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Tom McIntosh
Tom McIntosh
Tom McIntosh
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Thomas S. "Tom" McIntosh (February 6, 1927[1] – July 26, 2017)[2] was an American jazz trombonist, composer, arranger, and conductor.

McIntosh was born in Baltimore, Maryland, the eldest of six siblings. He also had an elder half-sibling by his father. He studied at Peabody Conservatory. He was stationed in West Germany after World War II.[3] He played trombone in an Army band, and eventually graduated from Juilliard in 1958. He played in New York City from 1956, with Lee Morgan, Roland Kirk, James Moody (1959, 1962) and the Art Farmer/Benny Golson Jazztet (1960–61).[4]

In 1961, McIntosh composed a song for trumpeter Howard McGhee. In 1963, he composed music for Dizzy Gillespie's Something Old, Something New album. The following year his composition Whose Child Are You? was performed by the New York Jazz Sextet, of which he was a member. He also worked with Thad Jones and Mel Lewis later in the 1960s.

In 1969, McIntosh gave up jazz and moved to Los Angeles to pursue a career in film and television composing. He wrote music for The Learning Tree, Soul Soldier, Shaft's Big Score, Slither, A Hero Ain't Nothin' but a Sandwich, and John Handy.

In 2008, McIntosh was named a Jazz Master by the National Endowment for the Arts [5] McIntosh was baptized as Jehovah's Witness on August 13, 1960.[citation needed]

Discography

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As arranger/composer

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With Art Blakey

With Illinois Jacquet

With James Moody

With Bobby Timmons

With Milt Jackson

As sideman

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With Art Farmer

With Dizzy Gillespie

With Eddie Harris

With Jimmy Heath

With Milt Jackson

With John Lewis

With Jack McDuff

With James Moody

With Oliver Nelson

With Shirley Scott

With Jimmy Smith

References

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Sources

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[edit]
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Tom McIntosh

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Tom McIntosh was an American jazz trombonist, composer, arranger, and educator known for his influential work in modern jazz and his collaborations with major figures including Dizzy Gillespie, James Moody, Milt Jackson, and the Thad Jones–Mel Lewis Orchestra. He earned designation as an NEA Jazz Master in 2008, recognizing his contributions as a performer, writer, and teacher who helped shape the post-bebop era through original compositions such as "With Malice Toward None" and "Cup Bearers," and his arrangements for prominent ensembles and artists. McIntosh also built a significant career in Hollywood, where he composed and orchestrated scores for films including The Learning Tree and Shaft's Big Score, as well as television projects, often employing top jazz musicians. Born on February 6, 1927, in Baltimore, Maryland, McIntosh initially studied voice at the Peabody Conservatory before serving in the U.S. Army, where he discovered the trombone and was influenced by bebop pioneers like Dizzy Gillespie and Charlie Parker. After attending Juilliard, he became active in New York's jazz scene, joining groups such as The Jazztet and the New York Jazz Sextet while developing long-term partnerships with Moody and Jackson. In the late 1960s, facing shifts in jazz's commercial landscape, he relocated to California and spent over two decades in film and television music production before returning east to teach at conservatories and direct programs at the Thelonious Monk Institute. McIntosh released his first album as a leader, With Malice Toward None, in his late seventies. He died on July 26, 2017.

Early life and education

Childhood in Baltimore

Tom McIntosh was born on February 6, 1927, in Baltimore, Maryland, as the eldest of six siblings in a highly musical household. His father, Jacob, possessed accurate rhythm and pitch, frequently sang to the children, and aspired to emulate the lead singer of the Mills Brothers while communicating deeply through song. His mother, Roseanna, sang in a laid-back, bird-like church style, and both parents filled the home with religious and semi-classical music, fostering an environment where vocal expression was central. McIntosh and his brother, one year younger, sang together nightly and naturally harmonized in perfect thirds as they fell asleep. He joined his father's church choir, where he was struck by the bass voice anchoring the harmony, and later formed the M&M Quartet with two brothers from another church family, marking his earliest performing experience. In junior high school, where no formal music program existed, teacher Mildred Williams administered a music aptitude test after bringing in a high school orchestra, and McIntosh scored highest among all students. This led to a voice-training scholarship at the Peabody Institute, but due to segregation policies, the lessons were conducted off-campus by teacher Miss Campbell at his all-Black school. During this period, McIntosh also pursued football and boxing, though Miss Campbell repeatedly encouraged him to prioritize his exceptional musical talent over these sports.

Formal musical training

Tom McIntosh's formal musical training began during his junior high school years in Baltimore when a dedicated teacher, seeking to establish a music program in a school without one, administered an aptitude test to the entire student body. He scored higher than any other student on the test, which evaluated skills such as recognizing note duration, pitch differences, and instrument identification. Impressed by his results, the teacher arranged for him to receive a voice scholarship at the Peabody Institute, then Baltimore's most prestigious music conservatory. At the time, racial segregation prevented Black students from attending classes on Peabody's premises, so McIntosh's lessons took place weekly at his all-Black school. His instructor was Miss Campbell, a white teacher who broke the color barrier by traveling to provide private voice training. She praised his natural abilities, noting that he had scored higher in music theory than all of her students at Peabody. Miss Campbell strongly urged McIntosh to abandon his involvement in sports, including boxing and football, insisting that his exceptional aptitude made music his true calling and natural talent. She emphasized that he was a "natural musician" and should prioritize this gift over athletics. Initially resistant to her advice, McIntosh continued participating in football and boxing rather than fully committing to music. Despite this early reluctance to prioritize music over sports, McIntosh's voice lessons with Miss Campbell marked his first structured professional training and eventually contributed to his shift toward pursuing music as a serious path. This scholarship and instruction provided foundational formal exposure to vocal technique and music theory during his teenage years.

Military service

U.S. Army enlistment and assignments

Tom McIntosh was drafted into the U.S. Army in the years following World War II. He was initially assigned to a laundry company and performed non-musical duties in that role. During his service, McIntosh was recruited to carry the tuba in military parades to help maintain visual alignment and straight lines in the marching formation. This opportunity led him to teach himself how to play tuba marches. He also gained exposure to musicians on the post who played music informally after work hours.

Discovery of trombone and bebop

While stationed in Germany during his U.S. Army service, McIntosh experienced a pivotal moment when he heard trombonist Frank Hooks perform a soulful solo on "Estrellita" during a dance band rehearsal. This performance profoundly affected him; he later recalled feeling "a band of angels rushed in the room saying, 'You see? You were indeed supposed to be a musician. The trombone is your instrument and Estrellita is your theme song.'" The event turned his life around and convinced him that the trombone was his destined instrument. His friend and fellow musician Ernest Outlaw introduced him to the music of Duke Ellington, Count Basie, and Lester Young, while emphasizing the emerging bebop revolution driven by Dizzy Gillespie, Charlie Parker, Kenny Clarke, and Thelonious Monk. Outlaw repeatedly stressed that "there's a musical revolution going on in the persons of Dizzy Gillespie, Charlie Parker, Kenny Clarke, Thelonious Monk, and those guys." A transformative experience occurred when Outlaw alerted the Army band to a radio broadcast featuring Gillespie and Parker; with the warrant officer's permission, the group huddled around the radio to listen. McIntosh described the moment as life-altering: "We all heard Diz for the first time and Charlie Parker. We all knew we would never be the same." From that day onward, he yearned to meet the exacting standards set by Dizzy Gillespie in modern jazz.

Jazz career in New York

Professional debut and early groups

After his discharge from the U.S. Army, Tom McIntosh attended the Juilliard School in New York City, where he completed his formal musical training in 1958. He became active in the New York jazz scene during the mid-1950s, establishing himself as a trombonist shortly after joining Local 802 of the American Federation of Musicians in 1956. McIntosh gained early professional experience as a member of the Art Farmer/Benny Golson Jazztet, a prominent hard bop ensemble co-led by trumpeter Art Farmer and saxophonist Benny Golson. McIntosh also co-founded the New York Jazz Sextet, one of his earliest leadership ventures in the city's vibrant jazz community during the late 1950s and 1960s. The ensemble featured an impressive rotating lineup of leading New York instrumentalists, including Thad Jones, Art Farmer, James Moody, Tommy Flanagan, Roland Hanna, and Richard Davis, among others who passed through the group.

Major collaborations and ensembles

Tom McIntosh developed a long and influential collaboration with saxophonist James Moody that began in the 1950s and extended through the 1960s. He played trombone in Moody's bands, served as the group's musical director, and provided arrangements for several of Moody's key recordings during that period. Moody's support proved foundational for McIntosh's career, as the saxophonist gave him significant creative freedom to shape the band's direction and material. McIntosh was an original member of the Thad Jones–Mel Lewis Orchestra, joining in 1966 and contributing as a trombonist, composer, and arranger through the late 1960s. His work with the ensemble included notable compositions and arrangements that helped define its sound during its formative years. He also collaborated with vibraphonist Milt Jackson, arranging and conducting the 1968 album Milt Jackson and the Hip String Quartet. This project highlighted McIntosh's skill in blending jazz with string instrumentation. Dizzy Gillespie featured McIntosh's compositions. McIntosh later arranged for a symphonic concert featuring Gillespie with the RAI Symphony Orchestra in Italy. Pianist Tommy Flanagan frequently described McIntosh as his favorite composer and recorded several of his pieces. McIntosh's work earned admiration from these and other prominent figures in the New York jazz scene.

Compositions and arrangements for jazz artists

Tom McIntosh contributed significantly to jazz as a composer and arranger while based in New York, with his works featured by leading artists and ensembles of the era. His original compositions include "Balanced Scales Equal Justice," recorded by the Thad Jones/Mel Lewis Orchestra, "With Malice Toward None," and "Capers." He provided arrangements for James Moody, including contributions to Hey! It’s James Moody between 1956 and 1959 as well as later Milestone albums. McIntosh also arranged material for Milt Jackson, Art Blakey, Illinois Jacquet, and Bobby Timmons. During this period, McIntosh declined an offer to serve as assistant arranger for Duke Ellington's orchestra in order to accept the assignment to score the film The Learning Tree.

Film and television career

Transition to Hollywood

Toward the end of the 1960s, as jazz's popularity declined, Tom McIntosh moved to Hollywood to pursue work in film and television music. He turned down an offer from Duke Ellington to become his assistant arranger following Billy Strayhorn's death in 1967, choosing instead an invitation to work on the music for The Learning Tree (1969) because it provided higher compensation. McIntosh later reflected that he was happy with his decision, as Ellington's role would have primarily involved refining existing arrangements rather than new creative work. McIntosh spent approximately twenty years in Hollywood working as a composer, conductor, orchestrator, and music director for films and television.

Key scores and music department roles

Tom McIntosh's move to Hollywood in the late 1960s began an extended period of work in film and television music, where he served in roles ranging from composer and conductor to orchestrator and music supervisor. His first major film project was The Learning Tree (1969), directed by Gordon Parks, where he served as conductor and orchestrator (the score was composed by Parks). He later recalled that his work on the film was well received. He worked on the blaxploitation film Shaft (1971) as technical assistant to the composer and on its sequel Shaft's Big Score! (1972) as music supervisor and uncredited orchestrator. McIntosh composed scores for films including The Bus Is Coming (1971), Girls on the Road (1972), Slither (1973), The Legend of John Henry (1974, an animated short nominated for an Academy Award for Best Animated Short Film that featured vocals by Roberta Flack), and A Hero Ain't Nothin' But a Sandwich (1977). On A Hero Ain't Nothin' But a Sandwich, he also served as conductor, music arranger, and uncredited trombone musician. In television, McIntosh composed for one episode of Then Came Bronson (1970). He composed and conducted music for several animated A Family Circus television specials between 1978 and 1982, including A Special Valentine with the Family Circus (1978), A Family Circus Christmas (1979), and A Family Circus Easter (1982). Later in his Hollywood tenure, he provided orchestration for Moments Without Proper Names (1987). Throughout these projects, McIntosh refined his approach to visual storytelling through music, learning to craft precise emotional cues—such as distinguishing anxiety from terror—for directors and producers.

Later career and teaching

Return to the East Coast

In the 1990s, after nearly two decades working as a music director for films and television in Hollywood, Tom McIntosh returned to the East Coast, having grown tired of the industry. There he resumed composing original music with renewed focus. During this period McIntosh conceived his ambitious multi-format project With Liberty and Jazz for All, which he regarded as his finest contribution to jazz. The work was structured as a narrative beginning with a live performance intended for recording, designed to inspire a subsequent Broadway production, which would in turn lead to a film of the same name. Through this interconnected format McIntosh aimed to demonstrate jazz as a universal experience and the preeminent musical embodiment of universal justice, incorporating historical examples such as White House jazz events under Presidents Kennedy and Clinton to underscore its recognition as a national treasure. McIntosh had been married for 45 years to a wife who provided steadfast support and encouragement throughout his professional life, but she predeceased him before 2008. In a 2008 interview he expressed deep sadness that she had not lived to witness the recognition of his career achievements.

Teaching positions and late compositions

Following his return to the East Coast in the 1990s, Tom McIntosh dedicated much of his later career to music education. He taught at various conservatories and served as music director of the Thelonious Monk Institute of Jazz at the New England Conservatory of Music, where he helped shape the next generation of jazz musicians. McIntosh continued composing into his later years. In 2004, at the age of 77, he released his first album as a leader, With Malice Toward None: The Music of Tom McIntosh, recorded in 2003 and issued on IPO Recordings. The recording featured his own compositions and arrangements, marking a significant personal milestone after decades of contributing to others' projects. He also developed an ambitious late-career project titled With Liberty and Jazz for All, which he envisioned as a multifaceted work beginning with a live performance to be recorded, with the goal of inspiring a Broadway show that would in turn lead to a motion picture. McIntosh conceived the piece as a narrative demonstrating jazz as an embodiment of universal justice and a national treasure.

Awards and recognition

NEA Jazz Master designation

In 2008, composer, arranger, trombonist, and educator Tom McIntosh was named an NEA Jazz Master by the National Endowment for the Arts, the highest honor bestowed by the United States in the field of jazz. Upon learning of the designation, McIntosh reflected on his lifelong pursuit of excellence in modern jazz, stating: "My first reaction to being told that I had been named by the NEA an all time Jazz Master was to rejoice over my long decision to pursue the musical standards established by Dizzy Gillespie and his fellow founding fathers of modern jazz. My second reaction was to give vent to joy over being worthy of the biblical vision that says, 'One skilled in their work will become stationed before Kings.' Under it all, I was saddened my wife of 45 years having not lived to see the unfailing support and encouragement she gave every facet of my life, being rewarded by the NEA."

Other honors and legacy

Tom McIntosh earned significant admiration from his peers in the jazz world for his compositional prowess. Pianist Tommy Flanagan regarded him as his favorite composer, underscoring the high regard for his writing among fellow musicians. Bassist John Levy highlighted a recurring pattern in McIntosh's career, noting that much of his arranging and composing work remained uncredited or under-credited despite its quality and influence. McIntosh's legacy lies in his ability to bridge jazz performance and arranging with film scoring and music education, creating a distinctive interdisciplinary impact that connected these areas over decades. He consistently emphasized music's role in direct audience communication and stressed the need to question conventional musical structures to promote innovation and keep the art form vital. Tom McIntosh died on July 26, 2017, in Boston, Massachusetts.
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