The definitive arranger/composer from the bop era, Tadd Dameron wrote such standards as “Great Bait,” “Our Delight,” “Hot Home,” “Female Parrot,” and “IF YOU Could See Me personally Now.” Not merely did he compose melody lines, but complete agreements, and he was an important force in the mid-’40s on despite the fact that he never economically prospered. Dameron began in the golf swing era touring using the Zack Whyte and Blanche Calloway rings, he composed for Vido Musso in NY and most significantly, contributed agreements for Harlan Leonard’s Kansas Town Orchestra, a few of which were documented. Shortly Dameron was composing graphs for such rings as Jimmie Lunceford, Count number Basie, Billy Eckstine, and Dizzy Gillespie (1945-1947) furthermore to Sarah Vaughan. Dameron was generally very humble about his very own piano playing but he do gig with Babs Gonzales’ Three Bips & a Bop in 1947 and led a sextet offering Fatty acids Navarro (and afterwards Miles Davis) on the Royal Roost during 1948-1949. Dameron co-led an organization with Davis on the 1949 Paris Jazz Celebration, stayed in European countries for a couple months (composing for Ted Heath), and returned to NY. He composed for Artie Shaw’s last orchestra that calendar year, played and organized R&B for Bull Moose Jackson (1951-1952) and in 1953 led a non-et featuring Clifford Dark brown and Philly Joe Jones. Medication problems, however, began to block the way of his music. After documenting several albums (including 1958’s Mating Contact with John Coltrane) he spent a lot of 1959-1961 in prison. After he premiered, Dameron composed for Sonny Stitt, Blue Mitchell, Milt Jackson, Benny Goodman and his last record but was much less mixed up in years before his loss of life from cancers. Tadd Dameron’s traditional Blue Take note recordings of 1947-48, his 1949 Capitol edges and Prestige/Riverside pieces of 1953, 1956, 1958, and 1962 are currently on the net on CD.
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