By Alfred W. Cramer
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Additional resources for Musicians & Composers of the 20th Century
4: The Poll Winners, 1960; Cannonball Adderley Collection, Vol. , 1961; African Waltz, 1961; The Quintet Plus, 1961; Nancy Wilson/ Cannonball Adderley, 1961; The Lush Side of Cannonball, 1962; Cannonball Adderley Collection, Vol. 2: Bossa Nova, 1962; Cannonball Adderley Musicians and Composers of the 20th Century Collection, Vol. 7: Cannonball in Europe, 1962; Cannonball Adderley Collection, Vol. 3: Jazz Workshop Revisited, 1962; Cannonball Adderley, 1962; Two for the Blues, 1963; Jazz Workshop Revisited, 1963; Fiddler on the Roof, 1964; Domination, 1965; Great Love Themes, 1966; Mercy, Mercy, Mercy!
Her Japanese nationality presented another hurdle in achieving success in jazz, but she persevered. As a composer, she balanced convention with her own voice, releasing nothing that was not of excellent quality. Finally, her interest in blending Japanese elements into the big band compositional vehicle provided an early example for those artists active the crossover movement. Dane O. Heuchemer Alpert, Herb Further Reading Feather, Leonard. The Passion for Jazz. New York: Horizon, 1980. Feather was among Akiyoshi’s most avid supporters, and this interview from 1976, with both Akiyoshi and Tabackin, concentrates on their careers up to the point where their big band was finally finding success.
In 1962 Alpert cofounded, with Jerry Moss, A&M Records (for Alpert and Moss). Each invested a paltry one hundred dollars in the venture, which was launched in Alpert’s garage. The label’s first record, The Lonely Bull, featured Alpert on trumpet with sounds from a live bullfight and a backing group of studio musicians dubbed the Tijuana Brass. Over the next three decades, A&M Records 14 Musicians and Composers of the 20th Century discovered and signed a number of prominent musicians, including the Carpenters, Sting, Janet Jackson, and Garbage.