When Don Butterfield puts straight down his tuba to tremble hands with an admirer, he understands he is conference someone who loves to browse the liner notes and credits about jazz albums. In any other case, nobody has heard about him. These people, a species occasionally referred to as “men with eyeglasses,” could be held quite busy checking the Butterfield discography; starting his professional profession following a Second World Battle, the man offers played on a collection of records that could fill many tuba instances. Butterfield studied the reduced yo-yo of the brass device at Juilliard, and in the past due ’40s landed careers in the studios of broadcast systems CBS and NBC. He also performed many a symphony orchestra day, got the decision for rotund comedian Jackie Gleason’s group of instrumental albums, and got a regular chair with the air Town Music Hall Orchestra. As the ’50s advanced he became more developed like a fellow who didn’t need to leave NEW YORK very much to remain occupied as an instrumentalist. Although he do work with traditional jazz outfits such as for example Claude Thornhill’s music group, a lot of the identification from the Butterfield name originates from his participation using the genre’s even more progressive, sometimes also aggressive market leaders. Through the ’50s and ’60s an array of jazz performers became empowered by record firm bean counters to trim albums with huge ensembles. A lot of this documenting activity occurred in NEW YORK, normally. Butterfield was hence asked onto albums by Charles Mingus, Dizzy Gillespie, and Rahsaan Roland Kirk, merely to name some of the jazz greats he spent some time working with. He also had taken component in the historical Moondog documenting periods for Columbia. His credits in the ’70s start to reveal even more of a pop component, a combined mix of two tendencies in the music business: documenting even more pop than jazz and crediting all of the sidemen on produces in the previous style. He provides continuing to record prolifically in an array of contexts, from Oscar Peterson golf swing to John Cage whatnot. The tuba participant did record a little bit of activity being a head in his very own correct , including a 1955 record for Atlantic using a sextet. 3 years afterwards he provided this group on the Newport Jazz Celebration.