Representative Albums: "The Persuasive Sax of Russell Procope," "Backus'"
Biography
An excellent altoist, Russell Procope became much better-known as a New Orleans-style clarinetist during his Duke Ellington years. He studied violin for eight years before switching to clarinet and alto. Procope recorded with Jelly Roll Morton in 1928 and had important stints with the big bands of Benny Carter (1929), Chick Webb (1929-1931), Fletcher Henderson (1931-1934), Tiny Bradshaw (1934-1935), Teddy Hill (1935-37), and Willie Bryant. However, it was as a member of the John Kirby sextet (1938-1943) during which he exclusively played alto that Russell Procope did his finest work, playing brilliant solos with a distinctive tone that perfectly fit the music. After a period in the Army and a reunion with Kirby (1945), Procope became a member of the Duke Ellington Orchestra in 1946, staying (except for a short period in 1961 with Wilbur DeParis) until Ellington's death 28 years later in 1974. Because of Johnny Hodges' presence, Procope had very few alto solos, serving instead as a section player and occasional clarinet soloist whose warm tone contrasted with that of the cooler Jimmy Hamilton; Procope was under-utilized but secure and happy during his Ellington years. Later in the 1970s, he played with Brooks Kerr's group. ~ Scott Yanow, All Music Guide
In 1938 Procope replaced Pete Brown in John Kirby's sextet, with whom he played exclusively alto sax until 1945 (with an interruption for World War II). It was with Kirby that he began to make his name.
Ellington and afterwards
Procope joined the Ellington orchestra in 1946, standing in for Otto Hardwicke for one night in Worcester, Massachusetts, and staying until Ellington's death in 1974. Like all members of the Ellington reed section except for alto saxophone titan Johnny Hodges and marathon tenor saxophonist Paul Gonsalves, Procope doubled on the clarinet, and it was on that instrument that he made his reputation. Though he was a fine saxophonist and could (and did) play tenor as well as alto saxophone with authority, Procope was most highly regarded for his woody, understated clarinet solos, a warm contrast to fellow reed section member Jimmy Hamilton's cheerful, breezy style. (An excellent, immediate hearing of the contrast between the two clarinetists can be heard on Ellington's three-part suite "Idiom '59"; Ellington handed Procope the solo for the slower tempoed opening part, before handing Hamilton the first clarinet solo and the bridge blues solo on the more swinging second part.) Procope was also highly regarded personally within and outside the Ellington band. "He was", wrote Ellington in Music is My Mistress, "an utterly sober and reliable musician, always to be depended upon."
After Ellington's death, Procope toured with Brooks Kerr's trio.
Sources
Jazz: the Rough Guide (2nd edition). The Rough Guides, 2000. ISBN 1-85828-528-3