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Harry Edison

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Harry Edison
Edison in Paris, France, 1980
Edison in Paris, France, 1980
Background information
Born(1915-10-10)October 10, 1915
Columbus, Ohio, U.S.
DiedJuly 27, 1999(1999-07-27) (aged 83)
Columbus, Ohio, U.S.
GenresJazz, swing
OccupationMusician
InstrumentTrumpet
LabelsPacific Jazz, Verve, Roulette, Riverside, Vee-Jay, Liberty, Sue, Black & Blue, Pablo, Storyville, Candid

Harry "Sweets" Edison (October 10, 1915 – July 27, 1999) was an American jazz trumpeter and a member of the Count Basie Orchestra.[1] His most important contribution was as a Hollywood studio musician, whose muted trumpet can be heard backing singers, most notably Frank Sinatra.

Biography

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Edison was born in Columbus, Ohio on October 10, 1915 to his African- American mother and his Hopi Indian father. In his early years, his parents separated and he moved in with his aunt and uncle on their farm in Louisville, Kentucky (National Jazz Archive). His uncle played and managed a marching band which introduced Harry to the music he became so famous for. He practiced daily & became soon fascinated with the cornet. Around this time he began to play for local bands. Harry quickly created a reputation for his remarkable cornet playing skills, which impressed local crowds. As he continued to play, he caught the attention of several popular jazz musicians and bands which created many opportunities for him to play in front of larger audiences. By the time he entered his late teens, he had already created a name for himself in the jazz world by taking part in some of the most respected jazz bands which only marked the beginning of his fascinating career.

Early Career

Aside from his playing with his uncle’s marching band, his earliest gig was in high school with the Earl Hood band, he was able to exhibit his self-taught skills. From the years 1933-1955, he played in the Jeter-Pillars Orchestra, which was a popular band at the time. Shortly after his time with the orchestra, he moved to New York in 1937 and spent some time with the Lucky Millinder’s band before he joined Count Basie’s band (National Endowment for the Arts). His start with Basie’s band in 1937 was a turning point in his career where he was able to truly exhibit his talent as a strong part of the trumpet sections. Part of this Basie’s band included colleagues like Buck Clayton, Lester Young (who named him "Sweets"), Buddy Tate, Freddie Green, Jo Jones, and other original members of that famous band. Speaking in 1956 with Down Beat's Don Freeman, Edison explained the origin of his nickname:

Well, this happened one day in March back in '37. All of us in the Basie band were sitting around the lobby of the Woodside Hotel in New York. It was snowing outside, and we were waiting for the bus to go on a tour of one-nighters. We were all like brothers in that band. I was kind of the baby of the band and took a lot of the ribbing. So this time Lester Young was joshing me about my 'sweet' style and he said: "We're going to call you 'Sweetie Pie.'" They did, too, for a few months. Then they shortened it to "Sweets." The nickname has kind of lasted a long time.[2]

Playing Style

Edison himself describes his playing style as lyrically and expressively based. He distinguishes the importance of his phrasing to ensure that he is portraying clarity and emotion through his solos. His proficiency of phrasing created the opportunity for him to combine simple and complex melodies that created an emotional bond with the audiences he performed in front of. He uses the muted trumpet to add a more personal and intimate tone in his music, this became his signature sound. One thing Edison avoided was the presence of technical flourishes in his playing, instead he aimed for a simple and melodic tone in his playing. His main goal was for his music to be accessible to everyone, regardless of if they were an avid jazz listener or not. He adapted his style to sound like a voice that would “sing” through his trumpet to create a better sense of authenticity and warmth. This unique voice that was created through his trumpet allowed for a unique stylistic sound that was easily distinguishable in different jazz scenes. Edison’s main objective while playing was to tell a story to his audience and create a connection with the audience. His devotion to creating conversational solos allowed for his sound to be easily recognized.

In addition to his immaculate trumpet playing, he also was highlighted as a featured vocalist for Frank Sinatra during the 1950’s. Edison continued Frank Sinatra’s sound with his trumpet in addition to an occasional vocal feature. He appeared on Sinatra’s album Songs for Swingin’ Lovers! with a feature in an orchestral arrangement; his appearance added more emotion to the album while accenting Sinatra’s voice. Along with Sinatra, Edison played a crucial role in the creation of Billie Holiday’s album Lady Sings Distingué Lovers. The sound of his muted trumpet created a conversation between it and Holiday’s vocals. His heartfelt trumpet and Holiday’s raw vocals created the iconic album it is today.

Later Career & Legacy

After the dismemberment of the Count Basie band, Edison expanded the limits of his career by traveling with Jazz at the Philharmonic and freelancing with other orchestras. In the early 1950s, he settled on the West Coast and became a highly sought-after studio musician, making important contributions to recordings by such artists as Billie Holiday, Frank Sinatra, Nat King Cole, Billy Daniels, Margaret Whiting, Bing Crosby and Ella Fitzgerald. His most notable performance was in 1965, when Frank Sinatra acquired his talent to assist him in the completion of his almost “Songs for Swinging Lovers” . Almost a year later, He backed Billie Holiday in one of her final albums, “Sings Distingué Lovers”.

Harry Edison distinguished himself with his lyrical trumpet style that focused on simplicity. A key member of Count Basie’s orchestra, he helped shape the swing sound with his iconic solos on songs like “One O’Clock Jump”. He popularized the muted trumpet sound which had a further impact on future players. Different vocal collaborations with Frank Sinatra and Billie Holiday further proved his versatility. His studio work can be heard not only in the jazz genre, but also in the pop genre. Over the course of Edison’s career, his dedication to the adaptability and excellence to his music remained consistent until his death in 1999 at the age of 83. He played last tune in his hometown of Columbus, Ohio. His legacy of his specific trumpet playing impacted the jazz industry and will forever impact new music.

Discography

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As leader/co-leader

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As sideman

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With Count Basie

With Louie Bellson

With Ray Bryant

With Benny Carter

With Duke Ellington with Johnny Hodges

With Ella Fitzgerald

With Billie Holiday

With Jo Jones

With Quincy Jones

With Buddy Rich

With Shorty Rogers

With Frank Sinatra

With Frank Sinatra and Count Basie

With Mel Tormé

With Sarah Vaughan

With Lester Young

With others

References

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  1. ^ Colin Larkin, ed. (2002). The Virgin Encyclopedia of Fifties Music (Third ed.). Virgin Books. pp. 117/8. ISBN 1-85227-937-0.
  2. ^ Freeman, Don (January 25, 1956). "After 17 Years, Edison Is Taking Lessons". Down Beat. p. 33. Retrieved March 1, 2022.

[1][2][3]

[4][5]

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  1. ^ Voce, Steve (December 28, 2019). "Harry Edison: The Swinger". Jazz Journal. Retrieved December 13, 2024.
  2. ^ Hill, Michael R.; Pickering, Mary (1995-11). "Auguste Comte: An Intellectual Biography, Vol. 1". Contemporary Sociology. 24 (6): 837. doi:10.2307/2076735. ISSN 0094-3061. {{cite journal}}: Check date values in: |date= (help)
  3. ^ [Harry 'Sweets' Edison: Simplicity In Swing "Harry 'Sweets' Edison: Simplicity In Swing"]. National Public Radio (NPR). JUly 23, 2008. {{cite web}}: Check |url= value (help); Check date values in: |date= (help)CS1 maint: url-status (link)
  4. ^ "Harry "Sweets" Edison". www.arts.gov. October 10, 1915. Retrieved December 13, 2024.
  5. ^ "Harry Edison - National Jazz Archive". nationaljazzarchive.org.uk. March 18, 2020.
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