Because the Blue Note Information house drummer through the early ’60s, Ben Dixon played on some of the most influential and long lasting sessions within the soul-jazz cannon, including landmark times alongside Give Green, Lou Donaldson, and Big John Patton. Created in Gaffney, SC, on Xmas Day time, 1934, Dixon spent nearly all his adolescence in Washington, D.C. An avowed disciple of jazz giants Charlie Parker and Artwork Tatum, he was most profoundly affected by Utmost Roach and started playing drums while coping with his dad in Buffalo, NY. A much-touted golf ball prospect, Dixon went to Central State College or university on a complete athletic scholarship but still select music over sports activities, and started gigging appropriately in 1955 to get Buck Hill and Shirley Horn. Following that, he collaborated with trumpeter Webster Youthful before settling in NEW YORK in 1956. A yr later Dixon produced his documented debut on Ray Draper’s Prestige day Tuba Seems. In early 1958, he authorized on with R&B great Lloyd Cost, spending another 3 years on tour. Price’s music group also presented pianist Big John Patton, whom Dixon prompted to look at the Hammond body organ, at that time emerging among the leading instruments within the jazz lexicon. In 1961, Dixon became a member of organist Jack port McDuff’s trio alongside saxophonist Harold Vick, later on expanding to some quartet with the help of the excellent guitarist Give Green. Dixon, Green, and Patton had been together presented to Blue Take note via saxophonist Lou Donaldson, and in the a few months to check out the three guys emerged because the label’s preeminent tempo section through the halcyon times of soul-jazz. Dixon’s move contact of credits is normally nothing lacking extraordinary, including now-classic albums like Donaldson’s The Normal Spirit, Patton’s Along Came John, Green’s Weekend Mornin’, Vick’s Steppin’ Out!, and Baby Encounter Willette’s In person. He was also a author of some renown, authoring the oft-covered “Cantaloupe Girl” in addition to “Pig Foots” and “Unwanted fat Judy.” Nevertheless, the grind of program function and touring used on Dixon and in 1967 he practically retired from music to focus on raising a family group. For three years he seldom performed professionally, however in 1997 he came back to music, developing the true Jazz Quartet and starting a music education plan dubbed “Live at Lunchtime.” In 2000, Dixon founded his very own American Classical Jazz label to lower his first-ever program being a head, State Yes to YOUR VERY BEST.
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