Don Redman

Don Redman

Source: From the Vaults

Born on 29 July 1900 in Piedmont, West Virginia, Don Redman's was a journey through the Roaring Twenties followed by swing jazz. He'd been something precocious, playing trumpet at age three, joining his first band at age six, and skilled on several wind instruments as well as piano by the time he was a teenager. He attended both Storer College and the Boston Conservatory before joining Billy Page's Broadway Syncopaters in NYC. Tom Lord begins his jazzography of Redman playing alto sax with vocalist, Eddie Gray, sometime in 1922, for Black Swan records on 'Why Did You Make a Plaything of Me' and 'I Like You'. He also backed singer, Lucille Hegamin, on alto sax and clarinet in four sessions during 1922, resulting in nine issued tracks that year with Hegamin, the first two from a session in July for Cameo: 'I've Got What It Takes' and 'Can't Get Lovin' Blues'.

'I've Got What It Takes'   Lucille Hegamin & Her Bang Up Six From Georgia

Clarinet / alto sax: Don Redman   Banjo: Sterling Conaway

Recorded c 23 July 1922 in NYC   Matrix 232-A   Cameo 254 / Muse 254

'Can't Get Lovin' Blues'   Lucille Hegamin & Her Bang Up Six From Georgia

Clarinet / alto sax: Don Redman   Banjo: Sterling Conaway

Recorded c 23 July in NYC   Matrix 233-A   Cameo 254 / Muse 254

Composition: J. Russel Robinson / Roy Turk

In 1923 Redman supported singers such as Alberta Hunter before his first sessions with Fletcher Henderson's orchestra to back vocalist, Hannah Sylvester, on 'Midnight Blues' and 'I Don't Let No Man Worry Me', those for Emerson circa March. Henderson recorded prolifically, also backing singers such as Rosa Henderson (no relation), Clara Smith and Bessie Smith. Saxophonist, Coleman Hawkins, would also begin recording with Henderson on July 19, 1923, backing Rosa on 'Midnight Blues' and 'Struttin' Blues'. Redman sat in all of Henderson's bands, also arranging, until his last session with him on November 4, 1927, yielding 'A Rhythmic Dream' and 'Hop Off'. Meanwhile Redman had begun recording with such as Clarence Williams and Perry Bradford in 1925, his initial sessions with Williams on March 4 yielding 'Cast Away' and 'Papa De Da Da'; his first with Bradford being 'Lucy Long' and 'I Ain't Gonna Play No Second Fiddle'. Redman first recorded with Duke Ellington with the latter's Washingtonians on March 26, 1926, those tunes being 'Georgia Grind' and 'Parlor Social Stomp'.

'Down Hearted Blues'   Fletcher Henderson & His Orchestra

Recorded 28 June 1923 in NYC   Vocalion 14636

Cornet: Elmer Chambers   Trombone: Teddy Nixon

Clarinet / alto sax: Don Redman   Bass and tenor sax: Billy Fowler

Piano: Fletcher Henderson   Banjo: Charlie Dixon

Composition: Alberta Hunter / Lovie Austin

'Bull Blues'   Fletcher Henderson & His Sawin' Six

Recorded 28 June 1923 in NYC   Vocalion 14636

Cornet: Elmer Chambers / Howard Scott   Trombone: Teddy Nixon

Clarinet / alto sax: Don Redman   Tenor sax: Coleman Hawkins   Bass sax: Billy Fowler

Piano: Fletcher Henderson   Banjo: Charlie Dixon

After a highly successful career with Henderson, Redman became director of drummer, William McKinney's,  Cotton Pickers for which he arranged the majority of their music. His first tracks with the Cotton Pickers were recorded on July 11, 1928, harvesting such as 'Cryin' and Sighin'. Redman began recording with the Chocolate Dandies on October 13 in NYC the same year, those tunes: 'Paducah', 'Star Dust', 'Birmingham Breakdown' and 'Four or Five Times'. His first tracks with Jean Goldkette followed in Chicago on November 23 that year toward the issue of 'Withered Roses', 'My Blackbirds Are Bluebirds' and 'Don't Be Like That'. Redman wrapped up 1928 huge with Louis Armstrong. He had first recorded with Armstrong in Henderson's band on October 7, 1924 ('Manda' and 'Go 'Long Mule'), they also working together in the bands of Perry Bradford and Clarence Williams. Armstrong was now leading his own band, the Savoy Ballroom Five, with which Redman first recorded on December 5, 1928 toward the issue of 'No One Else But You', 'Beau Koo Jack' and 'Save It Pretty Mama'.

Redman formed his own orchestra in 1931, which began playing for radio and first recorded the same year on September 24, titles such as 'Chant of the Weed' (2 takes). His band recorded for Brunswick, a number of ARC labels, the Variety label and Bluebird before separating in 1940.

'Shakin' the African'   Don Redman Orchestra

Recorded 24 Sep 1931 in NYC   Matrix E-37224-A   Brunswick 1244

Trumpet: Bill Coleman / Leonard Davis / Henry Red Allen

Trombone: Claude Jones / Fred Robinson / Benny Morton

Clarinet / alto sax: Edward Inge / Rupert Cole   Alto sax / vocal: Don Redman

Tenor sax: Robert Carroll   Piano: Horace Henderson

Banjo / guitar: Talcott Reeves   Bass / tuba: Bob Ysaguirre   Drums: Manzie Johnson

Composition: Harold Arlen / Ted Koehler

'Chant of the Weed'   Don Redman Orchestra

One of two takes recorded 24 Sep 1931 in NYC

Matrix E-37225-A issued on Brunswick 6211

Matrix E-37225-B issued on Brunswick A500160 (France)

Trumpet: Bill Coleman / Leonard Davis / Henry Red Allen

Trombone: Claude Jones / Fred Robinson / Benny Morton

Clarinet / alto sax: Edward Inge / Rupert Cole   Alto sax: Don Redman

Tenor sax: Robert Carroll   Piano: Horace Henderson

Banjo / guitar: Talcott Reeves   Bass / tuba: Bob Ysaguirre   Drums: Manzie Johnson

Composition: Don Redman / Irving Mills

'Shuffle Your Feet'   Don Redman Orchestra

One of two takes recorded 2 Feb 1933 in NYC

Take 1 issued on Brunswick 6520

Take 2 issued on Jazz Archives JA-5

Piano: Don Kirkpatrick   Vocal: Harlan Lattimore

Composition: Dorothy Fields / Jimmy McHugh

'How'm I Doin'?' w 'I Heard'   Don Redman Orchestra

'Betty Boop' animated film released 1 Sep 1933

Betty Boop: Mae Questel   Bimbo: Billy Murray

'Don Redman & His Orchestra'   Don Redman Orchestra   Vitaphone Film

Filmed at his Take-A-Chance Club   Released August 1934

Vocal: Harlan Lattimore

Some of the bigger names for whom Redman arranged in the latter thirties were Count Basie and Jimmy Dorsey. It was January 27, 1937 that Redman first laid tracks with Basie, March of 1938 with Dorsey. Redman swung into the forties with the bands of Jimmie Lunceford and Harry James, his first recordings with Lunceford on January 5, 1940. In the fifties he became Pearl Bailey's musical director. Redman continued performing on piano into the sixties, as well as on sax with Eubie Blake and Noble Sissle. He died in New York City on 30 November 1964, among the more important names in jazz.