Deaths (Obituaries)

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    Herbie Flowers, ‘Walk on the Wild Side’ Bassist, Dies at 86

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    A celebrated session musician who appeared on a host of classic rock albums, he made his most lasting mark with his contribution to Lou Reed’s most famous song.Herbie Flowers, a prolific British session musician who rode a handful of notes to rock immortality with his indelible bass line on Lou Reed’s “Walk on the Wild Side” — just one of the many landmark recordings on which he supported a constellation of rock stars — died on Sept. 5. He was 86.Family members announced his death on social media. The family did not say where he died or cite a cause.Mr. Flowers, a bassist who also occasionally played tuba, began his career as a session musician in the late 1960s. He carved out his sliver of rock glory by playing on more than 500 hit albums by the end of the 1970s, according to the BBC.The classic albums Mr. Flowers played on could have filled a dorm room shelf in the 1970s and ’80s. Among them were Elton John’s “Madman Across the Water” and Harry Nilsson’s “Nilsson Schmilsson,” both from 1971; Cat Stevens’s “Foreigner” (1973); and David Bowie’s “Diamond Dogs” (1974).He joined forces with three-quarters of rock’s equivalent of the royal family, recording with Paul McCartney, George Harrison and Ringo Starr. He also recorded with Dusty Springfield, Serge Gainsbourg and David Essex, whom he joined on the sinewy 1973 hit “Rock On.”Despite his proximity to fame, Mr. Flowers described himself as little more than a hired hand.As a studio musician, he once told Bass Player magazine, “they play you the song or sling you a chord chart, and you come up with what you think are fancy bass lines.” You “get your job done as quickly as you can,” he added, “and as soon as they say ‘Thanks very much,’ get the hell out of there.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Screamin’ Scott Simon, Longtime Sha Na Na Keyboardist, Dies at 75

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      A mainstay of the rock ’n’ roll nostalgia band, he also wrote the lyrics to “Sandy,” a song heard in the hit film “Grease.”Screamin’ Scott Simon, who as the dynamic keyboardist for the rock ’n’ roll revival act Sha Na Na regularly paid homage to Jerry Lee Lewis with electrifying versions of “Great Balls of Fire” and “Whole Lotta Shakin’ Goin’ On” — and who also played a vital behind-the-scenes role as the band’s managing partner — died on Sept. 5 in Ojai, Calif. He was 75.His daughter Nina Simon said he died of sinus cancer while in hospice care.Mr. Simon joined Sha Na Na in 1970, a year after the group was formed, and stayed until the group’s final performance, shortly before the coronavirus lockdown in 2020.As both a pianist and a singer, he brought his own theatricality to a group dedicated to turning doo-wop and early rock ’n’ roll songs into dramatic versions of the originals.Wearing brightly colored shirts festooned with images of piano keys and musical notes, he played the piano on “Great Balls of Fire” partly from his knees, sometimes from his bench and occasionally with his feet. He sang the Bobby Darin hit “Splish Splash” in a bathtub, wearing a sleeveless T-shirt, boxer shorts and a towel while plinking a toy piano.Mr. Simon (standing, second from left) with the other members of Sha Na Na in an undated publicity photo. He joined the band in 1970 and remained for 50 years.via PhotofestDuring the group’s accelerated version of Danny and the Juniors’ “At the Hop,” he never stopped jumping or doing the twist as he sang.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Bob Weatherwax, Trainer of Lassie and Other Celebrity Dogs, Dies at 83

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      Like his father, who taught him the interdisciplinary roles needed for the job, he bred and coached the collies who played the heroic star of television and movies.Bob Weatherwax, a Hollywood dog trainer who carried on his father’s legacy of breeding and coaching collies to play Lassie, the resourceful and heroic canine who crossed flooded rivers, faced down bears and leaped into the hearts of countless children, died on Aug. 15 in Scranton, Pa. He was 83.His family said his death, at a Department of Veterans Affairs facility, was caused by chronic obstructive pulmonary disease.Mr. Weatherwax took over as Lassie’s primary trainer in 1985 after the death of his father, Rudd Weatherwax, whose collie Pal starred alongside Elizabeth Taylor and Roddy McDowall in the hit 1943 film “Lassie Come Home,” as well as several other movies and the “Lassie” television show, seen on CBS and in syndication from 1954 to 1973.As his father’s apprentice, Mr. Weatherwax learned the interdisciplinary roles — talent agent, pooch geneticist and acting coach — that were necessary for managing the Lassie brand.Treating Lassie, a rough collie, as a genuine Hollywood star was a high priority. That standard was originally set by Louis B. Mayer, a founder of Metro-Goldwyn-Mayer, the studio that released “Lassie Come Home.” After the film’s premiere, Mr. Mayer called his friend Howard Hughes, who owned Trans World Airlines, to request that Lassie be permitted to fly with passengers, not in the cargo section. Lassie flew in first class.Mr. Weatherwax embraced his talent-manager role. He also embraced the perks of traveling with a celebrity.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Frankie Beverly, Frontman of the Soul Group Maze, Is Dead at 77

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      A consistent hitmaker on the R&B charts for almost 50 years, he had announced just this year that he would be retiring.Frankie Beverly, the lead singer and songwriter of the soul and funk band Maze, whose songs, including “Golden Time of Day,” “Joy and Pain” and “Happy Feelin’s,” provided the soundtrack to countless summer cookouts and family reunions for more than five decades, died on Tuesday. He was 77.His death was announced in a statement by his family on his Instagram account. The statement did not say where he died or cite a cause.“He lived his life with pure soul, as one would say, and for us, no one did it better,” the statement said. “He lived for his music, family and friends.”Mr. Beverly had announced a farewell tour this year with a handful of dates. He had said that he would retire after going on the road one last time.Mr. Beverly with Maze in 2023. He announced this year that he would retire after a brief tour.Gary Miller/Getty Images“Thank you so much for the support given to me for over 50 years as I pass on the lead vocalist torch to Tony Lindsay,” Mr. Beverly said in a statement to Billboard at the time. “The band will continue on as Maze Honoring Frankie Beverly. It’s been a great ride through the decades. Let the music of my legacy continue.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Edward Johnson, C.I.A. Hero in Iran Hostage Crisis, Dies at 81

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      He was a secret partner who helped rescue six American diplomats in 1980 by passing them off as a film crew. The caper inspired the movie “Argo.”Edward B. Johnson, who as an anonymous C.I.A. officer in 1980 helped rescue six American diplomats during the Iran hostage crisis by casting them as a Hollywood crew scouting a Mideast location — an audacious escape that itself became grist for an Oscar-winning movie — died on Aug. 27 at his home in Fairfax, Va. He was 81.The cause was complications of pneumonia, his son Harold said.Documents detailing the Iran rescue were declassified by the Central Intelligence Agency in 1997, and another C.I.A. officer, Antonio J. Mendez, who had masterminded the scheme and recruited Mr. Johnson, wrote a book about the episode, “The Master of Disguise: My Secret Life in the C.I.A.” (1999).The caper became the basis of “Argo,” a film directed by and starring Ben Affleck (as Mr. Mendez), which won the 2013 Academy Award for best picture.Mr. Mendez died in 2019 without ever revealing his colleague’s name. Mr. Johnson was identified in the book only by his cover name, Julio, and wasn’t referenced in the film at all. And even at C.I.A. headquarters in Langley, Va., in a painting depicting the two C.I.A. officers forging visas for the diplomats, Mr. Johnson remained faceless, seen from behind.“Argo: Rescue of the Canadian Six,” a 2012 oil painting on canvas by a C.I.A. artist, Deborah Dismuke. It depicts the C.I.A. officers Antonio Mendez, top, and Mr. Johnson forging fake visas for six American diplomats who were trapped in Tehran during the hostage crisis in Iran. Mr. Johnson’s role in the escapade was not disclosed publicly until last year.Deborah Dismuke/C.I.A, via Associated PressNot until a year ago, in the season finale of “The Langley Files,” an official agency podcast, was Mr. Johnson’s pivotal role revealed publicly.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Will Jennings, Oscar Winner for ‘My Heart Will Go On,’ Dies at 80

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      As an in-demand lyricist, he won a shelf of awards for hits with Steve Winwood, Eric Clapton and Dionne Warwick, as well as for the theme song for “Titanic.”Will Jennings, an English professor turned lyricist whose 1998 Academy Award for “My Heart Will Go On,” the theme song from the movie “Titanic,” capped a long career writing hits for musicians like Steve Winwood, Eric Clapton and Dionne Warwick, died on Sept. 6 at his home in Tyler, Texas. He was 80.The office of his agent, Sam Schwartz, confirmed the death but did not cite a cause.Mr. Jennings won the Oscar for best song twice: for “My Heart Will Go On,” which he wrote with James Horner and which was performed by Celine Dion; and in 1983 for “Up Where We Belong,” from the film “An Officer and a Gentleman”; written with Jack Nitzsche and Buffy Sainte-Marie, it was performed by Joe Cocker and Jennifer Warnes.Mr. Jennings, right, in 1998 with James Horner and Celine Dion, with whom he collaborated on “My Heart Will Go On.”Frank Trapper/Corbis, via Getty ImagesMr. Jennings, right, in 1983 with Jack Nitzsche and Buffy Sainte-Marie when they won an Oscar for “Up Where We Belong.”ABC Photo Archives/Disney General Entertainment Content, via Getty ImagesIn most of his hits, Mr. Jennings wrote the lyrics while his collaborators wrote the melodies — an unsurprising division of labor, given that Mr. Jennings came to songwriting after a career teaching poetry and English literature.He was known for his disciplined work ethic, his subtle references to classical literature tucked into seemingly airy pop tunes and his insistence on getting to know an artist or film to inhabit their perspectives.“With Will, his personality broke down all the barriers and got to what’s real,” said Mr. Crowell, who wrote several songs with Mr. Jennings, including “Many a Long and Lonesome Highway” (1989) and “What Kind Of Love” (1992).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      James Earl Jones, Actor Whose Voice Could Menace or Melt, Dies at 93

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      James Earl Jones, a stuttering farm child who became a voice of rolling thunder as one of America’s most versatile actors in a stage, film and television career that plumbed race relations, Shakespeare’s rhapsodic tragedies and the faceless menace of Darth Vader, died on Monday at his home in Dutchess County, N.Y. He was 93.The office of his agent, Barry McPherson, confirmed the death in a statement.From destitute days working in a diner and living in a $19-a-month cold-water flat, Mr. Jones climbed to Broadway and Hollywood stardom with talent, drive and remarkable vocal cords. He was abandoned as a child by his parents, raised by a racist grandmother and mute for years in his stutterer’s shame, but he learned to speak again with a herculean will. All had much to do with his success.So did plays by Howard Sackler and August Wilson that let a young actor explore racial hatred in the national experience; television soap operas that boldly cast a Black man as a doctor in the 1960s; and a decision by George Lucas, the creator of “Star Wars,” to put an anonymous, rumbling African American voice behind the grotesque mask of the galactic villain Vader.Mr. Jones in 1979 as the author Alex Haley on “Roots: The Next Generation.”Warner Brothers Television, via Everett CollectionThe rest was accomplished by Mr. Jones himself: a prodigious body of work that encompassed scores of plays, nearly 90 television network dramas and episodic series, and some 120 movies. They included his voice work, much of it uncredited, in the original “Star Wars” trilogy, in the credited voice-over of Mufasa in “The Lion King,” Disney’s 1994 animated musical film, and in his reprise of the role in Jon Favreau’s computer-animated remake in 2019.Mr. Jones was no matinee idol, like Cary Grant or Denzel Washington. But his bulky Everyman suited many characters, and his range of forcefulness and subtlety was often compared to Morgan Freeman’s. Nor was he a singer; yet his voice, though not nearly as powerful, was sometimes likened to that of the great Paul Robeson. Mr. Jones collected Tonys, Golden Globes, Emmys, Kennedy Center honors and an honorary Academy Award.

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      .css-14ehajx{font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:500;font-size:1rem;line-height:1.4375rem;max-width:600px;margin-left:0px;width:100%;border:1px solid #dfdfdf;padding:9px 18px 24px 18px;width:calc(100% – 40px);background-image:url(‘data:image/svg+xml,%3Csvg%20width%3D%2219%22%20height%3D%2217%22%20viewBox%3D%220%200%2019%2017%22%20fill%3D%22none%22%20xmlns%3D%22http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%22%3E%0A%3Cpath%20id%3D%22Vector%22%20d%3D%22M13.2271%2017L7.66331%2012.5661H1.42971C1.05056%2012.5661%200.686942%2012.4151%200.418844%2012.1464C0.150746%2011.8777%200.00013055%2011.5133%200.00013055%2011.1333V1.45216C-0.00242853%201.26238%200.0326583%201.07398%200.103355%200.897906C0.174051%200.72183%200.278947%200.561586%200.411951%200.42648C0.544956%200.291375%200.703417%200.1841%200.878133%200.110887C1.05285%200.0376746%201.24034%20-1.73249e-05%201.42971%205.97386e-09H17.5704C17.9496%205.97386e-09%2018.3132%200.150955%2018.5813%200.419657C18.8494%200.68836%2019%201.0528%2019%201.4328V11.1139C19%2011.4939%2018.8494%2011.8583%2018.5813%2012.127C18.3132%2012.3957%2017.9496%2012.5467%2017.5704%2012.5467H13.285L13.2271%2017ZM1.42971%201.21014C1.37079%201.21014%201.31428%201.2336%201.27262%201.27535C1.23095%201.31711%201.20754%201.37375%201.20754%201.4328V11.1139C1.20754%2011.1729%201.23095%2011.2296%201.27262%2011.2713C1.31428%2011.3131%201.37079%2011.3366%201.42971%2011.3366H8.05934L12.01%2014.4926V11.3366H17.5125C17.5714%2011.3366%2017.6279%2011.3131%2017.6696%2011.2713C17.7112%2011.2296%2017.7346%2011.1729%2017.7346%2011.1139V1.4328C17.7346%201.37375%2017.7112%201.31711%2017.6696%201.27535C17.6279%201.2336%2017.5714%201.21014%2017.5125%201.21014H1.42971Z%22%20fill%3D%22%23121212%22%2F%3E%0A%3C%2Fsvg%3E’);background-repeat:no-repeat;background-position:calc(100% – 20px) 20px;}@media (min-width:630px){.css-14ehajx{margin-left:auto;margin-right:auto;box-sizing:border-box;}}@media (min-width:1440px){.css-14ehajx{max-width:600px;width:600px;margin-left:calc((100% – 600px) / 2);}}.css-7b274f{margin-left:45px;}.css-raoif9{font-size:0.875rem;line-height:1.25rem;font-family:nyt-franklin,helvetica,arial,sans-serif;margin-bottom:16px;word-break:break-word;}.css-raoif9 a{color:#326891;font-family:nyt-franklin,helvetica,arial,sans-serif;-webkit-text-decoration:none;text-decoration:none;}.css-k02trr{font-weight:700;-webkit-text-decoration:none;text-decoration:none;}.css-2f9c0w{list-style:none;margin:0;-webkit-box-flex:1;-webkit-flex-grow:1;-ms-flex-positive:1;flex-grow:1;font-size:0.875rem;line-height:1.0625rem;}.css-nmiwmx{color:#888;-webkit-text-decoration:none;text-decoration:none;}.css-fg7rxm{margin:0;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;}.css-1ebkpg2{-webkit-text-decoration:none;text-decoration:none;display:block;font-size:0.875rem;line-height:1.0625rem;}.css-1ebkpg2:afer{content:’ ‘;position:absolute;top:0;right:0;left:0;bottom:0;}.css-1ebkpg2:hover{-webkit-text-decoration:none;text-decoration:none;}.css-1ebkpg2:hover .css-dvomd1{-webkit-text-decoration:underline;text-decoration:underline;}.css-85qk5p .css-1ebkpg2{margin:21px 0 0 16px;}.css-ept3uu{display:inline-block;margin-right:10px;overflow:hidden;object-fit:cover;border-radius:50%;height:34px;width:34px;}span.css-ept3uu{background:#ccc;color:#fff;display:inline-block;font-size:1rem;text-align:center;text-transform:uppercase;line-height:2.25rem;}.placeholder .css-ept3uu{background:#ccc;}We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Dan Morgenstern, Chronicler and Friend of Jazz, Dies at 94

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      He wrote prolifically about the music and played an important role in documenting its history, especially in his many years with the Institute of Jazz Studies.Dan Morgenstern, a revered jazz journalist, teacher and historian and one of the last jazz scholars to have known the giants of jazz he wrote about as both a friend and a chronicler, died on Saturday in Manhattan. He was 94.His son Josh said his death, in a hospital, was caused by heart failure.Mr. Morgenstern was a jazz writer uniquely embraced by jazz musicians — a nonmusician who captured their sounds in unpretentious prose, amplified with sweeping and encyclopedic historical context.He was known for his low-key manner and humility, but his accomplishments as a jazz scholar were larger than life.He contributed thousands of articles to magazines, newspapers and journals, and he served the venerable Metronome magazine as its last editor in chief and Jazz magazine (later Jazz & Pop) as its first. He reviewed live jazz for The New York Post and records for The Chicago Sun-Times, as well as publishing 148 record reviews while an editor at DownBeat, including a stint from 1967 to 1973 as the magazine’s chief editor.His incisive liner-note essays won eight Grammy Awards. He was named a National Endowment for the Arts Jazz Master in 2007 and received three Deems Taylor Awards for excellence in music writing from the American Society of Composers, Authors and Publishers, two of them for his books “Jazz People” (1976) and “Living With Jazz” (2004). He was involved — as a writer, adviser, music consultant and occasional onscreen authority — in more than a dozen jazz documentaries. Most decisively, he served from 1976 to 2011 as the director of the Institute of Jazz Studies at Rutgers University-Newark, elevating the institute into the largest repository of jazz documents, recordings and memorabilia in the world.“I don’t like the word ‘critic’ very much,” Mr. Morgenstern often maintained. “I look at myself more as an advocate for the music than as a critic,” he wrote in “Living With Jazz.” “My most enthusiastic early readers were my musician friends, and one thing led to another. What has served me best, I hope, is that I learned about the music not from books but from the people who created it.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sergio Mendes, 83, Dies; Brought Brazilian Rhythms to the U.S. Pop Charts

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      A pianist, composer and arranger, he rose to fame with the group Brasil ’66 and remained a force in popular music for more than six decades.Sergio Mendes, the Brazilian-born pianist, composer and arranger who brought bossa nova music to a global audience in the 1960s through his ensemble, Brasil ’66, and remained a force in popular music for more than six decades, died on Thursday in Los Angeles. He was 83.His family said in a statement that his death, in a hospital, was caused by long Covid.Mr. Mendes released more than 30 albums, won three Grammys and was nominated for an Academy Award in 2012 for best original song (as co-writer of “Real in Rio,” from the animated film “Rio”).His career in America took flight in 1966 with Brasil ’66 and the single “Mas Que Nada,” written by the Brazilian singer-songwriter Jorge Ben. The Mendes sound was deceptively sophisticated rhythmically but gentle on the ears, suavely amplifying the original guitar-centered murmur of bossa nova with expansive keyboard-driven arrangements and cooing vocal lines that usually included Mr. Mendes himself chiming in alongside a front line of two female singers.Signed by Herb Alpert, Mr. Mendes’s group, Brasil ’66, scored a gold record with its first release on his label, A&M Records.A&MThe group’s lilting, sensual pulse came to embody an adult contemporary cool in the 1960s that contrasted pointedly with the ascendant youth culture dominating the pop charts in the wake of the Beatles.“It was completely different from anything, and definitely completely different from rock ’n’ roll,” the Latin music scholar Leila Cobo observed in the 2020 HBO documentary “Sergio Mendes in the Key of Joy.” “But that speaks to how certain Sergio was of that sound. He didn’t try to imitate what was going on.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More