Ben Webster was considered one of the "big three" of swing tenors along with Coleman Hawkins (his main influence) and Lester Young. He had a tough, raspy, and brutal tone on stomps (with his own distinctive growls) yet on ballads he would turn into a pussy cat and play with warmth and sentiment. After violin lessons as a child, Webster learned... [+] Read More

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Budd Johnson was a talented and valuable jazz musician for many decades, a behind-the-scenes player and writer who uplifted a countless number of sessions from the 1930s into the '80s. Johnson started off playing in Kansas City in the late '20s, including with the bands of Terrence Holder, Jesse Stone, and George E. Lee. He made his recording... [+] Read More

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One of the more individual tenors to emerge from the swing era, the distinctive Buddy Tate came to fame as Herschel Evans' replacement with Count Basie's Orchestra. Earlier he had picked up valuable experience playing with Terrence Holder (1930-1933), Count Basie's original Kansas City band (1934), Andy Kirk (1934-1935), and Nat Towles... [+] Read More

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Chu Berry was considered one of the top tenor saxophonists of the 1930s, just below Coleman Hawkins (his main influence), Lester Young, and Ben Webster. Particularly strong on up-tempo numbers (although his ballad statements could be overly sentimental), Berry might have become an influential force if he had not died prematurely. After playing... [+] Read More

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Dexter Gordon had such a colorful and eventful life (with three separate comebacks) that his story would make a great Hollywood movie. The top tenor saxophonist to emerge during the bop era and possessor of his own distinctive sound, Gordon sometimes was long-winded and quoted excessively from other songs, but he created a large body of superior... [+] Read More

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Earle Warren was Count Basie's longtime lead altoist and occasional pop ballad singer. He played piano, banjo, and ukulele in a family band before taking up the saxophone, eventually settling on the alto. He led bands in the Midwest during part of the 1930s before joining Basie in 1937. Until the breakup of the band at the end of 1949, Warren... [+] Read More

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For close to 20 years -- from the early '50s until 1970 -- the characteristic sax sound of Count Basie's big band was topped by the clear, vibrating lead alto of Marshall Royal. Royal was, by all accounts, a competent swing-based soloist, but his strength was first and foremost as a team player. Royal's style became the prototype for swinging a... [+] Read More

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Paul Quinichette was known throughout his career as the "Vice Prez" because he sounded so similar to Lester Young. While most of Young's other followers emulated his '30s style, Quinichette sounded like Lester Young of the then-present day (the 1950s). After getting experience with Nat Towles, Lloyd Sherock, and Ernie Fields, Quinichette was... [+] Read More

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Wardell Gray was one of the top tenors to emerge during the bop era (along with Dexter Gordon and Teddy Edwards). His Lester Young-influenced tone made his playing attractive to swing musicians as well as younger modernists. He grew up in Detroit, playing in local bands as a teenager. Gray was with Earl Hines during 1943-1945, recording with him... [+] Read More

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In the 1930s, Willie Smith ranked third among alto saxophonists, just behind Johnny Hodges and Benny Carter. He had a distinctive sound and a swinging style that was a major asset to Jimmy Lunceford's orchestra. Smith also contributed occasional vocals ("Rhythm Is Our Business" was his best-known recording) and some effective clarinet solos... [+] Read More

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