(b Sydney, May 26, 1942). Australian trumpeter, singer, and bandleader. In 1959 he participated in Sydney Jazz Club workshops. After playing in 1961 with the Melbourne New Orleans Jazz Band, the following year he formed his Olympia Jazz Band in Sydney, which included the guitarist and banjoist Geoff Holden (who had introduced him to jazz), the clarinetist Peter Neubauer, and the double bass player Dick Edser, and which often played at the Brooklyn and Orient hotels. In 1966-7 he performed overseas, among other places in New Orleans and Europe, and recorded with Alton Purnell, Barry Martyn, and Capt. John Handy. Back in Sydney he returned to the Orient Hotel. He recorded Geoff Bull's Olympia Jazz Band (1969, Swaggie 1261) and continued to lead a number of versions of the Olympia Jazz Band. In 1974 he revisited New Orleans, and thereafter he traveled frequently between the two cities; he recorded in New Orleans with several veteran musicians and he organized Australian tours for Purnell and Sammy Price. Bull briefly ran a restaurant in ...
Roger T. Dean
(b Toronto, Oct 22, 1955). Canadian jazz soprano saxophonist, flutist, bandleader, and composer. Her first instrument was the clarinet. Starting around the age of 17, she took intensive classical piano lessons for three years, leading to her developing tendonitis. While taking some time off, she went to San Francisco and heard the music of Charles Mingus’s band, which inspired her to play jazz. After returning to Toronto, she took up flute and saxophone and studied jazz at a local music school. She also enrolled in the music program at York University where she played alto saxophone and flute. After listening to Steve(n Norman) Lacy, Bunnett decided to play soprano saxophone. With an Artist’s Council grant, she went to Paris to study with Lacy in the early 1990s. Although she plays a range of saxophones, her main instruments are soprano saxophone and flute. She made her first recording in ...
[Joseph Francis ]
(b Scranton, PA, March 22, 1914; d Santa Monica, CA, May 31, 1980). American arranger and bandleader. He learned violin and piano from the age of five and while studying music at Duke University (to 1937) played in various bands. After moving to New York he assumed leadership in 1938 of Sam Donahue’s band, with which he made several recordings; his arrangement of Jimmie Meets the Count (1940, OK 5813) demonstrates his admiration for the bands of Jimmie Lunceford and Count Basie. Burke then wrote arrangements for Charlie Spivak (1940–42) and Jimmy Dorsey (1942–c1945); among his pieces for the latter band is Sunset Strip (1944, V-disc 326A). From the late 1940s into the 1970s he directed recording sessions for Decca, Reprise, Warner Bros., and his own company, Daybreak. For Decca he recorded an album of mambos (1951); his orchestra accompanied such musicians as Ella Fitzgerald (...
[Bucci, Vincent J., Jr. ]
(b Newark, NJ, March 15, 1921). American double bass player and bandleader. He taught himself violin and guitar as a child, but he took up double bass instead after having lost the use of a finger during World War II. He worked with Joe Mooney and Tony Scott, then spent three years in a trio led by the pianist Cy Coleman. After working briefly with the Sauter–Finegan Orchestra he played with Marian McPartland, with whom he recorded in 1953. From the mid-1950s into the 1980s Burke led his own swing and bop groups (mostly trios and quartets), which included numerous prominent jazzmen; his playing may be heard to advantage on Vinnie Burke’s String Jazz Quartet (1957, ABC-Para. 170). He made recordings under his own name and with John Mehegan (1952, 1955), Joe Puma (1954), Chris Connor (1954, 1957), and Eddie Costa, Tal Farlow, Don Elliott, Gil Melle, and Urbie Green (all ...
(b Lancaster, PA, April 19, 1915; d Washington, DC, Nov 19, 1964). American tenor saxophonist and bandleader. She played in a few different all-girl bands before joining the International Sweethearts of Rhythm in late 1943. She participated in the group’s USO tour in 1945 and stayed in the band until 1949. During the Sweethearts’ tour in American cities, she participated in jam sessions at local clubs and battled with such notable saxophonists as Jimmy Forrest and Gene Ammons, which black newspapers excitedly reported. She also performed with her all-star girl combo—which consisted of selected members from the Sweethearts—at the Baby Grand Café in New York in October 1948. In early 1949 she formed her own all-girl band and toured in the South, California, Nevada, and other West Coast cities over the course of three months. Burnside remained active in the early 1950s, playing at Joe’s Rendezvous in Chicago, the Parker House in Pittsburgh, and a local theatre in Panama. After moving to Washington, DC, she worked at the Musicians’ Union from ...
(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 ...
Géza Gábor Simon and Rainer E. Lotz
[Eduard; Buttler, Eddy]
(b Budapest, 1902; d Budapest, c1981). Hungarian alto saxophonist, singer, and bandleader. He learned to play piano at the age of seven and led his first band when he was 14. At 16 he began to study singing at the National Conservatory in Budapest. He performed on alto saxophone and sang as the leader of the Jolly Boys (also known as Buttola Ede Jazz-Zenekara), who toured Denmark, Norway, Germany, and Austria (1927–34) and first recorded in Copenhagen in 1929. From 1936 to 1943 Buttola made many recordings with his own big band in Budapest, including Caravan (1937, Radiola 70) and Bei mir bist du schön (1938, Radiola 116), as well as swing interpretations of music by Rachmaninov, de Falla, and Dvořák. Besides his principal activities he also played clarinet, baritone saxophone, piano, and accordion, and he was the music director of the Radiola Electro record label....
Ryan D.W. Bruce
(b Worcester, MA, June 15, 1922; d Queens, NY, Feb 11, 1999). American jazz pianist, composer, educator, and bandleader. He was technically proficient at playing rags, stomps, boogie-woogie, swing, bebop, and free jazz, but his performance career never conformed to any specific style or era. He is perhaps best known for his work with the Charles Mingus group (1962–5, 1970), with whom he recorded albums such as Mingus, Mingus, Mingus, Mingus, Mingus (1963, Imp.). He studied classical music from the age of five or six until he was 20 and began playing jazz on the trumpet when he was 16. As a jazz pianist, his early influences included Fats Waller, Art Tatum, Earl Hines, and Count Basie. After working with various groups in the 1950s, including three years with Earl Bostic around 1950, Byard recorded frequently from 1957 to 1962 with leaders such as Herb Pomeroy, Maynard Ferguson, Don Ellis, and Eric Dolphy. At this time he also recorded his first albums as a leader, ...
[Pindar, Blanche Calloway ]
(b Baltimore, 1902; d Baltimore, Dec 16, 1978). American singer and bandleader, sister of Cab Calloway. She left Morgan State College to perform in local revues in Baltimore. In the mid-1920s she worked as a soloist at the Ciro Club, New York, then toured extensively in revues. In 1925 she recorded as a blues singer accompanied by Louis Armstrong and Richard M. Jones. Calloway held residencies in Chicago, and in 1931 she performed with Andy Kirk at the Pearl Theatre in Philadelphia and recorded as the leader of Kirk’s band. She then formed her own orchestra, which included such sidemen as Puddinghead Battle, Vic Dickenson, Clyde Hart, and Ben Webster; it recorded in 1931 and again in 1934–5 and continued to tour until 1938, when bankruptcy (filed under her married name, Blanche Calloway Pindar) forced Calloway to disband. She formed a new band, which toured from January to ...
(b Oak Park, IL, May 3, 1954). American composer, conductor, educator, and author. Camphouse is one of the leading composers of works for wind band. He has served since 2006 on the faculty of George Mason University, where he conducts the Wind Symphony and teaches conducting and composition. He holds undergraduate and graduate degrees from Northwestern University, where his teachers included John Paynter (conducting), Adolph Herseth and Vincent Cichowicz (trumpet), and Alan Stout (composition).
He has composed more than 25 band works, including A Movement for Rosa; Whatsoever Things; Watchman, Tell of the Night; The Shining City; To Build a Fire; and Symphony from Ivy Green for soprano and wind orchestra. He conceived and edited the four-volume series Composers on Composing for Band. Camphouse is a member of the American Bandmasters Association and is a frequent guest conductor and clinician. He served as director of bands at Radford University (...
[Frankie; Cappuccio, Frank]
(b Worcester, MA, Aug 20, 1931). American drummer and bandleader. He began playing drums around the age of five, after an uncle, who worked at a percussion accessories factory, gave him a pair of drumsticks; later he studied music education at Boston University. Having first worked with Stan Kenton (1951) and Neal Hefti, he led a quartet in Shrewsbury, Massachusetts, and then settled in Los Angeles (1953); there he performed with the singers Peggy Lee (1953–4) and Dorothy Dandridge, Betty Hutton, and Ella Fitzgerald (all 1955–6), as well as with Billy May, Harry James, and Charlie Barnet. From 1953 to 1956 he played West Coast jazz with Stan Getz, Red Mitchell, Marty Paich, Art Pepper, and Dave Pell (with whom he recorded between 1959 and 1961), and in 1957 he joined a trio led by André Previn. Capp made several recordings with Previn from ...
[Carlone, Francis Nunzio ]
(b Providence, RI, March 25, 1903; d Mesa, AZ, March 7, 2001). American pianist, composer, arranger, and bandleader. At the age of seven he appeared as a piano soloist and in 1918 he led his first band. His graceful and relaxed piano improvisations established him with the public and earned him the nickname “the Golden Touch.” In 1933 he joined the band of Mal Hallett, which he left to join the Horace Heidt band in 1939. He formed his own big band in 1944 but abandoned it in the 1950s in favor of a smaller group. At the end of the decade Carle retired, but in 1972 he appeared briefly for a three-month tour with Freddy Martin in the show Big Band Cavalcade.
As a composer Carle has several hits to his credit, including “Sunrise Serenade,” “Carle Boogie,” “Lover’s Lullaby,” “Sunrise in Napoli,” and “Dreamy Lullaby” (co-written with Benny Benjamin and George Weiss). Carle’s arrangements were published in the collections ...
[Isaac M. ]
(b Durham, NC, March 11, 1920; d Nov 17, 1998). American pianist and bandleader. He studied piano from 1929, worked as a promoter in the South (1936–7), played with college and territory bands (1938–40), and studied classical piano at Duke University (1941) while working as a church musician and teaching piano privately. Following a period with lesser-known bandleaders he was a soloist with Boyd Raeburn (1944 – summer 1945) and then led his own octet on the East Coast, with Bud Shank, Donald Dean, and Gerry Mulligan among his sidemen (1945–6). In 1947 he formed a big band in Hollywood, which at various times included Shorty Rogers, Gerald Wilson, Lucky Thompson, Maynard Ferguson, Harry Edison, Pete Candoli, Bob Enevoldsen, Bill Holman, Jack Montrose, Ronny Lang, Harry Babasin, and Shelly Manne. It was at first known for its innovative arrangements and adventurous harmonic vocabulary, but it later played a more commercialized form of jazz; Carpenter’s playing may be heard to advantage on ...
revised by Barry Kernfeld
(b Dumfries, Scotland, April 21, 1933; d London, Feb 25, 2009). English trumpeter, flugelhorn player, bandleader, composer, writer, and teacher, brother of Mike Carr. His mother played ukulele and banjo. Carr grew up in northeast England, where he took piano lessons from the age of 12 and taught himself trumpet from 1950. After studying at King’s College, Newcastle upon Tyne (1952–60, degree, English literature, diploma, education) he served in the army (1956–8), then played with his brother in a band, the Emcee Five (1960 – August 1962). He briefly joined Don Rendell in November 1962 and, after recovering from illness, formed a long-lived quintet with Rendell from 1963 to July 1969; during this period he also worked with Joe Harriott (recording in 1969), Don Byas, and John McLaughlin. In September 1969 he formed his own band, Nucleus, which rapidly became recognized internationally for its experiments with jazz-rock. As a result of its performance at the Montreux International Jazz Festival in ...
(b Detroit, MI, Jan 3, 1969). American jazz saxophonist, bandleader, and composer. He began playing at the age of 11 and soon displayed prodigious technique. He studied with Donald Washington and attended Blue Lake and Interlochen camps as a teenager. In 1990 he moved to New York, where he recorded with Lester Bowie, Frank Lowe, and Julius Hemphill. He formed his own quartet in 1993 with Craig Taborn, Jaribu Shahid, and Tani Tabbal and made his first recordings as a leader for DIW, issued by Columbia. He joined the Lincoln Center Jazz Orchestra the following year. Subsequently, Carter was signed by Atlantic and received considerable promotion. He appeared in the Robert Altman film Kansas City (1995).
Early in his career Carter won the endorsement of both Wynton Marsalis and Lester Bowie and attracted attention as a young artist who unsually, rather than focusing on 1950s and 60s models, was interested in the style and repertoire of both the avant garde and 1930s swing musicians such as Don Byas and John Hardee. Playing saxophones ranging from sopranino to bass as well as various clarinets, he frequently makes use of extended techniques such as multiphonics and the altissimo register. His seemingly effortless virtuosity has led to some criticism that he presents more flash than substance....
revised by Howard Rye
(b New Orleans, Dec 17, 1898; d New Orleans, Jan 12, 1963). American clarinetist and bandleader. He began playing E♭ clarinet in a band led by Henry Allen, Sr. (1918–22), then joined the Eureka Brass Band (1922), with which he worked intermittently (1920s), and served as a member of the Tuxedo Brass Band (1925 – early 1930s) and the WPA Brass Band (1935–8). He also played B♭ clarinet in dance bands, and between 1922 and 1925 he was leader of a group with Henry “Red” Allen. In 1938 he founded the Young Tuxedo Brass Band, which he led until his death and with which he recorded a fine album, New Orleans Joys (1958, Atl. 1297); he appeared with the band in the film Cinerama Holiday (1953). Casimir may be heard in a small-band context, as a clarinetist and a blues shouter, on ...
Rainer E. Lotz
(b Ste. Marie, Martinique, 1906). Martinique clarinetist, bandleader, and double bass player. In 1936 he led a recording orchestra that included the trumpeter Bobby Jones as its principal soloist; among its recordings is Sweet Georgia Brown (1936, Col. DF2022). After World War II he was resident for many years at La Canne à Sucre in Paris. An exponent of French Creole music, Castandet succeeded in blending beguine and jazz. As a clarinet soloist he performed in the Antillean style, while his double bass playing was influenced by John Kirby. (A. Boulanger: Liner notes, ...
[Castaldo, Aniello ]
(b New York, Feb 28, 1915; d Hollywood, FL, Nov 16, 1990). Trumpeter and bandleader. He began working professionally in the mid-1930s using the name Lee Castaldo, and was a featured soloist with many bands, including those of Joe Haymes (1936), Artie Shaw (1936, 1941, 1950), Tommy Dorsey (intermittently, 1937–41), Glenn Miller and Jack Teagarden (both 1939), Will Bradley (1941), and Benny Goodman (l943), with whose orchestra he appeared in the film The Gang’s All Here (The Girls He Left Behind; Banana Split) (1943). From the late 1930s he also led his own bands with moderate success. Around 1942 he adopted the name Lee Castle. He joined the Dorsey Brothers Orchestra in 1953, and led it briefly. Shortly after Jimmy Dorsey’s death in 1957 the band was divided into two memorial orchestras, one under each brother’s name. Castle assumed leadership of the Jimmy Dorsey Orchestra, which he continued to lead into the mid-1980s; it appeared in ...
(b Nice, France, Jan 5, 1946). French drummer and leader. He grew up in a family of percussionists, so was naturally interested in the drums. Following some conservatory training he worked in Aimé Barelli’s orchestra on the Côte d’Azur (1964–7) and accompanied popular singers. In 1970 he moved to Paris, where he played alongside Eddy Louiss, Stan Getz, René Thomas, Slide Hampton, Dexter Gordon, Lou Bennett, and others in jazz clubs. He then formed the group Troc, toured the USA for four months with the organist Brian Auger, and made his first album as a leader (1976). At the same time he had a busy studio career, recording with such musicians as Tina Turner, Michel Legrand, and the Brecker Brothers. In 1983 he became a member of Eric Le Lann’s quartet, but left to join Didier Lockwood, with whom he remained for three years. Ceccarelli then spent a period with the Orchestre National de Jazz (...
(b Milan, Feb 18, 1934). Italian conductor. He studied at the Milan Conservatory and at the Berlin Hochschule für Musik, where he conducted a student performance of Otello. He made his professional début with Don Giovanni at the Teatro Nuovo, Milan, in 1964, and in 1966 he conducted Busoni’s Die Brautwahl at the Maggio Musicale, Florence. His performance of Rossini’s L’equivoco stravagante at the Wexford Festival in 1968 was widely admired, and in 1969 he conducted Il signor Bruschino and Gianni Schicchi at the Edinburgh Festival. The same year he made his American début with I puritani at the Chicago Lyric Opera. He appeared for the first time at Covent Garden in 1970, conducting La traviata, and at Glyndebourne in 1971 with Ariadne auf Naxos. He made his Paris Opéra début in 1973 with La bohème, and since 1975 has worked mainly in Germany. Ceccato recorded La traviata...