(b Helsingborg, Sweden, Feb 26, 1942). Swedish tenor and soprano saxophonist and leader. After studying accordion from the age of ten he started on tenor saxophone when he was 14. He gradually evolved into a professional musician, working in Stockholm and his home-town Uppsala with groups led by Bosse Broberg (1962–7), Gugge Hedrenius (1963–5), Jan Johansson, Arne Domnérus, Red Mitchell (1969–71), and others. In 1967 he was a founding member of Radiojazzgruppen (ii), of which he became the leader early in the 1980s; the band maintained its activities well into the 1990s, in spite of diminishing support from the broadcasting company. From 1972 to 1992 Åberg led the quartet Rena Rama with Bobo Stenson. He also worked frequently with Okay Temiz in the group Oriental Wind, and he participated in a variety of musical projects and recordings led by George Russell, Bob Brookmeyer, Lars Gullin, Ed Thigpen, and many others. Åberg has composed and recorded music for large ensembles, and from the early 1990s he has led several groups. He has served as artistic director of several jazz festivals in Stockholm....
revised by Barry Kernfeld
(bBaltimore, March 10, 1923; dLos Angeles, Jan 27, 2000). Pianist. He studied piano at the Manhattan School of Music. After playing french horn in an army band he returned to New York, where he worked with Snub Mosley (1948), Wilbur De Paris (1948–9), Kai Winding and Bill Harris (1951–2), Chuck Wayne (1952), Sy Oliver, and Louie Bellson (1954); he also recorded with Eddie South (1947) and Louis Armstrong (1951). From 1954 to 1957 he toured and recorded with Ella Fitzgerald (he may be seen accompanying her in the film Pete Kelly’s Blues, 1955), and after a brief period of freelancing he worked from 1958 to 1959 as accompanist to Carmen McRae. During these years he recorded with groups led by Benny Carter and Oscar Pettiford (both 1955), in a leaderless rhythm section with Jimmy Raney, Pettiford, and Kenny Clarke for the educational Music Minus One label (also ...
(fl 1546–87). Italian lutenist and composer. ‘Pestrin’ is Venetian dialect for ‘mill’ or ‘dairy’, and it has been thought that this may indicate his family’s occupation and Venetian origins; more recent evidence suggests that the name refers to his residence in Calle del Pestrin in the parish of San Stefano. He published at least seven volumes of solo lute music, of which only three are extant. A book of lute music by ‘Pestrin’, now lost, is listed in Vincenti’s catalogue of 1591; that this is by Abondante is confirmed by Giunta’s catalogue of 1604. Because of the different forms of Abondante’s name and the 41 years that elapsed between the publication of the first and fifth books, Eitner mistakenly concluded that ‘Julio Abondante’, composer of the first two books, and ‘Giulio Abundante, detto dal Pestrino’ or ‘Giulio dal Pestrino’, composer of the fifth book, were different musicians. In the dedications of his ...
Gary W. Kennedy
(b Beirut, Aug 17, 1957). Lebanese ’ūd player and leader. He was classically trained on ’ūd and flute, and continued to study flute when he moved to Munich at the outbreak of the Lebanese civil war in the late 1970s. He made two albums as a flute player, one in a duo with the pianist Michael Armann (1981), but neither attracted much attention, so Abou-Khalil resumed playing the ’ūd. In 1986 he recorded as the leader of a seven-piece group which included Charlie Mariano, Glen Moore, and the percussionist Glen Velez, all of whom have taken part in his later recordings. Among his other guests have been Kenny Wheeler and Steve Swallow, and Sonny Fortune toured and recorded as a soloist with him in 1988 and 1990. In the 1990s he led a group with the harmonica player Howard Levy, Michel Godard, Mark Nauseef, and the Syrian percussionist Nabil Khaiat; its combination of ...
(b Apatin, Hungary, Nov 2, 1892; d Hamburg, May 6, 1960).Hungarian composer. He studied at the Budapest Academy of Music (1910–16) and began as a composer of serious orchestral and chamber music, a cello concerto being performed by the Budapest PO and a string quartet at the 1922 Salzburg Festival. In 1927, however, he was appointed conductor at the Budapest Operetta Theatre, where he was called upon to write numbers for various operettas. Viktória (1930), a work making use of the dance styles of the time, enjoyed huge popularity and led to a move to Germany, where his success continued with his score for the film Die Privatsekretärin (1931) and the operettas Die Blume von Hawaii (1931) and Ball im Savoy (1932). However, the rise of Hitler forced him to leave Germany, at first for Vienna where the operettas ...
(b Mons, Belgium, 1962). Belgian trombonist and leader. He studied piano and guitar and at the age of 15 played piano in an amateur band; he then took up trombone (on which he is self-taught) and joined a succession of dixieland bands, including that of Claude Luter. In 1984 he turned to modern jazz as an occasional soloist with Félix Simtaine’s Act Big Band and the BRT (Belgische Radio & Televisie) Big Band and as the leader of a quartet; the latter group appeared at clubs and festivals, recorded its first album in 1986, and toured Europe from the late 1980s. Abraham joined Guy Cabay’s quintet in 1989. In the 1990s he appeared on television as a guest artist with a big band in Moscow, and he recorded with his quartet (including the albums Stapler, 1991, Igloo 091, and En public, 1996, Lyrae 9703007), as well as with Michel Herr’s big band (...
(b Cape Town, June 26, 1947). South African drummer, percussionist, singer, and leader. Known first for his singing, he developed as a drummer by accompanying other singers in Cape Town and playing with the quartet led by the pianist Cecil May. In 1962 he joined the Coon Carnival stage show. He then spent seven years in Swaziland, where he played bop with the pianists Roy Peterson and Howard Belling and accompanied Sarah Vaughan and Nancy Wilson. In 1975 he traveled to England and worked in variety and dance bands before joining Dudu Pukwana’s group Zila. In 1981 he founded the trio District Six with Mervyn Afrika and the guitarist Russell Herman, both of whom grew up in the District Six area of Cape Town; with Abrahams as its leader, the trio expanded to a sextet (including Jim Dvorak from 1983 to 1993 and Claude Deppa at some point thereafter) and became an important focus for musicians who played both jazz and African rhythms. Abrahams also worked with Ronnie Scott, John Taylor, Johnny Dyani, and the Brotherhood of Breath. In ...
(b Oamaru, New Zealand, April 9, 1961). Australian keyboard player. Having moved with his family to Australia in 1964 he began taking piano lessons at the age of five; his early inspirations included the boogie-woogie pianists and Teddy Wilson. He took Australian citizenship in 1975. During high school he heard Red Garland on a recording by Miles Davis, which led him to contemporary jazz. He attended the New South Wales Conservatorium of Music, where he formed The Benders with fellow students Dale Barlow, Lloyd Swanton, and the drummer Andrew Gander; the quartet recorded three albums in the first half of the 1980s. Abrahams was also involved with an improvised music collective, the Keys Music Association, which saw the start of an important association with Mark Simmonds. With the saxophonist Jason Morphett having replaced Barlow, The Benders recorded two more albums (1983, 1985), then toured India, Europe, and Cuba before disbanding. In those same years Abrahams recorded as an unaccompanied soloist, and in ...
(b Brande, Jutland, April 9, 1893; d Copenhagen, Feb 17, 1949). Danish musicologist. After studying at the Royal Danish Conservatory of Music (1910–13), where he graduated as an organist, he was organist and choirmaster at the Luther Church (1914–24) and head of the music division of the Copenhagen Royal Library (1916–21). As a student he attended Hammerich's lectures in music history at Copenhagen University (there was no degree course in music history until 1915) and in 1917 he became the first MA in musicology in Denmark, graduating with a dissertation on the transition from Catholic to Protestant liturgy in Denmark in the 16th and 17th centuries. During his years at the Royal Library he began to study its large collection of Latin liturgical fragments on the basis of which he tried to reconstruct the Danish medieval liturgy and to provide a demonstration of Peter Wagner’s theory of the two traditions, Roman and Germanic, of Gregorian chant. He submitted this as a doctoral dissertation to the university in ...
(b Yerevan, March 8, 1932). Armenian cellist and teacher. She studied first at the Yerevan Central Music School (where her teachers were K. Khizanov and L. Grigoryan) and then with Grigoryan at the Komitas Conservatory in Yerevan (1950–53). She continued her studies with Rostropovich at the Moscow Conservatory (1953–6) and became a laureate of the H. Wihan International Cello Competition (1955). In 1956 she made her début as a soloist with the Armenian PO, and has performed regularly with the orchestra since then. In 1960 she became professor of cello at the Yerevan Conservatory. She has performed widely in Russia, the USA, Canada and Western Europe, as a soloist and during numerous festivals, specializing in 20th-century works, notably those by Armenian composers. She has given premières of some 100 works, a number of which are dedicated to her. Her playing is distinguished by refinement of intonation, a broad range of colour and a strong dramatic impetus....