F

FAIRE DU BOEUF. The French term meaning to participate in a jam session or a performance where the musicians are playing together for more casual purposes instead of more refined rehearsed purposes. See also EUROPE; FRANCE.

FAKE BOOK. A source used by jazz and Pop musicians to reference popular songs used in each genre. The books contain the chord changes (harmonic progression) for many different songs, and often the melody. Through use of the fake book, the musician can improvise and harmonize during the performance by referencing the tune in the fake book as needed. Fake books have been in existence for several decades and are frequently used in jam sessions in which there are tunes being played that are not commonly known by all of the musicians performing.

FAMOUS. A record label founded in New York that was in existence for four years. The Famous label was used to distribute records from Paramount.

FAMOUS DOOR (I). A jazz club located on 52nd Street in New York City, it featured artists including Sarah Vaughan and Count Basie, and inspired many other clubs in other cities.

FAMOUS DOOR (II). The Famous Door record label was founded by Harry Lim during the 1970s. Famous Door included records by Bill Watrous, Mundell Lowe, Dave McKenna, and Charlie Ventura.

FANTASY. Partially owned by pianist Dave Brubeck, the Fantasy label was originally created to document recordings of its owner, Brubeck. During the 1960s, the label expanded to cover several genres and was involved in production with Pop artists Joan Baez and Creedence Clearwater Revival. Fantasy teamed with several significant jazz labels in the 1970s and 1980s, and many albums originally released on the Fantasy label were reissued on the Original Jazz Classics label. See also RECORD LABEL.

FARLOW, TALMADGE HOLT “TAL” (1921–1998). Farlow began his professional career as a guitar player working in New York during the mid- to late 1940s. During this time, he worked with several small groups including those led by Buddy DeFranco and Red Norvo. In the 1950s, Farlow did little touring but did begin to lead groups under his own name. After getting married in the latter part of the decade, Farlow did not perform regularly again until the 1970s, when he began performing and recording regularly and working with his former bandmates. For most of his career, he was involved with groups that did not include a drum set. Farlow is credited with being highly influential for his fluent technique and ability to play fast.

FARMER, ARTHUR “ART” (1928–1999). Growing up in Phoenix, Arizona, Farmer played many instruments while growing up until settling on the trumpet in high school. Farmer and his brother, Addison, would frequently spend time with many of the musicians in touring bands that stopped in Phoenix. Farmer moved to Los Angeles at age 17 to begin working regularly in bands led by Benny Carter, Gerald Wilson, and Jay McShann.

After associations with Teddy Edwards and Hampton Hawes, Farmer moved to New York. In the 1950s, Farmer worked with many of the leading talents in jazz including Charles Mingus, Horace Silver, and Gerry Mulligan, often choosing to play flugelhorn instead of trumpet. Farmer also began playing regularly with tenor saxophonist Benny Golson in the Jazztet, a Hard Bop group founded by the two of them. The Jazztet would play on and off again for the next few decades.

During the 1960s, Farmer began actively leading and touring with his own groups and eventually moved to Vienna where he would remain active for the remainder of his career. Farmer kept a working group in both Europe and the United States and was frequently touring both. In the late 1980s, Farmer experienced a slight resurgence in his popularity and was involved with groups that included both up-and-coming musicians and more veteran players. Included in these groups were Geoff Keezer, Lewis Nash, Cedar Walton, Billy Higgins, and Slide Hampton. Farmer continued to be an active performer until his death.

FARRELL, JO(SEPH) (1937–1986). Born in Chicago into a family of musicians, he became devoted to the tenor saxophone at the age of 13. Farrell studied music in college before moving to New York in the late 1950s. During the 1960s, Farrell remained active as a performer in jazz and as a studio musician. He was hired by several significant jazz musicians during this time including Chick Corea, Charles Mingus, Horace Silver, Maynard Ferguson, and Slide Hampton.

In the 1970s, Farrell recorded as a leader although he never toured much under his own name. Farrell relocated to Los Angeles and continued working in recording studios and playing with the Fusion supergroup Return to Forever in 1972–1973. His life was frequently up and down, and he struggled with several narcotic and alcohol addictions, which led to his career declining in the 1980s. Farrell only did a handful of tours and recordings before his death due to bone cancer.

FEATHER, LEONARD (1914–1994). Feather’s career in jazz was very diverse. He worked as a composer, arranger, and producer, but most notably as a significant jazz author and historian. Born and educated in England, Feather moved to the United States during World War II. He wrote for several American magazines including Esquire and played an active role in fighting bias in music polls against African-Americans.

In the 1950s, Feather composed several popular songs for Dinah Washington and Louis Jordan, in addition to composing several jazz songs that would become staples in the jazz canon. One of Feather’s greatest contributions was working for DownBeat magazine, a relationship that would last for almost four decades. Feather was also the author of several books and in the 1960s would also write regularly for the Los Angeles Times. He worked briefly in education in the 1970s and 1980s, teaching at several universities.

FEED. An alternate term for the accompanying of a soloist. See also COMPING.

FELDMAN, VICTOR STANLEY (1934–1987). Feldman’s career started in England as a drummer and eventually as a vibraphonist playing with several English groups in the 1940s. Feldman moved to the United States in the 1950s and worked with many of the premier West Coast Jazz musicians including Howard Rumsey, Leroy Vinnegar, and Frank Rosolino. In the 1960s, Feldman played with Cannonball Adderley, Benny Goodman, and Miles Davis, in addition to contributing the song “Seven Steps to Heaven” to the jazz standard repertoire. Much of the 1970s and 1980s he spent working with musicians in a variety of genres including Joni Mitchell and Steely Dan, in addition to jazz masters J. J. Johnson and Art Pepper. Feldman died due to complications of an asthma attack.

FELSTED. An English record label founded in July 1954 to distribute American records for the British Decca label. Felsted was also active in Japan and released albums by Coleman Hawkins and Buster Bailey, among others.

FELT MUTE. A type of mute that acts as a dampener for brass instruments, making them softer and mellower. A felt mute is made out of felt and is generally used in place of a bucket mute or a hat.

FERGUSON, MAYNARD (1928–2006). Ferguson’s prolific career began after moving from Canada to the United States in the 1940s to work in the trumpet sections of Jimmy Dorsey, Charlie Barnet, and Stan Kenton. Ferguson began leading his own bands in the middle of the 1950s, and many great jazz musicians got their start either serving as arrangers for the band or as performers in it. Musicians who worked with Ferguson included Slide Hampton, Don Sebesky, Wayne Shorter, Joe Farrell, Rufus Jones, and Ronnie Cuber.

During the 1960s, Ferguson led several types of groups ranging from big bands to small ensembles. For a while, Ferguson lived in India and England until returning to New York in the 1970s. Ferguson remained very active touring during these years and further enhanced his reputation as a stellar high-note player and soloist. Ferguson’s style switched slightly during this decade as he began to incorporate popular music into his group’s repertoire. Ferguson maintained groups in this style for the next two decades while also working with a more mainstream group named the Big Bop Nouveau. Ferguson was performing regularly until his death.

FESTIVAL. A generic term used to describe the grouped performances and events surrounding a gathering of like-minded enthusiasts. See also JAZZ FESTIVAL.

FESTIVAL INTERNATIONAL DE JAZZ DE MONTREAL. Also known as the Montreal Jazz Festival, this festival has been active for over three decades and was founded in 1980. The Montreal festival annually hires a diverse array of musicians, sometimes including musicians considered to be outside the jazz realm. Famous jazz musicians who have played the Canadian festival include Wynton Marsalis, Cecil Taylor, Art Blakey, and Bobby McFerrin. In the 1960s and 1970s, the festival typically limited participating artists to those of North America, but it has since expanded involvement to musicians from across the globe. See also JAZZ FESTIVAL.

FIDELITY. A recording term that refers to the quality of a recording and the ability to reflect sounds as they would be heard in real life.

52ND STREET. A term used in reference to 52nd Street in New York City where many significant jazz clubs were located during the 1930s and 1940s.

FILL. A term used to describe the space between melodic phrases that a drummer plays so as to maintain musical momentum. Fills in big band writing often exist as opportunities for the drummer to play material to either answer a melodic statement previously played by the band or to prepare for material that follows.

FINEGAN, BILL (1917–2008). Finegan served as an arranger for several touring bands of the 1930s, most notably with Tommy Dorsey and Glenn Miller. Finegan co-led a group with Eddie Sauter for most of the 1950s. Finegan spent much of the next several decades contributing arrangements to the Glenn Miller reunion orchestra and to the band of Mel Lewis.

FINNISH JAZZ FEDERATION. An organization formed in Finland in the 1960s with the intention of presenting jazz performances, educational events, and jazz publications. The Finnish Jazz Federation was one of the organizations to join the International Jazz Federation and has been active for over three decades.

FIREHOUSE FIVE PLUS TWO. A Los Angeles–based Traditional Jazz group comprised of studio musicians that was formed in the 1940s. The Firehouse Five Plus Two never toured regularly but remained active into the 1970s.

FISCHER, CLARE (1928–2012). Fischer studied many instruments while young, eventually settling on piano. He attended Michigan State University where he received a bachelor of music and a master of music. Fischer gained experience as a composer and pianist working with bands in his native Michigan until being drafted by the U.S. Army in 1952. He played alto saxophone and then served as a music arranger for the U.S. Military Academy Band in West Point, New York. Following his military service, Fischer began arranging for the popular vocal group, the Hi-Los. Fischer’s arranging talents led him to work writing for Dizzy Gillespie, Cal Tjader, Donald Byrd, and George Shearing. He began performing and recording with his own groups in 1962, appearing with Bud Shank and Joe Pass, among others. In the mid-1970s, Fischer formed his Latin Jazz group, Salsa Picante, to great acclaim. He worked throughout the 1970s and 1980s as a pianist and keyboardist. Fischer became an in-demand writer for artists of all styles, working with artists including Michael Jackson, João Gilberto, Chaka Kahn, Prince, and Branford Marsalis.

FITZGERALD, ELLA (1917–1996). A rags-to-riches story, vocalist Fitzgerald grew up an orphan, but her talents were recognized at the age of 14 at a youth talent contest held at the Apollo Theater in New York. Fitzgerald was soon working in New York with the Chick Webb band until his death, after which Fitzgerald assumed leadership of the band. Her rendition of “A Tisket, A Tasket” remained on the Pop charts for 17 weeks. Her vocal scat style was reminiscent of an instrumentalist, and she was revolutionary in her approach to soloing. Fitzgerald’s popularity boomed in the 1940s.

During her career, Fitzgerald made very popular songbook albums of the music of Cole Porter, Duke Ellington, the Gershwins, Johnny Mercer, Irving Berlin, and Rodgers and Hart. She performed with the greatest names in jazz, including Louis Armstrong, Duke Ellington, Dizzy Gillespie, Count Basie, Nat “King” Cole, Frank Sinatra, and Benny Goodman. Fitzgerald found great support from producer Norman Granz and was featured in his Jazz at the Philharmonic concerts. She won 13 Grammy Awards and was the most popular jazz vocalist in the world for many years.

FIVE PENNIES. An Early Jazz group founded by Red Nichols that was also the name of a motion picture made in the 1950s about Nichols’ life.

FIVE SPOT. An important jazz club in New York that was used in several live recordings during the 1950s and 1960s. Among the significant artists to play on live recordings of performances at the Five Spot were Thelonious Monk, Eric Dolphy, and John Coltrane. See also HIGGINS, BILLY.

FLAG WAVER. A term to describe a musical piece used as the finale of a performance in which the band usually plays material that is at a brisk tempo and/or is placed in the upper registers of their respective instruments. The flag waver is considered to be an important part of the set as it is designed to impress and excite the audience.

FLANAGAN, TOMMY (1930–2001). One of the many musicians from the Detroit area on the jazz scene, Flanagan found work at an early age as a pianist. At the age of 17, he worked with rising stars Milt Jackson and Kenny Burrell until having to serve in the military in 1953. Flanagan moved to New York in the 1950s and recorded with legions of great jazz musicians including J. J. Johnson, John Coltrane, Donald Byrd, Kenny Burrell, Elvin Jones, and Coleman Hawkins.

In the 1960s, Flanagan would begin several relationships as a musical director for vocalists including Ella Fitzgerald and Tony Bennett. Flanagan would reestablish a solo career in the 1980s and lead several recording sessions and tours, working with musicians including Joe Chambers, Peter Washington, and Lewis Nash. He died in 2001 and maintains a legacy as a highly lyrical player. See also PIANO.

FLANGER. An electronic sound production technique of playing two versions of the same passage while slightly altering the pitch of one. Not common, it is used primarily by guitarists.

FLARE. A term used to describe a musical cue made by the band that signifies the final chorus or few bars of a solo. It is frequently used by New Orleans Jazz musicians.

FLIP. A term used to describe a type of note ornamentation in which the performer plays a note, then slurs to any note above, followed by an immediate return to the original note. Each instrument has different methods for executing a flip.

FLORENCE, BOB (1932–2008). Florence began his career as an arranger and pianist at the age of 21 while living in his hometown of Los Angeles. Florence gained recognition for many of his arrangements, and they were used by many popular big bands including those led by Harry James, Louie Bellson, Frank Capp, Stan Kenton, Buddy Rich, and Count Basie. Florence’s popularity blossomed during the 1950s and 1960s and resulted in him writing music for many studio and television sessions.

Florence began leading a big band full time in the 1970s. Assisted by fellow composer and arranger Bill Holman, Florence filled his band with many of Los Angeles’s first-call musicians. He would also play piano in the group that was called the Bob Florence Limited Edition. Florence died due to complications from pneumonia. See also BANDLEADER.

FLORES, CHUCK (1935– ). A drummer, Flores performed on the West Coast with musicians including Shorty Rogers, Art Pepper, and Bud Shank. In addition to being an in-demand small-group drummer, Flores was a part of several big bands, including those led by Maynard Ferguson, Woody Herman, and Toshiko Akiyoshi. Flores started leading his own groups in the 1970s, ranging from a quartet to a quintet, featuring trumpet player Bob Summers and saxophonist Bobby Militello. Flores has a highly influential musician for the Hispanic music community and has also been very active as an educator.

FLUGELHORN. A member of the trumpet family, the flugelhorn has less compact tubing and a larger bell. The instrument is frequently used to achieve a mellower, less articulate sound. Many trumpeters also play the flugelhorn. Significant flugelhorn performers have included Clark Terry, Art Farmer, Chuck Mangione, and Chet Baker. See also ROGERS, SHORTY.

FLUTE. A member of the woodwind family consisting of a metal tube with various holes that can be covered by pads controlled by keys. The flute is held parallel to the ground, and air is blown into and over the mouthpiece. The flute is a common although not regular instrument in jazz and many times is used as an alternate instrument for saxophonists. James Moody and Frank Wess are two important saxophonists to use the flute as a solo instrument. Significant jazz flutists include Herbie Mann and Hubert Laws.

FLYING DUTCHMAN. Founded by Bob Thiele, the Flying Dutchman label recorded and issues albums from 1969 to the mid-1980s. Artists to record or have albums released on the Flying Dutchman include Louis Armstrong, Ornette Coleman, and Bud Freeman. See also RECORD LABEL.

FONTANA, CARL (1928–2003). Originally from Louisiana, Fontana attended college in his home state at Louisiana State University until he was called to play trombone with the Woody Herman band. Fontana was an innovator of the doodle tonguing technique, which is used by some trombonists to play at quicker tempos. He gained much recognition for this in the 1950s and toured with several big bands, including ones led by Lionel Hampton and Stan Kenton.

Fontana settled in Las Vegas in the 1960s and was there for most of the remainder of his career. Becoming a staple of the music scene there, Fontana recorded many live albums with guest musicians including Pete Christlieb and fellow trombonist Andy Martin. Fontana would do some touring in the 1970s with the supergroup Supersax in addition to his own group. He died due to complications with Alzheimer’s disease.

FORENINGEN NORSKE JAZZMUSIKERE. Norwegian-based jazz organization founded in the late 1970s that served as a union for jazz musicians.

FORMAN, BRUCE (1956– ). Based out of San Francisco, Forman learned guitar and saxophone while in high school. In the late 1970s, he received his first big break touring with alto saxophonist Richie Cole. Forman connected with many of the top San Francisco jazz musicians including vibraphonist Bobby Hutcherson and pianist George Cables. Forman worked as a leader for most of the 1990s and 2000s in addition to performances under the leadership of drummer Eddie Marshall. He has become a staple in the music education scene and has worked extensively for the Monterey Jazz Festival’s education programs in addition to serving on the faculty at the University of Southern California.

FORMS. A term used to describe the construction of songs in terms of sections. Often, sections within the form are marked by different letters. AABA is an example of a song form in which the same melodic material is played two times in a row (AA) followed by new material, also known as the bridge or B, followed by a reprisal of the original material (A). An example of AABA form is the song “I’ve Got Rhythm” which is frequently used by jazz musicians.

FORREST, JIMMY (1920–1980). Forrest was a saxophonist as a youth, changing his preference from alto saxophone to tenor. Forrest connected with many of the bands in his native city of St. Louis until he turned 18 and left to work with several touring bands. Forrest made the move to New York City in the early 1940s and played with several notable groups, including bands led by Jay McShann and Andy Kirk. Throughout the 1950s and 1960s, Forrest was a first-call substitute musician for many of the top bands. He worked with both Duke Ellington and Count Basie in this capacity. Forrest also spent several years working with trumpet legend Harry “Sweets” Edison toward the end of the 1950s.

FORTUNE, CORNELIUS “SONNY” (1939– ). One of the many jazz musicians who grew up in the Philadelphia music scene, Fortune was a relatively late bloomer and did not get his first big break until the late 1960s when he was hired by Elvin Jones and Mongo Santamaría. An alto saxophone player, Fortune found steady work during the 1970s working with McCoy Tyner and Miles Davis off and on and also working as a leader. Fortune would continue to work with Jones throughout the 1980s and 1990s in addition to frequently serving as a sideman for many artists, including Oliver Nelson and Pharoah Sanders.

FOSTER, ALOYSIUS “AL” (1944– ). Foster took up the drum set at the age of 10 and was working professionally by the age of 16. His first recording experience came on a session led by Blue Mitchell in the 1960s, and he was regularly used as a drummer for several house bands in New York because of his availability, due to his lack of desire to tour and leave his family. Foster would work for several years with Miles Davis in the 1970s and was also the primary drummer for the Great Quartet, a group made up of jazz superstars Freddie Hubbard, McCoy Tyner, and Ron Carter.

Foster would record, tour, and perform regularly during the 1980s and 1990s, working with a wide range of artists including Mike Stern, Chris Potter, Jimmy Heath, Joe Lovano, Kenny Werner, and Roy Hargrove. Foster remains very active as both a leader and a sideman, touring and recording frequently.

FOSTER, GARY (1936– ). Born in Kansas, Foster studied music for several years in Missouri and Kansas before moving to Los Angeles to pursue studio work. He was very active both as a jazz saxophone performer and studio musician, and he worked with many of the Los Angeles–based bands including a band led by Clare Fischer. Foster recorded as a leader in the 1980s and has remained very active as a performer and clinician during the decades since.

FOUNTAIN, PETE (1930– ). Fountain learned clarinet before turning 10 and played in Dixieland bands in his hometown of New Orleans, Louisiana. He began forming his own groups in the 1950s, including the Basin Street Six, and Pete Fountain and the Three Coins. The majority of Fountain’s career was spent in New Orleans despite several sabbaticals to cities including Chicago and Los Angeles. In addition to his Dixieland ventures, Fountain made several appearances with television orchestras including the host bands for the Lawrence Welk Show and the NBC Tonight Show. The majority of Fountain’s work during the 1980s and 1990s was spent leading his groups in New Orleans in addition to performance tours of the United States and Europe.

FOURS. A term used to describe when a soloist trades four measures of solo or melodic material with either another instrumentalist or a member of the rhythm section. Often, a soloist will trade fours with the drummer toward the end of a solo section, prior to playing the final melody. See also CUTTING CONTEST; EIGHTS; TWOS.

(THE) FOUR SOUNDS. A group that served as the precursor to the group the Three Sounds, co-founded by Bill Dowdy in 1956. See also HARRIS, GENE.

FOURTH WAY. A San Francisco group that specialized in using electronic instruments and developing the Jazz-Rock style. Musicians to have played in the Fourth Way include Michael White, Ron McClure, and Eddie Marshall.

FOWLKES, CHARLIE (1916–1980). A multi-instrumentalist as a youth, Fowlkes spent the majority of his career as a baritone saxophonist. He freelanced for several years during the 1940s until landing the baritone saxophone chair with Count Basie’s big band. He spent much of his career with Basie despite a brief sabbatical during the late 1960s and early 1970s.

FRANCE. The French jazz scene is credited as being highly influenced by several visiting American artists. After the dance craze was started in the United States by Vernon and Irene Castle in the 1910s and after the migration of artists and writers to Paris in the 1920s, France’s art scene flourished. Soprano saxophonist Sidney Bechet became a highly influential figure in the music scene in Paris during the 1920s (and made the switch from clarinet to soprano saxophone while residing overseas). Despite some legal problems and eventually moving back to America for a brief time (where he worked briefly as a tailor), Bechet had a resurgence of popularity in the 1950s in Paris, and his legacy remains very important.

Toward the late 1920s and 1930s, guitarist Django Reinhardt and violinist Stéphane Grappelli started an influential quartet that was inspired both by New Orleans Jazz and gypsy music from the French countryside. Reinhardt, along with Bechet, became an influential figure in France and in the development of a unique style of jazz music. France was not as influenced by the Bebop craze that took place in the United States during the 1940s and in England during the 1950s. Dixieland, New Orleans style, and the hybrid gypsy music of Reinhardt became major styles that would remain prominent in France for many years. France would also openly accept jazz as art music in later decades and featured many annual jazz festivals.

FREEDOM. A division of the Black Lion record label, Freedom primarily reissued albums that had been previously released on Black Lion, before being purchased by Arista records.

FREE JAZZ. A significant jazz style developed in the 1950s by artists including Ornette Coleman and Cecil Taylor. Free Jazz, which is also referred to as Avant-Garde Jazz, can be a style of spontaneous composition/performance, or to play using different sets of rules that dictate what (or when) each musician plays, or can have all of the musicians play loosely off melodic material written prior to the performance. Free Jazz rose in the 1950s, although a specific year has not been determined. Some performers, such as Lennie Tristano and Lee Konitz, are credited with playing Free Jazz before the style was formalized later in the decade. Free Jazz continues to be an important part of improvisation today and is still frequently heard. See also ABRAMS, MUHAL RICHARD; AYLER, ALBERT; BLEY, CARLA; HADEN, CHARLIE; LYONS, JIMMY; MANGELSDORFF, ALBERT; PEACOCK, GARY; RUSSELL, GEORGE; SANDERS, PHAROAH; SHEPP, ARCHIE; SUN RA; ULMER, JAMES “BLOOD.”

FREEMAN, EARLE LAVON “VON” (1923– ). One of Chicago’s true jazz legends, Freeman’s career began working with several touring bands and house bands in Chicago. He began leading his own groups in the 1950s that included musicians such as pianists Ahmad Jamal, Muhal Richard Abrams, and Andrew Hill. Freeman explored a variety of performance styles in the 1960s and 1970s, including performances with Blues and show bands. In the 1980s, Freeman began recording more as a leader and was used as a sideman with groups led by Steve Coleman, Greg Osby, and Johnny Griffin.

FREEMAN, EARL LAVON “CHICO” (1949– ). Freeman is the son of Chicago tenor saxophone legend Lavon “Von” Freeman and grew up playing trumpet after being inspired by Miles Davis. While attending Northwestern University, Freeman decided to switch to the tenor saxophone, which he would play for the remainder of his career. Freeman was associated with many of the jazz musicians affiliated with the Chicago jazz scene including Muhal Richard Abrams and Don Pullen. In the 1980s, Freeman had brief associations with Cecil McBee and Jack DeJohnette, in addition to leading his own groups. Freeman served on the faculty at the New School in New York during the 2000s.

FREE MUSIC PRODUCTION (FMP). A German company formed in the 1960s that was responsible for promoting and recording German jazz for several decades. The FMP released many albums it recorded in addition to setting up several jazz festivals. The FMP has been affiliated with many German jazz musicians and groups including Peter Brötzmann, Gunther Christmann, and Ulrich Gumpert.

FRENCH HORN. A valved brass instrument, pitched in between a trumpet and a trombone, it has tubing and a large bell that faces away from the player. Frequently used in orchestras and wind ensembles, the difficulty of performing the instrument makes it rarely used as a solo instrument in jazz. Vincent Chauncey and Julius Watkins are two French horn players who have frequently been recorded on jazz albums. See also SCHULLER, GUNTHER.

FRESH SOUND. A record label founded in Spain, Fresh Sound was one of the few record labels founded during the 1980s that strictly reissued albums that had been recorded decades prior. It also goes by the name Fresh Sound New Talent.

FRIARS SOCIETY ORCHESTRA. Another name for the popular Early Jazz group the New Orleans Rhythm Kings.

FRIESEN, DAVID (1942– ). Friesen’s first performance experience as a bassist came while serving in the military in the early 1960s. Friesen established himself playing on the west coast of the United States in Washington and California along with musicians including Marian McPartland, Woody Shaw, and saxophonist Joe Henderson. Friesen was a first-call bassist for many top musicians during the 1970s and 1980s, working with Stan Getz, Art Farmer, Mal Waldron, Dave Liebman, and John Scofield. Friesen remained on the West Coast and continued to freelance during the 1990s and 2000s. See also BASS.

FRISELL, WILLIAM “BILL” (1951– ). Born in Baltimore, Maryland, and raised in Colorado, Frisell moved around much as a young man. During the 1970s and 1980s, Frisell lived in Massachusetts, Belgium, and Seattle, while developing a reputation as an outstanding and unique jazz guitar player. His first few big breaks came while he was living in Europe recording as a sideman on several dates for the ECM label followed by a several-decade apprenticeship in groups led by drummer Paul Motian.

Frisell began working as a leader in the late 1980s and recorded in a variety of settings. Working with Free Jazz and Avant-Garde artists such as a Jim Zorn and Wayne Horvitz, Frisell developed an eclectic guitar style that would be one of his artistic trademarks. He also frequently teamed up with guitarists considered to be more Straight-Ahead artists such as John Scofield and Robben Ford. Frisell’s groups would range from duos to quartets, quintets, and larger groups that would often feature eclectic instrumentation such as cello and synthesizer. Frisell continued to record in a variety of styles including solo guitar and music that incorporated Blues and American Folk music.

FRISHBERG, DAVID (1933– ). A journalism major at the University of Minnesota, Frishberg’s true love was playing jazz piano, and after serving a term in the air force, he moved to New York City to pursue his dream. He was hired by several significant jazz artists during the late 1950s, including trombonist Kai Winding and vocalist Carmen McRae. He would serve as a sideman for most of the 1960s working with Bob Brookmeyer, Roy Eldridge, and Zoot Sims, among others. In the early 1970s, Frishberg moved to Los Angeles and began leading his own groups while also working with California-based musicians Bill Berry, Jack Sheldon, and Richie Kamuca. For much of the 1990s and 2000s, Frishberg would work solely as a leader on the U.S. western coast in addition to doing some touring and recording.

FRONT LINE. A term used to describe the instrumentalists who play with a group, usually responsible for the melody. Miles Davis’ early and late quintets featured a front line of trumpet and tenor saxophone.

FUKUMURA, HIROSHI (1949– ). A trombonist originally from Japan, Fukumura attended school in the United States until relocating to Japan where he worked frequently with alto saxophonist Sadao Watanabe. See also JAPAN.

FULLER, CURTIS DUBOIS (1934– ). Fuller played several instruments as a youth until he chose the trombone during his time in the military in the early 1950s. Fuller was one of the many jazz musicians who first made their mark in Detroit before eventually involving themselves in the New York scene. During the 1950s, Fuller played with many of the top names in jazz including John Coltrane, Paul Chambers, Dizzy Gillespie, Donald Byrd, and Jackie McLean.

One of Fuller’s most important musical associations came when he was hired to be the third member of the front line for Art Blakey’s Jazz Messengers in the early 1960s. Fuller remained with the group for several years until he resumed working as a sideman and leader in New York. He has recorded as a leader several times, including a well-known date with fellow trombonist Slide Hampton. In addition to his time with the Jazz Messengers, Fuller also spent time working with the Hard Bop group the Jazztet that was co-led by trumpet player Art Farmer and tenor saxophonist Benny Golson.

During much of the 1970s, 1980s, and 1990s, Fuller worked as a leader in addition to playing in many tribute bands. He continues to work as a leader despite having struggled with several health-related issues.

FUNK. A style of music with early roots in jazz that drew heavily upon the Soul, Blues, and Rhythm and Blues (R&B) traditions. Funk is different from other styles because of its reliance on straight quarter notes and rhythms that are syncopated to the 16th-note level. Many Funk bands use brass and saxophones to provide rhythmic background support. James Brown and Kool and the Gang represent two significant Funk groups. Funk is not a jazz-specific style but rather another source music that jazz drew upon in the later decades. See also FUSION.

FUSION. A style of jazz created in the late 1960s and early 1970s in which musicians drew from and then combined a variety of sources. Fusion often used electronic instruments and was frequently modally based. Rhythm and Blues (R&B) and Funk music elements were used frequently in early Fusion music, as well as music from other countries, most significantly Brazil. Influential Fusion groups included Return to Forever, Weather Report, and Miles Davis’ late 1960s groups. See also FUNK; LORBER, JEFF; WATANABE, KAZUMI.