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Boots Mussulli (Henry W.) 1917

18/11/2020

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Sassofonista alto e baritone, arrangiatore e direttore d’orchestra statunitense di origine italiana (Milford, Massachusetts, 19.11.1917 – Norfolk, Massachusetts, 3.10.1967).

​A dodici anni impara il clarinetto, esibendosi poi con delle orchestre locali intorno a Boston (quella di Mal Hallett in particolare). Viene scritturato nel 1942 nella formazione di Teddy Powell per sostituire Irving Fazola, prima di firmare con Stan Kenton (1944-47).

Boots suona in seguito da Gene Krupa (1948), Charlie Ventura (1949), Vido Musso (1951), prima di ritrovare Kenton (1952-54). Alla fine degli anni ’50 si stabilisce a Boston, dove insegna musica e si esibisce con Herb Pomeroy, Toshiko Akiyoshi, Serge Chaloff. Apre un club a Milford e, nel 1967, compare al festival di Newport a capo di sessanta musicisti.

Una sonorità limpida, senza vibrato, un’emissione scorrevole: Boots Mussulli si è creato all’alto uno stile personale, all’incrocio di tre concezioni dello strumento, quelle di Benny Carter, Charlie Parker e Lee Konitz. È anche un buon baritono che si dimostra musicista eloquente ma lontano da inutili chiacchere.
​
[A. T.]
Alto saxophonist and baritone, American arranger and conductor of Italian origin (Milford, Massachusetts, 11.19.1917 - Norfolk, Massachusetts, 10.3.1967).

​At twelve, he learned the clarinet and then performed with local orchestras around Boston (Mal Hallett's in particular). He was hired in 1942 in Teddy Powell's lineup to replace Irving Fazola before signing with Stan Kenton (1944-47).

Boots later plays with Gene Krupa (1948), Charlie Ventura (1949), Vido Musso (1951) before finding Kenton (1952-54). In the late 1950s, he settled in Boston, where he taught music and performed with Herb Pomeroy, Toshiko Akiyoshi, Serge Chaloff. He opens a club in Milford and, in 1967, appears at the Newport festival at the head of sixty musicians.

A clear sound, without vibrato, a smooth emission: Boots Mussulli has created a personal style at the alto, at the crossroads of three concepts of the instrument, those of Benny Carter, Charlie Parker, and Lee Konitz. He is also a good baritone who proves to be an eloquent musician but far from useless chatter.
​
[A. T.]
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