Don Redman (1900-1964)

Biography

Don Redman was born in Piedmont, West Virginia, and was a child prodigy who played multiple instruments by age 12. He studied at Storer’s College and the Boston Conservatory before joining Fletcher Henderson’s orchestra in 1923. Redman became the first major jazz arranger, essentially inventing the language of big band arranging. He later led McKinney’s Cotton Pickers (1927-1931) and his own orchestra (1931-1940), while also arranging for Count Basie, Jimmy Dorsey, and many others.

Musical Style

Redman pioneered the call-and-response pattern between brass and reed sections that became fundamental to swing arranging. His innovations included dividing the orchestra into sections with distinct voices, using riffs as building blocks, and creating dramatic tension through instrumental dialogue. He was among the first to write jazz arrangements that went beyond simple orchestrations of solos, creating cohesive ensemble pieces with sophisticated harmonies. His writing was characterized by clarity, swing feel, and a perfect balance between arranged passages and improvised solos. Redman’s work laid the foundation for the entire swing era that followed.

Orchestration Techniques

Redman’s sectional writing established the fundamental big band texture: brass (typically 3 trumpets, 1-2 trombones) against reeds (3 saxophones doubling clarinets). His voicings predominantly employed close position in the saxophones with parallel movement, often in thirds or sixths, while brass punctuated with block chords in cup-mute or open configurations. He pioneered the “choir” approach where each section functions as an independent voice in call-and-response counterpoint—brass stating a riff answered by reeds, or vice versa. His clarinet trio voicings, voiced in close harmony at the octave above the melody, became a signature texture. Redman utilized tutti passages sparingly for climactic effect, preferring sectional dialogue that created conversational energy. His bass lines were typically two-beat (tuba or string bass), with the piano providing rhythmic and harmonic punctuation rather than continuous comping. Background figures under solos were usually sustained whole-note pads in the opposing section or simple riff figures, allowing the soloist prominence while maintaining ensemble momentum.

Top Albums

Fletcher Henderson - “The Fletcher Henderson Story” (1923-1936, recorded)

This compilation showcases Redman’s groundbreaking arrangements from his time with Henderson, including “Copenhagen,” “Sugar Foot Stomp,” and “The Stampede.” What’s particularly interesting is hearing the evolution of big band arranging in real-time—Redman’s early arrangements from 1923 are relatively simple orchestrations, but by 1925-1926, he had developed the sectional approach and call-and-response patterns that would define swing. These recordings document the birth of jazz arranging as an art form distinct from simply orchestrating melodies.

McKinney’s Cotton Pickers - “The Band Don Redman Built” (1928-1929)

Redman transformed McKinney’s Cotton Pickers into one of the finest bands of the late 1920s. Tracks like “Gee Baby, Ain’t I Good to You” and “Cherry” demonstrate his mature arranging style with sophisticated voicings, smooth section work, and clever use of dynamics. What makes this album fascinating is that Redman also sings on many tracks with his unique, high-pitched vocals, and plays brilliant alto saxophone solos, showing his multifaceted talents beyond arranging.

Don Redman and His Orchestra - “Doin’ What I Please” (1931-1933)

Leading his own orchestra, Redman created some of his most adventurous arrangements. The title track and “Chant of the Weed” show his willingness to experiment with unusual timbres, including wordless vocals and unconventional instrumentation. Particularly interesting is how Redman incorporated his experience from writing for radio broadcasts into these arrangements, creating dramatic narratives within three-minute performances that captivated both live and radio audiences.