Gene DiNovi

Major influences: Teddy Wilson, Mel Powell, Ellis Larkins, and Duke Ellington. As a precocious 15-year-old, Gene DiNovi worked in 1943 with bandleader Henry Jerome, who was at that time preparing to convert his Hal Kemp-styled dance band into a modern bop ensemble. DiNovi's transition from swing to bop manifested itself in recordings with Chicago-style clarinetist Joe Marsala and progressive clarinet/tenor man Aaron Sachs. In December of 1947, while working at the Three Deuces with guitarist Chuck Wayne, DiNovi was suddenly asked to back Lester Young on what was to be Prez's very last session for the Aladdin record label. Wayne was also invited, as were bassist Curly Russell and drummer Norman "Tiny" Kahn. The four titles recorded with Lester Young on December 29, 1947 give us what are perhaps the best examples of DiNovi's sound during these formative years. On September 9, 1948 DiNovi sat in with Benny Goodman & His Septet alongside Fats Navarro and Wardell Gray. What resulted was a lively version of Fats Waller's "Stealin' Apples." DiNovi stayed busy, gigging with tenor saxophonist Brew Moore and with clarinetists Buddy DeFranco and Artie Shaw. He also wrote the orchestral arrangement for bassist Chubby Jackson's "So Wrong." Beginning in 1950, DiNovi evolved into an accomplished accompanist for popular vocalists. If his presence behind Una Mae Carlisle with the Bob Chester band is historically interesting, the work he did with Peggy Lee, Tony Bennett, Thelma Carpenter, Lena Horne, Dinah Shore, and Carmen McRae shows him adapting to the times. Without compromising anybody's integrity, DiNovi solidified his ties to show business while continuing to play a vital supporting role in the evolution of jazz. Upon request, he wrote an arrangement for Lena Horne's version of...