Daily Dose Of Jazz…

Freddy Randall was born Frederick James Randall on May 6, 1921 in Clapton, East London, England. Becoming interested in music in school the self-taught musician took up the trumpet at 16, never learned to read music but still achieved a high degree of technical proficiency with a flair and exuberance which marked him out. He began playing in local bands including Albert Bale’s Darktown Strutters and Will De Barr’s Band.

Randall’s heroes were the so-called Dixieland players out of Chicago like Wild Bill Davison and Muggsy Spanier and his own playing reflected their influence as he led the St. Louis Four in 1939. After military service he played Freddy Mirfield and John Dankworth before leading his own Dixieland groups in the late forties that featured many well-known English trad jazz stars of the era.

By 1958 Freddy left music due to lung problems, not resurfacing until ’63 playing with Dave Shepherd and recording for Black Lion Records. Over the course of his career Randall played with visiting American jazz musicians Sidney Bechet, Bud Freeman, Wild Bill Davison, Pee Wee Russell, Bill Coleman and Teddy Wilson.

Freddy Randall, trumpeter and bandleader, died on May 18, 1999 in Teignmouth, Devon at age 78.

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Daily Dose Of Jazz…

Mario Bauzá was born on April 28, 1911 in Havana, Cuba and was classically trained. By age nine he was playing clarinet in the Havana Philharmonic Orchestra and would stay there for the next three years. In 1925 he ventured to New York to record with Maestro Antonio Maria Romeu’s band “Charanga Francesca”. He was fourteen. Five years later he returned to New York and reputedly learned to play trumpet in two weeks to become a part of the Don Azpiazu Orchestra.

Bauzá became lead trumpeter and musical director for Chick Webb’s Orchestra by 1933, and it was during his time with Webb that Bauzá both met fellow trumpeter Dizzy Gillespie and discovered and brought into the band singer Ella Fitzgerald. 1938 saw Bauzá joining Cab Calloway’s band, later convincing Calloway to hire Dizzy as well, with whom Bauzá would continue to collaborate even several years after he left Calloway’s band in 1940. The fusion of Bauzá’s Cuban musical heritage and Gillespie’s advancements in bebop eventually culminated in the development of cubop, one of the first forms of what is commonly referred to as Latin jazz.

Bauzá became musical director of Machito and his Afro-Cubans in 1941, a band led by his brother-in-law, Frank Grillo, also known as Machito, and in 1942 he brought a young timbales player named Tito Puente into the fold. For the next 30 years Bauzá remained director of the band up until 1976 where he began working sparingly leading his own Afro-Cuban orchestra through the eighties and into the early 90s, where his last band made a guest appearance on The Cosby Show.

Mario Bauzá, who died in New York City on July 11, 1993, was one of the first musicians to introduce Latin music to the United States by bringing Cuban musical styles into the New York jazz scene. He was one of the most influential figures in the development of Afro-Cuban music, and his innovative work and musical contributions have many jazz historians to call him the “Founding Father of Latin Jazz”.

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Daily Dose Of Jazz…

Benny Harris was born on April 23, 1919 in New York City. His first major gig as a trumpeter was in 1939 with Tiny Bradshaw. He would go on to play with Earl Hines in 1941 and 1943, and worked New York’s 52nd Street bebop circuit in the 1940s.

Harris collaborated with Benny Carter, John Kirby, Coleman Hawkins, Don Byas and Thelonious Monk. He was with Boyd Raeburn from 1944-45 and Clyde Hart in 1944; he and Byas worked together again in 1945. He played less in the late 1940s, though he appeared with Dizzy Gillespie in 1949 and Charlie Parker in 1952. After this Harris quit music entirely.

Never a well-known soloist, Benny is better known for such compositions as  “Crazeology” and “Ornithology”, the latter being a signature Charlie Parker tune; “Reets and I”, a Bud Powell favorite; and “Wahoo”, a tune associated with Duke Pearson.

Benny Harris, bebop trumpeter and composer died on May 11, 1975 in San Francisco, California.

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Daily Dose Of Jazz…

Thaddeus Joseph Jones was born in Pontiac, Michigan on March 28, 1923 into a musical family of ten. His older brother Hank was a pianist and a younger brother Elvin, a drummer. A self-taught musician, Thad was performing professionally by the age of sixteen. Enlisting in the Army from 1943 – 1946, he played in the U.S. Army bands during World War II.

By 1954 Thad joined the Count Basie Orchestra and was a featured soloist on such tunes as April In Paris, Shiny Stockings and Corner Pocket. But his main contribution to the orchestra was his compositions and arrangements of The Deacon, Counter Block and H.R.H. in honor of their command performance in London for the Queen. This was followed by a hymn like ballad by Jones titled “To You” performed by the Basie and Ellington bands in their only performance together, and “Dance Along With Basie” recording with nearly all Jones un-credited arrangements of standards.

1963 saw Jones leaving Basie to become a freelance arranger and studio player in New York. Two years later he and drummer Mel Lewis would form The Thad Jones/Mel Lewis Orchestra that began as an informal jam session amongst New York’s studio elite. They found a home at the Village Vanguard with Thad at the helm for twelve years and in 1978 they won a Grammy for the recording “Live In Munich”.

That same year Jones moved to Copenhagen to the surprise of his New York colleagues. The band continued under Lewis’ direction until his death and is still currently in residence as the Village Vanguard Orchestra. During his life in Copenhagen he composed for the Danish Radio Big Band, taught jazz at the Royal Danish Conservatory, formally studied composition and took up the valve trombone. Ill health began to take its toll on Jones by the mid- eighties and on August 21, 1986 the composer, arranger, trumpeter and flugelhornist passed away in Copenhagen.

Thad Jones’ most notable album was “Suite For Pops” featuring intense bebop improvisations of saxophonist Billy Harper and high note screeching of trumpeter Jon Faddis. His most well known composition is “A Child Is Born”.

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Daily Dose Of Jazz…

Blue Mitchell was born Richard Allen Mitchell on March 13, 1930 and was raised in Miami, Florida. He didn’t begin playing trumpet until high school, where he received his nickname “Blue”. In the years following he played in the rhythm and blues bands of Paul Williams, Earl Bostic and Chuck Willis but upon returning to Miami caught the ear of Cannonball Adderley, with whom he recorded in 1958 for Riverside.

He joined the Horace Silver Quintet playing alongside Junior Cook, Gene Taylor and Roy Brooks until 1964 and then formed his own band replacing Silver with Chick Corea an ailing Brooks with Al Foster. By 1969 Mitchell disbanded the group and joined Ray Charles, touring till ’71.

This stint was followed by Jazz Blues Fusion with John Mayall and throughout the seventies he recorded and worked as a session player, performed with Louis Bellson, Bill Holman, Lou Donaldson, Grant Green, Philly Joe Jones, Jackie McLean, Dexter Gordon, Hank Mobley and a host of other major players.

On May 21, 1979 the multi-faceted trumpeter Blue Mitchell, who delivered a light and swinging tone and known for his jazz, rhythm and blues, passed away from complications of cancer at age 49 in Los Angeles, California.

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