Pee Wee Russell

Happy Birthday, Charles "Pee Wee" Russell 1906-1969...Russell's clarinet style defied classification but Philip Larkin gave it a try, "No one familiar with the characteristic excitement of his solos, their lurid, snuffling, asthmatic voicelessness, notes leaned on till they split, and sudden passionate intensities, could deny the uniqueness of his contribution to jazz."

As a young boy, Russell tried several instruments including the violin, piano and the drums, before settling on the clarinet after seeing Yellow Nunez improvising on the instrument. He spent all of his free time learning the instrument and in the early 20's started playing in local dance and jazz bands and touring on riverboats and doing tent shows around St. Louis, Missouri. In 1924 he moved to Chicago where he played with Frank Trumbauer and Bix Beiderbecke and recorded his first sides with Red Nichols and his Five Pennies in 1929.

He worked with various band leaders, including Louis Prima, during the early 30's, finally landing a steady spot at "Nicks", a famous jazz club in Greenwich Village, in 1937. He played with Bobby Hackett's big band and with Eddie Condon, with whom he would play on and off for most of his career. He played in the all-star band put together by Condon for Fat's Waller's Carnegie Hall debut, also recording for the Commodore label under his own name and as a sideman.

In the 40's Russell's health began to weaken and by 1951 he was near death, brought on by heavy alcoholism and malnutrition. After weeks in the hospital, three blood transfusions and three square meals a day, Russell recovered to play on for another 18 years, including appearances with Art Hodes, Muggsy Spanier and performances at jazz festivals: the most famous being with Thelonius Monk at Newport in 1963.

Although he was offered jobs with some of the most famous big bands of the day, Russell preferred small group settings where he was unfettered to play in his own unique style. Although he was labeled a Dixieland musician because of the players he worked with, his style was considered ahead of it's time, and by some, the precursor to modern free jazz.