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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...


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 ...


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 ...


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 ...


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,” ...


Aho, Erkki  

Pekka Gronow


(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 ...


Allan, Jan  

Ken Rattenbury

revised by Erik Kjellberg, Lars Westin, and Barry Kernfeld


(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 ...


Andre, Wayne  

Barry Kernfeld


(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 ...


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....


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...


Argüelles, Julian  

Mark Gilbert

revised by Simon Adams


(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 (...


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 (...


Ballamy, Iain  

Digby Fairweather

revised by Simon Adams and Barry Kernfeld


(b Guildford, England, Feb 20, 1964). English tenor, alto, and soprano saxophonist. His father, Mark Ballamy, is a pianist. Having studied piano privately from 1970 to 1978, he taught himself to play alto saxophone from the age of 14, and later took up tenor saxophone. From 1983 he led a quintet (which included Django Bates and Mick Hutton), re-forming it in November 1983 as a quartet, the Iains, with Bates, Hutton, and Steve Argüelles; in the same month he joined Graham Collier’s workshop band, which later developed into the group Loose Tubes. In April 1985 he formed the quartet Bush Sense, including Dale Barlow and Argüelles. In May of that year he became a member of the Voice of God Collective, led by Billy Jenkins, and in December he recorded with Gil Evans for the film Absolute Beginners. He also worked with Clark Tracey (briefly in 1983), Jim Mullen (late ...


Barker, Guy  

Mark Gilbert

revised by Simon Adams


(b London, Dec 26, 1957). English trumpeter and flugelhorn player. He played in the National Youth Jazz Orchestra and began a classical performance course at the Royal College of Music, but left to work with Chris Hunter, John Dankworth, Mike Westbrook, and, most notably, Stan Tracey, with whom he performed and recorded into the 1990s. In 1983 he began working with Clark Tracey, eventually making international tours and recording with him. In the mid-1980s he played and recorded with Gil Evans’s British Orchestra and made New York club appearances with Evans. He also worked with the Paris Reunion Band, Joe Henderson, Bobby Watson, Ornette Coleman, Hermeto Pascoal, Carla Bley’s big band, and Tommy Smith (in the 1990s he toured with Bley and Smith). As a member of the pianist and composer Colin Towns’s Mask Orchestra, he recorded six albums (1991–2003). In 2007 he was commissioned by the San Diego Mainly Mozart Festival to write ...


Barnes, Alan  

Mark Gilbert

revised by Simon Adams

(b Altrincham, England, July 23, 1959). English saxophonist and clarinetist. Inspired by Acker Bilk, he took up clarinet at the age of 12 and three years later began playing alto saxophone. He attended Leeds College of Music (1977–80) before moving to London, where, while playing nostalgia and mainstream styles with the Midnight Follies (intermittently, 1980–83), the Pasadena Roof Orchestra (1981–3), and others, he became involved in the hard-bop revival. In this vein he performed and recorded with the drummer Tommy Chase (1983–6) and recorded with the Jazz Renegades (1986–8). He then returned to a more mainstream outlook, playing and recording as leader, with Humphrey Lyttelton (1988–92), with the Pizza Express Modern Jazz Sextet (from 1989), and in a quintet co-led by the trumpeter Bruce Adams (from 1992); he has also worked as a freelance with Mike Westbrook, Kenny Baker, Don Weller, and many others. In ...


Barriteau, Carl  

Rainer E. Lotz

(Aldrich Stanley)

(b Trinidad, Feb 7, 1914; d Sydney, Aug 24, 1998). Trinidadian clarinetist. He was brought up in Maracaibo, Venezuela. After learning tenor horn in Trinidad (1926–32) he played clarinet with a police band (1933–6). In 1934–5 he worked in Port of Spain with the Jazz Hounds and the Williams Brothers Blue Rhythm Orchestra. In May 1937 he moved to London and became a principal soloist in Ken “Snake Hips” Johnson’s West Indian Swing Band, with which he recorded Washington Squabble (from a BBC broadcast in 1938 issued on Black British Swing, Topic 781, 2001) and Tuxedo Junction (1940, HMV BD5576). He was named “best clarinetist” in Melody Maker for seven consecutive years. After Johnson’s death in March 1941 Barriteau performed as a soloist with several bands before forming his own recording group in 1942; his recordings as a leader include Ol’ Man Mose/A Sultan Goes to Harlem...


Bas, Vlady  

Alfredo Papo

[Zabache, Vladimiro Bas]

(b Bilbao, Spain, Feb 2, 1929). Spanish alto saxophonist, clarinetist, and flutist. He studied at the conservatory in Bilbao, then worked as a jazz critic for radio broadcasts. In 1952 he moved to Madrid, where he played with Joe Farreras. During the mid-1950s he toured Switzerland and the Middle East with a commercially oriented band until he was selected to play with Marshall Brown’s International Youth Band at the Newport Jazz Festival (1958). Thereafter he played informally with Lee Konitz, Oscar Pettiford, and Paul Desmond, and began performing at clubs in Madrid in 1962. He has made three albums as a leader, including Free jazz en la universidad (1973, Accion 30022). Though he reduced his activities in the 1980s and 1990s, he continued to perform at nightclubs in Madrid and participate in several jazz festivals in Spain. Bas’s work is influenced by that of Konitz, Desmond, Johnny Hodges, and Phil Woods....


Basso, Gianni  

Adriano Mazzoletti

revised by Stefano Zenni

(b Asti, Italy, May 24, 1931; d Asti, Aug 17, 2009). Italian clarinetist and soprano and tenor saxophonist. He studied clarinet at the conservatory in Asti, then accompanied American musicians in Belgium and Germany (1946–50). Having returned to Italy he played in dance orchestras led by Kramer Gorni, Beppe Mojetta, and Angelo Brigada. In 1955 he was a member of a quartet led by Gil Cuppini, and in the same year, with Oscar Valdambrini, he formed the Sestetto Italiano, with which he played until 1957, and a quintet, frequently from 1962, and steadily from 1972 to 1974; when Basso left the group, it was a sextet. He is a soloist alongside Valdambrini and Dino Piana in a big band performance of Clan for Italian television (1968). From 1956 to 1958 he also played in a radio orchestra led by Armando Trovajoli. He worked with many visiting American musicians and recorded with Chet Baker (...


Bay, Francis  

Robert Pernet

[Bayetz, Frans]

(b Rijkevorsel, Belgium, Dec 27, 1914; d Bonheiden, Belgium, April 24, 2005). Belgian trombonist, multi-instrumentalist, and bandleader. In 1936 in Germany he formed an association with the violinist Paul Godwin, which continued intermittently until World War II. He worked in Belgium at Lionel’s Club and played and recorded in the Netherlands with Dick Willebrandts (1943) and the Dutch group the Ramblers (1945–6). In the mid-1940s he was a founding member of the Skymasters, and in 1948 he formed a band with Boyd Bachmann, which worked in Switzerland, Sweden, and Belgium. His own big band, formed in Belgium in the 1950s, later became the dance orchestra of Belgian radio and television. Bay was said to have made numerous recordings as a leader (1958–61, 1971), many of them for the American market in connection with the Brussels World’s Fair of 1958, but a considerable number of these have proved to be from sessions led by Maxwell Davis for the American Crown label and reissued under Bay’s name on the Mecca label in Belgium; the precise details of this situation are still a matter for research, but certainly the album ...


Bechet, Sidney  

Bruce Boyd Raeburn


(b New Orleans, LA, 14 May 1897; d Paris, France, 14 May 1959). American jazz clarinetist and soprano saxophonist. He was an Afro-French Creole, descended from free people of color residing in Tremé, an early hotbed of jazz activity. As a boy he emulated his older brothers who worked semi-professionally as musicians and played in a family band, the Silver Bells. “Big Eye” Louis Nelson and George Baquet were his primary teachers. Nelson remembered Bechet resisting formal instruction (“He wouldn’t learn notes, but he was my best scholar”), and the latter never became musically literate. Like many younger Creoles, Bechet rejected traditional Creole proprieties and gravitated to African American vernacular culture, particularly the blues as expressed by Buddy Bolden. By 1910 he was sitting in with bands such as the Eagle, and by 1915 he was being praised as a prodigy by musicians who frequented the Piron and Williams music publishing company on Tulane Avenue. ...