Percussion, b.1938, Johannesburg, South Africa, This South African percussionist first garnered a reputation as a drummer in the band Molomo, one of the most popular proponents of a style known as kwela. Considered a kind of jazz, it was extremely close in spirit to the sounds that were traditionally popular in the more congested and modernized areas of the South African townships. Flautist Abe Cindi and guitarist Philip Tabane were his regular collaborators in this group, In 1973 Bahula joined an influx of musicians immigrating from his country to England, changing the music scene in the latter land forevermore. A combination of African music and rock filled out the set lists of the subsequently formed ensemble Jabula. Things got even better in 1977, when the extremely fiery saxophonist Dudu Pukwana literally combined his own group with this one to create Jabula Spear. Bahula has been as tireless a promoter of the music of his homeland in his adopted country as he is an onstage rhythm activator. One of his most important moves was establishing a regular Friday night featuring authentic African bands at the London venue The 100 Club. He booked alot of musicians who were also political refugees; his series began to symbolize a movement for change. Players such as Fela Kuti, Miriam Makeba and Hugh Masekela were among the performers whose early British appearances were organized by Bahula. Later projects included the band Jazz Afrika, with whom he performed on a more occasional basis, and a brand new band making use of the old Jabula tag. Saxophonist Dick Heckstall-Smith made fine use of the percussionist in the ’80s as part of his Electric Dream ensemble. ~ Eugene Chadbourne, All Music Guide.
“As for me, I am clamouring for more of the medicine from the dispensary, from that day, from that sound. Many moons have passed since that memorable day in Orlando Stadium and I have come a long way and travelled thousands of miles across the seas.”
Trumpet, bandleader, composer, arranger, film score writer, b.1962, New Orleans, LA, Since he emerged on the scene in 1980 with the Lionel Hampton Orchestra and then shortly thereafter with Art Blakey and the Jazz Messengers, Blanchard has been a leading artist in jazz. He was an integral figure in the 1980s jazz resurgence having recorded several award-winning albums and having performed with the jazz elite. He is known as a straight-ahead artist in the hard bop tradition but has recently utilized an African-fusion style of playing that makes him unique from other trumpeters on the performance circuit. However, it is as a film composer that Blanchard reaches his widest audience. His trumpet can be heard on nearly fifty film scores; more than forty bear his unmistakable compositional style. Since 2000, Blanchard has served as Artistic Director at the Thelonious Monk Institute of Jazz. He lives in the Garden District of New Orleans with his wife and four children.
Saxophones, b.1940, Eufaula, OK, He was married to pianist Joanne Brackeen, they have since divorced, and they have four children. He originally studied violin and piano before switching to saxophone. He played in a recording with members of the Ornette Coleman Quartet in 1968 and on Jazz Composer’s Orchestra recordings by Don Cherry (1973) and Leroy Jenkins (1975), but did not record anything else until 1987 when he produced three albums. He also has a quartet which produced Worshippers Come Nigh, among other works, in 1995. He has worked with Paul Motian, Ronnie Boykins and Ahmed Abdullah.
Bass, b.1906 d.1987, Dayton, OH
Trumpet, b.1939, New York, NY
Bass, 1914 d.1998, New York, NY, was a dixieland jazz bassist best known for his work with Bob Crosby and Yank Lawson. He also helped write or arrange the songs “What’s New,” “South Rampart Street Parade,” “My Inspiration,” and “Big Noise From Winnetka.”
Roy Owen Haynes
Drums, bandleader, b.1926, Roxbury, MA, Haynes is one of the most recorded drummers in jazz and in his over 60-year career has played in a wide range of styles ranging from swing and bebop to jazz fusion and avant-garde jazz. He has a highly expressive, personal style (“Snap Crackle” was a nickname given him in the 1950s) and is known to foster a deep engagement in his bandmates. Haynes began his full time professional career in 1945. From 1947 to 1949 he worked with saxophonist Lester Young, and from 1949 to 1952 was a member of saxophonist Charlie Parker’s quintet. He also recorded at the time with pianist Bud Powell and saxophonists Wardell Gray, and Stan Getz. His son Graham Haynes is a cornetist, and his grandson Marcus Gilmore and nephew Christopher Haynes are both drummers.
Ina Ray Hutton
Band leader, b.1915 d.1984, Chicago, IL, Ina was born as Odessa Cowan in Chicago, Illinois and is half-sister to June Hutton. She began dancing and singing in stage revues at the age of eight. It was in the 30’s that she appeared on Broadway in George White’s “Melody” and also in the Ziegfeld Follies. In 1934 she was asked to lead an all-girl orchestra, the Melodears which was disbanded in 1939. In 1940 she led an all-male orchestra, it was later disbanded in 1946.She retired from music in 1968 and died in 1984 of complications from diabetes.
Piano, arranger, b.1924, Baltimore, MD, He has freelanced throughout much of his career, and worked in a number of ensembles. He co-founded Milestone Records in 1966 with Orrin Keepnews.He studied at the Peabody Institute, the Manhattan School of Music, and Juilliard. He also took piano lessons from Teddy Wilson. In the 1950s, he joined the house rhythm section of the Cafe Bohemia, and worked in the groups of Ben Webster and Kenny Dorham, Oscar Pettiford, and, later, Carmen McRae. From 1954 to 1955, he was part of the J. J. Johnson/Kai Winding Quintet. He also worked in Orchestra USA and participated on Benny Carter’s Further Definitions album, and worked on some of Helen Merrill’s recordings. In the late 60s, he played with Roy Eldridge and Lee Konitz. In the 1990s, he worked as a pianist and arranger with the American Jazz Orchestra and Loren Schoenberg’s big band.
Band leader, songwriter, b.1910, Rocky River, OH, He graduated from Rocky River High School in Rocky River, Ohio in 1927. He attended Ohio University in Athens, Ohio where he was a member of Theta Chi Fraternity. Kaye could play the saxophone and the clarinet, but he never featured himself as a soloist on either one. A leader of one of the so-called “Sweet” bands of the Big Band era, he made a large number of records for Vocalion Records, RCA Victor, Columbia Records, and the American Decca record label. Kaye was known for an audience participation gimmick called “So You Want To Lead A Band?” where audience members would be called onto stage in an attempt to conduct the orchestra, with the possibility of winning batons. Kaye was also known for his use of “singing of song titles”, which was emulated by Kay Kyser and Blue Barron. Musicians included Ralph Flanagan, Dale Cornell and Marty Oscard. Singers included Don Cornell (not related to Dale Cornell), Billy Williams, and Nancy Norman. He was posthumously inducted into the Big Band and Jazz Hall of Fame in 1992 and for his contribution to the recording industry has a star on the Hollywood Walk of Fame.
Richard Allen (Blue) Mitchell
Trumpet, b.1930 d.1979, Miami, FL, He was born and grew up in Miami, Florida. Mitchell began playing trumpet in high school where he acquired his nickname. After high school he played in the rhythm and blues ensembles of Paul Williams, Earl Bostic, and Chuck Willis. After returning to Miami he was noticed by Cannonball Adderley, with whom he recorded for Riverside Records in New York in 1958. He then joined the Horace Silver Quintet playing with tenor Junior Cook, bassist Gene Taylor and drummer Roy Brooks. Mitchell stayed with Silver’s group until the band’s break-up in 1964. After the Silver quintet disbanded, Mitchell formed a group employing members from the Silver quintet substituting Silver for the young Chick Corea and replacing a then sick Brooks with Al Foster. This group produced a number of records for Blue Note disbanding in 1969, after which Mitchell joined and toured with Ray Charles till 1971. From 1971 to 1973 Mitchell performed with John Mayall on Jazz Blues Fusion. From the mid – 70s he recorded, and worked as a session man in the genres noted previously, performed with the big band leaders Louie Bellson, Bill Holman and Bill Berry and was principal soloist for Tony Bennett and Lena Horne. Other band leaders Mitchell recorded with include Lou Donaldson, Grant Green, Philly Joe Jones, Jackie McLean, Hank Mobley, Al Cohn, Dexter Gordon and Jimmy Smith. Blue Mitchell kept his Hard bop playing going with the Harold Land quintet up until his death from cancer on May 21st, 1979 in Los Angeles, California at the age of 49.
Clarinet, b.1901 d.1972, Pensacola, FL
Tenor Sax, b.1942, Katrineholm, Sweden
Drums, b.1952, Palo Alto, CA, He received degrees in East Asian Studies from Harvard University in 1974 and percussion from the New England Conservatory in 1979. Since moving to New York, he has established himself as one of today’s most sought-after drummers on the international jazz scene. Recognized for his ability to ignite the spark of many top rhythm sections and create pure musical dialogue with mainstay soloists, his colorful interactive style has led to concert, club and recording work with jazz greats such as Sonny Rollins, Sonny Stitt, Zoot Sims, Hubert Laws, Milt Jackson, Jim Hall, Art Farmer, The Paul Winter Consort, Paquito D’Rivera, James Moody, J.J. Johnson, Lena Horne, and The Manhattan Transfer, just to name a few. His work has not solely been limited to the jazz field; he has performed at the Tanglewood Festival under the direction of Leonard Bernstein, Seiji Ozawa and Gunther Schuller and has accompanied diverse artists such as Charles Aznavour, Maurice Hines and Van Dyke Parks with performances on over 100 recordings.Tana has played at many international jazz festivals, and has toured throughout the world. In the jazz education field, he has given workshops and clinics at a number of U. S. colleges including University of Pittsburgh, University of Georgia, University of Miami, and Berklee College of Music. Of particular interest was a concert-clinic tour of South America with the Heath Brothers sponsored and presented through the U.S. State Department.
Clarinetist, alto-saxophonist, b.1906 Kansas City, MO, d.1932, Chicago, associated with the “Austin High” gang (along with Jimmy McPartland, Bud Freeman and others). He was born in Kansas City, Missouri, but spent most of his career based in Chicago, Illinois, although gigs sometimes took him to New York City, around the U.S. Midwest, and he also took a job in Florida with Charlie Straight. He was mainly self-taught on his instruments; early on he also doubled on violin and banjo. He started playing the clarinet professionally in 1925. He began recording under his own name in 1928 and made what are believed to be his final recordings two years later. His intense solo work laid the groundwork for a rich sound and style of playing of which Pee Wee Russell is perhaps the best-known representative. He also made recordings on the saxophone. Late in his career, he returned to playing violin with Jan Garber’s sweet dance orchestra, trying to earn a living in the midst of the Great Depression. Although he was well-known in the world of jazz, he did not live to enjoy popular success in the swing era. He was killed in an automobile accident on the morning of March 1, 1932, a passenger in a car driven by his friend the cornettist “Wild” Bill Davison; it was several days short of what would have been his 26th birthday.
Bass, b.1908 d.1999, Memphis, TN