In 1965 he became Fontella Bass's musical director. He was a cofounder of BAG (Black Artists' Group) in St. Louis. In 1966 he moved to Chicago, where he worked as a studio musician, and met Muhal Richard Abrams and Roscoe Mitchell and became a member of the AACM. In 1968 he founded the Art Ensemble of Chicago with Mitchell, Joseph Jarman, and Malachi Favors.
He remained a member of this group for the rest of his life, and was also a member of Jack DeJohnette's New Directions quartet. He lived and worked in Jamaica and Africa, and played and recorded with Fela Kuti. Bowie's onstage appearance, in a white lab coat, with his goatee waxed into two points, was an important part of the Art Ensemble's stage show. In 1984 he formed Lester Bowie's Brass Fantasy, a brass nonet in which Bowie demonstrated jazz's links to other forms of popular music, a decidedly more populist approach than that of the Art Ensemble. With this group he recorded songs popularized by Whitney Houston, Michael Jackson, Marilyn Manson, and the Spice Girls.
His New York Organ Ensemble featured James Carter and Amina Claudine Myers. Although seen as part of the avant-garde, Bowie embraced techniques from the whole history of jazz trumpet, filling his music with humorous smears, blats, growls, half-valve effects, and so on. Bowie took an adventurous and humorous approach to music, and criticized Wynton Marsalis for his conservative approach to jazz tradition. Nevertheless, Marsalis is on record as calling Bowie his favorite trumpeter. In fact, in the early 1980s, Marsalis and Bowie played together in the short-lived New York Hot Trumpet Quintet. Read more on Last.fm.
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