Fact-checked by Grok 2 weeks ago

Bobby Hackett

Bobby Hackett (January 31, 1915 – June 7, 1976) was an American jazz cornetist, trumpeter, and guitarist renowned for his lyrical improvisation and warm, melodic tone, which influenced generations of musicians across Dixieland, , and mood music genres. Born Robert Leo Hackett in , as one of nine children to a blacksmith father, he displayed prodigious musical talent from childhood, playing by age four, by eight, and purchasing his first at twelve after being inspired by Louis Armstrong's recordings. He quit school after the freshman year to pursue music professionally, starting with , banjo, guitar, and in local bands before focusing on and . By his mid-teens, Hackett performed in speakeasies and summer resorts, earning a union card in 1935 and leading a successful Dixieland band at Boston's Theatrical Club in 1936–1937. Hackett's career spanned over four decades, beginning in the 1930s when he moved to in 1937, where he quickly gained acclaim as "the new Bix" for his stylistic similarities to cornetist while echoing Armstrong's influence. He debuted on records at age 22 with his guitar solo on the Andrews Sisters' hit "Bei Mir Bist Du Schoen" in 1937, and featured prominently in Benny Goodman's historic 1938 concert. In 1939, he formed his own , though it struggled commercially, leading to stints with Horace Heidt's orchestra before joining in 1941, where his trumpet solo on "A String of Pearls" became one of the era's most iconic recordings. Throughout the 1940s and 1950s, Hackett balanced freelance work with major collaborations, including sessions with (organizing his 1947 Town Hall concert), , , and Vic Dickenson, as well as studio roles at and orchestras. He toured with in the mid-1950s and served as a featured soloist on sixteen best-selling mood music albums with Jackie Gleason's orchestra from 1953 to 1966, showcasing his versatility in pop and ballad interpretations. Later, he reunited with in 1962–1963, recorded prolifically for , and performed with Glen Gray's Casa Loma Orchestra and George Wein's groups until relocating to in 1971. Hackett also worked with vocalists like , , and , cementing his reputation as a bridge between hot jazz improvisation and cool, relaxed balladry. His legacy endures through inductions into the Music Hall of Fame (2013) and the Kansas City Jazz Hall of Fame (1987, the only Rhode Islander honored), as well as the naming of a theater at the in his honor in 1980; peers like Armstrong praised him as an equal in tone and phrasing, and his recordings remain staples of discography. He died of a heart attack in West , at age 61.

Early Life

Childhood in Providence

Robert Leo Hackett was born on January 31, 1915, in , to a working-class family. He was the sixth of nine children born to William Hackett, a , and Rose Mulvaney Hackett. The Hackett family resided in modest circumstances in a working-class neighborhood of , an area reflective of the city's immigrant communities. Of Irish-American heritage through both parents' surnames—Hackett and Mulvaney—the family navigated the economic hardships exacerbated by the , which began when Bobby was 14 years old. These conditions, marked by poverty in a large household reliant on manual labor, shaped a childhood of limited resources and early responsibility. Hackett displayed early musical talent, playing by age four and by age eight. At age 14, Hackett quit high school to work, a decision driven by familial financial pressures during the onset of the . This early entry into the workforce exposed him to Providence's vibrant local music scenes, where he began encountering live performances and recordings that sparked his interest in . In particular, hearing Armstrong's recordings as a child inspired him to practice on his own.

Musical Beginnings and Influences

Bobby Hackett's musical journey began in his early teens amid the economic hardships of his family, where served as a driving force to seek opportunities in music as a viable career path. Around age 12, he was captivated by the sound of Louis Armstrong's recordings playing in a local , an encounter that ignited his passion for the and prompted him to purchase his first instrument from a pawnshop. Self-taught, Hackett practiced diligently in secret, even after his mother attempted to hide the horn to discourage him, honing his skills through persistent listening and emulation of Armstrong's powerful, emotive style. This foundational influence emphasized melody and tonal purity, shaping Hackett's commitment to expressive phrasing over technical flash. As Hackett progressed into his mid-teens, around age 15, his exposure expanded to the recordings of , whose introspective and lyrical work profoundly impacted his developing tone. Beiderbecke's melodic subtlety and warm, horn-like sound inspired Hackett to cultivate a similarly singing quality in his playing, blending it with Armstrong's rhythmic vitality to form the basis of his signature approach. This dual influence—Armstrong's bold innovation and Beiderbecke's poetic restraint—became hallmarks of Hackett's early style, evident in his focus on through . In the early 1930s, still in , Hackett immersed himself in local jam sessions and amateur performances, where he experimented with these inspirations alongside fellow musicians. These informal gatherings allowed him to refine his lyrical technique in a supportive , fostering the relaxed yet precise delivery that would define his career. Through such activities, Hackett transitioned from solitary practice to collaborative exploration, solidifying the melodic foundations drawn from his key influences before venturing into broader professional avenues.

Career

Early Professional Engagements

Bobby Hackett began his professional career in the summer of 1933 at age 18, joining Payson Re's dance band at the Megansett Tea Room on in , where he primarily played guitar and . This engagement marked his entry into paid musical work, during which he first met clarinetist , a collaboration that would influence his early associations. By mid-1936, Hackett formed his own Dixieland band to perform at Boston's Theatrical Club, blending rhythms with traditional elements to attract local audiences. The group showcased his emerging talents on , drawing from the melodic lyricism of , whose influence lingered in Hackett's warm, introspective phrasing during these small-ensemble settings. This Boston-based ensemble provided a platform for Hackett to lead and arrange, solidifying his reputation in New England's regional circuit before expanding his scope. In 1937, encouraged by positive reviews from jazz critic George Frazier, Hackett relocated to to pursue greater opportunities within the burgeoning scene centered on 52nd Street. Shortly after arriving, he made his recording debut, contributing a trumpet solo to ' version of "Bei Mir Bist du Schön," recorded on November 24, 1937, which became a massive hit. There, he initially worked as a with bands led by Joe Marsala and , transitioning gradually to solos in freelance and small-group contexts that highlighted his versatile style. This move positioned him amid influential musicians, launching his national profile through consistent performances in Manhattan's vibrant clubs.

Big Band Collaborations

In 1938, Bobby Hackett was recruited by to perform as a guest ist at his landmark Concert on January 16, 1938, marking a significant breakthrough in his career during the . His participation included a notable cornet solo on "I'm Coming Virginia," recreating elements of Bix Beiderbecke's style in the historical segment of the program. This event, often regarded as a pivotal moment in history, showcased Hackett's lyrical alongside luminaries like and Jess Stacy, elevating his profile on the national stage. Hackett's association with Glenn Miller's orchestra from July 1941 to September 1942 further solidified his reputation within circles. Initially hired as a guitarist due to temporary lip issues from dental problems, he soon resumed duties and delivered an iconic improvised on the band's recording of "A String of Pearls," captured on November 3, 1941, in . This performance, arranged by , became one of Hackett's most enduring contributions to , highlighting his warm, melodic phrasing amid Miller's precise ensemble sound. During this period, he also featured on ambitious arrangements like "," contributing to the orchestra's commercial success before Miller's enlistment in the Army Air Forces. Earlier, in early 1939, Hackett briefly led his own , backed by the Music Corporation of America (), which included notable sidemen such as Max Kaminsky and Sterling Bose. The ensemble recorded several tracks, including "Ain't Misbehavin'" and "Sunrise Serenade," but disbanded after about six months due to financial difficulties, leaving Hackett in debt to . This short-lived venture underscored the challenges of sustaining a during the competitive , prompting him to seek steadier employment with Heidt's group later that year.

Post-War Developments

Following , Hackett worked as a staff musician in the studio orchestras of and , which allowed him to balance commercial commitments with performances. Bobby Hackett participated in a landmark event on May 17, 1947, at New York's , where he performed on alongside and an all-star ensemble. This concert, organized by promoter with Hackett serving as musical director, featured Hackett's trumpet in ensemble sections complementing Armstrong's lead, alongside on , Peanuts Hucko on and , Dick Cary on , Bob Haggart on , and drummers Sidney Catlett and George Wettling. The performance marked a return to traditional roots for Armstrong and highlighted Hackett's melodic, Bix Beiderbecke-inspired style in a live setting that revitalized his career trajectory. Later that year, on November 9, 1947, Hackett contributed solos to Frank Sinatra's recording of "Body and Soul," arranged and conducted by with a large . This session, part of Sinatra's output, showcased Hackett's lyrical phrasing in support of the vocalist's intimate interpretation of the standard, blending with popular song styling. In the , Hackett shifted toward commercial easy-listening projects, forming a notable partnership with comedian and bandleader to produce a series of "mood music" designed for romantic atmospheres. These recordings, emphasizing relaxed orchestral arrangements of standards, featured Hackett prominently on and , with his warm tone providing emotional depth; a prime example is the Music for Lovers Only, which stayed on the for over 150 weeks and became a in the genre. This collaboration diversified Hackett's work beyond , appealing to broader audiences while maintaining his instrumental finesse. Hackett also pursued smaller jazz ensembles during this period, co-leading a group with trombonist for the 1957 Capitol album Jazz Ultimate, recorded in on September 16 and 17. The septet, including Ernie Caceres on and , Dick Cary on piano, Jack Lesberg on bass, and Buzzy Drootin on drums, interpreted classics like "'S Wonderful" and "" in a swinging, traditional style that echoed Hackett's earlier experiences with nostalgia. Released in 1958, the album exemplified Hackett's evolution toward intimate, collaborative settings.

Later Years and Recordings

In the mid-1960s, Bobby Hackett embarked on a series of tours with vocalist , including international engagements across in 1966 and 1967, where his trumpet provided elegant backing for Bennett's standards. During this era, he also reunited with bandleader , joining his orchestra for performances in 1962–1963 and contributing to concerts that highlighted their earlier collaborations. By the early 1970s, Hackett relocated from to West Chatham on , , in 1971, seeking a quieter setting that allowed for more selective engagements. There, he focused on local performances, frequently partnering with pianist Dave McKenna at venues around the region, while occasionally touring with promoter and reuniting on stage with . His final public appearance took place at the Weguasett Inn on on June 5, 1976. Hackett's later recordings captured his signature mellow cornet in intimate settings, evolving his earlier mood music style into relaxed interpretations. In 1970, he released Live at the Roosevelt Grill (Volumes 1 and 2) with trombonist Vic Dickenson, a series of live sessions in featuring swinging takes on standards like "Swing That Music" and "," backed by Dave McKenna on piano, Jack Lesberg on bass, and Cliff Leeman on drums. His final studio efforts in the early 1970s included Creole Cookin' (1971) on Project 3 Total Sound, a lively yet laid-back exploration of New Orleans-inspired tunes, and the Gershwin-focused Bobby Hackett and the Music of (1972) on the same label, both emphasizing his lyrical phrasing on standards. Culminating his output, (1976) on showcased Hackett's warm, introspective trumpet on pop- ballads shortly before his death.

Musical Style and Technique

Cornet and Trumpet Approach

Bobby Hackett's approach to the and was characterized by a lyrical, melodic phrasing that drew heavily from the influence of , emphasizing emotional depth over technical flash. His playing featured a soft, vocal-like tone—warm yet cool and relaxed—that avoided aggressive high notes, creating a sense of intimacy and purity often described as "Bix-ish" in its romantic lyricism. This stylistic hallmark allowed Hackett to bridge early sensibilities with swing-era sophistication, earning praise for his tasteful, swinging subtlety even at varied tempos. In settings during the late 1930s and early 1940s, Hackett transitioned from his primary to to fulfill lead line duties in arrangements, adapting his mellow to section work while retaining melodic focus. He played with ensembles like Benny Goodman's and Vic Schoen's, where the instrument's brighter projection suited ensemble precision, though dental issues briefly forced a shift away from brass altogether. Later in his , Hackett increasingly favored the trumpet for its versatility, but he often reverted to for solos to capture that distinctive, rounded warmth. A prime example of Hackett's signature improvisational style is his cornet solo on Glenn Miller's 1941 recording of "A String of Pearls," which originated as a spontaneous 12-bar exercise and became an iconic, note-for-note standard in repertoire. This improvisation blended the heartfelt warmth of Dixieland traditions—rooted in his early self-taught methods inspired by —with the rhythmic precision and polish of , showcasing advanced harmonic ideas in a concise, memorable form.

Guitar Contributions

Bobby Hackett began playing guitar as a child in , where he performed on the instrument alongside and by age twelve, often in local ensembles during his early teens. His initial professional engagements included duties in small groups, contributing to the and early Dixieland scenes before he primarily shifted to . This foundational experience shaped his supportive approach to the guitar, emphasizing rhythmic foundation over melodic leads. Throughout the 1930s and into the early 1940s, Hackett doubled on in larger ensembles, most notably serving as a with Glenn Miller's orchestra from 1941 to 1942, where his role provided steady accompaniment to the band's swing arrangements. He occasionally featured on in Dixieland recordings and small group sessions, blending support with the genre's collective improvisation. These appearances highlighted his versatility, extending from his proficiency into understated ensemble roles. His preference for such supportive functions underscored the guitar's secondary yet integral place in his career, complementing his primary brass work across jazz subgenres.

Personal Life

Family and Relationships

Bobby Hackett married his childhood sweetheart, Edna Lillian Lee, on July 26, 1937, during a two-week engagement at a resort. The couple arranged the wedding on the first day of the gig so Edna could accompany him for the full duration, effectively transforming the professional commitment into a paid . Their marriage endured for nearly four decades, until Hackett's death in 1976. The Hacketts had two children: daughter and son , the latter named after Edna's brother who had died in a bus . pursued a career as a professional and occasionally collaborated with his father, including on recordings and live performances in the 1970s. Hackett's peripatetic career, marked by extensive travels and relocations for tours and residencies, was sustained by strong family backing; for example, at age 17, Ernie joined his father on the road, driving him and pianist Dave McKenna to gigs such as one in . Early on, when Hackett left for in 1930, fellow musician visited the family home to affirm his safety and prospects. Outside the family, Hackett maintained social connections through his Freemason membership in St. Cecile Lodge #568, dedicated to musicians and artists.

Health Challenges and Death

In the 1970s, Bobby Hackett faced significant health challenges, including declining physical condition that became evident during his mid-fifties. He experienced failing health over an extended period, culminating in a two-week hospitalization shortly before his to address fluid buildup in his lungs, a complication often linked to cardiac issues. These problems were worsened by the rigors of his ongoing touring schedule. His residence on in West Chatham, Massachusetts, marked a more settled phase akin to retirement, though he continued performing locally. Hackett was discharged from the hospital on June 4, 1976, and insisted on playing a gig the following evening, June 5, before collapsing early on June 7 from a heart attack at his home in West Chatham at the age of 61. He was survived by his wife of nearly four decades, Edna, their son Ernie—a professional drummer who had occasionally performed with him—and daughter Barbara Traynor, along with three grandchildren. The family responded with deep personal reflection amid the loss; Ernie Hackett later recalled his father's profound influence, stating that his favorite memory was "simply just being his son." A was held in Chatham, followed by at Seaside Cemetery, where Hackett was laid to rest in a service honoring his musical life.

Legacy

Awards and Honors

Bobby Hackett received notable recognition for his cornet playing through placements in magazine's annual jazz polls during the 1940s and 1950s. He won an award in the 1942 readers' poll, highlighting his rising prominence as a trumpet and soloist amid the . In the 1957 poll, Hackett was named a winner in both the trumpet and combo categories, affirming his continued esteem among enthusiasts and critics. In 1980, the named its theater the Bobby Hackett Theater in his honor. He was posthumously inducted into the Hall of Fame in 1987, the only Rhode Islander so honored, and into the and Hall of Fame in 1997. Hackett was also inducted into the Rhode Island Music Hall of Fame in 2013, honoring his lifelong contributions to as a Providence native and one of the genre's premier improvisers on and . His iconic cornet solo on Glenn Miller's 1941 recording of "A " has been celebrated in numerous anthologies and compilations, such as the series, where it is preserved as a of big band swing and ballad artistry. This solo, retained intact by Miller as a permanent feature, underscores Hackett's enduring impact, with tributes in literature praising its indelible and polish.

Influence on Subsequent Musicians

Bobby Hackett's lyrical and restrained approach to the profoundly influenced a generation of revivalists who prioritized melodic elegance over technical flash, most notably Ruby Braff. Braff, a fellow cornetist, openly reflected Hackett's impact in his own playing, drawing on Hackett's emphasis on pure, heartfelt phrasing and harmonic subtlety rather than high-note displays or rapid . Braff's , characterized by prodigious construction and avoidance of virtuosic excess, echoed Hackett's model of relaxed, note-perfect expression, as seen in Braff's tributes to Hackett, including a 2002 concert at Boston's Tremont Theater. Hackett's work in mood music during the and extended his reach into easy-listening traditions, shaping players who adopted his romantic, velvety tone for interpretations. His featured solos on Jackie Gleason's albums, such as (1955), became staples and defined the polished -inflected sound for intimate settings, influencing subsequent artists like cornetist Bob Barnard, who frequently performed Hackett's repertoire to capture that intimate lyricism. Critics have credited Hackett with teaching the broader world the essence of a 's emotional depth, a lesson absorbed by easy-listening trumpeters through the 1970s who emulated his seamless blend of phrasing and orchestral warmth. By embodying versatility across eras, Hackett bridged Dixieland's ensemble drive with swing's sophisticated arrangements, paving the way for later traditional groups that fused these elements without stylistic rigidity. His recordings, including the iconic 1941 Glenn Miller collaboration on "String of Pearls," served as touchstones for ensembles reviving early jazz forms while incorporating big-band polish, as evidenced by his own mixed-genre bands in the 1950s that combined Dixieland polyphony with swing's cool restraint. This integrative role inspired 1960s-1970s traditionalists, who viewed Hackett as a stylistic conduit between Bix Beiderbecke's introspective lyricism and modern developments.

Discography

As Leader

Bobby Hackett began his career as a bandleader in the late 1930s, forming his own orchestra under the auspices of the Music Corporation of America (MCA), though the venture struggled financially and disbanded shortly after its 1939 inception. By the early 1940s, he reestablished leadership with Bobby Hackett and His Orchestra, recording sessions from 1943 to 1947 that captured his swing-era style, featuring arrangements blending hot jazz improvisation with big band polish; notable tracks from this period include "Rose Room" and "Body and Soul," showcasing his cornet leads amid ensemble brass sections. These efforts marked Hackett's transition from sideline roles to directing larger ensembles, emphasizing melodic trumpet lines within structured orchestral settings. In the 1950s, Hackett shifted toward smaller groups and mood music, leading sessions that highlighted his lyrical tone. His 1954 album Soft Lights and Bobby Hackett featured intimate quartet arrangements with strings, piano, and rhythm, interpreting standards like "Soft Lights and Sweet Music" in a relaxed, atmospheric style suited for audiences. The 1956 release Coast Concert, with his , captured energetic Dixieland-inflected performances of classics such as "Muskrat Ramble," demonstrating Hackett's command of traditional jazz in a concert setting. In 1957, Jazz Ultimate paired him as co-leader with trombonist , yielding a duet-focused album on that blended their warm tones on tunes like "" and "If I Had You," underscoring Hackett's collaborative leadership in small combo formats. By the 1970s, Hackett focused on compact ensembles for solo sessions, often under labels like Project 3 and , reflecting a return to rootsy with occasional orchestral touches. Albums such as the 1973 What a Wonderful World showcased his matured phrasing on ballads with minimal backing, while 1974's Strike Up the Band featured him directing a group with on and on guitar, delivering spirited takes on Gershwin standards that highlighted his enduring sensibility. Compilations from these sessions, including selections from Bobby Hackett and His Orchestra reissues, preserved his leadership in blending cornet virtuosity with ensemble cohesion, influencing later traditional revival efforts.

As Sideman

Bobby Hackett's career as a showcased his lyrical and playing in support of prominent bandleaders and ensembles, contributing to landmark recordings across , Dixieland, and genres. His ensemble roles emphasized melodic solos and subtle harmonies, often elevating the overall texture without overpowering the leader. One of Hackett's earliest high-profile appearances was at Benny Goodman's historic Concert on January 16, 1938, where he played in the and small group segments, including the Dixieland ensemble's rendition of "Sensation Rag." His warm, Bix Beiderbecke-inspired tone added a nostalgic -era flair to the event, which is widely regarded as a pivotal moment in history. In 1941, Hackett delivered the iconic cornet solo on Glenn Miller's "A String of Pearls," a chart-topping hit arranged by that became one of the most enduring standards. This performance highlighted his ability to blend technical precision with emotional depth in a large ensemble setting, contributing to the recording's massive commercial success. Hackett joined for the trumpeter's Concert on May 17, 1947, in , playing trumpet alongside and others in a small group format that revisited Armstrong's Hot Five and Hot Seven repertoire. His contributions, including on tracks like "Rockin' Chair," provided harmonic support and occasional solos that complemented Armstrong's vocal and instrumental leads. By 1952, Hackett's trumpet solos graced Jackie Gleason's , an album of romantic mood music that featured lush orchestrations and became a , selling over a million copies. His mellow phrasing on standards like "Melancholy Serenade" defined the record's intimate atmosphere, marking a shift toward more commercial, easy-listening applications of his sensibility. In the , Hackett toured extensively with , including a 1965 U.S. tour and European outings in 1966 and 1967, where his added inflection to Bennett's vocal performances. These collaborations extended to studio recordings, such as Bennett's 1963 album featuring Hackett's horn on tracks like "I'll Be Around." During the 1970s, Hackett recorded live albums with trombonist Vic Dickenson at New York's Roosevelt Grill, capturing intimate quartet sessions from 1970 that spanned swing standards and ballads. Highlights include volumes on Records, where his duets with Dickenson exemplified late-career interplay and warmth. Over his six-decade career, Hackett appeared on hundreds of recording sessions as a , frequently showcasing his and in featured roles that bridged with broader popular appeal.

References

  1. [1]
    Bobby Hackett - Rhode Island Music Hall of Fame Historical Archive
    Providence-born trumpeter, cornetist and guitarist Bobby Hackett was one of the greatest improvisors in the history of jazz. His career spanned six decades ...
  2. [2]
    Bobby Hackett: Profiles in Jazz - The Syncopated Times
    Oct 29, 2018 · Bobby Hackett was born January 31, 1915 in Providence, Rhode Island, as one of nine children. His first instrument was the ukulele and by ...
  3. [3]
    Sweet & Hot: A Salute to Cornetist Bobby Hackett - Riverwalk Jazz
    Bobby Hackett was born in Providence, Rhode Island in the winter of 1915 into a family of nine children; his father worked as a blacksmith. It was the sound of ...Missing: biography | Show results with:biography
  4. [4]
    Bobby Hackett: trumpeter, cornetist, guitarist - Jazz History Database
    The son of a blacksmith and the sixth of nine children, Hackett quit school at 14. His first playing jobs were on guitar and violin. In the early 1930s, ...
  5. [5]
    Bobby Hackett Musician - All About Jazz
    Bobby Hackett, one of nine children, was born and raised in Providence, Rhode Island. At an early age he played the ukulele and by the time he was twelve ...<|control11|><|separator|>
  6. [6]
    Robert Leo "Bobby" Hackett (1915 - 1976) - Genealogy - Geni
    Dec 1, 2017 · Robert Leo "Bobby" Hackett (1915 - 1976). Birthdate: January 31, 1915. Birthplace: Providence, Providence County, Rhode Island, ...Missing: Irish- poverty Depression
  7. [7]
    [PDF] The Irish in Rhode Island by Pat Conley
    Fay; jazz trumpeter. Robert L. "Bobby" Hackett (1915-1976) from Providence's North. End; actress Ruth Hussey (born in 1914 as Ruth Carol O'Rourke); and ...Missing: quit | Show results with:quit
  8. [8]
    Robert (Bobby) Hackett - Rhode Island Heritage Hall of Fame
    Robert Leo Hackett, the sixth of nine children, started playing guitar at the age of 8. He picked up the violin two years later and left school at 14 to ...Missing: family Irish poverty
  9. [9]
    Bobby Hackett | jazzleadsheets.com by Second Floor Music
    His major influences were Bix Beiderbecke and Louis Armstrong; he regularly played alongside Armstrong through the late 1940s and '50s. Hackett's solo on ...Missing: beginnings self- taught
  10. [10]
    [PDF] ROBERT LEO HACKETT “BOBBY” - Jazz Archeology
    Feb 17, 2016 · Early history: One of nine children, his father was a railroad blacksmith. Played guitar, violin, and occasionally cornet whilst still at ...
  11. [11]
    Bobby Hackett Musician - All About Jazz
    ### Summary of Bobby Hackett's Big Band Collaborations with Goodman and Miller
  12. [12]
    [PDF] “Carnegie Hall Jazz Concert”—Benny Goodman (1938)
    “Carnegie Hall Jazz Concert”—Benny Goodman. (1938). Added to the National ... Bobby Hackett, Babe Russin, Vernon Brown, Jess Stacy, Gene Krupa, Johnny ...<|separator|>
  13. [13]
    Benny Goodman: Benny Goodman at Carnegie Hall-1938: Complete
    Apr 30, 2024 · Benny Goodman: Benny Goodman at Carnegie Hall-1938: Complete. Updated ... Bobby Hackett on cornet, Benny, Brown, Stacy, and Krupa.
  14. [14]
    [PDF] BOBBY HACKETT - Big Band Library
    May 6, 2017 · immortal trumpet solo on A String of Pearls. When Miller disbanded in September 1942 to enter the Army. Air Forces, Hackett quickly found ...<|separator|>
  15. [15]
    Louis Armstrong - The Complete Town Hall Concert 1947
    €9.95 14-day returnsTrack #4: Louis Armstrong (tp, vcl), Dick Cary (p). Tracks #6-16: Louis Armstrong (tp, vcl), Bobby Hackett (tp), Jack Teagarden (tb, vcl), Peanuts ...
  16. [16]
    Frank Sinatra Discography The Columbia Years — 1947 - 1949
    Nov 14, 2021 · a. CO-38369-1, Body And Soul(Edward Heyman, Robert Sour, Frank ... Bobby Hackett (t) on a-b. Date: 25 Nov 1947. Location: New York. Frank ...
  17. [17]
    Jackie Gleason / Bobby Hackett: The Complete Sessions
    Aug 31, 2022 · From a jazz point of view, Jackie Gleason's saccharine mood music is saved by Bobby Hackett's sublime trumpet. ... Music For The Love Hours, 1957 ...Missing: collaboration | Show results with:collaboration
  18. [18]
    Jazz Ultimate (Original Jazz Sound) - Bobby Ha... - AllMusic
    Rating 6.2/10 (5) Jazz Ultimate (Original Jazz Sound) by Bobby Hackett, Jack Teagarden released in 1958 ... September 16, 1957 - September 17, 1957. Original Jazz Sound ...
  19. [19]
    https://storyvillerecords.com/product-category/bobby-hackett/
  20. [20]
    Object Thursdays: Bobby Hackett
    Dec 20, 2012 · Born on January 31, 1915, the sixth of nine children, Hackett went on to learn a multitude of instruments that included guitar, banjo, violin ...Missing: Irish- poverty Depression
  21. [21]
    105 - Live at the Roosevelt Grill (Vol. 1) - Chiaroscuro Jazz
    Recorded live at the Roosevelt Grill, April-May 1970, New York City. Listen Now. Performers: Bobby Hackett, cornet; Vic Dickenson, trombone; Dave McKenna, ...
  22. [22]
    Bobby Hackett
    ### Albums by Bobby Hackett in the 1970s (Leader Albums for Capitol, Columbia, or Early 1970s)
  23. [23]
    Bobby Hackett and Louis Armstrong: The Cream and the Coffee
    Jan 31, 2015 · Bobby Hackett was born 100 years ago today, January 31, 1915. Whether on cornet or trumpet, Hackett possessed one of the most recognizable, ...
  24. [24]
    “A String of Pearls” (1941) A Miller Memory… or How would you ...
    Oct 20, 2016 · “A String of Pearls”. Composed and arranged by Jerry Gray. Recorded by Glenn Miller and His Orchestra on November 3, 1941 for RCA Bluebird in ...
  25. [25]
    https://syncopatedtimes.com/ernie-hackett-remembers-his-jazz-family/
  26. [26]
    Ernie Hackett Remembers his Jazz Family - The Syncopated Times
    Jan 30, 2021 · Bobby's son Ernie—swinging drummer and vivid individualist—has fascinated me since I encountered him on Facebook years ago. Outspoken ...
  27. [27]
    Edna Lillian Lee Hackett (1915-2000) - Find a Grave Memorial
    A former Chatham resident,she was the wife of jazz cornetist Bobby Hackett, who died in 1976 ... Hackett is survived by a daughter, a son, two grandchildren; and ...Missing: children | Show results with:children
  28. [28]
    Records: Hackett's Jazz - The New York Times
    Jan 31, 1973 · Bobby Hackett, the jazz cornetist, has joined the growing list ... Hackett's son, Ernie, on drums. Advertisement. SKIP ADVERTISEMENT. The ...
  29. [29]
    Bobby Hackett | Ezekiel Bates Lodge A.F. & A.M.
    Brother Bobby Hackett. January 31st 1915 – June 7th 1976. Member: St. Cecile Lodge #568 in New York City, New York. American jazz musician who played ...
  30. [30]
    Bobby Hackett, the Cornetist, Dies at 61 - The New York Times
    Jun 8, 1976 · In 1972 he formed a record company, Hyannisport Records, on which he released two disks by his own groups. He is survived by his wife, Edna; a ...Missing: support | Show results with:support
  31. [31]
    [PDF] Dig Bobby Hackett - World Radio History
    Bobby's earliest model was. I Louis Armstrong—“the greatest,” later on he ... Jam Session nt < ommu- dore #1. Bobby Hack« It Orch. income according star ...
  32. [32]
    [PDF] WINNERS - World Radio History
    Birdland Dreamband . . . Combo—Bobby Hackett. Trumpet—Bobby Hackett, Dizzy Gil ... the MJQ win all these jazz polls? DOWN BEAT POLL. METRONOME POLL.
  33. [33]
    Hackett, Bobby - RI Music Hall of Fame
    Jul 7, 2016 · Providence-born trumpeter and cornetist Bobby Hackett was one of the greatest improvisers in the history of jazz. His career spanned six ...<|control11|><|separator|>
  34. [34]
    Collection Melodie, BEST OF JAZZ, THE SWING ERA SERIE
    A String Of Pearls 20. (I've Got A Gal In) Kalamazoo 21. Juke Box Saturday ... At the Jazz Band Ball - Bobby Hackett 15. Don't Be That Way - Teddy ...
  35. [35]
    The Big Bands | The New Yorker
    Jan 19, 1987 · ... A String of Pearls,” which rests on Bobby Hackett's indelible one-chorus cornet solo; Tommy Dorsey's “Well, Git It!,” “On the Sunny Side of ...<|control11|><|separator|>
  36. [36]
    Ruby Braff Musician - All About Jazz
    ### Summary of Ruby Braff's Influences, Specifically Bobby Hackett
  37. [37]
    https://archive.org/details/bobby-hackett-and-his-orchestra-the-chronological-classics-bobby-hackett-and-his-orchestra-1943-1947
  38. [38]
    Bobby Hackett And His Orchestra 1943-1947 - Internet Archive
    Mar 15, 2024 · Bobby Hackett And His Orchestra - The Chronological Classics: Bobby Hackett And His Orchestra 1943-1947 ; Publication date: 1999 ; Topics: Jazz, ...
  39. [39]
    https://www.discogs.com/release/12422791-Bobby-Hackett-Soft-Lights-And-Bobby-Hackett
  40. [40]
    https://www.discogs.com/release/6043321-Bobby-Hackett-And-His-Jazz-Band-Coast-Concert
  41. [41]
    https://www.discogs.com/release/11746443-Bobby-Hackett-Jack-Teagarden-Jazz-Ultimate
  42. [42]
    https://www.allmusic.com/album/what-a-wonderful-world-mw0000204468
  43. [43]
    What a Wonderful World - Bobby Hackett | Album - AllMusic
    Rating 5/10 (1) What a Wonderful World by Bobby Hackett released in 1973. Find album reviews, track lists, credits, awards and more at AllMusic.Missing: leader | Show results with:leader
  44. [44]
    Complete Capitol Solo Sessions - Bobby Hackett - Jazz Messengers
    In stock 3–5 day deliveryNYC, November 10,1954. SOFT LIGHTS AND BOBBY HACKETT (F) Bobby Hackett (cor) with unknown piano/celeste, guitar, bass, drums and string quintet (four violas ...
  45. [45]
    https://www.colorado.edu/amrc/glenn-miller-collections/gmc-studies/string-pearls
  46. [46]
    A String of Pearls - University of Colorado Boulder
    ... Bobby Hackett. The story of A String of Pearls includes Glenn Miller and his Orchestra, the Glenn Miller Army Air Forces Orchestra and many other artists.
  47. [47]
    “Isn't That Wonderful?”: Louis Armstrong Town Hall Concert
    Apr 21, 2025 · Today's recording is from one of the career-defining evenings of Armstrong's life, his concert at New York's Town Hall on May 17, 1947, 73 years ...
  48. [48]
    https://popdose.com/reissue-review-jackie-gleason-music-for-lovers-only/
  49. [49]
    Reissue Review: Jackie Gleason, “Music for Lovers Only” - Popdose
    Aug 9, 2012 · This music is perfectly enjoyable. It's vintage orchestral pop, neatly arranged and played with professionalism.
  50. [50]
    “I'll Be Around” (1963) Tony Bennett with Bobby Hackett
    Nov 9, 2021 · “I'll Be Around” Composed by Alec Wilder; arranged by Dick Hyman. Recorded by Tony Bennett for Columbia on November 6, 1963 in New York.
  51. [51]
    https://adp.library.ucsb.edu/names/104371
  52. [52]
    Bobby Hackett - Discography of American Historical Recordings
    Jun 7, 1976 · Robert Leo Hackett (January 31, 1915 – June 7, 1976) was an American jazz musician who played trumpet, cornet, and guitar with the bands of ...Missing: amateur performances sessions self- taught