Blessed in Oklahoma, as a kid he moved along with his family members to Springfield, MO, in 1914. Wrightsman’s dad was a musician and his initial gigs were along with his dad’s music group. He left house at 16 to try out in a music group at a resort in Gulfport, MS. Wrightsman after that performed in rings around Oklahoma before getting employment as an employee musician at Oklahoma Town radio place WKY in 1928. In 1930, he transferred to New Orleans and used bandleader Ray Miller. He traveled towards the Western Coastline with Henry Halstead in 1933; there he used various rings. He transferred to Chicago in 1935-1936 to try out with Ben Pollack for a while, before becoming sick and heading back to California in 1937. In LA, he used Santo Pecora, after that proved helpful freelance and in the later ’30s, he performed in the Hollywood studios. Motivated in large component by a link with Spike Jones, Wrightsman ventured in to the world of musical parody; in 1941, he performed and recorded using the Jones music group that evolved in to the Town Slickers. Wrightsman still left when the music group moved too much afield of jazz. Through the ’40s, he performed mainstream jazz and pop with — amongst others — Artie Shaw, Wingy Manone, Eddie Miller, Rudy Vallée, and Nappy Lamare. He used Bob Crosby from 1950-1951; afterwards in the 10 years, he performed and documented with Matty Matlock, Pete Fountain, as well as the Rampart Road Paraders (having a youthful George Vehicle Eps on acoustic guitar); also, Ray Bauduc, Crazy Expenses Davison, and Bob Scobey. He performed within the soundtracks towards the Crimson Nichols biopic The Five Pennies as well as the Jack port Webb film Pete Kelly’s Blues. Wrightsman used Fountain a good deal through the ’60s and continuing working in Television and film. He shifted to NEVADA in the past due ’60s, where he supported Wayne Newton and Turn Wilson, amongst others.