musician who played the bassoon in the Broadway production of No Strings, which ran from 15th
March 1962 through 3rd August 1963.
In 1964, he
played saxophone in the recording studio on tracks to be included on Quincy Jones Explores the Music of Henry
Mancini. He spent much of
1966 multi-tasking on bassoon, clarinet and tenor saxophone for the Wes
Montgomery album, California Dreaming. In 1968, he reunited with Wes on Road Song, this time on bassoon,
appeared on the J.J. Johnson-Kai Winding collaboration, Israel, and was in the reeds section
for the recording of Cal Tjader Sounds Out Burt Bacharach. He was also credited with reeds on
Grady Tate’s Feeling Life
and Bob Freedman’s Journeys of Odysseus: A Jazz Suite for Chamber Orchestra,
both of which were recorded in 1969.
In 1970, he
rejoined Grady Tate in the studio for the recording of his album, After the Long Ride Home. He played bassoon on Hubert
Laws’ classical-jazz experiment, The
Rite of Spring, recorded and released in 1971. In 1972, he remained on bassoon for
Joe Farrell’s Moon Germs. Likewise, he stuck with the bassoon
on Jan Akkerman’s Tabernakel, which hit the
shelves in 1973. In 1974, he
performed on Freddie Hubbard’s Polar
AC and Peter Allen’s Continental
American. He also appeared
on The Manhattan Transfer’s self-titled album in 1975.
In 1977, he
played bassoon, clarinet and flute on Ron Carter’s Peg Leg and was credited with horn
on Harold Vick’s After the
Dance. He switched to flute
on Deodato’s Love Island, bass saxophone on Lemon’s epononymous effort, and clarinet and tenor saxophone on
The Michael Zager Band’s Let’s All Chant, all released
in 1978. In 1979, he did
another turn on the horn on Tom Browne’s Browne Sugar and clarinet on the recording of Paul McCandless’s All
the Mornings Bring.
He opened the
‘80s with Steely Dan on Gaucho
and Earl Klugh on Late Night Guitar.
In 1985, he easily made the cut on A Decade of Steely Dan, on the strength of “Babylon
Sisters”. He was credited
with French horn on the Broadway production of Grand Hotel, which enjoyed a 2-1/2 year run, from 12th
November 1989 through 25th April 1992.
In the CD era,
opportunities abound to hear Walter on a variety of instruments: A case in point is Wes Montgomery’s
1996 retrospective, Talkin’ Verve: Roots of Acid Jazz.
Frank Sinatra recordings
That's What God Looks Like To Me (Stan Irvin/Lan
49233 (XNY2101S) (US 45)
Theme from "New York, New York" (Fred Ebb/John Kander)
RPS49233 (XNY 2103 S) (US 45)