(b New York, NY, June 28, 1903; d Homestead, FL, May 15, 1956). American jazz bass saxophonist and vibraphonist. He was originally a pianist and xylophone player, and worked from 1922 to 1927 with the California Ramblers, with whom he made hundreds of recordings. While with this band he bought his first bass saxophone, and specialized on this instrument throughout the 1920s and early 1930s; he also provoked admiring astonishment among fellow musicians by playing jazz on novelty instruments such as the “hot fountain pen” and the “goofus” (an instrument resembling a toy saxophone and made by Couesnon in France during the 1920s). In these years he became one of the first outstanding white jazz musicians; his adept improvisations on the unusually cumbersome bass saxophone were melodically inventive and possessed rhythmic vitality and swing. He is best remembered for his series of recordings with Bix Beiderbecke, wherein he displays considerable adroitness, both in the improvised ensembles and in his solos. During the 1930s he began to concentrate on playing vibraphone; he never rose above competence on that instrument, however, whereas in his by then rare performances on bass saxophone he still showed mastery. The last years of his life were spent mainly playing commercial engagements in Florida. His brother Art Rollini was a tenor saxophonist with Benny Goodman’s band....
Daniel John Carroll
[McDaniel, Rudy ]
(b Hempstead, NY, June 11, 1956). American jazz electric bass guitarist. His name was Rudy McDaniel until his conversion to Islam. Tacuma began playing the bass at the age of 13 and by the age of 19 was a member of Ornette Coleman’s band Prime Time, an experience that he has described as revelatory. He also recorded his own albums Showstopper (1983), (In the) Nightlife (1983), Renaissance Man (1984), Music World (1986), and Jukebox (1988) for Gramavision. He also played in a duo, Drummer Exchange, with the drummer Cornell Rochester. In addition to performing in traditionally composed jazz ensembles, Tacuma has utilized less conventional instruments in his groups such as the Japanese shamisen and koto and Korean drums. He has also integrated elements of rap with jazz. He describes himself as a musician in a never-ending pursuit of the full potential of the electric bass, rather than confining himself to a background position in an ensemble. This aim is supported by his solo technique: upbeat, highly pointed, and exploiting the full tonal range of the bass....