928; d Atlanta, Dec 25, 2006). American soul and funk singer, composer, arranger and bandleader. Born into extreme poverty in the rural South, he began his career as a professional musician in the early 1950s with the gospel-based group, the Flames. By 1956 the group had recorded the rhythm and blues hit Please, Please, Please (Federal, 1956) and changed their name to James Brown and the Famous Flames. This early recording established what was to become a stylistic trademark: insistent repetition of a single phrase (in this case, the song's title) resulting in a kind of ecstatic trance. This approach and Brown's characteristic raspy vocal timbre and impassioned melismas display his debt to the black American gospel tradition. His stage shows, dancing and inspired call-and-response interactions with the audience also convey the fervour of a sanctified preacher.
The first decade of Brown's recording career saw him alternating energetic dance numbers such as ...
(b Bowling Green, KY, Apr 13, 1952). American mandolinist, fiddler, vocalist, composer, and bluegrass/newgrass bandleader. Commonly referred to as the “Father of Newgrass Music,” Bush was deeply influenced by Jethro Burns and Bill Monroe. He began playing mandolin at age 11 and fiddle at 13, winning three junior fiddle championships at the National Oldtime Fiddlers’ Contest & Festival in Weiser, Idaho (1967–9). In 1969, Bush recorded Poor Richard’s Almanac (American Heritage) with banjoist Alan Munde and guitarist Wayne Stewart. In 1970, he joined Bluegrass Alliance and, from that band’s personnel, co-founded New Grass Revival in 1971, blending bluegrass instrumentation and techniques with rock, jazz, reggae, pop, and blues, and recording ten albums. In the early 1970s, Bush began an extensive studio career, playing on significant progressive bluegrass and Newgrass albums. A prolific solo artist since the mid-1980s, Bush recorded series of albums on the Rounder and Sugar Hill labels, most notably ...
[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 (...
[Francis James ]
(b Emmaville, Australia, Sept 10, 1904; d Sydney, 6 or April 7, 1979). Australian bandleader, trombonist, trumpeter, arranger, and singer. From 1922 he worked in Sydney and Melbourne in the bands, among others, of Bill James (1923), Frank Ellis (1924), Walter Beban (1925), Carol Laughner (1926–7), and Linn Smith (1927–8). In England he worked with Jack Hylton, Fred Elizalde, Al Collins, and Al Starita (all 1928–9). Following his return to Australia he played as a sideman and as a leader in Brisbane, Sydney, and Melbourne, and during a residency at the Sydney Trocadero (1936–9) he established a reputation as a pre-eminent swing bandleader. He led an army band (1943–5), then played again at the Sydney Trocadero (1946–51, 1954–70), after which he gradually withdrew from musical activities. The finest dance-band and swing musicians in Australia passed through the ranks of Coughlan’s band....
Jeffery S. McMillan
[John Birks ]
(b Cheraw, SC, Oct 21, 1917; d Englewood, NJ, Jan 6, 1993). American jazz trumpeter, bandleader, singer, and composer. He was one of the principal innovators in jazz, who along with Charlie Parker, Thelonious Monk, and Kenny Clarke, pioneered the harmonic and rhythmic advances of the early 1940s that became known as bebop. His exceptional talent for playing higher, faster, and more accurately than anyone who preceded him set a new standard for jazz musicians and his style of playing was widely imitated, especially by trumpeters. Gillespie wrote such early bebop compositions as “Woody ’n’ You,” “Groovin’ High,” and “Salt Peanuts,” and his most enduring piece, “A Night in Tunisia,” is one of the most frequently recorded in jazz. His career spanned almost six decades, and it is difficult to overstate his impact as one of the most influential musicians in jazz history.
Gillespie was born the youngest of nine children to a poor, rural Southern family. His father was a bricklayer who also played various musical instruments with groups on the weekends, but died from an asthma attack when Gillespie was ten. Gillespie was given a trombone at school and taught himself to play it even though he was too small to reach fifth position. After a neighbor received a trumpet, Gillespie visited the house repeatedly to play it until he was allowed to exchange his trombone for a trumpet. He performed locally at rent parties and school dances and his ability allowed him to attend Laurinberg Technical Institute in nearby North Carolina on a music scholarship. Although he received little formal instruction, he practiced trumpet and piano incessantly, and taught himself basic theory. In ...
(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 ...
(b Marlin, TX, April 25, 1950). American jazz and rhythm-and-blues flutist, singer, bandleader, composer, and producer. She started to play flute in the Lincoln High School band in Dallas. Studying both classical and jazz flute, she continued her musical training at Texas Southern University and Southern Methodist University. In 1971 she moved to New York, where a relative, Eddie Preston, played trumpet with Duke Ellington. Because of this connection, she had the opportunity to play with Ellington’s band. She also competed in the Apollo Theater’s amateur night, winning first place for seven consecutive weeks. Blue Note Records signed Humphrey in 1971 and had recorded six of her albums by 1976, including Blacks and Blues (1973, BN). She performed at the Montreux Jazz Festival in 1973 and 1977. She also appeared on “Another Star” from Stevie Wonder’s album Songs in the Key of Life (1975–1976, Tamia). After switching to Epic she recorded three more albums for that label: ...
[Kuczynski, Julius Frank Anthony ]
(b Milwaukee, WI, Feb 18, 1914; d Louisville, KY, March 7, 2000). American country music accordionist, bandleader, songwriter, and vocalist. His musical career was inspired by his father, John, a Polish American who led a local polka band. At 15, he began learning accordion and, in 1930, met popular bandleader Wayne King who suggested the youth take the surname “King” in the interest of simplicity. His first band, the King’s Jesters, played both country music and polkas. In 1934, the group filled in for Gene Autry’s band when Autry, then a star of WLS’s National Barn Dance, toured Wisconsin. King joined Autry (who dubbed him “Pee Wee”) in Louisville until the singer left to launch his Hollywood film career. He briefly led a Louisville band known as the Log Cabin Boys, then in 1937 organized the Golden West Cowboys, who joined the Grand Ole Opry with a distinctive, progressive repertoire blending country, pop, polkas, waltzes, and western swing. From ...
Harry B. Soria
(b Kaumana, HI, Sept 26, 1901; d Honolulu, HI, Feb 1, 1972). American singer, musician, bandleader, composer, and recording artist. Kinney’s career stretched over 57 years, and he achieved the greatest popularity of any Hawaiian singer-musician during his era. Sent to school in Utah, Kinney and his brothers toured as a Hawaiian band. In 1920, his mother died, and he was summoned home to Hawaii, where he continued to hone his musical skills as an accomplished tenor balladeer with exceptional diction and clarity. In 1925, he toured California as a member of Charles E. King’s “Prince of Hawaii” cast. Returning home to Hawaii, he joined the David Burrows Trio and was named the most popular male singer in Hawaii at that time. For the rest of his life, he alternated between touring the continental United States and performing in Hawaii. He was engaged for four years at The Hawaiian Room at Hotel Lexington in New York City. In a ...
(b New York, NY, March 11, 1950). American singer, composer, and conductor, son of Robert McFerrin. He studied at the Juilliard Pre-College Division prior to his family’s relocation to California in 1958. His earliest instruments were clarinet and piano. He attended Cerritos College and Sacramento State College, but left before graduation to pursue employment as a pianist. His singing career began in 1977. He became known in jazz circles through appearances at the Playboy Jazz Festival in 1980 and with Wynton Marsalis at the Kool Jazz Festival in 1982; a recording of the latter concert was released as The Young Lions (Elektra, 1982). McFerrin’s self-titled first solo album (1982, Elek. Mus.) was followed by The Voice (1984, Elek. Mus.) and Spontaneous Inventions (1986, BN). He also recorded with Herbie Hancock, Weather Report, Al Jarreau, and Quincy Jones in the 1980s. McFerrin is best known for his Grammy-winning song “Don’t worry, be happy,” which appeared on the album ...
Anthony S. Lis
(b Honolulu, HI, Dec 15, 1904; d New York, NY, June 17, 1951). American bandleader, singer, songwriter, and guitarist. He came to California in the early 1920s, where he found work in Hollywood playing “atmospheric music” during the filming of Hoot Gibson’s silent movies. He also played rhythm guitar in at least four different trios with Hawaiian steel guitar virtuoso Sol Hoopii, and likely recorded 55 Columbia sides between 1926 and 1928 as a member of Hoopii’s Novelty Trio. McIntire recorded with his own quartet, the Hawaiians, beginning in 1935; he cultivated a repertoire including reworked Hawaiian standards (Queen Kapiolani’s “He Manao He Aloha”) and newly written popular-style tunes with a Hawaiian feel (Margarita Lane and Johnny Noble’s “That’s the Hawaiian in Me”). In early 1937 McIntire accompanied Bing Crosby on six sides for Decca, including Crosby’s top-ten hits “Sweet Leilani,” “Blue Hawaii,” and “Sail Along Silv’ry Moon.” In fall ...
[Melvin James ]
(b Battle Creek, MI, Dec 17, 1910; d New York, NY, May 28, 1988). American arranger, composer, producer, bandleader, trumpeter, and singer. Growing up as an African American musician in Zanesville, Ohio, Oliver was self taught as a trumpeter and arranger. After playing in territory bands in and around Zanesville and Columbus, he became a member of Jimmie Lunceford’s orchestra in 1933. His charts for the Lunceford band were distinguished by contrasts, crescendos, and unexpected melodic variations, thereby setting new standards in big band swing and close-harmony singing. His use of two-beat rhythms also set his arrangements apart.
In 1939 Oliver was hired by the trombonist Tommy Dorsey and turned his band into one of the hardest swinging and most sophisticated ensembles of the early 1940s. In 1946 he started his own big band. During the late 1940s and 1950s he mainly did studio work, as a music director for the labels Decca, Bethlehem, and Jubilee. He continued to lead big bands and smaller ensembles, recycling his old Lunceford and Dorsey successes and performing new arrangements. Along with Duke Ellington and Fletcher Henderson, Oliver must be rated one of the top arrangers of the swing era and infused almost every chart with vigor and surprise....
[James Gilbert ]
(b Salem, OR, June 18, 1941; d Portland, OR, Feb 10, 1992). American tenor and soprano saxophonist, singer, bandleader, and composer. Of Native American (Creek and Kaw) heritage, he was raised in Oregon and Oklahoma. Early musical influences included tap dance, big band jazz, Southern Plains powwow music and dance, and peyote music. Pepper moved to New York in 1964 and joined the Free Spirits (1966), an early fusion jazz ensemble featuring Larry Coryell and Bob Moses. After forming the group Everything is Everything (1967) with former members of Free Spirits Chris Hills and Columbus Baker, Pepper recorded “Witchi Tai To,” a composition fusing a peyote song with jazz, rock, and country influences. Released on Everything is Everything featuring Chris Hills (Vanguard Apostolic, 1969), “Witchi Tai To” peaked at number 69 on the Billboard pop charts. By 2011 it had been covered by at least 90 artists ranging from Brewer & Shipley, Jan Garbarek, and Oregon to the Paul Winter Consort and Joy Harjo. Pepper released four albums as a leader: ...
(b San Juan, Jan 4, 1923; d New York City, Feb 28, 1972). Puerto Rican popular singer, bandleader and composer. Raised in Puerto Rico, he arrived in New York City in 1939, singing in the band of his brother Johnny before moving on to perform in the orchestras of Enric Madriguera, Xavier Cugat and Noro Morales. He recorded the hit song Bim-bam-bum with Cugat in 1942. In 1946 he joined the band of José Curbelo along with another promising young musician, Tito Puente, then left to form a small ensemble of his own in 1947, and by the early 1950s had established one of the leading mambo orchestras in New York. Like fellow ‘Mambo Kings’ Puente and Machito, he performed regularly at the Palladium Ballroom.
One of the most popular vocalists and Latin bandleaders of the 1950s, Rodríguez is best remembered for his romantic songs. His band was notable for its driving rhythm section and tight horns, a perfect complement to his velvety voice and improvisatory skills as a ...