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Charles “Majeed” Greenlee

In his long job, this trombonist staked out perimeters in both politically charged free jazz from the ’60s and ’70s with famous brands Archie Shepp as well as the commercial showbiz stylings of conventional bandleader Maynard Ferguson. Charles Greenlee changed into the Muslim religious beliefs within the ’40s, changing his name to Harneefan Majeed, however there usually do not appear to be any documenting credits that make use of the trombonist’s complete Muslim name, later on dropped combined with the religious beliefs itself. A lot more common may be the insertion of his Muslim 1st name in the center of his unique name as some sort of nickname, Charles “Majeed” Greenlee, along with the half-and-half mix of Majeed Greenlee. He began playing music within an American Legion drum and bugle ensemble and researched the triumvirate of mellophone, drums, and baritone horn while still a kid. Appearing out of the local music group picture in Detroit, Greenlee started gigging with different bandleaders through the ’40s, like the lively Lucky Millinder as well as the innovative Benny Carter. Through the second fifty percent of the ’40s he became seriously connected with bebop maestro Dizzy Gillespie, becoming a member of the latter’s music group in 1946 and returning to get a two-year stretch from 1949. The trombonist also led his personal groups during this time period, making use of superb players including saxophonist Frank Foster and pianist Tommy Flanagan. Hard bop was the design Greenlee was immersed in through the outset of his Muslim years, one of is own greatest foils the excellent tenor saxophonist Gene Ammons. From 1951 through 1957 he essentially dropped from the music picture, returning within the sets of Yusef Lateef in 1957 and Maynard Ferguson in 1959, respectively. Through the Ammons and Lateef organizations it was a little stretch and some loud squeaks towards the world of these Shepp along with the wonderful Rahsaan Roland Kirk, both of whom tended to maintain a trombonist within their entrance lines. Because the music got wilder, Greenlee was frequently among the individuals adding items of melodic grounding towards the on-stage play, sometimes allowing listeners occasions of relief simply by keeping his solos basic and to the idea. His documented compositions are the collection in three parts entitled “Zaid.” A significant section of this artist’s legacy is definitely having made an appearance on two of the greatest big-band recordings in the annals of avant-garde jazz, John Coltrane’s Africa Brass and Sam Streams’ Crystals.

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