Eddie Cleanhead Vinson Biography, image by Kareen Cox

Eddie 'Cleanhead' Vinson

Biography


(December 18, 1917 – July 2, 1988)

"Cleanhead" was born Edward L. Vinson Jr. He was an alto saxophonist, blues shouter and composer.

Vinson was born in Houston, Texas. His earliest professional experience came with Milton Larkin's orchestra in the 1930s, which he joined in the late 1930s. The horn section also included Arnett Cobb, Illinois Jacquet, and Tom Archia at various times throughout his tenure. The group also featured Wild Bill Davis on Organ.

Cleanhead toured with several blues singers including Big Bill Broonzy. This experience heavily influenced his vocal style. In the early 1940s Vinson moved to New York and joined the Cootie Williams Orchestra. With this legendary group, he recorded Cherry Red, which clearly shows phrases and inflections that Canonnball Adderley would later adopt in his own playing.

As an alto saxophonist, Vinson was heavily influenced by Johnny Hodges, particularly how the influence of Sidney Bechet came through Hodges. Vinson's sense of time and rhythmic phrasing also bears resemblance to the playing of Hodges, including his use of triplets. As a blues shouter, his style incorporates vocal techniques from country and rural blues styles. Vinson applied these inflections and melodic structures to the alto saxophone, generating a powerful and emotive blues style with a jazz harmonic aesthetic.

Vinson was a huge influence on the blues playing of younger players, including Charlie Parker, Cannonball Adderley and John Coltrane. Coltrane played in Vinson's band in the early 1950s, and his early recordings show the influence of Vinson. Cleanhead's greatest legacy was left to Cannonball Adderley. Melodic phrases, articulation and inflections derived from Vinson's style can be heard in Adderley's playing throughout his career.

Cleanhead's legacy as a composer has been often overlooked. In addition to his many blues compositions and improvisations he composed "Tune Up" and "Four." These two tunes form part of Miles Davis' core repertoire portfolio and their creation are usually incorrectly attributed to him.

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