ABSTRACT
A one-of-a-kind talent, McFerrin possesses the ability to reproduce vocally virtually any musical instrument as well as many other natural sounds. Born in New York City to opera singing parents, he studied piano rather than voice at Juilliard and Sacramento State College. Following stints playing piano with University of Utah dance workshops and singing in various journeyman bands, he was asked to join Jon Hendricks’s jazz group. On the strength of highly acclaimed solo performances at the Playboy Jazz Festival (1980) and Kool Jazz Festival (1981), he was signed to a recording contract by Elektra. From the beginning, McFerrin’s releases ran contrary to traditional notions of jazz vocalizing. He performed without instrumental backup, combining his multitextured voice with rhythmic body slaps to simulate full-band accompaniment. His material-a blend of original compositions and covers-spanned the classical, jazz, soul, funk, and, pop genres. After a series of moderately selling albums, he broke through with a charttopping single, “Don’t Worry Be Happy” (EMI-Manhattan #50146; 1988). By the late 1980s, he seemed to be everywhere, collaborating with jazz stars (Herbie Hancock, the Manhattan Transfer, Chick Corea), classical musicians (Yo-Yo Ma), film star narrators (Robin Williams, Jack Nicholson); recording the theme to The Cosby Show; and providing the accompaniment to a number of television commercials. [Romanowski and George-Warren 1995.]
FRANK HOFFMANN
American record industry executive. He was president of the Old Dominion Phonograph Co., Roanoke, Virginia; and an official of the Volta Graphophone Co. At the first convention of the National Phonograph Association, 1890, he was elected temporary chairman.
