Representative Albums: "Going Wess," "Surprise! Surprise!," "Two at the Top"
Biography
One of the first major jazz flutists, Frank Wess has also been a top Lester Young-influenced tenorman, an expert first altoist, and an occasional composer/arranger -- certainly a valuable man to have around. Early on he toured with Blanche Calloway, served in the military, and had stints with Billy Eckstine Orchestra (1946), Eddie Heywood, Lucky Millinder, and R&B star Bull Moose Jackson. That was all just a prelude to Wess' important period with Count Basie's big band, from 1953-1964. His flute playing, so expertly utilized in Neal Hefti's arrangements, gave the Basie Orchestra a fresh new sound, and his cool-toned tenor contrasted well with the more passionate sound of fellow tenor Frank Foster; Wess also had opportunities to play alto with the classic big band. Since that time, Wess has freelanced in countless settings, playing with Clark Terry's big band, the New York Quartet (with Roland Hanna) during the second half of the 1970s, Dameronia (1981-1985), and Toshiko Akiyoshi's big band, and has also had occasional reunions with Frank Foster. Frank Wess has led sessions for Commodore (1954), Savoy, Prestige, Moodsville, Pablo (with Foster), Progressive, Uptown, Concord, and Town Crier. ~ Scott Yanow, All Music Guide
He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career was interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.[1]
He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute.[2]
