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Donald's Encyclopedia of Popular MusicA B C D E F G H I J K L M N O P Q R S T U V W X Y ZCARNEY, Harry(b 1 April '10, Boston MA; d 8 Oct. '74, NYC) Baritone sax, also bass clarinet. Piano as a child, then clarinet, alto sax; played with local bands; joined Duke Ellington age 17 with mother's permission, switched to baritone; worked for Ellington more than 46 years. Credited as co-author of 'Rockin' In Rhythm' '30, band's theme then, again in later years; wrote 'Jenny' '46 (after his mother), but didn't solo on the record. Countless times assigned the opening bars of an arrangement, e.g. 'Jive Stomp' '33; memorably set tone with elegant growl/purr on '40 masterpiece 'Ko-Ko'. Many solos incl. those on 'Slap Happy' '38, 'I Can't Believe That You're In Love With Me' '46, 'Dancing In The Dark' '60. Tunes written especially for him incl. 'Sono' '46 (introduced in Carnegie Hall), 'Frustration' '47 (he recorded these again with strings, '48; 'Frustration' also on Bethlehem '56 in Chicago with Ellington), also 'Serious Serenade' '55. Well-named 'V.I.P.'s Boogie' '51 features Carney; bass clarinet can be heard in ensembles on 'Creole Love Call' '56; also 'Mood Indigo' '62 from LP Duke Ellington Meets Coleman Hawkins: on that album's 'Limbo Jazz' Carney established an irresistible, riffing ensemble. Baritone players could be divided into two groups: Carney and the rest; he gave the instrument its place in jazz as his idol Coleman Hawkins did for the tenor. Ellington's reed voicings, perhaps the most important ingredient in band's sound, to a large extent depended on Carney's anchor; he lost valuable sidemen from time to time but his music cannot be imagined without Carney. Also one of Ellington's closest friends; they often drove alone together in Carney's Cadillac from gig to gig. Master classes at U of Wisconsin '73 revealed his modesty and gentleness of spirit, as though he could not believe his good fortune at being the object of so much affection. |