A thick-toned tenor saxophonist whose spirited and enthusiastic solos helped compensate for his weak music-reading abilities, Vido Musso was popular for an interval within the 1940s. His family members moved to america in 1920, settling in Detroit. Musso initial performed clarinet before switching to tenor. He shifted to LA in 1930 and started a link with Stan Kenton, and both were sidemen in a number of of the same regional rings. Musso and Kenton briefly experienced a big music group in 1936, but the tenor saxophonist was found out and became a tiny name using Benny Goodman & His Orchestra (1936-1937). Over time with Gene Krupa’s fresh music group (1938), Musso rejoined Goodman a few occasions (1939 and 1941-1942). He also experienced stints with Harry Wayne (1940-1941), Woody Herman (1942-1943), and Tommy Dorsey (1945) between efforts to business lead his personal big music group (none which been successful). Vido Musso was at the maximum of his popularity during his two intervals with Stan Kenton (1945-1946 and 1947), especially for his psychological rendition of “Get back to Sorrento.” He ultimately moved back again to Los Angeles, performed locally and, beginning in 1957, worked well regularly in NEVADA. Most of Vido Musso’s documenting dates like a innovator are relatively obscure. There is a four-song Savoy program in 1946; eight boppish game titles in 1947 for Trilon; additional times for Arco, Illusion (three music in 1952), and RPM; plus two albums for Crown and Contemporary (1954-1955).