Biography
Arnold Ross remains chiefly associated with the striking solo chorus he delivered on the Jazz at the Philharmonic edition of "Lady Be Good," immediately before Charlie Parker's landmark improvisation in 1946. Throughout an unusually fragmented professional path, he consistently performed most effectively within the stylistic overlap between swing and bop. In his formative years he took up clarinet, saxophone, and violin prior to concentrating exclusively on piano. A period of activity in South America followed, after which he joined a cruise-ship ensemble bound for the West Indies; returning stateside, he performed on Hammond organ alongside Frank Dailey from 1938 to 1939. Resuming piano duties, he spent time with Jack Jenney in 1939, with Vaughan Monroe between 1940 and 1942, and in Glenn Miller's Army Air Force Band, before joining the popular Harry James Orchestra in 1944 and remaining until 1947. As a leader, Ross cut four titles for EmArcy in 1946 with a quintet featuring Benny Carter, while also contributing to sessions led by Harry "Sweets" Edison, Charlie Ventura, and Charlie Parker in 1947. Establishing himself in Los Angeles, he pursued freelance work, studio assignments, and a 1952 European tour as Lena Horne's accompanist, during which he also recorded as a leader for Vogue, Melodisc, and the Swedish Modern Music label. Television engagements included the Bob Crosby show from 1954 to 1956 and the Spike Jones program from 1957 to 1958; he appeared on various sideman dates throughout the decade, led a trio of his own, and struggled with heroin addiction during this era. Recovery came in the 1960s at Synanon. Since then Ross has remained largely out of the spotlight, serving anonymously as Nelson Riddle's pianist, heading a trio date for Jazz Chronicles in 1976, and performing steadily with Conrad Janis' Beverly Hills Unlisted Dixieland Band, where his harmonic depth and lyrical approach to Bud Powell's idiom stay largely concealed.