Eric Dixon

Hardly six lines of copy in The Encyclopedia of Jazz seem ideal for a performer having a sparse discography, not really the type of haystack of sides recorded simply by multi-instrumentalist Eric Dixon. Not really that any appropriate ratio has have you been described between discographical mass and biographical text message — particularly when a lot of biographers seem even more worried about what music artists are up to if they are not producing records. Dixon probably did have intervals when he wasn’t producing records, despite in contrast impressions from what he achieved between his 1950 professional debut and his loss of life in the past due ’80s. Some discographical resources extend Dixon’s amount of activity up through 1994, something of the welcome breather due to the fact almost 200 albums resulted. This discrepancy could also derive from the possible existence greater than one musician called Eric Dixon, though few information should be stripped from the one-man discographical hoard. Virtually every credit discovered under this name will become for some mix of organizing and woodwind abilities. Dixon was mainly referred to as a tenor saxophonist and flutist; for the previous axe, he loved the striking and smart soloing design of Paul Gonsalves, a celebrity tenor guy with Duke Ellington’s music group. Applying this model aswell as information from even more rambunctious players such as for example Eddie “Lockjaw” Davis, Dixon spent almost two decades training his own single niche inside the rival music group of Count number Basie. Hipsters will recognize Dixon through the superb early-’60s edges by Ahmed Abdul-Malik, a distinctive contemporary jazz bandleader and composer. In such artistically challenging circumstances, Dixon displays mighty spunk, earnestly and unflinchingly providing what’s totally proper. He’s also a fascinating jazz flutist and documented on several runs of clarinets aswell. Dixon’s publication of snappily entitled compositions contains “Insect Out” and “Pootin’ It.”