(b Port Chester, NY, Dec 16, 1944). 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, ...
[Abrams, Richard Louis ]
(b Chicago, IL, Sept 19, 1930). American pianist, composer, and administrator. After receiving private piano lessons, he studied at the Chicago Musical College and taught himself the system of composition devised by Joseph Schillinger. He began to work professionally in 1948 and performed regularly at the Cotton Club in Chicago during the 1950s, accompanying visiting musicians such as Dexter Gordon, Sonny Stitt, and Max Roach. After composing and arranging for the Walter “King” Fleming band in the mid-1950s, Abrams joined the hard bop ensemble MJT+3 and made his recording debut on the group’s album DADDY-O PRESENTS MJT+3 (1957, VJ 1013). Beginning in 1961 Abrams led the Experimental Band, a composer-centered rehearsal ensemble whose members included the double bass player Donald Rafael Garrett, Jack DeJohnette, Roscoe Mitchell, and the reed player Joseph Jarman. He subsequently co-founded the Association for the Advancement of Creative Musicians (AACM) in 1965...
(b Kingston, ON, Nov 5, 1959). Canadian rock singer, songwriter, and guitarist, and photographer. The son of a diplomat, he spent his youth in England, Israel, Portugal, and Austria. After returning with his family to North America, he began performing and recording at the age of 15 with rock bands in British Columbia and Ontario. In 1978 he began what became a long and successful songwriting partnership with Jim Vallance, with whom he created most songs recorded under his name up to 1987, as well as songs recorded by Rod Stewart, Kiss, Bonnie Raitt, Neil Diamond, and the Canadian groups Prism, BTO, and Loverboy.
Adams’ albums characteristically alternate between down-tempo piano ballads and straight-ahead rock numbers. His third solo album, Cuts like a Knife (1983) launched him to the status of an international celebrity; its singles included the ballad “Straight from the Heart” and the anthem “Cuts like a Knife,” which both featured for weeks on magazine charts and music television. The next 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 ...
E. Ron Horton
(b Hollywood, CA, Aug 30, 1957). American jazz and pop saxophonist. With Grover Washington jr and George Benson he was at the forefront of a movement in the 1970s that combined a jazz sensibility with more mass-market styles such as funk, rock, and rhythm and blues. Albright attended Locke High School where Patrice Rushen was a fellow student. At the University of Redlands, he read business management with a minor in music; during this time he refined his saxophone technique and learned to play bass guitar. He subsequently performed and recorded with Rushen, playing the well-known saxophone solo on her hit single “Forget me nots” (Rhino, 1982). Thereafter, his career flourished as he worked with a range of artists including Anita Baker, the Winans Family, Lola Folana, Whitney Houston, Phil Collins, and Quincy Jones. One of Bill Clinton’s favorite saxophonists, Albright performed at the president’s inauguration as well as at several of his private functions. As a leader, he has made nine albums and sold more than one million records in the United States; his recordings ...
Gary W. Kennedy
(b Boston, Sept 25, 1935; d Brooklyn, NY, June 14, 2006). American tenor and soprano saxophonist. He was born into a musical family and attended the Boston Conservatory (BM). In 1956 he recorded with Paul Chambers as a pianist. Having moved to New York in 1958, he worked with John Coltrane, Matthew Gee, and Sonny Rollins, and recorded with Charli Persip and Howard McGhee (both 1960), Max Roach (1965), the organist Freddie Roach (1967), Eric Gale (1969), the trombonist John Gordon (1975), and the orchestras of Archie Shepp (1972) and Sam Rivers and Clifford Thornton (both 1974). From 1972 to 1974 he worked with Abdullah Ibrahim’s large ensembles – the Dollar Brand Orchestra and the African Space Program – and in 1978 he performed and recorded as the leader of a six-piece group which included Malachi Thompson, Kalaparusha Maurice McIntyre, and John Betsch. Except for his having taken part as a tenor saxophone soloist in a recording session with James Spaulding in ...
Gareth Dylan Smith
[Patterson, Robert, Jr. ]
(b Philadelphia, PA, July 1, 1935; d New York, NY, Aug 13, 2009). American jazz drummer. He learned congas from the age of nine and studied percussion while in the US Army (1952–5). After attending the Granoff School in Philadelphia, he worked in jazz and rhythm-and-blues bands and in 1963 moved to New York, where he was a key figure in the free-jazz movement, performing with Albert Ayler, Don Cherry, Sun Ra, and Archie Shepp. In addition he collaborated with John Coltrane, including the albums Expression and Interstellar Space (both 1967, Imp.), on which Ali’s performance displays the influence of Sunny Murray and Milford Graves. Ali also learned from Elvin Jones, with whom he competed for the drum chair in Coltrane’s band. In 1967 Ali worked in Europe with Niels-Henning Orsted Pedersed, studied with Philly Joe Jones, and worked at Ronnie Scott’s, London, with Jon Hendricks and Dave Holland. The following year he returned to New York, where he played with Sonny Rollins and Jackie McLean, and for five years from ...
Russ Girsberger and Barry Kernfeld
(b New York, Dec 25, 1939; d New York, March 29, 2006). Drummer and percussionist. In 1957 he played with Dizzy Gillespie’s band at the Newport Jazz Festival, accompanying the singer Eartha Kitt. He studied biochemistry at the Carnegie Institute in Boston, but after graduating he focused on music, working locally with Chick Corea, Alan Dawson, Tony Williams, and, from 1964, Gene Perla. Having returned to New York in 1967, he played in salsa groups before working with Perla again in bands led by Nina Simone and Elvin Jones. He gained recognition through his work with Miles Davis on the albums Bitches Brew (1969, as Charles Alias) and On the Corner (1972), and on tour from November 1971 into 1972; he also made an important album with Weather Report (c1976). During the 1970s and 1980s Alias worked with many jazz, rock, and Latin artists, including Mongo Santamaria (recording in ...
(b Pontiac, MI, June 12, 1957). American jazz pianist and composer. She began classical piano study at age seven with Patricia Wilhelm, who also encouraged her interest in jazz. After graduating from Detroit’s Cass Technical High School in 1975 (where trumpeter Marcus Belgrave was one of her teachers), she studied with John Malachi at Howard University (BA 1979, jazz studies) and with Nathan Davis at the University of Pittsburgh (MA 1982, ethnomusicology). She also took private piano lessons with Kenny Barron in 1979. She moved to New York in the early 1980s, where she became a member of the M-BASE collective. Allen recorded her first album as a leader, The Printmakers, in 1984 (Minor Music). Since then she has performed on more than 100 recordings in a variety of capacities. She worked in trios with Ron Carter and Tony Williams (on albums such as Twenty One, 1994, Blue Note) and with Charlie Haden and Paul Motian (...
(b Louisville, KY, May 25, 1924). American alto saxophonist and bandleader. He began clarinet lessons when he was ten and later took up alto saxophone. After joining the US Army at 18 years of age, Allen performed in military bands and, while stationed in Paris, formed a trio with Art Simmons and Don Byas. Allen remained in Europe following his discharge, touring with James Moody and studying clarinet at the Paris Conservatory with Ulysse Delécluse. He returned to the United States in 1951 and led dance bands and worked as a composer in Chicago. After hearing a demo recording of Sun Ra’s Arkestra in a record store, Allen sought out the bandleader during a rehearsal and began an apprenticeship. He subsequently rehearsed with the Arkestra for more than a year before joining officially in 1958. His association with the ensemble has lasted more than 50 years.
Allen worked closely with Sun Ra for much of his professional career, composing for the bandleader and performing both in concert and on more than 200 albums; he even shared a house with him. Alongside John Gilmore Allen anchored the reed section, adding flute, clarinet, oboe, and in later years wind synthesizer. He invented the morrow, a woodwind instrument combining a saxophone mouthpiece with an open-holed wooden body, and learned to play and build the kora, a West African multi-string instrument. Allen rarely worked outside the Arkestra, although he made a notable recording with Paul Bley (...
[Stephen Valentine Patrick William]
(b New York, NY, Dec 16, 1921; d Encino, CA, Oct 30, 2000). American composer, radio and television personality, pianist, singer, and comedian. The son of Belle Montrose and Billy Allen, both of whom worked in vaudeville, he moved from place to place as a child, attending many schools for short periods of time. He played piano from an early age, although his musical training was mainly informal. He began a professional career in Los Angeles as a disc jockey on radio during the 1940s, then turned to television in the 1950s; he established himself as a comedian, and often played the piano during his shows, improvising jazz and singing his own songs. Among the musicians who appeared with him regularly was the vibraphonist Terry Gibbs. Allen’s most popular television program was “The Tonight Show,” which he began broadcasting locally in New York in 1953, subsequently leading it to nationwide success the following year. Allen performed the title role in the film ...
(bWinnemucca, NV, May 26, 1915; dSan Francisco, Oct 3, 2004). Americandouble bass player. He grew up in San Francisco, played clarinet through his primary and high-school years, and took up double bass while at Sacramento Junior College. At the beginning of the 1940s he performed and made recordings with Lionel Hampton on double bass and electric bass guitar (1940–42; including Attitude, 1940, Vic. 27316) and with Count Basie (September–November 1942), with whom he may be seen in the film Reveille with Beverly (1943); at some point he also briefly accompanied Fats Waller at Sweet’s Ballroom in Oakland, California. After serving in the navy from November 1942 to 1947 he returned to San Francisco, where he led small bands and hosted the program “Down Vernon’s Alley” on both radio and television. His most important position was as leader of the house rhythm section and music director at the Blackhawk during the 1950s, though he played briefly with Ella Fitzgerald and Duke Ellington and recorded with a dixieland band led by the cornetist and trombonist Jack Sheedy (...
(Pastor Gomez )
(b Sincelejo, Colombia, Feb 18, 1949). American saxophonist of Colombian birth. His father was a percussionist who performed traditional Colombian music and Almario began his career playing in this style. Influenced by the Cuban music that was popular along the Caribbean coast of Colombia, Almario studied wind instruments and theory in Barranquilla, where he later moved. After a tour of the United States in 1967, he accepted an invitation to move to Miami and in 1969 was offered a scholarship to the Berklee School of Music. Two years later, while he was still studying, Almario was invited to sit in with Mongo Santamaria, who subesequently hired him as musical director for his ensemble; Almario can be heard on a number of Santamaria’s recordings, including Afro-Indio (1975, Fania). In the following years, Almario worked with Duke Ellington, Machito, Willie Bobo, and Charles Mingus. His group Koinonia, which he formed with Alex Acuña, performed West Coast jazz and promoted Christian spirituality, such as on the album ...
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 London, Aug 20, 1911; d London, December 19, 2005). English clarinetist and saxophonist. He took up piano when he was ten and taught himself alto saxophone from the age of 13. Although he began playing professionally in Glasgow, in 1930 he moved to London. In 1931 he played with the bandleader Roy Fox, and in September of that year he joined Bert Ambrose; after changing to tenor saxophone he became a principal soloist with the band (1932). He remained with Ambrose until summer 1940, apart from a period from April to July 1939, when he was with the bandleader Jack Harris. Having joined the RAF, he played in service bands (through 1943), then worked with the bandleader Geraldo (1944 – September 1945) and again with Ambrose (October 1945 – March 1947). Amstell spent six years in the dance orchestra of the BBC, after which he was active as a session musician with such leaders as George Chisholm. He also played on cruise ships. In the 1980s and 1990s he concentrated on playing clarinet and made recordings with his own quartet (including ...
(b Houston, Oct 11, 1927; d Los Angeles, June 5, 2002). American tenor and soprano saxophonist and leader. Published sources have given his year of birth as 1929, but the Texas birth index gives 1927, and Amy confirmed that the earlier year is correct. He learned to play clarinet as a child, took up tenor saxophone while playing in an army band, and attended Wiley College (Marshall, Texas) (1946–7), Texas Southern University (1950), and Kentucky State College (BS 1952). Later he studied television and film scoring at the University of Southern California (1968). He worked as a schoolteacher in Tennessee, performed in clubs in the Midwest, and in 1955 moved to Los Angeles, where he joined the sextet led by the rhythm-and-blues pianist Amos Milburn and recorded with Dizzy Gillespie. From 1960 to about 1967 he led groups which played hard bop, soul jazz, and modal jazz, at first with the organist Paul Bryant as his co-leader; members of these quartets, quintets, and sextets included at various times Carmell Jones, Marcus Belgrave, Dupree Bolton, Jimmy Owens, Roy Ayers, Bobby Hutcherson, Frank Strazzeri, Victor Feldman, Kenny Barron, Jimmy Bond, and Frank Butler. His group made two television appearances in ...
David G. Such
revised by Barry Kernfeld
(b Monroe, LA, March 22, 1929; d Evanston, IL, June 24, 2010). American tenor saxophonist. He took up tenor saxophone while living in Evanston, Illinois, and also studied theory; his influences were Lester Young, Coleman Hawkins, and Gene Ammons, and later Ornette Coleman. Around 1962 he led a quartet which included Bill Brimfield. In 1965 he was a founding member of the Association for the Advancement of Creative Musicians (AACM) in Chicago and led a number of its groups, variously involving Brimfield, Joseph Jarman, Charles Clark, and Steve McCall; he also recorded as a sideman with Jarman (1966, 1968). In 1974 he toured Europe with his own quintet, in which Douglas Ewart was a sideman. He opened his own nightclub, the Birdhouse, in Chicago in May 1977, but it was active only intermittently until it closed in June 1978. In the latter year he performed in Germany with a new group, another quintet, among the members of which were Brimfield, Ewart, and George Lewis (ii). In Germany he also recorded with the group Neighbors (...
(b Manchester, CT, Nov 17, 1931; d August 26, 2003). American trombonist. After studying at the Schillinger House in Boston (1949–50) he performed and recorded with Charlie Spivak (1950–51), the Sauter–Finegan Orchestra (July 1955 – December 1956), and Woody Herman (31 December 1955 – July 1956) and recorded with Kai Winding’s septet (July 1956 – May 1958). He also composed and arranged for Winding, and he plays a solo in his own piece Nutcracker on Winding’s Trombone Sound (1956, Col. CL936). He then studied at the Manhattan School of Music (BA 1962) and began working as a studio musician in New York (from 1958), in which capacity he recorded in big bands accompanying Art Farmer (1959), Sarah Vaughan (1964), Wes Montgomery (1965–8), Chick Corea (1975), Dexter Gordon (1977), Jaco Pastorius (...
(b Chichester, England, 1971). American singer-songwriter and pianist. After the Hegarty family moved to San Jose, Ccalifornia, in 1981, Antony studied experimental theater at New York University, formed a performance collective with Johanna Constantine, and collaborated with filmmaker William Basinski (Life on Mars, 1997) and rock icon Lou Reed (The Raven, Sire, 2003; Animal Serenade, RCA, 2004). Antony has become the world’s most famous transgender musician. Male-bodied and feminine-identified, Antony retains his birth name and uses masculine pronouns professionally. His band, Antony and the Johnsons (formed in 1996), is named after the murdered African American transgender activist Marsha P. Johnson.
Antony’s vocal depth, resonance, and melismatic grace evoke African American musical traditions. His tremulous vibrato and seemingly self-imposed limitations (also evident in his amateurish piano playing) express the grave earthly burdens of his lyrics. His eclectic work has been influenced by the AIDS-ravaged New York art scene (Peter Hujar), British synth-pop (Marc Almond), soul (Nina Simone, Boy George), and experimental underground music (Diamanda Galás). His band includes vocals, piano, drums, guitar, bass, cello, violin, and horns, he regularly appears with an orchestra, and he released an album of live symphonic performances with the Danish National Chamber Orchestra featuring arrangements by Nico Muhly, Rob Moose, Maxim Moston, and himself (...
David F. Garcia
(b Ranchuelo, Las Villas, Cuba, April 4, 1928). Cuban trumpet player, active in the United States. Known for his uniquely traditional Cuban style, Armenteros began playing trumpet in the youth municipal band of Ranchuelo. After moving to Havana in 1949, he made his first recordings with René Álvarez y Su Conjunto titled “Llego María La ’O” and “Jovenes del muelle.” He later became a member of Arsenio Rodríguez y Su Conjunto and the Beny Moré orchestra, performing on Cuban radio as well as recordings. Armenteros performed in New York for the first time in 1956 as a member of Fajardo y Sus Estrellas. Soon afterward he moved there, performing and recording with Machito and His Afro-Cubans, La Sonora Matancera, Larry Harlow, Moncho Leña, Charlie Palmieri, Eddie Palmieri, Grupo Folklórico y Experimental Nuevayorquino, and many others through the 1970s. Since then he has recorded with Cachao, John Santos, and Poncho Sanchez, as well as leading his own recording projects totaling more than eight albums. His ongoing performance and recording career encompasses seven decades. Recordings of his playing demonstrate the idiomatic markers of Cuban trumpet playing and music, including ...