New Heavies, and others. Kamp has published
numerous instrumental arrangements with UNC
Jazz Press, and is transcribing the Pat Metheny
Songbook for Hal Leonard Publishing Company.
He is now an Assistant Professor of Commercial
Arranging at Berklee.

Abraham Laboriel, Sr. °72

Bassist Abraham Laboriel, Sr., made his first
record at the age of 10 and, more than 3,000 pro-
jects later, he stands among the highest sought ses-
sion players in the jazz and pop arenas. Raised in
Mexico City, Laboriel received his early musical
training from his father. He performed as both a
musician and actor before moving to Boston to
study at Berklee, where, in 1972, he earned a
degree in composition. Following tours with Gary
Burton, Johnny Mathis, Michel Legrand, and
Henry Mancini, Laboriel moved to Los Angeles
where he began working as a studio bassist, and
established his own jazz/rock ensemble Koinonia
which recorded four critically acclaimed albums.
Voted Most Valuable Bass Player for three consec-
utive years by NARAS, Laboriel’s performing and
recording credits include work with George
Benson H’90, Miles Davis, Ella Fitzgerald, Quincy
Jones ’51 H’83, Clark Terry, Stan Getz, Joe Pass,
Gary Burton, Al Jarreau H’91, Ernie Watts *66,
Barbra Streisand, Herb Alpert, Herbie Hancock
H’86, Aretha Franklin, Billy Cobham, Chick
Corea, Stevie Wonder, Steve Gadd, Dave Grusin
H’88, Lee Ritenour, and Lionel Richie. Laboriel’s
first solo , Dear Friends, reached the top five
on the U.S. nal jazz radio charts and earned
internati . His second CD, Guidum, fea-
tures the uartet—woodwind player
Justo Al f Koinonia; producer,
arranger, Greg Mathieson on keyboards;
and Abe Laboriel, Jr. ’93 on drums. The prolific
has over 20 feature films and extensive
ork to his credit; Laboriel’s original
ions have been recorded for albums by
Patti Austin and Ricardo Silveira *77.

    
  
   
  
   

 
    
  
   
 
  
  
 

Arif Mardin 61 H’85

Under the influence of Dizzy Gillespie H’89, who
brought his big band to Istanbul, Turkey, at the
time that the young arranger prepared to enter the
business world, and Quincy Jones ’51 H’83, who
brought the would-be oil executive’s scores to New
York and recorded them for the Voice of America,
Arif Mardin forsook a position at Turkpetrol for a
career in music. The Voice of America tapes, with
performances by such players as Phil Woods, Art
Farmer, and Hank Jones, earned Mardin the first

Quincy Jones Scholarship from Berklee, where he
studied and later taught. He was awarded an hon-
orary doctor of music degree from the college in
1985. Working in New York as a jazz band
arranger, Mardin m
President of Atlantic
studio assistant. His
Dowd, was the Young
Lovin’ ” in 1965. His | rod, 1C
credits since then include ove

esuhi Ertegun, Vice
cords, and took a job as a
roduction, with Tom

  
  
  
 
  
  
 
  

 recording of “Good
and arranging
 best-selling
recordings, a number of them Gr. inni
w1th such artists as Aretha Fran

 

Chaka Khan, Melissa Manchester, As rage White
Band, Bette Midler, Stephen Stills, Roberta Flack,
J udy Collins, and Do:nny Hathaway As Vice

 

years earlier, with the benefit of i 1ts, eing in the
business of music. In':1990 Arif Mardin was

 
  
 

cceptance speech was entered
nal Record as an expression of

Rob Mounsey 75
Keyboardist Rob Mounsey grew up in Seattle,
Washington, where, at an early age, he became an

award-winning composer of symphonic music. In
1976, after attending Berklee, he moved to New
York to enter the recording industry. Mounsey
now works out of his Flying Monkey Studio, in
Manhattan’s Flatiron district, where he continues
to compose, arrange, and produce award-winning
and chart-topping music. His work can be heard
on Steely Dan’s Gaucho, Paul Simon’s [H’86]
Graceland, and Donald Fagen’s [’66] Nightfly. He
has worked with Eric Clapton, Sinead O’Connor,
James Taylor, George Benson H’90, Michael
Franks, Patti Austin, Chaka Khan, Billy Joel
H’93, Carly Simon, Aretha Franklin, and Gloria
Estefan, among others. As a solo artist, twice nom-
inated for Grammy Awards, he has recorded Back
in the Pool and Dig with the Flying Monkey
Orchestra and Local Color with Steve Khan. He
scored Mike Nichols’ hit Working Girl and pro-
duced the film’s Oscar- and Grammy-winning
song, “Let the River Run.” Mounsey has also pro-
duced popular albums for Aztec Camera, Sadao
Watanabe ’65, and Eddie Daniels. He has
appeared on number-one hits with Phil Collins
H’91, Diana Ross, and Madonna; and has written
and produced music for radio and television,
including the Emmy-winning theme for CBS-TV’s
“Guiding Light.”