One
of the classic Texas Tenors, there was always excitement elicited by
Cobb’s uninhibited, blasting style which earned him the label “Wild Man
of the Tenor Sax.”
Arnette Cleophus Cobbs, was born on August 10,
1918, in Houston, Texas. He was taught piano by his grandmother and
went on to study violin before taking up tenor saxophone in the Wheatley
High School band. When he was fifteen he joined Louisiana band leader
Frank Davis’s band and performed in the Houston area and throughout
Louisiana during the summer. He worked with trumpeter Chester Boone for
two years and left to become a founding member of the Milton Larkin
Orchestra in 1936.
Cobb worked with Larkin for six years and,
with members Eddie Vinson, Cedric Haywood, Wild Bill Davis, Illinois
Jacquet, and others, made the band one of the most successful
territorial bands from Texas. The band became a regular at venues
including the Apollo Theatre in Harlem and boxer Joe Louis's Rhumboogie
Club in Chicago.
Originator of the “open prairie” tone and
“southern preacher” style, Cobb continually turned down offers from many
national bands including Jimmy Lunceford, Count Basie, and Lionel
Hampton. However, with his mother’s approval, and Gladys Hampton’s offer
to Elizabeth (Cobb’s wife), in 1942 Arnett took the lead saxophone
chair in Hampton’s band, replacing Illinois Jacquet, who had gotten the
position as Arnett’s substitute (from an original 1941 offer to Cobb).
Jacquet had held his position with Hampton on the condition that he
switch from alto to tenor and “play like Cobb.” With Cobb as the
featured soloist, Hampton re- recorded his theme song, “Flying Home [No.
2]. He was a major asset to the Hampton band for five years as co-
writer, writer, reed-section arranger, lead saxophone, featured soloist,
and talent scout. Gladys Hampton and Elizabeth Cobb helped manage the
band, and Cobb’s mother did the tailoring.
Cobb left Hampton in
1947, formed his own combo, and was immediately signed by Ben Bartz of
Universal Attractions for management and booking. Under Ben’s direction,
Cobb toured extensively through 1949, while recording such hits as
“Dutch Kitchen Bounce” ( Princeton University’s theme song), “Big Red's
Groove,” “Go Red Go,” and “Big League Blues” for the Apollo label. He
had begun some of his most influential years in American music history
with his showmanship (bar walking and circular breathing techniques) and
style (predecessor of Texas “swing” blues).
Between 1950 and
1956, Cobb produced a string of hits including “Jumpin’ the Blues,” “Lil
Sonny,” “The Shy One,” and “Smooth Sailing” (Ella Fitzgerald’s
signature scat) on the Columbia label; “Night,” “Light Like That” and
“Flying Home Mambo” on the Atlantic label; and other popular tunes for
these and other labels. His combos and support became a career-building
platform for Red Garland (playing with Miles Davis), George Rhodes
(Sammy Davis Jr.’s music director), George Duvivier (bassist), Dinah
Washington, comedian Redd Foxx, Jackie Wilson, Arthur Prysock, and many
others. Arnett scouted James Brown, positioned him as his opening act,
and took him to New York to sign with agent Ben Bartz at Universal.
In
1956 a car accident interrupted his national prominence. Against
doctors’ advice, a year later he was back performing and touring coast
to coast, although from this time on he could not walk without crutches.
Cobb was living in New Jersey at the time, but the long, cold, damp,
northeastern winter made working too strenuous, so in 1959 he moved back
to Houston permanently. He managed the Club Ebony, organized regional
orchestras for touring acts (Sammy Davis, Sarah Vaughn, Ella Fitzgerald,
Ray Charles and others), and devoted a lot of time to nurturing young
talent. Major recording R&B, soul, and jazz artists of the day
called on him constantly for arrangements, band personnel, and gigs.
Cobb
restricted his touring to Texas from 1959 to 1973, but proceeded with a
recording schedule that had continued from 1957 for the Prestige label.
He recorded extensively with VeeJay, Prestige, Muse, Black and Blue,
BeeHive, Progressive, Soul Note, MCA, and the Fantasy labels between
1957 and 1988. Cobb began an international touring schedule in 1973 with
his daughter as his personal manager. He toured consistently, in the
U.S., Europe, and Japan, with the Lionel Hampton All-stars, as a member
of the renowned Texas Tenors, as a featured soloist, and, from 1985 to
1989, with his own ensemble, Texas Jazz and Blues featuring Jewel Brown.
Cobb
was a prolific showman, writer, stylist, arranger, and tenor saxophone
technician. His saxophone technique and music style directly influenced
Illinois Jacquet, Gene Ammons, Johnny Griffin, Red Prysock, Houston
Person, Sonny Stitt, Stanley Turrentine, King Curtis, Eddie “Lockjaw”
Davis, Rahsaan Roland Kirk, and a generation of musicians in jazz,
swing, R&B, soul, and funk music.
Cobb received a Grammy
nomination in 1979 for best jazz instrumental performance “Live at
Sandy’s,” (Muse). He shared a Grammy with B. B. King in 1984 for best
traditional blues performance “Blues n’ Jazz,” MCA. In 1986 he founded
the Jazz Heritage Society of Texas, which established the Texas Jazz
Archives at the Houston Public Library.
Arnett Cobb died in Houston on March 24, 1989.
Source: James Nadal
https://www.allaboutjazz.com/musicians/arnett-cobb
///////
Arnette Cleophus Cobbs, nació el 10 de agosto de 1918 en Houston, Texas. Su abuela le enseñó a tocar el piano y pasó a estudiar violín antes de dedicarse al saxo tenor en la banda del instituto Wheatley. A los quince años se unió a la banda del líder de la banda de Luisiana, Frank Davis, y actuó en el área de Houston y en toda Luisiana durante el verano. Trabajó con el trompetista Chester Boone durante dos años y lo dejó para convertirse en miembro fundador de la Orquesta de Milton Larkin en 1936.
Cobb trabajó con Larkin durante seis años y, con los miembros Eddie Vinson, Cedric Haywood, Wild Bill Davis, Illinois Jacquet y otros, convirtió la banda en una de las más exitosas de Texas. La banda se convirtió en un habitual de locales como el Apollo Theatre de Harlem y el Rhumboogie Club del boxeador Joe Louis en Chicago.
Originador del tono de "pradera abierta" y del estilo de "predicador sureño", Cobb rechazó continuamente ofertas de muchas bandas nacionales, como Jimmy Lunceford, Count Basie y Lionel Hampton. Sin embargo, con la aprobación de su madre, y la oferta de Gladys Hampton a Elizabeth (esposa de Cobb), en 1942 Arnett ocupó la silla de saxofón principal en la banda de Hampton, sustituyendo a Illinois Jacquet, que había conseguido el puesto como sustituto de Arnett (de una oferta original de 1941 a Cobb). Jacquet había mantenido su puesto con Hampton con la condición de que cambiara de alto a tenor y "tocara como Cobb". Con Cobb como solista principal, Hampton volvió a grabar su tema "Flying Home [nº 2]". Durante cinco años fue un activo importante para la banda de Hampton como coautor, escritor, arreglista de la sección de cañas, saxofón principal, solista destacado y buscador de talentos. Gladys Hampton y Elizabeth Cobb ayudaron a gestionar la banda, y la madre de Cobb se encargó de la confección.
Cobb dejó a Hampton en 1947, formó su propio grupo y fue contratado inmediatamente por Ben Bartz, de Universal Attractions, para la gestión y contratación. Bajo la dirección de Ben, Cobb realizó numerosas giras hasta 1949, a la vez que grababa éxitos como "Dutch Kitchen Bounce" (el tema de la Universidad de Princeton), "Big Red's Groove", "Go Red Go" y "Big League Blues" para el sello Apollo. Sus años más influyentes en la historia de la música estadounidense fueron los de su espectáculo (técnicas de marcha en barra y respiración circular) y su estilo (predecesor del blues "swing" de Texas).
Entre 1950 y 1956, Cobb produjo una serie de éxitos como "Jumpin' the Blues", "Lil Sonny", "The Shy One" y "Smooth Sailing" (el scat característico de Ella Fitzgerald) para el sello Columbia; "Night", "Light Like That" y "Flying Home Mambo" para el sello Atlantic; y otros temas populares para estos y otros sellos. Sus combos y su apoyo se convirtieron en una plataforma de construcción de carreras para Red Garland (que tocaba con Miles Davis), George Rhodes (director musical de Sammy Davis Jr.), George Duvivier (bajista), Dinah Washington, el cómico Redd Foxx, Jackie Wilson, Arthur Prysock y muchos otros. Arnett localizó a James Brown, lo situó como telonero y lo llevó a Nueva York para que firmara con el agente Ben Bartz de Universal.
En 1956, un accidente de coche interrumpió su protagonismo nacional. En contra de la opinión de los médicos, un año después volvió a actuar y a hacer giras de costa a costa, aunque a partir de ese momento no podía caminar sin muletas. Cobb vivía entonces en Nueva Jersey, pero el largo, frío y húmedo invierno del noreste hacía que trabajar fuera demasiado agotador, así que en 1959 se trasladó de nuevo a Houston de forma permanente. Dirigió el Club Ebony, organizó orquestas regionales para las giras (Sammy Davis, Sarah Vaughn, Ella Fitzgerald, Ray Charles y otros) y dedicó mucho tiempo a cultivar jóvenes talentos. Los principales artistas de R&B, soul y jazz de la época le pedían constantemente arreglos, personal de banda y actuaciones.
Cobb limitó sus giras a Texas de 1959 a 1973, pero continuó con un programa de grabación que había continuado desde 1957 para el sello Prestige. Entre 1957 y 1988, grabó extensamente con los sellos VeeJay, Prestige, Muse, Black and Blue, BeeHive, Progressive, Soul Note, MCA y Fantasy. Cobb comenzó un programa de giras internacionales en 1973 con su hija como representante personal. Realizó constantes giras por Estados Unidos, Europa y Japón con los Lionel Hampton All-stars, como miembro de los famosos Texas Tenors, como solista y, de 1985 a 1989, con su propio conjunto, Texas Jazz and Blues, con Jewel Brown.
Cobb fue un prolífico showman, escritor, estilista, arreglista y técnico del saxofón tenor. Su técnica de saxofón y su estilo musical influyeron directamente en Illinois Jacquet, Gene Ammons, Johnny Griffin, Red Prysock, Houston Person, Sonny Stitt, Stanley Turrentine, King Curtis, Eddie "Lockjaw" Davis, Rahsaan Roland Kirk y una generación de músicos de jazz, swing, R&B, soul y funk.
Cobb recibió una nominación al Grammy en 1979 por la mejor interpretación instrumental de jazz "Live at Sandy's", (Muse). Compartió un Grammy con B. B. King en 1984 por la mejor interpretación de blues tradicional "Blues n' Jazz", MCA. En 1986 fundó la Jazz Heritage Society of Texas, que estableció los Archivos de Jazz de Texas en la Biblioteca Pública de Houston.
Arnett Cobb murió en Houston el 24 de marzo de 1989.
Fuente: James Nadal
https://www.allaboutjazz.com/musicians/arnett-cobb
1 - Tight Like That - 4:44
2 - Cobb's Blues - 9:09
3 - Deep Purple - 8:15
4 - Willow Weep For Me - 8:08
5 - Swanee River - 7:44
6 - Cobb's Boogie - 6:01
7 - Claude Of Mine - 6:34
8 - Ghost Of Chance II - 5:11
9 - Candy - 4:56
10 - Solitude - 5:24
11 - Nearness Of You - 4:44
Credits:
Drums – Michael Silva
Guitar – Clarence "Gatemouth" Brown
Liner Notes – Jacques Morgantini
Organ – Milt Buckner
Tenor Saxophone – Arnett Cobb, Candy Johnson (tracks: 9-11)
Tracks 1-7 Enregistré le 23 Juillet 1973
Tracks 8-11 Barclay Studio 1 August 1973
Label: Black And Blue – BB 052.2
Format:
CD, Album
Country: France
Released: 1991
Genre: Jazz
Style: Soul-Jazz
https://www.discogs.com/release/10426767-Arnett-Cobb-Again-With-Milt-Buckner
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