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William George Maxted (January 21, 1917 – October 11, 2001) was an American jazz pianist.

Career

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Maxted began his career in 1937 as a member of the Red Nichols big band, for which he wrote arrangements. After three years, he played with Teddy Powell, Ben Pollack, and Will Bradley. Maxted served in the U.S. Navy, then wrote arrangements for the big bands of Claude Thornhill and Benny Goodman. During 1947, Maxted led a band with Ray Eberle and soon after led the Manhattan Jazz Band, which played Dixieland with Bob Zurke on boogie-woogie piano.[1]

During the 1950s, he had a steady job as house pianist at Nick's club in Greenwich Village. Maxted also recorded for MGM, Brunswick, Cadence, and Seeco. In 1958, British bandleader Reg Owen had a major hit on the American charts with Maxted's upbeat instrumental composition "Manhattan Spiritual", released on the Palette label.

In the 1960s, he recorded for K&H and Liberty and as a sideman for Bob Crosby, Pee Wee Erwin, and Red Nichols. Maxted moved to Florida in the 1970s, and continued to play around Broward County for many years, including a years-long stay at The Beach Club. He died in Fort Lauderdale on October 11, 2001, aged 84.[1]

Discography

[edit]
  • 1955: Billy Maxted Plays Hi Fi Keyboard (Cadence)
  • 1959: Dixieland Manhattan Style (Cadence)
  • 1959: Jazz at Nick's (Cadence)
  • 1959: Bourbon St. Billy and the Blues (Seeco)
  • 1959: The Art of Jazz (Seeco)
  • 1961: Swingability (K&H)
  • 1963: The Big Swingers (K&H)
  • 1966: Maxted Makes It! (Liberty)[2]

References

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Billy Maxted

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Billy Maxted is an American jazz pianist, arranger, and bandleader known for his contributions to swing and Dixieland jazz during the big band era and his leadership of the Manhattan Jazz Band in the post-war period.[1][2] Born William George Maxted on January 21, 1917, in Racine, Wisconsin, he launched his professional career in 1937 as a pianist and arranger with Red Nichols' big band, later working with groups led by Will Bradley, Benny Goodman, and others before serving in the U.S. Navy during World War II.[2][1] After the war, he co-led a band with Ray Eberle and formed his own Dixieland-oriented Manhattan Jazz Band in the late 1940s, where his stride and boogie-woogie piano style—strongly influenced by Bob Zurke—and inventive arrangements became hallmarks of his work.[1] He served as the resident pianist at Nick's club in New York City from 1949 to 1960, establishing himself as a fixture in the local jazz scene.[1] Maxted recorded for various labels throughout the 1950s and 1960s, including MGM, Brunswick, and Liberty, often with his Manhattan Jazz Band featuring notable sidemen such as Chuck Forsyth on trumpet and Johnny Dengler on bass saxophone.[1] He relocated to Florida in the early 1960s and largely withdrew from the public jazz scene after the late 1960s.[1] He died on October 11, 2001, in Fort Lauderdale, Florida.[1][2]

Early life

Birth and background

William George Maxted, professionally known as Billy Maxted, was born on January 21, 1917, in Racine, Wisconsin. [3] He was an American jazz musician whose Midwestern roots placed him in the cultural and musical context of the Midwest during the years leading up to the Swing Era. [3] Little additional documentation exists regarding his family background, childhood experiences, or any formal early music training prior to his professional career. [3]

Music career

Early bands and World War II service

Billy Maxted began his professional career in 1937 as a pianist and arranger with Red Nichols' big band, a role he held through 1940. [4] [5] Following this period, he worked briefly with bandleaders Ben Pollack and Teddy Powell during the late 1930s and early 1940s. [5] [4] In 1941, Maxted joined Will Bradley's orchestra as pianist, succeeding Freddie Slack in that chair after Slack departed to form his own group and after a short interim period with another pianist. [6] [4] He performed with Bradley's band into 1942, contributing to its swing-oriented repertoire during the final years before widespread U.S. involvement in World War II impacted the music industry. [4] Maxted's civilian music career was interrupted by his service in the U.S. Navy during World War II, from 1942 to 1945, where he served as a carrier-based fighter pilot in the Pacific theater. [5] [7] This military duty halted his big band activities until after the war.

Post-war arrangements and collaborations

After his discharge from the U.S. Navy at the end of World War II, Billy Maxted led his own band at the 500 Club on Fifth Avenue in New York before providing arrangements for the big bands of Claude Thornhill and Benny Goodman. [5] [8] [3] In 1947–1948, he co-led a band with vocalist Ray Eberle. [8] [3] Maxted also contributed brief sideman and arranging work with Bob Crosby and Red Nichols during the late 1940s and into the early 1950s. [3] Following these post-war engagements, he formed his own Dixieland group in the late 1940s, which began a long residency at Nick's in Greenwich Village in 1949. [8]

Leadership and Nick's residency

In the late 1940s, Billy Maxted formed and led his own Dixieland group, the Manhattan Jazz Band, which emphasized his distinctive piano approach inspired by Bob Zurke and incorporated stride and boogie-woogie elements alongside his inventive arrangements.[8] This ensemble represented a key phase in his career as a bandleader, focusing on traditional jazz styles with his personal interpretive flair.[9] From 1949 to 1960, Maxted served as the resident pianist at Nick's, a well-known jazz club in Greenwich Village, New York City, where he led the Manhattan Jazz Band in extended performances.[8] This long-term residency established him as a fixture in the city's traditional jazz scene during that era.[9] Throughout the 1950s, Maxted's band at Nick's regularly included trumpeter Chuck Forsyth, trombonist Lee Gifford, and clarinetists Sol Pace or Dan Tracey, with bass saxophonist Johnny Dengler joining by 1958.[8] These musicians formed the core of his working group, contributing to the consistent Dixieland sound that defined his leadership during this period.[9]

Recordings and compositions

Billy Maxted recorded as a leader for a variety of labels during his career, starting with MGM, Brunswick (including a rare trio date), Cadence, and Seeco in the 1950s. [1] He later cut three albums for K&H between 1961 and 1963, followed by two more commercial-oriented albums for Liberty in 1966 that became his best-known releases. [1] Representative albums from his discography as leader include Plays Hi-Fi Keyboards (1955, Cadence), Dixieland Manhattan Style (1955, Cadence), Jazz at Nick's (1956, Cadence; capturing material from his live residency at Nick's), SwingaBILLYty (1961, K&H), and Maxted Makes It! (1966, Liberty). [10] [11] Maxted also composed the upbeat instrumental "Manhattan Spiritual," which achieved success as a U.S. hit in 1958 through Reg Owen's orchestral recording on the Palette label. He additionally appeared as a sideman on recordings by Pee Wee Erwin, Bob Crosby, and Red Nichols. [1] After relocating to Florida in 1961, Maxted continued performing for many years with Bill Thomas’ Bourbon Street Jazz Band in South Florida. [5]

Television and media appearances

Television performances

Billy Maxted appeared on television as a jazz pianist during the 1950s and 1960s, primarily showcasing his talents in variety and talk show formats. [2] In 1957, he performed the piece "Tea for Three" as a guest on the musical variety series The Big Record. [2] [12] He later made two appearances on the syndicated daytime talk show The Mike Douglas Show, credited as Self - Pianist, during 1963 and 1964. [2] On the December 2, 1963 episode, he performed with Billy Maxted and His Manhattan Jazz Band while Peggy King served as co-host. [13] He returned on June 4, 1964, again with his Manhattan Jazz Band, for an episode co-hosted by Jackie Mason. [13]

Soundtrack contributions

Billy Maxted's composition "Manhattan Spiritual" was featured in the soundtrack of the 2010 video game Mafia II, marking a posthumous use of his work. [2] The track appeared on the in-game Empire Central Radio station, performed by Reg Owen & His Orchestra, with Maxted serving as the uncredited writer. This placement highlighted the enduring appeal of his 1958 instrumental hit in a new medium decades after its original release.

Later years and death

Move to Florida and continued work

In the early 1960s, Billy Maxted relocated to Florida, settling in Fort Lauderdale. [1] Although he largely withdrew from national recording and major public appearances after the late 1960s, he continued performing locally for many years in Broward County, maintaining an active presence as a jazz pianist in the region. [14] [15] His later work included a prolonged residency at The Beach Club in Broward County, where he played regularly and shared his distinctive stride and Dixieland-influenced style with audiences over an extended period. [14] [15] These engagements allowed Maxted to sustain his musical career on a more regional basis, building on his earlier reputation while enjoying a quieter phase of performance in a warmer climate away from the New York scene.

Death

Billy Maxted died on October 11, 2001, in Fort Lauderdale, Florida, at the age of 84. [1] [2] [16] He had resided in Fort Lauderdale since the 1960s, where he spent his later years before his death. [1]
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