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Herman Riley
Herman Riley
Herman Riley
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Key Information

Herman Riley (August 31, 1933 – April 14, 2007) was a jazz saxophonist who was a studio musician in Los Angeles. He worked with Gene Ammons, Lorez Alexandria, Count Basie, Bobby Bryant, Donald Byrd, Benny Carter, Quincy Jones, Shelly Manne, Blue Mitchell, and Joe Williams.[1][2] He died of heart failure in Los Angeles at the age of 73.[3]

Discography

[edit]
  • Herman (1986)

As sideman

[edit]

With Bobby Bryant

  • 1967 Ain't Doing Too B-A-D
  • 1971 Swahili Strut

With Blue Mitchell

With Lorez Alexandria

  • 1980 Sings the Songs of Johnny Mercer, Vol. 1
  • 1984 Sings the Songs of Johnny Mercer, Vol. 2: Harlem Butterfly
  • 1984 Sings the Songs of Johnny Mercer, Vol. 3: Tangerine
  • 1992 I'll Never Stop Loving You

With Roger Neumann

  • 1983 Introducing Roger Neumann's Rather Large Band
  • 1993 Instant Heat

With Kenny Burrell

  • 1994 Collaboration
  • 2007 75th Birthday Bash Live!
  • 2003 Blue Muse

With Charles Wright

  • 2004 High Maintenance Woman
  • 2006 Finally Got It... Wright

With Jimmy Smith

  • 1989 Prime Time
  • 1993 Sum Serious Blues
  • 2001 Dot Com Blues

With others

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Herman Riley

View on Grokipedia
from Grokipedia
Herman Riley was an American jazz tenor saxophonist known for his soulful, versatile playing and exceptional skill as a sideman and accompanist, particularly in supporting vocalists in the Los Angeles jazz scene. His hard-driving yet sensitive style earned him admiration from peers for enhancing performances without overpowering them, making him a favorite collaborator for singers and instrumentalists alike. Born on August 31, 1933, in Algiers, New Orleans, Louisiana, Riley grew up immersed in the city's musical traditions and studied a range of instruments, including cello, bassoon, flute, clarinet, oboe, and English horn. After serving in the U.S. Army, he moved to Los Angeles in 1964 and built a prolific career as a studio musician, contributing to television shows, film soundtracks, and live performances across jazz, blues, R&B, and big band settings. He worked extensively with artists such as Jimmy Smith, Count Basie, Quincy Jones, Benny Carter, Etta James, and many others, including long-term associations with organist Jimmy Smith and appearances at major festivals. Riley recorded one album as a leader, Herman (1984), and appeared as a sideman on numerous projects, notably with Jimmy Smith. Described as consistent, blues- and bebop-rooted, and highly versatile, he remained active until his death on April 14, 2007, in Culver City, California, at age 73.

Early life

Birth and background in New Orleans

Herman Riley was born on August 31, 1933, in New Orleans, Louisiana. He was born in the Algiers neighborhood of the city. As a native of New Orleans, a city renowned as the birthplace of jazz, Riley grew up immersed in the genre. Biographical details about his early years and specific musical influences in New Orleans remain limited in documented sources. He later relocated to pursue his professional music career.

Music career

Move to Los Angeles and studio musicianship

Herman Riley relocated to Los Angeles in the early to mid-1960s, following his recognition as the outstanding solo artist at the 1962 California colleges' jazz festival in Monterey. This move allowed him to transition from the nightclub-focused music scene of his native New Orleans to the broader music industry of Los Angeles, where he quickly established himself as a highly sought-after freelance studio musician and versatile section player. Riley noted the contrast between the two cities, observing that "New Orleans was an industry of night clubs but in Los Angeles music was the industry." Primarily known for his work on tenor saxophone, Riley expanded his range to include flute, oboe, cor anglais, clarinet, and bass clarinet to meet the varied demands of studio sessions. He became a mainstay in the Los Angeles recording scene, contributing to numerous sessions for recordings, television programs, and film soundtracks, though much of this work was uncredited or sparsely documented in public sources. Described as one of Los Angeles' best blues and bebop-rooted tenor players, Riley was valued for his vigorous, versatile approach and ability to provide supportive accompaniment without overpowering vocalists or ensembles. His reputation as an in-demand sideman and session player endured throughout his career in the city.

Notable collaborations and recordings

Herman Riley led one album under his own name, Herman, released on the Jam label in 1984 and featuring his tenor saxophone in a jazz-funk context, recorded at Sage and Sound Studio in Los Angeles. Among his notable sideman contributions, Riley performed on Gene Ammons' Free Again in 1972, contributing to the reeds section alongside other prominent players. He maintained a long-term musical partnership with organist Jimmy Smith, appearing on several of Smith's albums including Prime Time in 1989 (on tracks with multiple saxophonists), Sum Serious Blues in 1993, and Dot Com Blues in 2001. Riley's extensive session work in Los Angeles included credits on recordings with Blue Mitchell during the 1970s, such as African Violet (1977), showcasing his versatility in hard bop and soul-jazz settings. His collaborations often placed him in support roles for vocalists and major jazz figures, though many of his contributions remained uncredited or lesser-known due to the nature of studio musicianship in Los Angeles. His work with artists like Blue Mitchell, Lorez Alexandria, and Kenny Burrell highlighted his reliable and soulful tenor sound on multiple projects across decades.

Film and television work

On-screen appearances

Herman Riley's on-screen appearances were few and directly connected to his career as a jazz saxophonist. He is credited as a member of the Green Parrot Band in the 1990 film The Two Jakes. In 2006, he appeared in the short film I Thought of You in the role of Sax. These represent his only documented acting credits in film or television.

Music contributions to film

Herman Riley contributed to film music primarily through uncredited saxophone performances and soundtrack pieces, reflecting his role as a Los Angeles studio musician rather than a prominent film composer. His known involvements in this area are limited and typically appear in the music department or soundtrack sections without on-screen credit. He performed as musician: saxophone (uncredited) for A Hero Ain't Nothin' But a Sandwich (1977). In 1981, Riley provided the uncredited soundtrack contribution "A Day at the Mint" to Cells of Passion. Later, he played musician: tenor sax, saxophone (uncredited) on Divine Secrets of the Ya-Ya Sisterhood (2002). These sparse credits underscore the behind-the-scenes nature of much of his session work in film scoring.

Personal life

Family and marriage

Herman Riley married Thelma Mitchell in 1956, a union that lasted until his death in 2007. Thelma survived him. The couple had two children: a son, Patrick Riley, who predeceased him, and a daughter, Shenell Riley Boone.

Death

Circumstances and immediate aftermath

Herman Riley died of heart failure on April 14, 2007, at Brotman Medical Center in Culver City, California, at the age of 73. One contemporary report described the cause as cardiac arrest at the same facility. A memorial service for Riley was held at noon on April 25, 2007, in the main auditorium of the Crenshaw Christian Center at 7901 S. Vermont Avenue in Los Angeles. No further details of immediate family reactions, medical history, or related events were reported in contemporary accounts.

Legacy

Herman Riley is remembered as one of the most reliable and respected tenor saxophonists in the Los Angeles jazz and studio scene, where his hard-driving, soulful style made him a favorite among vocalists and bandleaders. Jazz writer Kirk Silsbee described him as "amazingly consistent and one of [Los Angeles’s] best blues and bebop-rooted tenor players," highlighting his vigorous and versatile approach that brought fire and creativity to ensembles. Peers praised his ability to enhance rather than dominate, often contributing meaningfully with just one or two notes that elevated the music. Much of Riley's legacy remains niche due to the anonymous nature of studio session work, his primary role as a sideman, and limited output as a leader, with only one album under his own name. This resulted in sparse documentation and limited wider recognition beyond the Los Angeles jazz community, despite his extensive contributions across recordings, live performances, and tours. His self-effacing personality and focus on supporting others further kept him from greater public prominence, though he was regarded as a consummate professional whose musical depth and reliability sustained the scene. Obituaries following his death in 2007 underscored his status as a first-choice sideman and enduring presence on bandstands, with tributes emphasizing his immense grasp of jazz history and his value as an accompanist who made every context stronger. He is seen as a classic example of the highly skilled but often unheralded musicians who formed the backbone of Los Angeles jazz and studio music.
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