UB In Memoriam: Legendary Innovator Roy Ayers

Legendary vibraphonist, composer and producer Roy Ayers passed away on March 4th, 2025 in New York City after a long illness.

“He lived a beautiful 84 years and will be sorely missed. His family ask that you respect their privacy at this time, a celebration of Roy’s life will be forthcoming.”

He was five years old when his parents took him to watch the renowned vibes player Lionel Hampton in concert with a big band. After the performance ‘Hamp did his usual stroll up and down the aisles thanking his audience for attending, and in the corner of his eye spotted a very excited little boy. Lionel wandered straight over to Roy and gave him the present of a lifetime – a pair of vibe mallets.

Roy obtained his musical education at a public school in Los Angeles, and up to the age of seventeen he sang in church choirs and played both piano and steel guitar. Then came the moment Roy had been waiting for – his parents bought him a set of vibes. He began teaching himself, and then by chance he heard that living just a couple of blocks away was an up-and-coming vibes-man by the name of Bobby Hutcherson. The two immediately became friends.

In 1961 Roy Ayers had become a fully fledged professional musician and worked for some of the biggest artists of the day including Chico Hamilton, Teddy Edwards, Jack Wilson, Phineas Newborn and Gerald Wilson.

Roy began writing his own material and putting it onto tape, when along came the World‘s leading author and producer Leonard Feather. One thing led to another, and Roy was signed to his first record label, United Artists.

Roy‘s debut album, “West Coast Vibes“, was produced by Leonard, and the line-up was pretty impressive – Roy on vibes; Curtis Amy, tenor sax; Jack Wilson, piano, Bill Plummer, bass; Victor Gaskin, bass; and Kenny Dennis, plus Tony Bazley on drums.

The album was given much praise within jazz circles, and in fact popular big band leader Louie Bellson heard one of the tracks, liked it, re-recorded it, and re-named it “I Remember Duke.”

One day the World’s number one jazz flautist, Herbie Mann, called Roy urgently requiring a replacement to fill a last minute cancellation from a band member, at The Lighthouse Club in Los Angeles. Roy made himself available, the crowd loved it, and he remained in the band for six years touring the West Coast and appearing on several of Mann‘s albums for Atlantic Records.

During this period Roy still found time to write his own material, and eventually struck a another deal for himself with Atlantic. For the next three years the same amount of albums were released – “Virgo Vibes”, 1967; “Stoned Soul Picnic”, 1968, and “Daddy Bug” in 1969. All were produced with the help of long time friend, Harry Whitaker.

In 1969, at the end of a decade and the start of a new one, saw the beginning of a long and fruitful relationship with Polydor Records, where Roy introduced more crossover elements into his musical conception, experimenting with wah wah and fuzz tones on his vibes. He brought in some musicians and vocalists that were eventually to become his group Ubiquity. Suddenly the whole Roy Ayers sound took off.

In the early 70’s there were some very special moments for Roy, such as being invited to produce and record the soundtrack for a black sexploitation movie called “Coffy“, starring Pam Grier and Booker Bradshaw. It was a very successful project which Polydor Records released in 1973 – featured artists included vocalist Dee Dee [Denise] Bridgewater and Harry Whitaker on piano.

Also in 1973 he shifted to a jazz and blues idiom and in the later purl of 1975 he tumid to pop when he noticed a change in musical direction.

“I try to be everywhere and play everything. Right now I’m aiming at the pop market and anything that encompasses R&B and jazz,” Roy stated at the time to Billboard.

In the mid 1970′s, while disco was breaking through the onslaught of pop and rock ‘n roll, a new and different kind of sound was brewing which Americans called fusion and the British jazz/funk. Roy‘s mix of fluent improvisation, dance floor friendly rhythms, and incredible showmanship quickly established Roy as a leader of the scene, and for the next ten years he recorded his best work, including: “Virgo Red”, “Change Up The Groove”, “Mystic Voyage”, “Everybody Loves The Sunshine”, “Vibrations”, “You Send Me”, “Lifeline”, and “Fever.”

1977 saw the release of his “Lifeline” album, and with it the penultimate jazz/funk anthem “Running Away“, which to this day still sounds fresh on radio, and massive on the dance floor.

In 1977 Roy‘s name was recognized throughout the UK, and at last he received the respect he deserved – “Get On Up Get On Down”, “Heat Of The Beat”, and “Don’t Stop The Feeling” all reached the British charts – 41, 43 and 56 respectively – but strangely they arrived there not from radio airplay but the very active club scene.

At the tail end of 1979 he visited Africa, and was accompanied by the now late great percussionist, and beleaguered figure-head, Fela Anikulapo Kuti. The tour was a huge success which spawned a popular album “Africa Centre Of The World.”

In 1983 Roy formed his own label Uno Melodic and released “Lots Of Love.” Many of the artists featured within his camp later became top artists in their own right, including Bobbi Humphrey and Justo Almario.

Roy was also synonymous in producing some now much sought after rare groove classics from The Eighties Ladies, Ethel Beatty, and Sylvia Striplin.

In 1985 Roy was part of a played at an event which shook London to its core at at The Hammersmith Odeon (now Labbats Apollo).

“The New York Jazz Explosion” featured Roy, Jean Carne, Tom Browne, and Lonnie Liston Smith, and originally was meant to be two shows over a weekend, but demand for tickets was such that two extra matinee shows had to be added – and even those sold right out.

In 1988 Roy began playing the infamous 250 seated jazz venue Ronnie Scott‘s in the Centre of London where he has been their main attraction ever since. The first couple of years he would perform every night except Sundays for two weeks.

Thanks to the emerging worldwide Acid Jazz movement and sampling, Roy Ayers enjoyed a worldwide renaissance in the early 90’s.

Dozens of groups began sampling his work including, A Tribe Called Quest, Brand Nubian, X-Clan, Big Daddy Kane, Erykah Badu, Mary J. Blige, The Notorious BIG, and Puff Daddy.

The U.K. based Galliano recorded with him, Gang Starr‘s Guru recorded and toured with Roy on “Guru’s Jazzmatazz” 1993 release. Also pop diva Vanessa Williams featured him as a special quest on 1994‘s “The Sweetest Days.”

On 2004, Roy collaborated with Betty Wright and Erykah Badu on his “Mahogany Vibes” album.

Roy Ayers later ventured into house music, collaborating with Masters at Work and Kerri Chandler.

In 2015, he played vibraphone on Tyler the Creator‘s fourth studio album “Cherry Bomb” on the track “Find Your Wings.”

Over the years until his death, Roy won numerous awards for his contribution to music, and was given keys to US cities for his services to local communities, and constantly strived to help the youth, particularly within the black sector.

UB Sends Our Condolences to the Family, Friends and Fans of Legendary Roy Ayers!