Don Redman

Don Redman stands as jazz's pioneering architect of ensemble writing, whose compositional breakthroughs forged the first big band format rooted in the idiom while still reserving ample space for individual solos to unfold.

Earning a music degree upon college graduation at twenty, he spent a year performing alongside Billy Paige's Broadway Syncopators before crossing paths with Fletcher Henderson. There Redman assumed the role of principal arranger—though Henderson frequently received erroneous later attribution for those groundbreaking scores—while contributing on clarinet and alto saxophone, and once even on oboe. His engaging, mostly spoken vocals led to the earliest scat performance on record with the 1924 release "My Papa Doesn't Two Time," preceding Louis Armstrong. Though his initial charts projected a forward-looking sensibility, they sometimes lacked fluidity; only after Armstrong entered Henderson's ranks did Redman absorb the cornetist's lessons and infuse genuine swing into his work, producing enduring examples such as "Sugar Foot Stomp" and "The Stampede."

Fletcher Henderson was taken aback when Jean Goldkette recruited Redman in 1927 to helm McKinney's Cotton Pickers. Redman swiftly elevated the once-obscure ensemble into a formidable rival, penning future standards including "Gee Baby, Ain't I Good to You" and "Cherry." He increased his vocal presence, favored alto over the comparatively rudimentary clarinet, appeared as a guest on celebrated dates with Louis Armstrong's Savoy Ballroom Five in 1928, and issued a notable run of distinctive recordings. Forming his own orchestra in 1931, he sustained the group through 1941, albeit without major commercial gains. Thereafter he supplied freelance arrangements throughout the remaining swing years, directed an all-star unit in 1946 that marked the first postwar European visit by any jazz band, and eventually served as Pearl Bailey's musical director. A handful of later sessions appeared in the late 1950s, yet Redman's enduring impact rests on his transformative contributions from the 1920s and 1930s.