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Lucille Dixon

b. 27 Feb 1923, NEW YORK, NY, USA, d. 23 Sept 2004, NEW YORK, NY, USA. Elevated in Harlem where her dad was a Baptist minister, Dixon was trained by her mom to try out piano. Studying traditional music, she initially wished to play clarinet, but turned to bass. Tutored by Frederick Zimmerman of the brand new York Philharmonic, she was chosen for the All-City SENIOR HIGH SCHOOL Orchestra as well as for the Country wide Youngsters Association’s Orchestra. Having researched at Brooklyn University she then went to Iona University and in 1942, while still students, spent 90 days using the International Sweethearts Of Tempo. Her colour limited career choices; symphony orchestras had been out and she was incapable actually to audition for Phil Spitalny’s well-known all-female orchestra. Deciding on jazz, she became a member of the Earl ‘Fatha’ Hines music group in 1943, staying until 1945 when she resolved in NY with her spouse, trombonist Gus Chappell, and started raising a family group. The following 12 months, she created a six-piece music group she called the Starliners, getting very effective in the town. Among several prolonged engagements was a 12-12 months residency at Golf club Savannah in Greenwich Town. Divorced and remarried, Dixon continuing to lead rings in NY and among leading jazzmen of your day she used had been Tyree Glenn, Taft Jordan, George Kelly, Fat Navarro, Sonny Payne and Friend Tate. Furthermore to jazz, Dixon also performed Latin and traditional music. Her many traditional orchestra affiliations consist of being a creator member, in 1964, and supervisor from the Symphony Of THE BRAND NEW World. Like a studio room musician, she performed to get artists such as for example Tony Bennett, Ella Fitzgerald, Frank Sinatra, Sarah Vaughan and Dinah Washington, and for nearly two decades is at pit rings for a large number of Broadway displays. In 1981 she was an associate of the all-female quintet that performed at Carnegie Hall within a demonstration entitled ‘Ladies Blow Their Personal Horns’. She retired in 1996, but following a loss of life of her second spouse she played once again, now as an associate of the trio led by pianist Carli Muñoz. Furthermore to her active playing plan, Dixon was also energetic in cultural and ethnic affairs and specifically with matters associated with racial prejudice in the music sector.

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