Artist: Woody Herman Genre(s):
Jazz
Blues
Discography:
Woody's Winners Year: 2007
Tracks: 8
Jazz Masters 54 Year: 1962
Tracks: 13
Collection (Boogie Woogie) Year:
Tracks: 4
A fine swing clarinetist, an altoist whose sound was influenced by Johnny Hodges, a beneficial soprano saxophonist, and a peppy blues vocaliser, Woody Herman's greatest signification to jazz was as the loss leader of a long line of large bands. He always bucked up young talent and, more than practically any bandleader from the swing eRA, unbroken his repertoire quite modern. Although Herman was always stuck playacting a few of his older hits (he played "Four-spot Brothers" and "Early Autumn" nightly for nearly 40 days), he a great deal preferable to flirt and create new music.
Woody Herman began playacting as a child, tattle in music hall. He started playing sax when he was 11, and four-spot age by and by he was a professional musician. He picked up early live playacting with the swelled bands of Tom Gerun, Harry Sosnik, and Gus Arnheim, and then in 1934, he linked the Isham Jones orchestra. He recorded oft with Jones, and when the veteran bandleader decided to break up his orchestra in 1936, Herman formed one of his have out of the remaining lens nucleus. The great majority of the early Herman recordings feature film the bandleader as a lay singer, just it was the instrumentals that caught on, leading to his group organism known as "the Band That Plays the Blues." Woody Herman's topic "At the Woodchopper's Ball" became his start murder (1939). Herman's former group was in reality a minor outfit with a Dixieland feel to many of the looser pieces and fine vocals contributed by Mary Ann McCall, in increase to Herman. They recorded selfsame oftentimes for Decca, and for a period had the female trumpeter/singer Billie Rogers as one of its principal attractions.
By 1943, the Woody Herman Orchestra was beginning to assume its first steps into becoming the Herd (later renamed the First Herd). Herman had recorded an advanced Dizzy Gillespie system ("Down Under") the twelvemonth in front, and during 1943, Herman's band became influenced by Duke Ellington; in fact, Johnny Hodges and Ben Webster made client appearances on some recordings. It was a gradual process, just by the closing of 1944, Woody Herman had what was fundamentally a brand new orchestra. It was a wild, good time band with screaming ensembles (propelled by first base herald Pete Candoli), major soloists in trombonist Bill Harris and tenorman Flip Phillips, and a beat section pushed by bassist/cheerleader Chubby Jackson and drummer Dave Tough. In 1945 (with new trumpeters in Sonny Berman and Conte Candoli), the First Herd was considered the most exciting new bad band in malarky. Several of the arrangements of Ralph Burns and Neal Hefti ar considered classics, and such Herman favorites entered the book as "Orchard apple tree Honey," "Caldonia," "Northwestern United States Passage," "Bijou" (Harris' memorable if case feature), and the round the bend "Your Father's Mustache." Even Igor Stravinsky was impressed, and he wrote "Sable Concerto" for the orchestra to do in 1946. Unfortunately, kinsperson troubles caused Woody Herman to break up the swelled band at the tiptop of its success in late 1946; it was the simply one of his orchestras to really throw much money. Herman recorded a second in the lag, and then, by mid-1947, had a new orchestra, the Second Herd, which was besides soon known as the Four Brothers band. With the 3 cool-toned tenors of Stan Getz, Zoot Sims, and Herbie Steward (wHO a class later was replaced by Al Cohn) and baritonist Serge Chaloff forming the nucleus, this orchestra had a different sound than its more extrovert predecessor, merely it could also sire excitement of its own. Trumpeter/arranger Shorty Rogers and eventually Bill Harris returned from the in the first place outfit, and with Mary Ann McCall endorse as a singer, the grouping had a neat deal of potential. But, despite such popular numbers pool as Jimmy Giuffre's "Quaternity Brothers," "The Goof and I," and "Former Autumn" (the latter ballad made Getz into a star), the isthmus struggled financially. Before its burst in 1949, such other musicians as Gene Ammons, Lou Levy, Oscar Pettiford, Terry Gibbs, and Shelly Manne made crucial contributions.
Next up for Woody Herman was the Third Herd, which was similar to the Second except that it by and large played at danceable tempos and was a piece more conservative. Herman unbroken that stria together during much of 1950-1956, even having his have Mars judge for a period; Conte Candoli, Al Cohn, Dave McKenna, Phil Urso, Don Fagerquist, Carl Fontana, Dick Hafer, Bill Perkins, Nat Pierce, Dick Collins, and Richie Kamuca were among the many sidemen. After some ephemeral small groups (including a sextette with Nat Adderley and Charlie Byrd), Herman's New Thundering Herd was a hit at the 1959 Monterey Jazz Festival. He was able to star a big band successfully throughout the sixties, featuring such soloists as high-note trumpeter Bill Chase, trombonist Phil Wilson, the reliable Nat Pierce, and the exciting tenor of Sal Nistico. Always clear to newer styles, Woody Herman's bop-ish unit gradually became more than rock-oriented as he utilized his young sidemen's arrangements, a great deal of flow pop tunes (starting in 1968 with an album coroneted
Light My Fire). Not all of his albums from this era worked, but one invariably admired Herman's open-minded position. As one of exclusively tetrad surviving jazz-oriented bandleaders from the swing era (along with Duke Ellington, Count Basie, and Stan Kenton) world Health Organization was silent touring the populace with a freehanded band, Herman welcomed such fresh natural endowment in the seventies as Greg Herbert, Andy Laverne, Joe Beck, Alan Broadbent, and Frank Tiberi. He as well recorded with Chick Corea, had a reunion with Flip Phillips, and storied his fortieth day of remembrance as a leader with a illustrious 1976 Carnegie Hall concert.
Woodsy Herman returned to accentuation straight-ahead jazz by the recent '70s. By then, he was organism hounded by the IRS ascribable to an incompetent director from the sixties not paid thousands of dollars of taxes out of the sidemen's salaries. Herman, world Health Organization might very well have interpreted it easy, was forced to keep on touring and working always into his old eld. He managed to place on a cheerful face to the public, celebrating his fiftieth anniversary as a bandleader in 1986. However, his health was starting to neglect, and he bit by bit delegated most of his duties to Frank Tiberi before his death in 1987. Tiberi continued to star a Woody Herman Orchestra on a part-time basis but it never had the opportunity to record. Fortunately, Herman was well attested end-to-end all phases of his career, and his major contributions are still greatly comprehended.
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