#BuddyCollette 's rare and gorgeous "Bossa Nova,"

Today at JazzWax, Buddy Collette's rare and gorgeous "Bossa Nova," recorded in 1962... https://t.co/UWWoKW0meM pic.twitter.com/WGUeDQJeW4

— Marc Myers (@JazzWax) November 2, 2017

Buddy Collette: The Gordon Jack Essay

Steven A. Cerra

“If I were going to pick a guy to open the Hollywood studio doors as Jackie Robinson did for baseball, Buddy would have been the man” - Gerald Wilson, trumpet player, bandleader, educator

 “A spiritual father to Charles Mingus, Eric Dolphy, James Newton and myself. Buddy was a sage and saint. The doors he opened for us are innumerable and monumental.” - Charles Lloyd, tenor saxophonist, flutist, bandleader

UK-based author and essayist Gordon Jack “dropped by” the editorial offices of JazzProfiles recently to share the following piece on Buddy Collette which first appeared in the March 2015 issue of Jazz Journal. You can locate more information about the magazine via this link.

And at the conclusion of this piece, you can checkout Buddy’s style of playing on a video that features him on a track from Conte Candoli’s Little Band Big Jazz on which the rhythm section is comprised of Vince Guaraldi, piano, Leroy Vinnegar, bass and Stan Levey, drums.

© - Gordon Jack/JazzJournal; copyright protected, all rights reserved, used with the author’s permission.

“Buddy Collette should be remembered not only as a consummate multi-instrumentalist equally at home on flute, clarinet, alto or tenor but also for the major part he played in integrating the Los Angeles Federation of Musicians’ Locals in 1953. Until then two different locals operated in many US cities – one for black performers and one for white. 

He was born in Los Angeles in 1921 and began learning the piano when he was ten but a couple of years later he switched to the saxophone.  His family lived in the Watts area and Britt Woodman and Charles Mingus were neighbours. It was Britt’s brother who taught Buddy the clarinet and by the mid-thirties he was a member of The Woodman Brothers Biggest Little Band In The World.

Buddy also had his own band around this time playing occasional Saturday night dances but he needed a bass player. A chance meeting with Mingus who was studying the cello solved the problem. Buddy encouraged him to take up the bass and introduced him to Red Callender who became Mingus’ first teacher, charging $2.00 a lesson. After considerable wood-shedding Charles joined Collette’s band for occasional engagements at the Odd Fellows Hall in Watts and over the years Buddy and Mingus remained very close.

Around 1937 he started working at the Follies Theatre backing acts like Tempest Storm, Lily St.Cyr and vaudeville comedian Joe Yule (Mickey Rooney’s father). A little later in 1940 he began studies with the celebrated Lloyd Reese who had acquired a reputation as one of the finest jazz educators on the west coast. While studying with Reese he joined the very popular Cee Pee Johnson band who were usually to be heard at Central Avenue venues like the Club Alabam. Buddy was on baritone and it was possibly when the band appeared at Hollywood’s Rhumboogie that Orson Welles heard them and decided to use them in Citizen Kane. They can be seen briefly during a party scene at the end of the film.

When the US entered WWII in 1941 he joined an all-black US Navy Reserve band serving with Clark Terry, Jerome Richardson and the Royal brothers - Ernie and Marshal.  After the war the Central Avenue scene continued to thrive with clubs like Lovejoy’s, the Last Word and the Turban Lounge featuring young stars like Dexter Gordon, Wardell  Gray, Sonny Criss, Buddy and his friend Bill Green. 

Collette started to organise a little band with John Anderson, Britt Woodman, Spaulding Givens, Mingus, Oscar Bradley and Lucky Thompson who had stayed in town after his booking with Dizzy Gillespie and Charlie Parker at Billy Berg’s in 1946. They rehearsed at Mingus’ house and their first booking was at the Down Beat which was the hottest spot on Central Avenue. It was a collaborative group so they decided to call themselves The Stars Of Swing. That was to be on a sign outside the club but Lucky Thompson had other ideas. On opening night the club sign said, Lucky Thompson And The All Stars. Mingus apparently wanted to kill him and three days later after the original sign was reinstated Lucky left the group to be replaced by Teddy Edwards.

With aid of the GI Bill Buddy began studying at the American Operatic Laboratory, the California Academy of Music and the L.A. Conservatory of Music. This was the time that he began concentrating on the flute studying with Henry Woempner who was the top flutist at MGM. He also had harmony lessons with Franklyn Marks and Wesley La Violette who numbered Shorty Rogers, Marty Paich and Jimmy Giuffre among his students.

read more: http://jazzprofiles.blogspot.com.br/2015/09/the-forgotton-ones-buddy-collette.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed:+JazzProfiles+(Jazz+Profiles)

Buddy Collette dies at 89; L.A. jazz saxophone player, bandleader

Collette helped merge the black and white musicians' unions in L.A. and mentored many African American musicians. He was active in preserving and promoting L.A. jazz history.

By Don Heckman, Special to The Times.

Buddy Collette, a Grammy-nominated jazz saxophonist, flautist, bandleader and educator who played important roles in Los Angeles jazz as a musician and an advocate for the rights of African American musicians, has died. He was 89.

Collette died Sunday at Cedars-Sinai Medical Center in Los Angeles after suffering shortness of breath a day earlier, according to his daughter Cheryl Collette-White.

Collette's virtuosic skills on saxophones, flute and clarinet allowed him to move easily from studio work in films, television and recording to small jazz groups and big bands. He was, in addition, one of the activists instrumental in the 1953 merging of the then all-African American musicians union Local 767 and the all-white Local 47.

"I knew that was something that had to be done," Collette told writer Bill Kohlhaase for a Times story in 2000. "I had been in the service, where our band was integrated. My high school had been fully integrated. I really didn't know anything about racism, but I knew it wasn't right. Musicians should be judged on how they play, not the color of their skin."

Collette had already crossed the color bar before that in 1949 and 1950 by performing as the only African American musician in the orchestra for Groucho Marx's "You Bet Your Life" radio and television shows.

"We integrated the Academy Awards too," Collette said. "It was 1963, when Sidney Poitier won. We were going to picket that thing. But I was in the band, with saxophonist Bill Green and harpist Toni Robinson-Bogart."

Complete on  >>  http://www.latimes.com/news/obituaries/la-me-buddy-collette-20100921,0,4622077.story

A legend in American Jazz, Buddy Collette was mentor to Charlie Mingus and played with Ellington,Basie, Parker - all the great ones. Buddy was one of those rare talents that helped define what can be done with a saxaphone in LA's famed central avenue 1930's jazz scene.

Buddy Collette - The West Coast

Buddy Collette (fl,ts)
Hubert Laws (fl)
Llew Matthews (pf)
Stanley Gilbert (b)
Harvey Mason (ds)
Kevin Eubanks (g)
Recorded AT WEST WORLD STUDIO, L.A., SEPTEMBER 23,24, 1996.