Historical Dictionary of Jazz. John S. Davis

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СКАЧАТЬ 1987 to 1992 the group featured the music of living composers such as Benny Carter, Gerald Wilson, Muhal Richard Abrams, Jimmy Heath, and David Murray. The orchestra was eventually forced to shut down operations in 1993 when funding problems arose.

      AMERICAN RECORD COMPANY (ARC)

      Formed in 1929, ARC was produced as a result of the combination of several smaller companies. The Cameo Record Corporation, Pathe Phonograph and Radio Corporation, Plaza Music Company, and Scranton Button Company all merged to form the American Record Company. From 1929 until 1938, ARC was seen as a label that produced cheap records (often capitalizing on fallout from the Great Depression) until the label was purchased by the Columbia Broadcasting System (CBS) in 1938. As a result of this transaction, CBS moved many of the records that had been successful on ARC to their more popular labels, Columbia and OKeh.

      AMMONS, ALBERT (1907–1949)

      Considered one of the masters of the blues-based boogie-woogie style, Ammons was a successful and influential pianist from the late 1920s until his death in 1949. After moving from Chicago to New York City in the late 1930s, Ammons worked with fellow boogie-woogie pianists Pete Johnson and Meade Lux Lewis, whom Ammons had known well in Chicago. Together they formed the Boogie Woogie Trio, performing at Carnegie Hall and regularly at the famous Café Society in New York. Ammons was known for his powerful and enigmatic piano style that can be heard in his classic recordings of “Boogie-Woogie Stomp” and “Pinetop’s Boogie-Woogie.” He continued to perform regularly and tour as an artist throughout the 1940s, despite the declining public interest in the boogie-woogie style, and performed at the inauguration of President Harry S. Truman in 1949. After his death in 1949 at the age of 32, Ammons would prove to have a great influence on an emerging generation of pianists, including the likes of Ray Bryant and Erroll Garner. Ammons is considered by most to be the king of the idiomatic boogie-woogie genre. See also AMMONS, (EU)GENE “JUG” (1925–1974).

      AMMONS, (EU)GENE “JUG” (1925–1974)

      Eugene “Jug” Ammons, the son of notable boogie-woogie pianist Albert Ammons, was a tenor saxophonist and native of Chicago who was greatly influenced by saxophonists Lester Young and Coleman Hawkins. He got his start in 1943 at the ripe age of 18 when he went on the road with the King Kolax band. Soon thereafter, in 1944, he would join the noteworthy big band of vocalist Billy Eckstine and remain with that band until 1947 as a featured soloist. Ammons formed his own quintet and in 1949 replaced Stan Getz in the Woody Herman Orchestra. Additionally, Ammons joined fellow saxophonist Sonny Stitt in 1950 and worked closely playing and “battling” him for a few years. His career unfortunately did not go without hardships; Ammons was imprisoned twice on possession of narcotics charges—once from 1958 to 1960 and again from 1962 to 1969.

      Ammons soon returned, however, in 1969 and came back onto the Chicago scene as vibrant as ever. Considered part of the Chicago school of tenor saxophone along with Von Freeman, Ammons was known for his recognizable full and soulful tone. Capable of burning bebop lines like the rest of the great jazz musicians on the scene, Ammons was also well known for his thoughtful and poignant ballad playing. Throughout the rest of his life, he recorded with all-star musicians including John Coltrane and Art Farmer, and he performed often with fellow saxophonists Dexter Gordon and Sonny Stitt. Ammons, a great influence on the next generation of saxophonists (including Joshua Redman), died of bone cancer in 1974.

      ANDERSEN, ARILD (1945–)

      Probably the most famous Norwegian bassist in the international jazz scene, Andersen started playing bass in 1964 and quickly became part of the jazz music scene in Oslo. He was a member of the Roy Hellvin Trio, he was elected Best Bassist by Jazznytt in 1967, and he was the bass player in the Jan Garbarek Quartet from 1967 to 1973. He collaborated with many musicians in Norway and from the United States, including George Russell, Don Cherry, Phil Woods, Dexter Gordon, Sonny Rollins, and Chick Corea. Since 1974, he has led his own groups and has recorded more than a dozen albums for the ECM label as a bandleader.

      ANDERSON, IVIE MARIE (1905–1949)

      Anderson began her professional career at the age of 16, performing in Los Angeles and touring the United States and Cuba in 1922–1923. Performing regularly in the mid-1920s, Anderson developed a strong connection with bandleader Sonny Clay who took her with his band on his infamous trip to Australia. Anderson’s big break occurred when she was invited to perform with Duke Ellington in 1931. The two worked together extensively during the 1930s, including tours of England and collaborating on film and recording projects together. The two can be seen together in a soundie made of Ellington’s composition “I Got It Bad (and That Ain’t Good).” Anderson was also the first vocalist to record Ellington’s composition “It Don’t Mean a Thing (If It Ain’t Got That Swing).” Some of these songs are captured on a compilation made of their collaborations, With Duke Ellington (1942, EPM Musique). In the early 1940s, Anderson retired because of asthma and became a restaurateur. She made one final record in 1946 with future jazz icon Charles Mingus before her death in 1949.

      ANDERSON, RAY (1952–)

      Born in Hyde Park, Chicago, Anderson took up the trombone in the fourth grade, inspired by sounds he had heard from jazz records his father played, including trombonists such as Vic Dickenson and Trummy Young. Anderson grew up with fellow trombonist George Lewis, and the two have worked together ever since. Anderson bounced around cities in the early 1970s, playing in a variety of bands in Minnesota, Los Angeles, and San Francisco before relocating in New York in 1972. In New York, Anderson’s career took off. He worked with Bennie Wallace and Barry Altschul, and he took over his friend George Lewis’s chair in Anthony Braxton’s quartet.

      Anderson became an important bandleader in the early 1980s with his group BassDrumBone, made up of fellow cutting-edge musicians Mark Helias and Gerry Hemingway. The group made several records over the next two decades and helped usher in new ways of approaching trombone. Right Down Your Alley (1984, Soul Alley) and You Be (1985, Minor Music) were two of the first BassDrumBone albums that ushered in this style.

      Anderson was diagnosed with Bell’s palsy in the early 1980s and responded by taking up singing while allowing his chops ample time to recover from stress from the disease. After recovering, he continued to sing in several groups, including another group he led called the Slickaphonics. Throughout the remainder of the 1980s up to today, Anderson remains an in-demand sideman and soloist and has performed with Charlie Haden, Tim Berne, John Scofield, Bobby Previte, Henry Threadgill, the New York Jazz Composers Orchestra, Lew Soloff, David Murray, Craig Harris, and Gary Valente. He was named a Guggenheim Fellow in 2001. In 2003, Anderson was hired as director of jazz studies for the Music Department at the State University of New York, Stony Brook. He continues to record and perform.

      ANDERSON, WILLIAM ALONZO “CAT” (1916–1981)

      Born William Alonzo Anderson, “Cat” got his nickname while living at the Jenkins Orphanage in South Carolina. At the age of 13, Anderson got his first professional experience playing the trumpet in a band created at the orphanage called СКАЧАТЬ