(b Pisky, near Khar′kiv, 8/Sept 20, 1876; d Paris, Jan 8, 1945). Ukrainian composer and pianist. Aged ten he was sent, along with his brother Yakiv (later known as the composer Stepovy), to sing in the choir of the Imperial Chapel in St Petersburg. It was during his time there (1886–95) that he began to compose under the influence of his teachers Balakirev and Lyapunov. He finished studies with Rimsky-Korsakov and Lyadov at the St Petersburg Conservatory in 1901, the year in which the latter conducted the first performance of the Lyric Poem, op.20. Akimenko then became the director of a music school in Tbilisi (1901–03). He performed widely as a pianist, particularly in France and Switzerland, and lived for a while in Paris (1903–06) before returning to Khar′kiv. In 1914 he was invited to teach composition and theory at the St Petersburg Conservatory, a post he held until ...
revised by Luis Merino
(b Santiago, Sept 2, 1911; d Santiago, Aug 2, 1954). Chilean composer and pianist. He studied with Allende for composition and Renard for the piano at the Santiago National Conservatory (1923–35), where he then held appointments as coach at the opera department (1935), assistant professor of the piano (1937), professor of analysis (1940), and director (1945). At the same time he taught at the Liceo Manuel de Salas in Santiago. He was secretary-general to the Instituto de Extensión Musical (from 1941), a founder-director of the Escuela Moderna de Música, Santiago (1940), and a member of various arts societies. In 1943 he went to the USA as a guest of the Institute of International Education and in 1953 he was in Europe for the performance of his Wind Sextet at the ISCM Festival. His early compositions show the influences of French music and Chilean folklore; from the late 1940s his work became more Expressionist and abstract....
Saadalla Agha Al-Kalaa
(b al-Qrayya, Syria, Oct 18, 1915; d Beirut, Dec 26, 1974). Syrian singer, composer, ‘ūd player and film actor and producer. In 1924 political circumstances forced his family to move to Egypt. His mother, the noted singer ‘Aliyya al-Munther, taught him singing in the Syrian style. He studied the ‘ūd (lute) at the Cairo Institute for Arab Music. His professional work began as an ‘ūd player and singer at the national radio station and in Badī ‘a Maṣabnī's variety show saloon.
In 1941, through his sister Asmahān , he entered the cinema industry, and for the rest of his life was involved in films as a composer, singer actor, and producer. His singing of Syrian mawwāl (popular songs), tangos and rumbas achieved great popularity, and his work laid the foundations for Arab variety show films, cinematic operetta, orchestral musical overtures and comic and sad songs. His 31 films are mostly autobiographical and provide valuable insight into the role of the musician in society....
(b Edgard, LA, Dec 24, 1920). American Trumpeter, arranger, producer, songwriter, bandleader, and singer. He started his career as a trumpeter playing with established bands led by, among others, Papa Celestin, Joe Robichaux, and Claiborne Williams before joining Fats Pichon’s ensemble, considered one of the top groups in New Orleans, in 1939. During World War II he played in the 196th AGF (Army Ground Forces) Band, where he met Abraham Malone, who taught him how to write and arrange. After the war, he formed his own band in New Orleans, which made its debut at the Dew Drop Inn and later performed at Sam Simoneaux’s club Graystone where many of the city’s top instrumental players, including the drummer Earl Palmer and the saxophonists Lee Allen and Red Tyler, were showcased.
Bartholomew is best known for his talents as an arranger and songwriter. In the 1950s and 60s he worked with many of the biggest stars of the day, including Smiley Lewis, Lloyd Price, Shirley and Lee, and Joe Turner. By the 1970s he had associations with some of rock and roll’s most established talents, including Paul McCartney, Elton John, and the Rolling Stones. His most productive association was with fats Domino, whom he met through Lew Chudd, the owner of Imperial Records, where he worked as a house arranger, an A&R man and an in-house bandleader. From ...
H. Wiley Hitchcock
(fl 1785–95). Cellist, guitarist, singer, impresario, and composer of French origin, active in Philadelphia and New York. He is first mentioned in 1785 as a manager of subscription concerts in Philadelphia. He organized similar concerts in New York, generally in series of three: in 1788–89, with Alexander Reinagle as co-manager; in 1791–92; and in 1793–94 (the City Concerts, presented at the City Tavern). He performed in these as the soloist in cello concertos, as a member of chamber duos and quartets, and as a singer (often in duets with Mary Ann Pownall); he also played cello in the Old American Company’s orchestra. In the early 1790s, he was a music tutor of George Washington’s stepdaughter Nelly Custis, while in 1793 he became the co-manager with John Christopher Moller of a music store and school in Philadelphia, considered the first of its kind in America. Capron and Moller published four issues of ...
[Colón Román jr, William Anthony; ‘El malo’]
(b South Bronx, New York, April 28, 1950). American bandleader, composer, arranger, trombonist, popular singer, producer and actor. Dubbed ‘El malo’ (the ‘bad boy’) of salsa, he began playing the trumpet in 1963 with the teenage band the Dandees. Switching to trombone, he made his professional début at 17 with the album El malo (Fania, 1967). Both as a bandleader and a member of the Fania All-Stars, he quickly moved to the fore of the burgeoning New York salsa scene, cementing the raw, trombone-heavy ‘New York sound’ inspired by earlier artists such as Eddie Palmieri and Mon Rivera. Between 1967 and 1973 he made a series of important recordings with vocalist Hector Lavoe, which included the albums Asalto Navideño I and II (Fania, 1972 and 1973) with cuatro virtuoso Yomo Toro, where traditional Puerto Rican Christmas aguinaldos were fused with salsa. During his second period (...
[Laka D; Koc, Dorota Mary]
(b Oxford, England, Jan 8, 1953). English singer, pianist, composer, and music director. From a background in rock and soul bands, notably Soulyard, from 1982 to 1988 she was a member of the Guest Stars, in which she played piano and sang; she also wrote much of the group’s material. In 1982 she co-founded the Lydia D’Ustebyn Swing Orchestra, was an organizer of Early Evening Jazz, the first women’s jazz festival held in London (at the Drill Hall), and sang in the a cappella group the Hipscats (comprising five singers, including Jan Ponsford, Jim Dvorak, and Ruthie Smith, and later the pianist Alastair Gavin). An intermittent affiliation with Carol Grimes involved work in her band and in a duo. She sang and played piano with Annie Whitehead, with whom she recorded the album Mix Up (1985, Paladin 6), then led her own band, which included Claude Deppa. In the 1990s she played with Mervyn Afrika, Kate Westbrook, the percussionist Josefina Cupido, and the saxophonists Louise Elliot and Diane McLaughlin, composed and directed music for stage shows, and taught. Laka Daisical is a propulsive pianist and exciting performer heavily influenced by African-American gospel music, as exemplified by ...
revised by Cecilia Sun
(Peter George St John Le Baptiste de la Salle )
(b Woodbridge, UK, May 15, 1948). English composer, singer, keyboard player, sound artist, and producer. He attended art school in Ipswich and Winchester, during which time he was inspired by John Cage’s Silence to develop an interest in experimental music. He later joined the Scratch Orchestra and the Portsmouth Sinfonia. He first worked professionally from 1970 to 1973 with the seminal art-rock band Roxy Music, playing keyboard on their first two albums Roxy Music (Island, 1972) and For your Pleasure (Island, 1973). By treating the group’s live sound electronically with a tape recorder and VC5 3 synthesizer, he defined a role for himself as an “aural collagist.” After leaving Roxy Music, Eno developed this interest in the timbral quality of music further with the albums No Pussy Footing (Island, 1973; with Robert Fripp) and Another Green World (Island, 1975), the latter a brilliant combination of quirky songs and pastoral instrumentals. In ...
Renee Lapp Norris
(b 1823, in Lancaster or Philadelphia, PA; d Chillicothe, MO, Sept 10, 1868). American composer, manager, arranger, singer, and pianist. Of German ancestry, Kneass began his career as a child, appearing in 1828 in Philadelphia. By the early 1840s, he was performing vocal concerts in New York with a group that included Mrs. Eliza Sharpe (whom he may have married), George Holman, and Joseph H. Kavanagh. In the autumn of 1844, Kneass, Holman, and Kavanagh sang in the chorus for the American premiere of Michael William Balfe’s opera The Bohemian Girl. In the spring of 1845, Kneass directed and performed as a blackface minstrel with the Ethiopian Troupe of Burlesquers, which also included Sharpe, Holman, and Kavanagh. They performed opera parody skits at Palmo’s Opera House in New York City, including The Virginian Girl, a parody of The Bohemian Girl. During the next several years, Kneass performed with the New Orleans Serenaders, a troupe known for its opera parodies, and managed the Sable Harmonists, which toured the American South and the British Isles. In ...
(b Corfu, Feb 27, 1864; d London, Feb 25, 1932). Greek composer, pianist, music director, and choir director. He studied in Naples (Conservatorio S Pietro a Majella) and right afterwards he settled in Athens, teaching music and conducting choirs. His exuberant musical activity fertilized the theatre life of the Greek capital. His rivalry with the choir director Lodovico de Mento led the theatre troupes of the era to engage choirs and small orchestras performing live music on stage. Soon he composed incidental music not only for Komeidyllio (a Greek version of the French vaudeville), but also for ancient dramas. He was conductor of the first opera troupe in Athens and also composed choral church music, which, however, elicited strong resistance. He published a music magazine (Mousiki Ephimeris) and he wrote a lot of songs setting to music works of significant Greek poets. He also collaborated with the vaudeville author Dimitrios Kokkos, who was a self-taught composer. In ...
[Pincus, Barry Alan ]
(b Brooklyn, NY, June 17, 1943). American Singer, composer, pianist, and producer. Manilow’s professional career began while he was a student at the Juilliard School. His first major assignment came in 1964, when he composed the score to a musical adaptation of The Drunkard. He was also a successful composer of advertising jingles, winning two Clio awards in 1976. By the late 1960s Manilow became the music director and conductor for numerous television programs while simultaneously performing a nightclub act in New York. Finding success as a performer and songwriter, he collaborated at this time with Bette Midler and also produced her first two albums. In the early 1970s Manilow started his own record company, Bell Records, which released his first album, Barry Manilow (Bell, 1973). His first successful single, “Mandy,” from Barry Manilow II (Bell, 1974) was followed by “I Write the Songs” (1975...
[Melvin James ]
(b Battle Creek, MI, Dec 17, 1910; d New York, NY, May 28, 1988). American arranger, composer, producer, bandleader, trumpeter, and singer. Growing up as an African American musician in Zanesville, Ohio, Oliver was self taught as a trumpeter and arranger. After playing in territory bands in and around Zanesville and Columbus, he became a member of Jimmie Lunceford’s orchestra in 1933. His charts for the Lunceford band were distinguished by contrasts, crescendos, and unexpected melodic variations, thereby setting new standards in big band swing and close-harmony singing. His use of two-beat rhythms also set his arrangements apart.
In 1939 Oliver was hired by the trombonist Tommy Dorsey and turned his band into one of the hardest swinging and most sophisticated ensembles of the early 1940s. In 1946 he started his own big band. During the late 1940s and 1950s he mainly did studio work, as a music director for the labels Decca, Bethlehem, and Jubilee. He continued to lead big bands and smaller ensembles, recycling his old Lunceford and Dorsey successes and performing new arrangements. Along with Duke Ellington and Fletcher Henderson, Oliver must be rated one of the top arrangers of the swing era and infused almost every chart with vigor and surprise....
Olivia Carter Mather
[Alvis Edgar ]
(b Sherman, TX, Aug 12, 1929; d Bakersfield, CA, March 25, 2006). American country musician and businessman. He is widely considered the central figure of the Bakersfield sound, and his dominance of the country charts in the 1960s challenged Nashville’s hegemony and bolstered the West Coast country scene in Bakersfield and Los Angeles. During the 1950s he worked as a guitarist and session player for several Bakersfield artists before signing with Capitol Records in 1957. In 1963 he began a streak of 14 consecutive number-one country hits with “Act Naturally,” which was later covered by the Beatles. Other hits included “Together Again” (1964), “I’ve got a tiger by the tail” (1965), and a cover of “Johnny B. Goode” (1969).
Owens’s songs eschewed themes of hard living and rambling for a portrayal of the male subject as a lonely victim of romance. With his backing band, the Buckaroos, he developed a bright, driving sound which he described as a freight train feel: heavy bass and drums accompanying two Fender Telecaster electric guitars played by Owens and the guitarist Don Rich. The twangy Telecaster sound and high, close harmony of Owens and Rich characterized many of his recordings. The Buckaroos both toured and recorded with Owens, a contrast to country norms. Owens thus established an alternative to the popular “countrypolitan” sound produced in Nashville (he also never joined the “Grand Ole Opry”); in doing so he inspired such country-rock musicians as Gram Parsons and the Flying Burrito Brothers. He also marketed himself as a hard-country artist free of pop influence; in ...
[Bridges, Claude Russell]
(b Lawton, OK, April 2, 1942; d Nashville, Nov 10, 2016). American singer, songwriter, keyboard player, and producer. He is well respected for his solo work—a mix of rock, folk, and country music—but his work as a session musician also brought significant recognition. He began playing piano at the age of four and was playing in clubs in Tulsa as a high school student. His band, the Starlighters, managed to score a spot as the opening act for Jerry Lee Lewis in 1959. Russell moved to Los Angeles the same year and quickly established himself as a session musician, notably with the Wrecking Crew the group of musicians Phil Spector used to accompany his artists. With the Wrecking Crew, the accompanied artists such as the Byrds, Herb Alpert, and Gary Lewis and the Playboys. The keyboard player on hundreds of recordings, he opened his own recording studio in ...
[Ragsdale, Harold Ray ]
(b Clarkdale, GA, Jan 24, 1939). American singer-songwriter, multi-instrumentalist, producer, arranger, music publisher, television star, and entrepreneur. Harold Ragsdale began his musical career with a high school band that played R&B songs by the Coasters, Drifters, and other R&B groups. In 1955 the family moved to Atlanta, where publisher Bill Lowery signed him as a songwriter and secured his first recording contract with Capitol Records; Capitol’s Head of A&R, Ken Nelson changed Ragsdale’s name to Ray Stevens. After attending Georgia State University, where he studied music, Stevens had his first success with his recording of “Jeremiah Peabody’s Poly Unsaturated Quick Dissolving Fast Acting Pleasant Tasting Green and Purple Pills” (Mercury, 1961). In 1962 he moved to Nashville, supplementing his own recording career with work as a session musician, arranger, and background vocalist. He garnered a number-one pop hit and his first Grammy with his recording of “Everything is beautiful” (Barnaby, ...
Howard Rye and Alyn Shipton
[Calhoun, Charles E. [Chuck]]
(b Atchison, KS, Nov 16, 1901; d Altamonte Springs, FL, April 1, 1999). American bandleader, singer, pianist, arranger, and record producer. He was brought up in St. Joseph and Kansas City, Missouri, and began his professional career at the age of five as a singer and dancer in a traveling variety act with his parents, who gave him a formal musical education. Having played piano in a trio with the saxophonist Theodore Thyus, he formed his first band, the Blues Serenaders, in 1918, initially a quartet of piano, drums, violin and cello, though it later developed into a larger ensemble with woodwind and brass; Coleman Hawkins played cello and later C-melody saxophone with the band. Stone directed, played piano, and arranged music for the group, which performed a variety act in the St. Joseph area that involved dancing and conjuring tricks; with the help of the agent Frank Rock, he established an early network of venues for touring appearances, and in the early 1920s he pioneered jazz radio broadcasting in St. Joseph. He continued to lead the Blues Serenaders until ...
(b New Orleans, LA, Jan 14, 1938). American songwriter, producer, arranger, pianist, and singer. It would be difficult to imagine what the repertoire of contemporary New Orleans–based popular music would be, were it not for the prolific pen of songwriter Allen Toussaint. He has been responsible for the writing, and in many cases the production, of any number of the city’s best-known and best-loved songs, including “Mother-in-Law” (Ernie K-Doe), “Fortune Teller” (Bennie Spellman), “Working in the Coalmine” (Lee Dorsey), and “Ruler of my Heart” (Irma Thomas). Born in the Gert Town neighborhood of New Orleans, Toussaint received his initial professional break at the age of 17 when he filled in for Huey “Piano” Smith in a performance by Earl King’s band. He soon thereafter recorded an album of instruments under the pseudonym Al Tousan, which included the popular “Java,” re-recorded by Al Hirt. Initially, Toussaint established a professional relationship with local entrepreneur Joe Banashak and wrote numerous songs for his Minit and Instant labels. After those concerns broke up, he formed a firm variously known as Tou-Sea, Sansu, Deesu, or Sansu along with Marshall Sehorn. They also co-founded the Sea-Saint recording studio in ...