b. 15 June 1910, Gotebo, Oklahoma, USA, d. 17 Dec 1975, Hand Springs, California, USA. Through the past due 20s and in to the 30s, Wrightsman performed piano in a number of territory bands within the south and south-west and in addition in New Orleans. Following a spell in California, within the middle-30s he became a member of Ben Pollack’s well-known music group in Chicago. Shortly, however, he came back to the western world coast and resolved there, working being a freelance within the film studios. Through the 40s and 50s he continuing to try out jazz under many market leaders including Artie Shaw but generally those with rings carrying out a traditional bent, notably Wingy Manone, Bob Crosby, Matty Matlock, Pete Fountain, Ray Bauduc and Crazy Bill Davison. Mainly, however, he continuing along with his film function, occasionally showing up on-screen, such as The Man I REALLY LIKE (1946), but generally just on soundtracks, including SON USING A Horn (1950) and Picnic (1955). Occasionally, Wrightsman dubbed soundtracks for on-screen stars, in this manner offering the piano playing for Richard Whorf in Blues In THE NIGHT TIME (1941), for Bonita Granville in Syncopation (1942) and, with only-in-Hollywood craziness, for jazz pianist Sir Charles Thompson within the Crimson Canary (1945). In the past due 50s and early 60s he continuing in equivalent vein, playing in the soundtrack of tv’s M Squad and producing jazz information with Muggsy Spanier and once again with Fountain. An achieved pianist, Wrightsman got a good otherwise especially exclusive jazz contact but wisely, probably, thought we would make his skill open to the extremely lucrative demands from the film industry.