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Bobby Colomby

Bobby Colomby (born Robert Wayne Colomby; December 20, 1944) is an American , record producer, and music executive best known as the co-founder and original of the jazz-rock band (BS&T). Born in , Colomby graduated with a degree in from and developed his skills as a self-taught jazz-rock and fusion in the city's vibrant music scene. In 1967, he co-founded BS&T alongside and Steve Katz after they left , serving as the band's on their debut album Child Is Father to the Man (1968), which reached the Top 50 on the . Colomby's tenure with BS&T spanned pivotal moments, including their performance at the festival in 1969 and the band's groundbreaking second album, (1968, released 1969), which won the Grammy Award for in 1970 and featured hits such as "," "," and "You've Made Me So Very Happy." As the last original member until 1976, he became the band's de facto leader and owner of the name, overseeing its evolution through numerous lineup changes and maintaining musical direction into the present day. Under his involvement, BS&T made history as the first band to tour the in 1970, sponsored by the U.S. State Department. Beyond drumming, Colomby built a prolific career as a producer, helming Jaco Pastorius's self-titled debut album (1976), The Jacksons' Destiny (1978), and projects for artists including Earth, Wind & Fire, Harry Connick Jr., Kenny Loggins, Paula Cole, and Jeff Lorber, as well as the Chris Botti instrumental series starting in 2002. In the music industry, he held executive roles such as senior vice president at Sony Music, vice president at Capitol/Epic Records, and consultant for Warner Bros. and EMI, while also founding the Signal 21 record label. Additionally, Colomby ventured into television as a reporter for Entertainment Tonight and CBS This Morning in the late 1980s, and more recently composed the score and co-produced the soundtrack for the 2023 documentary What the Hell Happened to Blood, Sweat & Tears?, which chronicles the band's turbulent history.

Early life

Family background

Robert Wayne Colomby was born on December 20, 1944, in , . Colomby was raised in a Jewish family by parents who were ; his father, Saul Colomby (who later adopted the name Fred in the United States), owned a watchmaking company in , while his mother, Elsie (née Ries) Colomby, worked at her husband's watchmaking company. The family resided in New York without significant upheaval, providing a stable environment despite the parents' traumatic past. The Colomby household was musically inclined, largely due to the influence of his older brother, Harry Colomby, a music manager who represented for 14 years beginning in the mid-1950s. His parents were also musical; his father was an singer who had performed with , and his mother was a . Another brother, Jules Colomby, further contributed to the family's musical leanings by founding the Signal, whose debut release featured Monk. This environment exposed the young Colomby to from an early age, sparking his interest in drumming; he became self-taught by practicing to Monk's recordings and rhythms. This early immersion laid the groundwork for his musical development before he pursued formal studies at the .

Education and early musical influences

Colomby pursued higher education at the City College of New York, where he earned a B.A. in psychology during the mid-1960s before enrolling in graduate school for the same field. Although he eventually dropped out of graduate studies after finding the coursework reminiscent of his structured childhood routine, his time at City College immersed him in New York's vibrant intellectual and cultural environment. As a self-taught , Colomby began developing his skills at age 11 by mimicking recordings, using improvised setups like a lamp as a and a jacket-covered marching snare from an Army Navy store to replicate on the track "Philly J.J." His early musical influences were deeply rooted in , shaped by a household filled with classical composers like Bach and Beethoven alongside constant playback from his two older brothers—one a self-taught player and close friend of , the other who managed for 14 years. This familial exposure fostered a profound appreciation for and complexity, which Colomby later described as the soundtrack of his formative years. During his college years in , Colomby gained practical experience in the local music scenes, starting with his first paid gig at age 15 alongside students from the High School of Music and Art at an NYU fraternity party, where the group performed tunes like "Daddy Day." He soon ventured into Village's folk circuit, jamming with emerging artists such as and while balancing his studies. These informal sessions in clubs and folk venues honed his versatility, bridging the gap between the structured ensembles he admired and the raw energy of rock and folk gatherings with peers. Colomby's psychological training indirectly informed his creative process, providing an analytical framework that he applied to music collaboration and , such as evaluating song structures and group dynamics during rehearsals. This blend of academic insight and hands-on experimentation in New York's eclectic scenes laid the groundwork for his distinctive approach to rhythm and ensemble playing, emphasizing intuition honed through self-directed practice over formal instruction.

Career

Blood, Sweat & Tears

Bobby Colomby co-founded in 1967 alongside and Steve Katz following their departure from , with bassist Jim Fielder rounding out the initial . The group emerged as a pioneering force in -rock fusion, blending rock energy with sophisticated brass arrangements, improvisational elements, and influences from , , pop, and , largely shaped by Colomby's drumming foundation rooted in traditions. Colomby served as the band's drummer on its first eight studio albums, from Child Is Father to the Man (1968) through More Than Ever (1976), providing the rhythmic backbone that supported the ensemble's horn-driven sound. The second album, the self-titled Blood, Sweat & Tears (late 1968), marked their commercial breakthrough, topping the Billboard 200 for seven weeks and winning the Grammy Award for Album of the Year in 1970 over The Beatles' Abbey Road; it featured hit singles "Spinning Wheel" (No. 2 on the Billboard Hot 100) and "And When I Die" (No. 2), showcasing the band's fusion of accessible melodies with complex arrangements. As the band evolved, Colomby assumed a leadership role after Kooper's departure in 1968, becoming the last remaining original member amid growing internal conflicts in the 1970s, including disputes over creative direction and external pressures like the controversial 1970 U.S. State Department-sponsored tour of Eastern Europe. The tour, undertaken to resolve lead singer David Clayton-Thomas's green card issues amid his anti-Vietnam War activism, sparked tensions—guitarist Steve Katz opposed it as potential exploitation by the Nixon administration—and led to public backlash from both counterculture critics and conservative outlets, damaging the band's reputation and contributing to lineup instability. Colomby left the band in 1976 following the release of More Than Ever, citing exhaustion from the ongoing strife. Post-departure, Colomby retained ownership of the Blood, Sweat & Tears band name, allowing him to oversee subsequent lineups, musical direction, and touring activities while no longer performing with the group. In 2023, he co-produced the documentary What the Hell Happened to Blood, Sweat & Tears?, directed by John Scheinfeld, which chronicles the band's rise, the ill-fated 1970 tour (including rediscovered MGM vault footage of riots in Romania), and its broader historical impact; Colomby also contributed to the film's original score alongside David Mann.

Record production and executive roles

After leaving his role as the drummer for Blood, Sweat & Tears, Colomby transitioned into music production, beginning with contributions to the band's own albums. He co-produced Blood, Sweat & Tears' 1977 release Brand New Day alongside engineer Roy Halee, marking a shift toward a more pop-oriented sound for the group. Additionally, Colomby provided uncredited drumming on John Cale and Terry Riley's experimental collaboration Church of Anthrax in 1971, blending jazz-rock elements with avant-garde influences. The self-titled Blood, Sweat & Tears album earned a Grammy Award for Album of the Year in 1970—the first rock album to win in that category. Colomby's production work extended to notable artists across jazz and pop genres in the late 1970s. He produced ' groundbreaking self-titled debut album in 1976, showcasing the bassist's innovative fretless techniques and helping launch Pastorius' career in . In 1978, Colomby served as for The Jacksons' Destiny, their first album without and a commercial success that revitalized the group's sound with self-penned material. That same year, he co-produced and contributed percussion to Eddie Palmieri's Lucumí, Macumba, Voodoo, a fusion of and African rhythms that earned a Grammy nomination for Best Latin Recording in 1979. In executive capacities, Colomby held the position of Senior of Creative Development at from 1989 to 1996, where he oversaw artist development and A&R initiatives during a pivotal era for the label's pop and jazz roster. In 2000, he co-founded the independent label Signal 21 Records with , releasing Marx's album Days in Avalon—the label's sole project before it folded—on which Colomby acted as . Colomby's later production efforts focused on jazz instrumentalists, emphasizing orchestral arrangements and crossover appeal. Starting in 2002, he produced multiple albums for trumpeter , including December (2002), When I Fall in Love (2004), To Love Again (2005), Italia (2007), and Impressions (2012), often collaborating with arrangers like Jorge Calandrelli to blend standards with contemporary production. Additional credits include Paula Cole's Courage (2007), Jeff Lorber's He Had a Hat (2007), and Leo Amuedo's Guitar Stories (2016), where Colomby's touch emphasized melodic and live ensemble dynamics.

Television and media work

In the late 1980s, Bobby Colomby transitioned from his music industry roles to television reporting, serving as a correspondent for where he covered entertainment and music segments. His work on the show included on-air reporting from events and interviews with artists, leveraging his deep connections within the music world. This period marked a five-year stint in broadcast media, during which Colomby brought an insider's perspective to stories about emerging trends and celebrity happenings. Colomby expanded his television presence by contributing to , hosting segments that delved into music industry developments, artist profiles, and behind-the-scenes production insights. He also hosted the short-lived CBS late-night music variety series In Person from the Palace in 1987, produced by , featuring live performances by up-and-coming rock and pop acts at the historic Palace Theatre in . These roles allowed him to produce and present content that highlighted the creative and business sides of entertainment, often drawing on his prior experience as a senior vice president at for unique access to industry figures. Colomby's educational background in psychology from , including graduate-level studies in advanced interviewing techniques, informed his approach to journalistic work on television. This foundation enabled him to conduct probing artist interviews that explored personal motivations and career trajectories with and depth. Beyond reporting, Colomby contributed to the soundtracks of films such as Malice (1993) and (2007), utilizing his entertainment connections.

Recent activities and projects

As the owner of the name and , Bobby Colomby has continued to oversee the band's touring activities into the mid-2020s, ensuring the group's legacy through live performances featuring a rotating lineup of musicians. The band maintained an active schedule of concerts from 2023 through 2025, including dates across that highlighted their jazz-rock fusion sound. As of November 2025, BS&T continues active touring across . In 2025, notable performances included a show at Maryland Hall in Annapolis on May 30, with performing the following night on May 31. Current vocalist Keith Paluso, whom Colomby selected for his soulful delivery reminiscent of early BS&T leads, has anchored these tours since joining in 2019, drawing praise for revitalizing classics like "." In 2023, Colomby played a key role in the documentary What the Hell Happened to ?, directed by John Scheinfeld, which chronicles the band's controversial 1970 tour behind the and its broader impact. He co-composed the film's original score with saxophonist David Mann, recorded by the contemporary BS&T lineup, and contributed archival footage and interviews that provided firsthand insights into the group's evolution. The project extended to a companion released by Recordings, featuring unreleased live recordings from the era alongside the new score, underscoring Colomby's archival stewardship. Colomby has remained active in media discussions of his career, appearing on the podcast in January 2025 for a two-part that covered his philosophy and management experiences. In August 2025, he joined KCRW's The Treatment to reflect on his late collaborator , highlighting their 1978 work on and Palmieri's innovative fusion of and . These appearances emphasized Colomby's ongoing engagement with music history while teasing future endeavors. To support his production efforts, Colomby upgraded his home studio in 2024 with a custom Wavebone desk, designed for ergonomic organization of recording gear and facilitating remote collaborations. This setup has enabled recent projects, including producing guitarist Jesus Molina's instrumental album , released in 2024, which explores influences, and developing a conceptual recording with violinist that integrates vocal and string elements. These initiatives mark Colomby's return to hands-on production after a period focused on band oversight.

Personal life and legacy

Personal relationships

Bobby Colomby has been married to Donna Abbott, a originally from , for several decades, forming a supportive partnership that has accompanied his transitions from to the . Their relationship emphasizes a shared life away from the spotlight of his musical career, with Abbott contributing creative perspectives through her design work. The couple has , a fact Colomby has noted in reflecting on his , stating that emerging artists he mentors often fill a familial role in their household. Details about remain private, though Colomby has occasionally referenced the absence of offspring in discussions of his home life. Colomby's older brothers, Harry Colomby and Jules Colomby, played pivotal roles in shaping the family's musical legacy. Harry managed icon for over a decade, while Jules was a trumpeter who briefly ran the Signal ; an influence that extended into Bobby's early exposure to the industry despite their age difference. Harry, who passed away in 2021, left a lasting imprint on the family's connection to history, rooted in their upbringing. Following his formative years in , Colomby relocated to , where he and Abbott established their residence in , a move he initially approached with skepticism but ultimately embraced as a permanent home. This West Coast base has allowed for a more settled amid his ongoing projects.

Legacy and contributions

Bobby Colomby's pioneering work with (BS&T) established him as a key architect of jazz-rock fusion in the late 1960s, blending brass-heavy arrangements with rock rhythms and improvisational jazz elements to create a commercially viable . As the band's founding drummer, Colomby helped propel BS&T's self-titled second album to the top of the charts in , earning the group the Grammy Award for in 1970 and solidifying their role in popularizing the style. This innovation influenced the development of jazz-rock fusion by demonstrating how the genre could bridge mainstream appeal with musical complexity. Beyond BS&T, Colomby's production and performance contributions extended to , where he co-produced and played percussion on Eddie Palmieri's 1978 album Lucumí, Macumba, Voodoo, a genre-blending exploration of Afro-Cuban rhythms that earned a Grammy nomination for Best Latin Recording in 1979. This work highlighted his ability to integrate rock production techniques into traditional Latin frameworks, enhancing the album's rhythmic depth and global reach. Similarly, as producer of Jaco Pastorius's self-titled debut in 1976, Colomby championed the electric bassist's innovative fretless techniques and harmonic expansions, which revolutionized the instrument's role in and by emphasizing melodic and percussive possibilities over traditional accompaniment. In the music industry, Colomby's executive roles bridged his production era with A&R , serving as of A&R at , , and Senior A&R consultant at EMI-Manhattan, where he scouted and developed talent across , , and pop genres. These positions allowed him to shape label strategies during the transition from analog production to , fostering cross-genre collaborations that sustained fusion's evolution into the modern era. His overall Grammy record includes three wins and six nominations, primarily tied to BS&T's successes and production efforts like Palmieri's album. Colomby has received enduring recognition in drumming and jazz communities, with Modern Drummer magazine in 1982 profiling him as a transformative force in 1960s percussion for his dynamic, groove-oriented style that fused with drive. His cultural legacy persists through the 2023 documentary What the Hell Happened to ?, which chronicles BS&T's political controversies and musical triumphs, and various podcasts, including a 2025 episode underscoring his ongoing influence. As owner of the BS&T name, Colomby continues to preserve the band's 1960s sound through active touring into 2025, ensuring its foundational impact on jazz-rock endures.

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