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Harry Babasin & the Jazzpickers

This combo worked for quite some time out of a normal base at Hollywood’s trendy Purple Onion club. In lots of ways the group was a model for the awesome, swinging, nonaggressive college of jazz, with both vibraphone and flute prominent in leading line. The music group was the brainchild of Harry Babasin, who was simply considered among the 1st jazz cellists. His pizzicato single on the 1947 part by pianist Dodo Marmorosa could be the initial such cello chilling on the jazz record. Even though the name from the music group might suggest some type of hillbilly jazz fusion, the truth is, the Jazzpickers was nothing at all of the type. It was a really pure jazz clothing, attracting a mixture of seasoned studio room and jazz vets such as for example flautist Pal Collette and youthful newcomers such as for example guitarist Don Overburg, a playing partner of tenor saxophonist Warne Marsh. Leading cover photo from the group’s initial album in the EmArcy label is certainly foremost striking due to Overburg’s apparent youngsters. Besides playing specifications, the group performed materials compiled by Babasin and Bob Harrington, the last mentioned guy doubling on vibraphone and drums. For the group’s second record, Harrington was changed by the far better known vibraphonist Crimson Norvo. For a long time, fans of the design of jazz have already been daydreaming about some type of release of the band’s live tapes; the over-produced EmArcy edges limit the playing time for you to around 3 minutes per name, hardly typical to get a jazz music group.

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