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Teddy Nixon

Originally from the town of brotherly love, trombonist Teddy Nixon was among the first generation of professional American jazz musicians, active in both ’20s and ’30s. Oddly enough enough, he produced transition from your modernistic path of big music group innovator Fletcher Henderson in the previous era back again to the root base jazz of Sidney Bechet ten years afterwards. But Nixon was a sideman’s sideman, producing necessary but non-etheless smallish contributions towards the groupings and recordings he was highlighted on. And even though he does arrive on a number of sides, mainly by these aforementioned market leaders, the listener could have trouble figuring out the actual man’s personal creative vision may have been. Component of this originates from the format from the music he was involved with, which often still left bandmembers such as for example him with half-chorus duration solos that pass in the blink of an eyesight. That Nixon was a significant collaborator in the sonic eyesight of Fletcher Henderson can be beyond dispute. At least the best band maestro appears to have enjoyed having Nixon around as he turns up on a number of sessions offering variously size Henderson aggregations, through the septet operating beneath the pseudonym Seven Dark brown Babes towards the full-sized Fletcher Henderson Orchestra. In these clothes, he performed alongside some of the most historical statistics in jazz, such as for example tenor saxophonist Coleman Hawkins. He also supported blues vocalist Rosa Henderson — no regards to Fletcher — on recordings for Ajax in 1929, and used drummer Big Sid Catlett and bassist Wellman Braud, known for his use Duke Ellington. In 1932, Nixon joined up with a pretty very much all-star sextet, the brand new Orleans Feetwarmers. This music group was the brainstorm of soprano saxophonist Sidney Bechet, who at that time had recently been pioneering in the jazz idiom for pretty much 2 decades, and trumpeter Tommy Ladnier, a playing pal of Bechet’s because the old days. This is regarded a supergroup of the brand new Orleans idiom, but like many such ensembles just a limited life time was planned. Despite performing smash business in the Savoy Ballroom and documenting some classic edges for Victor, the music group collapsed because of both disputes between your co-leaders about decision power and a changing musical weather that offered fewer possibilities for so-called “warm” jazz music artists. The new styles were toward luxurious, over-arranged, and lush big music group graphs with crooning passionate balladeers. Perhaps non-e of the appealed to Teddy Nixon because there doesn’t appear to be very much record of his professional function after 1935, whenever a edition of the brand new Orleans Feetwarmers slice two more edges for Ajax. The trombonist appears to have adopted the forecast of the politician from a later on era who occurs to talk about his last name: “You will not possess…Nixon to kick around anymore.”

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