Biography by arwulf arwulf
Harry Carney's baritone saxophone was the anchor, the lodestone, the foundation of a distinctive tonal blend that virtually defined the Duke Ellington Orchestra for more than 45 years. A mainstay of the Ellington experience, he remained with Duke longer than anyone else and outlived him by only a little more than four months. Harry Howell Carney was born in Boston on the first of April 1910 and grew up in the same neighborhood as alto saxophonists Johnny Hodges and Charlie Holmes. Together they gathered inspiration from 78-rpm jazz records. Carney cited as primary influences Sidney Bechet with Clarence Williams, Buster Bailey with Fletcher Henderson, and Don Murray with Jean Goldkette. At the age of 13, he blew clarinet with a band sponsored by the Knights of Pythias. After developing some proficiency on the alto sax, he visited New York with Holmes and gigged at the Bamboo Inn shortly before it burned to the ground.
Carney then began sitting in with Duke Ellington, who took him back to Boston for a series of one-nighters. After Duke sweet-talked Carney's mother into allowing the 17-year-old to continue his involvement with the band, a lifelong collaboration ensued. Over the years Ellington took to riding in Carney's Imperial automobile while the saxophonist quietly handled the steering wheel. This provided Duke with a friendly and intimate atmosphere wherein some of his most memorable melodies were conceived. Carney co-composed "Rockin' in Rhythm" and was usually responsible for executing the bubbling clarinet solo on this tune, but he generally confined himself to the big baritone sax. Examples of his arresting presence on this horn are myriad and include "Frustration," "Sono," "Perdido," and "La Plus Belle Africaine." A bonus track version of "Sophisticated Lady" on the CD reissue of the Verve album Soul Call is a thrilling testimonial to Carney's lyrical profundity as a balladeer and his resilience as a practitioner of circular breathing, two of the many ways in which he influenced Rahsaan Roland Kirk, who in 1972 on his album A Meeting of the Times presented a duple portrait of Harry Carney and Barney Bigard by simultaneously blowing a clarinet and a baritone sax. Carney claimed to have originally mastered the baritone in order to help Duke broaden the palette of the ensemble, initially emulating Coleman Hawkins in the upper register and Adrian Rollini in the basement of the horn. Around 1944 he also took up the bass clarinet.
Between 1946 and 1960, Harry Carney recorded as a leader for the HRS, Wax, and Columbia labels. His wide-ranging adventures as a sideman further from or entirely outside of the Ellington orbit include sessions with Billy Taylor's Big Eight, the Coleman Hawkins Sax Ensemble, Lionel Hampton, Edmond Hall, Earl Hines, Harry James, Al Killian, Tyree Glenn, Jimmy Jones, Johnny Bothwell, and Dizzy Gillespie. He also helped to provide accompaniments for vocalists Billie Holiday, Al Hibbler, Nat King Cole, Ella Fitzgerald, Frank Sinatra, Rosemary Clooney, Pleasant Joseph, Buddy Clark, and Johnny Rae. In 1937, Carney sang in a vocal trio with Rex Stewart and Hayes Alvis behind Ivie Anderson on "I've Got to Be a Rug Cutter." When Johnny Hodges led a small group in live performance at the Berlin Sportpalast in 1966, Harry Carney provided a thunderous backbone for their rendition of "Things Ain't What They Used to Be." His last testament, as it were, is a feature performance of "Drop Me Off in Harlem" on Mercer Ellington's album Continuum, recorded during the interim between the deaths of Duke Ellington on May 24 and Harry Carney on October 8, 1974. A moving tribute to Carney, composed by Sy Johnson, was recorded by Charles Mingus in December of that year and included on his album Changes Two.
https://www.allmusic.com/artist/harry-carney-mn0000948458#biography
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Biografía de arwulf arwulf
El saxofón barítono de Harry Carney fue el ancla, la piedra angular, la base de una mezcla tonal distintiva que prácticamente definió a la Orquesta de Duke Ellington durante más de 45 años. Pilar fundamental de la experiencia Ellington, permaneció con Duke más tiempo que nadie y le sobrevivió sólo un poco más de cuatro meses. Harry Howell Carney nació en Boston el 1 de abril de 1910 y creció en el mismo barrio que los saxofonistas altos Johnny Hodges y Charlie Holmes. Juntos se inspiraron en los discos de jazz de 78 rpm. Carney citó como principales influencias a Sidney Bechet con Clarence Williams, Buster Bailey con Fletcher Henderson y Don Murray con Jean Goldkette. A los 13 años, tocaba el clarinete con una banda patrocinada por los Caballeros de Pythias. Tras adquirir cierta destreza con el saxo alto, visitó Nueva York con Holmes y actuó en el Bamboo Inn poco antes de que se incendiara.
Carney empezó a tocar con Duke Ellington, que le llevó a Boston para una serie de actuaciones de una noche. Después de que Duke engatusara a la madre de Carney para que permitiera al joven de 17 años seguir con la banda, se inició una colaboración que duraría toda la vida. Con el paso de los años, Ellington empezó a viajar en el coche Imperial de Carney mientras el saxofonista manejaba tranquilamente el volante. Esto proporcionó a Duke una atmósfera amistosa e íntima en la que se concibieron algunas de sus melodías más memorables. Carney co-compuso "Rockin' in Rhythm" y normalmente era el responsable de ejecutar el burbujeante solo de clarinete en esta melodía, pero generalmente se limitaba al gran saxo barítono. Los ejemplos de su fascinante presencia en este instrumento son innumerables e incluyen "Frustration", "Sono", "Perdido" y "La Plus Belle Africaine". Una versión como bonus track de "Sophisticated Lady" en la reedición en CD del álbum Soul Call de Verve es un emocionante testimonio de la profundidad lírica de Carney como baladista y de su resistencia como practicante de la respiración circular, dos de las muchas formas en que influyó en Rahsaan Roland Kirk, quien en 1972 en su álbum A Meeting of the Times presentó un retrato dúplice de Harry Carney y Barney Bigard soplando simultáneamente un clarinete y un saxo barítono. Carney afirmó haber dominado originalmente el barítono para ayudar a Duke a ampliar la paleta del conjunto, emulando inicialmente a Coleman Hawkins en el registro superior y a Adrian Rollini en el bajo de la trompa. Alrededor de 1944 también tocó el clarinete bajo.
Entre 1946 y 1960, Harry Carney grabó como líder para los sellos HRS, Wax y Columbia. Sus variadas aventuras como músico de acompañamiento, lejos o totalmente fuera de la órbita de Ellington, incluyen sesiones con Billy Taylor's Big Eight, Coleman Hawkins Sax Ensemble, Lionel Hampton, Edmond Hall, Earl Hines, Harry James, Al Killian, Tyree Glenn, Jimmy Jones, Johnny Bothwell y Dizzy Gillespie. También ayudó a acompañar a los vocalistas Billie Holiday, Al Hibbler, Nat King Cole, Ella Fitzgerald, Frank Sinatra, Rosemary Clooney, Pleasant Joseph, Buddy Clark y Johnny Rae. En 1937, Carney cantó en un trío vocal con Rex Stewart y Hayes Alvis detrás de Ivie Anderson en "I've Got to Be a Rug Cutter". Cuando Johnny Hodges lideró un pequeño grupo en directo en el Sportpalast de Berlín en 1966, Harry Carney proporcionó una atronadora columna vertebral para su interpretación de "Things Ain't What They Used to Be". Su último testamento, por así decirlo, es una interpretación de "Drop Me Off in Harlem" en el álbum Continuum de Mercer Ellington, grabado durante el intervalo entre la muerte de Duke Ellington el 24 de mayo y la de Harry Carney el 8 de octubre de 1974. Un emotivo homenaje a Carney, compuesto por Sy Johnson, fue grabado por Charles Mingus en diciembre de ese año e incluido en su álbum Changes Two.
https://www.allmusic.com/artist/harry-carney-mn0000948458#biography
Tracks:
A1 - Tree Of Hope 4:52
A2 - Blues For Blokes 3:42
A3 - Baby Blue 4:04
A4 - Jeepers Creepers 4:52
B1 - Rock Me Gently 4:56
B2 - Hand Me Down Love 4:58
B3 - Mabulala 3:20
B4 - Five O'Clock Drag 3:48
Credits:
Acoustic Bass – Aaron Bell
Baritone Saxophone – Harry Carney
Drums – Sam Woodyard
Illustration – Alexis Oussenko
Piano – Rollins Griffith
Tenor Saxophone – Paul Gonsalves
Trombone – Booty Wood
Trumpet – Andre Merenguito Forda (tracks: Track A2, A3, B2, B4), Ed Mullens (tracks: Track A1, A4, B1, B3), Ray Nance, Willie Cook (tracks: All tracks)
Recorded in New York 16-17 September 1960.
The release is an album in a album serie called Landowne Series produced by Jean Tronchot who also wrote the liner notes.
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