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Jeff Pressing, John Whiteoak and Roger T. Dean

Selected recordings (recorded for Cherry Pie unless otherwise indicated) Duos with D. Burrows This Time Tassie (1979, 70201-2) As sideman D. Burrows: The Don Burrows Quartet at the Sydney Opera House (1974, 1017) J. Sangster: Australia and All that Jazz, ii (1976, CPF 1027) S. Grappelli: Steph’ n’ Us (1977, 1032) Bibliography A. Bisset : Black Roots, White Flowers: a History of Jazz in Australia (Sydney, 1979, rev. 2/1987) B. Johnson : The Oxford Companion


David Flanagan

as trombonist and arranger for Georgie Auld, Buddy Rich, and Benny Goodman (all 1949 ) and Charlie Ventura and Teddy Powell ( c 1950 ). He then joined the staff of WMGM in New York to write music for radio and television and undertook similar work for Ray Ventura in Paris, where he also recorded an album as the leader of a small group ( Jazz on the Left Bank , 1956 , Phi. B081124). Later he returned to Europe as a member of Quincy Jones’s orchestra and played for Harold Arlen’s blues opera Free and Easy ( 1959–60 ). From 1960 to 1965 Byers was Jones’s assistant


Lars Westin

theatre and eventually for string quartet and other chamber ensembles; his opera Balagantjyk received its première in Stockholm in 1985 , and his requiem, För levande och döda (For the living and the dead), based on poetry by Tomas Tranströmer, was performed in several Swedish cathedrals in the 1990s. He was much in demand as a teacher in colleges in Stockholm, Malmö, and elsewhere; his mission, as he put it, was “to re-establish the musical climate from the era of Bach and before, when all professional musicians were improvisers and composers as well as interpreters


Val Wilmer

Hutchinson, and Cab Kaye. After moving to Paris he worked with George Johnson, Peanuts Holland, Don Byas, Pierre Michelot, and Kenny Clarke; he also toured with Bill Coleman ( 1953–4 , 1956 ). Wilson toured Italy with the European All-Stars (a sextet including Reece, Guy Lafitte, and Wallace Bishop), and on the French Riviera he joined the opera orchestra of the dancer Katherine Dunham. Based in Germany from 1957 to 1959 , he was featured on stage and radio there, in Belgium, and in the Netherlands. As a leader he played in Poland, and in Vienna he introduced cool jazz


Joachim E. Berendt

revised by Wolfram Knauer

Mangelsdorff (with whom he also occasionally performed in the German All Stars), and, from 1986 , collaborated with the songwriter Konstantin Wecker. In his early work Dauner’s piano playing showed traces of Bill Evans (ii) and Paul Bley, but he soon developed an individual virtuoso style combining intense free improvisation with lyrical and meditative passages. His compositions in the mid- to late 1960s made use of jazz and contemporary art music, and often incorporated elements of theatre, opera, and dance; Free Action (originally performed at the Berliner Jazztage


Barry Kernfeld

Lemon Drop was recorded by Woody Herman ( 1948 ), Gene Krupa ( 1949 ), and Woods ( 1957 ), and Godchild by Winding and Miles Davis ( 1949 ); both were performed frequently. Selected recordings As unaccompanied soloist on Metronome All Stars: Metronome All Stars, 1956 (1956, Verve 8030), Lady Fair; Virtuoso (1984, Interface 7092) As leader George Wallington Trio (1951, Prog. 3001); George Wallington Trio (1952, Prst. 136), incl. Tenderly [unaccompanied solo]; The Workshop of


H.L. Lindenmaier and Barry Kernfeld

these allowed him to concentrate in the years 1995–8 on writing, presenting on tour, and recording an ambitious improvisational opera, The Cry , based on the writings of the feminist Bangladeshi poet Taslima Nasreen. He returned occasionally to the USA through the 1990s, touring not only with his sextet and trio, but also as an unaccompanied soloist and in a duo with Aebi, and appearing in New York late in the decade as a participant in all-star tributes to Thelonious Monk. In October 1997 he played with Rudd again in a concert with the ICP orchestra in the Netherlands