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Aaltonen, Juhani  

Pekka Gronow

revised by Atro Mikkola

[Junnu]

(b Kouvola, Finland, Dec 12, 1935). Finnish tenor and alto saxophonist and flutist. He learned to play guitar and tenor saxophone during his years of schooling and military 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 moved to Helsinki in 1961 and studied flute at the Sibelius Academy, and later spent a brief 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 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 1969...

Article

Aarons, Al(bert N.)  

Thomas Owens

revised by Barry Kernfeld

(b Pittsburgh, March 23, 1932; d Laguna Woods, CA, Nov 17, 2015). American trumpeter and flugelhorn player. He studied music in Pittsburgh (1947–50), in 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; he appears as a soloist with the group on Back to the Apple on the Swedish television broadcast One O’Clock Jump...

Article

Abadie, Claude  

Michel Laplace

(b Paris, Jan 16, 1920; d Suresnes, Hautes de Seine, France, March 29, 2020). 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. Abadie continued to lead this group for the remainder of his life, to age 100, directing and playing clarinet solos; they perform compositions of Thelonious Monk in the video ...

Article

Abrams, Ray  

[Abramson, Raymond Joseph]

(b New York, Jan 23, 1920; d New York, July 6, 1992). American tenor saxophonist, brother of Lee Abrams. In the early 1940s he played in the resident band at Monroe’s Uptown House, which accompanied Coleman Hawkins in performances and on the first studio recordings of bop (February 16, 1944); he remained with the group when it became the core of Dizzy Gillespie’s first big band in 1945. The following year he recorded with Kenny Clarke and (during a tour of Europe) Don Redman; his solo playing is well represented on Redman’s For Europeans Only (1946, Ste. 6020–21). His own band (formed 1947) recorded with the singer Billy Stewart (1947, 1949) and under Abrams’s name (1948); Fats Navarro and Coleman Hawkins were among his sidemen. After playing with Andy Kirk (1947–8) he rejoined Gillespie and recorded with Cecil Payne (both ...

Article

Actis Dato, Carlo  

Stefano Zenni

(b Turin, Italy, March 21, 1952). Italian tenor and baritone saxophonist, bass clarinetist, and leader. He first played jazz in the Turin area in the early 1970s. In 1974 he was a founding member, with the guitarist Claudio Lodati, the double bass player Enrico Fazio, and the drummer Fiorenzo Sordini, of the quartet Art Studio, for which all four members provide compositions and arrangements; the group plays throughout Europe in a style mixing free improvisation techniques, extended forms, and contrapuntal work. In 1984 Actis Dato formed his own quartet, consisting of the saxophonist Piero Ponzo, Fazio, and Sordini; it toured internationally through the 1990s, from the USA to Africa to Japan. He was also a member of the Democratic Orchestra (1982–5), Mitteleuropa Orchestra (1982–90), Pino Minafra’s quintet (1984–9) and Sud Ensemble (from 1994), and the Italian Instabile Orchestra (from 1990). In ...

Article

Adler, Larry  

Ivor Beynon

revised by Ryan Paul Bañagale

[Lawrence]

(b Baltimore, MD, 10 Feb 1914; d London, England, 6 Aug 2001). American harmonica player.

He was acknowledged as the first harmonica player to achieve recognition and acceptance in classical musical circles and to have elevated the instrument to concert status. At the age of 14 he won a local harmonica contest and soon thereafter started to earn a living performing in movie houses across the United States. Spotted by the British impresario Sir Charles Cochran in 1934, he moved to London, initially to play in Cochran’s revue Streamline. Adler emerged as a classical musician following his return to the United States in 1939, eventually performing adaptations of works such as Vivaldi’s Violin Concerto in A Minor with the New York PO and other leading orchestras. His greatest success came through his partnership with dancer Paul Draper. In concert they performed individually and as a duo, frequently improvising on requests from the audience. In ...

Article

Bhumibol Adulyadej  

Rainer E. Lotz

[Rama IX Bhumibol; Phoemipol Aduldej]

(b Cambridge, MA, Dec 5, 1927; d Bangkok, Oct 13, 2016). Thai clarinetist and reed player. He was brought up in the USA and in Switzerland, where he learned to play clarinet; he later mastered the whole family of reed instruments, favoring soprano saxophone. Although he was interested in early jazz he was influenced predominantly by Benny Goodman, and participated in jam sessions with Goodman and other jazz musicians who visited Thailand, notably Jack Teagarden and Lionel Hampton. He occasionally played with his court orchestra in a swing style of the 1940s that was modified by the strong influence of traditional Thai music, but, on account of his official status as the king of Thailand, no recordings by him have been authorized for distribution. (H. Esman and V. Bronsgeest: “Een jazz king: Koning Phoemipol,” ...

Article

Aho, Erkki  

Pekka Gronow

(Vilhelm)

(bLapinjärvi, nr Lovisa, Finland, Dec 10, 1918; d Finland, Aug 19, 2002). Finnish trumpeter and trombonist. He began his career in dance bands in the late 1930s in Helsinki and played with Eugen Malmstén and others. During World War II he led a band that introduced the big-band swing style to Finland; as the Rytmiorkesteri it made a series of recordings in ...

Article

Allan, Jan  

Ken Rattenbury

revised by Erik Kjellberg, Lars Westin, and Barry Kernfeld

(Bertil)

(b Falun, Sweden, Nov 7, 1934). Swedish trumpeter. He studied piano from the age of six and became involved in jazz when he took up trumpet at the age of 14. After first playing professionally in Motala he moved to Stockholm, where as a jazz pianist he won an amateur contest in 1951. In 1954, with Georg Riedel, Rolf Billberg, and the drummer Bosse Stoor, he formed the quartet the Modern Swedes, in which he played trumpet and piano; this band accompanied Lars Gullin on tours in 1954–5. Having settled on the trumpet, Allan worked with Carl-Henrik Norin’s band at the Nalen (1955–8), recorded with his own quartets (1956, 1958), and recorded as a sideman with the sextet led by the double bass player Gunnar Almstedt and Ove Lind (1958). He made substantial contributions to Gullin’s albums of 1958 and 1964, and from ...

Article

Alpert, Herb  

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 ...

Article

American Brass Quintet  

Ellen Highstein

revised by Nathan Platte

Brass quintet, formed by trombonists Arnold Fromme and Gilbert Cohen in 1960; its present members are Kevin Cobb and Raymond Mase, trumpets; David Wakefield, horn; Michael Powell, tenor trombone; and John D. Rojak, bass trombone. The group gave its first public performance at the 92nd Street Y and made its official New York debut at Carnegie Recital Hall in 1962. At that time the brass quintet was little heard in the concert hall, and the ensemble played a major part in introducing audiences to brass instruments in the chamber context. Its commitment to the expansion of the brass chamber literature and its renowned virtuosity, precision, and stylistic accuracy have resulted in the composition of more than 100 new works by such composers as Bolcom, Carter, Thomson, Druckman, Ewazen, Plog, Sampson, Schuller, Schuman, Starer, and Tower. The group's concerts usually include premieres and the performance of “rediscovered” older pieces. The quintet has also explored performance practice on older instruments, and its many recordings include two of 19th-century American brass music played on period instruments. Since becoming the ensemble-in-residence at the Aspen Music Festival in 1970 and at Juilliard in 1987, the group has played a key role in training members of other prominent brass ensembles, including the Meridian Arts Ensemble, Manhattan Brass Quintet, and Urban Brass Quintet....

Article

Andre, Wayne  

Barry Kernfeld

(Julius)

(b Manchester, CT, Nov 17, 1931; d New York, Aug 26, 2003). American trombonist. His full name appears in the Social Security Applications and Claims Index. After studying at the Schillinger House in Boston (1949–50) he performed and recorded with Charlie Spivak (1950–51). During the Korean War he served in an Air Force band (September 1951 – June 1955) and began writing arrangements. Following his discharge he performed and recorded with the Sauter–Finegan Orchestra (July 1955 – December 1956), and Woody Herman (Dec 31, 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 ...

Article

Antritter, Dieter  

Gerhard Conrad

(b Pforzheim, Germany, Oct 6, 1929; d Königsbach-Stein, Germany, Aug 5, 2015). German soprano, tenor, and bass saxophonist. After receiving three lessons on guitar from a member of the Reinhardt clan he played in dance bands until 1950. He then contacted Sidney Bechet in Paris and learned to play soprano saxophone. He played in Germany with the arranger and bandleader Ernst Simon and also with American soldiers. In 1952 he founded the Quartier Latin Jazz Band, which he led to at least 2009; among its recordings is Dieter Antritter’s Quartier Latin Jazz Band (1996, Jazzpoint 1046). It gave concerts with many visiting musicians, including Mezz Mezzrow, Michel Attenoux, Benny Waters, Nelson Williams, and Peanuts Hucko. Antritter visited Canada in 1989 and worked with local musicians. His playing was influenced by the creole New Orleans jazz musicians and by swing musicians. He also wrote many articles for various newspapers and magazines....

Article

Appleton, Joe  

John Cowley and Howard Rye

(b Porus, Jamaica, June 2, 1903; d 2000). Jamaican tenor saxophonist, clarinetist, and bandleader. He was a bandsman with the West India Regiment at the British Empire Exhibition in 1924 and later returned to Great Britain and played in dance bands there and in Europe until the early 1930s. He led his own band in London in 1931–2 and in November 1932 relocated to the Netherlands with the pianist and singer Lily Jemmott, Welsh born of mixed African American and Bajun parentage, whose stage name was “Spadie Lee.” They remained in Europe until 1935. From 1936 he played in London with West Indian jazz musicians, including Leslie Thompson’s Emperors of Jazz (1936), and in 1937 he led his own band. In the 1940s he worked mainly with Cyril Blake and also with Jiver Hutchinson (1944–5). Appleton’s clarinet playing may be heard on Muscat Ramble...

Article

Argüelles, Julian  

Mark Gilbert

revised by Simon Adams

(Crook)

(b Lichfield, England, Jan 28, 1966). English saxophonist, brother of Steve Argüelles. He began clarinet and flute in 1975, and played as a teenager in the National Youth Jazz Orchestra and the European Community Big Band. He studied saxophone and flute at Trinity College, London, for six months in 1984 before joining Loose Tubes, with which he remained until 1989. In the 1990s he emerged as a striking improviser on tour and recordings with Kenny Wheeler, Chris McGregor’s Brotherhood of Breath, the Tommy Smith Septet, Django Bates’s Delightful Precipice, the Mike Gibbs Orchestra, Hermeto Pascoal, Carla Bley, and, in 1996, Stan Tracey. Energized by a four-month stay in New York in 1994, he returned to England to make a series of recordings for the Babel label which exhibited his strong, individualistic writing.

Argüelles appeared in Bley’s big band in France in 2006 and recorded with the reed player Gebhard Ullmann’s band Basement Research (...

Article

Ashley, John  

Brian W. Pritchard

Member of Ashley family

(b ?London, ?1734; d London, March 14, 1805). English bassoonist and conductor. He was first bassoon at Covent Garden Theatre, and became more widely known after his success as assistant conductor to Joah Bates at the 1784 Commemoration of Handel in Westminster Abbey. Charles Burney (An Account of the Musical Performances … in Commemoration of Handel; London, 1785) records that the ‘unwearied zeal and diligence’ of ‘Mr John Ashly of the Guards … were constantly employed with such intelligence and success, as greatly facilitated the advancement of the plan’. According to Burney he was also the ‘Mr Ashley’ who played the then novel double bassoon at these celebrations. Ashley’s four sons (see below) also took part in the commemoration and later in 1784 the whole family first appeared in the provinces at the Hereford meeting of the Three Choirs; they took part in subsequent Handel commemorations and from ...

Article

Ayler, Albert  

Barry Kernfeld

(b Cleveland, OH, 13 July 1936; d ?New York, NY, between 5 and 25 Nov 1970). American jazz tenor saxophonist and bandleader.

He began on alto saxophone and was playing professionally in rhythm-and-blues bands by his mid-teens. While serving in army concert bands, he switched to tenor saxophone. He occasionally played in Paris clubs while stationed in France from 1959 to 1961. After his discharge, he remained in Europe, leading a bop trio for eight months in Sweden and playing with Cecil Taylor in Copenhagen (1962–3). In 1963 he moved to New York, and the following year he formed a quartet with Don Cherry, Gary Peacock and Sunny Murray.

Ayler was never able to find a steady audience for his radical music—his group performed perhaps only three times in 1965—and although his albums were well received by the critics, he had trouble landing gigs. He made no effort to clarify his music for listeners, discouraging musical interpretations of his recordings and instead stressing their social and spiritual themes; the inconsistent and confusing titles to his pieces further obscured his work. Nevertheless, in studios, New York clubs (...

Article

Badini, Gérard  

André Clergeat

revised by Barry Kernfeld

[Mr. Swing]

(b Paris, April 16, 1931). French tenor saxophonist, clarinetist, pianist, composer, and leader. His father was a lyric singer, and he grew up in a musical family; he studied classical singing as a child and took up clarinet in 1950. After playing traditional jazz with Michel Attenoux (from 1952) and working with Bill Coleman, Peanuts Holland, Lil Armstrong, Sidney Bechet, and Jimmy Archey, he joined Claude Bolling’s trio (1955) and toured Europe, Africa, and the Middle East with Bolling and with Jazz aux Champs Elysées, led by Jack Diéval. From 1958 his principal instrument was the tenor saxophone, which he played for many years with Bolling and as a freelance in studios. He also worked with Roger Guérin and Geo Daly (both 1957), Alice Babs and Duke Ellington (1963), Jean-Claude Naude (1963–4), Cat Anderson (recording in 1965), Paul Gonsalves (...

Article

Baermann, Carl (ii)  

Pamela Weston

Member of Baermann family

(b Munich, Oct 24, 1810; d Munich, May 23, 1885). German clarinetist and basset-horn player, son of Heinrich Baermann and Helene Harlas. He was taught the clarinet by his father and by the age of 14 was occasionally playing in the court orchestra. In 1832 he was officially appointed second clarinetist and in 1834 succeeded his father as principal. Carl accompanied his father on concert tours in 1827, 1832 and 1838, attracting much attention playing the basset-horn. Conscious of his father’s superior talent as a soloist, he turned to teaching, making a great success of this as professor at the Königliche Musikschule in Munich. His Vollständige Clarinett-Schule (1864–75) remains one of the most used methods. His other compositions, comprising 88 opus numbers in all, were once popular with virtuosos. In 1860, in conjunction with Ottensteiner of Munich, he produced an 18-keyed Müller-type clarinet, which found favour with many players, including Mühlfeld. He was pensioned from the court orchestra in ...

Article

Baermann, Heinrich  

Pamela Weston

(Joseph)

Member of Baermann family

(b Potsdam, Feb 14, 1784; d Munich, June 11, 1847). German clarinetist. He and his brother Carl Baerman (i) (1782–1842), a bassoonist in the Berlin court orchestra, were sent by their soldier father to the School of Military Music in Potsdam. At 14, having first studied the oboe, Heinrich became a bandsman in the Prussian Life Guards and during this time studied the clarinet with Beer. In 1805, under the patronage of Prince Louis Ferdinand, he had lessons with Tausch. He fought at the battles of Saalfeld and Jena and was captured, but escaped and found his way to Munich. Here he obtained a court appointment, which he held until his retirement in 1834.

Baermann toured extensively, first to Switzerland and France in 1808. In 1811, after successful performances at Munich of Weber’s newly composed Concertino and concertos, clarinetist and composer toured together through Austria and Germany. At Berlin Baermann’s artistry helped to convince the musical public of the composer’s worth. In Vienna and Prague in ...