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Bill Reichenbach Jr.

Bill Reichenbach Jr. (born 1949) is an jazz trombonist, , and renowned for his mastery of the and contributions to thousands of recordings across , pop, film, and television. Primarily a studio artist based in since 1975, he has performed on over 1,000 albums, 600 motion pictures, and countless jingles and TV shows, while also leading jazz ensembles and composing for brass and wind groups. Born in Takoma Park, Maryland—a suburb of Washington, D.C.—Reichenbach grew up in a musical family; his father, Bill Reichenbach Sr., was a drummer who played with guitarist Charlie Byrd from 1962 to 1973. He began studying trombone in high school under teachers Gene Brusiloff and Robert Isele, later attending the Eastman School of Music in Rochester, New York, where he trained with legendary pedagogue Emory Remington. Early in his career, while still a student, Reichenbach recorded with Chuck Mangione and participated in Leonard Bernstein's Mass for the 1971 Kennedy Center opening, and he toured with the Buddy Rich Big Band. Relocating to marked the height of Reichenbach's studio work, where he played tenor trombone in settings with Toshiko Akiyoshi's and Don Menza's groups, while establishing himself as a go-to bass trombonist for major productions. His collaborations include sessions with icons such as , , , , and , spanning genres from to pop and orchestral scores. Reichenbach has released albums like with his quartet (which reached #10 on national radio charts) and four titles with trombonist Mike Davis, including Brass Nation and Absolute Trombone II. In addition to performing, he founded the Hearts of Music Fund in 2003 to support musicians with medical needs and leads the ensemble Trombones-L.A. for holiday concerts; he now resides near , and continues clinics and masterclasses internationally.

Early life and education

Family background

William Frank Reichenbach Jr. was born on November 30, 1949, in . Reichenbach grew up in a musical household shaped by his father, William Frank Reichenbach Sr., a prominent and percussionist who performed regularly with from 1962 to 1973. His father contributed to the early recordings, including playing drums on the seminal 1962 album by and , and co-developed the jazz-samba drumming style that helped popularize the genre in the United States. From a young age, Reichenbach was immersed in through his father's performances, recordings, and home environment, where he initially took up drums following family tradition before switching to at age 11. This exposure fostered his early interest in music, leading to family-influenced collaborations during his teenage years, such as sitting in with his father's band at venues like Blues Alley in , where he performed alongside jazz luminaries including and . In high school, he also played in local -area bands, often alongside his father's group.

Musical beginnings and training

Bill Reichenbach Jr. began his musical journey in , where he grew up immersed in a family environment rich with influences. At age seven, he started playing drums, but switched to at eleven after selecting it over a camera during a family shopping trip. In high school, he participated in local ensembles, including the Metropolitan Police Boys Band, a in , which allowed him to learn from more experienced players and hone his foundational skills. He also performed with various bands in the area, marking the start of his professional involvement as a teenager. During his teenage years, Reichenbach gained early exposure to renowned musicians by sitting in with his father's group at Blues Alley in . There, he performed alongside figures such as , , and , experiences that broadened his understanding of and ensemble playing in a live setting. His father, William Frank Reichenbach Sr., had been the drummer for guitarist from 1962 to 1973, providing these valuable connections. Additionally, Reichenbach experimented with other brass instruments by borrowing them, including the , , and a small , which helped him develop versatility beyond the . In high school, he studied privately with teachers Gene Brusiloff and Robert Isele, refining his technique on both and variants. Reichenbach enrolled at the in , in the late 1960s, where he pursued formal training under the legendary trombone pedagogue Emory Remington. Remington's instruction emphasized precise intonation, articulation, and endurance, techniques that became hallmarks of Reichenbach's playing style. As a student, he advanced his proficiency on the , serving as principal in the Eastman Wind Ensemble and performing parts, while also playing lead tenor in the Eastman Jazz Ensemble alongside . These college experiences further developed his skills across brass instruments, including recording contributions such as on Leonard Bernstein's for the Kennedy Center's opening.

Early professional career

Eastman School and initial performances

During his time at the in , where he studied from the late , Bill Reichenbach Jr. earned a degree in 1971. As a student, he honed his skills under the guidance of renowned trombone pedagogue Emory Remington, with a brief focus on classical techniques that informed his later work. Reichenbach's recording career began while he was still enrolled at Eastman, where he performed as lead trombonist on several albums by , including the 1970 release Friends & Love: A Chuck Mangione Concert, recorded with the Eastman Jazz Ensemble. These sessions exposed him to prominent jazz figures such as and , shaping his early influences in the genre through Mangione's blend of and pop elements. He also contributed to a couple of recordings with the Eastman Wind Ensemble, playing on one and on another, which highlighted his versatility in large ensemble settings. Following his graduation, Reichenbach made his initial professional recordings, including a bass trombone role on Leonard Bernstein's Mass: A Theatre Piece for Singers, Players, and Dancers (1971), premiered at the opening of the . The following year, he appeared on Gap Mangione's Sing Along Junk (1972), providing in the section alongside players like and Wayne Andre, arranged and conducted by . At Eastman, Reichenbach explored phrasing and , drawing from records of artists like and to refine his rhythmic precision. He also experimented with brass ensemble techniques through participation in the school's choir, performing works like Bach chorales that emphasized blend and intonation in group settings. These experiences bridged his classical training with emerging sensibilities, setting the foundation for his professional trajectory.

Work with Buddy Rich

Following his graduation from the in 1971, Bill Reichenbach Jr. joined 's big band as the bass trombonist, marking his professional debut in the high-energy world of touring ensembles. He auditioned and was hired on the spot in Herkimer, , where he sight-read the band's book during a rehearsal, demonstrating the technical prowess honed under instructor Emory Remington. This role positioned him in the band's robust brass section, where he provided foundational low-end support while contributing to the ensemble's signature precision and swing. Reichenbach's tenure with the band, lasting approximately seven months in 1972, involved intensive touring across the and internationally, characterized by a grueling road schedule of nightly performances with minimal rehearsal time. The band's dynamic demanded versatility from its members, and Reichenbach quickly stood out for his ability to improvise on —a rarity that led to feature him in solos, enhancing the group's live interpretations of jazz standards and contemporary arrangements. Notable among these was a rehearsal in , one of the few off-days during tours, which underscored the relentless of the "road band" lifestyle. During this period, Reichenbach contributed to the band's 1972 RCA album Stick It, where he performed on throughout and delivered a prominent solo on the Antonio Carlos Jobim composition "," showcasing his lyrical phrasing within the big band's framework. This recording highlighted the ensemble's tight interplay and Rich's innovative charts, with Reichenbach's work adding depth to the low lines. By 1975, after further experiences that broadened his exposure in the jazz circuit, Reichenbach transitioned from the Buddy Rich band to pursue opportunities on the , relocating to to engage in session work and other ensembles.

Career in Los Angeles

Session and studio work

Upon relocating to in 1975, Bill Reichenbach Jr. rapidly integrated into the city's vibrant studio music scene, leveraging his expertise as a trombonist to become a sought-after session player. Primarily performing on , he contributed to horn sections across a wide array of genres, establishing himself as a core in the competitive Los Angeles recording industry. His work encompassed pop, , and commercial projects, reflecting the versatility demanded of top studio professionals during the era. Reichenbach's studio output was prolific, with credits on at least 1,000 records that spanned diverse artists and styles. Notable among these were his contributions to horn sections on albums such as Dolly Parton's Heartbreaker (1978), where he provided foundational low-end support alongside trumpeters and Steve Madaio. Similarly, he played and arranged s for Barbra Streisand's (1978), enhancing the album's rhythmic and orchestral arrangements. On Carole Bayer Sager's ...Too (1978), Reichenbach again served as trombonist, collaborating with George Bohanon on tracks that blended pop and sophisticated orchestration. These recordings exemplified his role in bolstering ensembles for major pop releases, often under the direction of producers like Gary Klein and arrangers such as . Beyond album sessions, Reichenbach was deeply involved in commercial and broadcast media as a staple . He performed on countless jingles for advertisements, capitalizing on the demand for skilled players in short-form recordings. His contributions extended to television soundtracks, where his work added depth to and theme arrangements, further solidifying his status in ' multifaceted studio ecosystem.

Big band and jazz engagements

Upon relocating to Los Angeles in 1975, Bill Reichenbach Jr. immersed himself in the city's vibrant scene, joining the Toshiko Akiyoshi-Lew Tabackin for live performances starting in 1975. He played on their inaugural live album Road Time (1976), recorded during concerts in and , where his contributions highlighted the band's dynamic brass section in extended improvisational pieces. Reichenbach also served as the featured jazz trombonist with the Big Band and during the mid- to late 1970s, delivering solos on their energetic live and studio outings, including the album Burnin' (1981), which captured the group's high-octane style with prominent brass interplay. His work extended to key jazz recordings, such as Chuck Mangione's Children of Sanchez (1978), where he provided foundational trombone lines in the expansive orchestral arrangements, and ' live effort (1983), taped during a tour and emphasizing Reichenbach's rhythmic and melodic support in fusion-oriented charts. Throughout the and into subsequent decades, Reichenbach maintained an active presence in live settings, contributing to sections at various festivals and ensembles, including performances that showcased his versatility in both traditional and contemporary formats.

Notable collaborations

Pop and rock recordings

Bill Reichenbach Jr. made significant contributions to pop and during the and , primarily as a trombonist in prominent horn sections that added rhythmic and harmonic depth to hit albums. His work often involved performing bass and tenor , enhancing the funky, soul-infused arrangements characteristic of the era's recordings. A key part of Reichenbach's pop legacy stems from his collaboration with the Seawind Horns, alongside trumpeter and arranger Jerry Hey, on Michael Jackson's breakthrough solo albums. On Off the Wall (1979), Reichenbach provided trombone on multiple tracks, including "Don't Stop 'Til You Get Enough" and "Rock with You," contributing to the album's smooth, disco-inflected sound under Quincy Jones's production. He followed this with tenor trombone performances on Thriller (1982), appearing on tracks such as "Wanna Be Startin' Somethin'", "Baby Be Mine", and the title song "Thriller," where his brass work supported the record's genre-blending pop hooks and helped propel it to unprecedented commercial success. Reichenbach's involvement extended to Jackson's earlier project, the soundtrack for (1978), where he played trombone on several numbers, including "," blending Broadway flair with R&B elements. Later, he returned for horn arrangements and performances on Jackson's HIStory: Past, Present and Future, Book I (1995), contributing to tracks on the album, particularly on new material. Beyond Jackson, Reichenbach recorded with pop icons like , providing on albums such as The Dude (1981), where he helped craft the sophisticated horn charts for hits like "Ai No Corrida." He also contributed to Aretha Franklin's (1981), adding brass texture to soul tracks including the title song. In a later rock venture, Reichenbach played on Neil Young's orchestral album (2014), appearing on big band arrangements for songs like "I'm Glad I Found You," showcasing his adaptability across genres. Throughout these projects, Reichenbach occasionally took on arranging duties for brass sections, elevating the punchy, ensemble-driven style of 1970s and 1980s pop and rock productions.

Film and television scores

Bill Reichenbach Jr. has made significant contributions to film scores as a , particularly on , across more than 600 motion pictures. His work often involves providing instrumentation for orchestral scores in , , and animated features, drawing on his extensive studio experience in . Reichenbach performed on several acclaimed scores by composer , including the epic soundtracks for (1993), where his playing supported the film's adventurous and tense orchestral themes, (1993), contributing to its emotionally resonant and somber sections, and Independence Day (1996), enhancing the blockbuster's dramatic and heroic motifs. In animated cinema, Reichenbach lent his bass trombone to productions such as (1995) and (1999), as well as the superhero film (2002), where he bolstered the brass elements in and scores, respectively, adding depth to whimsical and high-stakes sequences. Reichenbach's television contributions include performing on numerous shows and specials, often in brass sections for episodic scores and live-action series. He also composed underscore for the anti-drug animated special (1990), collaborating with a team that included and to create an engaging musical framework for the ensemble of cartoon characters.

Solo work and compositions

Solo albums

Bill Reichenbach Jr.'s solo recording output as a leader is notably limited, reflecting his primary focus on extensive session work in studios throughout his career. Despite this, his efforts in this area highlight his prowess in on both and trombone, allowing for personal expression beyond ensemble roles. His sole major solo project as leader is the album , originally recorded in 1981 and released on vinyl in 1984 by the Bill Reichenbach Quartet via his own Nothing But Bills Records label, with a remastered reissue following in 1997. The album features Reichenbach prominently on both and trombone across seven tracks, blending standards with original compositions that emphasize improvisational depth. The quartet lineup includes pianist Biff Hannon, bassist , and drummer , all renowned session musicians who contribute to the album's tight, interactive sound. was handled by Reichenbach himself, capturing live-in-the-studio performances that showcase fluid lines in originals like "Flight Plan" (7:33) and "Leanin'" (9:43), alongside a reimagined standard, "I Should Care" (9:32). Shorter pieces such as "Chief and Frank" (1:37), a duo feature, and the bonus track "Opals in the Rain" (8:02) on the CD edition further demonstrate his compositional range and improvisational agility. This release stands as a rare showcase of Reichenbach's leadership in a pure context, prioritizing interplay and trombone-centric arrangements over the pop and sessions that defined much of his professional life. Reichenbach has also released four collaborative jazz albums with trombonist Mike Davis: Bonetown (1999), Brass Nation (2000), New Brass (2002), and Absolute Trombone II (2011). These works feature the duo in various trombone ensembles, showcasing advanced brass techniques and .

Original compositions

Bill Reichenbach Jr. has contributed as a and arranger across various , with a focus on that draws from his extensive session experience. His arranging work includes horn sections for prominent recordings by artists such as , , and . In television and animation, Reichenbach composed original music for the anti-drug special Cartoon All-Stars to the Rescue (1990), creating thematic underscore that supported the ensemble cast of animated characters promoting awareness of . He also wrote the main title theme for the Showtime anthology series Welcome to the Monkey House (1990), adapting Vonnegut's stories with orchestral motifs. His arranging extends to commercials and television, where he has orchestrated sections for numerous jingles and shows, leveraging his expertise in blending inflections with commercial polish. Reichenbach's original jazz compositions often feature in big band and ensemble settings, showcasing his trombone-centric writing. Notable works include "The Streets of Paris" (2012), a lyrical piece for trombone and wind ensemble premiered by the U.S. Army Band with soloist Larry Zalkind, evoking Parisian imagery through melodic brass lines. Another is "Fanfares, Questions and Answers" (2012), composed for bass trombone and wind ensemble, performed by Reichenbach himself at the Eastern Trombone Workshop, exploring call-and-response structures in a jazz-classical hybrid. These pieces, published by Cherry Classics, reflect his ability to craft accessible yet sophisticated jazz for larger ensembles.

References

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