Deaths (Obituaries)

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      Don Wilson, Who Gave the Ventures Their Distinctive Rhythm, Dies at 88

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      He was a founder, with Bob Bogle, of what has been called the best-selling and most influential instrumental band in rock ’n’ roll history.Don Wilson, co-founder of the instrumental rock group the Ventures, whose twanging, hard-driving sound, propelled by his dynamic rhythm guitar, led to hits like “Walk — Don’t Run” and helped shape the surf music of the early 1960s as well as influencing generations of guitarists, died on Saturday in Tacoma, Wash. He was 88.His daughter Staci Layne Wilson confirmed the death, at a hospital.Mr. Wilson and Bob Bogle formed the group that became the Ventures in the late 1950s and had been having modest success performing in the Seattle area when, with Nokie Edwards on bass and Skip Moore playing drums, they recorded “Walk — Don’t Run” in March 1960. It was their version of a song by the jazz guitarist Johnny Smith that had previously been recorded by Chet Atkins.The group had already released one 45 r.p.m. record, having formed their own label, Blue Horizon, with the help of Mr. Wilson’s mother, to do it. But that first record didn’t generate interest, and neither did “Walk — Don’t Run,” until they played it for Pat O’Day, who had the afternoon show on the Seattle radio station KJR. He smelled a hit.The station always played an instrumental leading into its newscast at the top of the hour, but without introducing it, Mr. O’Day said in an interview for “Sonic Boom! The History of Northwest Rock, From ‘Louie, Louie’ to ‘Smells Like Teen Spirit,’” a 2009 book by Peter Blecha. “So we put it on every hour as that filler there,” he said, “and of course you know what happened after that.”What happened was, callers flooded the station wanting to know what that catchy record was. One of the callers was from Dolton Records, which had earlier turned away the fledgling Ventures. Dolton signed them, and soon the record reached No. 2 on the Billboard Hot 100 chart. It stayed on that chart for months and became one of the most recognizable songs of the era.Mr. Wilson spoke when the Ventures were inducted into the Rock & Roll Hall of Fame in 2008. With him were, from left, John Durrill, Fiona Taylor (the band’s manager), Bob Spalding, Nokie Edwards and Leon Taylor.Dimitrios Kambouris/WireImage The group went on to have a number of other successful singles, most notably its version of the theme from the television series “Hawaii Five-0,” which made the Top 10 in 1969. The lineup shuffled a bit — Mr. Bogle, who died in 2009, switched to bass; Mr. Edwards, who died in 2018, was the better player and became lead guitarist; and Mel Taylor, who died in 1996, settled in as drummer. Mr. Wilson pounded out his rhythm accompaniments for 55 years, turning over the job to Ian Spalding, son of another current member, Bob Spalding, during a show in Tokyo in 2015.In 2019 the Grammy Museum mounted an exhibition in honor of the group, calling the Ventures “the most influential, best-selling instrumental band in rock and roll history.” The group, the exhibition said, has recorded more than 250 albums, including a series of instructional records aimed at novice guitar players.Leon Taylor, Mel’s son, is the Ventures’ current drummer and had a close-up view of Mr. Wilson’s impact.“Don has been a part of my life since I was a little kid,” he said by email. “Don was a unique talent that influenced thousands of guitar players all over the world.”Mr. Blecha, too, cited the group’s influence on would-be guitar players, as well as its chutzpah in putting out its first records on its own label when no one else would, something rare for the time.The Ventures in 1999, from left: Gerry McGee, Mr. Taylor, Mr. Bogle and Mr. Wilson.Richard E. Aaron/Redferns via Getty Images“But beyond all that,” he said by email of Mr. Wilson in particular, “you just gotta admire a musician who carved out such a lucrative and impactful career playing mainly rhythm guitar. Guys who have accomplished that comprise a rather short list.”Donald Lee Wilson was born on Feb. 10, 1933, in Tacoma to Woodrow and Josie Wilson. His father was a car salesman, and his mother became a record producer and was key to the band’s early success.“When I was younger I wanted to learn how to play the trombone,” Don Wilson said in an interview for “The Ventures: Stars on Guitars,” a 2019 documentary film directed by his daughter Staci. “I thought the trombone had such a mellow sound. It was Tommy Dorsey that I really liked.”He played trombone in an Army band, where a bandmate taught him chords on the guitar, adding to the few he had already been shown by his mother. After mustering out, he was working at his father’s used-car lot in Seattle when Mr. Bogle came in, looking to buy a car. They started talking and hit it off.Mr. Bogle got Mr. Wilson a job working with him as a bricklayer. They soon realized that, with all the rain in the Pacific Northwest, they had a lot of down time, since many of their jobs were outside. And both of them had rudimentary guitar skills.“We bought two guitars in a pawnshop in Tacoma, Washington, and we probably paid 10 or 15 dollars apiece for them,” Mr. Wilson said in the film.The group was just the two of them at first, Mr. Bogle playing lead and Mr. Wilson rhythm. That, of necessity, led them to develop a unique sound, underpinned by Mr. Wilson’s driving approach.“In the early days Don had to play very rhythmic and strong because they didn’t have a drummer,” Bob Spalding, who first played with the group in 1981 and joined for good after Mr. Bogle’s death, said by email. “Later, when they became a quartet with a drummer, his style never changed, and that unique rhythm guitar drive became a prominent characteristic of the band’s music.”In addition to their success in the United States (where their other hits included “Walk — Don’t Run, ’64,” a remake of their own hit that also made Billboard’s Top 10), the Ventures became wildly popular in Japan — so much so, Mr. Wilson said, that numerous bands there took to imitating them. That led to an uncomfortable surprise when the band made its second trip there, its first as headliners, in 1965.“We had an opening group,” he told The San Diego Union-Tribune in 1984, “and they played all of our songs before we went on.”At his death, Mr. Wilson lived in Covington, Wash. In addition to his daughter Staci, his survivors include three other children, Jill Fairbanks, Tim Wilson and Cyd Wilson; and two grandchildren.In 2008 John Fogerty inducted the Ventures into the Rock & Roll Hall of Fame. In his induction remarks, he marveled that the group had recorded more than 250 albums.“Good Lord, think about that,” Mr. Fogerty said. “Nowadays, some of us would be happy to sell 250 albums.” More

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      Lucy Rowan Mann, Doyenne of a Prime Classical Music Prize, Dies at 100

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      With her husband, the violinist Robert Mann, she mentored young classical musicians and administered the Naumburg Foundation’s storied annual awards.Lucy Rowan Mann, whose guidance of the Walter W. Naumburg Foundation and its influential awards helped propel a raft of major classical music careers for 50 years, died on Jan. 16 at her home in Manhattan. She was 100.The cause was Covid-19, her daughter, Lisa Mann Marotta, said.Ms. Mann was the executive director of the foundation, which she ran with her husband, Robert Mann, who was its president and the founding first violinist of the renowned Juilliard String Quartet. She handled administration and fund-raising, while Mr. Mann, who died in 2018 at 97, focused on the musical aspects of the competition and on the judging.But Ms. Mann, who started at the Naumburg Foundation in 1972 and continued until this year, did more than office work. She scheduled performances for the young Naumburg winners, did publicity for them and even arranged travel. The couple were a well-oiled machine; Carol Wincenc, who in 1978 won the inaugural Naumburg Competition for flute, said in an interview that the Manns exhibited “teamwork of the highest order.”Naumburg winners who have gone on to prominent careers include, in addition to Ms. Wincenc, the violin soloists Leonidas Kavakos and Nadja Salerno-Sonnenberg; Frank Huang, the concertmaster of the New York Philharmonic; the pianists Andre-Michel Schub, Stephen Hough and Anton Nel; the clarinetist Charles Neidich; and the cellist Colin Carr. Singers who have won include Julia Bullock, Dawn Upshaw and Lucy Shelton.Music competitions are often key pieces in building a career, offering prize money, concert dates and public validation, but they can be rife with pressure and are often criticized for valuing technical brilliance over personality.But, as Mr. Mann wrote in The New York Times in 1985, “a competition is as musical, humane and culturally meaningful as it wants to be.” Ms. Mann’s administration and care for the competitors lent that humanity, colleagues and musicians said.The Naumburg Foundation, established in 1925, started administering annual awards in 1926. Robert Mann himself won a Naumburg Award for violin in 1941.The awards categories rotate among instruments each year. Initially, they included pianists, cellists and violinists, but the competition has expanded to include vocalists, chamber ensembles and flutists, and it also features other instruments on a rotating basis. The 2022 Naumburg Competition will be for saxophonists.First-prize winners receive $25,000 and two New York recitals and have a work commissioned for them.Ms. Mann made it part of her mission to push for greater awareness of 20th-century American composers. In her office at the Manhattan School of Music, where the Naumburg Foundation is based, she was known to stage birthday celebrations for contemporary composers, bribing students with candy to encourage them to attend and learn more about musical history.Lucille Ida Zeitlin was born on June 20, 1921, in Brooklyn. She and her two siblings were raised by their mother, Rose Kuschner. Their father, Irving Allen Zeitlin, was a nightclub manager. “My father was a scoundrel and a womanizer,” Ms. Mann told The Times in 2013. “He was never around.”She attended public high school in Brooklyn and went on to Brooklyn College to study acting, but dropped out and moved to Washington. There, she studied drama under Walter Kerr, who was teaching at the Catholic University of America and later become a theater critic for The Times. During World War II, Ms. Mann worked in secretarial roles at the War Department and elsewhere.Her marriage to Mark Rowan, who served in the Army and later became an English professor, ended in divorce after eight years.She returned to New York and in 1947 and became the manager for concerts at the Juilliard School. She met Mr. Mann while also managing the Juilliard String Quartet. They married in 1949.In addition to their work at the Naumburg Foundation, the Manns performed together in the Lyric Trio: Ms. Mann narrated folk stories from Rudyard Kipling and Hans Christian Andersen over music played by Mr. Mann and the pianist Leonid Hambro. Eric Salzman, reviewing a Lyric Trio concert at Carnegie Hall for The Times in 1962, called their performance “witty, pointed and delightful.”Their son, Nicholas Mann, who is also a violinist, occasionally performed with them as part of the Mann family-centered Baca Ensemble, for which Robert Mann composed. In a 1986 Times review of a performance by the group at Carnegie Hall, Allen Hughes wrote, “Miss Rowan is a persuasive reader, Mr. Mann’s scores are serious and well-wrought, and words and music coexisted amiably in these performances.”Ms. Mann was also an artist: She began painting as a hobby but became more serious about it later in life, culminating in retrospectives of her bright abstract works at the Tenri Cultural Institute in Manhattan in 2017 and 2019.In addition to her two children, she is survived by five grandchildren and two great-grandchildren. More

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      James Maraniss, Librettist of Long-Silent Opera, Dies at 76

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      A Spanish scholar who taught for more than four decades at Amherst College, he waited, along with the composer, 32 years for “Life Is a Dream” to be staged.James Maraniss, a Spanish scholar who wrote the libretto for an opera that was finished in 1978, won a Pulitzer Prize in 2000 but was not fully staged for another decade, died on Jan. 9 at his home in Chesterfield, Mass. He was 76.The cause was a heart attack, his brother, David, said.Mr. Maraniss, a professor of Spanish and European studies at Amherst College, had never written a libretto when the composer Lewis Spratlan, a faculty colleague, approached him in 1975 to collaborate on an opera based on Pedro Calderon de la Barca’s early 17th-century drama “La Vida es sueño” (“Life Is a Dream”). The piece had been commissioned by the New Haven Opera Theater in Connecticut.Excited at how Calderon’s vivid writing quickly conjured musical images in his mind, Mr. Spratlan told Mr. Maraniss the news about the commission — not knowing that Mr. Maraniss was an expert on Calderon’s work.“It was a wonderful happenstance that this was the case,” Mr. Spratlan, now retired from Amherst’s music department, recalled in a phone interview. The two men, friends and neighbors in adjoining apartments in a campus house, soon started working together and completed the three-act opera in 1978. That year, Mr. Maraniss also published “On Calderon,” a study of the writer’s plays, including “La Vida es sueño,” which is about a prince in conflict with his father, the king.Mr. Maraniss’s familiarity with Calderon’s rhythms and language animated the libretto.“Jim managed to take extremely elaborate 17th-century Spanish, the equivalent of Elizabethan English, with very exalted levels of diction, and rendered it into modern English that preserved all the grandeur of Golden Age Spanish,” Mr. Spratlan said.By the time they were finished, though, the New Haven Opera Theater had gone out of business, and no other opera company would produce it. Frustrated for many years, Mr. Spratlan finally raised money for concert performances of the second act in early 2000, first at Amherst, then at Harvard. Mr. Spratlan nominated himself for the Pulitzer for music and won.Still, “Life Is A Dream” did not receive a full production until 2010, at the Santa Fe Opera.In his review in The New York Times, Anthony Tommasini described the libretto as “elegantly poetic,” and said that Mr. Maraniss and Mr. Spratlan “honor Calderón by adhering closely to the philosophically ambiguous play, considered the ‘Hamlet’ of Spanish drama. Sometimes too closely.”A scene from the Santa Fe Opera’s production of “Life Is a Dream,” by the composer Lewis Spratlan and Mr. Marannis, colleagues at Amherst.Ken HowardDavid Maraniss said that his brother didn’t complain about the long wait for a full production.“But that libretto meant as much to Jim as anything he had done in his life,” Mr. Maraniss, a journalist and biographer who won a Pulitzer in 1993 for his coverage of Bill Clinton’s first presidential campaign for The Washington Post, said in a phone interview. “I can’t say the waiting was as torturous for Jim as it was for Lew, but it was a great feeling of relief when it was finally produced.”James Maraniss and Mr. Spratlan won the 2016 Charles Ives Opera Prize from the American Academy of Arts and Letters.James Elliott Maraniss was born on March 22, 1945, in Ann Arbor, Mich. He moved several times with his family before settling in 1957 in Madison, Wis., where his father, Elliott, a journalist who had been fired from his job as rewrite man at The Detroit Times after an informant identified him as a Communist, found work at The Capital Times. His mother, Mary (Cummins) Maraniss, was an editor at the University of Wisconsin Press.After graduating from Harvard in 1966 with a bachelor’s degree in Spanish literature, Mr. Maraniss earned a master’s there in the same subject. He then began work on his Ph.D in Romance languages and literature at Princeton University. It was granted in 1975.Following several months working for Wisconsin Gov. Patrick Lucey on Native American and migrant worker issues, Mr. Maraniss was hired at Amherst in early 1972 where he remained until he retired in 2015. He taught Spanish culture and literature in Spanish.Until recently, he had been working on a translation of “Don Quixote.”In addition to his brother, Mr. Maraniss is survived by his wife, Gigi Kaeser; his daughter, Lucia Maraniss; his sons, Ben and Elliott; his stepson, Michael Kelly; and his sister Jean Alexander. Another sister, Wendy, died in 1997.Mr. Maraniss in 2015, the year he retired from Amherst College after teaching there since 1972. Amherst CollegeAfter his work on “Life Is a Dream,” Mr. Maraniss wrote the Portuguese lyrics to James Taylor’s 1985 song “Only a Dream in Rio” and translated fiction and essays in the 1990s by Antonio Benitez-Rojo, a Cuban émigré and a major voice in Caribbean literature who was a professor of Spanish at Amherst.“I was bored with being an academic until I began a new life as his translator,” Mr. Maraniss said in an obituary of Mr. Benitez-Rojo, “and in a sense his presenter to the English-speaking world, to share that degree of his power, which was that of a great art.” More

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      Dan Einstein, Champion of Singer-Songwriters, Is Dead at 61

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      He operated independent record labels for John Prine and Steve Goodman that took a critically praised (and award-winning) artist-driven approach.NASHVILLE — Dan Einstein, a Grammy-winning independent record producer who championed the careers of John Prine and Steve Goodman, died here on Jan. 15. He was 61.His death, in a hospice facility, was confirmed by his wife of 27 years, Ellen Krause Einstein, who did not cite a cause.Most people in Nashville knew Mr. Einstein as the proprietor, with his wife, of Sweet 16th, the award-winning bakery they opened in 2004. But he had previously made his mark, in the 1980s and ’90s, as an independent record label operator who forsook corporate wisdom about economies of scale in favor of a smaller, more artist-driven approach to making records that proved feasible as well as garnering critical acclaim.Having dropped out of U.C.L.A. in the early ’80s after his studies were eclipsed by his work with the campus concerts committee, Mr. Einstein became a partner with the Los Angeles-based company Al Bunetta Management, where he helped launch and run two successful musician-owned record labels.The first of them, Oh Boy Records, was the brainchild of the singer-songwriter John Prine, who, after parting ways with Asylum Records in 1980, had grown disenchanted with the commodification and excesses of major-label culture. The other imprint, Red Pajamas Records, was started by the singer-songwriter Steve Goodman, who died of leukemia in 1984. (Mr. Prine died of Covid-19 in 2020, Mr. Bunetta of cancer in 2015.)The two labels promptly won Grammy Awards. Red Pajamas won in 1987 for “A Tribute to Steve Goodman,” a multi-artist anthology co-produced by Mr. Einstein, and in 1988 for “Unfinished Business,” a posthumously released collection of Mr. Goodman’s music, also produced by Mr. Einstein. In 1992 Mr. Prine won the first of his four Grammys with Oh Boy for “The Missing Years.” (He also won a lifetime achievement Grammy in 2020.) All three were honored in the best contemporary folk album category.Oh Boy and Red Pajamas were of course not the only successful independent labels at the time. What was different was the resolutely antediluvian way Mr. Einstein, who by 1993 was based in Nashville, approached things before the advent of the modern internet.Employing a boutique model without the benefit of major-label distribution, he and Mr. Bunetta relied on mail-order sales, grass-roots marketing and innovative consumer engagement. They included comment cards with the orders they filled, inviting buyers to rate albums and offer feedback on packaging and artwork.They also worked with artists who had left major labels for small independents, disregarding the usual trajectory in which performers are incubated at niche labels before graduating to big conglomerates and the money and prestige they promise (but only sometimes deliver).“In the middle ’80s, the idea of running a label for an artist with actual traction seemed crazy,” the music journalist Holly Gleason, who worked as a publicist for Mr. Prine in the ’90s, wrote in a eulogy for Mr. Einstein.“John Prine — or Steve Goodman — were nationally known,” she continued. “Major accounts weren’t going to deal with a handful of titles here, a new release with maybe 100 copies there. And yet, with the customer cards and mail-order business, Oh Boy and Red Pajamas were making it work.”In the process, the two labels became precursors of the human-scale, do-it-yourself entrepreneurship embraced by the Americana and alternative country movements of the late 1980s and beyond.Mr. Einstein in 2021. Most people in Nashville knew him as the proprietor, with his wife, of an award-winning bakery, but he first made his mark in the record business.Ellen EinsteinDaniel LeVine Einstein was born on Dec. 11, 1960, in New Haven, Conn., and grew up in New London, some 50 miles to the east. His father, Lloyd Theodore Einstein, known as Ted, was a physicist who helped invent the Sonar systems for nuclear submarines for the Navy. His mother, Nedra LeVine Einstein, was a schoolteacher.The family moved to Los Angeles in 1978, two years after Mr. Einstein’s mother’s death from cancer.While at U.C.L.A., Mr. Einstein became immersed in Los Angeles’s vibrant punk-rock scene. He frequented clubs like Madame Wong’s and the Masque and soon began promoting shows, which opened doors to his partnerships with Mr. Bunetta, Mr. Goodman and Mr. Prine.Besides his wife, Mr. Einstein is survived by his stepmother, Beverly Kaplan Einstein, and two sisters, Susan Richman and Loryn van den Berg.When Mr. Einstein left Oh Boy to open Sweet 16th, his entrepreneurship and affability translated seamlessly to his new venture.Referring to themselves, tongue in cheek, as “your East Nashville sugar dealer,” the Einsteins earned accolades for their baked goods from the likes of Southern Living and Glamour. And in 2021 they were named East Nashvillians of the Year by the magazine The East Nashvillian for their community-mindedness and generosity: Their hospitality extended both to hungry neighbors unable to afford the price of their award-winning breakfast sandwich and to those who had lost homes when tornadoes ravaged Nashville in 2020. More

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      Badal Roy, Who Fused Indian Rhythms With Jazz, Is Dead at 82

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      He collaborated across cultures, playing tabla with Miles Davis, Ornette Coleman, John McLaughlin and others in the jazz world and beyond, including Yoko Ono.Badal Roy, an Indian tabla player whose drumming propelled East-West fusions for some of the most prominent musicians in and out of jazz, died on Tuesday in Wilmington, Del. He was 82.His son, Amitav Roy Chowdhury, said the cause was Covid-19.Mr. Roy was largely self-taught. He was not trained in the Indian classical apprentice tradition of gurus and disciples. Where classical tabla players use a pair of differently tuned drums, Mr. Roy sometimes used three or four. His improvisational flexibility and his skill at sharing a groove made him a prized collaborator for jazz, funk, rock and global musicians.He first became widely known for his work in the early 1970s with the English guitarist John McLaughlin and Miles Davis, appearing on Davis’s pivotal jazz-funk album “On the Corner” and its successors. He went on to many other collaborations,— recording with Pharoah Sanders, Herbie Mann, Yoko Ono, Bill Laswell and Richie Havens — and spent more than a decade as a member of Ornette Coleman’s electric band, Prime Time.Amarendra Roy Chowdhury was born on Oct. 16, 1939, in the Comilla District of what was then British India. (The area was later part of East Pakistan and is now in Bangladesh.) His father, Satyenda Nath Roy Chowdhury, was a government official in Pakistan; his mother, Sova Rani Roy Chowdhury, was a homemaker. “Badal,” which means “rain” in Bengali, was a childhood nickname.An uncle introduced him to the tabla and taught him its rudiments: the vocal syllables that denote specific drum sounds. Later, in New York, he took some lessons from Alla Rakha, Ravi Shankar’s longtime tabla player. While growing up, he was also a fan of Elvis Presley and Pat Boone. His introduction to jazz was hearing Duke Ellington perform in Pakistan in 1963.Mr. Roy wasn’t planning a career in music when he came to New York in 1968. He intended to earn a Ph.D. in statistics.To support himself, he worked as a waiter at the Pak India Curry House and found a weekend gig playing tabla with a sitarist at A Taste of India, a restaurant in Greenwich Village. Mr. McLaughlin was a regular there, and he sometimes sat in with the duo. After a few months of jamming, he asked Mr. Roy to join a recording session. The resulting album, “My Goals Beyond,” released in 1971, was an early landmark in Indian-influenced jazz.Mr. McLaughlin was also working with Miles Davis at the time, and he brought Mr. Roy to Davis’s attention; when Davis was appearing at the Village Gate in 1971, Mr. Roy’s duo auditioned for him during a break between sets at A Taste of India, carrying their instruments a few blocks down Bleecker Street. Davis called on Mr. Roy for a 1972 session that also included Mr. McLaughlin, Herbie Hancock on keyboards and Jack DeJohnette on drums.In an interview with an Indian newspaper, The Telegraph, Mr. Roy recalled: “All of a sudden, Miles tells me: ‘You start’ — no music, no nothing, just like that. Realizing I have to set the groove, I just start playing a ta-ka-na-ta-n-ka-tin rhythm. Herbie nods his head to the beat and, with a ‘Yeah!,’ starts playing. For a while, it’s just the two of us, and then John and Jack join in. Then all the others start and, to me at least, it’s pure chaos. I’m completely drowned out by the sound. I continue playing, but for the next half-hour, I can’t hear a single beat I play.”Those sessions yielded Davis’s “On the Corner.” Mr. Roy joined Davis for other 1972 sessions that contributed material for Davis’s “Big Fun” and “Get Up With It,” both released in 1974, and performed with him at Philharmonic Hall (now David Geffen Hall) at Lincoln Center for what became Davis’s 1973 album “In Concert.”Mr. Roy received a copy of “On the Corner” when it was released in 1972. But after his frustration at the sessions, he didn’t listen to it until the 1990s, when his son, then a graduate student, told him, “All the hip-hop guys are sampling it.”In 1974, Mr. Roy married Geeta Vashi. She survives him, along with their son and Mr. Roy’s sisters, Kalpana Chakraborty and Shibani Ray Chaudhury, and his brother, Samarendra Roy Chowdhury. He lived in Wilmington.Mr. Roy backed the saxophonist Pharoah Sanders on the albums “Wisdom Through Music” (1972), “Village of the Pharoahs” (1973) and “Love in Us All” (1974), and in later years performed with Mr. Sanders onstage. With the saxophonist Dave Liebman, who had been in Davis’s group, Mr. Roy appeared on “Lookout Farm” (1974), “Drum Ode” (1975) and “Sweet Hands” (1975). (“Sweet hands” is the translation of a Bengali term praising a virtuoso tabla player.)He released two albums as a leader in the mid-1970s, both featuring Mr. Liebman: “Ashirbad” (1975) and “Passing Dreams” (1976), which also included the Indian classical musician Sultan Khan on sarangi, a bowed string instrument.Mr. Roy performed and recorded widely, often as part of cross-cultural fusions. He had a longtime duo with the bansuri (wooden flute) player Steve Gorn, which appeared regularly at the Manhattan restaurant Raga. He shared the 1978 album “Kundalini” with the American jazz clarinetist Perry Robinson and the Brazilian percussionist Nana Vasconcelos. In the early 1980s, he was a member of the flutist Herbie Mann’s group and appeared on the 1981 Mann album “All Blues/Forest Rain.” He also recorded with the composer and trumpeter Jon Hassell; with the trombonist and conch-shell player Steve Turre; with Yoko Ono on her 1982 album, “It’s Alright (I See Rainbows)”; and with the Brazilian guitar duo Duofel, the Japanese bassist Stomu Takeishi, the bassist and producer Bill Laswell and the Swiss harpist Andreas Vollenweider.In 1988, he joined Ornette Coleman’s band Prime Time, and though the group rarely released studio albums, he appeared on its final one, “Tone Dialing,” in 1995. In the early 2000s he was a member of Impure Thoughts, a group led by the keyboardist Michael Wolff. Mr. Roy also recorded often as a leader, collaborating across idioms and styles.In an interview for All About Jazz, Mr. Roy emphasized that his solos were about “telling a story.” “I go with the groove,” he said, “and then go free.” More

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      Louie Anderson, Genial Stand-Up Comic and Actor, Dies at 68

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      He won an Emmy Award for his work on the series “Baskets” and two Daytime Emmys for his animated children’s show, “Life With Louie.”Louie Anderson, the genial stand-up comedian, actor and television host who won an Emmy Award for his work on the series “Baskets” and two Daytime Emmys for his animated children’s show, “Life With Louie,” died on Friday in Las Vegas. He was 68.His death, in a hospital, was confirmed by his longtime publicist, Glenn Schwartz, who said the cause was complications of diffuse large B cell lymphoma, a form of blood cancer.In an entertainment career that spanned more than four decades, Mr. Anderson had a self-deprecating style that won him legions of fans, among them Henny Youngman and Johnny Carson, whose early support catapulted him to stardom.In 1981, Mr. Anderson was among the top finishers in a comedy competition hosted by Mr. Youngman, who subsequently hired him as a writer.Mr. Anderson made his national television debut in 1984 on “The Tonight Show.” After his set, Johnny Carson brought him out for a second bow, a rarity for comics and especially for ones making their debut.Joseph Del Valle/NBCUniversal via Getty ImagesMr. Anderson made his national television debut on “The Tonight Show” with Mr. Carson in 1984, and, as comedians say, he killed. The routine was heavy on jokes about his own weight (which topped 300 pounds at times), and he had the audience roaring from his opening deadpan line: “I can’t stay long. I’m in between meals.”Afterward, Mr. Carson brought him out for a second bow, a rarity for comics and especially for ones making his debut. As Mr. Anderson told it, Mr. Carson later paid him another high compliment.“He came by my dressing room on the way to his, stuck his head in and said, ‘Great shot, Louie,’” he told The St. Louis Post-Dispatch in 2002. “Because comics call that a ‘shot’ on ‘The Tonight Show.’ And that was huge for me.”Mr. Anderson went from earning $500 a week for his stand-up work to making twice that in one night, he said. And film and television work started coming his way, including small roles in “Ferris Bueller’s Day Off” (1986) and “Coming to America” (1988). In 1987, Showtime broadcast a comedy special that captured him in performance at the Guthrie Theater in Minneapolis.Reviewing the show for The New York Times, John J. O’Connor wrote, “In an age when comedians rely on desperation measures to establish a performing identity — think of Howie Mandel indulging in infantile screaming or Sam Kinison feigning a nervous breakdown — Mr. Anderson has developed a low-keyed act that could fit comfortably into the category of family entertainment.”He added, “At a time when stand-up comedy is trafficking heavily in insult, hysteria and sexual obsessions, Mr. Anderson seems to have come up with something truly different — old-fashioned, heartwarming humor.”That would be his bread and butter for his whole career, although he took it in interesting directions. “Life With Louie,” which ran from 1994 to 1998 and won him Daytime Emmys in 1997 and 1998 as outstanding performer in an animated program, was a savvy children’s show that also had an adult following; its title character, a child, dealt with an assortment of problems at home and on the playground.Mr. Anderson won an Emmy for his performance as Zach Galifianakis’s mother on the comic drama “Baskets.”Colleen Hayes/FXOn “Baskets,” an acclaimed comic drama that ran from 2016 to 2019 and starred Zach Galifianakis, Mr. Anderson, in drag, played the mother of twin brothers played by Mr. Galifianakis. Mr. Anderson was nominated for the supporting actor Emmy for the role three times, winning in 2016.In a 1996 interview with The Orlando Sentinel, he reflected on his appeal.“People are comfortable with me onstage,” he said. “There’s nothing hateful about my comedy. I look at it from the humanity standpoint. I’m just kind of like ‘Hey, we’re all in this together,’ and so they feel comfortable inviting me into their living rooms.”Louis Perry Anderson was born on March 24, 1953, in St. Paul, Minn. His mother, Zella, was a homemaker, and his father, Louis, was a jazz musician.He graduated from high school in St. Paul and had a job counseling troubled youths when his career path changed as a result of a dare.“I went out one night with some guys from work and we saw a couple of comedians,” he recounted in a 1987 interview with The Post-Standard of Syracuse, N.Y. “I remarked that neither one of them was very funny, and everybody began telling me to get up there myself if I thought I could do it better.“The joke kind of escalated over time,” he continued, “and finally one night, I did get up onstage. Once I did, I discovered that I liked it a lot. I have been doing it ever since.”He began working comedy clubs in Minnesota, then branched out to Chicago and other mid-American cities. At the 1981 Midwest Comedy Competition in St. Louis he did well enough to impress the show’s host, Mr. Youngman, who hired him as a writer and boosted his confidence.“He helped me learn to write really good material, and he encouraged me to stay in comedy,” Mr. Anderson said of Mr. Youngman. “I was at that point where I wasn’t sure what I wanted to do next.”The Carson appearance in 1984 helped make him a headliner, and he worked regularly in Las Vegas and other top comedy cities, touring for a time with Roseanne Barr. A 1996 sitcom, “The Louie Show,” on which he played a psychotherapist. lasted only six episodes despite a supporting cast that included Bryan Cranston, but Mr. Anderson frequently played guest roles on other series and was a fixture on late-night talk shows. In the late 1990s and early 2000s, he was host of the game show “Family Feud.”He was also an author. His stand-up comedy drew heavily on his family in lighthearted ways, but his books had a more serious element. “Dear Dad: Letters From an Adult Child” (1989) was a series of letters addressed to his father that dealt with, among other things, his father’s alcoholism.“I can remember coming home from school and knowing when I walked in the door whether or not you had been drinking — without even seeing anyone,” he wrote. “That’s how sensitive I think I became.”As his stand-up career progressed, Mr. Anderson dialed back on the jokes about his weight, and his book “Goodbye Jumbo … Hello Cruel World,” published in 1993, was an honest look at his food addiction. “The F Word: How to Survive Your Family” (2002) and “Hey Mom: Stories for My Mother, but You Can Read Them Too” (2018) also had serious intent.Mr. Anderson was one of 11 children. His survivors include his sisters Lisa and Shanna Anderson, Mr. Schwartz said. Mr. Anderson said he based parts of his “Baskets” character on his mother. In “Hey Mom,” he addressed her directly.“I guess I must believe in the afterlife if I’m writing to you and I talk to you and my face is always turned up to the sky,” he wrote. “If there is an afterlife, I hope there’s a big comfortable chair, because I know you like that, and good creamer for your coffee, and a TV showing old reruns.”Neil Vigdor contributed reporting. More

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      Meat Loaf, ‘Bat Out of Hell’ Singer and Actor, Dies

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      In his six-decade career, the singer, born Marvin Lee Aday, sold millions of albums and acted in films including “The Rocky Horror Picture Show” and “Fight Club.”Meat Loaf, the larger-than-life rocker whose 1977 debut album, “Bat Out of Hell,” was one of the best-selling albums of all time, died on Thursday. He had given conflicting information about his age over the years, but was widely reported to have been 74.His death was confirmed by his manager, Michael Greene. A statement on the musician’s Facebook page said his wife was by his side and that his friends had been with him in his final 24 hours. A cause of death was not given.Meat Loaf, who was born Marvin Lee Aday and took his stage name from a childhood nickname, had a career that few could match. In six decades, he sold more than 100 million albums worldwide, the statement said, and appeared in several movies, including “The Rocky Horror Picture Show” and “Fight Club.”“We know how much he meant to so many of you and we truly appreciate all of the love and support as we move through this time of grief in losing such an inspiring artist and beautiful man,” the statement said. “From his heart to your souls … don’t ever stop rocking!”Meat Loaf’s death came just a year after that of Jim Steinman, the songwriter who wrote “Bat Out of Hell,” a record that brought operatic rock to audiences at a time when, in the face of disco and punk, it couldn’t have been more unfashionable. The pair met when Mr. Steinman was commissioned to co-write a musical called “More Than You Deserve,” which ran at the Public Theater in New York in 1973 and 1974. Meat Loaf auditioned and later joined the cast.Jim Steinman, left, with Meat Loaf in 1978. Mr. Steinman wrote all the songs on Meat Loaf’s debut album, “Bat Out of Hell,” which became one of the best-selling albums of all time.Michael Putland/Getty ImagesLater, Mr. Steinman was trying to write a post-apocalyptic musical based on “Peter Pan,” but, unable to secure the rights for the tale, he turned the work into “Bat Out of Hell,” bringing in Meat Loaf to give the songs the style and energy that made them hits. The title track alone is a mini-opera in itself, clocking in at nearly 10 minutes and featuring numerous musical breakdowns. The album’s seven tracks also included the songs “Two Out of Three Ain’t Bad” and “Paradise by the Dashboard Light.”Meat Loaf and Mr. Steinman went on to have legal disagreements, but still worked together, writing a sequel to “Bat Out of Hell” in 1993 — “Bat Out of Hell II: Back Into Hell” — which included “I’d Do Anything for Love (but I Won’t Do That),” Meat Loaf’s only track to top the Billboard 100 singles chart. The song also won him the 1994 Grammy Award for best rock vocal solo performance.“Bat Out of Hell III: The Monster Is Loose,” released in 2006, also included some songs by Mr. Steinman, who created a musical based on “Bat Out of Hell” that premiered in England in 2017. Mr. Steinman died in April 2021 at age 73. Meat Loaf told Rolling Stone shortly afterward that Mr. Steinman had been the “centerpiece” of his life.Some critics could be sniffy about Meat Loaf’s music and spectacle. John Rockwell, reviewing a 1977 live show for The New York Times, started by remarking that “Meat Loaf is the rather graceless name that a large rock performer has chosen for both himself and for the band built around his singing.” Despite that, Mr. Rockwell was soon convinced that Meat Loaf was worthy of being the center of attention. “He has fine, fervent low rock tenor, and enough stage presence to do without spotlights altogether,” he wrote, adding that, “one had to admire the unabashed intensity with which he was willing to wallow in such soap‐opera silliness.”Meat Loaf ultimately released 12 studio albums, the last being “Braver Than We Are” in 2016.In addition to his music, Meat Loaf also appeared in dozens of television shows and movies, according to IMDb. His first major role came in 1975 in “The Rocky Horror Picture Show,” where he played Eddie. He also appeared in “Wayne’s World” (1992), “Spice World” (1997) and “Fight Club” (1999). More recently, he had a role in several episodes of the TV series “Ghost Wars” from 2017-18.Marvin Lee Aday was born and grew up in Dallas, the son of Orvis Wesley Aday, a former policeman, and Wilma Artie Hukel, an English teacher. “I stayed at my grandmother’s house a lot,” Meat Loaf wrote in “To Hell and Back,” his 1999 autobiography, adding that he did not know if those stays were because his mother was busy working or because she did not want him to see his father “on a bender.”According to his autobiography, Meat Loaf was born on Sep. 27, 1947, but news reports of his age varied over the years. In 2003, he showed a reporter from The Guardian newspaper a passport featuring a birth date of 1951 and later said about the discrepancy, “I just continually lie.”Meat Loaf at a news conference promoting his album “Bat Out of Hell III: The Monster Is Loose” in 2006.Bobby Yip/ReutersAs an adult, Meat Loaf said he changed his first name to Michael from Marvin because of childhood taunts about his weight and, he said, the emotional impact of a Levi’s jeans commercial that had the slogan, “Poor fat Marvin can’t wear Levi’s.”He later cited the commercial when petitioning to change his name, which the judge granted it within 30 seconds, Meat Loaf wrote in his autobiography.Meat Loaf also told numerous stories about how he got his stage name, including one about a high school stunt in which he let a Volkswagen run over his head. Afterward, a child shouted, “You’re as dumb as a hunk of meat loaf.” But Meat Loaf wrote in his autobiography that the name came from his father: “He called me Meat Loaf almost from the time my mother brought me home.”Meat Loaf had health problems throughout his career. He had heart surgery in 2003 after collapsing onstage at Wembley Arena in London and told an audience in Newcastle, England, in 2007 that the concert was “probably the last show I’ll ever do” after another health scare.Meat Loaf performing in the Netherlands in 2013.Ferdy Damman/Agence France-Presse — Getty ImagesIn 2013, he told The Guardian that he was definitely retiring from music after another farewell tour. “I’ve had 18 concussions,” he said. “My balance is off. I’ve had a knee replacement. I’ve got to have the other one replaced.” He wanted to “concentrate more on acting,” he added, since “that’s where I started and that’s where I’ll finish.”A full list of survivors was not immediately available. More

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      Elza Soares, 91, Who Pushed the Boundaries of Brazilian Music, Dies

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      She rose from a favela in Rio to samba stardom in the 1960s. But her career was later overshadowed by an affair with a famous soccer player that became a national scandal.Elza Soares, the samba singer whose meteoric rise from the favela to stardom was later eclipsed by a scandalous affair with one of Brazil’s most famous soccer stars, died on Thursday at her home in Rio de Janeiro. She was 91.Her death was announced in a statement on her official Instagram account, which added that she “sang until the end.”With fine features that led to comparisons with Eartha Kitt and a rough voice that was reminiscent of Louis Armstrong, Ms. Soares became one of the few Black women singers in Brazil to be featured in films in the 1960s and on television in the ’70s.Her first album, “Se Acaso Você Chegasse” (“If You Happen to Stop By”), released in 1960, introduced scat singing into samba. Her second, “A Bossa Negra” (1961), was conspicuously lacking in bossa nova. Instead, it featured the kind of samba popular in the favelas, thus reclaiming the African roots of a sound whose international success stemmed from taking away samba’s drums and adding complex jazz harmonies.As her fame grew, she remained true to her roots. “I never left the favela,” she liked to tell reporters, and she often finished shows thanking audiences for “every scrap of bread that my children ate.”Such talk was almost unheard-of in the 1960s in Brazil, where — despite a yawning gap between rich and poor, and despite a larger Black population than any other country outside Nigeria — publicly discussing issues of poverty and race was considered inelegant.RCA Records declined to offer her a contract after learning that she was Black, and she spent years singing in Copacabana nightclubs before being signed to Odeon Records in 1960, where she began a long recording career subtly — and sometimes not so subtly — pushing the boundaries of Brazilian music.But by the 1980s, she was perhaps better known as the wife of the soccer star known as Mané Garrincha — considered in Brazil to be second only to Pelé — than for her music. When Garrincha left his wife and eight children to marry Ms. Soares, it was a national scandal. She was widely disparaged and labeled a home wrecker. Angry fans pelted their house in Rio with stones and even fired shots at it.Ms. Soares and the soccer star known as Mané Garrincha in an undated photo. When he left his wife and eight children to marry Ms. Soares, it was a national scandal.Associated PressIt wasn’t until the early 2000s, long after the death of her husband, that Ms. Soares staged an unlikely comeback, embracing younger composers and producers who were just beginning to discover her music. Her new songs were even more direct than her earlier ones in addressing social issues, openly advocating for the rights of Black people, gay people, and especially women.Elza Gomes da Conceição was born on June 23, 1930, in Rio de Janeiro’s Padre Miguel favela. Her mother, Rosária Maria da Conceição, was a washerwoman; her father, Avelino Gomes, was a bricklayer who played guitar and liked samba music.Her father forced her to marry Lourdes Antônio Soares when she was 12; by the age of 21, she was a widow and the mother of five.She said it was a desperate need to buy medicine for a sick child that led her to take a chance singing at a popular radio talent show when she was 15. She showed up in pigtails and a dress, borrowed from her mother, hemmed in with safety pins. She was nearly laughed offstage until the show’s host, Ary Barbosa, asked her what planet she had come from. She disarmed him with her reply: “The same planet as you — Planet Hunger.”“At that moment everyone who was laughing sat down in their seats and everyone was quiet. I finished singing and he hugged me, saying, ‘Ladies and gentlemen, at this exact moment a star is born,’” Ms. Soares said in a 2002 television interview.Her singing career took off, leading to appearances in movies and on TV. She was one of the few Black Brazilian women to rise to stardom at the time.Her career, however, was soon overshadowed by her fiery love affair with Manuel Francisco dos Santos, known as Garrincha. Their romance began at the 1962 World Cup in Chile, where she was representing Brazil as an entertainer, and where her career might have taken a very different turn: She also met Louis Armstrong, who invited her to tour the United States with him, but she chose instead to follow her heart and return to Brazil with Garrincha. That move would have disastrous repercussions.Harangued by the public and the press, the couple were forced to move to São Paulo and eventually to Italy, where they spent four years. They married in 1966.Ms. Soares was pregnant with their son, Manoel Francisco dos Santos Júnior, when the couple returned to Brazil in 1975. By that time, Garrincha’s alcoholism was becoming a serious problem. He had been driving drunk in 1969 when he had an accident that killed Ms. Soares’s mother. He beat Ms. Soares, who became known for visiting bar owners to implore them not to serve her husband. But her efforts proved futile; Garrincha died of cirrhosis in 1983.When their son died in a car accident in 1986 at age 9, Ms. Soares was devastated and left Brazil. She spent several years in Los Angeles, trying in vain to launch an international career.She credited the Brazilian singer-songwriter Caetano Veloso with helping her return to music when she was ready to give up, by featuring her on his 1984 album, “Velo.”But her output was spotty throughout the 1980s and ’90s, and it wasn’t until 2002 that she regained her stride, connecting with composers and producers from São Paulo’s samba sujo (“dirty samba”) scene to record the album “Do Cóccix Até o Pescoço” (“From the Tailbone to the Neck”), which was nominated for a Latin Grammy Award.In 2016, her “A Mulher do Fim do Mundo” (“The Woman at the End of the World”) won a Latin Grammy for best Brazilian popular music album.Ms. Soares is survived by her children, Joao Carlos, Gerson, Dilma and Sara, and by numerous grandchildren and great-grandchildren. Her son Dilson died in 2015.She continued to find success with younger audiences in the new century, working tirelessly as she approached 90, exploring musical styles including electronic dance music, punk rock and free jazz, and recording albums that fearlessly addressed social issues.The title of her album “Planeta Fome” (“Planet Hunger”), released in 2019, referred directly to how her career got its start on the radio talent show that would forever change not only her life but the course of Brazilian music. More