Artists

Roy Ayers

Change, transition, growth -- the life forces of creativity -- have long been the driving forces behind the incredibly successful career of Roy Ayers. A major pioneer of jazz fusion, his move into the heady atmosphere of progressive R&B.

Roy Ayers was born in Los Angeles; his mother a school teacher and his father a park-ing attendant and scrap metal worker. At age five Roy Attended a Lionel Hampton concert that marked a pivotal point for him as he discovered a love of vibes, the instrument that would ultimately become his most productive creative tool. Eventually, that is, since he first chose to play piano. "That surprises most people," he confides, "but I didn't start playing the vibes, at least not seriously, until I was in my senior year of high school."

Once he made the switch from piano to vibes however, the commitment was total, and he was dedicated to long hours of practice, determined to be the very best. His early years were steeped in jazz. Along the way he shared stages and recording studios with the finest -- including Chico Hamilton, Wayne Henderson, Curtis May, and Herbie Mann. It was with flutist Mann when Roy scored what many still consider his "overnight success." He sees it differently: "It didn't happen that way by a long shot. I paid my dues, but play-ing with Herbie who, by the way, produced my first three albums at Atlantic, opened a lot of doors."

Following the tenure with Herbie Mann, the Roy Ayers Ubiquity was formed, a jazz aggregation of top flight musicians signed to Polydor in 1970. Their many albums were highly regarded and furthered the legend of their leader throughout jazz circles. But despite the success, Roy was always "evolving and growing," and decided it was time for a change. The year was 1976: "A lot of things were happening musically that I wanted to experiment with, so my first step in the R&B/Jazz direction was 'Mystic Voyage'."

"Voyage" was followed by Everybody Loves the Sunshine, which had critics and fans sit-ting up and taking notice. Radio station programmers weren't immune to Ayers' magnetic mystique either. There was massive airplay and impressive sales resulted. Roy's chart- topping endeavors translated into international recognition -- he had arrived.

At the end of 1976, Vibrations was released, including the hits "Damelo (Give It To Me)," "Searching," and "Come Out and Play." Two years later Roy was into what he called his "mellow" period, with the Let's Do It album and the singles "Freaky Deaky" and "You Send Me." Roy: "I realized after 'Let's Do It' that I was going to change my image, thus the mellow thing." His album titles of that period speak for themselves: Love Fantasy, Our Life, Prime Time, No Stranger to Love.

A conscience-raising tour of Africa in 1980 again brought change of direction for Roy. Africa, Center of the World was the LP that contained the now-classic "The River Niger" and "Destination Motherland," both influenced by Fela Anikulapo Kuti, famed African percussionist and beleaguered political figure, who played with Roy on the African pilgrimage.

Wrapping up his Polygram period with Feeling Good, Roy embarked on what he contends is his most creative journey. He signed with Columbia Records and the immediate result was In The Dark (October, 1984), with its title tune single and the unforgettable show- stopper "Poo Poo La La." The LP was co-produced by Roy and Stanley Clarke, and featured Clarke, Grover Washington Jr., Paulinho daCosta, and Tom Browne. A dynamic album, says Roy, "I worked on it for two years, and it's among the best recordings I've done."

You Might Be Surprised was the appropriately-titled follow-up exactly one year later, an LP of undeniable depth, quality and imagination. Working with Mtume, a close friend since he played in one of Roy's his early groups, and featured guests Tawatha (on the first single, "Slip 'n Slide"), Jean Carn (vocals on "Can I see You," co-written by David Metcen; and the title tune, "You Might Be Surprised"), and Branford Marsalis (saxophone on "For You") -- the LP represented "a bridge of love and respect" for everyone involved in its creation, according to Roy.

For Roy Ayers, whose performances have taken him through the U.S., Europe, South America and Africa, no greater example of his far-reaching popularity was illustrated than in Los Angeles, when Mayor Tom Bradley made a special proclamation that designated April 6, 1986 as "Roy Ayers Day." "That was an honor I'll long remember," says the honoree proudly. Roy has also received the "key to the city" in Baltimore, New Orleans and Atlanta; and has been asked to perform at the request of mayors in Chicago, Atlanta and Philadelphia.

Other awards include the 75th Diamond Jubilee from the NAACP for outstanding contributions and support; and a portrait of the late Rev. Dr. Martin Luther King Jr., presented to Roy by Mrs. Coretta Scott King at the "I Have a Dream" benefit concert at the Martin Luther King Center.

Roy's affinity for African sounds led to U.S. tour dates with Fela Anikulapo-Kuti in 1986, and their album together, Music of Many Colours (Celluloid). Roy Ayers' own musical odyssey continues to evolve, he continues to attract younger listeners while remaining faithful to those who've supported him from the start, "and I know that I will continue to venture into new and exciting musical dimensions as I continue to grow and learn and teach."

After touring 'round the world with "The Jazz Explosion" for the last several years (featuring such impressive talent as Jean Carn, Lonnie Liston Smith, Noel Pointer and a host of other jazz-oriented greats), 1986 found Roy expanding his R&B base, playing funkier venues and sharing stages with more popular acts. The move widened his audience, and drew younger fans. His newly directed, soul-inspired music maintained its quality, and Roy quickly discovered that he was in no danger of losing the massive loyal following he's had all along.

In 1988 Roy began playing the infamous 250 seated jazz venue Ronnie Scott's in the centre of London where he has been their main attraction ever since. The first couple of years he would perform every night except Sundays for two weeks, but again the demand for tickets was such that the owner extended his stay an extra week - even now people get turned away from the front door.

Thanks to the emerging worldwide Acid Jazz movement and sample-happy hip hop DJ's Roy Ayers enjoyed a worldwide renaissance in the early 90's. Dozens of groups began sampling his work including, A Tribe Called Quest, Brand Nubian, X-Clan, Big Daddy Kane, Erykah Badu, Mary J. Blige, The Notorious BIG, and Puff Daddy. The U.K. based Galliano recorded with him, Gang Starr's Guru recorded and toured with him on 1993's Jazzmatazz project, and pop diva Vanessa Williams featured him as a special quest on 1994's "The Sweetest Days".

"Spoken Word" Over the years Roy has won numerous awards for his contribution to music, has been given keys to US cities for his services to local communities, and is constantly striving to help the youth, particularly within the black sector.