musician who started out playing alto saxophone for Charlie Spivak in the late thirties/early forties. Some of his earliest recordings
include Gene Krupa
1942-1945 (released on CD in 2000), Innovations
by Boyd Raeburn and His Orchestra, a three-volume set recorded in 1946,
and The Jazz Scene, released the
In 1951, he
played alto saxophone on Stan Kenton’s Portraits on Standards.
You can also hear him blowing saxophone on Frank Sinatra’s The Columbia Years (1943-1952) and
Dean Martin’s Young Dino,
recorded between 1946 and 1955.
He was in the reeds section for Louis Armstrong’s Anthology 1945-1955.
From 1954 to
1955, he was in the recording studio In
Collaboration with Andre Previn and Shorty
Rogers. He did double duty on
alto saxophone and piccolo on the Pete Rugolo
album, Adventures in Jazz: The Complete Columbia Recordings
1954-1955. In 1955, he
appeared on a pair of June Christy albums, Something Cool and The
Misty Miss Christy. Around
the same time, he reunited with Boyd Raeburn on Boyd Meets Stravinsky, Volume 2.
He spent much
of the mid-50’s recording Moments
to Remember with Louis Armstrong, Paich-ence:
Complete Studio Sessions as a Leader with Marty Paich, and Songs
for Swingin’ Lovers! with
and appeared on an insane amount of albums in 1956, three of them with Pete
Rugolo alone: Out
on a Limb, Music for Hi-Fi Bugs, and Adventures
in Sound. His musical
adventures in 1956 also included A Swingin’ Affair! with
Frank Sinatra, Mr. Roberts Plays
Guitar with Howard Roberts, Classical
Jazz with the Zen and Chico Hamilton Quintet, Patti Page in the Land of Hi-Fi, Walter Gross Plays His Own Great Songs,
and Sarah Vaughan Sings Broadway
– Great Songs from Hit Shows. Hoagy Sings Carmichael with the Pacific Jazzmen appeared around the
In 1957, Harry
played flute on Sammy Davis, Jr.’s It’s All Over but the Swingin’ and Carmen McRae’s Carmen for Cool Ones. He was also a member of Buddy
Collette’s Swinging Shepherds, whose collective name emblazoned an
eponymous album plus Swinging
Shepherds at the Cinema in the late fifties.
cinema, Harry is credited with flute and piccolo on the soundtrack of the
Susan Hayward prison drama, I Want to
Live!, released around the same time he reacquainted himself with Pete Rugolo on Rugolo Plays
Kenton, recorded in 1958 and released the following year. In 1959, he was in the woodwinds
section for the five-volume set, Ella
Fitzgerald Sings the George and Ira Gershwin Song Books.
He opened the
1960s with the Pete Candoli Sextet and Octet,
playing flute on the LP, For
Pete’s Sake, Henry Mancini on The
Blues and the Beat, and Frank Sinatra on Sinatra’s Swingin’ Session. In 1961, he rejoined Sinatra on Point of No Return, played alto
saxophone on Gerald Wilson’s You
Better Believe It, and appeared on Al
Hibbler Sings the Blues: Monday Every Day.
He embarked on
a worldwide tour with Sinatra in 1962 that included stops in Hong Kong,
London, and Paris. The London concert,
at the Royal Festival Hall, was broadcast on ITV on 2nd June
1962. One of the Paris
Concerts, at The Lido, was recorded for posterity on the simply titled Live in Paris.
In 1963, he
appeared on A New Kind of Love
with Errol Garner and Mink Jazz with
Peggy Lee. He hooked up with
Benny Carter on Tickle Toe and Lalo Schifrin on the soundtrack of Rhino! in 1964. In 1965, he found himself Going the Frankie Randall Way. He appeared on Bobby Darin Sings the Shadow of Your Smile and Billy May Today! in
1966. In 1967, he played flute
on Ella Fitzgerald Sings the Johnny
Mercer Song Book, and was in the reeds section for Mancini ’67 and Nancy Wilson’s Lush Life. He
helped paint Portrait of Carmen
with Carmen McRae in 1968.
In 1972, he
played flute on the Ella Fitzgerald-Cole Porter collaboration, Dream Dancing. He was in the woodwinds section for
Peggy Lee’s 1975 album, Mirrors. In 1976, he was in the reeds section
on Carmen McRae’s album, Can’t
Hide Love. One of his last
recordings appears to be Frank Sinatra’s 1979 boxed set, Trilogy.