We are currently in the process of finalizing plans for a series of induction ceremonies to honor and celebrate the first inductees to the Rochester Music Hall of Fame.
About Our Charter Inductees
The 23 inductees in this inaugural group not only meet any standards or criteria that could justifiably be applied to them for this purpose, but in many respects they have defined the standards. They all represent the very finest in their class and cover a wide cross section of society in terms of religion, race, sex, styles, disciplines, living and deceased and spanning three centuries of Rochester’s history. The selection of these inductees conveys the inclusive nature of the Hall of Fame while emphasizing the exclusive tribute becoming a member represents.
Included with the 21 individuals on our list is a grand venue and a momentous event.
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Recognizing those with ties to Rochester whose talents, efforts, perseverance, and creativity have contributed to the creation of musical excellence.
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Our Charter Inductees
Corinthian Hall – (1849 -1879) Remodeled and renamed the Academy of Music – (1879 – 1898). Rebuilt after a fire & renamed The Corinthian Theater – (1898 – 1928)
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The Performances of Mademoiselle Jenny Lind, the “Swedish Nightingale” – (Performance Dates: July 22 and July 24, 1851) Johanna Maria “Jenny” Lind – (b. Oct. 6, 1820 – d. Nov. 2, 1887)
The Corinthian Hall was Rochester’s most prestigious site for concerts, lectures and balls. It hosted a Who’s Who list of historical speakers and had many grand concerts and performances by some of the biggest names from home and abroad. The Hall was located at Exchange Place and Mill Street behind the Reynolds Arcade where currently a parking garage stands at the end of what is now called Corinthian St. off of State St.
It was built by the Rochester Athenaeum and Mechanics’ Association (Now known as The Rochester Institute of Technology). They were a merger of, The Athenaeum, an organization formed by Nathaniel Rochester to sponsor lectures from America’s best known orators and The Mechanic’s Literary Association founded by William A Reynolds as a club for young men to discuss worldly topics and literature. Hard economic times and other pressures led to the merger of the two clubs. Together they realized the need for a hall. Reynolds owned the land behind The Reynolds Arcade and saw the building of a hall there as a business opportunity. Dues from members could provide funds to sponsor lecturers and others would pay to hear them speak.
The architect was Henry Searle whose work can still be seen through out Rochester and elsewhere and who also entered a plan in the competition for the Washington Monument. Originally the hall was to be called The Athenaeum, but the day before the dedication, Reynolds looked at the large Corinthian columns Searle placed behind the stage and thought of the more fitting name. Exchange place was also renamed Corinthian St. Though it was a simple design the hall was praised far and wide as the most perfectly constructed for acoustics of any hall in the country. Architects came from other cities to study its proportions, ease of access, heating and ventilation systems and its gas lighting. It was truly a source of pride for the emerging city.
The building was remodeled once in 1879 and thereafter often called, The Academy of Music. After being ravaged by fire in 1898 the hall managed to reopen in 1904 as the Corinthian Theater. It never regained the splendor of its earlier time and was raised in the year 1928.
In its heyday there were continuous bookings by all the great orators of the day, Susan B Anthony, Ralph Waldo Emerson, Charles Dickens, William H. Seward, William Lloyd Garrison and Frederick Douglass etc. A parade of Grand Vocal and Instrumental Concerts culminated on two days in 1851, July 22 and July 24. On those two days the famed Swedish soprano Jenny Lind known around the world as, the “Swedish Nightingale” brought her tour group sponsored by P.T. Barnum to Rochester for the most unforgettable performances this area had ever seen.
Jenny Lind arrived at the train station on Goodman St. and was met by the Mayor, Samuel Richardson and a throng of fans. The Mayor had to take her on a circuitous carriage ride through back roads to escape the crowds and get her safely to the Eagle Hotel in the heart of the city. After arriving at the hotel she greeted her fans from a balcony and acknowledged the applause from the crowds gathered in the streets below.
Assisting Jenny Lind in concert were Signor Billeti her pianist, Otto Goldschmidt her piano accompanist and Joseph Burke her violinist. She performed a variety of songs including arias by Bellini and Donizetti, as well as one from Handel’s Messiah.
It was written afterwards: “Jenny Lind sings at the Corinthian Hall. Demand to see her was so great that tickets to her second performance were auctioned. The proceeds over the regular price $2,500 were donated to local charities. She also gave a private performance for four Indian Chiefs at the Eagle Hotel. It’s hard to imagine a comparable set of occurrences happening today. Perhaps the arrival and performance of a reincarnated “Beatles” would cause such a stir.
David Hochstein
(b. Feb.16, 1892 – Reported missing Oct.15, 1918)
Born in Rochester, New York to Russian, Jewish immigrants, violinist, clarinetist, composer, and award winner, David Hochstein was Rochester’s first homegrown superstar. He was considered to be one of the finest musicians ever to come from this area. In 1915 he made his Carnegie Hall debut and performed as soloist with the New York Philharmic Orchestra and the Metropolitan Opera. He went on to perform in Boston, Chicago and all throughout the U.S. and Europe including London, Berlin and Dresden receiving rave reviews.
He received his first violin on his fifth birthday from his father who became his first teacher. At the age of eight he began studying with one of the City’s most respected musicians, Herr Ludwig Schenck. From 1909 to1912 he studied under Ottakar Sevcik in Vienna, with the enthusiastic support of Emily Sibley Watson. He graduated from Meisterschule with highest honors and became the first American to win triple prizes offered by the institution. He also was the first student to win both the “One Thousand Crown” and “First State” awards.
With backing from George Eastman He continued his studies in St. Petersburg, Russia, with Leopold Auer, considered to be the finest violinist of the time. Eastman later purchased two violins for him a 1735 Carlo Landolphi and a 1715 Stradivarius.
David went on to compose his own works of music and transpose others. His performances were always a delight to his many fans.
In 1917 he decided to join the army and was assigned to the Infantry Division. He began playing the clarinet in the military band and said at the time “…a great interpreter reveals his inner-most soul through his instrument, whatever it may be…,” but having said that, he nonetheless brought along his Stradivarius and wrote special pieces that allowed him to play violin with the otherwise unorthodox accompaniment of the military band.
On March 10th 1918 David and 13 other soldiers loaded into a small bus on route to a performance. The axle broke from the weight of the men and the bus crashed into a tree. Though shaken no one was hurt, but later upon opening the soft leather case of his violin, to his shock David found his $25,000 Stradivarius in pieces. It was insured for only ten thousand dollars, but Hochstein planned on purchasing another one while in France. Unfortunately for him and the music world in Oct. of 1918 Second Lieutenant David Hochstein died in France in the Battle of Argonne.
Rochester musicians rallied together on April 5, 1919 for a Hochstein Memorial Concert, attended by thousands. Leopold Auer wrote, “In him America has lost one of her finest artists.” The Hochstein Music School was founded in his memory.
http://www.hochstein.org/about/history
Emily Sibley Watson
(b. 1855 – d. Feb. 8, 1945)
Born and educated in Rochester, NY she was a member of one of the city’s first families. She was the daughter of the Western Union Company founder, Hiram Sibley, the sister of Hiram Watson Sibley whose music collection became the Sibley Music Library, and the wife of banker and philanthropist James Sibley Watson. Her position of wealth and prominence was soundly planted, but so too were her roots and a commitment to Rochester.
Mrs. Watson traveled throughout the world seeing and experiencing a side of life not common to the streets of Rochester. She gained a fond appreciation of art and music and with her generosity greatly enriched Rochester’s cultural life. She took on musical protégés advising them and assisting them with financial support. Upon hearing for the first time young David Hochstein practicing the violin at a neighbors home she immediately recognized his great potential and became his benefactor allowing him to study under the finest teachers.
Her close friendship with George Eastman no doubt influenced his own appreciation for music and led him to purchase David two rare violins and finance his continued studies in St. Petersburg, Russia under Leopold Auer, considered to be the finest violinist of the time.
Upon the death of David Hochstein in war Emily Sibley Watson sought to honor his life. With her friend George Eastman they founded the Hochstein Music School in David’s memory. To this day the Memorial Music School has served as Rochester’s community school of the arts and has produced many talented individuals.
She died peacefully in her home on Prince St. at the age of 90. Her life had been spent finding ways to use her wealth to better her community. An editorial appeared in the Rochester Democrat and Chronicle the day after her funeral. It read:
Made Community Richer. An indication of the spirit in which Mrs. James Sibley Watson made her contributions to Rochester opportunities for cultural enjoyment is contained in the fact that when she established the Memorial Art Gallery she was particularly interested in making it a place for living art rather than a dead storehouse of treasures. The children’s classes and others that have helped carry out this purpose have given the Rochester gallery a reputation and standing among galleries of the country which is respected and recognized by directors of more famous institutions. This interest was backed by generous gifts to the Gallery’s collection as well as the initial building and with her husband, the large addition which doubled its capacity. Her interest in the Genesee Hospital, in the Rochester Civic Music Association, her special interest in David Hochstein and the establishment of the Hochstein Music School in his memory, revealed her genuine desire to use her wealth for the enrichment of the life of all her Rochester neighbors and for the alleviation of their distress. Neither advanced age nor illness dimmed her interest in others or her helpfulness. The boys of the Army Air Corps who trained here and marched past her window daily through several months had reason for their daily salutes beyond the material contributions she made to their comfort and recreation. She was a Rochesterian whose name and personality will be recalled for many years as the cultural inspiration of her benefactions persists. Rochester Democrat and Chronicle, February 9, 1945 and February 10, 1945.
http://www.fomh.org/Data/Documents/EmilySibleyWatson.pdf
George Eastman
(b. July 12, 1854 – d. March 14, 1932)
He was born in the Village of Waterville south of Utica NY. At the age of five his family moved to Rochester where his father began to establish the Eastman Commercial College. When His father died the college failed and the family was faced with financial hardship. Young George dropped out of school at the age of 14 and found work as an office boy so he could help support the family. His work ethic and sharp mind propelled him up the latter of success.
By 1874 ten years after he quit school to work for three dollars a week he found that he had enough discretionary money to take a vacation. When he told a co-worker that he planned a trip to Santo Domingo the suggestion was made that he document the trip by taking photographs. At the time you needed a mule to carry all the paraphernalia necessary to do the job. This was how he first became interested in photography and though he never did make that trip by 1880 he was ready to start his own photography business. Several inventions and a few years later Kodak was born in 1888 and the rest of course is history; Rochester’s history, and more to the point Rochester’s music history.
Eastman said, “It is fairly easy to employ skillful musicians. It is impossible to buy appreciation of music. Yet without a large body of people who get joy out of it, any attempt to develop musical resources of any city is doomed to failure “ In 1921 he purchased the DKG institute of Musical Art and transformed it into The Eastman School of Music. Since then the school has become world renown with an endless stream of brilliant students and faculty. The alumni alone say it best: Mitch Miller, Ron Carter, Chuck Mangione, Renee’ Fleming, Steve Gadd, Jeff Tyzik and many more.
He then built the magnificent Eastman Theater that opened in 1922. It was designed primarily for silent film, but has become a primary concert hall for all sorts of music. Next came Kilbourn Hall in 1924, named after his mother’s maiden name. It is considered to be among the finest chamber music halls in the world. The Rochester Philharmonic Orchestra was founded by Eastman in 1922. It’s an amazing orchestra for a city this size and recognized nationally for artistic and organizational excellence, creativity and innovation.
The list of philanthropic gifts to the city from Eastman goes on and on, but there is another aspect of his great generosity and empathy for his fellow man that often gets over looked. He said, ”…It is necessary for people to have an interest in life outside of their occupations…I am interested in music personally, and I am led thereby to want to share my pleasure with others…” In 1919, he gave one third of his own holdings of Kodak stock to his employees as a wage dividend. Next he established a retirement annuity, life insurance, disability benefits, not to mention all the good paying steady jobs his company provided. With this kind of stability and security the middle class grew and found the time and had the money to go out and enjoy music and events. They could afford to send their children to the fine schools in the area, including the Eastman School. With the exception of three or four others, Eastman was the king of philanthropy in his day. But you won’t see his name on nearly as many buildings and monuments as the Carnegies or Rockefellers of the time. Eastman often made donations anonymously or under fictitious names because he didn’t do it for the publicity. He did it because he truly enjoyed seeing others have a good time and a good life.
At the age of 77 suffering from spinal stenosis George Eastman put his estate in order and on March 14, 1932 he died by his own hand. The note he left simply said, “My work is done. Why wait?”
http://www.kodak.com/global/en/corp/historyOfKodak/eastmanTheMan.jhtml?pq-path=2689&pq-locale=en_US
Howard Hanson
(b. Oct. 28, 1896 – d. Feb. 26, 1981)
Born in Wahoo, Nebraska, Hanson was a composer, conductor, educator, music theorist, and ardent champion of American classical music. He was the Director of the Eastman School of Music from 1924 to 1964 and made the school what it is today. The impact of his influence is replete in the world class reputation of the school, the prestigious outcomes of so many of its students and the pride the city has for its musical heritage.
www.spiritus-temporis.com/howard-hanson/
Cabell “Cab” Calloway III
(b. Dec. 25, 1907 – d. Nov. 18, 1994)
Born on Sycamore Street in Rochester, New York, on Christmas Day 1907 Cab Calloway lived there with his middle class family for 11 years. They moved to Baltimore where he graduated from Frederick Douglass High School. Though his father wanted him to follow in the family business and become a lawyer Cab wanted to be an entertainer. Nonetheless he tried law school in Chicago, but found himself spending his evenings performing in local night clubs.
He got his first taste of show biz after High School when he joined his older sister Blanch in a touring production of a black musical revue, “Plantation Days.” She would become an accomplished bandleader before Cab, but he always gave her credit for being his inspiration.
He attended Lincoln College in Pennsylvania and the Crane School of Music in Potsdam, NY, but settled in Chicago where his sister had established herself as a jazz singer. Cab began performing as a singer and drummer and emceed at several clubs around town. At the Sunset Café he met Louie Armstrong who taught him the art of “scat” singing.
It wasn’t long before he found himself taking over a band called the “Missourians” and leading them to the Cotton Club in New York City where he eventually was hired to replace the Duke Ellington Orchestra while they were on tour. Cab and his Orchestra were such a hit that they went on to become the “Co House” band and then began touring all across the country. Twice weekly Cab could be heard with his orchestra on the NBC national radio show and then an appearance on Walter Winchell’s radio program. Bing Crosby put him in his show at the Paramount Theater. Not only was he moving up the ladder of fame, but he was simultaneously breaking the broadcast network color barrier right along with Duke Ellington. One night on stage in 1941 Cab felt a spit ball hit him coming from the direction of his orchestra. He wrongly accused his trumpet player Dizzy Gillespie which resulted in a scuffle and Dizzy stabbing Cab in the leg with a small knife. Needless to say Dizzy was looking for a new gig the next day.
In 1931 he recorded his biggest hit written by Irvin Mills his manager and himself. “Minnie the Moocher”, became his signature song and the popular chorus gave him his nick name, “The Hi De Ho Man.” The song sold over one million copies and the band broke all existing audience records for an all black band. His scat singing and dancing along with his white tuxedos, flamboyant style and comedic personality made him a star and hit recording artist. He would record other songs, many that were used for cartoons and movies. He did voice over work and sang in the 1943 film, “Stormy Weather.”
A book was published in 1944, “The New Cab Calloway’s Hepsters Dictionary: Language of Jive.” Cab translated jive for the uninformed fan. “Kicking the gong around” was jive for smoking opium. He popularized the term, “Jitterbug.”
Cab has won two Grammy’s: the Grammy hall of fame award for 1999 and the Grammy Life Time Achievement Award of 2008. He’s in the Big Band and Jazz Halls of Fame and you can see him in the movie “The Blues Brothers.” He continued to perform right up until his death in 1994 at the age of 88.
http://www.lyricsfreak.com/c/cab+calloway/biography.html
http://www.jazzbiographies.com/Biography.aspx?ID=2069
Mitchell William “Mitch” Miller
(b. July 4, 1911 – d. July 31, 2010)
Born in Rochester, NY and a 1932 graduate of the Eastman School of Music, Miller began his phenomenal career in music as a classically trained oboist and English horn player with the Columbia Broadcasting Systems (CBS) radio network symphony. On the night of Orson Welles’ infamous, “War of the Worlds” radio broadcast Miller was one of the musicians playing the musical accompaniment. He started doing session work and recorded with the Philadelphia Orchestra at RCA. When CBS bought the American Record Company in 1939 and renamed it Columbia Records he recorded with many prestigious groups, conductors and composers.
He left Columbia Records in the late 40’s for the emerging Mercury Records label, still working in the classical field, producing the Fine Arts Quartet. In 1948 he became head of A&R for Mercury’s pop music division. He signed and produced Frankie Laine and even conducted the orchestra on some of his recordings. The singer had a string of huge hit singles, including “Mule Train.” Patti Page, another singer Miller signed had a huge hit with “Tennessee Waltz.” During this busy and productive period he found time to play oboe on Charlie Parker’s most unusual album, Charlie Parker with Strings.
He returned to Columbia Records in 1950 as head of A&R pop music division. His keen marketing sense and skill in the studio enabled him to produce many hits from such stars as: Rosemary Clooney, Doris Day, Tony Bennett, Mahalia Jackson, Jerry Vale, The Four Lads, Johnny Mathis, Johnnie Ray, the New Christy Minstrels, Jo Stafford, Guy Mitchell and others.
Soon he began his own recording career as a pop artist and conductor. “Mitch Miller and His Gang” made large scale choral recordings in the 50’s. One of his many hits, “The Yellow Rose of Texas” spent six weeks at number one. All together “Mitch Miller and the Gang” had 19 Top 40 hits. All this success led to him getting his own TV show on CBS, “Sing Along with Mitch” (follow the Bouncing Ball) with a cast of performers including Leslie Uggams. It was a big hit for several years.
For over 15 years Mitch Miller was a giant in the recording industry and one of the most powerful people in the music business, but the times and musical tastes were changing. In 1965 Mitch left Columbia, but occasionally reappeared as a conductor of light classical recordings. In 1986 he hosted a tribute to his late friend Alec Wilder. His album sing along with Mitch was one of the first CD’s issued by Columbia and by the 90’s no less than ten of his albums were out on CD. For many years he could be seen walking on the Upper West Side Streets of Manhattan where he lived until his death at the age of 99.
http://www.musicianguide.com/biographies/1608001114/Mitch-Miller.html
Mitchell William “Mitch” Miller
Alexander Courage
(b. Dec. 10, 1919 – d. May 15, 2008)
Born in Philadelphia, this American arranger, and composer received his degree from the Eastman School of Music in 1941. The Academy award nominated and Emmy award winning composer wrote music primarily for television and motion pictures including the theme music for Star Trek (The Original Series), Lost in Space, Voyage to the Bottom of the Sea, Judd for the Defense, Daniel Boone and many, many more.
http://www.youtube.com/watch?v=9oppn9BT6XM
http://www.answers.com/topic/alexander-courage
www.filmreference.com/film/19/Alexander-Courage.html
William Caesar Warfield
(b. Jan. 22, 1920 – d. Aug. 26, 2002)
This bass baritone singer and actor born in West Helena, Arkansas was raised in Rochester, NY. He majored in voice at the Eastman School of Music where he cut short his pursuit of a master’s degree to perform on Broadway. He went on to tour Europe performing in Porgy and Bess and in 1951 appeared in the musical, “Showboat”, singing the definitive film version of “Old Man River.” He made many live TV appearances and in 1984 won a Grammy for the spoken word category.
http://stlouis.missouri.org/501c/chband/warfield.html
Doriot Anthony Dwyer
(b. March 6, 1922)
Considering their kindred accomplishments, comparisons are unavoidable between Doriot and her second cousin, famed suffragette Susan B. Anthony. In 1952 Miss Doriot Anthony began her successful and critically acclaimed 38 year relationship with the Boston Symphony Orchestra as the very first woman to win a principal chair in a major U.S. orchestra. Newspaper headlines of the day read: “Woman Crashes Boston Symphony: Eyebrows Lifted as Miss Anthony sat at Famous Flutist’s Desk” Boston Globe, 10/12/52 and “Flutist, 30 and Pretty, Here with Boston Symphony” Springfield Morning Union, 10/10/52.
Doriot’s musical education began at home listening to radio broadcasts of various orchestras from New York to Chicago. At the age of 8 she received her first lesson on flute from her mother, Edith, whom Doriot later described as being a “prodigiously talented flutist.” Her mother encouraged her to be an “interesting” musician and “Never, never put yourself down because you are a female.” The likelihood of a female musician other than a harpist ever winning a principle chair on a major Orchestra in those days was nil, but with continued positive feedback, she pursued further study.
She progressed through a number of teachers, including Ernest Liegl, then Principle Flute in the Chicago Symphony. Twice a month for five years she would make the 5 hour trip, by train, to and from Liegl’s house for each lesson. When her application to attend the Curtis Institute of Music was rejected by their flute teacher, William Kincaid, she chalked it up to overconfidence and began private lessons with Kincaid. In 1939 the Eastman School of Music director, Howard Hanson, offered Doriot a scholarship to study under the esteemed Professor of Flute, Joseph Mariano.
Upon graduation from Eastman, Doriot immediately found work with the National Symphony as second flute followed by a series of other jobs When a ballet troupe she was touring with folded, she found her skill at sight reading and her experience playing “modern music,” gained while at Eastman, led to lucrative work on radio and with recording studios in Los Angeles. She performed with the popular Hancock Ensemble, the Hollywood Bowl Orchestra and the Los Angeles Philharmonic before making history by winning the position of First Flute with the Boston Symphony Orchestra.
http://archives.susanfleet.com/documents/doriot_anthony_dwyer.html
Charles Strouse
(b. June 7, 1928)
Born in New York City this Eastman School of Music graduate is a three time Tony Award-winning American composer and lyricist. His first Broadway musical was the 1960 hit “Bye, Bye Birdie.” He also wrote the score for “Annie”, winning his third Tony Award and two Grammy Awards. His film scores include “Bonnie and Clyde” and “There Was a Crooked Man.” In 1958 his song, “Born Too Late” was number one on the Billboard charts. He also co wrote the theme song, “Those Were the Days” for the television show, “All in the Family.” Mr. Strouse turned 80 years old in 2008 and on January 29, 2009 saw the debut of the musical Minsky’s featuring his latest musical score.
http://www.charlesstrouse.com/
Paul Hoeffler
(b. 1937 – d. July 30, 2005)
Beginning in the fifties, this Rochester Institute of Technology educated photographer, documented the Rochester, NY jazz scene and beyond. Famous for catching on film unscripted and behind the scene moments of all the legends from Billie Holiday to Duke Ellington and from Stan Getz to Dave Brubeck, he became an artist in his own right, as improvisational as many of his subjects. He influenced a generation of photographers that followed him. Ken Burns featured Hoeffler’s photographs through out the 2001 television documentary, “Jazz.”
http://www.lib.rochester.edu/index.cfm?page=3123
http://www.ejazznews.com/modules.php?op=modload&name=News&file=article&sid=4808
Ronald Levin “Ron” Carter
(b. May 4, 1937)
Born in Ferndale Michigan, Cellist and Double bassist Ron Carter is one of the most recorded bassists in history being heard on over 2,000 albums, numerous times on cello as well. Carter earned a full scholarship to the Eastman School of Music, graduating in 1959 and becoming the first African American to play in the Rochester Philharmonic. It was at Eastman where he became disillusioned with the orchestral world and shifted his focus to jazz. The turning point came when he was 20. Leopold Stokowski, then the conductor of the Houston Symphony, had come to Rochester to guest-conduct the orchestra. Stokowski pulled Carter aside after rehearsal and told him, “I’d love to have you in my orchestra in Houston, but they’re not ready for colored people who play classical music.” The two time Grammy winner is still performing today.
http://www.roncarter.net/officialSite.html
Charles Frank “Chuck” Mangione
(b. Nov. 29, 1940)
Rochester, NY. born and educated, flugelhorn player, composer and double Grammy winner Chuck Mangione is now, officially, a national treasure. Recently the Smithsonian rejoiced in receiving scores (literally) of personal musical memorabilia. Along with the original scores for his most important works were his signature brown felt hat, photos, recordings and an animation cell from his cartoon appearance on, “King of the Hill.”
www.chuckmangione.com/bio.html
Gene Cornish
(b. May 14, 1945)
Born in Ottawa Canada, Gene and his family relocated to Rochester, NY where he attended Ben Franklin High School. He played in several area garage bands and attempted a solo career before becoming the guitarist with Joey Dee and The Starlighters in New York City. It was there in Manhattan that Gene and three other musicians came together to form The Young Rascals. With 18 top 100 hits, 3 reaching number one, the Rascals were inducted to the Rock and Roll Hall of Fame class of 1997. Gene continues to perform and excite audiences with his unique guitar style.
http://www.artistdirect.com/artist/bio/gene-cornish/417623
Steven Kendal Gadd
(b. April 9, 1945)
Steve Gadd was born in Rochester, NY and attended the Eastman School of Music. He’s considered to be the most influential drummer of contemporary music as well as the most sought after studio drummer in the world. His drumming can be heard on many hits by artists such as Paul Simon, James Taylor, Eric Clapton, Steely Dan and Chick Corea just to name a fraction of them.
Joe English
(b. Feb. 7, 1949)
Back in the 70’s, when British rock royalty Sir Paul McCartney needed a drummer to finish recording a Wings album, it was Joe English who came to the rescue. By the time his tenure with the famed ex Beatle was through, Joe had played on five gold and platinum Wings albums and toured the world.
According to Joe, he first picked up a pair of drum sticks when he was 13 years old. Like so many other kids across America, he had seen the four lads from Liverpool on TV, and was instantly bitten by the music bug. “I want to be like that one day,” he said to himself. His parents bought him a drum set and it wasn’t long before he was performing in nightclubs and in concerts.
English was on a path to fame and fortune long before he met McCartney. From 1969 to 1973 his powerful drumming propelled the horn infused rhythm and blues band Jam Factory based in Syracuse NY. They took to the road in 1970 to promote their debut album, Sittin’ in the Trap, and for the next few years, regularly opened for major acts such as Jimmy Hendrix, Steve Miller, Janice Joplin, and the Grateful Dead. Noting the success of the Allman Brothers, the band moved to Macon, Georgia, changed their name to Tall Dogs, and began playing southern rock. Then one day Joe got a call from his friend Tony Dorcy. Dorcy was a horn arranger working on McCartney’s Venus and Mars album in Nashville. He had gotten wind that McCartney was going to fire his drummer, so he called Joe to say, “There’s a chance you might have the job.” Joe was summoned to New Orleans on a Tuesday and by Wednesday he was recording with Paul McCartney and Wings.
Just like that, 26 year old Joe English was in one of the most popular bands of all time, being idolized by millions of fans world wide and possessing all the material wealth he could ask for. Joe was living a dream come true, but at the same time, he was challenged by personal demons. Feeling homesick, he left Wings to return to Georgia where he joined the band, Sea Level, made up of ex members of the Allman Brothers Band. Next, he formed the Joe English Band and began making Christian rock albums for very eager fans. By Joe’s own admission, he was a wolf in sheeps clothing, just pretending to be one of the faithful. His struggle with inner conflicts persisted until one desperate night when he knew he had to decide who he was going to serve, the devil or God. He chose God and as he testifies, a miracle occurred and he was born again. Joe is no longer involved in the music industry, but he continues to sing in the World of Faith Fellowship choir in Spindalem, North Carolina.
http://www.absoluteastronomy.com/topics/Joe_English
Lou Gramm
(b. May 2, 1950)
One of the most talented performers ever to come from Rochester, Lou began his music career as a drummer in local groups eventually taking center stage as the singer of the very popular hometown band “Black Sheep.” Though the band had signed with a major record label they had to abandon their promotional tour when their equipment truck got in an accident destroying all their equipment. During this interruption on the road to fame, British guitarist Mick Jones contacted Gramm and together they formed “Foreigner.” Including his successful post Foreigner solo career, Gramm composed and performed on 20 top forty singles. His music can be heard everyday on radios around the world and after battling serious health issues he continues to perform to enthusiastic crowds to this day.
Jeff Tyzik
(b. 1952)
Born in Hide, NY, educated at the Eastman School of Music, musician, conductor, arranger and record producer Jeff Tyzik has held the position of Principle Pops Conductor of the RPO for the past 16 years. Among his many accomplishments, Jeff has performed with the great Chuck Mangione and produced a Grammy award winning album for Doc Severinsen. Today he juggles duties with orchestras from at least two other cities and guests conducts for many more.
Renée Fleming
(b. Feb. 14, 1959)
This three time Grammy winning, international opera / recording star from Indiana, Pennsylvania grew up in Rochester, NY and finished her graduate studies at The Eastman School of Music. She feels as passionately about singing show tunes and jazz songs as she does performing in operatic roles. She can leave audiences wanting more even after a half hour of encores.
www.bach-cantatas.com/Bio/Fleming-Renee.htm
Charlie Lowell and Matt Odmark
(b. Oct. 21, 1973 and Jan. 25, 1974, respectively)
Half of the members of the three time Grammy winning band “Jars of Clay”, pianist Charlie Lowell and guitarist Matt Odmark are from Rochester, NY. Their debut album titled “Jars of Clay” produced the mainstream hit, “Flood” and the cd has since gone double platinum while their second album is certified platinum. Add a few more gold albums and a new release in 09 and this preeminent Christian rock band is on solid ground with a very active fan base.
