Jazz Trumpet Transcriptions

from
The Trumpet Kings
Of The Swing Era (and more)

Warren VACHE
Clark TERRY
Bix BEIDERBECKE
Harry JAMES
Roy ELDRIDGE
Jonah JONES
Ernie ROYAL
Wild Bill DAVISON
Chet BAKER
Kenny BAKER
Bobby HACKETT
Billy BUTTERFIELD
Buck CLAYTON
Ziggy ELMAN
Bunny BERIGAN
Randy BROOKS
Charlie SHAVERS
Rex STEWART
Shorty ROGERS
Art FARMER
Louis ARMSTRONG
Clifford BROWN
Ruby BRAFF
Lee MORGAN
Don GOLDIE
Kenny DORHAM
Dick CATHCART
Don FAGERQUIST
Doc CHEATHAM
Muggsie SPANIER
Doc SEVERINSEN
Joe WILDER
Ray COPELAND
Dizzy GILLESPIE
Shorty BAKER
Ray ANTHONY
Emmett BERRY
Al HIRT

by Jacques & Claude Gilbert 305 transcriptions available, 15 september

04.
and the Woodwinds Website. + 186 midifiles

This site is built with the aim of providing the young trumpet players with an opportunity to
discover the treasures left by the preceding generations. A listening of the recordings is
obviously essential and the necessary references are in general noted in the pdf . You will
also find lot of midifiles from those transcriptions.

The "EJMA Woodwinds Website" cordially thanks Jacques Gilbert for having chosen it
to present this unique collection of transcriptions which he has compiled over a span of 50 years
as an amateur instrumentalist. Claude Gilbert (a retired physician, pianist, saxophonist etc) is
contributing with enthusiasm to this project by being a great help in the preparation of these
rare files. It is hoped that this compilation will be favorably received by its target audience. This
will be the most fitting reward for the pains that its contributors have taken with it. Let us take
this opportunity to express our gratitude to them. The Webmaster: Charles Schneider

You can read these documents with .

Jacques Gilbert
Physicist by trade and amateur musician born in Quebec in 1932, Jacques Gilbert began playing
trumpet in 1950 with a number of Montreal big band formations of the era. He made his semi-
professional debut with the Al Nichols orchestra which was joined by the excellent Belgian guitarist
René Thomas as well as the well known Canadian jazz trumpet players Guido Basso and Herbie
Spaniar. In 1957 he establishes himself in Quebec city where he continues to play for local bands
making frequent stints with the Roland Martel orchestra and taking part in many radio and
television broadcastings.
email Jacques Gilbert : jgilb@videotron.ca

WARREN VACHE
real name: Warren Vaché, Jr. Born Feb 21, 1951 in Rahway, NJ.
Several years before Wynton Marsalis gained headlines for helping to revive hard bop, Warren Vache
(along with Scott Hamilton) was among the few young jazz musicians who were reviving small-group
swing. Vache, who always had a beautiful tone and a chance-taking style, is the son of a fine bassist
(Warren Vache Sr.) and the brother of clarinetist Allen Vache. He studied music with Pee Wee Erwin;
gained early experience playing with Benny Goodman, Vic Dickenson, and Bob Wilber; and has been a
leader since the mid-'70s. Often teamed in his early years with tenorman Scott Hamilton, Vache recorded
regularly and has been a regular at jazz parties and swing-oriented festivals ever since. — Scott Yanow,
All Music Guide

A Beautiful Friendship
All Through The Night
Autumn In New York
Bolden Blues midifile
Buddy Bolden's Blues midifile
Close As Pages In A Book
Exactly Like You midifile
Darn That Dream midifile
I'm Old Fashioned
I Hadn't Anyone Till You midifile
I Let A Song Go Out Of My Heart midifile
If We Never Meet Again midifile
It Might As Well Be Spring
It's All Right With Me midifile
It's Love In The Spring midifile
It's You Or No One
Just Friends
Little Girl midifile
Little White Lies midifile
Moten Swing midifile
My Melancholy Baby midifile
Oh Baby
Out Of Nowhere midifile
Someday You'll Be Sorry
Song Of The Wanderer
Struttin' With Some BBQ
Summer Night
Taking A Chance On Love
The More I See You midifile
Too Close For Comfort
When It's Sleepy Time Down South
Why Shouldn't I
You'd Be So Nice midifile

Bix BEIDERBECKE

real name: Leon Bix Beiderbecke Born Mar 10, 1903 in Davenport, IA Died Aug 6, 1931 in New York,
NY
Bix Beiderbecke was one of the greatest jazz musicians of the 1920s. His colorful life, quick rise and fall,
and eventual status as a martyr made him a legend even before he died, and he has long stood as proof
that not all the innovators in jazz history were black. Possessor of a beautiful, distinctive tone and a
strikingly original improvising style, Beiderbecke's only competitor among cornetists in the '20s was
Louis Armstrong but (due to their different sounds and styles) one really could not compare them.
Beiderbecke was a bit of a child prodigy, picking out tunes on the piano when he was three. While he had
conventional training on the piano, he taught himself the cornet. Influenced by the original Dixieland Jazz
Band, Beiderbecke craved the 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, it was located fairly close to
Chicago, the center of jazz at the time. Beiderbecke was eventually expelled he missed so many classes.
After a brief period at home he became a full-time musician. In 1923, Beiderbecke became the star
cornetist of the Wolverines and a year later this spirited group made some classic recordings.
In late 1924, Beiderbecke left the Wolverines to join Jean Goldkette's orchestra but his inability to read
music resulted in him losing the job. In 1925, he spent time in Chicago and worked on his reading
abilities. The following year he spent time with Frankie Trumbauer's orchestra in St. Louis. Although
already an alcoholic, 1927 would be Beiderbecke's greatest year. He worked with Jean Goldkette's
orchestra (most of their records are unfortunately quite commercial), recorded his piano masterpiece "In a
Mist" (one of his four Debussy-inspired originals), 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 then signed up with Paul Whiteman's huge and prosperous orchestra.
Although revisionist historians would later claim that Whiteman's wide mixture of repertoire (much of it
outside of jazz) drove Beiderbecke to drink, he actually enjoyed the prestige of being with the most
popular band of the decade. Beiderbecke's favorite personal solo was his written-out part on George
Gershwin's "Concerto in F."
With Whiteman, Beiderbecke's solos tended to be short moments of magic, sometimes in odd settings; his
brilliant chorus on "Sweet Sue" is a perfect example. He was productive throughout 1928, but by the
following year his drinking really began to catch up with him. Beiderbecke had a breakdown, made a
comeback, and then in September 1929 was reluctantly sent back to Davenport to recover. Unfortunately,
Beiderbecke made a few sad records in 1930 before his 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's recordings (even the
obscure ones) are continually in print, for his followers believe that every note he played was special. —
Scott Yanow All Music Guide

I'm Coming Virginia midifile

Jazz me Blues midifile
Signin' The Blues midifile
Riverboat Shuffle midifile
Way Down Yonder In New Orleans midifile
Mississipi Mud midifile

ROY ELDRIDGE

Portrait of Roy Eldridge, Spotlite (Club), New York, N.Y., ca. Nov. 1946.
Gottlieb, William P. 1917- photographer.
David Roy Eldridge. Born Jan 30, 1911 in Pittsburgh, PA. Died Feb 26, 1989 in Valley Stream, NY.

Roy Eldridge, trumpet-vocal; b. 1/30/11 Pittsburgh, PA; d. 2/26/89. Also known as “Little Jazz” Roy
Eldridge was a fiery, energetic trumpeter who although short in stature was a larger-than-life figure in the
jazz trumpet lineage. Stylistically speaking he was the bridge between the towering trumpet stylists Louis
Armstrong and Dizzy Gillespie. One of a significant number of jazz greats from the city of Pittsburgh,
Roy’s first teacher was his alto saxophonist older brother Joe. Some of the great rhythmic drive of
Eldridge’s later trumpet exploits could be traced to his beginnings on the drums, which he began playing
at age six. His first professional work came at age 16 when he worked with a touring carnival, playing
drums, trumpet, and tuba. As a trumpeter Roy had come under the spell of Louis Armstrong’s irrisistable
style. Among his earliest band affiliations were Oliver Muldoon, Horace Henderson, Zack Whyte, Speed
Webb, and his own band, under the banner of Roy Elliott and his Palais Royal Orchestra. In 1930 he
made the move to New York and headed straight to Harlem, where he gained work with a number of
dance bands, among which was the Teddy Hill band. He left New York in 1934 to join the Michigan-
based McKinney’s Cotton Pickers alongside such significant players as tenor man Chu Berry. Roy
returned to New York to rejoin Teddy Hill in 1935, with whom he made his first recordings as a soloist in
1935. Prior to recording with Hill he toured with the Connie’s Hot Chocolates revue. After he left Hill’s
band he became the lead trumpeter in Fletcher Henderson’s orchestra where his upper register abilities
were highlighted. It didn’t take long for Eldridge to exert himself as a bandleader, forming his own octet
in 1936 in Chicago; a band which included his brother Joe.
Eldridge recorded with the Three Deuces group, then left music for a short time to pursue radio
engineering, an interesting twist considering his Chicago group’s nightly radio broadcasts. By the end of
the 1930s after freelancing with such a wide array of bands Eldridge had gained notice as one of the
swing bands’ most potent soloists. In 1941 he joined drummer Gene Krupa’s band. Not only did he
provide trumpet fireworks for Krupa’s outfit he also 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 of freelancing, he toured with the Artie Shaw band in
1944. After Shaw it was time for Roy to lead his own big band, though economics forced him back to
small swing groups.In 1948 Norman Granz recruited Eldridge for his Jazz at the Philharmonic, an ideal
situation for Roy since he was one of the ultimate jam session trumpeters. He toured briefly with Benny
Goodman and took up residence in Paris in 1950, where he made some of his most successful recordings.
He returned to New York in 1951 and continued freelancing with small bands, including work with
Coleman Hawkins, Benny Carter, Ella Fitzgerald, and Johnny Hodges. He made notable albums for
Verve Records alongside Hawkins and continued freelancing and leading a house band at Jimmy Ryan’s
club in New York. In 1980 he was felled by a stroke but that didn’t cut off his musicality. Disabled from
the rigorous demands of playing the trumpet, Eldridge continued to make music as a singer and pianist
until his 1989 passing.

Back Home Again In Indiana midifile

Embraceable You midifile
I Can't Get Started With You
I'll Always Be In Love With You midifile
I Only Have Eyes For You
Memories Of You midifile
Missisipi Mud
Rockin' Chair midifile
Shine midifile
Somebody Loves Me
Stardust midifile
Stardust 2
Sweet Sue Just You
Talk Of The Town midifile
Trumpet Blues midifile
Wrap Your Troubles In Dreams midifile
ERNIE ROYAL

Ernie Royal : A Les Tomkins interview of 1978

Ernest Andrew Royal Born Feb 6, 1921 in Los Angeles, CA. Died Mar 16, 1983 in New York, NY.
A brilliant technician with a beautiful tone and a wide range, Ernie Royal spent most of his career in the
anonymous settings of studio bands, uplifting the music but only gaining fame among those in the music
industry. The younger brother of altoist Marshall Royal (who was nine years older), the trumpeter picked
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 were with Lionel Hampton's big band (1940-42) and Ernie
Royal hit the famous screaming high notes on the original Hampton version of "Flying Home."
After a period in the Army (1942-45), he worked in San Francisco with Vernon Alley, in Los Angeles
with Phil Moore and then spent much of 1946 with Count Basie's Orchestra. Royal was a member of
Woody Herman's Second Herd during 1947-49 and had short stints with Charlie Barnet and Duke
Ellington. He played in France with Jacques Helian's Orchestra, worked with Wardell Gray in 1952 and
was with Stan Kenton's Orchestra twice (1953 and 1955). After becoming a staff musician at ABC in
1957, Ernie Royal settled into the life of a well-respected studio musician, appearing on a countless
number of recordings but rarely soloing. During his career he made few recordings as a leader; just ten
titles in Paris in 1950 (six were reissued as part of a Xanadu album) and an LP for Urania in 1954. —
Scott Yanow, All Music Guide

When Your Lover midifile

Taking A Chance On Love midifile

CHET BAKER
http://www.chetbaker.net/
Chesney Henry Baker, Jr. Born Dec 23, 1929 in Yale, OK. Died May 13, 1988 in Amsterdam, The
Netherlands.
Popular cool-toned trumpeter and a fragile singer whose charisma made up for his limited voice, with his
good looks Chet Baker probably could have been a movie star. Instead he became a drug addict in the
mid-'50s and had an extremely erratic lifestyle with horrific episodes alternating with some wonderful
musical moments.
Chet Baker certainly started out on top. After getting out of the Army, he gigged with Charlie Parker on
the West Coast in 1952 and then joined the Gerry Mulligan Quartet, a pianoless unit that soon became
among the most popular in jazz. After Mulligan was jailed for his own drug problems, Baker (who had
helped make "My Funny Valentine" into a hit) formed a quartet with pianist Russ Freeman. He began to
win polls on both trumpet and vocals, toured Europe in 1955 and seemed on his way to a lucrative career.
But by 1960 Baker was 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 botched drug deal and he was out of music.
Against all odds Chet Baker made a gradual comeback in the 1970s. Although Baker recorded far too
much during his final 15 years, his nomadic lifestyle (never kicking drugs and essentially wandering all
over Europe) was unstable and his occasional vocals (always an acquired taste) were generally poor, his
trumpet playing actually improved as the decade progressed. In fact despite everything, Chet Baker was
still in his musical prime when he fell out of a second story window (pushed or slipped?) to his death in
1988. He remains one of the great cult figures of jazz. -- Scott Yanow, All Music Guide

Almost Like Being in Love

Autums In New York midifile
Autums Leaves midifile
Band Aid
Bea's Flat
Blue Room midifile
But Not For Me Chet midifile
Django
Happy Little Sunbeam midifile
I Fall In Love Too Easily midifile
I Fall In Love Too Easily 2 midifile
In Your Own Sweet Way (My Favorite songs)
In Your Own Sweet Way (Legacy) midifile
It's You Or No One
Just Friends
Let's Get Lost midifile
Long Ago And Far Away midifile
Look For The Silver Lining midifile
Maid In Mexico
Minor Yours midifile
No Ties
Out Of Nowhere midifile
Pent Up House midifile
Polka Dots And Moonbeams
Russ Job
Solar midifile
Star Eyes midifile
Stella By Starlight midifile
Summertime midifile
Tangerine midifile
There'll Never Be Another You midifile
There's A Small Hotel
Time On My Hands midifile
Well You Needn't midifile
You Drive Me Crazy
You Go To My Head

BOBBY HACKETT

Portrait of Bobby Hackett, Paramount Theater, New York, N.Y., ca. Aug. 1946.
Gottlieb, William P. 1917- photographer.
Robert Leo Hackett Born Jan 31, 1915 in Providence, RI. Died Jun 7, 1976 in Chatham, MA.
Bobby Hackett's mellow tone and melodic style offered a contrast to the brasher Dixieland-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, but very soon he developed his own distinctive sound. Originally a
guitarist (which he doubled on until the mid-'40s), Hackett performed in local bands, and by 1936 was
leading his own group. He moved to New York in 1937, played with Joe Marsala, appeared at Benny
Goodman's 1938 Carnegie Hall concert (recreating Beiderbecke's solo on "I'm Coming Virginia"),
recorded with Eddie Condon, and by 1939 had a short-lived big band. Hackett played briefly with Horace
Heidt, and during 1941-1942 was with Glenn Miller's Orchestra, taking a famous solo on "String of
Pearls." Next up was a stint with the Casa Loma Orchestra, and then he became a studio musician while
still appearing with jazz groups. Hackett was a major asset at Louis Armstrong's 1947 Town Hall
Concert, in the 1950s he was a star on Jackie Gleason's commercial but jazz-flavored mood music
albums, and he recorded several times with Eddie Condon and Jack Teagarden. During 1956-1957,
Hackett led an unusual group that sought to modernize Dixieland (using Dick Cary's arrangements and an
unusual instrumentation), but that band did not catch on. Hackett recorded some commercial dates during
1959-1960 (including one set of Hawaiian songs and 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
quintet with Vic Dickenson (1968-1970); and made sessions with Jim Cullum, the World's Greatest Jazz
Band, and even Dizzy Gillespie and Mary Lou Williams, remaining active up until his death. Among the
many labels Bobby Hackett recorded for as a leader were Okeh (reissued by Epic), Commodore,
Columbia, Epic, Capitol, Sesac, Verve, Project 3, Chiaroscuro, Flying Dutchman, and Honey Dew. —
Scott Yanow, All Music Guide

After You've Gone

A String Of Pearls midifile (sequenced by http://www.garyw0001.com/)
Baby Won't You Please Come Home
Back Home Again In Indiana
Basin Street Blues
Big Butter And Eggman
Bill Bailey
C'est Magnifique midifile
Cornet Chop Suey
Darn That Dream
Embraceable You
Embraceable You (easy beat)
Fidgety Feet
From Monday On
High Society
How High The Moon
I'll Be A Friend With Pleasure midifile
I Cried For You
If I Had My Way midifile
In The Mood midifile
Jazz Me Blues
Little Brown Jug midifile
Moonlight Serenade midifile (sequenced by http://www.garyw0001.com/)
More Than You Know midifile
Muskrat Ramble
My Monday Date midifile
New Orleans midifile
Poor Butterfly
Royal Garden Blues
Satin Doll
Stardust
Someday You'll Be Sorry
Little Brown Jug
Struttin' With Some BBQ
Sunday midifile
Sugar Blues midifile
Sweet Georgia Brown midifile
Sweet Georgia Brown (vers2) midifile
Sweet Lorraine
Sweet Sue Just You midifile
Take The A Train midifile
That's A Plenty
The Man I Love midifile
The Girl From Ipanema midifile
Tis Autumn midifile
Too Close For Comfort
Way Down Yonder In New Orleans
What's New midifile
When The Saints
Wolverine-Blues

BUCK CLAYTON
Special Collections Wilbur "Buck" Clayton Collection at the Miller Nichols Library at 5100 Rockhill
Road in Kansas City, Missouri.
Wilbur Dorsey Clayton. Born Nov 12, 1911 in Parsons, KS. Died Dec 8, 1991 in New York, NY.
An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was
a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and
jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark,
and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his
career in California, where he organized a big band that had a residency in China in 1934. When he
returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he
was invited to join Basie's orchestra as a replacement for Hot Lips Page. 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, when he left for army service. After leaving the army, Clayton did arrangements for 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 continued heading a combo during the '50s, and worked with Joe
Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding
recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in
1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with
Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in
1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He
appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with
Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined
Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured
Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s,
often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health
problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once
again became active in music, this time as a non-playing arranger, touring Africa as part of a State
Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy
Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an
educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a
European tour in 1983, then headed his own big band in 1987 that played almost exclusively his
compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz
World, with Nancy Miller-Elliot, was published. — Ron Wynn, All Music Guide

I've Got My Love To Keep Me Warm

I Cover The Waterfront
Rosetta midifile
Tenderly midifile
These Foolish Things

BUNNY BERIGAN

Bunny Berigan :"I love music but I hate the music business".
Rowland Bernart Berrigan. Born Nov 2, 1908 in Hilbert, WI. Died Jun 2, 1942 in New York, NY.
Bunny Berigan, during 1935-1939, was arguably the top trumpeter in jazz (with his main competition
being Louis Armstrong and Roy Eldridge). Blessed with a beautiful tone and a wide range (Berigan's low
notes could be as memorable as his upper-register shouts), Berigan brought excitement to every session
he appeared on. He was not afraid to take chances during his solos and could be a bit reckless, but
Berigan's successes and occasional failures were always colorful 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 because of his thin tone, remarkably) but showed tremendous
improvement by 1930 when he was hired. After a few recordings and a trip to Europe, Berigan joined
Fred Rich's CBS studio band in 1931, where (except for a few months with Paul Whiteman) he would
remain up to 1935. Berigan soon gained a strong reputation as 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
months with 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 Porter Stomp" and "Sometimes I'm Happy") and
was with B.G. as he went on his historic tour out West, climaxing in the near riot at the Palomar Ballroom
in Los Angeles.
Berigan soon returned to the more lucrative studio scene, making his only film appearance in 1936 with
Fred Rich. In 1937, he joined Tommy Dorsey's band and was once again largely responsible for two hits:
"Marie" and "Song of India." Berigan's solos on these tunes became so famous that in future years Dorsey
had them written out and orchestrated for the full trumpet section. After leaving Dorsey, Bunny Berigan
finally put together his own orchestra. He scored early on with his biggest hit, "I Can't Get Started." With
Georgie Auld on tenor and Buddy Rich on drums, Berigan had a potentially strong band. Unfortunately,
he was already an alcoholic and a reluctant businessman. By 1939, there had been many lost opportunities
and the following year Berigan (who was bankrupt) was forced to break up his band. He re-joined
Tommy Dorsey for a few months but never stopped drinking and 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 just 33. What would this brilliant swing trumpeter have done in the bop era?
Bunny Berigan's life is definitively profiled in Robert Dupuis' book Elusive Legend of Jazz. — Scott
Yanow, All Music Guide

Ad-Lib Blues midifile

Ain't She Sweet midifile
I Can't Get Started With You
I'm Coming' Virginia midifile
Let Yourself Go midifile
Marie
On Your Toes midifile
Song Of India
Stardust midifile
Sunday midifile
Swanee River midifile

CHARLIE SHAVERS
Portrait of Charlie Shavers, National studio, New York, N.Y., ca. May 1947.
Gottlieb, William P. 1917- photographer.
Charles James Shavers. Born Aug 3, 1917 in New York, NY. Died Jul 8, 1971 in New York, NY
Charlie Shavers was one of the great trumpeters to emerge during the swing era, a virtuoso with an open-
minded and extroverted style along with a strong sense 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
and two years later he joined Lucky Millinder's big band. Soon afterward he became a key member of
John Kirby's Sextet where he showed his versatility by mostly playing crisp solos while muted. Shavers
was in demand for recording sessions and participated on notable dates with New Orleans jazz pioneers
Johnny Dodds, Jimmy Noone, and Sidney Bechet. He also had many opportunities to write arrangements
for Kirby and had a major hit with his composition "Undecided." After leaving Kirby in 1944, Charlie
Shavers worked for a year with Raymond Scott's CBS staff orchestra, and then was an important part of
Tommy Dorsey's Orchestra from 1945 until past TD's death in 1956. Although well-featured, this
association kept Shavers out of the spotlight of jazz, but fortunately he did have occasional vacations in
which he recorded with the Metronome All-Stars and 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's death,
Shavers often led his own quartet although he came back to the ghost band from time to time. During the
1960s, his range and technique gradually faded, and Charlie Shavers died from throat cancer in 1971 at
the age of 53. — Scott Yanow, All Music Guide

A String Of Pearls midifile (sequenced by http://www.garyw0001.com/)

Blue Moon midifile
Bye Bye Blackbird
Deep Purple
Girl Of My Dreams
I'm Coming Virginia
I'm Through With Love midifile
I Cover The Waterfront
Our Love Is Here To Stay midifile
Out Of Nowhere
Should I midifile
Time On My Hands midifile

SHORTY ROGERS

Milton M. Rajonsky. 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 his arranging, both in jazz and in the movie studios. After gaining early
experience with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame 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 Innovations Orchestra (1950-1951), clearly enjoying
writing for the stratospheric flights of Maynard Ferguson. After that association ran its course, Rogers
settled in Los Angeles where he led his Giants (which ranged from a quintet to a nonet and a big band) on
a series of rewarding West Coast jazz-styled recordings and 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 particularly
memorable. After 1962, Rogers stuck almost exclusively to writing for television and films, but in 1982
he began a comeback in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his
own playing was not quite as strong as previously, he remained a welcome presence both in clubs and
recordings. — Scott Yanow, All Music Guide

Left Bank midifile

Lotus Bud
Shank's Pranks
Morpo midifile

CLIFFORD BROWN
Clifford Brown's death in a car accident at the age of 25 was one of the great tragedies in jazz history.
Already ranking with Dizzy Gillespie and Miles Davis as one of the top trumpeters in jazz, Brownie was
still improving in 1956. Plus he was a clean liver and was not even driving; the up-and-coming pianist
Richie Powell and his wife (who was driving) also perished in the crash.
Clifford Brown accomplished a great deal in the short time he had. He started on trumpet when he was
15, and by 1948 was playing regularly in Philadelphia. Fats Navarro, who was his main influence,
encouraged Brown, as did Charlie Parker and Dizzy Gillespie. After a year at Maryland State University,
he was in a serious car accident in June 1950 that put him out of action for a 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
Europe and leading some recording sessions. In early 1954, he recorded some brilliant solos at Birdland
with Art Blakey's quintet (a band that directly preceded the 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's death, featuring Harold Land (and later Sonny Rollins) on tenor and recording several superb
sets for Emarcy. Just hours before his death, Brownie appeared at a Philadelphia jam session that was
miraculously recorded, and played some of the finest music of his short life.
Clifford Brown had a fat warm tone, a bop-ish style quite reminiscent of the equally ill-fated Fats
Navarro, and a mature improvising approach; he was as 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 variety
show turned up after being lost for 40 years, the only known footage of the great trumpeter. Fortunately,
virtually all of his recordings are currently available, including his Prestige dates (in the OJC series), his
work for Blue 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 is Columbia's The Beginning and the End, which
has Brown's first and last recordings. All Music Guide

It Might As Well Be Spring midifile

Once In A While midifile
Pent Up House midifile
Stompin' At The Savoy midifile
LEE MORGAN

Trumpeter Lee Morgan's biting yet liquid delivery recalled the work of such precursors as Clifford Brown
and Fats Navarro, albeit with a harder edge. A prodigious instrumentalist who made his first splash while
still in his teens, he became a leading hard bop and jazz-funk player; his composition "The Sidewinder"
was one of the biggest chart hits ever cut by a jazzman.
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 bowing as a leader at 19 on Savoy, he began a fruitful relationship with Blue Note
Records. He fronted some all-star sessions, appeared as a sideman on such memorable albums as John
Coltrane's Blue Train, and made a stunning impression with Art Blakey's Jazz Messengers (see Moanin').
After a return to Philadelphia in 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 on his own. In 1964, Morgan's The
Sidewinder climbed to number 25 on Billboard's pop album chart. Several ultra-funky sound-alikes
followed, but Morgan may have reached his creative peak on the ambitious, impressionistic 1964 set
Search For The New Land.
By the late '60s, even the titles of Morgan's records were beginning to sound the same--The Rajah, The
Procrastinator. However, as the '70s dawned, he began to explore new terrain with a storming group that
included saxophonist Bennie Maupin. His full potential was still unfulfilled when he was fatally shot to
death by a spurned girlfriend on the bandstand of the New York club Slug's on Feb. 19, 1972. He was
only 33 years old. Large chunks of his work with Blakey and as a leader have been compiled on stunning
boxed sets by mail-order label Mosaic Records. Chris Morris.

Blue Gardenia midifile

Ceora midifile
Hocus Pocus midifile
I Remember Clifford midifile
Nica's Dream midifile

KENNY DORHAM
Real name: McKinley Howard Dorham. Born: Aug 30, 1924 in Fairfield, TX. Died: Dec 5, 1972 in New
York, NY
Throughout his career, Kenny Dorham was almost famous for being underrated since he was consistently
overshadowed by Dizzy Gillespie, Fats Navarro, Miles Davis, Clifford Brown, and Lee Morgan. Dorham
was never an influential force himself but a talented bop-oriented trumpeter and an excellent composer
who played in some very significant bands. In 1945, he was in the orchestras of Dizzy 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 freelancing in New York in 1954, he became a member of the first version of Art Blakey's Jazz
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 his replacement in the Max Roach Quintet (1956-1958) and then
he led several groups of his own. He recorded several fine dates for Riverside (including a vocal album in
1958), New Jazz, and Time, but it is his Blue Note sessions of 1961-1964 that are among his finest.
Dorham was an early booster of Joe Henderson (who played with his group in 1963-1964). After the
mid-'60s, Kenny Dorham (who wrote some interesting reviews for Down Beat) began to fade and he died
in 1972 of kidney disease. Among his many originals is one that became a standard, "Blue Bossa." —
Scott Yanow, All Music Guide

Prince Albert midifile

Recordame midifile

DON FAGERQUIST

Don Fagerquist
b. 6 February 1927, Worcester, Massachusetts, USA, d. 24 January 1974. After working with the Mal
Hallett band in the early '40s, Fagerquist joined Gene Krupa in 1944. He stayed with Krupa for several
years, comfortably adjusting his trumpet playing to the boppish style the band adopted towards the end of
the decade. After Krupa's band folded Fagerquist spent a little time with Artie Shaw before becoming a
member of Woody Herman's Third Herd. He later worked with Les Brown and the Dave Pell Octet, the
Brown band's small-group offshoot. A striking soloist, Fagerquist's thoughtful playing style admirably
suited the west coast scene and in the '50s he played extensively and sometimes recorded with Shelly
Manne, Pete Rugolo, Art Pepper and others, including the popular big band assembled for record dates by
Si Zentner in the mid-60s.

Brown's Little Jug midifile

Crazy Legs midifile
I'm Forever Blowing Bubbles midifile
Jersey Bounce midifile
Laura midifile
Little Brown Jug midifile
Our Love Is Here To Stay midifile

LOUIS ARMSTRONG

Louis Armstrong House and archives

Biographie sur 'The Red Hot Jazz Archives'
Louis Daniel Armstrong. Born Aug 4, 1901 in New Orleans, LA. Died Jul 6, 1971 in New York, NY.

Ain't Misbehaven midifile

A Monday Date midifile
Basin Street Blues midifile
Big Butter And Eggman
Blue Again midifile
Blue Turning Grey Over You midifile
Cakewalkin' Babies From Home midifile
Cornet Chop Suey midifile
Dear Old Southland midifile
Dinah midifile
Down In Honky Tonky Town midifile
Gully Low Blues midifile
Heebies Jeebies midifile
Hello Dolly midifile
Home midifile
Hotter Than That midifile
I Double Dare You midifile
If I Could Be With You midifile
I'm Confessing midifile
I'm Not Rough midifile
Melancoly Blues midifile
Muggles midifile
Muskrat Rumble
Potato Head Blues
Some Of Those Days midifile
Struttin' With Some BBQ
Tight Like This midifile
Weary Blues midifile
West End Blues
Wild Man Blues
Willie The Weeper midifile
You're Driving Me Crazy midifile

Vous pouvez écouter quelques-unes de ces transcriptions sur le site ReHotJazz.

Ruby BRAFF

Born Mar 16, 1927 in Boston, MA.

One of the great swing/Dixieland cornetists, Ruby Braff went through long periods of his career unable to
find work because his music was considered out-of-fashion, but his fortunes improved by the 1970s. A
very expressive player who in later years liked to build his solos up to a low note, Braff's playing is
instantly recognizable within seconds.
Braff mostly worked around Boston in the late '40s. He teamed up with Pee Wee Russell when the
clarinetist was making a comeback (they recorded live for Savoy), and after moving to New York in
1953, he fit easily into a variety of Dixieland and mainstream settings. Braff recorded for Vanguard as a
leader, and with Vic Dickenson, Buck Clayton, and Urbie Green. He was one of the stars of Buck
Clayton's Columbia jam sessions, and in the mid-'50s worked with 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 to get 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 George Barnes, in 1973, that he became more secure.
Afterward, Braff was heard in many small-group settings, including duets with Dick Hyman and Ellis
Larkins (he had first met up with the latter in the 1950s), quintets with Scott Hamilton, and matching wits
with Howard Alden. He remains one of the greats of mainstream jazz. — Scott Yanow, All Music Guide

If I Could Be With You

It's Wonderful
I've Got the Feelin' I'm Fallin' midifile
Soft Lights and Sweet Music midifile (transcribe by Tim Gill, thanks)

Don GOLDIE

Born Feb 5, 1930 in Newark, NJ. Died Nov 25, 1995 in Florida.
A talented soloist with a wide range, Don Goldie was the son of longtime Paul Whiteman trumpeter
Harry Goldfield. Goldie performed with many types of groups, including with Buddy Rich and the
society band of Lester Lanin, before gaining prominence for his playing with Jack Teagarden's Dixieland
sextet (from 1959 until the trombonist's death in 1964). Goldie eventually settled in Miami, where in the
early '70s he recorded 11 albums for Jazz Forum, many of which were dedicated to the work of one
composer. A fixture in Miami clubs and hotels, Don Goldie committed suicide in 1995. — Scott Yanow,
All Music Guide
My Romance
Easy To Love

Dick CATHCART

b. 6 November 1924, Michigan City, Indiana, USA, d. 8 November 1993, Woodland Hills, California,
USA.
Dick Cathcart played lead trumpet with Ray McKinley's first band after studying at Indiana University. A
stint with Alvino Ray's group and with the Air Force followed. After the war he went with the revived
Bob Crosby band, and from there to studio work. His full-bodied trumpet work on the "Pete Kelly's
Blues" radio show with Jack Webb earned him the soundtrack cornet chore in the motion picture of the
same name.

Ballin' the Jack midifile

Ida Sweet as Apple Cider
Sugarfoot Strut
There'll Be Some Changes Made

Doc CHEATHAM
Doc Cheatham Autobiography
Adolphus Anthony Cheatham. Born Jun 13, 1905 in Nashville, TN. Died Jun 2, 1997 in Washington,
D.C.
Doc Cheatham was without question the greatest 90-year old trumpeter of all time; in fact, no brass player
over the age of 80 had ever played with his power, range, confidence, and melodic creativity. Most
trumpeters fade while in their 60s due to the physical difficulty of their instrument, but Cheatham 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 in vaudeville theaters backing such
traveling singers as Bessie Smith and Clara Smith. He moved to Chicago, recorded with Ma Rainey (on
soprano sax), played with Albert Wynn, subbed for Louis Armstrong (his main idol), and had his own
group in 1926. After stints with Wilbur DeParis and Chick Webb, he toured Europe with Sam Wooding.
Due to his wide range and pretty tone, Cheatham worked as a non-soloing first trumpeter with
McKinney's Cotton Pickers and Cab Calloway throughout the 1930s. He spent time with Teddy Wilson's
big band, and was with the commercially successful Eddie Heywood Sextet (backing Billie Holiday on
some recordings). In the 1950s, Cheatham alternated between Dixieland (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 as a soloist. Duet sets
with pianist Sammy Price launched his new career, and until his death in 1997, he recorded fairly
prolifically including dates for Sackville, New York Jazz, Parkwood, Stash, GHB, Columbia, and several
European labels. Cheatham was also a charming singer whose half-spoken, half-sung vocals took nothing
away from his chance-taking trumpet flights. — Scott Yanow, All Music Guide

Rose Room
What Can I Say After I'm Sorry

Shorty BAKER
Harold J. Baker. Born May 26, 1914 in St. Louis, MO. Died Nov 8, 1966 in New York, NY.
Shorty Baker of the famous Saint-Louis school of trumpeters that starts with Ed Allen and ends with
Miles Davis and includes Joe Thomas and Clark Terry was a player of exquisite taste. His frequents ins
and outs with Duke Ellington arose from his conviction (not unjustifiable) that Duke did not fully valued
his talents. However, Baker can be heard at length on a number of Ellington performances and Duke
especially appreciated his pretty sound and tasteful phrasing on ballads. Among Baker's admirers was
Miles Davis who had particular praise for his tone and control.

All Of Me

Emmett BERRY

Emmett Berry (born 1916) is another trumpet player who has not received due recognition from the
public. Born in Macon, Georgia, he was raised in Cleveland where he spent his early playing years. He
joined Fletcher Henderson in 1936, replacing his idol, Roy Eldridge, and did exceptionally well in that
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 from mental depression, he then returned to Cleveland in 1970 where he soon became
inactive as a player.

Our Love Is Here To Stay

CLARK TERRY

Born in St. Louis Dec 14, 1920 in St. Louis MO., Clark Terry performed with 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 in many of
Ellington's suites and acquired a lasting reputation for his wide range of styles (from swing to hard bop),
technical proficiency, and infectious good humor. After leaving Ellington he became a frequent performer
in New York studios and a staff member of NBC; he appeared regularly on the Tonight Show, where his
unique "mumbling" scat singing became famous. He also continued to play jazz with musicians such as
J.J. Johnson and Oscar Peterson, and led a group with Bob Brookmeyer which achieved some popularity
in the early 1960s.
In the 1970s Terry began to concentrate increasingly on the flugelhorn from which he obtains a
remarkably full, ringing tone. In addition to his studio work and teaching at jazz workshops, Terry toured
regularly in the 1980s with small groups (including Peterson's) and as the leader of his Big B-A-D Band
(formed 1970). His humor and command of jazz trumpet styles are nowhere more apparent than in his
"dialogues" with himself, either on different instruments or on the same instument, muted and unmuted. J.
BRADFORD ROBINSON, The New Grove Dictionary of Jazz

Stardust Play-a-long.mid

HARRY JAMES
Harry James, real name: Harry Haag James. Born Mar 15, 1916 in Albany, GA. Died Jul 5, 1983 in Las
Vegas, NV
Trumpet Blues: The Life of Harry James by Peter J. Levinson Published by Oxford University Press
334 pages, 1999 ISBN: 0195110307
Harry James was one of the most outstanding instrumentalists of the swing era, employing a bravura
playing style that made his trumpet work instantly identifiable. He was also one of the most popular
bandleaders of the first half of the 1940s, and he continued to lead his band until just before his death, 40
years later. James was the child of circus performers. His father, Everette Robert James, was the
bandleader and trumpet player in the orchestra for the Mighty Haag Circus, and his mother, Maybelle
Stewart Clark James, was an aerialist. Growing up in the circus, James became a performer himself as
early as the age of four, when he began working as a contortionist. He soon turned to music, however,
first playing the snare drum in the band from about the age of six and taking trumpet lessons from his
father. At 12, he took over leadership of the second band in the Christy Brothers Circus, for which 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 music contest as a trumpeter. That inspired him to turn professional
and begin playing in local bands. James' first job with a national band came in 1935 when he was hired by
Ben Pollack. In May 1935, he married singer Louise Tobin, with whom he had two children and from
whom he was divorced in June 1943. He made his first recordings as a member of the Pollack band in
September 1936. Not long after, he was tapped by Benny Goodman, then leading one of the country's
most popular bands, and he began working for Goodman by the end of 1936. He rapidly gained notice in
the Goodman band, and by December 1937 he had begun to make recordings under his own name for
Brunswick Records (later absorbed by Columbia Records). In early 1939, he left Goodman and launched
his own orchestra, premiering it in Philadelphia in February. That spring, he heard the then-unknown
Frank Sinatra on a radio broadcast and hired him ... Click for more on allmusic.com.

Ad-Lib Blues midifile

Cherry
Concerto For Trumpet
Foot Draggin' Blues midifile
I'm Confessin That I love You midifile
It's The Dreamer In Me midifile
Jalousie midifile
Palladium Party midifile
Roll 'Em
Sing Sing Sing
Sleepy Time Gal
That Old Feeling midifile
Trumpet Blues And Cantabile
You Go To My Head midifile

JONAH JONES

Robert Elliott Jones. Born Dec 31, 1909 in Louisville, KY. Died Apr 30, 2000 in Manhattan, NY
A talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 that made him a major attraction
for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet.
But although the non-jazz audience discovered Jones during the late '50s, he had already been a very vital
trumpeter for two decades. Jones started out playing on a Mississippi riverboat in the 1920s. He
freelanced in the Midwest (including with Horace Henderson), was briefly with Jimmie Lunceford
(1931), had an early stint with Stuff Smith (1932-1934), and then spent time with Lil Armstrong's short-
lived orchestra and the declining McKinney's Cotton Pickers. Jones became famous for his playing with
Stuff Smith's Onyx club band (1936-1940), recording many exciting solos. He gigged with Benny Carter
and Fletcher Henderson and became a star soloist with Cab Calloway (1941-1952), staying with the
singer even after his big band became a combo. Jones played Dixieland with Earl Hines (1952-1953),
toured Europe in 1954 (including a brilliant recording session with Sidney Bechet), and then led his
quartet at the Embers (1955), hitting upon his very successful formula. His shuffle version of "On the
Street Where You Live" was the first of many hits and he recorded a long series of popular albums for
Capitol during 1957-1963, switching to Decca for a few more quartet albums in 1965-1967. Jonah Jones
recorded a fine date with Earl Hines for Chiaroscuro (1972) and still played on an occasional basis in the
1980s and early '90s; he died April 30, 2000, at the age of 91. — Scott Yanow, All Music Guide

Baubles Bangles And Beads midifile

Rose Room

WILD BILL DAVISSON

William Stethen Davis born Jan 5, 1906 in Defiance, OH. Died Nov 14, 1989 in Santa Barbara, CA.
Wild Bill (William Edward) Davison was born in Defiance, Ohio on the 5th of January 1906. Starting in
the early 1920's he began to build his career with various bands including Ben Meroff's Chicago-based
orchestra (where he first met 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, appropriately for Milwaukee, by a flying beer mug) had arrived in New
York by 1941. There he worked in Nick's saloon and with an Original Dixieland Jazz Band re-creation for
the Katherine Dunham show which culminated in his recording 12 sides for the Commodore label a week
before his 38th birthday in 1944.
He recorded some brilliant sessions with George Brunis indicating he had finally found his own style. In
1945 he joined Eddie Condon's house band, and those long nights and hard musical pace at Condon's club
made him a commanding front man, a tough and reliable lead cornetist that Condon could count on;
above all 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 he began a new lifetime pattern of bandleading and
touring, appearing between 1965 and 1975 with over 100 bands and recording over 20 new albums. In
England he toured and recorded with Alex Welsh, Fred Hunt and Lennie Hastings, and in the 1970's
moved to Denmark. He was still globetrotting in 1983 and after a short illness in 1983 played in the 1985
jazz festivals and toured England in 1986. He died on November 14th 1989 at the age of 83.

Louisiana midifile

KENNY BAKER
b. 1 March 1921, Withernsea, Yorkshire, England. After taking up the trumpet and playing in brass
bands, Baker moved to London, in the late '30s, to become a professional musician. During the next few
years he established himself as an outstanding technician capable of playing in any jazz or dance band. In
the early '40s, he played in the bands of Lew Stone and George Chisholm before joining Ted Heath in
1944. He remained with Heath until 1949, and was featured on many recording sessions and countless
concerts. In the early '50s he was regularly on the radio, leading his own band, the Baker'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 the while building his reputation as one of the best trumpet players in the
world even though he played only rarely outside the UK. At the end of the decade he was featured in
Benny Goodman's British band. Baker's career continued throughout the '70s, with appearances as co-
leader of the Best of British Jazz touring package, and with Ted Heath recreations and the bands led by
Don Lusher and other former colleagues. In the early '80s, Baker turned down an invitation to take over
leadership of the Harry James band after the latter's death. He could still be regularly heard playing
concerts and club dates and was also on television, usually off-camera, playing soundtracks for Alan
Plater's popular UK television series THE BEIDERBECKE AFFAIR and THE BEIDERBECKE TAPES.
In 1989, he took part in a major recording undertaking which set out to recreate the classic recordings of
Louis Armstrong using modern recording techniques. Baker took the Armstrong role, comfortably
confounding the date on his birth certificate with his masterful playing. A fiery soloist with a remarkable
technical capacity which he never uses simply for effect, Baker is one of the UK's greatest contributions
to the international jazz scene.

When It's Sleepy Time Down South midifile

BILLY BUTTERFIELD
Billy 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 teenager he began to study medicine. He continued
playing music to such good effect that he was soon working regularly with the bands of Austin Wylie and
Andy Anderson and eventually quit his medical studies. Although adept on several instruments he
concentrated on trumpet, later adding fluegelhorn, and in 1937 was hired by the Bob Crosby band.
Butterfield's gorgeous, fat-toned sound was particularly suited to ballads and his recording of Bob
Haggart's What's New?, 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 reliable area of studio work. After the
war Butterfield indulged himself with every sideman's dream and formed his own big band, in
collaboration with former Crosby colleague Bill Stegmeyer. Butterfield took the enterprise seriously,
commissioning arrangements from Ralph Burns, Bob Haggart, Bob Peck and Neal Hefti. For all his good
intentions, however, the band proved to be a financial disaster. 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 of Blueberry Hill)
and leading small groups. In the late '60s he became a member of the World's Greatest Jazz Band
alongside former Crosby sidemen Bob Haggart and Yank Lawson. In the '70s he worked with Joe ‘Flip’
Phillips and toured extensively, usually as a solo. Much admired by fellow musicians, and eventually
attracting the kind of attention from fans he had always deserved, Butterfield enjoyed a late flowering of
his career even though suffering from emphysema.

Stardust
Deep Purple midifile

ZIGGY ELMAN
Ziggy 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 instrument later became the trumpet. In 1936 he joined Benny Goodman
and formed part of one of the best three-man trumpet sections of the swing era. With Harry James 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 his own band, Elman comfortably coped with his role as featured soloist,
playing showstoppers such as Who'll Buy My Bublitchki and And The Angels Sing, which he composed
himself. After leaving Goodman, Elman worked with other big bands, including those of Joe Venuti and
Tommy Dorsey. In the late '40s, as name big bands were folding all around him, Elman tried leading his
own big band and met with a measure of success especially with a re-recording of And The Angels Sing.
In the early '50s he worked in film studios in Los Angeles but ill-health and personal problems kept him
from achieving much success. In 1961 his financial situation was revealed during an alimony court
hearing at which he agreed that many people thought him to be the world's greatest trumpet player,
adding ‘But I still can't get much work.’ Six of his seven bank accounts had sums varying between $1.19
and $11.00 in them, while the seventh was overdrawn.

And The Angels Sing midifile

At Sundown midifile
My Blue Heaven

RANDY BROOKS
Randy Brooks
b. 28 March 1917, Maine, USA, d. 21 March 1967. A child prodigy, Brooks was playing trumpet in
Salvation Army bands when he was only 10 years of age. In 1937 he travelled to New York to try his luck
and soon found work with Rudy Vallée: later he was a member of the bands of Hal Kemp and Claude
Thornhill. In the '40s he formed his own band and had record successes with Tenderly and Harlem
Nocturne. In 1945 his band accompanied Ella Fitzgerald on two tracks recorded for Decca. Brooks, who
married Ina Ray Hutton in 1949 (they divorced in 1957), suffered a stroke in 1950 which cut short his
career. He died in a fire at his home in March 1967.

The Man With The Horn midifile

REX STEWART

Rex Stewart
William Stewart, Jr. Born Feb 22, 1907 in Philadelphia, PA, Died Sep 7, 1967 in Los Angeles, CARex
Stewart achieved his greatest glory in a subsidiary role, playing cornet 11 years in the Duke Ellington
Orchestra. His famous "talking" style, and half-valve effects were exploited brillantly by countless
Ellington pieces containing perfect passages tailored to showcase Stewart's sound. He played in a
forceful, gripping manner that reflected the influence of Louis Armstrong, Bubber Miley and Bix
Beiderbecke, whose solos he once reproduced on record. Stewart played on Potomac riverboats before
moving to Philadelphia. He went to New York in 1921. Stewart worked with Elmer Snowden in 1925,
then joined Fletcher Henderson a year later. But he felt his talents were not at the necessary level, and
departed Henderson's band, joining his brother Horace's band at Wilberforce College. Stewart returned in
1928. He remained five years and contributed many memorable solos. There was also a brief period in
McKinney's Cotton Pickers in 1931, a stint heading his own band, and another short stay with Luis
Russell before Stewart joined the Ellington Orchestra in 1934. He was a star throughout his tenure, co-
writing classics "Boy Meets Horn" and "Morning Glory." He also supervised many outside recording
sessions using Ellingtonians. After leaving, Stewart led various combos, and performed throughout
Europe and Australia on an extensive Jazz at the Philharmonic tour from 1947-1951. He lectured at the
Paris Conservatory in 1948. Stewart settled in New Jersey to run a farm in the early '50s. He was semi-
retired, but found new success in the media. He worked in local radio and television, while leading a band
part time in Boston. Stewart led the Fletcher Henderson reunion band in 1957 and 1958, and recorded
with them. He played at Eddie Condon's club in 1958 and 1959, then moved to the West Coast. Stewart
again worked as a disc jockey and became a critic. - by Ron Wynn All Music Guide

Between The Devil And The Deep Blue Seaf midifile

I Surrender Dear midifile

RAY ANTHONY

Ray Anthony played two years with Glenn Miller and ten with Jimmy Dorsey before forming his own
band. Anthony led a group in the Pacific during World War II, then had a highly popular dance band. He
probably has as much fame, if not more, as the writer of the theme for Dragnet, the novelty tune "The
Bunny Hop," and the hit single "Dancing in the Dark." He also had plenty of film and TV work in the
'50s, including an appearance in the film Daddy Long Legs. ~ Ron Wynn, All Music Guide

Lil' Darlin'
Moonlight Serenade midifile (sequenced by http://www.garyw0001.com/)
DIZZY GILLESPIE

Dizzy GILLESPIE
real name: John Birks Gillespie
Born Oct 21, 1917 in Cheraw, SC
Died Jan 6, 1993 in Englewood, NJDizzy Gillespie's contributions to jazz were huge. One of the greatest
jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his
contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis'
emergence in the 1970s that Dizzy's style was successfully recreated. Somehow, Gillespie could make
any "wrong" note fit, and harmonically he was ahead of everyone in the 1940s, including Charlie Parker.
Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to
explain them to the next generation, thereby insuring that bebop would eventually become the foundation
of jazz.All Music Guide

Blue Moon midifile

I Can't Get Started midifile
I Don't Know Why midifile
The Nearness Of You midifile
ART FARMER

Art FARMER
real name: Arthur Stewart Farmer
Born Aug 21, 1928 in Council Bluffs, IA
Died Oct 4, 1999 in New York, NY
Largely overlooked during his formative years, Art Farmer's consistently inventive playing was more
greatly appreciated as he continued to develop. Along with Clark Terry, Farmer helped to popularize the
flugelhorn among brass players. His lyricism gave his bop-oriented style its own personality. Farmer
studied piano, violin and tuba before settling on trumpet. He worked in Los Angeles from 1945 on,
performing regularly on Central Avenue and spending time in the bands of Johnny Otis, Jay McShann,
Roy Porter, Benny Carter and Gerald Wilson among others; some of the groups also included his twin
brother bassist Addison Farmer (1928-63). After playing with Wardell Gray (1951-52) and touring
Europe with Lionel Hampton's big band (1953) Farmer moved to New York and worked with Gigi Gryce
(1954-56), Horace Silver's Quintet (1956-58) and the Gerry Mulligan Quartet (1958-9). Farmer, who
made many recordings in the latter half of the 1950s (including with Quincy Jones and George Russell
and on some jam-session dates for Prestige) co-led the Jazztet with Benny Golson (1959-62) and then had
a group with Jim Hall (1962-64). He moved to Vienna in 1968 where he joined the Austrian Radio
Orchestra, worked with the Kenny Clarke-Francy Boland Big Band and toured with his own units. Since
the 1980s Farmer visited the U.S. more often and has remained greatly in demand up until his death on
October 4, 1999. Farmer recorded many sessions as a leader through the years including for Prestige,
Contemporary, United Artists, Argo, Mercury, Atlantic, Columbia, CTI, Soul Note, Optimism, Concord,
Enja and Sweet Basil.
All Music Guide

Darn That Dream midifile Transcription : Sean-David McGoran (thanks Sean)

Fair Weather midifile
I Love You midifile
I Remember Clifford midifile
Whisper Not midifile
AL HIRT

Al Hirt
Alois Maxwell Hirt was born November 7, 1922 in New Orleans, Louisiana. He was 6 years old when he
got his first trumpet from a pawnshop, and it proved to be a life-long love affair. Al's first professional
gig, at the age of 17, was calling the horses to the post at the Louisiana Fairgrounds in 1939. He studied
classical trumpet at the Cincinnati Conservatory until entering the US Army, where he spent much of his
time playing with the 82nd Army Air Force Band. Upon his discharge, he freelanced in swing bands led
by Tommy and Jimmy Dorsey, Ray McKinley, Benny Goodman and Horace Heidt, but returned to New
Orleans in the early 50's and formed his own band, soon becoming the house band for Dan Levy's Pier
600 Club.

Starting around 1955 he sometimes teamed with Pete Fountain (clarinet) and by 1960 signed with RCA
records and made quite a name for himself. During this decade he had several "pop" hits such as Cotton
Candy and Java which introduced him to the "mainstream" public. His many accompishments include a
1965 standing room only concert at Carnegie Hall and a Grammy for the recording Java. He also played
at the inaguration of president John F. Kennedy. Playing concerts across the country, his sets included
Latin, pop, jazz, and classical works as well as Dixieland numbers.
Al recorded more than 50 albums in his career, and played for millions of people around the world
including Pope John Paul II and 8 U.S. Presidents. He earned 4 gold albums and 1 platinum.
Some of the awards won by Al Hirt are:
World's Top Trumpeter (15 different years) by Playboy magazine
Artist of the Year by the Music Operators of America
Grammy
Lifetime Achievement Award from the Charlie "Bird" Parker Memorial Foundation
He also appeared in several films:
1962 Rome Adventure
1964 Fanfare For A Death Scene
1965 Electric Showcase
1967 What Am I Bid?
1969 Number One
1988 Sass and Brass: A Jazz Session
1990 New Orleans Jazz Brunch
He appeared on an episode of "Touched By An Angel" on CBS television during the '96-'97 season, and
hosted his own television program, "Fanfare", in 1965.
Some other facts about Al Hirt: al headlined the half-time show at the first Superbowl game in 1967. He
appeared in a total of 5 Superbowl programs.
When Pope John Paul II visited New Orleans in 1987, Al played Handel's "Ave Maria" for him.
Sadly, Al Hirt died April 27, 1999 at the age of 76. He will be missed by fans all over the world. How
lucky we are to have so much great music recorded by the man with the golden horn.

Easy Street
Fools Rush In midifile
I Had The Craziest Dream midifile
Java midifile
That Old Feeling
When The Saints midifile

DOC SEVERINSEN

born Jul 7,1927 in Arlington, OR.

Doc Severinsen, best known to late night television audiences as the Tonight Show's flamboyant Grammy
Award-winning musical director, has established a multi-dimensional career beyond his late night
repertoire, including symphonic jazz and big band concert appearances, recordings, and commercials plus
designing and manufacturing trumpets.
Although Severinsen's signature has been his superb trumpet playing, quick witted banter and original
style of clothes on the Tonight Show, he is one of today's pre-eminent instrumentalists. Today, Doc
continues to tour across the country performing concerts in an array of musical styles - he performs
classical and pop music as a guest conductor/performer with symphony orchestras. In addition to guest
assignments, Doc is Principal Pops Conductor of the Phoenix Symphony, the Buffalo Philharmonic, the
Minnesota Orchestra and the Milwaukee Symphony. Severinsen also plays sizzling jazz with his jazz
group, Facets, and big band tunes with the famous former Tonight Show Band, now known as Doc
Severinsen and His Big Band.

This summer, he's added a new dimension to his gifted repertory. Art Modell, owner of the Browns,
thought their old Fight Song needed dusting off. Originally composed in the 1940's, the mascot tune had
become out of step with the 90's. So, art turned to Doc. With a spiffy new arrangement, Doc has given the
forty year old melody a new lease on life - an upbeat, very modern, jazzy rhythm.

Doc's big band tour of eleven cities up and down the Mississippi was completely sold out. Doc conducted
a fifteen member band, with some of the Tonight Show's best - Ed Shaughnessy on drums, Ernie Watts on
sax, and Chuck and Bob Finley on trumpets. In March, 1996, Doc went to eight cities south of the
Mason-Dixon Line for a dashing tour of the Southern states

Georgia midifile
There'll Never Be Another You midifile

JOE WILDER
Joe Wilder
b. Joseph Benjamin Wilder, 22 February 1922, Colwyn, Pennsylvania, USA. After studying music in his
home town, Wilder joined the trumpet section of the Les Hite band in his late teens. From Hite he
graduated to the Lionel Hampton band and, before the 40s were over, had played with leaders such as
Dizzy Gillespie, Jimmie Lunceford, Lucky Millinder and Sam Donahue. In the 50s he mostly worked in
theatre bands but spent several months with Count Basie, and by the end of the decade had embarked
upon a long stint as a staff musician in US radio and television studios. During this period, which
extended into the early 70s, he found time to play with Benny Goodman on a tour of the Soviet Union.
Later in the 70s and throughout the 80s he continued to play in studio orchestras, making occasional
recordings, including a fine set with Benny Carter. In the 90s he returned as a leader and recorded two
albums for Evening Star. A top-rank lead trumpeter, Wilder's technical command has ensured his
successful career in the studios but that, in turn, has necessarily overshadowed his jazz playing.

Willow Weep For Me midifile

RAY COPELAND

Ray Copeland. Born Jul 17, 1926 in Norfolk, VA. Died May 18, 1984 in Sunderland, MA
An accomplished composer and instructor, Ray Copeland was a solid trumpeter from the '40s until the
'80s in swing, bebop, hard bop and even with stage bands. He gave many workshops and jazz history
courses, and his playing demonstrated a confident, engaging tone and crackling energy, as well as
effective range and timbre. Copeland studied classical trumpet and played with various rock and pop
groups as a teenager in Brooklyn. He toured in the late '40s with Mercer Ellington and Al Cooper's Savoy
Sultans. Copeland played with Andy Kirk and Sy Oliver in the early '50s, and played bebop and swing
with Lionel Hampton, Randy Weston, Oscar Pettiford and others in the late '50s. He was featured in the
1959 film "Kiss Her Goodbye." Copeland played in The Roxy Theater Orchestra in the late '50s and early
'60s, while also working with Art Blakey, Cat Anderson, Johnny Richards, Louis Bellson and Pearl
Bailey. Copeland was one of Ella Fitzgerald's accompanists in 1965. He rejoined Weston in 1966, and
toured Africa on State Department-sponsored events in 1967 and Morocco in 1970. He toured Europe
with Thelonious Monk in 1968. Copeland played at the 1973 Newport Jazz Festival and continued
performing periodically into the '80s. He also led orchestras in New York during the '70s, and his
"Classical Jazz Suite in Six Movements" composition premiered at the Lincoln Center in 1970. Copeland
worked in Broadway shows and toured Europe with the revue "The Musical Life of Charlie Parker" in
1974. His book "The Ray Copeland Method and Approach to the Creative Art of Jazz Improvisation" was
published that same year. Copeland didn't issue any dates as a leader, but can be heard on various reissues
by Monk, Weston, Blakey and Anderson. Biography by Ron Wynn. All Music Guide

The Nearness of You midifile

MUGGSIE SPANIER

Real name : Francis Joseph Spanier. Born Nov 9, 1906 in Chicago, IL. Died Feb 12, 1967 in Sausalito,
CA
Muggsy Spanier was a predictable but forceful cornetist who rarely strayed far from the melody. Perfectly
at home in Dixieland ensembles, Spanier was also an emotional soloist (equally influenced by King
Oliver and Louis Armstrong) who was an expert at using the plunger mute. He started on cornet when he
was 13, played with Elmer Schoebel's band in 1921, and first recorded in 1924. Spanier was a fixture in
Chicago throughout the decade (appearing on several important early records) before joining Ted Lewis
in 1929. Although Lewis was essentially a corny showman, Spanier's solos gave his band some validity
during the next seven years. After a stint with Ben Pollack's orchestra (1936-1938), Spanier became
seriously ill and was hospitalized for three months. After he recovered, the cornetist formed his famous
eight-piece "Ragtime Band" and recorded 16 Dixieland performances for Bluebird (later dubbed The
Great Sixteen) that virtually defined the music of the Dixieland revival movement. But because his group
actually preceded the revival by a couple years, it soon had to break up due to lack of work. Muggsy
joined Bob Crosby for a time, had his own short-lived big band, freelanced with Dixieland bands in New
York, and starting in 1950 he gradually relocated to the West Coast. During 1957-1959 Spanier worked
with Earl Hines' band and he continued playing up until his retirement in 1964, touring Europe in 1960
and always retaining his popularity in the Dixieland world. By Scott Yanow. All Music Guide
Spanier Jada midifile

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