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Goodman (1905-1986); and somewhat older reedman and character, Mezz

Mezzrow (1899-1972), whose 1946 autobiography, Really the Blues, remains, despite inaccuracies, one of the best Jazz books.

Trumbauer, though not a legend like Bix, influenced perhaps as many musicians. Among them were two of the greatest saxophonist in Jazz history, Benny Carter (b.1907) and Lester (Prez) Young (1909-1959).

BLACK & WHITE

A great influence on young Goodman was the New Orleans clarinetist

Jimmie Noone (1995-1944), an exceptional technician with a beautiful tone. Chicago was an inspiring environment for a young musician. There was plenty of music and there were plenty of masters to learn from.

Cornetist Muggsy Spanier (1906-1967) took his early cues from King

Oliver. In New York, there was less contact between black and white players, though white jazzmen often made the trek to Harlem or worked opposite Fletcher Henderson at the Roseland. When a young Texas trombonist, Jack Teagarden (1905-1964), came to town in 1928, he startled everyone with his blues-based playing (and singing), very close in concept to that of Henderson's trombone star, Jimmy Harrison

(1900-1931). These two set the pace for all comers.

Teagarden, alongside Benny Goodman, worked in Ben Pollack's band.

Pollack, who'd played drums with the New Orleans Rhythm Kings, was quite a talent spotter and always had good bands. When Henderson arranger Don Redman took over McKinney's Cotton Pickers in 1929 and made it one of the bands of the `20s, his replacement was Benny
Carter.

Carter could (and still can) write arrangements and play trumpet and clarinet as well as alto sax. For many years, he was primarily active as a composer for films and TV; but in the late 1970's, Carter resumed his playing career with renewed vigor. (Editor's Note-Carter just turned eighty and is still playing and recording.)

THE UNIQUE DUKE

Another artist whose career spanned more than fifty years is Duke

Ellington (1899-1974). By 1972, he was one of New York's most successful bandleaders, resident at Harlem's Cotton Club--a nightspot catering to whites only but featuring the best in black talent.

Ellington's unique gifts as composer-arranger-pianist were coupled with equally outstanding leadership abilities. From 1927 to 1941, with very few exceptions and occasional additions, his personnel remained unchanged-- a record no other bandleader (except Guy Lombardo, of all people) ever matched.

Great musicians passed through the Ellington ranks between 1924 and

1974. Among the standouts: great baritone saxist Harry Carney

(1907-1974), who joined in 1927; Johnny Hodges (1906-1970), whose alto sax sound was one of the glories of jazz; Joe (Tricky Sam) Nanton

(1904-1946), master of the "talking" trombone; Barney Bigard

(1906-1980); whose pure-toned clarinet brought a touch of New Orleans to the band; Ben Webster (1909-1973), one of Coleman Hawkins' greatest disciples; drummer Sonny Greer (1903-1982), and Rex Stewart

(1907-1967) and Cootie Williams (1910-1985), an incomparable trumpet team. Among the later stars were trumpeter Clark Terry (b. 1920) and tenor saxist Paul Gonsalves (1920-1974).

Ellington's music constitutes a world within the world of Jazz. One of the century's outstanding composers, he wrote over 1,000 short pieces, plus many suites, music for films, the theater and television, religious works and more. He must be ranked one of the century's foremost musicians, regardless of labels. His uninterrupted activity as a bandleader since
1924 has earned him a high place in each successive decade, and his achievement is a history of Jazz in itself.

Three outstanding contributors to Ellingtonia must be mentioned. They are trumpeter-composer Bubber Miley (1903-1932), the co-creator of the first significant style for the band and, like his exact contemporary Bix

Beiderbecke, a victim of too much, too soon; bassist Jimmy Blanton

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