SOUND PROJECTIONS
AN ONLINE QUARTERLY MUSIC MAGAZINE
EDITOR: KOFI NATAMBU
WINTER, 2020
VOLUME EIGHT NUMBER ONE
HERBIE HANCOCK
Featuring the Musics and Aesthetic Visions of:
MELBA LISTON
(November 30-December 6)
KENNY CLARKE
(December 7-13)
LEONTYNE PRICE
(December 14-20)
JIMMY LYONS
(December 21-27)
PATRICE RUSHEN
(December 28-January 3)
ELVIN JONES
(January 4-10)
GARY BARTZ
(January 11-17)
HALE SMITH
(January 18-24)
BENNY CARTER
(January 25-31)
BENNY GOLSON
(February 1-7)
BENNY BAILEY
(February 8-14)
SKIP JAMES
(February 15-21)
https://www.latimes.com/archives/la-xpm-2005-may-11-me-bailey11-story.html
Benny Bailey
(1925-2005)
Artist Biography by Scott Yanow
It is a bit ironic that Benny Bailey is best known for his contributions to the famous Eddie Harris/Les McCann Swiss Movement
album, since he admitted later on that he did not care for the funky
music. An extroverted and highly expressive player who mostly appeared
in boppish settings, Bailey's
longtime residence in Europe resulted in him gaining less fame
(although probably more work) than if he had spent more time in the U.S.
Bailey
had some training on piano and flute early in his career, switched
permanently to trumpet, and studied at the Cleveland Conservatory of
Music. In the early 1940s, he played with groups led by Bull Moose Jackson and Scatman Crothers. After gigging with Jay McShann, he was with Dizzy Gillespie's big band from 1947-1948, and then became a key member of the Lionel Hampton Orchestra (1948-1953). The trumpeter left Hampton during a European tour, settling overseas. He spent a long period in Sweden, working with Harry Arnold's big band (1957-1959), recording with Stan Getz and touring with Quincy Jones (1959). A brief visit to the United States in 1960 (during which he recorded a near-classic album for Candid, Big Brass) was followed by his relocation to Germany. Bailey worked steadily, recording with Eric Dolphy in 1961, being featured with the Kenny Clarke-Francy Boland Big Band, touring with George Gruntz's Concert Jazz band, and in 1986 he became a member of the Paris Reunion Band. In addition to the Candid date, Bailey
led sessions for many European labels, including Sonet, Metronome,
Saba, Freedom, Enja, Ego, Hot House, and Gemini, plus an American set in
1978 for Jazzcraft. But it is his explosive solos on "Cold Duck Time"
and "Compared to What" from the Harris/McCann concert (now also available on video) that made him most famous. Bailey recorded a well-received tribute to Louis Armstrong titled The Satchmo Legacy
in 2000 and maintained an active touring schedule. The veteran
trumpeter passed away April 15, 2005 at his home in Amsterdam.
https://www.latimes.com/archives/la-xpm-2005-may-11-me-bailey11-story.html
Benny Bailey, 79; American Trumpet Player Influential in European Jazz
From Times Staff and Wire Reports
May 11, 2005
Benny Bailey, a leading bebop-style trumpeter who was an important jazz presence in Europe since the 1950s, has died.
He was 79.
Bailey died April 14 at his home in Amsterdam, according to a report in the Cleveland Plain Dealer.
It
was while touring with the Dizzy Gillespie and Lionel Hampton bands in
the 1950s that Bailey became fascinated with Europe. He lived in Sweden
for several years in the 1950s and after a brief return to the United
States in 1960, settled in Germany and later the Netherlands.
A
native of Cleveland, Bailey was born Ernest Harold Bailey on Aug. 13,
1925. He learned to play piano and flute before taking up the trumpet,
and while still in high school, started a band with saxophonist Willie
Smith. Bailey later studied music at the Cleveland Conservatory of
Music.
Scatman Crothers, who later became famous as an actor and
dancer, had his own band in those days and played the drums. He hired
Smith and Bailey and brought them to Los Angeles in 1944.
From
there, Bailey played with pianist Jay McShann’s band and with
saxophonist Teddy Edwards before joining Gillespie’s band for several
years and then Hampton’s band, where he was featured soloist.
While
living in Europe, Bailey worked with leading radio orchestras and big
bands in Germany and Switzerland. He was also a member of the Kenny
Clarke-Francy Boland Big Band.
Over the years, Bailey worked steadily with visiting American jazz
musicians, and is perhaps most famous to American audiences for one of
those collaborations. In 1969, pianist Les McCann and saxophonist Eddie
Harris were playing at the Montreux Jazz Festival in Switzerland. Bailey
joined that session and from it came the album “Swiss Movement,”
featuring a memorable, improvised solo by Bailey on “Compared to What.”
He
returned briefly to Cleveland in 1992 to play in a big band formed by
Smith. Later in the 1990s, he played in New York City and added vocals
to his performance.
Bailey is survived by three children and two sisters.
https://www.nytimes.com/2005/05/09/arts/benny-bailey-us-jazzman-whose-home-base-was-europe-dies-at-79.html
Benny Bailey, an American trumpet player who for most of his career was a well-known fixture on the European jazz scene, died on April 14 at his home in Amsterdam. He was 79.
https://www.nytimes.com/2005/05/09/arts/benny-bailey-us-jazzman-whose-home-base-was-europe-dies-at-79.html
Benny Bailey, U.S. Jazzman Whose Home Base Was Europe, Dies at 79
by
Benny Bailey, an American trumpet player who for most of his career was a well-known fixture on the European jazz scene, died on April 14 at his home in Amsterdam. He was 79.
His death was announced by city officials, who did not specify the cause.
Mr.
Bailey was admired by his fellow musicians for his versatility and his
prodigious technique. He was still young when he became one of the first
of a wave of bebop-era musicians to move to Europe, and he remained
relatively unknown in the United States.
Ernest
Harold Bailey was born in Cleveland on Aug. 13, 1925. He studied
trumpet at the Cleveland Conservatory of Music and began his career with
the rhythm-and-blues bands of Bull Moose Jackson and Scatman Crothers.
He toured Europe with Dizzy Gillespie's big band in 1948, and later that
year joined Lionel Hampton, with whom he spent five years before
quitting in the middle of a European tour and settling in Sweden. He
moved to Amsterdam in the 1990's.
Except
for a brief return to the United States in 1960, Europe remained his
base of operations for the rest of his life. His occasional return
visits included weeklong engagements at the Village Vanguard in New York
in 1995 and 1996.
Mr.
Bailey spent a decade with the Kenny Clarke-Francy Boland Big Band and
toured with the George Gruntz Concert Jazz Band. He also worked
frequently with both visiting and expatriate American musicians.
But
for all his accomplishments, he was probably best known for about 60
seconds of music: his impassioned improvisation on the hit single
"Compared to What," recorded at the 1969 Montreux Jazz Festival in
Switzerland with the pianist and singer Les McCann and the saxophonist
Eddie Harris.
"When I went back to the
States about 10 years later," he told an interviewer, "I found the only
way people knew about me -- especially young people -- was through that
record."
A version of this article appears in print on , Section B, Page 8 of the National edition with the headline: Benny Bailey, 79, U.S. Jazzman Whose Home Base Was Europe. Order Reprints | Today’s Paper | Subscribe
POP REVIEW
POP REVIEW; Benny Bailey's Trumpet Takes the Middle Road
by Peter Watrous
Older
jazz musicians often make adjustments for age, finding a way to replace
technique with lyricism or spareness. Benny Bailey, an expatriate
trumpeter who last performed in New York City during the late 1970's or
early 80's, depending on who's talking, has figured out his approach. He
rarely performs any material over a medium tempo, and at that speed,
where nothing is circumscribed by velocity, he places his notes
carefully, moving from precise and even lines to smears and kissed
notes.
One of the many small miracles
be-bop bequeathed to jazz in the early 1940's was the even eighth note,
and Mr. Bailey, who is appearing at the Village Vanguard, 178 Seventh
Avenue South, at Perry Street, through Sunday, can play them. His
phrases on Tuesday night often featured a lean series of notes whose
rhythms were insinuated by the internal weight given notes within a
line. And after a smooth phrase or two, he yelped or squealed a note on
his horn; Mr. Bailey is familiar with the swing vocabulary as well as
be-bop's grammar, and he played everything with a large, open tone, as
if the microphone were irrelevant to his way of thinking.
To
underscore his catholic approach, he sang a tribute to Louis Armstrong,
"Give Me a Kiss to Build a Dream On," and etched several choruses in
Armstrong's style. He also sang "Pennies From Heaven," sounding more
like Dizzy Gillespie. Jazz's vaudeville connections were in his hands.
Mr.
Bailey performed several blues pieces, including an eight-bar blues
with a bridge, and an original composition, "Quarters and Dimes." His
spare ideas always found the heart of a chord, and his improvisations
sounded as if they were conceived as travelogues for a tune, squeezing
colors out of harmonies, describing through his horn what he heard in
each piece.
A version of this article appears in print on , Section C, Page 23 of the National edition with the headline: POP REVIEW; Benny Bailey's Trumpet Takes the Middle Road. Order Reprints | Today’s Paper
https://musicians.allaboutjazz.com/bennybail
In 1980 he returned to the US and co-founded the Upper Manhattan Jazz Society with Charlie Rouse and also worked with Mal Waldron's quintet. In 1983 he went back to Europe for good and resided in Amsterdam. He toured with the Paris Reunion Band, and he was a frequent guest with Europe's leading salsa orchestra, the Conexion Latina.
Bailey recorded a memorable tribute to Louis Armstrong titled “The Satchmo Legacy,” in 2000. Staying active till the end, he was supposed to perform at the North Sea Jazz Festival in July 2005, but following the news of his death this concert was changed to a “Tribute to Benny Bailey”.
Source: James Nadal
Benny Bailey
Benny Bailey was born on August 13, 1925 in
Cleveland, Ohio. His father was an amateur saxophonist and his mother
played the piano. After some experience on piano and flute early in his
career, he switched to the trumpet and studied at the Cleveland
Conservatory of Music. He started his career in the Jay McShann
orchestra. In the forties and fifties he played with some of the
best-known jazz musicians, like Lionel Hampton, Dizzy Gillespie and
Quincy Jones. Quincy Jones, who wrote the song “Meet Benny Bailey,”
admired Bailey for his marvelous breath control and remarkable range.
According to Jones, Bailey had the most perfect technique.
Benny Bailey spent over half of his life in Europe which maybe accounts why he has recorded relatively few albums under his own name, but recorded with Dexter Gordon, Les McCann, Charlie Rouse, and the Kenny Clarke - Francy Boland Big Band, with whom he toured and recorded with until 1973.
He first went to Europe with Dizzy Gillespie's band in 1948 and soon after returned there with Lionel Hampton to stay in Sweden until 1959. After a short stateside sojourn in 1960 during which he recorded an album for Candid, “Big Brass,” the Quincy Jones band brought him back to Europe where he stayed more or less permanently - working as a soloist with different orchestras or leading his own groups in various countries.
In Europe Bailey made a notable appearance at the Montreux Jazz Festival. In 1969 he joined pianist Les McCann and saxophonist Eddie Harris for their show, the performance was recorded and released as “Swiss Movement” for Atlantic. This was a major hit, and the song “Compared to What,” was a huge crossover success that year.
Benny Bailey spent over half of his life in Europe which maybe accounts why he has recorded relatively few albums under his own name, but recorded with Dexter Gordon, Les McCann, Charlie Rouse, and the Kenny Clarke - Francy Boland Big Band, with whom he toured and recorded with until 1973.
He first went to Europe with Dizzy Gillespie's band in 1948 and soon after returned there with Lionel Hampton to stay in Sweden until 1959. After a short stateside sojourn in 1960 during which he recorded an album for Candid, “Big Brass,” the Quincy Jones band brought him back to Europe where he stayed more or less permanently - working as a soloist with different orchestras or leading his own groups in various countries.
In Europe Bailey made a notable appearance at the Montreux Jazz Festival. In 1969 he joined pianist Les McCann and saxophonist Eddie Harris for their show, the performance was recorded and released as “Swiss Movement” for Atlantic. This was a major hit, and the song “Compared to What,” was a huge crossover success that year.
In 1980 he returned to the US and co-founded the Upper Manhattan Jazz Society with Charlie Rouse and also worked with Mal Waldron's quintet. In 1983 he went back to Europe for good and resided in Amsterdam. He toured with the Paris Reunion Band, and he was a frequent guest with Europe's leading salsa orchestra, the Conexion Latina.
Bailey recorded a memorable tribute to Louis Armstrong titled “The Satchmo Legacy,” in 2000. Staying active till the end, he was supposed to perform at the North Sea Jazz Festival in July 2005, but following the news of his death this concert was changed to a “Tribute to Benny Bailey”.
Source: James Nadal
Benny Bailey – Big Brass (1960, Candid)
Benny Bailey – A Kiss To Build a Dream On
If you had been even a casual reader of this blog before I took an eight-month hiatus, you may notice that a big aim of mine in these new posts is to use these records that I collect and covet (not to mention the music found within them) as a catalyst for deeper reading and research. I really couldn’t care less if most of what I do here is somewhat of an aggregation, or even a regurgitation, of what’s already been written. I invest a lot of different things into this hobby: time, money, patience. Heck, before I could even dig deeper into the music itself, I had expand my knowledge on how to spot an old record compared to a newer one. At this point, not only do I feel like I can get back to the music, but it almost seems blasphemous to listen to these records without at least scratching the surface of who these people are, why the results came out as they did, etc.
Take Benny Bailey for example. Even at the height of his powers as a player, he was a relatively unknown figure, to the point where those writing of him cite the iconic tribute song that Quincy Jones wrote about him as much as they try to evoke memories of his best known work. Nat Hentoff, the author of the liner notes for this record, mentions from the very beginning that Bailey was “the most individual player” on the trumpet in recent years. It’s hard to take his word for it, but not because Bailey isn’t a distinctive musician. His approach to improvisation is certainly exciting, especially in the way that he boldly slams high notes from out of nowhere, often at the openings of lines. The reason this must be taken with a grain of salt is because it is a statement coming from a piece of writing that must sell a recording, one that happens to have come about just after Miles Davis, who obtained at the very least the most individual tone and timbre of any jazz trumpeter in history, had just cut Kind of Blue in a hazy modal/bluesy atmosphere that still wafts through the jazz world. From here on out, many trumpet players got brighter and more bold, perhaps in order to evade Miles’ influence, as he alone was and is considered the Prince of a Darkness. Miles embraced the cracks and folds of his tone, while many other trumpet players were so strong on the technique of sound that they muscled through even the most acrobatic of lines. The curves of bebop became angles and slants in hard bop, and while Bailey’s style eschews the direction most players were headed in, it never created for him a sense of notoriety. That’s probably because Bailey never sought any notoriety.
Early on in the 50s, Bailey was playing with Lionel Hampton’s band when he used a European engagement as an opportunity to leave the band and seek residence outside the United States. Hentoff cites the busy schedule and high demand of the US jazz scene as the reason Bailey sought to leave the States, that the trumpeter preferred to live life at his own slower pace. While there is truth to this, it’s impossible to ignore that many African American jazz musicians were drawn to the way black folks were treated overseas. This would prove to lure many jazz musicians to become expatriates, including fellow Hampton trumpet section member Art Farmer, who also desired to emigrate, relocating to Vienna in 1968. In an interview with Whitney Balliet, Farmer explained his life in Europe:
“I have not had a single bad racial experience since I have been in Europe. No one has been rude, no one has ignored me, as people will do [in the US] if they don’t want to serve you or sell you a ticket! or whatever…Sometimes people stare at you in remote Austrian towns, but they stare at you the same way they would stare at a car they have never seen before. It is always something of a shock to come back [to the US], because nothing has changed much. The same hangout are there. A person who plays jazz can go anywhere else in the world and never feel like a stranger…I can play the tiniest European town and be recognized. In an American town of the same size, or even a good-sized American town, I would be unknown.”
Another member of Hampton’s trumpet section at that time was Quincy Jones, who went on to form his own band and go down in history as a composer and arranger of great talent. Jones recognized Bailey’s ability and coaxed him back into the fold of a big band, consistently featuring Bailey’s powerfully brassy solos. It was at some point while Jones’s band was stateside that Bailey cut Big Brass for the Candid label, featuring a group the majority of which had ties to Jones’s own projects. Phil Woods’s Rights of Swing, a record made in the same year and that has also been featured on this blog, has a very similar front line. While the Woods record features the alto saxophonist’s burgeoning talents as a composer and arranger, Jones and other writers transform Bailey’s record from bloated jam session to lively small group exposition. Even Bailey’s closing original, “Maud’s Mood,” is handled by Jones’s deft pen, rather than being dictated to the septet by its leader. Les Spann switches from guitar to flute a handful of times in order to add variety to the front line. Phil Woods even picks up the bass clarinet for the closer to further expand the color palette for Jones’s arrangement. And then there’s the leader’s beautiful work with the harmon mute, which is a baffling median between your two typical styles of muted playing: throaty head voice, or searing, straining, piercing. Its finest moments come on “A Kiss to Build a Dream On,” a famous Louis Armstrong vehicle that is taken as a scenic cruise. Perhaps the choice of mute, while also avoiding Armstrong’s loping, two-to-the-bar approach, were key to erasing any doubt that this particular take were in no way an attempt to pay tribute to one of Bailey’s earliest influences (though Bailey would go on to record a Pops tribute album 40 years after Big Brass).
Anyone listening to Bailey’s improvisations can sense the moments of detour the trumpeter takes from typical bebop navigation, but it’s those wide leaps and sudden darts to the upper register that really give the impression of exuberance that seems to be in contrast to his actual personality and lifestyle. They are ultra accurate, the result of a trained ear and a bit of courage, but they aren’t planned more than a moment ahead of time. Like a power hitter, he takes pitches until he finds what he likes, and then he can really crank. It would be a stretch to say that it makes your typical Dizzy Gillespie run up into the stratosphere sound gimmicky, but I do know that it’s clear for me which style of upper register playing I prefer.
Big Brass is not Benny Bailey’s biggest claim to fame, even amongst those who know his playing beyond its fringe-of-unknown status. A 1969 appearance at Montreux, sitting in with soul jazz stalwarts Les McCann and Eddie Harris, remains the example of his exciting style that has reached the most ears. The record of the performance, Swiss Movement, isn’t hard to find – I’ve passed over it many times without even realizing that Bailey played on it – but to me it’s a drastically reduced example of what Bailey is capable of. What’s most puzzling of all is the juxtaposition of his reclusive tendencies and his demonstrative playing on Swiss Movement. Bailey reportedly didn’t care for this kind of music but he seems quite at home, relying on rhythmic idiom and plenty of the blues to truly stand out in this setting. Bailey remains a bit of a mystery in the sense of whether his voice on the trumpet was his outlet for his true self, or if playing the trumpet were simply what felt most comfortable for him, even sitting in amongst strangers and playing music unknown to him. Big Brass is certainly a record worth enjoying. Puzzling over. Jumping off past the point of the notes hitting your ears to find out more about the musicians that played them.
https://en.wikipedia.org/wiki/Benny_Bailey
Ernest Harold "Benny" Bailey (13 August 1925 – 14 April 2005) was an American jazz trumpeter.[1]
In the early 1940s he worked with Bull Moose Jackson and Scatman Crothers.[1] He later worked with Dizzy Gillespie and toured with Lionel Hampton.[3] During a European tour with Hampton he remained in Europe and spent time in Sweden, where he worked with Harry Arnold's big band.[1] He preferred big bands over small groups, and he became associated with several big bands in Europe, including the Kenny Clarke/Francy Boland Big Band. His time with Quincy Jones led to a brief return to the United States in 1960. He was invited to the studio as part of Freddie Redd's sextet to record Redd's Blues after meeting the pianist during a tour in Sweden. He returned to Europe, first to Germany, then the Netherlands, where he settled permanently.
In 1969 he played on Eddie Harris and Les McCann's album Swiss Movement, recorded live at the Montreux Jazz Festival, although it was not his usual style of music. In 1988 he worked with British clarinetist Tony Coe[1] and recorded albums until 2000 when he was in his mid-70s.
Bailey died at home in Amsterdam on April 14, 2005.[1]
"Benny Bailey - Obituary". The Telegraph. 11 May 2005. Retrieved 23 December 2010.
Yanow, Scott. "Benny Bailey". AllMusic. Retrieved 7 January 2019.
https://en.wikipedia.org/wiki/Benny_Bailey
Benny Bailey
Ernest Harold "Benny" Bailey (13 August 1925 – 14 April 2005) was an American jazz trumpeter.[1]
Biography
A native of Cleveland, Ohio, Bailey briefly studied flute and piano before turning to trumpet. He attended the Cleveland Conservatory of Music.[2] He was influenced by Cleveland native Tadd Dameron and had a significant influence on other Cleveland musicians, such as Albert Ayler, Bob Cunningham, Bobby Few, Bill Hardman, and Frank Wright. Bailey played with Tony Lovano, father of Joe Lovano.In the early 1940s he worked with Bull Moose Jackson and Scatman Crothers.[1] He later worked with Dizzy Gillespie and toured with Lionel Hampton.[3] During a European tour with Hampton he remained in Europe and spent time in Sweden, where he worked with Harry Arnold's big band.[1] He preferred big bands over small groups, and he became associated with several big bands in Europe, including the Kenny Clarke/Francy Boland Big Band. His time with Quincy Jones led to a brief return to the United States in 1960. He was invited to the studio as part of Freddie Redd's sextet to record Redd's Blues after meeting the pianist during a tour in Sweden. He returned to Europe, first to Germany, then the Netherlands, where he settled permanently.
In 1969 he played on Eddie Harris and Les McCann's album Swiss Movement, recorded live at the Montreux Jazz Festival, although it was not his usual style of music. In 1988 he worked with British clarinetist Tony Coe[1] and recorded albums until 2000 when he was in his mid-70s.
Bailey died at home in Amsterdam on April 14, 2005.[1]
Discography
- Quincy - Here We Come (Metronome, 1959) also released as The Music of Quincy Jones by Argo in 1961
- Big Brass (Candid, 1960)
- Soul Eyes (MPS 1968)
- Folklore in Swing (MPS, 1966)
- The Balkan in My Soul (MPS, 1968)
- Soul Eyes: Jazz Live at the Domicile Munich (MPS 1968)
- Mirrors (The Amazing Benny Bailey) (Freedom 1971)
- Islands (Enja 1976)
- Serenade to a Planet (Ego, 1976)
- East of Isar with Sal Nistico (Ego, 1978)
- Grand Slam (Jazzcraft, 1978)
- While My Lady Sleeps (Gemini, 1990)
- No Refill (TCB, 1994)
- Angel Eyes (Laika, 1995)
- Peruvian Nights (TCB, 1996)
- I Thought About You (Laika, 1996)
- The Satchmo Legacy (Enja, 2000)
- Basie in Sweden (Roulette, 1962)
- Jazz Is Universal (Atlantic, 1962)
- Handle with Care (Atlantic, 1963)
- Now Hear Our Meanin' (Columbia, 1965 [1963])
- Swing, Waltz, Swing (Philips, 1966)
- Sax No End (SABA, 1967)
- Out of the Folk Bag (Columbia, 1967)
- 17 Men and Their Music (Campi, 1967)
- All Smiles (MPS, 1968)
- Faces (MPS, 1969)
- Latin Kaleidoscope (MPS, 1969)
- Fellini 712 (MPS, 1969)
- All Blues (MPS, 1969)
- More Smiles (MPS, 1969)
- Clarke Boland Big Band en Concert avec Europe 1 (Tréma, 1992 [1969])
- Off Limits (Polydor, 1970)
- November Girl with Carmen McRae (Black Lion, 1975 [1970])
- Change of Scenes with Stan Getz (Verve, 1971)
- Berlin Concerts (1961)
- Imported from Europe (Verve, 1958)
- Stockholm Sojourn (Prestige, 1964)
- Sophisticated Giant (Columbia, 1977)
- Revelation (SteepleChase, 1995 [1974])
- The Rainbow People (Steeplechase, 2002 [1974])
- Round Midnight (SteepleChase, 1991 [1974])
- Quincy's Home Again (Metronome, 1958) - also released as Harry Arnold + Big Band + Quincy Jones = Jazz! (EmArcy)
- I Dig Dancers (Mercury, 1960)
- Quincy Plays for Pussycats (Mercury, 1965 [1959-65])
- De Lawd's Blues (Xanadu, 1980)
- Redd's Blues (Blue Note, 1961)
- The Upper Manhattan Jazz Society (Enja, 1985 [1981])
- Companionship (Vogue Schallplatten, 1971 [1964-70])
- Uhuru Afrika (Roulette, 1960)
- Some of My Best Friends Are the Blues (Prestige, 1964)
- Rights of Swing (Candid, 1961)
See also
- Vocalese, an album by Manhattan Transfer with a tribute song entitled "Meet Benny Bailey"
References
- Cook, Richard (2005). Richard Cook's Jazz Encyclopedia. London: Penguin Books. pp. 27–28. ISBN 0-141-00646-3.
External links
Benny Bailey
Ernest Harold "Benny" Bailey (13 August 1925 – 14 April 2005) was an American bebop and hard-bop jazz trumpeter.
Biography
Bailey was born in Cleveland, Ohio. He had some training in piano and flute in his youth, but switched to trumpet, and concentrated on the instrument while at the Cleveland Institute of Music. He was influenced by his hometown colleague, Tadd Dameron, seven years his elder, and subsequently had a significant influence on other prominent Cleveland musicians including Bill Hardman, Bobby Few, Albert Ayler,Frank Wright and Bob
Cunningham. Bailey also played with "Big T" Tony Lovano - Joe Lovano's father.
In the early 1940s he worked with Bull Moose Jackson and Scatman Crothers. He later worked with Dizzy Gillespie and toured with Lionel Hampton. During a European tour with Hampton he decided to stay in Europe and spend time in Sweden. This Swedish period saw him working with Harry Arnold's big band. He tended to prefer big bands over small groups and became associated with several big bands in Europe including the Kenny Clarke/Francy Boland Big Band. Later he began to work with Quincy Jones and that led to a brief return to the United States in 1960. During this time, he was invited to the studio as part of Freddie Redd's sextet to record the Blue Note Records album Redd's Blues after meeting the pianist during a tour in Sweden, where Bailey had been residing at the time. Shortly thereafter, he returned to Europe first to Germany, and later to the Netherlands, where he would settle permanently.
In 1969 he played on Eddie Harris and Les McCann's album Swiss Movement, recorded live at the Montreux Jazz Festival, even though it was not his usual style of music, and including a memorable unrehearsed solo on the Gene McDaniels' song "Compared to What". Then in 1988 he worked with British clarinetist Tony Coe and kept producing albums until 2000 when he was in his mid-70s.
Bailey died at home in Amsterdam on April 14, 2005.
Discography
- Quincy - Here We Come (Metronome, 1959) also released as The Music of Quincy Jones on Argo in 1961
- Big Brass (Candid, 1960)
- Soul Eyes - (MPS 1968)
- Folklore in Swing (MPS, 1966)
- The Balkan in My Soul(MPS, 1968)
- Soul Eyes: Jazz Live at the Domicile Munich (MPS 1968)
- Mirrors (The Amazing Benny Bailey) (arranged & conducted by Francy Boland (Freedom 1971)
- The Rainbow People (Steeplechase, 1974 [2002]) with Dexter Gordon
- Islands (Enja 1976)
- Serenade to a Planet (Ego 1976)
- East of Isar (Ego 1978) - The Sal Nistico-Benny Bailey Quintet
- Grand Slam (Jazzcraft 1978)
- While My Lady Sleeps (Gemini 1990)
- No Refill (TCB Records1994)
- Angel Eyes (Laika 1995)
- Peruvian Nights (TCB 1996)
- I Thought About You (Laika 1996)
- The Satchmo Legacy (Enja 2000)
- The Rainbow People (Steeplechase 2002)
With Count Basie
- Basie in Sweden (Roulette, 1962)
With the Kenny Clarke/Francy Boland Big Band
- Jazz Is Universal (Atlantic, 1962)
- Handle with Care (Atlantic, 1963)
- Now Hear Our Meanin' (Columbia, 1963 [1965])
- Swing, Waltz, Swing (Philips, 1966)
- Sax No End (SABA, 1967)
- Out of the Folk Bag (Columbia, 1967)
- 17 Men and Their Music (Campi, 1967)
- All Smiles (MPS, 1968)
- Faces (MPS, 1969)
- Latin Kaleidoscope (MPS, 1969)
- Fellini 712 (MPS, 1969)
- All Blues (MPS, 1969)
- More Smiles (MPS, 1969)
- Clarke Boland Big Band en Concert avec Europe 1 (Tréma, 1969 [1992])
- Off Limits (Polydor, 1970)
- November Girl (Black Lion, 1970 [1975]) with Carmen McRae
- Change of Scenes (Verve, 1971) with Stan Getz
With Eric Dolphy
- Berlin Concerts (1961)
With Stan Getz
- Imported from Europe (Verve, 1958)
With Dizzy Gillespie
- The Complete RCA Victor Recordings (Bluebird, 1937-1949, [1995])
With Benny Golson
- Stockholm Sojourn (Prestige, 1964)
With Dexter Gordon
- Sophisticated Giant (Columbia, 1977)
With Quincy Jones
- Quincy's Home Again (Metronome, 1958) - also released as Harry Arnold + Big Band + Quincy Jones = Jazz! (EmArcy)
- I Dig Dancers (Mercury, 1960)
- Quincy Plays for Pussycats (Mercury, 1959-65 [1965])
With Billy Mitchell
- De Lawd's Blues (Xanadu, 1980)
With Freddie Redd
- Redd's Blues (Blue Note, 1961)
With Charlie Rouse
- The Upper Manhattan Jazz Society (Enja, 1981 [1985])
With Sahib Shihab
- Companionship (Vogue Schallplatten, 1964-70 [1971])
With Randy Weston
- Uhuru Afrika (Roulette, 1960)
With Jimmy Witherspoon
- Some of My Best Friends Are the Blues (Prestige, 1964)
With Phil Woods
- Rights of Swing (Candid, 1961)
See also
- Vocalese, an album by Manhattan Transfer with a tribute song
THE
MUSIC OF BENNY BAILEY: AN EXTENSIVE VIDEO OVERVIEW, A CROSS SECTION OF
RECORDINGS, MUSICAL ANALYSIS AND COMMENTARY, PLUS VARIOUS INTERVIEWS
WITH BENNY BAILEY:
