Wynton Marsalis Transcriptions Pdf

Summary(Jazz Transcriptions). 35 Marsalis songs transcribed for B-flat instruments exactly from his recorded solos, with solo analysis sections and a complete discography. Includes: Au Privave. Black Bottom Stomp.

Caravan. Cherokee (Indian Love Song). Donna Lee. Embraceable You.

Free to Be. Honeysuckle Rose. In Walked Bud. Johnny Come Lately. La Vie En Rose.

Loose Duck. My Funny Valentine. Rubber Bottom.

Stardust. A Train, a Banjo, and a Chicken Wing. Union Pacific Big Boy.

When It's Sleepy Time down South. You Don't Hear No Drums.

and more.

BixBEIDERBECKEreal name: Leon Bix Beiderbecke Born Mar 10, 1903 in Davenport, IA Died Aug6, 1931 in New York, NYBix Beiderbecke was one of the greatest jazz musicians of the 1920s. His colorfullife, quick rise and fall, and eventual status as a martyr made him a legendeven before he died, and he has long stood as proof that not all the innovatorsin jazz history were black.

Possessor of a beautiful, distinctive tone anda strikingly original improvising style, Beiderbecke's only competitor amongcornetists in the '20s was Louis Armstrong but (due to their different soundsand styles) one really could not compare them.Beiderbecke was a bit of a child prodigy, picking out tunes on the piano whenhe was three. While he had conventional training on the piano, he taught himselfthe cornet. Influenced by the original Dixieland Jazz Band, Beiderbecke cravedthe freedom of jazz but his straight-laced parents felt he was being frivolous.He was sent to Lake Forest Military Academy in 1921 but, by coincidence, itwas located fairly close to Chicago, the center of jazz at the time.

Beiderbeckewas eventually expelled he missed so many classes. After a brief period athome he became a full-time musician. In 1923, Beiderbecke became the starcornetist of the Wolverines and a year later this spirited group made someclassic recordings.In late 1924, Beiderbecke left the Wolverines to join Jean Goldkette's orchestrabut his inability to read music resulted in him losing the job.

In 1925, hespent time in Chicago and worked on his reading abilities. The following yearhe spent time with Frankie Trumbauer's orchestra in St. Although alreadyan alcoholic, 1927 would be Beiderbecke's greatest year. He worked with JeanGoldkette's orchestra (most of their records are unfortunately quite commercial),recorded his piano masterpiece 'In a Mist' (one of his four Debussy-inspiredoriginals), cut many classic sides with a small group headed by Trumbauer(including his greatest solos: 'Singin' the Blues,' 'I'm Comin'Virginia,' and 'Way Down Yonder in New Orleans'), and thensigned up with Paul Whiteman's huge and prosperous orchestra. Although revisionisthistorians would later claim that Whiteman's wide mixture of repertoire (muchof it outside of jazz) drove Beiderbecke to drink, he actually enjoyed theprestige of being with the most popular band of the decade.

Beiderbecke'sfavorite personal solo was his written-out part on George Gershwin's 'Concertoin F.' With Whiteman, Beiderbecke's solos tended to be short moments of magic, sometimesin odd settings; his brilliant chorus on 'Sweet Sue' is a perfectexample. He was productive throughout 1928, but by the following year hisdrinking really began to catch up with him. Beiderbecke had a breakdown, madea comeback, and then in September 1929 was reluctantly sent back to Davenportto recover. Unfortunately, Beiderbecke made a few sad records in 1930 beforehis death at age 28.

The bad liquor of the Prohibition era did him in.For the full story, Bix: Man & Legend is a remarkably detailed book. Beiderbecke'srecordings (even the obscure ones) are continually in print, for his followersbelieve that every note he played was special.

— Scott Yanow. ROYELDRIDGEPortrait of Roy Eldridge, Spotlite (Club), New York,N.Y., ca. 1946.David Roy Eldridge. Born Jan 30, 1911 in Pittsburgh, PA. Died Feb 26, 1989in Valley Stream, NY.Roy Eldridge, trumpet-vocal; b.

1/30/11 Pittsburgh, PA; d. Also knownas “Little Jazz” Roy Eldridge was a fiery, energetic trumpeter whoalthough short in stature was a larger-than-life figure in the jazz trumpetlineage. Stylistically speaking he was the bridge between the towering trumpetstylists Louis Armstrong and Dizzy Gillespie. One of a significant numberof jazz greats from the city of Pittsburgh, Roy’s first teacher was hisalto saxophonist older brother Joe. Some of the great rhythmic drive of Eldridge’slater trumpet exploits could be traced to his beginnings on the drums, whichhe began playing at age six.

His first professional work came at age 16 whenhe worked with a touring carnival, playing drums, trumpet, and tuba. As atrumpeter Roy had come under the spell of Louis Armstrong’s irrisistablestyle. Among his earliest band affiliations were Oliver Muldoon, Horace Henderson,Zack Whyte, Speed Webb, and his own band, under the banner of Roy Elliottand his Palais Royal Orchestra. In 1930 he made the move to New York and headedstraight to Harlem, where he gained work with a number of dance bands, amongwhich was the Teddy Hill band. He left New York in 1934 to join the Michigan-basedMcKinney’s Cotton Pickers alongside such significant players as tenorman Chu Berry. Roy returned to New York to rejoin Teddy Hill in 1935, withwhom he made his first recordings as a soloist in 1935. Prior to recordingwith Hill he toured with the Connie’s Hot Chocolates revue.

After heleft Hill’s band he became the lead trumpeter in Fletcher Henderson’sorchestra where his upper register abilities were highlighted. It didn’ttake long for Eldridge to exert himself as a bandleader, forming his own octetin 1936 in Chicago; a band which included his brother Joe.Eldridge recorded with the Three Deuces group, then left music for a shorttime to pursue radio engineering, an interesting twist considering his Chicagogroup’s nightly radio broadcasts. By the end of the 1930s after freelancingwith such a wide array of bands Eldridge had gained notice as one of the swingbands’ most potent soloists. In 1941 he joined drummer Gene Krupa’sband. Not only did he provide trumpet fireworks for Krupa’s outfit healso sang, recording a memorable duet with the band’s female singer,Anita O’Day (NEA Jazz Master 1997) on the tune “Let Me Off Uptown”in 1941. Later, after Krupa’s band disbanded in 1943, and a period offreelancing, he toured with the Artie Shaw band in 1944.

After Shaw it wastime for Roy to lead his own big band, though economics forced him back tosmall swing groups.In 1948 Norman Granz recruited Eldridge for his Jazz atthe Philharmonic, an ideal situation for Roy since he was one of the ultimatejam session trumpeters. He toured briefly with Benny Goodman and took up residencein Paris in 1950, where he made some of his most successful recordings. Hereturned to New York in 1951 and continued freelancing with small bands, includingwork with Coleman Hawkins, Benny Carter, Ella Fitzgerald, and Johnny Hodges.He made notable albums for Verve Records alongside Hawkins and continued freelancingand leading a house band at Jimmy Ryan’s club in New York.

In 1980 hewas felled by a stroke but that didn’t cut off his musicality. Disabledfrom the rigorous demands of playing the trumpet, Eldridge continued to makemusic as a singer and pianist until his 1989 passing. ERNIEROYALErnie Royal:Ernest Andrew Royal Born Feb 6, 1921 in Los Angeles, CA.

Died Mar 16, 1983in New York, NY.A brilliant technician with a beautiful tone and a wide range, Ernie Royalspent most of his career in the anonymous settings of studio bands, upliftingthe music but only gaining fame among those in the music industry. The youngerbrother of altoist Marshall Royal (who was nine years older), the trumpeterpicked up early experience playing in Los Angeles with Les Hite's Orchestra(1937-38) and with Cee Pee Johnson (1939). Both of the Royal brothers werewith Lionel Hampton's big band (1940-42) and Ernie Royal hit the famous screaminghigh notes on the original Hampton version of 'Flying Home.' After a period in the Army (1942-45), he worked in San Francisco with VernonAlley, in Los Angeles with Phil Moore and then spent much of 1946 with CountBasie's Orchestra. Royal was a member of Woody Herman's Second Herd during1947-49 and had short stints with Charlie Barnet and Duke Ellington.

He playedin France with Jacques Helian's Orchestra, worked with Wardell Gray in 1952and was with Stan Kenton's Orchestra twice (1953 and 1955). After becominga staff musician at ABC in 1957, Ernie Royal settled into the life of a well-respectedstudio musician, appearing on a countless number of recordings but rarelysoloing.

During his career he made few recordings as a leader; just ten titlesin Paris in 1950 (six were reissued as part of a Xanadu album) and an LP forUrania in 1954. — Scott Yanow. CHETBAKERChesney Henry Baker, Jr. Born Dec 23, 1929 in Yale, OK. Died May 13, 1988in Amsterdam, The Netherlands.Popular cool-toned trumpeter and a fragile singer whose charisma made up forhis limited voice, with his good looks Chet Baker probably could have beena movie star.

Instead he became a drug addict in the mid-'50s and had an extremelyerratic lifestyle with horrific episodes alternating with some wonderful musicalmoments.Chet Baker certainly started out on top. After getting out of the Army, hegigged with Charlie Parker on the West Coast in 1952 and then joined the GerryMulligan Quartet, a pianoless unit that soon became among the most popularin jazz. After Mulligan was jailed for his own drug problems, Baker (who hadhelped make 'My Funny Valentine' into a hit) formed a quartet withpianist Russ Freeman. He began to win polls on both trumpet and vocals, touredEurope in 1955 and seemed on his way to a lucrative career. But by 1960 Bakerwas in an Italian jail and, although he made a few worthy recordings in the'60s, by the end of the decade his teeth had been knocked out after a botcheddrug deal and he was out of music.Against all odds Chet Baker made a gradual comeback in the 1970s. AlthoughBaker recorded far too much during his final 15 years, his nomadic lifestyle(never kicking drugs and essentially wandering all over Europe) was unstableand his occasional vocals (always an acquired taste) were generally poor,his trumpet playing actually improved as the decade progressed.

In fact despiteeverything, Chet Baker was still in his musical prime when he fell out ofa second story window (pushed or slipped?) to his death in 1988. He remainsone of the great cult figures of jazz. Scott Yanow,(My Favorite songs)(Legacy). BOBBYHACKETTPortrait of Bobby Hackett, Paramount Theater, New York, N.Y., ca.

1946.Robert Leo Hackett Born Jan 31, 1915 in Providence, RI. Died Jun 7, 1976 inChatham, MA.Bobby Hackett's mellow tone and melodic style offered a contrast to the brasherDixieland-oriented trumpeters. Emphasizing his middle-register and lyricism,Hackett was a flexible soloist who actually sounded little like his main inspiration,Louis Armstrong.When Hackett first came up he was briefly known as 'the new Bix'because of the similarity in his approach to that of Bix Beiderbecke, butvery soon he developed his own distinctive sound. Originally a guitarist (whichhe doubled on until the mid-'40s), Hackett performed in local bands, and by1936 was leading his own group. He moved to New York in 1937, played withJoe Marsala, appeared at Benny Goodman's 1938 Carnegie Hall concert (recreatingBeiderbecke's solo on 'I'm Coming Virginia'), recorded with EddieCondon, and by 1939 had a short-lived big band.

Hackett played briefly withHorace Heidt, and during 1941-1942 was with Glenn Miller's Orchestra, takinga famous solo on 'String of Pearls.' Next up was a stint with theCasa Loma Orchestra, and then he became a studio musician while still appearingwith jazz groups. Hackett was a major asset at Louis Armstrong's 1947 TownHall Concert, in the 1950s he was a star on Jackie Gleason's commercial butjazz-flavored mood music albums, and he recorded several times with EddieCondon and Jack Teagarden.

During 1956-1957, Hackett led an unusual groupthat sought to modernize Dixieland (using Dick Cary's arrangements and anunusual instrumentation), but that band did not catch on. Hackett recordedsome commercial dates during 1959-1960 (including one set of Hawaiian songsand another in which he was backed by pipe organ), he worked with Benny Goodman(1962-1963); backed Tony Bennett in the mid-'60s; co-led a well-recorded quintetwith Vic Dickenson (1968-1970); and made sessions with Jim Cullum, the World'sGreatest Jazz Band, and even Dizzy Gillespie and Mary Lou Williams, remainingactive up until his death. Among the many labels Bobby Hackett recorded foras a leader were Okeh (reissued by Epic), Commodore, Columbia, Epic, Capitol,Sesac, Verve, Project 3, Chiaroscuro, Flying Dutchman, and Honey Dew. —Scott Yanow,(sequenced by )(sequenced by ). BUCKCLAYTONat the Miller NicholsLibrary at 5100 Rockhill Road in Kansas City, Missouri.Wilbur Dorsey Clayton.

Born Nov 12, 1911 in Parsons, KS. Died Dec 8, 1991in New York, NY.An excellent bandleader and accompanist for many vocalists, including BillieHoliday, Buck Clayton was a valued soloist with Count Basie Orchestra duringthe '30s and '40s, and later was a celebrated studio and jam session player,writer, and arranger. His tart, striking tone and melodic dexterity were histrademark, and Clayton provided several charts for Basie's orchestra and manyother groups. Clayton began his career in California, where he organized abig band that had a residency in China in 1934. When he returned, Claytonled a group and played with other local bands.

During a 1936 visit to KansasCity, he was invited to join Basie's orchestra as a replacement for Hot LipsPage. Clayton was also featured on sessions with Lester Young, Teddy Wilson,and Holiday in the late '30s. He remained in the Basie band until 1943, whenhe left for army service. After leaving the army, Clayton did arrangementsfor Basie, Benny Goodman, and Harry James before forming a sextet in the late'40s. He toured Europe with this group in 1949 and 1950. Clayton continuedheading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti,and Jimmy Rushing, among others.

Wynton Marsalis Transcriptions Pdf Music

He organized a series of outstanding recordingsfor Columbia in the mid-'50s under the title Jam Session (compiled and reissuedby Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and NatPierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria.There was another European tour, this time with Mezz Mezzrow. He appearedin the 1956 film The Benny Goodman Story and played the 1958 Brussels WorldFair with Sidney Bechet. Clayton later made another European visit with aNewport Jazz Festival tour. He joined Eddie Condon's band in 1959, a yearafter appearing in the film Jazz on a Summer's Day.

Clayton toured Japan andAustralia with Condon's group in 1964, and continued to revisit Europe throughoutthe '60s, often with Humphrey Lyttelton's band, while playing festivals acrossthe country. But lip and health problems virtually ended his playing careerin the late '60s. After a period outside of music, Clayton once again becameactive in music, this time as a non-playing arranger, touring Africa as partof a State Department series in 1977. He provided arrangements and compositionsfor a 1974 Lyttleton and Buddy Tate album, and did more jam session albumsfor Chiaroscuro in 1974 and 1975.

He also became an educator, teaching atHunter College in the early '80s. Clayton led a group of Basie sidemen ona European tour in 1983, then headed his own big band in 1987 that playedalmost exclusively his compositions and arrangements. That same year Clayton'sextensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot,was published. BUNNYBERIGANBunny Berigan:'I love music but I hate themusic business'.Rowland Bernart Berrigan. Born Nov 2, 1908 in Hilbert, WI.

Died Jun 2, 1942in New York, NY.Bunny Berigan, during 1935-1939, was arguably the top trumpeter in jazz (withhis main competition being Louis Armstrong and Roy Eldridge). Blessed witha beautiful tone and a wide range (Berigan's low notes could be as memorableas his upper-register shouts), Berigan brought excitement to every sessionhe appeared on. He was not afraid to take chances during his solos and couldbe a bit reckless, but Berigan's successes and occasional failures were alwayscolorful to hear, at least until he drank it all away.Bunny Berigan played in local bands and then college groups in the Midwest.He tried out for Hal Kemp's orchestra unsuccessfully in 1928 (rejected becauseof his thin tone, remarkably) but showed tremendous improvement by 1930 whenhe was hired. After a few recordings and a trip to Europe, Berigan joinedFred Rich's CBS studio band in 1931, where (except for a few months with PaulWhiteman) he would remain up to 1935. Berigan soon gained a strong reputationas a hot jazz soloist and he appeared on quite a few records with studio bands,the Boswell Sisters, and the Dorsey Brothers.

In 1935, he spent a few monthswith Benny Goodman's orchestra, but that was enough to launch the swing era.Berigan had classic solos on Goodman's first two hit records ('King PorterStomp' and 'Sometimes I'm Happy') and was with B.G. As he wenton his historic tour out West, climaxing in the near riot at the Palomar Ballroomin Los Angeles.Berigan soon returned to the more lucrative studio scene, making his onlyfilm appearance in 1936 with Fred Rich. In 1937, he joined Tommy Dorsey'sband and was once again largely responsible for two hits: 'Marie'and 'Song of India.' Berigan's solos on these tunes became so famousthat in future years Dorsey had them written out and orchestrated for thefull trumpet section. After leaving Dorsey, Bunny Berigan finally put togetherhis own orchestra.

He scored early on with his biggest hit, 'I Can'tGet Started.' With Georgie Auld on tenor and Buddy Rich on drums, Beriganhad a potentially strong band. Unfortunately, he was already an alcoholicand a reluctant businessman. By 1939, there had been many lost opportunitiesand the following year Berigan (who was bankrupt) was forced to break up hisband.

He re-joined Tommy Dorsey for a few months but never stopped drinkingand was not happy being a sideman again. Soon Berigan formed a new orchestra,but his health began declining, and on June 2, 1942, he died when he was just33. What would this brilliant swing trumpeter have done in the bop era?Bunny Berigan's life is definitively profiled in Robert Dupuis' book ElusiveLegend of Jazz.

— Scott Yanow. CHARLIESHAVERSPortrait of Charlie Shavers, National studio, New York, N.Y., ca. May 1947.Charles James Shavers. Born Aug 3, 1917 in New York, NY. Died Jul 8, 1971in New York, NYCharlie Shavers was one of the great trumpeters to emerge during the swingera, a virtuoso with an open-minded and extroverted style along with a strongsense of humor. He originally played piano and banjo before switching to trumpet,and he developed very quickly.

In 1935, he was with Tiny Bradshaw's band andtwo years later he joined Lucky Millinder's big band. Soon afterward he becamea key member of John Kirby's Sextet where he showed his versatility by mostlyplaying crisp solos while muted. Shavers was in demand for recording sessionsand participated on notable dates with New Orleans jazz pioneers Johnny Dodds,Jimmy Noone, and Sidney Bechet.

He also had many opportunities to write arrangementsfor Kirby and had a major hit with his composition 'Undecided.' After leaving Kirby in 1944, Charlie Shavers worked for a year with RaymondScott's CBS staff orchestra, and then was an important part of Tommy Dorsey'sOrchestra from 1945 until past TD's death in 1956.

Although well-featured,this association kept Shavers out of the spotlight of jazz, but fortunatelyhe did have occasional vacations in which he recorded with the Metronome All-Starsand toured with Jazz at the Philharmonic; at the latter's concerts in 1953,Shaver's trumpet battles with Roy Eldridge were quite exciting. After Dorsey'sdeath, Shavers often led his own quartet although he came back to the ghostband from time to time. During the 1960s, his range and technique graduallyfaded, and Charlie Shavers died from throat cancer in 1971 at the age of 53.— Scott Yanow,(sequenced by ). SHORTYROGERSMilton M. Born Apr 14, 1924 in Great Barrington, MA.

Died Nov 7,1994 in Van Nuys, CA.A fine middle-register trumpeter whose style seemed to practically define'cool jazz,' Shorty Rogers was actually more significant for hisarranging, both in jazz and in the movie studios. After gaining early experiencewith Will Bradley and Red Norvo and serving in the military, Rogers rose tofame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949),and somehow he managed to bring some swing to the Stan Kenton InnovationsOrchestra (1950-1951), clearly enjoying writing for the stratospheric flightsof Maynard Ferguson. After that association ran its course, Rogers settledin Los Angeles where he led his Giants (which ranged from a quintet to a nonetand a big band) on a series of rewarding West Coast jazz-styled recordingsand wrote for the studios, helping greatly to bring jazz into the movies;his scores for The Wild One and The Man With the Golden Arm are particularlymemorable. After 1962, Rogers stuck almost exclusively to writing for televisionand films, but in 1982 he began a comeback in jazz.

Rogers reorganized andheaded the Lighthouse All-Stars and, although his own playing was not quiteas strong as previously, he remained a welcome presence both in clubs andrecordings. — Scott Yanow. CLIFFORDBROWNClifford Brown's death in a car accident at the age of 25 was one of the greattragedies in jazz history. Already ranking with Dizzy Gillespie and MilesDavis as one of the top trumpeters in jazz, Brownie was still improving in1956.

Plus he was a clean liver and was not even driving; the up-and-comingpianist Richie Powell and his wife (who was driving) also perished in thecrash.Clifford Brown accomplished a great deal in the short time he had. He startedon trumpet when he was 15, and by 1948 was playing regularly in Philadelphia.Fats Navarro, who was his main influence, encouraged Brown, as did CharlieParker and Dizzy Gillespie. After a year at Maryland State University, hewas in a serious car accident in June 1950 that put him out of action fora year. In 1952, Brown made his recording debut with Chris Powell's Blue Flames(an R&B group). The following year, he spent some time with Tadd Dameron,and from August to December was with Lionel Hampton's band, touring Europeand leading some recording sessions. In early 1954, he recorded some brilliantsolos at Birdland with Art Blakey's quintet (a band that directly precededthe Jazz Messengers) and by mid-year had formed a quintet with Max Roach.Considered one of the premiere hard bop bands, the group lasted until Brown'sdeath, featuring Harold Land (and later Sonny Rollins) on tenor and recordingseveral superb sets for Emarcy. Just hours before his death, Brownie appearedat a Philadelphia jam session that was miraculously recorded, and played someof the finest music of his short life.Clifford Brown had a fat warm tone, a bop-ish style quite reminiscent of theequally ill-fated Fats Navarro, and a mature improvising approach; he wasas inventive on melodic ballads as he was on rapid jams.

Amazingly enough,a filmed appearance of him playing two songs in 1955 on a Soupy Sales varietyshow turned up after being lost for 40 years, the only known footage of thegreat trumpeter. Fortunately, virtually all of his recordings are currentlyavailable, including his Prestige dates (in the OJC series), his work forBlue Note and Pacific Jazz (on a four-CD set), and his many Emarcy sessions(reissued on a magnificent ten-disc set). But the one to pick up first isColumbia's The Beginning and the End, which has Brown's first and last recordings.

LEEMORGANTrumpeter Lee Morgan's biting yet liquid delivery recalled the work of suchprecursors as Clifford Brown and Fats Navarro, albeit with a harder edge.A prodigious instrumentalist who made his first splash while still in histeens, he became a leading hard bop and jazz-funk player; his composition'The Sidewinder' was one of the biggest chart hits ever cut by ajazzman.Born July 10, 1938, Morgan was a product of Philadelphia's Mastbaum Tech,which boasted a highly competitive music department that spawned other pros-to-be.At the age of 18, he was starring in Dizzy Gillespie's band. After bowingas a leader at 19 on Savoy, he began a fruitful relationship with Blue NoteRecords. He fronted some all-star sessions, appeared as a sideman on suchmemorable albums as John Coltrane's Blue Train, and made a stunning impressionwith Art Blakey's Jazz Messengers (see Moanin'). After a return to Philadelphiain the early '60s to fight a drug habit, Morgan came back in full effect,first with the Messengers (sharing the stage with Wayne Shorter), then onhis own. In 1964, Morgan's The Sidewinder climbed to number 25 on Billboard'spop album chart.

Several ultra-funky sound-alikes followed, but Morgan mayhave reached his creative peak on the ambitious, impressionistic 1964 setSearch For The New Land.By the late '60s, even the titles of Morgan's records were beginning to soundthe same-The Rajah, The Procrastinator. However, as the '70s dawned, he beganto explore new terrain with a storming group that included saxophonist BennieMaupin. His full potential was still unfulfilled when he was fatally shotto death by a spurned girlfriend on the bandstand of the New York club Slug'son Feb. He was only 33 years old. Large chunks of his work withBlakey and as a leader have been compiled on stunning boxed sets by mail-orderlabel Mosaic Records. Chris Morris. KENNYDORHAMReal name: McKinley Howard Dorham.

Born: Aug 30, 1924 in Fairfield, TX. Died:Dec 5, 1972 in New York, NYThroughout his career, Kenny Dorham was almost famous for being underratedsince he was consistently overshadowed by Dizzy Gillespie, Fats Navarro, MilesDavis, Clifford Brown, and Lee Morgan.

Dorham was never an influential forcehimself but a talented bop-oriented trumpeter and an excellent composer whoplayed in some very significant bands. In 1945, he was in the orchestras ofDizzy Gillespie and Billy Eckstine, he recorded with the Be Bop Boys in 1946,and spent short periods with Lionel Hampton and Mercer Ellington. During 1948-1949,Dorham was the trumpeter in the Charlie Parker Quintet. After some freelancingin New York in 1954, he became a member of the first version of Art Blakey'sJazz Messengers and for a short time led a group called the Jazz Prophets,which recorded on Blue Note. After Clifford Brown's death, Dorham became hisreplacement in the Max Roach Quintet (1956-1958) and then he led several groupsof his own.

He recorded several fine dates for Riverside (including a vocalalbum in 1958), New Jazz, and Time, but it is his Blue Note sessions of 1961-1964that are among his finest. Dorham was an early booster of Joe Henderson (whoplayed with his group in 1963-1964). After the mid-'60s, Kenny Dorham (whowrote some interesting reviews for Down Beat) began to fade and he died in1972 of kidney disease. Among his many originals is one that became a standard,'Blue Bossa.' — Scott Yanow. DONFAGERQUISTDon Fagerquistb.

6 February 1927, Worcester, Massachusetts, USA, d. 24 January 1974. Afterworking with the Mal Hallett band in the early '40s, Fagerquist joined GeneKrupa in 1944.

He stayed with Krupa for several years, comfortably adjustinghis trumpet playing to the boppish style the band adopted towards the endof the decade. After Krupa's band folded Fagerquist spent a little time withArtie Shaw before becoming a member of Woody Herman's Third Herd. He laterworked with Les Brown and the Dave Pell Octet, the Brown band's small-groupoffshoot.

A striking soloist, Fagerquist's thoughtful playing style admirablysuited the west coast scene and in the '50s he played extensively and sometimesrecorded with Shelly Manne, Pete Rugolo, Art Pepper and others, includingthe popular big band assembled for record dates by Si Zentner in the mid-60s. RubyBRAFFBorn Mar 16, 1927 in Boston, MA.One of the great swing/Dixieland cornetists, Ruby Braff went through longperiods of his career unable to find work because his music was consideredout-of-fashion, but his fortunes improved by the 1970s. A very expressiveplayer who in later years liked to build his solos up to a low note, Braff'splaying is instantly recognizable within seconds.Braff mostly worked around Boston in the late '40s. He teamed up with PeeWee Russell when the clarinetist was making a comeback (they recorded livefor Savoy), and after moving to New York in 1953, he fit easily into a varietyof Dixieland and mainstream settings. Braff recorded for Vanguard as a leader,and with Vic Dickenson, Buck Clayton, and Urbie Green. He was one of thestars of Buck Clayton's Columbia jam sessions, and in the mid-'50s workedwith Benny Goodman. But, despite good reviews and occasional recordings,work was hard for Braff to come by at times.

In the 1960s, he was able toget jobs by being with George Wein's Newport All-Stars and at jazz festivals,but it was not until the cornetist formed a quartet with guitarist GeorgeBarnes, in 1973, that he became more secure. Afterward, Braff was heardin many small-group settings, including duets with Dick Hyman and EllisLarkins (he had first met up with the latter in the 1950s), quintets withScott Hamilton, and matching wits with Howard Alden. He remains one of thegreats of mainstream jazz. — Scott Yanow,(transcribe by, thanks). DonGOLDIEBorn Feb 5, 1930 in Newark, NJ.

Died Nov 25, 1995 in Florida.A talented soloist with a wide range, was the son of longtime Paul Whiteman trumpeter Harry Goldfield.Goldie performed with many types of groups, including with Buddy Rich andthe society band of Lester Lanin, before gaining prominence for his playingwith Jack Teagarden's Dixieland sextet (from 1959 until the trombonist's deathin 1964). Goldie eventually settled in Miami, where in the early '70s he recorded11 albums for Jazz Forum, many of which were dedicated to the work of onecomposer. A fixture in Miami clubs and hotels, Don Goldie committed suicidein 1995. — Scott Yanow.

6 November 1924, Michigan City, Indiana, USA, d. 8 November 1993, WoodlandHills, California, USA.Dick Cathcart played lead trumpet with Ray McKinley's first band after studyingat Indiana University. A stint with Alvino Ray's group and with the Air Forcefollowed.

After the war he went with the revived Bob Crosby band, and fromthere to studio work. His full-bodied trumpet work on the 'Pete Kelly'sBlues' radio show with Jack Webb earned him the soundtrack cornet chorein the motion picture of the same name. DocCHEATHAMDoc CheathamAdolphus Anthony Cheatham. Born Jun 13, 1905 in Nashville, TN. Died Jun2, 1997 in Washington, D.C.Doc Cheatham was without question the greatest 90-year old trumpeter ofall time; in fact, no brass player over the age of 80 had ever played withhis power, range, confidence, and melodic creativity. Most trumpeters fadewhile in their 60s due to the physical difficulty of their instrument, butCheatham did not truly find himself as a soloist until he was nearly 70.Doc Cheatham's career reaches back to the early '20s, when he played invaudeville theaters backing such traveling singers as Bessie Smith and ClaraSmith. He moved to Chicago, recorded with Ma Rainey (on soprano sax), playedwith Albert Wynn, subbed for Louis Armstrong (his main idol), and had hisown group in 1926.

After stints with Wilbur DeParis and Chick Webb, he touredEurope with Sam Wooding. Due to his wide range and pretty tone, Cheathamworked as a non-soloing first trumpeter with McKinney's Cotton Pickers andCab Calloway throughout the 1930s. He spent time with Teddy Wilson's bigband, and was with the commercially successful Eddie Heywood Sextet (backingBillie Holiday on some recordings). In the 1950s, Cheatham alternated betweenDixieland (Wilbur DeParis, guest spots with Eddie Condon) and Latin bands(Perez Prado, Herbie Mann). He was with Benny Goodman during 1966-1967,but it was not until the mid-'70s that Cheatham felt truly comfortable asa soloist. Duet sets with pianist Sammy Price launched his new career, anduntil his death in 1997, he recorded fairly prolifically including datesfor Sackville, New York Jazz, Parkwood, Stash, GHB, Columbia, and severalEuropean labels. Cheatham was also a charming singer whose half-spoken,half-sung vocals took nothing away from his chance-taking trumpet flights.— Scott Yanow.

ShortyBAKERHarold J. Born May 26, 1914 in St. Died Nov 8, 1966 in NewYork, NY.Shorty Baker of the famous Saint-Louis school of trumpeters that starts withEd Allen and ends with Miles Davis and includes Joe Thomas and Clark Terrywas a player of exquisite taste. His frequents ins and outs with Duke Ellingtonarose from his conviction (not unjustifiable) that Duke did not fully valuedhis talents. However, Baker can be heard at length on a number of Ellingtonperformances and Duke especially appreciated his pretty sound and tastefulphrasing on ballads. Among Baker's admirers was Miles Davis who had particularpraise for his tone and control.

EmmettBERRYEmmett Berry (born 1916) is another trumpet player who has not receiveddue recognition from the public. Born in Macon, Georgia, he was raised inCleveland where he spent his early playing years. He joined Fletcher Hendersonin 1936, replacing his idol, Roy Eldridge, and did exceptionally well inthat demanding chair. After a stay with Teddy Wilson's sextet at Cafe Society,Berry joined the CBS radio staff orchestra. From late 1945 to early 1950,he was with Count Basie.

Discouraged from the jazz scene and suffering frommental depression, he then returned to Cleveland in 1970 where he soon becameinactive as a player. CLARKTERRYBorn in St. Louis Dec 14, 1920 in St. Louis MO., Clark Terry performedwith Charlie Barnet (1947) and in Count Basie's big band and small groups(1948-51) before beginning an important affiliation with Duke Ellington,which lasted from 1951 to 1959. During this period Terry took part inmany of Ellington's suites and acquired a lasting reputation for his widerange of styles (from swing to hard bop), technical proficiency, and infectiousgood humor. After leaving Ellington he became a frequent performer inNew York studios and a staff member of NBC; he appeared regularly on theTonight Show, where his unique 'mumbling' scat singing becamefamous. He also continued to play jazz with musicians such as J.J.

Johnsonand Oscar Peterson, and led a group with Bob Brookmeyer which achievedsome popularity in the early 1960s.In the 1970s Terry began to concentrate increasingly on the flugelhornfrom which he obtains a remarkably full, ringing tone. In addition tohis studio work and teaching at jazz workshops, Terry toured regularlyin the 1980s with small groups (including Peterson's) and as the leaderof his Big B-A-D Band (formed 1970). His humor and command of jazz trumpetstyles are nowhere more apparent than in his 'dialogues' withhimself, either on different instruments or on the same instument, mutedand unmuted. BRADFORD ROBINSON, The New Grove Dictionary of Jazz.

HARRYJAMESHarry James, real name: Harry Haag James. Born Mar 15, 1916 in Albany, GA.Died Jul 5, 1983 in Las Vegas, NVby Peter J. Levinson Published by OxfordUniversity Press 334 pages, 1999 ISBN: Harry James was one of the most outstanding instrumentalists of the swingera, employing a bravura playing style that made his trumpet work instantlyidentifiable. He was also one of the most popular bandleaders of the firsthalf of the 1940s, and he continued to lead his band until just before hisdeath, 40 years later. James was the child of circus performers. His father,Everette Robert James, was the bandleader and trumpet player in the orchestrafor the Mighty Haag Circus, and his mother, Maybelle Stewart Clark James,was an aerialist. Growing up in the circus, James became a performer himselfas early as the age of four, when he began working as a contortionist.

Hesoon turned to music, however, first playing the snare drum in the band fromabout the age of six and taking trumpet lessons from his father. At 12, hetook over leadership of the second band in the Christy Brothers Circus, forwhich his family was then working. He attended grade school in Beaumont, TX,where the circus spent the winter, and when he was 14 he won a state musiccontest as a trumpeter. That inspired him to turn professional and begin playingin local bands.

James' first job with a national band came in 1935 when hewas hired by Ben Pollack. In May 1935, he married singer Louise Tobin, withwhom he had two children and from whom he was divorced in June 1943. He madehis first recordings as a member of the Pollack band in September 1936. Notlong after, he was tapped by Benny Goodman, then leading one of the country'smost popular bands, and he began working for Goodman by the end of 1936.

Herapidly gained notice in the Goodman band, and by December 1937 he had begunto make recordings under his own name for Brunswick Records (later absorbedby Columbia Records). In early 1939, he left Goodman and launched his ownorchestra, premiering it in Philadelphia in February. That spring, he heardthe then-unknown Frank Sinatra on a radio broadcast and hired him. On allmusic.com. JONAHJONESRobert Elliott Jones. Born Dec 31, 1909 in Louisville, KY.

Died Apr 30, 2000in Manhattan, NYA talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 thatmade him a major attraction for a decade; playing concise versions of melodicswing standards and show tunes muted with a quartet. But although the non-jazzaudience discovered Jones during the late '50s, he had already been a veryvital trumpeter for two decades. Jones started out playing on a Mississippiriverboat in the 1920s. He freelanced in the Midwest (including with HoraceHenderson), was briefly with Jimmie Lunceford (1931), had an early stint withStuff Smith (1932-1934), and then spent time with Lil Armstrong's short-livedorchestra and the declining McKinney's Cotton Pickers. Jones became famousfor his playing with Stuff Smith's Onyx club band (1936-1940), recording manyexciting solos. He gigged with Benny Carter and Fletcher Henderson and becamea star soloist with Cab Calloway (1941-1952), staying with the singer evenafter his big band became a combo. Jones played Dixieland with Earl Hines(1952-1953), toured Europe in 1954 (including a brilliant recording sessionwith Sidney Bechet), and then led his quartet at the Embers (1955), hittingupon his very successful formula.

His shuffle version of 'On the StreetWhere You Live' was the first of many hits and he recorded a long seriesof popular albums for Capitol during 1957-1963, switching to Decca for a fewmore quartet albums in 1965-1967. Jonah Jones recorded a fine date with EarlHines for Chiaroscuro (1972) and still played on an occasional basis in the1980s and early '90s; he died April 30, 2000, at the age of 91.

— ScottYanow. WILDBILL DAVISSONWilliam Stethen Davis born Jan 5, 1906 in Defiance, OH. Died Nov 14, 1989in Santa Barbara, CA.Wild Bill (William Edward) Davison was born in Defiance, Ohio on the 5th ofJanuary 1906. Starting in the early 1920's he began to build his career withvarious bands including Ben Meroff's Chicago-based orchestra (where he firstmet guitarist Eddie Condon).For most of the 1930's he was in Milwaukee, billed as 'Trumpet King'Davison, and despite a lip injury in 1939 (he was hit in the mouth, appropriatelyfor Milwaukee, by a flying beer mug) had arrived in New York by 1941.

Therehe worked in Nick's saloon and with an Original Dixieland Jazz Band re-creationfor the Katherine Dunham show which culminated in his recording 12 sides forthe Commodore label a week before his 38th birthday in 1944.He recorded some brilliant sessions with George Brunis indicating he had finallyfound his own style. In 1945 he joined Eddie Condon's house band, and thoselong nights and hard musical pace at Condon's club made him a commanding frontman, a tough and reliable lead cornetist that Condon could count on; aboveall an original.Along with gold-standard Condon recordings and quartet dates of his own,by 1960 Davison was a soloist.

Despite his regular reunions with Condon hebegan a new lifetime pattern of bandleading and touring, appearing between1965 and 1975 with over 100 bands and recording over 20 new albums. In Englandhe toured and recorded with Alex Welsh, Fred Hunt and Lennie Hastings, andin the 1970's moved to Denmark. He was still globetrotting in 1983 and aftera short illness in 1983 played in the 1985 jazz festivals and toured Englandin 1986.

He died on November 14th 1989 at the age of 83. 1 March 1921, Withernsea, Yorkshire, England.

After taking up the trumpetand playing in brass bands, Baker moved to London, in the late '30s, tobecome a professional musician. During the next few years he establishedhimself as an outstanding technician capable of playing in any jazz or danceband. In the early '40s, he played in the bands of Lew Stone and GeorgeChisholm before joining Ted Heath in 1944. He remained with Heath until1949, and was featured on many recording sessions and countless concerts.In the early '50s he was regularly on the radio, leading his own band, theBaker's Dozen, on a weekly late-night show which lasted throughout the decade.In the '60s he led his own groups and recorded film soundtracks, all thewhile building his reputation as one of the best trumpet players in theworld even though he played only rarely outside the UK. At the end of thedecade he was featured in Benny Goodman's British band.

Baker's career continuedthroughout the '70s, with appearances as co-leader of the Best of BritishJazz touring package, and with Ted Heath recreations and the bands led byDon Lusher and other former colleagues. In the early '80s, Baker turneddown an invitation to take over leadership of the Harry James band afterthe latter's death. He could still be regularly heard playing concerts andclub dates and was also on television, usually off-camera, playing soundtracksfor Alan Plater's popular UK television series THE BEIDERBECKE AFFAIR andTHE BEIDERBECKE TAPES.

In 1989, he took part in a major recording undertakingwhich set out to recreate the classic recordings of Louis Armstrong usingmodern recording techniques. Baker took the Armstrong role, comfortablyconfounding the date on his birth certificate with his masterful playing.A fiery soloist with a remarkable technical capacity which he never usessimply for effect, Baker is one of the UK's greatest contributions to theinternational jazz scene. BILLYBUTTERFIELDBilly Butterfield b. 14 January 1917, Middleton, Ohio, USA, d. 18 March 1988.As a child Butterfield was taught by cornetist Frank Simons, but as a teenagerhe began to study medicine. He continued playing music to such good effectthat he was soon working regularly with the bands of Austin Wylie and AndyAnderson and eventually quit his medical studies.

Although adept on severalinstruments he concentrated on trumpet, later adding fluegelhorn, and in 1937was hired by the Bob Crosby band. Butterfield's gorgeous, fat-toned soundwas particularly suited to ballads and his recording of Bob Haggart's What'sNew?, originally entitled I'm Free, was a hit. In 1940 he joined Artie Shaw,then worked with Benny Goodman and Les Brown, but soon entered the more reliablearea of studio work.

After the war Butterfield indulged himself with everysideman's dream and formed his own big band, in collaboration with formerCrosby colleague Bill Stegmeyer. Butterfield took the enterprise seriously,commissioning arrangements from Ralph Burns, Bob Haggart, Bob Peck and NealHefti. For all his good intentions, however, the band proved to be a financialdisaster. For a while he returned to studio work but then began freelancing,working with old comrades such as Eddie Condon, recording with Louis Armstrong(playing the trumpet obbligato to Satchmo's vocal on the 1949 recording ofBlueberry Hill) and leading small groups. In the late '60s he became a memberof the World's Greatest Jazz Band alongside former Crosby sidemen Bob Haggartand Yank Lawson.

In the '70s he worked with Joe ‘Flip’ Phillips and touredextensively, usually as a solo. Much admired by fellow musicians, and eventuallyattracting the kind of attention from fans he had always deserved, Butterfieldenjoyed a late flowering of his career even though suffering from emphysema. ZIGGYELMANZiggy Elman b. Harry Finkelman, 26 May 1914, Philadelphia, Pennsylvania, USA,d. 26 June 1968. As a child Elman learned to play various brass and reed instruments,and his first professional engagement was on trombone, although his main instrumentlater became the trumpet.

In 1936 he joined Benny Goodman and formed partof one of the best three-man trumpet sections of the swing era. With HarryJames and Chris Griffin, Elman shared lead and solo duties and his dynamic,biting playing was a great asset to the band. After James left to lead hisown band, Elman comfortably coped with his role as featured soloist, playingshowstoppers such as Who'll Buy My Bublitchki and And The Angels Sing, whichhe composed himself. After leaving Goodman, Elman worked with other big bands,including those of Joe Venuti and Tommy Dorsey.

In the late '40s, as namebig bands were folding all around him, Elman tried leading his own big bandand met with a measure of success especially with a re-recording of And TheAngels Sing. In the early '50s he worked in film studios in Los Angeles butill-health and personal problems kept him from achieving much success. In1961 his financial situation was revealed during an alimony court hearingat which he agreed that many people thought him to be the world's greatesttrumpet player, adding ‘But I still can't get much work.’ Six of his sevenbank accounts had sums varying between $1.19 and $11.00 in them, while theseventh was overdrawn.