Artist Biography by Eugene Chadbourne
This drummer and composer's initial training came at him from both sides of the Atlantic Ocean, reflecting the unique nature of his younger days. Tony Kinsey toiled as a seaman on ships with transatlantic routing. At port in New York City, Kinsey partook of drum lessons with Bill West. Back home in Birmingham, England, Kinsey had been studying piano since a tyke; the drums he had taught himself with a local player named Tommy Webster also providing pointers. Kinsey went onto a splendid career on the British jazz scene, backing national names such as Johnny Dankworth as well as visiting stars, among them Lena Horne and Ella Fitzgerald as well as others -- pianist Oscar Peterson, scat singing Sarah Vaughan -- whose tempo preference nodded at the diabolical. The drummer took charge of his own proceedings on a regular basis during the '50s at London's Flamingo Club. Throughout that decade he performed at European jazz festivals, contexts including bebop, swing, and jazz poetry.
Between 1950 and 1977 he logged more than 80 recording sessions in the jazz genre alone, more than proving his ability in other styles when demanded. In the meantime, he pursued a compositional muse, developing an individual approach to chamber music. A Kinsey string quartet is part of the soundtrack to On the Bridge, a short film, not a meeting place for a ransom drop or instructions to a piano player. Speaking of the latter, Kinsey provided plenty of his own reports in a busy series of writing assignments, including big-band charts and arrangements and incidental music heard in at least 100 commercials. The most recent project of note for Kinsey is an extended musical theater work based on a book by George Elliot. He also continues to play drums. http://www.allmusic.com/artist/tony-kinsey-mn0000004657
This drummer and composer's initial training came at him from both sides of the Atlantic Ocean, reflecting the unique nature of his younger days. Tony Kinsey toiled as a seaman on ships with transatlantic routing. At port in New York City, Kinsey partook of drum lessons with Bill West. Back home in Birmingham, England, Kinsey had been studying piano since a tyke; the drums he had taught himself with a local player named Tommy Webster also providing pointers. Kinsey went onto a splendid career on the British jazz scene, backing national names such as Johnny Dankworth as well as visiting stars, among them Lena Horne and Ella Fitzgerald as well as others -- pianist Oscar Peterson, scat singing Sarah Vaughan -- whose tempo preference nodded at the diabolical. The drummer took charge of his own proceedings on a regular basis during the '50s at London's Flamingo Club. Throughout that decade he performed at European jazz festivals, contexts including bebop, swing, and jazz poetry.
Between 1950 and 1977 he logged more than 80 recording sessions in the jazz genre alone, more than proving his ability in other styles when demanded. In the meantime, he pursued a compositional muse, developing an individual approach to chamber music. A Kinsey string quartet is part of the soundtrack to On the Bridge, a short film, not a meeting place for a ransom drop or instructions to a piano player. Speaking of the latter, Kinsey provided plenty of his own reports in a busy series of writing assignments, including big-band charts and arrangements and incidental music heard in at least 100 commercials. The most recent project of note for Kinsey is an extended musical theater work based on a book by George Elliot. He also continues to play drums. http://www.allmusic.com/artist/tony-kinsey-mn0000004657
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La formación inicial de este baterista y compositor le llegó desde ambos lados del Océano Atlántico, reflejando la naturaleza única de su juventud. Tony Kinsey trabajó duro como marinero en barcos con rutas transatlánticas. En el puerto de la ciudad de Nueva York, Kinsey tomó lecciones de batería con Bill West. De regreso a su hogar en Birmingham, Inglaterra, Kinsey había estado estudiando piano desde niño; la batería se había enseñado a sí mismo con un músico local llamado Tommy Webster que también proporcionaba consejos. Kinsey emprendió una espléndida carrera en la escena del jazz británico, apoyando a nombres nacionales como Johnny Dankworth, así como a estrellas invitadas, entre ellas Lena Horne y Ella Fitzgerald, así como otras, el pianista Oscar Peterson, la cantante de scat Sarah Vaughan, cuyo tempo preferencia asintió con la cabeza al diabólico. El baterista se hizo cargo de sus propios procedimientos de forma regular durante los años 50 en el Flamingo Club de Londres. A lo largo de esa década actuó en festivales europeos de jazz, en contextos que incluyen bebop, swing y poesía de jazz.
Entre 1950 y 1977 registró más de 80 sesiones de grabación solo en el género jazz, más que demostrando su habilidad en otros estilos cuando se le pedía. Mientras tanto, persiguió una musa compositiva, desarrollando un enfoque individual de la música de cámara. Un cuarteto de cuerda de Kinsey es parte de la banda sonora de On the Bridge, un cortometraje, no un lugar de encuentro para pedir un rescate o instrucciones para un pianista. Hablando de esto último, Kinsey proporcionó muchos de sus propios informes en una ajetreada serie de asignaciones de escritura, incluidas listas y arreglos de big-band y música incidental escuchada en al menos 100 comerciales. El proyecto más reciente de interés para Kinsey es una obra de teatro musical ampliada basada en un libro de George Elliot. También sigue tocando la batería. http://www.allmusic.com/artist/tony-kinsey-mn0000004657
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