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Doc Severinsen was born Carl Hilding Severinsen on July 7, 1927 in Arlington, Oregon. Nicknamed “Little Doc” after his father who was a dentist, he originally wanted to play the trombone, which he discovered at neighbor Art Fletcher’s home, but his father urged him to study that instrument instead. Insisting on the trombone, he had to settle for the trumpet, as it was the only horn available in Arlington’s small music store. A week later, with the help of his father and a manual of instructions, the seven-year-old was good enough to be invited to join the high school band.
At the age of twelve, Severinsen won the Music Educator’s National Contest. While still in high school he was hired to go on the road with the Ted Fio Rito Orchestra, however, his stay with the group was cut short by the World War II draft. After serving in the Army he made his broadcasting debut playing live popular music on KODL radio in Dalles, Oregon.
In 1952 during Steve Allen’s tenure as host of the Tonight Show, Doc played first trumpet in the band directed by Skitch Henderson. He actually joined the band several months before Johnny Carson became host in October 1962. Severinsen took over as bandleader in 1967 and soon became noted for his flashy fashions. It gave him the opportunity to update many well-known swing music and jazz standards including classics by Cole Porter, Dizzy Gillespie and others.He remained the bandleader until Carson’s retirement in 1992.
During the 1950s and 1960s, Doc released a number of albums of jazz standards. He recorded with the Enoch Light Comand Records label, with Tito Puente, Clarke-Boland Big Band, Thad Jones/Mel Lewis band, the Cincinnati Pops Orchestra, Henry Mancini and Don Caneva’s John Hersey High School Bands.
Over the course of his career he has conducted the Phoenix, Milwaukee Minnesota and Pacific orchestras, the Buffalo Philharmonic, his recording of Abblasen has been use as the theme for CBS’s Sunday Morning, he has scored films, co-wrote hit single with Mac Davis, was named Distinguished Visiting Professor of Music and Katherine K. Herberger Heritage Chair for Visiting Artists at Arizona State University. He still performs regularly with the San Miguel 5 playing gypsy jazz, Latin, American ballads and classical Spanish styles.
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Ken Watters was born July 6, 1964 in Huntsville, Alabama. He attended the University of North Texas and became a part of the Lab Band program. He studied trumpet with internationally renowned teacher Leonard Candelaria prior to studying in New York City with Lew Soloff and Wynton Marsalis.
Ken is a member of several noted performing groups, including Tabou Combo, Natalie Cole Band, the Magic City Jazz Orchestra, Ray Reach and Friends and the W.C. Handy Jazz All-Stars. He recorded his debut release with his Haitian-Caribbean jazz septet RIYEL and has recorded a total of six projects as a leader.
He has recorded and released three CDs titled “Brothers” with his trombonist brother Harry. His latest musical project is an ongoing venture co-led alongside vocalist Ingrid Felts, called the Watters-Felts Project. The jazz-oriented sextet included pianist Keith Taylor, bassist Abe Becker, percussionist Darrell Tibbs and drummer Marcus Pope.
Trumpeter Ken Watters is also an educator currently sitting as an adjunct professor at University of Alabama in Huntsville, where he directs the UAH Jazz Ensemble I. He continues to perform, record and tour.
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Jeff Beal was born in Hayward, California on June 20, 1963 and began trumpet studies in the third grade after attending a school music assembly at Castro Valley’s Marshall Elementary School with his father. Upon hearing the trumpet played, he chose it as his instrument and his grandmother, pianist Irene Beal, gave him a recording of Miles’ collaboration with Gil Evans, Sketches of Spain.
Beal wrote his first long-form composition for the Oakland Youth Symphony Orchestra while a student at Castro Valley High School, combining his love of jazz improvisation with an orchestral accompaniment. This merging of improvisation with classical composition has remained a hallmark of his music. He went on to matriculate through the Eastman School of Music in Rochester, New York studying composition and trumpet earning a Bachelor of Music degree.
Beal composed and recorded his debut album, Liberation, for Island Records. His jazz band went on to perform at The Blue Note and the Montreaux Jazz Festival. At the request of Chick Corea, Beal composed and recorded a concerto for the virtuosic jazz bassist, John Patitucci for Corea’s Stretch Records label.
John’s signature work, Alternate Route, was composed for improvised trumpet and orchestra. Written fifteen years after his first long form composition, this piece was again premiered by Kent Nagano for the Berkeley Symphony Orchestra, spotlighting him as trumpet soloist. He also composed improvisatory concerti for Dave Samuels, Larry Coombs, and the Turtle Island String Quartet.
By the mid-1990s, he relocated to Los Angeles and got his first critical notice in 2001, for his minimalist Americana score to Ed Harris’ directorial debut, Pollock. He has been nominated for thirteen Emmy Awards including Carnivale, Rome and House of Cards. He has won three. Trumpeter and composer Jeff Beal continues to work in film and television, recording and performing concerts.
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Anita Brown was born June 17, 1959 in South Hamilton, Massachusetts. She attended and graduated the Pingree School and Andover High School before her family moved to Long Island, New York in 1977. It was at this juncture in her life that she began studying voice, phrasing and inflection with Lennie Tristano, first imitating Billie Holiday and then singing the solos of Lester Young.
A year later she enrolled at SUNY Old Westbury, majored in Music Education, adding photography, dance and choreography to her schedule. In 1980 Anita transferred her major to the University of New Hampshire concentrating on classical piano and voice. In her junior year that she discovered her passion of conducting and by the time she graduated she had a considerable transcript of instrumental and choral conducting along with score study under her belt.
Brown began her career in conducting also in her third year at UNH as a part time band director, prior to graduation and moving back to New York. In addition to studying clarinet, she took on and mastered the trumpet, continuing to play, write and teach. By 1995 she was at the BMI Jazz Composers Workshop and building a body of work for jazz orchestra guided by Jim McNeely, Manny Albam and Mike Abene. There she composed and contributed compositions that were featured in the annual concerts and was a finalist in 2001 and 2003 Charlie Parker Composition Competitions.
In 2000 she founded the Anita Brown Jazz Orchestra, independently recording and releasing her debut CD, 27 East, to critical acclaim and was appeared in six categories on the ballot for the 46th Grammy Awards. She was the first recipient of the ASCAP/International Jazz Composers’ Symposium New Music Award for Big Band Works for her piece The Lighthouse, selected by Bob Brookmeyer, ohn Clayton and Dave Douglas.
She has written arrangements for Nnenna Freeelon, The ount Basie Orchestra, the Jon Faddis jazz Orchestra, Chiuck Owen, and the Jazz Surge, Roseana Vitro, Bobby Short and a number of New York R&B bands.
The Vanguard Jazz Orchestra, the U.S. Army Jazz Ambassadors, BMI New York Jazz Orchestra and numerous college and high school jazz ensembles have performed her original works. As an educator she is on the faculty of New Jersey City University and Sara Lawrence College, and established her Composer Residency Project.
Conductor, arranger and composer Anita Brown consults planning and producing recordings and performances, has served as copyist and/or assistant to Jim McNeely, Maria Schneider, Many Albam, Don Sebesky, John Pizzarelli, the Vanguard Jazz Orchestra, Carnegie Hall Jazz Band and Toshiko Akiyoshi Big Band while serving as archivist for the Gil Evans and Manny Albam estates.
Music: https://youtu.be/9KZo1ItnDCE
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Valaida Snow was born on June 2, 1903 in Chattanooga, Tennessee into a family of musicians where her mother taught her and sisters Alvaida and Hattie, and brother Arthur Bush how to play multiple instruments. She was taught to play cello, bass, violin, banjo, mandolin, harp, accordion, clarinet, saxophone and trumpet. By the young age of fifteen she was already a recognized professional singer and trumpeter and while her beauty attracted audiences, it was her incredible talent as a jazz trumpeter which truly captivated them. Obtaining the nickname, “Little Louis” due to her Louis Armstrong-like playing style, hitting those high C’s just like Louis.
Snow toured and recorded frequently in the United States, Europe and the Far East both with her own bands and other leaders’ bands. She took part in a session with Earl Hines in New York in 1933 and also performed with Count Basie, Teddy Weatheford, Willie Lewis and Fletcher Henderson at various places and times.
Not limiting herself to jazz she branch out to the stage and as an actress she debuted on Broadway in 1924 as Mandy in Eubie Blake and Noble Sissles’s musical ‘Chocolate Dandies.’ Later, she appeared on Broadway in Ethel Waters’ show, ‘Rhapsody in Black’ in 1934; she appeared in the London production of ‘Blackbirds’ in 1935 with Johnny Claes and also in its Paris production. She could be seen in ‘Liza’ across Europe and Russia in the 30’s and was also in the Hollywood films ‘Take It from Me’ in 1937, ‘Irresistible You,’ ‘L’Alibi’ and ‘Pieges’ in 1939 with her husband Ananais Berry. Valaida Snow shocked people in the USA, with her eccentric behavior. She traveled in an orchid colored Mercedes, dressed in an orchid suit, her pet monkey rigged out in an orchid jacket and cap, with the chauffeur in orchid as well.
Snow’s incarceration has been written about several times and debunked by a few that while touring through Denmark in 1941, she was arrested by the Nazis during the German occupation and kept at Vestre Faengsel (Western Prison), a Danish prison in Copenhagen that was run by the Nazis. She was released on a prisoner exchange in May 1942. What is know is that Snow stayed in wartime Denmark by choice, that she survived the Nazis and was never shy about using and stretching the truth to suit her purposes.
By the early 1950s Valaida recorded for the Derby label with the Jimmy Mundy Orchestra. The result was “Tell Me How Long The Train’s Been Gone” and “When A Woman Loves A Man”. The record does nicely in certain areas, especially Philadelphia and St. Louis. The Derby release is her first real effort since her tragic imprisonment and it does well. She embarked on a tour of the Northeast and is a particular favorite at the Monte Carlo in Pittsburgh. In the fall she is at the 845 Club in New York and is held over. In a bit of a surprise she leaves Derby Records and signs with Apollo Records late in the year.
In February of 1951 she records “Porgy” and “The More I Know About Love” for Apollo with the Bobby Smith Orchestra. She continues her many in person appearances throughout the country, and in early 1952 embarks on a true R & B tour with Joe Liggins & His Honeydrippers up and down the West coast. Her records are sporadic, and after a well-attended stay at Chicago’s Crown Propeller Lounge in late 1953, Snow signed with that city’s Chess label. “I Ain’t Gonna Tell” and “If You Mean It” are released by Chess. The next two years are spent mostly appearing in the musical revues that have always been her first love.
It is just at this time that the final curtain descends on Valaida Snow, who spoke seven languages, was billed as “Queen Of The Trumpet”, performed in the top theatrical productions of her day, wrote and recorded her theme song, “High Hat, Trumpet and Rhythm” and was the toast of Paris and London, passed away on May 30, 1956 of a cerebral hemorrhage backstage at the Palace Theater in New York. She left this world doing what she loved most, entertaining the public with her great talents.
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