Fred Norman spent a lot of the golf swing era being a active arranger and his old age doing work for record brands. He began playing trombone when he was 14. After dealing with regional rings in Florida, he transferred to Washington, D.C. in 1930. Norman caused Duke Eglin’s Bell Hops, Booker Coleman and Elmer Calloway (Cab’s youthful sibling). When he became a member of Claude Hopkins’ Orchestra in 1932, he doubled being a vocalist and added many agreements. Norman was using the Hopkins big music group during its essential years (1932-37), so when he departed, quit the trombone and stuck solely to composing. Norman wrote agreements for most big rings including those of Benny Goodman (1938), Bunny Berigan, Gene Krupa, Lionel Hampton, Jack port Teagarden, Glenn Miller, Harry Adam, Artie Shaw and Tommy Dorsey. Norman was an employee arranger for Krupa from 1940-43 and spent intervals writing solely for Dorsey and Charlie Spivak. Beginning in the 1950s, he started working carefully with brands (including MGM and Carlton), frequently as a musical movie director for performers (including Dinah Washington, Sarah Vaughan and Brook Benton). Norman (who hardly ever led his very own record time) worked in to the 1970s being a freelance arranger.