Al Casey, Guitar, 1915, Louisville, KY
Al arrived with his family in New York around 1930, and while still a teenager, began working with Fats Waller. It was with Waller that Al cut his first records, in fact, it is said he cut around 230 sides with Waller. It is for this association that he is best known. During this same period he recorded with such prominent artists as Billy Holiday, Frankie Newton, and Teddy Wilson. After Waller's death in 1943, Casey made several appearances with former members of Waller's Rhythm, section under the direction of Pat Flowers. He also recorded extensively as a freelance with Earl Hines and with Sid Catlett among others. Most of Casey's work during the early part of his career was with the acoustic guitar, but by the mid '40s he had changed exclusively to the electric instrument. In 1973 Al spent some time in Paris where he recorded with Helen Humes and Jay McShann, and as a leader of his own group. His best work, by far, is his blues improvisations, and his remarkable blues choruses on " Buck Jumpin" that he recorded in1941 with Fats Waller. He developed a moving solo style modeled on Charlie Christian's, which is typified by his "How High The Moon", recorded by his own sextet in 1945.
Gene Roland, Composer, 1921, Dallas, TX
Beside composing and arranging, Gene was a multi-instrumentalist. He first went to work for Kenton composing songs for JuneChristy and playing his own fifth trumpet parts around 1945. After short terms with Lionel Hampton and Lucky Millinder, he rejoined Kenton as arranger and trombonist, again on a new fifth part that he wrote for himslf. He began writing arrangements for four tenor saxophones in the mid '40s, while in New York, and continued his experiments on the West Coast where he played piano for Stan Getz, Jimmy Giuffre, Zoot Sims, and Herbie Steward . This modern innovation later led to the famous grouping of the Four Brothers saxophones within the Woody Herman orchestra. In the late '40s Roland jobbed around, playing trombone with Georgie Auld and trumpet with Count Basie. He also wrote artistic arrangements for Claude Thornhill and Artie Shaw. In 1950 he put together a big-band that included Dizzy Gillespie, Charlie Parker and other prominent bop musicians, but it was unsuccessful, and he once again returned to the Kenton band, this time as an arranger. In writing for four mellophoniums he introduced a new, and to this day controversial, sound to Kenton's band. Roland visited Copenhagen in 1967 to compose for and conduct the Radiohus Orchestra. He toured with Kenton again in 1973, and thereafter worked in New York, playing piano, tenor sax, and trumpet for his own big band. Gene Roland died in 1982.
Bobby Short, Singer, 1926, Danville, IL
Bobby was the suave, tuxedoed cabaret singer who epitomized Manhattan glamour and sophistication with renderings of the great American songbook. Short was an institution at the Cafe Carlyle, the nightclub at the Carlyle hotel from the mid '60s until his death in 2005. Over the years Bobby withstood constant changes in popular music tastes with his repertoire of Broadway, Tin Pan Alley, and tunes by Gershwin, Ellington, and Harold Arlen. Short was actually planning to retire from the Carlyle just around the time he died, but didn't quite make it. He wanted to be free to travel the world and do his thing in clubs in all of the major cities. Bobby taught himself to play the piano when in his early teens. Eventually he made his way to New York and began playing all of the major clubs. His fans included the rich and famous and everyone in between. He was nominated for a Grammy Award in 2000 for "You're The Top"; Love Songs of Cole Porter. In 1993, he was nominated for "Late Night At The Cafe Carlyle".
Julian "Cannonball" Adderley, Saxophone, 1928, Tampa, FL
He nickname "Cannonball" was a childhood corruption of "cannibal", describing his large appetite. He played the saxophone in numerous ensembles all over the Florida area beginning in the early '40s. From around 1942, and during the late '40s he worked with high school bands in Ft. Lauderdale. For several years in the early '50s he served in the army and resumed teaching until 1955 before moving to New York. He intended to work with his brother, Nat Adderley, and continue his education, but a chance jam session led to his joining Oscar Pettiford's band and signing a record contract. So much for continued education. Around 1955 the Adderley brothers formed a band but couldn't make it financially, and folded after a short time. In 1957 Cannonball's luck changed when he replaced Sonny Rollins in Miles Davis's famous sextet. He stayed with Miles until the late '50s (the band also included John Coltrane), when he left to once again form a band with brother Nat. This group, which played soul, jazz, and bop was more successful, and stayed together until 1975. At one time Joe Zawinul was in the band and composed the hit, Mercy, Mercy, Mercy. Articulate and effective, Cannonball seemed to be a natural teacher and led the quintet at college workshops, speaking on the musical and social aspects of jazz. A masterful, confident improviser with a wonderful technique, Adderley was called "the New Bird", because he came on the scene shortly after Charlie Parker's death in 1955. This unfortunate label caused resentment among the press and public, and set him unattainable standards. His first bop recordings reveal many diferences; more chromatic and continuous lines and a more cutting tone than Parker's. Miles actually helped Cannonball change his style and approach to improvisation significantly. Miles taught him to use silence effectively while he was with the group and again in the mid '60s, when he incorporated elements of free jazz into his playing. Julian "Cannonball" Adderley died in 1975.
