612 Yellowjackets, the

FINE , WALTER P ISTON , A .T. D AVISON , and Otto Gombosi; he voice in place of Ford. The drummer William Kennedy also studied with DARIUS M ILHAUD and Eugène Bigot in replaced Lawson in 1987 and performed with the band Paris. Immediately after graduation he joined the fac- until late 1999. He returned to the lineup in 2010, join- ulty at New York University, from 1958 to 1960 he ing Ferrante, Haslip, and the big-band leader, composer, taught and conducted the Glee Club at Williams Col- and saxophonist Bob Mintzer, who had begun working lege, and after a year on the faculty of Ohio State Uni- with the group in 1991 . Other drummers have included versity, he taught at New York University in 1961 until Peter Erskine, Marcus Baylor, and Terri Lynn Carrington. his death. Haslip’s lyricism on ! ve-string electric bass, Ferrante’s A specialist in American music, Yellin’s interests were orchestral layerings on keyboard, and Mintzer’s multi- wide-ranging. He wrote on music in Colonial Virginia textural command of tenor and bass clarinet comple- and combined his musicological and compositional ment the wide variety of compositional approaches skills by reconstructing early 19th-century melodra- possessed by band members. By 2012 the group had matic works by Rayner Taylor (The Aethiop ), Victor Pe- recorded more than 25 albums and received a dozen lissier (The Voice of Nature , New York, 1994). He was Grammy nominations, winning the awards for Best likewise interested in American composers of both the Rhythm & Blues Instrumental Performance in 1987 and 19th (George Frederick Bristow, Horatio Parker, and Best Jazz Performance in 1989 . Its members have con- George White! eld Chadwick) and 20th centuries (Marc tinued to pursue individual projects as performers, Blitzstein and Randall Thompson). Other areas of schol- writers, and music educators. arly inquiry included Romantic-period opera and music JEFFREY HOLMES theory, and he remained active as a composer through- out his career. He was a dedicated and inspiring teacher Yeo, Douglas ( b Monterey, CA, 19 May 1955). Trombon- with a breadth of knowledge about music and Ameri- ist . Yeo studied at Wheaton College and New York Uni- can history and culture. versity with Keith Brown and Edward Kleinhammer. In 1985 , after a short period with the Baltimore Symphony, WRITINGS he became the bass trombonist with the Boston Sym- The Life and Operatic Works of George White! eld Chadwick (diss., phony Orchestra. He also performs on the contrabass Harvard U., 1957) “Musical Activity in Virginia before 1620,” JAMS , xxii/2 (1969), 284–9 trombone, bass trumpet, sackbut, serpent, and ophi- “The Operas of Virgil Thomson,” American Music since 1910 , ed. cleide. As a strong advocate of period instruments, who V. Thomson (New York, 1971), 91–109 has performed with the Boston Baroque, he has given “Chadwick, American Musical Realist,” MQ , lxi (1975), 77–97 several solo performances of Simon Proctor’s Serpent “Rayner Taylor,” American Music , i/3 (1983), 48–71 “Rayner Taylor’s Music for ‘The Aethiop’,” American Music , iv/3 (1986), Concerto and has also recorded with the instrument on 249–67; vi (1987), 20–47 Le Monde du Serpent (2003 ). He served as chair of the Chadwick: Yankee Composer (Washington, DC, 1990) brass and percussion department at the New England “Prosodic Syncopation,” A Celebration of American Music: Words and Conservatory of Music. As a proponent of the British Music in Honor of H. Wiley Hitchcock , ed. R.A. Crawford , R.A. Lott, brass band tradition, he has made ! ve recordings with and C.J. Ota (Ann Arbor, MI, 1990), 449–59 “Sullivan and Thomson, Gilbert and Stein,” JM , xi (1993), 478–98 the New England Brass Band. The National Brass Band “Bristow’s Divorce,” American Music , xii/3 (1994), 229–54 Association named his 2007 album, Be glad then Amer- Nineteenth-century American Musical Theater , ii: Early Melodrama in ica , the best recording of the year. Yeo is currently on America , vol. 2 ( The Aethiop and The Child of Nature ) of Nineteenth- the faculty at Arizona State University. Century American Musical Theater , ed. D. Root (New York, 1994) MARTIN MCCAIN [The Aethiop and The Voice of Nature ] “Mrs. Belmont, Matthew Perry, and the ‘Japanese Minstrels’,” American Music , xiv/3 (1996), 257–75 Yeston, Maury (b Jersey City, NJ , 23 Oct 1945). Com- The Omnibus Idea (Warren, MI, 1997) poser , lyricist , and theorist. A composer since the age of “Music in Early Virginia” American Music , xx/4 (2002), 361–81 six, he attended Yale University (1963–7 ), where he BIBLIOGRAPHY studied with the musicologist William G. Waite and the S. Graham : “Victor Fell Yellin,” Bulletin of the Society for American theorist Allen Forte. He earned a master’s in composi- Music , xxxii/1 (2006), 6–7, 20 tion at Cambridge University in 1972 , a PhD in theory PAULA MORGAN/ KATHERINE K. PRESTON in 1974 , was a professor of theory for the next eight years, and after the success of his musical Nine regu- Yellowjackets, the. Jazz quartet. Along with rhythm-and- larly returned as a guest professor to teach a course on blues textures and, later, straight-ahead acoustic jazz songwriting. As a theorist he produced a monograph sensibilities, the Yellowjackets have evolved by embrac- on Schenkerian analysis and a provocative new theory ing world beat and fostered distinctive compositional on rhythmic strati! cation. The year prior to receiving paths. Its original members included the keyboard his doctorate he conceived a musical based on the ! lm player Russell Ferrante, the bass player Jimmy Haslip, director Federico Fellini’s autobiographical ! lm 8½ . the drummer Ricky Lawson, and the guitarist Robben After launching the project for Lehman Engel’s BMI Ford, who brought the other three players together in Music Theatre Workshop in 1982 , Yeston continued to 1977 to work on his own project. Eventually their work develop the project over the next nine years (he also made its way to Warner Brothers, and the Yellowjackets served as director of the BMI Music Theatre Workshop recorded their debut album in 1981 . A new lineup in for two decades). The result, coincidentally named Nine 1984 featured the saxophonist Marc Russo as the lead ( 1982; revived 2003 ), was an unusual musical with one