Biography
Nat Pierce maintained an extended and notable career, albeit one that stayed somewhat out of the spotlight, as a steadfast proponent of big-band swing in its later years. He co-led the Los Angeles-based Frank Capp-Nat Pierce Juggernaut and supplied charts for multiple prominent large ensembles along with individual performers. When paired with a propulsive drummer such as Capp, his writing produced a compelling momentum that adhered closely to the relaxed yet precise ensemble propulsion characteristic of the Count Basie orchestra after the 1950s. Pierce’s economical and incisive piano approach drew frequent parallels to Basie’s own, and he stepped in reliably—often so seamlessly as to be nearly undetectable—for the legendary pianist at intervals stretching from the late 1950s through Basie’s passing in 1984.
Back in Massachusetts, Pierce pursued formal studies at the New England Conservatory of Music, performed with area Boston groups, and directed his own part-time big band that featured Charlie Mariano between 1949 and 1951. Already circulating scores to Basie and Woody Herman, he entered Herman’s Third Herd in 1951 as pianist and arranger, staying through 1955. He then established himself in New York City, where he worked extensively as a freelance arranger, session pianist, and sporadic bandleader alongside Ruby Braff, Lester Young, Ella Fitzgerald, Quincy Jones, Coleman Hawkins, and Pee Wee Russell. Among his standout achievements in 1957 were crafting the charts for the television program The Sound of Jazz and sitting in with the Basie rhythm section for the groundbreaking Lambert, Hendricks & Ross recording Sing a Song of Basie.
Pierce returned to Herman’s ranks in 1961 and played a central part in elevating the orchestra during one of its strongest eras, functioning as principal arranger, road manager, and talent scout until 1966. He subsequently resumed freelance activity, preparing material for Anita O’Day, Carmen McRae, and Earl Hines, collaborating with the ensembles of Louie Bellson and Bill Berry, rejoining Herman periodically, and filling in for both Basie and Stan Kenton when needed. Four years after relocating to Los Angeles in 1971, Pierce teamed with Capp to launch the Capp-Pierce Juggernaut, whose roster drew from the city’s top studio musicians seeking an outlet away from their regular sessions. The group issued several buoyant albums on the Concord Jazz label, occasionally featuring guest singers such as Joe Williams and Ernestine Anderson.
Pierce sustained his co-leadership of the Juggernaut intermittently until his death, while also appearing briefly in the 1977 motion picture New York, New York, joining the Countsmen for European tours in 1980 and 1984, and contributing as a sideman on numerous Concord dates with Scott Hamilton, Jake Hanna, and additional artists.
Back in Massachusetts, Pierce pursued formal studies at the New England Conservatory of Music, performed with area Boston groups, and directed his own part-time big band that featured Charlie Mariano between 1949 and 1951. Already circulating scores to Basie and Woody Herman, he entered Herman’s Third Herd in 1951 as pianist and arranger, staying through 1955. He then established himself in New York City, where he worked extensively as a freelance arranger, session pianist, and sporadic bandleader alongside Ruby Braff, Lester Young, Ella Fitzgerald, Quincy Jones, Coleman Hawkins, and Pee Wee Russell. Among his standout achievements in 1957 were crafting the charts for the television program The Sound of Jazz and sitting in with the Basie rhythm section for the groundbreaking Lambert, Hendricks & Ross recording Sing a Song of Basie.
Pierce returned to Herman’s ranks in 1961 and played a central part in elevating the orchestra during one of its strongest eras, functioning as principal arranger, road manager, and talent scout until 1966. He subsequently resumed freelance activity, preparing material for Anita O’Day, Carmen McRae, and Earl Hines, collaborating with the ensembles of Louie Bellson and Bill Berry, rejoining Herman periodically, and filling in for both Basie and Stan Kenton when needed. Four years after relocating to Los Angeles in 1971, Pierce teamed with Capp to launch the Capp-Pierce Juggernaut, whose roster drew from the city’s top studio musicians seeking an outlet away from their regular sessions. The group issued several buoyant albums on the Concord Jazz label, occasionally featuring guest singers such as Joe Williams and Ernestine Anderson.
Pierce sustained his co-leadership of the Juggernaut intermittently until his death, while also appearing briefly in the 1977 motion picture New York, New York, joining the Countsmen for European tours in 1980 and 1984, and contributing as a sideman on numerous Concord dates with Scott Hamilton, Jake Hanna, and additional artists.
Albums
