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Born in Piedmont, W. Virginia on July 29, 1900. He was a gifted child saxophonist who studied extensively and by graduation had mastered most of the wind instruments. And was also adept at arranging. By 1924 he began a relationship with Fletcher Henderson that was destined to alter the development of big band jazz. In 1927 he took over McKinneys Cotton Pickers and in 1931 he formed his own band which remained in existence for nearly a decade. He arranged for Jimmy Dorsey, Count Basie, Jimmy Lunceford, Harry James and many others and, in 1946 he formed a new band , taking it to Europe and performing on radio and television. Redman laid many of the basic rules for what today is regarded as big band music. Redman proved that arranged music need not lose the spontaneity of improvised jazz.
Born Oran Page in Dallas, Texas on January 27, 1908. In the 20s, Page played
trumpet mostly in his home state but also toured with bands accompanying some of the best
blues singerMa Rainey, Bessie Smith and Ida Cox. He later joined Walter Pages
Blue Devils and in 1931 joined Benny Motens band. Upon Motens death in 1935,
Page went to work for Count Basie in Kansas city where he was heard by Louis
Armstrongs
manager who promptly signed him up. (Its believed that Armstrong was suffering lip
problems at the time, and his manager needed an able trumpeterjust in case.)
As it turned out, Page didnt replace Satchmo, but went on leading bands, large and
small. Mostly around New York. He played with Artie Shaw for a short time and was also
featured on some excellent V-discs during the war in 44. Hot Lips Page was an
inventive and interesting blues-oriented trumpeter as well as a superb blues singer
Walter Page
Marty Paich
One
of the best-known arrangers of the post-World War II era, Marty Paich had much
stronger jazz credentials than many of his peers, thanks to his active presence
on the West Coast scene during the '50s. Paich was born in Oakland, CA, on
January 23, 1925; he started out as a pianist, and was performing professionally
at age 16. Along with the up-and-coming Pete Rugolo, he wrote arrangements for
local bandleader Gary Nottingham. Tapped for military service in 1943, he
continued to arrange while serving as the leader of the Army Air Corps band
through 1946. Paich soon graduated to higher-profile gigs, playing and arranging
for Shelly Manne and Shorty Rogers and also serving a stint as Peggy Lee's
accompanist and musical director. During the mid- to late '50s, Paich wrote
arrangements for a who's who of West Coast jazz, including Chet Baker, Buddy
Rich, Ray Brown, Dave Pell, and Stan Kenton, among others. Paich contributed the
arrangements to altoist Art Pepper's 1959 masterpiece Art Pepper + Eleven:
Modern Jazz Classics. Paich had already begun to branch out from his West Coast
roots, arranging material for Ella Fitzgerald, Anita O'Day, and big-band leader
Terry Gibbs. Around 1960, he elected to move away from his own recording career
to focus on arranging for pop (and sometimes jazz) vocalists. He also helmed
Sarah Vaughan's Songs of the Beatles project in 1980. In the late '80s,
He also continued to work on soundtracks into the '90s, frequently as a
conductor and musical supervisor. Colon cancer claimed Paich's life on August
12, 1995.
Tiny Parham
Tiny
Parham (who was actually rather large) was most significant as an
arranger/bandleader in Chicago who recorded many memorable sides from 1927-1930.
After growing up in Kansas City, Parham toured the Southwest with a territory
band and then settled in Chicago in 1926. In addition to accompanying blues
singers and cutting sides with Johnny Dodds, Parham recorded extensively with,
bands that mostly consisted of now-obscure Chicago players; best-known are
cornetist Punch Miller and (in 1930) bassist Milt Hinton.. Parham's arrangements
were often atmospheric, and such numbers as "The Head-Hunter's Dream," "Jogo
Rhythm," "Blue Melody Blues," "Blue Island Blues," "Washboard Wiggles," and
"Dixieland Doin's" were particularly memorable. After 1930, Parham spent the
remainder of his life playing in theaters, often on organ after the mid-'30s,
only recording three further titles in 1940 before his premature death.
Charlie Bird Parker
Joe Pass
Was born Joseph Anthony Passalaqua, in New Brunswick, N.J. on
January 13th In his teens guitarrist Pass worked with Tony Pastor
and Charlie Barnet. Then, after more than two decades of obscurity
due to severe drug addiction. Pass was rehabilitated, cured of his habit,
and returned to work as a new man. Thanks to the patronage of
Norman Granz, Pass joined the biggest names in Jazz, including
Oscar Peterson with whom he made a Granny-winning album.
He also proved an especially gifted accompanist to Ella Fitzgerald,
but it was as a solo performer that Joe Pass displayed his mastery
of the guitar.
Alcide Pavageau

Dave Pell
Dave
Pell started the octet after playing with most of the bands in the big band era,
including Benny Goodman, Tommy Dorsey, Harry James and the like, he was a
featured star of the Les Brown Band of Renown for 13 years. Shorty Rogers and
Marty Paich were the first arrangers that came up with the unique sound of the
band that was basically the four soloists from the Les Brown Band and the rhythm
section. The Dave Pell Octet was one of the bands credited with the creation of
the West Coast Jazz scene in the 1950s. The band became an instant success and
was a showcase for the great new West Coast arrangers, including John Williams,
Bill Holman, Bob Florence, Johnny Mandel, Andre Previn, Med Flory and many more.
The Dave Pell Octet arrangements are once again being made available from Dave
at his Jazz/Dance arrangements site because of the resurgence of interest from
schools all over the world. Best know as the leader of The Dave Pell Octet. Dave
has recorded over thirty albums with his band. He also recorded 2 CDs with his
group Prez Conference in celebration of Lester Young featuring "Sweets" Edison
and Joe Williams. Dave's other credits encompass the full scope of the
professional music industry from sideman to bandleader, music publisher,
producer, jazz musician, label owner and music supervisor for many films

Oscar Pettiford
Flip Phillips
Flip
Phillips, who angered some critics early on because he gained riotous applause
for his exciting solos during Jazz at the Philharmonic concerts, for over 50
years was an excellent tenor saxophonist equally gifted on stomps, ballads, and
standards. He played clarinet regularly in a Brooklyn restaurant during
1934-1939, was in Frankie Newton’s group (1940-1941), and spent time in the
bands of Benny Goodman, Wingly Manone, and Red However, it was in 1944 that he
had his breakthrough. As a well-featured soloist with Woody Herman’s Herd
(1944-1946), Phillips became a big star. His warm tenor was most influenced by
Ben Webster but sounded distinctive even at that early stage. He toured
regularly with Jazz at the Philharmonic during 1946-1957, scoring a bit of a
sensation with his honking solo on "Perdido" and holding his own with heavy
competition. Phillips then retired to Florida for 15 years, playing on just an
occasional basis, taking up the bass clarinet as a double and making only a
sporadic record date. But by 1975 he was back in music full-time, making quite a
few records and playing at festivals and jazz parties. Even as he passed his
80th birthday, Flip Phillips had lost none of the enthusiasm or ability that he
had a half-century earlier.
De De Pierce
De
De Pierce was an incredible trumpeter and singer who made jazz in the '40s,
'50s, and '60s with his wife, singer/pianist Billie Pierce. Pierce was born in
New Orleans, LA, on February 18, 1904. He first appeared playing with Arnold
Dupas band in 1924, playing the trumpet. One night while working at the Blue
Jay Club in New Orleans, he met Billie and the two fell in love. They
immediately began playing together, and by 1935 they were the regular house band
at the Luthjens Dance Hall, where they stayed until the mid-'50s. They released
albums throughout this period, but their exit from the dancehall was due to
illness, which also stopped their recording career. The two were both quite
sick; eventually they were hospitalized and De De lost his sight during the
ordeal. Despite this setback, they began recording again in 1960 and rekindled
their careers. Deteriorating health would eventually take them out of the
entertainment industry, but not before De De played with Ida Cox on her last
tour. He passed away in November of 1973, leaving behind Billie after a long and
fruitful career together.
Nat Pierce
Pianist Nat Pierce was born in Somerville, Mass. On July 16th, 1925.
After playing in local bands he worked with several name
bands, including Larry Clinton, and then briefly led his own band
from 1949 to 1951. He then went to work with Woody Herman where
he played piano, arranged and acted as *straw boss . Later Pierce
arranged for Count Basie and Ella Fitzgerald. He was in great demand
and made countless record dates with just about everyone in the upper
jazz bracket. In 1957 Pierce appeared on the TV program "The Sound of Jazz" on
which he arranged performances by Basie, Roy Eldridge, Coleman Hawkins, Ben Webster, Joe
Newman, Vic Dickenson, Gerry Mulligan and many others.
In the late fifties, Pierce led a band including Buck Clayton and had the
honor of having the last band to play at Harlems Savoy Ballroom before
it closed forever. Pierce was such a superb pianist that he served as
a substitute for the greatest pianists in big band history: Count Basie,
Duke Ellington and Stan Kenton.

A superior guitarist who swing musicians in particular appreciate, Bucky Pizzarelli has been a fixture in jazz and the studios since the early '50s. Self-taught, Pizzarelli has long been a master of the seven-string guitar. He toured with Vaughn Monroe before and after a stint in the military. In 1952, Pizzarelli joined the staff of NBC and 12 years later he switched to ABC; in addition, he worked with The Three Sounds (1956-1957) and had several tours with Benny Goodman. In the 1970s he was more active in jazz, co-leading a duo with George Barnes and working with Zoot Sims, Bud Freeman, and Stephane Grappelli, among many others. Pizzarelli has since kept up a busy recording schedule.
Ben Pollack

A versatile clarinetist, Danny Polo was one of the finer (if unheralded) swing soloists of the big band era. He picked up the clarinet while quite young (his father was a clarinetist too), playing with a marching band when he was eight. He had a duo as a teenager with pianist Claude Thornhill. Polo worked with Elmer Schoebel in 1923, visited New Orleans with Merritt Brunies and had stints with Arnold Johnson, Ben Bernie and Jean Goldkette, and (for three months filling in for Don Murray in 1926). After working with Paul Ash, Polo (along with drummer Dave Tough) went to Europe in the summer of 1927.
BUD POWELL
Mel Powell
One
of the finest swing pianists and a prodigy, Mel Powell (Melvin Epstein) was
playing piano and writing important arrangements for Benny Goodman by the time
he was 18. He had previously played with Bobby Hackett, George Brunis and Zutty
Singleton., was the intermission pianist at Nick's, and worked in the
short-lived Muggsy Spanier big band. After a period working for the CBS
Orchestra under Raymond Scott, , Powell was one of the stars of the Glen Miller
Army Air Force Band After decades of work as a well-respected serial composer,
Mel Powell returned to jazz for cruises in 1986 and 1987 that were recorded by
Chiaroscuro. He continued composing and performing even after being diagnosed
with muscular dystrophy, and was awarded a Pulitzer Prize in 1990. Eight years
later, on April 24, Melvin Epstein died in the Los Angeles area.
Louis Prima

was born on December 11th, 1911 in New Orleans as the younger brother of Leon Prima, one of the best trumpeters in that city. An irresistible performer, Prima arrived in New York in the thirties to headline at the famous Front Door. In partnership with Pee Wee Russell he created a sensation After the Mafia moved in on him, Prima moved to Hollywood and opened his own Famous Door there.
Russell Procope
Jack Purvis
Born
on Dec. 11, 1906 in Kokomo, Indiana, Jack Purvis had a crazy and somewhat
legendary life that has never been fully sorted out. His career in music was
actually fairly brief. He began playing trumpet and trombone in a boy's training
school, and he worked in local dance bands as early as 1921. Purvis played in
Lexington, KY with the Original Kentucky Night Hawks for a few years in the
mid-1920s; he also worked to qualify as an airline pilot and studied music in
Chicago. Purvis started freelancing in 1926, worked with Whitey Kaufmans
Original Pennsylvanians, visited Europe in 1928 with George Carhart and was with
Hal Kemps Orchestra from 1929-30 (originally as a trombonist before switching
to trumpet).
Ma Rainey


When one thinks of pre-bop banjoists, it is of purely rhythmic players whose chordal solos differ little from what they play during ensembles. Harry Reser however was quite a bit different, an outstanding virtuoso who was arguably the finest banjoist of the 1920's. Less an improviser than a brilliant technician who could play novelty ragtime with the speed of a pianist, Reser was also one of the most recorded musicians of the era. Reser actually started on the guitar when he was five and soon he was playing violin, cello and piano; later on he would add marimba, trumpet and saxophone. It was not until he was 16 (inspired by Vess Ossman and Fred Van Eps), that Reser switched to banjo. After playing locally in dance bands, in 1921 Reser moved to New York where he was quickly in great demand. Reser started making records with many obscure groups almost immediately and in 1922 he recorded his first solo records including a remarkable version of "Kitten On The Keys." In addition to his series of virtuoso banjo workouts (writing more than twenty novelty rags) that still sound very impressive today, Reser recorded at the head of a huge number of overlapping dance bands (also writing many of the arrangements) that used a bewildering series of pseudonyms. The best-known name was the Cliquot Club Eskimos, a radio band that for ten years (1925-35) helped sell soft drinks; After that band ran its course, Reser freelanced, playing in many settings throughout the world and writing ten instruction books for the banjo, guitar and ukulele. His last job was playing guitar in the orchestra for the 1965 Broadway musical, Fiddler on the roof, dying of a heart attack in the pit as he was warming up for the night's performance.
BUDDY RICH
MAX ROACH
Richard Rodgers

Adrian Rollini

Arthur Rollini

A fine tenor-saxophonist, Arthur Rollini was largely overshadowed by the more distinctive stylists of the 1930s and was essentially a journeyman most famous for his association with Benny Goodman during the clarinetist's rise to fame. The younger brother of the great Adrian Rollini (the master of the bass sax), Arthur started playing music in New York in the late 1920s, attended Columbia University and worked with the California Ramblers. He spent most of 1929 in London, playing with Fred Elizaldes Orchestra. He freelanced in New York for the next few years, recording with his brother and working with and was a member of the Benny Goodman Orchestra from 1934-39, occasionally getting solos and contributing to Goodmans ride to great success. Unfortunately, he played very little jazz in later years, although he appeared on a record date with Brad Gowans in 1946. His 1987 autobiography, Thirty Years with the Big Bands, is highly rated.
SONNY ROLLINS
Pee Wee Russell
Was born as Charles Ellsworth Russell on March 27th, 1906 in
Maple Wood, Missouri. He began playing clarinet in the early 20s
and by 1927the year he came to New York he had already worked
with Jack Teagarden, Bix Beiderbecke and Frank Trumbauer.
Throughout the 30s and 40s Russell played with numerous
jazzmenBobby Hackett, Wild Bill Davison, Louis Prima,
Billy Butterfield, Muggsy Spanier, and George Wettling, and he
enjoyed a long association with Eddie Condon. In the 60s Russell played
at clubs, concerts and festivals around the world.