Fact-checked by Grok 2 weeks ago

Harry Edison

Harry "Sweets" Edison (October 10, 1915 – July 27, 1999) was an American jazz trumpeter celebrated for his warm, melodic tone and innovative soloing, particularly as a longtime member of the . Born in , Edison grew up partly in , where he was introduced to music by his uncle and became self-taught on the after being inspired by . He earned his enduring nickname "Sweets" from tenor saxophonist during their time in Basie's band, reflecting his signature bent notes and emotionally resonant style. Edison's career took off when he joined the in 1937 at age 22, quickly rising as a lead soloist and section player during the band's heyday from 1938 to 1950. His contributions helped define Basie's sound, with memorable solos on tracks like "Lester Leaps In" and "Jumpin' at the Woodside," blending precision, dynamics, and a minimalist approach that influenced modern jazz trumpet. After leaving Basie, he freelanced extensively in the 1950s and beyond, collaborating with icons such as (providing subtle muted backing on Capitol recordings), , , , , and . In later years, Edison served as musical director for entertainers like and Joe Williams, contributed to film soundtracks including Lady Sings the Blues, and led his own sessions for labels like , , and , producing acclaimed albums such as Jawbreakers (1962) and For My Pals (1988). Known for his versatility—excelling in sections, intimate combos, and studio work—Edison's playing emphasized tasteful restraint and rhythmic vitality, earning him recognition as one of 's most inventive and enduring trumpeters until his death in .

Early Years

Childhood in Ohio

Harry Edison was born on October 10, 1915, in , to an African-American mother and a father of or Zuni Native American descent who left the family when Edison was just six months old.[][] His mother, working to support them, placed young Harry with relatives, including an aunt and uncle in , where he spent much of his early childhood on a .[][] In Louisville, Edison's uncle, a coal miner and farmer with a passion for music, introduced him to the rudiments of the art form, teaching him scales and insisting he practice daily on the family pump organ.[][] By age nine, Edison began experimenting with a discarded cornet belonging to his uncle and joined a local kids' band organized by the relative, which traveled the countryside performing.[] This environment, amid Louisville's emerging jazz scene, sparked his initial fascination with brass instruments and ensemble playing.[] At age 12, Edison returned to , where the local atmosphere further nurtured his interests through radio broadcasts and records featuring early pioneers.[] Inspired particularly by Louis Armstrong's work on a recording, he decided to pursue the instrument seriously, becoming largely self-taught after his mother purchased a for him on an installment plan of 50 cents down and a per month.[][] This pivotal acquisition marked the beginning of his hands-on engagement with the , laying the groundwork for his future in .

Musical Education and Influences

Harry Edison received his initial exposure to brass instruments through family members during his childhood in Kentucky, where his uncle taught him basic trumpet scales using John Philip Sousa's marching band books. Lacking formal lessons beyond these fundamentals, Edison became largely self-taught, practicing independently and honing his skills by ear without structured instruction. He also played piano and organ in church settings, which further nurtured his musical ear. Edison's trumpet fundamentals were profoundly shaped by key influences encountered through phonograph records and live performances in the Midwest. At age 12, he first heard Louis Armstrong's trumpet on a recording, an experience that ignited his passion for the instrument and inspired him to emulate Armstrong's melodic phrasing and rhythmic vitality. He also absorbed Rex Stewart's innovative muted techniques, particularly the half-valve effects and growls that added expressive texture to solos, via records and reports of Stewart's work with ensembles like the Orchestra. These encounters, often shared among local musicians, emphasized inventive sound production over technical virtuosity, guiding Edison's early approach to improvisation. During his teenage years, Edison began experimenting with and tone production to develop a personal voice on the . He adopted the Harmon mute early on, using it to explore filtered timbres and dynamic contrasts that echoed the muted innovations of his influences, while practicing to achieve a warm, controlled tone in the instrument's lower register. These self-directed trials, conducted alongside casual band experiences in , allowed him to refine his and phrasing without professional guidance, laying the groundwork for his distinctive sound. Edison's artistic development was further enriched by frequent attendance at local jazz venues in Columbus and St. Louis, where he absorbed the swing era's evolving sounds from traveling bands. In , he sneaked into ballrooms like the Ogden and Long Street to witness performances by and Duke Ellington's orchestra, studying their ensemble interplay and soloistic flair up close. Later in , he frequented clubs such as the Plantation, hearing acts like the Jeter-Pillars band and with McKinney's Cotton Pickers, which exposed him to the rhythmic drive and harmonic sophistication of Midwest swing. These immersive experiences reinforced his commitment to as a living tradition, influencing his intuitive grasp of accompaniment and .

Professional Career

Early Bands and Breakthrough

At the age of 18, Harry Edison joined the Jeter-Pillars Orchestra in 1933, initially based in before the band relocated to , where he gained essential experience playing in the trumpet section of this prominent territory band. This ensemble, led by Claude "Fiddler" Williams on violin and alongside "Jeter" Pillars, provided Edison with his first sustained professional exposure to ensemble playing and the demands of live performances in the Midwest. Through daily rehearsals and gigs, he developed precision in reading arrangements and blending within a section, skills that were crucial for transitioning from local amateur scenes to more competitive touring groups. In 1934, Edison moved to to join the Mills Blue Rhythm Band, a high-energy ensemble known for its driving rhythms and appearances at the , where he further honed his technique amid the vibrant scene. The band, managed by and featuring talents like Henry "Red" Allen on , emphasized tight section work and energetic , allowing Edison to refine his rhythmic phrasing and contribute to recordings that captured the era's exuberant style. In 1937, he joined Lucky Millinder's orchestra, another dynamic New York-based group that toured extensively and incorporated jump-blues elements, providing Edison with opportunities to adapt to varied tempos and improvisational demands in a more fluid environment. These early engagements occurred against the backdrop of the , presenting significant hardships for touring musicians like Edison, including that barred Black bands from hotels and restaurants, forcing reliance on makeshift rooming houses during relentless schedules of 250 to 270 one-nighters per year on dilapidated buses. Earnings were modest, typically $9 per night with big bands, which Edison later recalled as "good money" despite the grueling conditions and constant pressure to perform without error, as illness or fatigue could lead to immediate replacement in the competitive job market. These experiences built Edison's resilience and technical proficiency, marking his breakthrough from regional obscurity to a recognized ready for national prominence.

Count Basie Orchestra Period

Harry Edison joined the in 1937, on the recommendation of Basie's drummer and bassist Walter Page. He quickly integrated into the trumpet section alongside and Shad Collins, contributing to the band's renowned precision and during its golden era. As a key ensemble player, Edison helped define the Basie sound through tight, riff-based arrangements that emphasized rhythmic drive over virtuosic display. During his time with Basie, tenor saxophonist bestowed upon Edison the nickname "Sweets," derived from "Sweetie Pie," in recognition of his warm, lyrical tone that contrasted with the era's more aggressive styles. This moniker stuck throughout his career, reflecting his approachable and melodic sensibility. Edison's early opportunities showcased his emerging style; for instance, in the 1938 recording of "Every Tub," he delivered a full-chorus marked by joyful phrasing and blues-inflected bends, backed by the band's signature riffs. Edison's tenure with Basie, which lasted until the band's temporary disbandment in 1950, included notable featured appearances that highlighted the orchestra's improvisational prowess. In the 1944 short film Jammin' the Blues, directed by photographer under the supervision of jazz producer , Edison performed alongside , , and others in a stylized that captured the essence of swing-era interaction. His contributions to Basie's hits, such as the enduring "One O'Clock Jump," exemplified his role in maintaining ensemble cohesion while providing subtle, supportive fills that elevated the band's collective energy without overpowering the rhythm section.

Hollywood Studio Work

In 1950, following his departure from the , Harry "Sweets" Edison relocated to , where he quickly established himself as a prominent studio . His experience in Basie's ensemble, with its emphasis on precise section playing, proved invaluable for the demands of commercial recording sessions. In the early , he became a staff trumpeter at , contributing to a wide array of pop and projects that required adaptability and reliability. Edison's collaborations with became a hallmark of his studio career, particularly on recordings arranged by . He provided distinctive obbligato trumpet lines—often using a Harmon mute for a warm, intimate tone—on albums such as Songs for Swingin' Lovers! (1956), enhancing Sinatra's phrasing with subtle, supportive fills that blended into swing-era pop. This partnership extended over several years, with Edison appearing on multiple Sinatra sessions, including In the Wee Small Hours (1955), where his behind-the-vocal work added emotional depth. Throughout the 1950s and 1960s, Edison worked extensively with other major artists, adapting his jazz sensibilities to vocal-centric contexts. He contributed trumpet solos and ensemble parts to Nat King Cole's After Midnight sessions (1956), where his muted playing complemented Cole's piano trio on tracks like "It's Only a Paper Moon." Similarly, he backed Billie Holiday on Verve recordings such as Songs for Distingué Lovers (1957), providing sensitive accompaniment alongside Ben Webster's tenor saxophone. These efforts, often under Riddle's arrangements, highlighted Edison's ability to infuse pop arrangements with jazz nuance. Edison also extended his studio expertise to visual media, participating in Hollywood film soundtracks and television productions. In the 1960s, he served as a staff musician for ABC's The Hollywood Palace variety show for several years, performing live and in segments that bridged jazz and entertainment. His film credits included contributions to scores for features like Where's Poppa? (1970), where he adapted his trumpet style to underscore narrative scenes, demonstrating versatility in merging jazz elements with cinematic pop orchestration.

Later Freelance and Teaching

In the 1950s and 1960s, Harry Edison extensively toured with , performing alongside luminaries such as , , and in concerts that spanned the and international venues. These global tours, organized by , took Edison overseas to and beyond, showcasing his work in improvisational jam sessions that highlighted jazz's collaborative spirit. His participation in these ensembles allowed him to blend his Basie-honed precision with the freer, interactive style of performances. Transitioning to freelance opportunities, Edison served as musical director for Redd Foxx's television appearances and specials tied to the sitcom Sanford and Son, from 1973 to 1977, where he conducted ensembles that fused jazz elements with comedic timing. This role drew on his extensive Hollywood studio experience, providing the adaptability needed for live television production and variety show formats. In the 1980s, he continued international touring, including a European appearance at the 1982 Grande Parade du Jazz in Nice, France, alongside Illinois Jacquet, Jay McShann, and others, and a 1989 performance with the Frank Wess-Harry Edison Orchestra at the Fujitsu-Concord Jazz Festival in Japan. During the 1990s, Edison focused on education, conducting music seminars at as part of the Duke Ellington Fellowship Program, where he shared insights on trumpet technique and big band dynamics with students and emerging musicians. Through these sessions and informal mentorships, he guided young trumpeters on developing a personal sound while emphasizing ensemble support, drawing from his decades of professional collaboration until his death in 1999.

Musical Style and Technique

Signature Trumpet Sound

Harry Edison's signature trumpet sound was defined by a warm, velvety timbre, particularly when employing the Harmon mute, which produced a distinctive, muted quality that contrasted with the brighter, unmuted tones common in jazz trumpet playing. This technique allowed for a smooth, sugary resonance that enhanced emotional depth, and Edison was noted for pioneering its application in jazz obbligatos through precise, improvised lines. Central to his style was an economical approach to phrasing, characterized by short, punchy notes delivered with clipped precision, prioritizing space and rhythmic placement over rapid or elaborate runs. This terse method created a sense of and urgency, using single, well-placed notes for rather than dense lines. Edison's breath control was exceptional, enabling sustained, blues-inflected lines where he could bend and ripple repeated notes without overblowing, maintaining a relaxed projection throughout. His basic tone drew early influence from , which he adapted into a personal voice of clarity and purity. For consistent tone production, Edison favored the Selmer K-modified trumpet, paired with Al Cass mouthpieces designed for articulation.

Approach to Accompaniment and Solos

Harry Edison's approach to performance was guided by a of "less is more," emphasizing economy and restraint to maximize emotional impact in both supportive and lead roles. Influenced by the Count Basie Orchestra's minimalist ethos, he believed in using few notes to convey profound -infused expression, stating that one must "have lived the to play the ." This mindset allowed him to enhance ensemble dynamics without unnecessary elaboration, a principle that defined his career as a premier accompanist and soloist. In accompaniment, Edison excelled at crafting obbligatos that subtly elevated vocalists, particularly , by mirroring and accentuating phrasing without dominating the performance. His muted lines provided warm, supportive commentary, creating mood and space for singers like Sinatra, , and to shine, as heard in mid-1950s sessions where his interventions added bright, tasteful highlights. He often employed a muted tone as a tool for this delicate role, blending seamlessly into arrangements while maintaining a supple, funny, and sweet quality. This subtlety extended to sections, where Edison prioritized tight ensemble blend during his 1937–1950 tenure with Basie, contributing to the orchestra's rhythmic precision and collective drive. Edison's solo style contrasted yet complemented his accompanimental restraint, featuring bluesy bends, rippled repeated notes, and rhythmic rooted in Basie's swing charts. These elements produced a spare, warm sound that avoided high-note , instead building tension through bent tones and incisive phrasing, often resolving into fading riffs for understated closure. In smaller group settings, such as his 1955 collaboration with , he shifted to more intimate improvisation, allowing personal expression to emerge in conversational exchanges. Following his departure from Basie in 1950 and relocation to the West Coast, Edison's style evolved from the energetic drive of swing-era big bands to a cooler, more restrained restraint characteristic of studio and contexts. This adaptation enabled him to thrive in freelance and session work, where his minimalist approach suited intimate combos and polished recordings, bridging traditional with modern sensibilities.

Discography and Recordings

Albums as Leader

Harry Edison's first solo album as a leader, Sweets, was recorded in 1956 and released by , featuring tenor saxophonist alongside a small ensemble including on piano, on guitar, John Simmons on bass, and on drums. The album emphasizes relaxed ballads such as "" and "," showcasing Edison's signature muted intros that set a warm, introspective tone for the sessions. His follow-up, Gee, Baby, Ain't I Good to You, appeared in 1957 on Verve, capturing a sextet configuration with sidemen like Eddie Miller on tenor saxophone, Ernie Freeman on piano, and Plas Johnson on tenor for select tracks. This release highlights small-group swing arrangements penned by Edison himself, blending upbeat standards like the title track with his concise, witty phrasing that prioritizes rhythmic drive over extended improvisation. Edison also led Jawbreakers in 1957 on , co-led with tenor saxophonist Eddie "Lockjaw" Davis and featuring a hard-swinging that included , bass, and drums, delivering energetic takes on standards and blues with Edison's punchy trumpet leading the front line. In his later career, Edison recorded For My Pals in 1988 on , a tribute album featuring standards performed with a , highlighting his mature, restrained style on ballads and swingers like "Honeysuckle Rose" and "Take the A Train," arranged simply to emphasize melodic warmth.

Key Sideman Contributions

Harry Edison's tenure with the during its early years produced some of his most influential sideman work, particularly on the compilation The Original American Decca Recordings (1937-1939), where he contributed to the section alongside and Shad Collins, providing rhythmic drive and sectional precision that defined the band's sound. He co-composed "Evil Blues" with Basie and , infusing the track with a bluesy trumpet interplay that highlighted the orchestra's ensemble cohesion. Additionally, Edison composed and arranged "Jive at Five" in 1939, delivering a memorable solo in the second chorus that showcased his melodic invention within the band's high-energy framework. Edison's collaborations with exemplified his skill in subtle ensemble support, most notably on the 1955 album , where he played on all tracks, adding delicate background fills that enhanced the intimate, melancholic atmosphere of Nelson Riddle's arrangements. His muted lines provided emotional depth to ballads like "Mood Indigo" and "Glad to Be Unhappy," serving as a defining textural element in Sinatra's Capitol-era recordings. In sessions with , Edison's trumpet work added buoyant swing to Ella Swings Brightly with Nelson (1962), arranged by for , where he contributed to the brass section on tracks like "Just One of Those Things," supporting Fitzgerald's and phrasing with crisp, supportive lines. This album, part of Riddle's productions for Granz's label, captured Edison's ability to elevate through precise, unobtrusive accompaniment. Edison's participation in Norman Granz's tours in the 1950s yielded dynamic live recordings, such as the 1950 session compiled on Norgran Blues, where his trumpet traded improvisational spots with and Flip Phillips on uptempo jams like "," emphasizing his fleet phrasing and blues-inflected solos in a high-stakes ensemble setting. These performances, documented in the Mosaic Records set Classic Jam Sessions (1950-1957), highlighted Edison's versatility in live improvisation alongside luminaries like and .

Awards and Legacy

Major Honors

In 1972, Harry Edison received the Duke Ellington Fellowship Medal from , one of 30 Black musicians honored for their contributions to . In 1983, Harry Edison became the first recipient of the Jazz Society's Tribute Honoree award, recognizing his pioneering contributions to as a studio musician and ensemble player in . This honor highlighted his role in shaping of numerous recordings and film scores, underscoring his versatility and influence in bridging traditions with commercial music production. Edison received the (NEA) Jazz Masters Fellowship in 1992, one of the highest lifetime achievement awards in American , celebrating his masterful work across decades with ensembles like the . The award was presented during the annual NEA Jazz Masters Tribute Concert at the John F. Kennedy Center for the Performing Arts in , where Edison's subtle yet distinctive style was lauded for elevating both section playing and solos without overpowering collaborators. That same year, 1992, Edison was honored again by the Los Angeles Jazz Society as a Honoree, affirming his enduring impact on the local scene and his status as a foundational figure in . In 1997, Edison was inducted into the International Hall of Fame, acknowledging his innovative phrasing and tonal warmth that defined mid-century trumpet artistry and influenced generations of players. This pre-millennium recognition cemented his legacy as a harmonically astute accompanist whose "Sweets" reflected both his gentle personality and lyrical sound.

Influence on Jazz and Later Recognition

Harry Edison's muted obbligato technique, characterized by precise, clipped phrasing on the muted , profoundly shaped accompaniment, particularly in vocal settings. His signature style of providing subtle, supportive lines behind singers like during Hollywood studio sessions in the and exemplified a blend of swing-era economy and pop- adaptability, influencing generations of trumpeters who prioritized tasteful enhancement over virtuosic display. This legacy extended to notable players such as and , who adopted elements of Edison's obbligato approach in their own and work, emphasizing dynamic subtlety and blues-inflected support. Jazz histories credit Edison with bridging the improvisational freedom of —honed in the —with the polished, commercial demands of studio pop-jazz, creating a template for ensemble trumpeters in mid-century American music. Following his death in 1999, Edison's contributions received renewed attention through archival efforts by the National Endowment for the Arts and the Smithsonian Institution's Jazz Oral History Program, which preserved interviews and recordings highlighting his role in jazz evolution. Scholarly analysis, such as Scott Yanow's The Trumpet Kings: The Players Who Shaped the Sound of Jazz Trumpet (2001), underscores Edison's subtlety as a defining trait, praising his ability to convey emotion through minimalism and precise note placement, which distinguished him among swing-era peers and informed later jazz trumpet pedagogy. His NEA Jazz Masters Fellowship in 1992 served as a capstone to this enduring impact.

References

  1. [1]
    Harry Edward Edison (1915-1999) - Find a Grave Memorial
    Birth: 10 Oct 1915. Columbus, Franklin County, Ohio, USA ; Death: 27 Jul 1999 (aged 83). Columbus, Franklin County, Ohio, USA ; Burial. Glen Rest Memorial Estate.
  2. [2]
    https://www.allaboutjazz.com/musicians/harry-sweets-edison
  3. [3]
    Harry "Sweets" Edison - Concord
    Trumpeter Harry Edison (1915-1999) was given the nickname “Sweets” by tenor saxophonist Lester Young when both were in the Basie band.Missing: biography | Show results with:biography
  4. [4]
    The Life & Music of Harry 'Sweets' Edison - Riverwalk Jazz
    Harry Edison was 23 when he joined The Count Basie Band right before Christmas in 1937. Like Billie Holiday, Harry's nickname was given to him by Basie ...Missing: biography | Show results with:biography<|control11|><|separator|>
  5. [5]
    Harry "Sweets" Edison | National Endowment for the Arts
    Known in the jazz world as "Sweets," for both his disposition and his playing ability, Harry Edison was a consummate big band section trumpeter and skilled ...
  6. [6]
    Harry (Sweets) Edison, 83, Trumpeter for Basie Band, Dies
    Jul 29, 1999 · Mr. Edison was born in Columbus. His father, a Zuni Indian named Wayne Edison, left the family when he was 6 months old. Young Harry then lived ...Missing: childhood | Show results with:childhood<|control11|><|separator|>
  7. [7]
    Harry 'Sweets' Edison | | The Guardian
    Jul 28, 1999 · Edison's father, a Hopi Indian, left his African-American mother shortly after their son was born in Columbus, Ohio. His mother, to whom he ...
  8. [8]
    Harry 'Sweets' Edison: Simplicity In Swing - NPR
    Jul 23, 2008 · His father, a Zuni Indian, left when Edison was just 6 months old. While his mother worked to support the family, Edison lived with relatives — ...Missing: childhood | Show results with:childhood
  9. [9]
    Edison, Harry “Sweets” | Encyclopedia.com
    Edison spent his early years with an uncle, who was a coal miner and a farmer, in Louisville, Kentucky. It was Edison's uncle who taught the boy to play the ...
  10. [10]
    Harry "Sweets" Edison: Musical Travels & Travails - JazzTimes
    Aug 15, 2024 · So, what were your early beginnings like? Well, I was born in Kentucky, my mother and father separated when I was six months old. After that my ...
  11. [11]
    [PDF] Smithsonian Jazz Oral History Program - Transcript
    Edison: Oh yeah, he was the only one that people listened to in those days. There was only one trumpet player, that was Louis Armstrong. And I think they had ...
  12. [12]
    [PDF] Harry “Sweets” Edison (October 10, 1915 - International Jazz Day
    Jul 27, 1999 · But he's a Buckeye—everybody from. Ohio they're called Buckeyes—but he stayed around Columbus for years. Nancy Wilson is from. Columbus, OH.
  13. [13]
    “Every Tub” (1938) Count Basie with Lester Young and Sweets Edison
    Oct 3, 2020 · ... Fletcher Henderson number. Eddie Durham, who played trombone and ... Harry Edison plays a trumpet solo at the Randall's Island Carnival of Swing.
  14. [14]
    Jammin' the Blues (Short 1944) - IMDb
    Rating 7.9/10 (1,050) Jammin' the Blues: Directed by Gjon Mili. With Lester Young, George 'Red' Callender, Harry Edison, Marlowe Morris. Created under the guidance of jazz ...
  15. [15]
    Count Basie: "One O'Clock Jump" - All About Jazz
    Mar 4, 2005 · Herschel Evans was a star tenor player in the Texas style, and Buck Clayton and Harry "Sweets" Edison blew some hot trumpet. ... solo on "One O' ...Missing: contributions | Show results with:contributions
  16. [16]
    Harry 'Sweets' Edison; Mainstay of Count Basie Band
    Jul 28, 1999 · Harry “Sweets” Edison, a master of the jazz trumpet who was a mainstay of the Count Basie band, died Tuesday at his daughter's home in Columbus, Ohio.
  17. [17]
    Harry | WMOT
    Nov 12, 2004 · Edison taught music seminars at Yale University and was honored as a 'master musician' in 1991 with a National Endowment for the Arts Award ...Missing: brass | Show results with:brass
  18. [18]
    Songs for Swingin Lovers + 11 Bonus Tracks - Jazz Messengers
    3–5 day deliveryKHJ Studios, Hollywood,October 1955 & January1956. FRANK SINATRA, vocals the NELSON RIDDLE orchestra. Featuring HARRY "SWEETS" EDISON [16-26] BONUS TRACKS
  19. [19]
    Harry "Sweets" Edison - Swing Era Trumpet - Jazzfuel
    Mar 30, 2023 · What is this? Born in Columbus, Ohio, on October 10th, 1915, young Harry faced the challenge of his parents' separation during his infancy.
  20. [20]
    The Complete After Midnight Sessions - Jazz Messengers
    In stock 3–5 day deliveryIt featured the classic Nat King Cole Trio plus his illustrious jazz friends Harry ``Sweets'' Edison, Willie Smith, Juan Tizol, Stuff Smith, and Lee Young.
  21. [21]
    The Ben Webster/Harry Edison Sessions - Jazz Messengers
    This release contains the complete memorable recordings made by Billie Holiday in 1956-57 backed by a sextet including Ben Webster, Harry Edison, Jimmy Rowles ...
  22. [22]
    Harry Edison - IMDb
    6.4. Soundtrack(as Harry 'Sweets' Edison). 1970. NDR Jazz Workshops (1958). NDR Jazz Workshops. TV Series. Soundtrack. 1960 • 2 eps. Baseball (1994). Baseball.
  23. [23]
    ella fitzgerald, dizzy gillespie and others
    Five tour programmes for Norman Granz's Jazz at the Philharmonic series, 1950s, comprising: JATP 10th National Tour, 1950, signed at their portraits by Ella ...Missing: 1960s | Show results with:1960s
  24. [24]
    Harry Edison Albums - Blue Sounds
    During that period, he was featured on many records, appeared in the 1944 short Jammin' the Blues and gained his nickname "Sweets" (due to his tone) from Lester ...
  25. [25]
    American Jazz Masters Fellowships, 1982-2002 - Internet Archive
    He spent the rest of the 1930s working with the big bands of Lucky Millinder, Benny Carter, and Cab Calloway, with whom he stayed for seven years. In the ...<|control11|><|separator|>
  26. [26]
    [PDF] Death penalty
    Mar 23, 1973 · THE REDD FOXX SHOW starring REDD FOXX. Star of TV's "SANFORD AND SON" with. TALYA FERRO AND HARRY "SWEETS" EDISON, Musical Conductor. SPECIAL ...
  27. [27]
    GRANDE PARADE DU JAZZ 1982 HARRY " SWEETS " EDISON
    Nov 26, 2012 · Grande Parade du Jazz 1982 avec Harry " Sweets " EDISON - Illinois JACQUET - Jay Mc SHANN - Eddie JONES - Curtis FULLER - Shelly MAN ...
  28. [28]
    Dear Mr Basie – Fujitsu Concord Jazz Festival In Japan 1989 (CD)
    In stock Rating 5.0 (1) Frank Wess/Harry Edison Orchestra : Dear Mr Basie – Fujitsu Concord Jazz Festival In Japan 1989 (CD) - Frank Wess on tenor saxophone and flute, ...Missing: 1980s | Show results with:1980s
  29. [29]
    Entertainment | Jazz trumpeter Edison dies - Home - BBC News
    Jul 28, 1999 · He went on to teach music seminars at Yale University, Connecticut, for the Duke Ellington Fellowship and in 1991 was honoured with a ...
  30. [30]
    Harry 'Sweets' Edison, Jazz Musician, Dies at 83
    Jul 28, 1999 · He taught music seminars at Yale University in the Duke Ellington Fellowship Program, and he was honored as a "master musician" with a 1991 ...Missing: 1990s | Show results with:1990s<|control11|><|separator|>
  31. [31]
    Sweet Tooth: Harry 'Sweets' Edison - All About Jazz
    Apr 10, 2003 · His gruff tone was equally unique, a coarse blend of bar-walking bravado and wide bore vibrato that could turn emotionally effusive on the right ...Missing: Harmon | Show results with:Harmon
  32. [32]
    JAZZ: HARRY (SWEETS) EDISON - The New York Times
    Jul 18, 1982 · Harry (Sweets) Edison is best known for his muted trumpet work, using tight, precise, clipped phrasing that parallels the piano style of ...
  33. [33]
    https://www.allaboutjazz.com/sweet-tooth-harry-sweets-edison-by-derek-taylor
  34. [34]
    Harry Edison Selmer K-mod question - View topic - Trumpet Herald
    Oct 29, 2014 · MON! We all know that Harry Sweets Edison played on a Selmer K-mod for most of his career but which was the number (bore): 23, 24 ...$10,000 mouthpiece - View topic: Trumpet Herald forumSweets Edison - View topic: Trumpet Herald forumMore results from www.trumpetherald.com
  35. [35]
    Frank Sinatra on Top of the Heap: Revisiting 'Sinatra at the Sands'
    May 24, 2022 · ... obbligato courtesy of Harry Edison. The jaunt holds sway in “Where or When”. The orchestra abandons Frank and pianist Bill Miller to murmur ...
  36. [36]
    https://www.trumpetherald.com/forum/viewtopic.php?p=1386262
  37. [37]
    Sweets (Remastered) - Album by Harry Edison - Apple Music
    January 1, 1956 9 songs, 45 minutes ℗ 1956 The Verve Music Group, a Division of UMG Recordings, Inc. ... Ben Webster & Teddy Wilson. Roy and Diz.
  38. [38]
    Harry "Sweets" Edison - AllMusic
    Rating 8.5/10 (47) Hollering At The Watkins · Used To Be Basie · How Deep Is The Ocean · Studio Call · Willow Weep For Me · Opus 711 · Love Is Here To Stay · K.M. Blues.
  39. [39]
    https://music.apple.com/us/album/sweets-remastered/1443473080
  40. [40]
    Gee Baby, Ain't I Good to You? - Harry "Sweets... - AllMusic
    Rating 8.3/10 (12) Gee Baby, Ain't I Good to You? by Harry "Sweets" Edison released in 1957. Find album reviews, track lists, credits, awards and more at AllMusic.Missing: Wouldn't Verve small- group
  41. [41]
    Pablo Records Discography: 1973-1976
    Sweet And Lovely, Pablo 2310-781. Broadway, -. The Courtship, Pablo 2310-781, FCD ... * Pablo 2310-780 Harry Edison - Edison's Lights 1976 = Original Jazz ...
  42. [42]
    [PDF] Pablo Records Catalog: 2310-700 series
    2310-847 - The Best of Harry Edison - Harry Edison [1980] Edison's Lights /Ain't ... Over Me, Flamingo, I Surrender, Dear, Sweet and Lovely, Stardust, Embraceable ...
  43. [43]
    Count Basie Orchestra - The Complete Collection Of Count Basie Orchestra On Decca (1937-1939)
    ### Credits for Harry Edison in Count Basie Orchestra Decca Recordings (1937-1939)
  44. [44]
    Evil Blues - Count Basie Orchestra | AllMusic
    Count Basie Orchestra. Add to Song Favorites. Composed by. Count Basie · Harry "Sweets" Edison · Jimmy Rushing ... Complete Original American Decca Recordings.
  45. [45]
    “Jive at Five” (1939) Count Basie with Lester Young, Sweets Edison ...
    Mar 14, 2024 · “Jive at Five”. Composed and arranged by Harry Edison. Recorded by Count Basie and His Orchestra for Decca on February 4, 1939 in New York.Missing: nickname | Show results with:nickname
  46. [46]
    https://swingandbeyond.com/2024/03/14/jive-at-five-1939-count-basie-with-lester-young-sweets-edison-jack-washington-and-dicky-wells/
  47. [47]
    https://www.discogs.com/release/14550325-Frank-Sinatra-In-The-Wee-Small-Hours
  48. [48]
    Ella Fitzgerald – Ella Swings Brightly With Nelson
    Sep 15, 2025 · A vintage Stereo Verve pressing (one of only a handful of copies to hit the site in almost two and a half years) with solid Double Plus ...Missing: 1962 | Show results with:1962
  49. [49]
    https://www.discogs.com/release/2644261-Flip-Phillips-Lester-Young-Buddy-Rich-Jazz-At-The-Philharmonic-Norgran-Blues-1950
  50. [50]
    Classic Jazz At The Philharmonic Jam Sessions 1950-1957 (#275
    In stock Rating 5.0 (3) 10-CD release, Classic Jazz at the Philharmonic Jam Sessions (1950-1957), a defining set that documents the energy and invention of these phenomenal musicians.
  51. [51]
    Annual Jazz Tribute Awards & Concert - Los Angeles Jazz Society
    Tribute Award. 1983 Harry 'Sweets' Edison* · Jazz Educator. 1985 Samuel Browne · Lifetime Achievement. 1986 Eddie “Lockjaw” Davis* · Flip & Shelly Manne New Talent ...
  52. [52]
    Edison, Harry "Sweets"
    Harry was the son of Wayne Edison and Katherine Meryl Borah Edison. Wayne Edison left his family when Harry was a small child, and Harry and his mother moved to ...
  53. [53]
    The International Jazz Hall of Fame: 1997 Awards Ceremonies
    a stellar group of jazz all-stars, featuring James Moody, Harry "Sweets" Edison, Al Grey, and Grady Tate join inductees Nat Adderley, Pete and Conte Candoli ...
  54. [54]
    Jazz Oral Histories - National Museum of American History
    These transcriptions and recordings of oral histories of NEA Jazz Masters are part of the Smithsonian Jazz Oral History Program in partnership with the ...
  55. [55]
    There Will Never Be Another You - Harry "Sweets" Edison - Bandcamp
    Free deliveryThere Will Never Be Another You by Harry "Sweets" Edison, released 27 November 2020 1. There'll Never Be Another You 2. Ow! 3. Wave 4. Cottontail 5.Missing: reissue | Show results with:reissue
  56. [56]
    https://archive.org/details/trumpetkingsplay0000yano
  57. [57]
    The trumpet kings : the players who shaped the sound of jazz trumpet
    Oct 15, 2021 · The trumpet kings : the players who shaped the sound of jazz trumpet. viii, 423 p. : 24 cm. Includes bibliographical references (p. 407) and index.