Donald Matthew Redman (July 29, 1900 – November 30, 1964) was an American jazz musician, arranger, bandleader and composer. He was named a member of the West Virginia Music Hall of Fame on May 6, 2009.
The first great arranger in jazz history, Don Redmans innovations as a writer essentially invented the jazz-oriented big band with arrangements that developed yet left room for solo improvisations.
After graduating from college at the age of 20 with a music degree, Redman played for a year with Billy Paiges Broadway Syncopators and then met up with Fletcher Henderson. Redman became Hendersons chief arranger (although Fletcher was often later on mistakenly given credit for the innovative charts) in addition to playing clarinet, alto, and (on at least one occasion) oboe. Redman, whose largely spoken vocals were charming, recorded the first ever scat vocal on My Papa Doesnt Two Time in early 1924, predating Louis Armstrong. Although his early arrangements were futuristic, they could be a bit stiff, and it was not until Armstrong joined Hendersons orchestra that Redman (learning from the brilliant cornetist) began to really swing in his writing; Sugar Foot Stomp and The Stampede are two of his many classic charts.
It was a shock to Fletcher Henderson when Redman was persuaded in 1927 by Jean Goldkette to direct McKinneys Cotton Pickers. Redman soon turned the previously unknown group into a strong competitor of Hendersons, composing such future standards as Gee Baby, Aint I Good to You and Cherry. He sang more, emphasized his alto over his more primitive sounding clarinet (guesting on some famous recordings with Louis Armstrongs Savoy Ballroom Five in 1928), and made a strong series of memorable records. In 1931, Redman put together his own big band which lasted (if not prospered) up until 1941. After that, he freelanced as an arranger for the remainder of the swing era, led an all-star orchestra in 1946 that became the first band to visit postwar Europe, and eventually became Pearl Baileys musical director. Although he recorded a few sessions in the late 50s, Don Redmans main significance is for his influential work of the 1920s and 30s.
Donald Matthew Redman (July 29, 1900 – November 30, 1964) was an American jazz musician, arranger, bandleader and composer. He was named a member of the West Virginia Music Hall of Fame on May 6, 2009.
The first great arranger in jazz history, Don Redmans innovations as a writer essentially invented the jazz-oriented big band with arrangements that developed yet left room for solo improvisations.
After graduating from college at the age of 20 with a music degree, Redman played for a year with Billy Paiges Broadway Syncopators and then met up with Fletcher Henderson. Redman became Hendersons chief arranger (although Fletcher was often later on mistakenly given credit for the innovative charts) in addition to playing clarinet, alto, and (on at least one occasion) oboe. Redman, whose largely spoken vocals were charming, recorded the first ever scat vocal on My Papa Doesnt Two Time in early 1924, predating Louis Armstrong. Although his early arrangements were futuristic, they could be a bit stiff, and it was not until Armstrong joined Hendersons orchestra that Redman (learning from the brilliant cornetist) began to really swing in his writing; Sugar Foot Stomp and The Stampede are two of his many classic charts.
It was a shock to Fletcher Henderson when Redman was persuaded in 1927 by Jean Goldkette to direct McKinneys Cotton Pickers. Redman soon turned the previously unknown group into a strong competitor of Hendersons, composing such future standards as Gee Baby, Aint I Good to You and Cherry. He sang more, emphasized his alto over his more primitive sounding clarinet (guesting on some famous recordings with Louis Armstrongs Savoy Ballroom Five in 1928), and made a strong series of memorable records. In 1931, Redman put together his own big band which lasted (if not prospered) up until 1941. After that, he freelanced as an arranger for the remainder of the swing era, led an all-star orchestra in 1946 that became the first band to visit postwar Europe, and eventually became Pearl Baileys musical director. Although he recorded a few sessions in the late 50s, Don Redmans main significance is for his influential work of the 1920s and 30s.
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