Biography
Charlie Lawrence devised the chart for Louis Armstrong's uproarious "I'm a Ding Dong Daddy From Dumas," widely regarded as one of the most delightful recordings across any style, jazz included. Also referred to simply as "Ding Dong Daddy," the number belonged to a sequence of sides the trumpeter recorded while based on the West Coast during the 1930s. California remained the primary setting for Lawrence's professional life; the Los Angeles native performed on both reeds and keyboards. Early associations included tenor saxophonist Paul Howard's ensembles, notably Paul Howard's Quality Serenaders. Although far less celebrated than Armstrong, the band received renewed notice through selections featured on the Rhino anthology Central Avenue Sounds: Jazz in Los Angeles (1921-1956).
Accompanying liner notes described Howard's group as "one of the most thoroughly underrated in the history of jazz," an observation that borders on contradiction. Because the music has long celebrated overlooked innovators, the designation of Howard as supremely neglected implies that some authoritative voice had indeed registered his work. Lawrence supplied concise yet expansive charts, among them the piece "Harlem" and his own "The Ramble," enabling the ensemble to project the density of a much larger unit. By establishing this standard of efficiency, he indirectly influenced subsequent, more prominent big bands that lacked comparable arranging resources and therefore required additional personnel. Speculation has arisen that the musicians' union may have tacitly favored such neglect in order to sustain employment levels.
Large-ensemble activity marked Lawrence's initial years and later receded, giving way to a co-leadership role in the Sunnyland Jazz Orchestra alongside pianist Buster Wilson. Throughout the 1920s and 1930s both Paul Howard and bandleader Les Hite employed Lawrence in dual capacities as performer and arranger. By the 1940s he had set aside saxophone and clarinet to concentrate exclusively on piano. National tours as a sideman with New Orleans jazz legend Kid Ory and vocalist-composer Noble Sissle brought him wider recognition among traditional-jazz listeners. In the 1950s he attained further insider esteem as pianist in the house trio at Hollywood's Bamboo Club. Even this reduced format eventually proved excessive; his final documented appearances occurred as an unaccompanied soloist. He also taught and continued supplying arrangements until withdrawing from professional activity in the mid-1970s.
Accompanying liner notes described Howard's group as "one of the most thoroughly underrated in the history of jazz," an observation that borders on contradiction. Because the music has long celebrated overlooked innovators, the designation of Howard as supremely neglected implies that some authoritative voice had indeed registered his work. Lawrence supplied concise yet expansive charts, among them the piece "Harlem" and his own "The Ramble," enabling the ensemble to project the density of a much larger unit. By establishing this standard of efficiency, he indirectly influenced subsequent, more prominent big bands that lacked comparable arranging resources and therefore required additional personnel. Speculation has arisen that the musicians' union may have tacitly favored such neglect in order to sustain employment levels.
Large-ensemble activity marked Lawrence's initial years and later receded, giving way to a co-leadership role in the Sunnyland Jazz Orchestra alongside pianist Buster Wilson. Throughout the 1920s and 1930s both Paul Howard and bandleader Les Hite employed Lawrence in dual capacities as performer and arranger. By the 1940s he had set aside saxophone and clarinet to concentrate exclusively on piano. National tours as a sideman with New Orleans jazz legend Kid Ory and vocalist-composer Noble Sissle brought him wider recognition among traditional-jazz listeners. In the 1950s he attained further insider esteem as pianist in the house trio at Hollywood's Bamboo Club. Even this reduced format eventually proved excessive; his final documented appearances occurred as an unaccompanied soloist. He also taught and continued supplying arrangements until withdrawing from professional activity in the mid-1970s.
Singles
