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KAMINSKY, MAX (1908–1994). Kaminsky’s career as a trumpet player began in 1920, and he reached popular status around the Boston area by the time he was 20. Kaminsky was hired by many big bands and small-group leaders throughout the early 1930s including groups led by Joe Venuti, Tommy Dorsey, Bud Freeman, and Artie Shaw. Kaminsky’s career was primarily as a freelancer, which was the case for most of the 1940s. On several occasions, he attempted to lead his own big band, but for a variety of reasons these ventures never lasted for more than a year or two. His career was given a boost when he was hired to tour with Jack Teagarden and Earl Hines in the late 1950s. Kaminsky’s career settled significantly in the following decades, and he worked primarily as a freelance musician with big bands in New York.

KANSAS CITY FIVE. A popular name used by several Kansas City jazz quintets, including groups led by Elmer Snowden, Eddie Durham, and Buck Clayton.

KANSAS CITY JAZZ. The term used to describe the style of jazz that was being played by territory bands. Kansas City Jazz was considered to be a melting pot of a variety of jazz styles, and the bands that worked there included elements of Ragtime, early Blues, and Swing music. Notable bands from the region included those of Buck Clayton, Bennie Moten, Andy Kirk, and most importantly, Count Basie. Many important jazz musicians came out of this area including Ben Webster, Coleman Hawkins, and Charlie Parker.

KANSAS CITY ROCKETS. A big band founded in Kansas City by previous members of the big band led by Bennie Moten. The group frequently toured and played in Chicago during its six-year existence from 1931 to 1937.

KANSAS CITY SEVEN. A septet led by Count Basie in the 1940s and 1950s. The majority of Basie’s career featured him fronting a big band with the exception of the brief hiatuses he would take to lead the Kansas City Seven.

KANSAS CITY SIX. A group that grew out of the Kansas City Five and was often made up of members from Count Basie’s big band. The Kansas City Six was active from the late 1930s into the 1960s, and sometimes the group was augmented to include a seventh musician. Members of the Kansas City Six include Eddie Durham, Buck Clayton, Jo Jones, Dicky Wells, and Lester Young. Members rotated frequently, however, and the group went through several personnel changes during its existence.

KELLAWAY, ROGER (1939– ). Kellaway developed as a pianist and bassist while still a teenager and studied both instruments and composition at New England Conservatory in the late 1950s. Kellaway developed a reputation as an outstanding pianist and accompanist and was hired by several groups in the 1960s, including ones led by Sonny Rollins, Bob Brookmeyer, Kai Winding, and Wes Montgomery. Trumpet player and composer Don Ellis hired Kellaway to join his revolutionary big band in Los Angeles. Kellaway quickly settled in Los Angeles and found work as a pianist and as a movie score composer contributing to films such as A Star Is Born and The Paper Lion.

Kellaway was frequently hired by vocalists as both an accompanist and musical director, and he worked with Mark Murphy, Bobby Darin, Joni Mitchell, and Helen Merrill. Much of the next few decades was dedicated to composition, and Kellaway wrote for a variety of ensembles, but he especially enjoyed writing for strings. Trumpeter Claudio Roditi, clarinetist and saxophonist Eddie Daniels, and cellist Yo-Yo Ma were all involved with projects that Kellaway did involving strings. Despite his focus on composition, Kellaway continued to perform frequently as a jazz soloist throughout the 1980s and 1990s.

KELLY, WYNTON (1931–1971). Kelly’s family moved from Jamaica to New York in 1935, and Kelly found work as a pianist almost 10 years later at the age of 15. Kelly was considered very prodigious, and between 1948 and 1956 he worked with many of jazz’s rising stars including tenor players Eddie Vinson, Eddie “Lockjaw” Davis, and Lester Young; Bebop trumpet innovator Dizzy Gillespie; and bassist Charles Mingus. After Kelly established his own trio in the late 1950s, he was hired to replace Bill Evans in Miles Davis’ groups. Kelly’s rhythm section mates from the Davis group decided to depart with Kelly to work in a trio format, sometimes featuring an added instrumentalist. Kelly died at the age of 39 due to complications from a heart attack.

KENTON, STAN(LEY) (1911–1979). Unlike most jazz musicians, Kenton rarely served as a sideman or apprentice to anyone and was very ambitious in the 1930s about starting his own big band. Kenton did not gain recognition regarding his band until the early 1940s and with the album Artistry in Rhythm (1948, Capitol). Similar to bandleaders like Woody Herman and Count Basie, much of Kenton’s fame was attributed to the work of his arrangers and bandmates. Arrangers that came through Kenton’s band included Pete Rugolo, Neal Hefti, and William Russo, who were featuring soloists that included Lee Konitz, Art Pepper, and Shorty Rogers.

In the 1950s, Kenton attempted to experiment with newer music and helped create the style known as Third Stream. Included in this style was the work “City of Glass” by composer Bob Graettinger that was completely unique to the current jazz scene. Kenton experimented with band sizes that ranged from 17 to 43 pieces and would sometimes include mellophones and a string section.

Kenton also did much work in terms of education and was responsible for helping to develop some of the first summer jazz camps. These camps or clinics were usually housed on university campuses and were influential in the spreading of jazz. Kenton was very adept at changing with the times and was not afraid to embrace the Fusion Jazz movement that took place during the 1970s. He continued to lead a band until his death in 1979. See also FERGUSON, MAYNARD; HOLMAN, BILL; RUSSO, WILLIAM “BILL.”

KENTUCKY CLUB. The Kentucky Club in New York was home to many jazz stars including Elmer Snowden, Billie Holiday, and Duke Ellington. The club’s original name was the Hollywood Club.

KEPPARD, FREDDIE (1890–1933). Keppard was an important figure in the early New Orleans jazz scene and was part of the Trumpet King lineage that took place in the region. Keppard studied several instruments as a youth but eventually decided on pursuing a career as a cornet player. Keppard was an important member of several key New Orleans jazz ensembles that included the Olympia Orchestra and the Original Creole Orchestra. Following another trumpet figurehead, “King” Joe Oliver, Keppard moved to Chicago in the early 1920s. Keppard was an active performer until 1928, at which point health problems forced him into retirement.

KESSEL, BARNEY (1923–2004). Kessel took up the guitar before the age of 12 and was playing professionally in California before the age of 20. Kessel’s popularity skyrocketed during the late 1940s and early 1950s, and he participated in much studio work and was also a first-call guitarist for many of the local Los Angeles big bands. In 1952, Kessel was hired by rising jazz pianist Oscar Peterson to participate in a multimonth tour, and the two would continue an on-and-off-again relationship for the next few decades. Kessel recorded many albums under his own name and became a bandleader during the late 1950s. Toward the end of the 1960s, Kessel’s popularity reached an all-time high, and he formed a group, the Great Guitars, with two of his established contemporaries—Herb Ellis and Charlie Byrd. Kessel participated in this group in addition to leading groups well into the 1980s. Kessel suffered a stroke in the early 1990s and eventually was forced to retire from playing but remained an active teacher until his death.

KEYNOTE. A record label founded in New York that published many important recordings of jazz musicians made in the early 1940s. Included in these recordings were significant dates led by Lester Young, Coleman Hawkins, and Earl Hines. The label was only in existence for eight years but captured two of the earliest recordings made of jazz pioneer Lennie Tristano.

KEYSTONE KORNER. A significant jazz club in the San Francisco Bay area that featured many of California’s top musicians, in addition to touring groups. Freddie Hubbard and Joe Henderson made several significant live recordings of their groups at the Keystone Korner.

KICK. A term used by bandleaders and drummers to signify a specific beat or rhythm that needs to be accented by the drums. Oftentimes the drummer will use the bass (or “kick”) drum to mark the given beat or phrase.

KING. The King record company purchased many labels during its existence and distributed many records recorded by the Bethlehem, De Luxe, and Queen labels. King Records was in business from 1944 until the 1970s. See also RECORD LABEL.

KING JAZZ. A record label founded in 1945 that primarily issued records that had been recorded by other companies. Vogue and Storyville both had records released under the King Jazz label.

KING PLEASURE (1922–1981). A vocalist originally from Cincinnati, Pleasure (born as Clarence Beeks) was innovative through the use of taking transcribed instrumental solo improvisations and adding lyrics to them. Pleasure had several hits in the 1940s and garnered recognition for his lyrics to Charlie Parker’s composition “Parker’s Mood.” Despite reaching a moderate level of success and influencing many other performers, Pleasure fell into anonymity in the 1950s and did not perform actively. See also VOCALESE.

KIRBY, JOHN (1908–1952). Kirby was very interested in trombone at the age of 16, but after an incident in which his instrument was stolen, he elected to switch first to the tuba and then the acoustic bass. His prowess for the bass became well known in New York, and he played with a variety of bandleaders in the 1930s including saxophonist Benny Carter, drummer Chick Webb, and Fletcher Henderson. Kirby formed his own group, a sextet comprised of top musicians of the day, including Charlie Shavers, Buster Bailey, and Russell Procope. The sextet is credited for being a predecessor to West Coast Jazz and was one of the top jazz groups from 1938 to 1942. Kirby would continue to lead the group throughout the 1940s but had to deal with a variety of issues including alcoholism. The sextet’s popularity lessened during the end of the decade, and Kirby attempted planned comebacks with the group several times before he died.

KIRK, ANDREW “ANDY” (1898–1992). Kirk was born in Cincinnati but raised in Colorado where he developed his appreciation for music. He studied both bass saxophone and bass and was hired by several local touring bands. Kirk moved to Texas in the late 1920s and after several frustrating experiences with bandleaders decided to start his own group called Andy Kirk and His Clouds of Joy. Kirk’s band was considered to be one of the most prominent groups of the 1930s and featured many legendary musicians including pianist Mary Lou Williams, Ben Webster, and Lester Young. Kirk famously traded Webster to Fletcher Henderson for rising jazz star Lester Young in 1933. Kirk’s band became famous during the 1930s and 1940s, and the list of jazz performers to play with Kirk grew and included trumpet player Howard McGhee and saxophonists Jimmy Forrest and Eddie “Lockjaw” Davis.

Kirk’s popularity reached its peak in the early 1940s, and the band disbanded at the end of the decade. He continued to work on the commercial side of things until he decided to pursue a career in hotel management and, later, real estate. Kirk was never totally removed from music, however, and he took several opportunities to lead bands as he got older, eventually taking a job with the New York American Federation of Musicians.

KIRK, RAHSAAN ROLAND (1936–1977). Despite suffering from blindness as a child, Kirk learned to play several instruments while growing up including bugle, trumpet, manzello, stritch, clarinet, and both the C-melody and tenor saxophones. Kirk found his calling with the tenor saxophone although he did manage to incorporate numerous instruments into his performances many years later. He became a bandleader early in his career and did several tours of Europe in the early 1960s in addition to working with Charles Mingus. His groups included many of the more prominent musicians of the 1960s, including George Gruntz, Tete Montoliu, Niels-Henning Ørsted Pedersen, and Harold Mabern. While his playing was considered to be Avant-Garde, it captured a variety of styles, and he was an active participant in promoting jazz, especially the works of African-American composers. Many of his performances involved him playing multiple instruments simultaneously.

KIRKLAND, KENNETH “KENNY” (1955–1998). Considered to be one of the “Young Lions” of jazz during the 1980s, Kirkland received his training from the Manhattan School of Music and played early in his career with John Scofield and Dave Liebman. Kirkland made a name for himself by playing with both Branford and Wynton Marsalis in the 1980s and 1990s. He served as the pianist for Wynton Marsalis’ quintets and quartets before serving as Branford Marsalis’ pianist for the majority of his career. When Branford was hired to direct the NBC Tonight Show band, Kirkland followed and was the band’s pianist from 1992 to 1994. Kirkland’s career was also boosted through several tours with the Pop star Sting. Kirkland died at the age of 43.

KLACTO. A short-lived 1960s record label that was inspired by and featured the music of Charlie Parker.

KLEIN, EMMANUEL “MANNY” (1908–1994). Born in New York, trumpet player Klein received his first break when he subbed for Bix Beiderbecke in the Paul Whiteman Orchestra. Klein would develop a reputation as a standout lead trumpet player and soloist and worked primarily for Los Angeles–based studios while also touring and recording with many Los Angeles–based big bands. Although the majority of his recording work was in studios for television and movies, Klein consistently played with bands based out of Southern California until his death.

KLEMMER, JOHN (1946– ). Klemmer was born in Chicago and began playing tenor saxophone after attempting to play the guitar and alto saxophone. Working with dance bands in the 1960s in addition to attending the summer camps led by composer/bandleader Stan Kenton, Klemmer developed much of his musical training hands-on. Along with many other musicians, Klemmer followed bandleader Don Ellis west to participate in Ellis’ revolutionary groups. In the 1970s, Klemmer served primarily as a bandleader and did much recording of Avant-Garde Jazz and also more Fusion-based projects. Klemmer suffered from a variety of illnesses in the early 1980s and was forced into taking several long, multiyear sabbaticals from playing.

KLINK, AL(BERT) (1915–1991). Klink most famously served as second tenor in the Glenn Miller band. Klink’s career as a tenor saxophonist included tours and recordings with many of the 1930s’ and 1940s’ most popular groups, including the Glenn Miller Orchestra and the bands of Benny Goodman and Tommy Dorsey.

KLUGH, EARL (1954– ). Klugh’s career began while he was still a teenager when he started recording as a leader. Considered a prodigious guitarist, Klugh recorded with many of his guitar contemporaries during the 1970s including George Benson and Chet Atkins. Klugh’s style bounced between Fusion and smoother, more Pop-related ventures. Klugh continued to be a leader throughout the 1980s and 1990s, working on projects that contained elements of jazz and various other styles including Country music and Rhythm and Blues (R&B). See also GUITAR.

KNEPPER, JAMES “JIMMY” (1927–2003). Knepper’s career began in his native Los Angeles working as a trombonist for many of the local big bands. Knepper attempted to formally study music several times at a variety of universities in Texas and California but never completed a degree. In the 1950s, Knepper received several of his first big breaks by touring and recording with Art Pepper, Stan Kenton, Woody Herman, Claude Thornhill, and most notably, Charles Mingus, with whom he achieved his highest level of success. Knepper continued his relationship with Mingus into the 1960s and worked with a variety of other artists for extended periods including the Mel Lewis–Thad Jones Orchestra, Lee Konitz, and Gil Evans. Despite never branching out as a solo artist, Knepper was constantly in demand as a trombonist for a variety of groups in the 1970s and 1980s, including several Charles Mingus tribute groups as well as groups that included past members of Mingus’ ensembles.

KOLLER, HANS (1921–2003). Formally trained at the Academy of Music in Vienna before World War II, Koller’s career as a jazz saxophonist was put on hold until after the events of the war. Koller relocated to Germany and became one of the country’s most popular saxophonists. In the 1950s, he performed with several touring jazz acts that came through the country including Dizzy Gillespie and Lee Konitz. Koller never moved to the United States and instead remained an important force in European jazz during the 1950s and 1960s. He relocated back home to Vienna in 1970 and continued to be an active performer and jazz educator until he retired in 1995. The Austrian government elected to honor him by naming one of their top awards for performers after him.

KONITZ, LEE (1927– ). Originally from Chicago, Konitz’s playing was considered to be very fresh and inspired the start of many different jazz movements. In the late 1940s, Konitz played alto saxophone with Claude Thornhill and was shortly thereafter hired by Miles Davis to participate in the Birth of the Cool recordings. Konitz’s style was very distinctive, and he was one of the first musicians to inspire the West Coast Jazz or Cool Jazz style. Konitz soon paired up with pianist Lennie Tristano in the 1950s, and the two of them, along with Warne Marsh, would develop a new system of improvisation that helped bridge the gap between Free Jazz and Bebop. Konitz would also tour with Stan Kenton and several other groups during the 1950s.

Konitz would begin recording prominently as a leader toward the end of the 1950s and continued on for the next few decades, making many significant contributions to jazz. He is credited with being one of the first alto saxophonists to develop a style and sound that was different from that of Charlie Parker. Konitz would work with Paul Bley in the early 1960s followed by working with Marsh again in the 1970s. Konitz led his own nonet in the late 1970s and the 1980s. Konitz was also very influential in shaping what is now considered to be the European jazz sound and has inspired countless musicians. Prominently involved in teaching, Konitz remains active through not only performing but also acting as a jazz educator at summer camps and as guest artist around the world.

KONOPASEK, JAN (1931– ). Born in Czechoslovakia, Konopasek was an important baritone saxophonist from Eastern Europe. In addition to playing with many of Europe’s most influential jazz musicians, including Hans Koller and Klaus Doldinger, Konopasek worked with many touring American musicians, such as Oliver Nelson and Stan Kenton. Konopasek briefly attended the Berklee School of Music in Boston, Massachusetts, and eventually moved to the United States. Despite catching on with several touring big bands, most notably those of Woody Herman and Buddy Rich, Konopasek never officially made the United States his home and alternated living between the United States and his native Prague.

KRAL, ROY (1921–2002). Kral worked as a pianist in Chicago during his early twenties playing in various groups. After meeting his future wife, vocalist and bandmate Jacqueline Cain, Kral’s reputation began to grow with the popular group they spearheaded: Jackie and Roy. The two kept the group active for several decades and never did much work apart. Kral gained some recognition as a composer and wrote music for several commercials while the couple lived in New York during the 1960s. Kral’s contribution to the group was significant, and he remains an influential person in the development of vocal jazz.

KRAZY KAT. Primarily a Rhythm and Blues label, Krazy Kat recorded and released some jazz records by Joe Davis. See also RECORD LABEL.

KRESS, CARL (1907–1965). Kress began his life as a musician first on piano before eventually settling on guitar. Before turning 20 years of age, he had already made it as a professional guitarist working with rising bandleader Paul Whiteman in the mid-1920s. Kress had a style that was very popular, and he was hired by many groups in the Chicago area including those of Frankie Trumbauer, Jimmy Dorsey, and Miff Mole. After working for several years as a touring musician, he worked mostly as a studio musician for the remainder of his career, with the exception of a performing duo that he maintained with George Barnes.

KRUPA, (EU)GENE (1909–1973). Growing up in Chicago in the early part of the 20th century, Krupa absorbed much of the music that was going on and was inspired by the drumming of early jazz masters Baby Dodds and Zutty Singleton. He achieved success early working on and recording with local bands at the age of 18. He continued to do so until he had one of his first big national breaks, touring with clarinetist Benny Goodman in 1934. The work with Goodman inspired Krupa to lead his own band, which he attempted to do several times, the first of which took place in 1938.

During the 1940s, Krupa once again worked for Goodman until he was hired to be the regular drummer of the Jazz at the Philharmonic group, a relationship that lasted well into the 1950s. Krupa would mix engagements leading his own groups with playing as a member of other groups during the 1960s, most notably reuniting with Goodman to participate in Goodman’s quartet. Krupa struggled with a variety of health concerns in the 1970s, and his playing drastically declined until his death. His playing style was especially innovative in that he helped to transform the drum set into a solo instrument.

KUSTBANDET. A Swedish big band that grew out of a smaller group, Kustbandet was dedicated to preserving music from the Swing era. Kustbandet was formed in the early 1960s, and much of its repertoire was pulled from the bands of Fletcher Henderson and Duke Ellington.