A good soloist and an excellent arranger, Dave Matthews was section of several important rings. He was raised in McAlester, Alright and researched at Oklahoma College or university and Chicago Musical University. Matthews’ first main work was as an altoist with Ben Pollack’s Orchestra from 1935-36. Then caused Jimmy Dorsey from 1936-38 and Benny Goodman from 1938-39, sometimes soloing on record with Benny Goodman. Matthews still left Goodman to become listed on Harry Adam’ initial big music group (1939-40) and he was in charge of the classic agreement of “Two O’Clock Leap.” In 1940, Matthews turned completely to tenor, and he came back to Adam for an interval in 1941. Although he didn’t get to single very much with Hal McIntyre (1941-42), Woody Herman (1942-43), Stan Kenton (1944) and Charlie Barnet (on / off from 1944-49), Matthews added arrangements to each one of the rings. His Duke Ellington-influenced function for Herman helped the clarinetist modernize his orchestra and established the stage for the Initial Herd. Furthermore, Matthews had written “Family portrait of Edward Kennedy Ellington” for Barnet. After departing Barnet, Matthews mainly freelanced as an arranger for another few decades, sometimes leading his very own music group in Reno, NV. As a new player, Matthews’ brightest occasions were most likely his alto solos on Bud Freeman/Eddie Condon schedules in 1938 and a tenor feature (“Solitude”) using the Capitol Jazzmen in 1943. His just dates being a leader led to a single name (“Sepia Nocturne”) for Capitol in 1945 and a V-Disc in 1946.