Historical Dictionary of Jazz. John S. Davis

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СКАЧАТЬ Tania Maria, Chick Corea, and Joni Mitchell during the early 1980s. Since then, Acuña has performed primarily as a studio musician while branching out into education. He has taught on the faculties of the University of California, Los Angeles, and the Berklee College of Music and has released several instructional videos.

      ADAMS, PARK FREDERICK “PEPPER” (1930–1986)

      Adams was a baritone saxophone player and composer. Born in Highland Park, Michigan, he began playing tenor saxophone at the age of 16 while living in Detroit. In 1947, Adams bought a used baritone saxophone using his employee discount while working at a local music store and adopted it as his main instrument, soon thereafter joining the band of Lucky Thompson. He attended Wayne State University for two years and moved to New York City in 1956. The following year, Adams began playing with the band of Stan Kenton. Later in his career he would go on to play with the big bands of Benny Goodman, Maynard Ferguson, and the Thad Jones–Mel Lewis Orchestra. Adams was a three-time Grammy Award nominee, was named Baritone Sax Soloist of the Year in 1982 in the DownBeat magazine Critics Poll, and won the award for best baritone saxophonist in DownBeat’s International Critics Poll on four consecutive occasions. During his career he composed 43 pieces and was the leader on 18 albums. He recorded as a sideman with trumpet player Blue Mitchell, Charles Mingus, drummer Elvin Jones, pianist Red Garland, and trumpeter Chet Baker, among others. Adams played his final performance on July 2, 1986, as part of the Montreal Jazz Festival and passed away from lung cancer nine weeks later.

      ADDERLEY, JULIAN “CANNONBALL” (1928–1975)

      A major band- leader and sideman of the hard bop era, Cannonball Adderley was a highly influential alto saxophonist with a style of playing accessible to many. Originally from Tampa, Florida, he moved to New York City in 1955, gaining acclaim and launching his career from that point. Shortly after moving to the city, he tried to create a quintet with brother and cornetist Nat Adderley but did not find much success early on. However, with his exuberant tone and blues-rooted improvisations, he was soon noticed by trumpet player Miles Davis and joined the Miles Davis Sextet in October 1957.

      His work with the Miles Davis group included participation in the two definitive albums Kind of Blue and Milestones. Adderley worked as a band- leader with his quintet/sextet during 1959–1966, which featured his brother, Nat Adderley, along with a handful of renowned musicians, including Bobby Timmons, Joe Zawinul, Victor Feldman, Sam Jones, Louis Hayes, and Charles Lloyd, among others. The late 1960s began to reflect an influence of electric jazz and avant-garde jazz in Adderley’s playing. Adderley died from a stroke in 1975 and was soon thereafter inducted into the DownBeat Jazz Hall of Fame. He still remains one of the greatest influences on alto saxophonists today. Notable recordings: Somethin’ Else (1958, Blue Note); Phenix (1975, Fantasy); and Mercy, Mercy, Mercy (1996, Capitol rerelease). See also SOUL JAZZ.

      ADDERLEY, NATHANIEL “NAT” (1931–2000)

      Nat Adderley was a hard bop cornetist and trumpet player who played in a style influenced by Miles Davis. Adderley played in his brother Cannonball’s original group and then went on to work as a sideman with vibraphonist Lionel Hampton, trombonist J. J. Johnson, and clarinetist Woody Herman. He joined the Cannonball Adderley quintet in 1959 and remained with the group until 1975. Many great compositions, including “Work Song” and “The Old Country,” were written by Adderley during this time. After his brother’s death in 1975, he continued to play with his own groups and recorded extensively with such artists as Ron Carter, Johnny Griffin, and Sonny Fortune, including an exciting group he led with trombonist J. J. Johnson. Adderley joined the faculty of the Florida Southern College in 1997 as an artist in residence, just three years before dying from complications of diabetes.

      ADLER, LARRY (1914–2001)

      Adler took up the harmonica at age 10 and began performing professionally as a teenager in New York. Sir Charles Cochran, a theater manager from Sussex England, heard Adler perform at the age of 20 and recruited him to move to London to perform in one of Cochran’s revues. Adler further refined his harmonica skills as a classical performer and quickly gained recognition as an elite performer. Malcolm Arnold, Darius Milhaud, Vaughn Williams, and Gordon Jacob all wrote pieces for Adler as a featured soloist with orchestra. Toward the later part of Adler’s career, he began teaching in addition to composing more. Some of his work is captured on the scores to the films Genevieve and King and Country.

      AFFINITY

      A post-bop quartet made up of Bobby Lurie (drums), Rob Sudduth (tenor saxophone), and a rotating bass chair of Michael Silverman and Richard Sanders, led by soprano saxophonist Joe Rosenberg. Inspired by the work of Ornette Coleman and other free jazz leaders, much of the material is targeted toward collective intellectual improvisation. The repertoire of the group ranges from free jazz artists Eric Dolphy and Anthony Braxton to straight-ahead artists including Art Blakey and Cedar Walton.

      AFRO-CUBAN JAZZ

      A style arising out of New York City, Afro-Cuban jazz consists of a blending of Cuban and African polyrhythms with jazz improvisation. At the center of the rhythmic identity of Afro-Cuban jazz is the clave, an offbeat, repeated rhythmic pattern. Although Cuban music remained separate from swing music prior to the 1940s, the rise of bebop in 1945 included an increased influence and incorporation of Afro-Cuban styles. The collaboration between bebop trumpet player Dizzy Gillespie and Cuban percussionist Chano Pozo in Gillespie’s orchestra proved significant in the rise of the genre, producing such tunes as “A Night in Tunisia,” the original version of “Manteca,” and “Tin Tin Deo.” Gillespie remained at the forefront of the genre throughout his career, later working with other artists in Afro-Cuban jazz including Paquito D’Rivera and Arturo Sandoval. See also LATIN JAZZ.

      AIRTO

      See MOREIRA, AIRTO (1941–).

      AJAX RECORDS

      A record company founded by H. S. Berliner in 1921. Berliner had recording studios in Montreal, Canada, and New York City. Poor distribution to the southern and central areas of the United States led to a short business life of the company. Prior to their closing in 1926, Ajax cut records for artists Rosa Henderson, Edna Hicks, and Mamie Smith.

      AKINMUSIRE, AMBROSE (1982–)

      A trumpet player, Akinmusire was born and raised in Oakland, California, and attended Berkeley High School. He caught the attention of saxophonist Steve Coleman while Coleman was presenting a workshop at the school and was hired by Coleman as a member of his Five Elements band for a European tour. Akinmusire was also a member of the Monterey Jazz Festival’s Next Generation Jazz Orchestra. Akinmusire studied at the Manhattan School of Music in New York and returned to California to begin studies for a master of music degree at the University of Southern California in Los Angeles, attending the Thelonious Monk Institute of Jazz. He won both the Thelonious Monk СКАЧАТЬ