Historical Dictionary of Jazz. John S. Davis

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СКАЧАТЬ after receiving a master’s degree in ethnomusicology from the University of Pittsburgh. She became part of the M-Base collective in 1982, making connections between African culture, popular and more formal music, poetry, and dance, with a commitment to experimental improvisation. She recorded with Steve Coleman, Charlie Haden, Dave Holland, and Paul Motian, among many others. She spent 10 years as an educator at the University of Michigan and returned to the University of Pittsburgh in 2013 as the director of its jazz studies program. In 2014, she helped found the All-Female Jazz Residency, a summer program at the New Jersey Performing Arts Center. She was also the musical director of the Mary Lou Williams Collective, recording and performing the music of Williams. In her later years, she recorded with Terri Lyne Carrington, Esperanza Spalding, McCoy Tyner, and saxophonist David Murray.

      ALLEN, HENRY “RED” (1908–1967)

      Son of New Orleans brass band leader Henry Allen Sr., Henry “Red” Allen was one of the foremost trumpet players in the early swing style. Influenced by and in many ways seen as following in the footsteps of fellow trumpeter Louis Armstrong, Allen played in an energetic and convincing manner and was known for his innovative rhythmic freedom and idiomatic trumpet devices (trills, half-valve effects, growls, falls, etc.) that he used to create interesting and memorable solos. Red Allen moved to New York City in 1927 to play with King Oliver’s band and would soon become a featured soloist in Fletcher Henderson’s orchestra as well, demonstrating his expertise at playing the blues through the many wonderful recordings he produced with the band. Additionally, Allen recorded and played with the likes of Fats Waller, Jelly Roll Morton, Billie Holiday, and Benny Goodman. Allen continued to play and tour with his own group throughout the United States and Europe until his death in the spring of 1967. Notable recording: Swing Out (1929–1932, Topaz).

      ALLEN, STEVE (1921–2000)

      Pianist, composer, jazz aficionado, and comedian, Steve Allen was instrumental in bringing a greater audience to jazz music via television. The Steve Allen Show, which aired on NBC from 1956 to 1958, featured several broadcasts of jazz performances, including one unforgettable one with the Count Basie Orchestra from the Birdland jazz club. Allen was strongly influenced by jazz, and his love of it prompted him to feature jazz musicians as guests as often as possible. In fact, Allen was one of the first television hosts to showcase many African American jazz artists on live television. Always an avid musician and composer, Allen won a Grammy in 1963 for Best Jazz Composition for his tune “Gravy Waltz.”

      ALLISON, JOHN “MOSE,” JR. (1927–2016)

      Allison’s study of piano began at the age of five while he was in grammar school and remained a focal part of his academic life until he chose to pursue a full-time career in music. Studying first at the University of Mississippi followed by a stint at Louisiana State University (where he received a B.A. in English), Allison led a successful piano trio while completing his studies. After graduating, Allison pursued a career in music and moved to New York, where he worked with many of the cool jazz or West Coast jazz leaders, including Stan Getz, Gerry Mulligan, and Al Cohn, while also recording several albums for the Prestige record label. Allison toured Europe on and off in the 1960s and 1970s with his trio, often using local musicians to cover the bass and drum chairs.

      Allison’s legacy is tied to the musicians he influenced as much as to his own ability to perform. He is held in high regard by blues and rock musicians, including Pete Townshend (the Who), Tom Waits, and the Yardbirds. Many of his compositions, such as “A Young Man’s Blues,” “Tell Me Something,” and “I’m Not Talking,” have been recorded multiple times by artists from other genres. In the late 1990s, Allison saw a resurgence of his popularity. His music has been used in motion pictures and several collaborative efforts with musicians including Van Morrison and Ben Sidran, adding to his legacy.

      ALTO SAXOPHONE

      Pitched in E-flat, the alto saxophone is one of the dominant members of the saxophone family along with the tenor. The alto’s range is from the D below middle C to A5 (and sometimes A, depending on the model of the saxophone). Alto saxophone has been a popular instrument in jazz, with this popularity especially heightened during Charlie Parker’s prominence in the late 1940s and early 1950s. See also ADDERLEY, JULIAN “CANNONBALL” (1928–1975); STITT, EDWARD “SONNY” (1924–1982); WOODS, PHILIP “PHIL” (1931–2015).

      ALTSCHUL, BARRY (1943–)

      Altschul grew up in New York and was exposed to jazz early on through Charles Tolliver and Junior Cook—musicians who lived in his neighborhood. He took up the drums and studied with hard bop drummer Charlie Persip during his teenage years. His career continually switched between straight-ahead groups and newer modern free jazz styles. During the mid-1960s, Altschul worked with Paul Bley as well as the group Circle that featured Anthony Braxton, Dave Holland, and Chick Corea, both groups that were considered highly experimental. Altschul would work with each of the members of Circle in their own groups as well. He recorded on Holland’s album Conference of the Birds (1972, ECM), which also featured Braxton, and toured with Braxton’s quartet, which ironically also featured Holland on bass.

      From the late 1970s, Altschul freelanced with many performers including Sam Rivers, Paul Bley, Dave Liebman, Roswell Rudd, Pepper Adams, Ray Anderson, and Kenny Drew. Altschul would continue to play with Paul Bley’s groups throughout the 1980s as well as in reunion groups of all the influential groups that he had played for previously. Altschul has produced limited recording as a leader and had several notable recordings in the 1970s that included You Can’t Name Your Own Tune (1977, Muse) and Another Time, Another Place (1978, Muse). After the mid-1980s, he was rarely seen in concert or on recordings.

      ALVAREZ, CHICO (1920–1992)

      After learning piano and violin, Alvarez decided to take up the trumpet while growing up in Inglewood, California. Performing as a soloist in Stan Kenton’s band, Alvarez got his first break before serving in the army from 1943 to 1946. Following his stint in the army, he played with Kenton again before moving first to Hermosa Beach and then to Las Vegas. Alvarez worked for several hotels, backing up artists such as Ella Fitzgerald and Sarah Vaughan from 1958 to 1982. In 1985 he was a featured performer at the Sacramento Dixieland Jubilee and started his own group, the Las Vegas Jazz Band.

      AMERICAN FEDERATION OF JAZZ SOCIETIES (AFJS)

      An international nonprofit organization whose focus is to manage international communication between jazz groups by sharing information, resources, and techniques. The organization was founded in 1985.

      AMERICAN JAZZ ORCHESTRA

      Founded by Roberta Swann and Gary Giddins, the American Jazz Orchestra focused on performing music from the big band repertoire. Starting with its first concert in 1986, the group performed several concerts a year with fluid personnel based on availability and often featured themed concerts or guest artists. The music of Duke Ellington, Count Basie, Jimmie Lunceford, and Dizzy СКАЧАТЬ