Reunald Jones Sr. 1910

Trombettista statunitense (Indianapolis, Indiana, 22.12.1910 – Los Angeles, California, 26.2.1989).

Suo padre era maestro di musica al Michigan Conservatory, cosa che spiega la sua carriera straordinaria come musicista di accompagnamento. Dal 1930 al 1952 lavora con Speed Webb, Charlie Johnson, i Savoy Bearcats, Teddy Hill, Jimmie Lunceford, Fess Williams, Sam Wooding, Claude Hopkins, Chick Webb, Willie Bryant, Lil Armstrong, Doc Wheeler, Don Redman, Duke Ellington (primavera del 1946), Lucky Millinder, Ed Wilcox e Sy Oliver. Dal febbraio del 1952 all’ottobre 1957suona da Count Basie. Lo ritroviamo nel 1959 da Woody Herman, e poi da George Shearing. Accompagna Nat King Cole dal 1961 al 1964, quindi lavora da free lance.

In lui si ritrova il suono alto sporgente e lo stile che diventa spesso aggressivo di suo cugino Roy Eldridge o, quando suona la tromba con la sordina, quello di Rex Stewart. Reunald Jones scalda subito l’atmosfera, attaccando sistematicamente con un susseguirsi di sincopi tipiche degli anni ’30. Egli è in effetti l’uomo tutto fare della sezione trombe, che conosce tutto e lo fa bene: un eccellente professionista.
​
[D.H.]

American trumpet player (Indianapolis, Indiana, 22.12.1910 - Los Angeles, California, 26.2.1989).

His father was a music teacher at the Michigan Conservatory, which explains his extraordinary career as an accompaniment musician. From 1930 to 1952, he worked with Speed ​​Webb, Charlie Johnson, the Savoy Bearcats, Teddy Hill, Jimmie Lunceford, Fess Williams, Sam Wooding, Claude Hopkins, Chick Webb, Willie Bryant, Lil Armstrong, Doc Wheeler, Don Redman, Duke Ellington (spring of 1946), Lucky Millinder, Ed Wilcox and Sy Oliver. From February 1952 to October 1957, he plays at Count Basie. We found it in 1959 by Woody Herman and then by George Shearing. He accompanied Nat King Cole from 1961 to 1964, then worked as a freelance.

In him, we find the high protruding sound and the often aggressive style of his cousin Roy Eldridge or, when he plays the trumpet on the mute, Rex Stewart. Reunald Jones immediately warms the atmosphere, attacking systematically with a succession of syncopes typical of the 1930s. He is, in fact, the all-around man of the trumpet section, who knows everything and does it well: an excellent professional.
​
[D.H.]