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WAITS, FREDDIE (1943–1989). Waits’ career began as a Rhythm and Blues (R&B) drummer in the late 1950s before working with several Detroit-based musicians, including bassist Cecil McBee. Waits played with a variety of musicians after moving to New York in 1965, including McCoy Tyner, Sir Roland Hanna, and Cedar Walton. Waits toured with Pop acts during the latter part of the 1960s and early 1970s before resuming his jazz career playing with the Duke Ellington Orchestra led by Mercer Ellington. Waits did not become a leader until the late 1970s and primarily led a percussion-only group. In the 1980s and 1990s, most of Waits’ contributions would come as a sideman, performing in a variety of settings that included big band, with vocalists, playing Straight-Ahead small-group jazz, and playing Free Jazz.

WALDRON, MALCOLM EARL “MAL” (1926–2002). Born in New York, Waldron first studied Classical piano before focusing on jazz while attending college. Waldron was frequently employed by leading musicians of the 1950s, including Charles Mingus, Ike Quebec, John Coltrane, Frank Wess, and Max Roach. In the 1960s, Waldron worked with young jazz stars Eric Dolphy and Booker Little in a quintet.

After suffering several health problems in the early part of the 1960s, Waldron worked for several years in France and for a while in Japan. Much of the two decades was spent working as a sideman and leading his own trio. Waldron would participate in tribute groups for the Dolphy/Little quintet he was a part of during the 1980s, while also working with many of the same musicians with which he was affiliated during the 1950s. Waldron continued to tour and record until his death in 2002.

WALKING BASS. A style of bass playing that became very important in the development of jazz. Similar to the drumming technique of playing a bass drum on every beat, walking bass involves the bassist playing every beat of every measure, while outlining inversions of chords and/or scales. Walking bass was preceded by a style in which the bassist merely played the root of the chord for the duration of the chord. See also BASS; PAGE, WALTER.

WALLER, THEODORE “FATS” (1904–1943). Studying with early piano icon James P. Johnson, Waller began his professional career as a late teenager and was recording by the age of 18. Equally adept as a composer and a performer, Waller had pieces performed and recorded by the Fletcher Henderson orchestra and also wrote a musical. “Honeysuckle Rose” and “Ain’t Misbehavin’” are two of Waller’s compositions that remain an important part of the jazz canon. Primarily a leader, Waller also served as a sideman in a variety of groups, most notably in a pit orchestra for a Broadway show that also featured jazz trumpet star Louis Armstrong.

Waller toured during much of the 1930s in addition to participating in several radio broadcasts. During the decade, Waller was one of the most popular working musicians and was frequently featured in films. Despite taking a break during World War II, Waller recorded in both Europe and Los Angeles, most notably on several albums featuring drumming legend Zutty Singleton and alto saxophonist Benny Carter. Waller died due to complications with pneumonia. See also STRIDE.

WALRATH, JACK ARTHUR (1946– ). Walrath studied trumpet at the Berklee School of Music in the mid-1960s and began working professionally on the west coast of the United States after graduating. Hired by both jazz and Pop acts, Walrath freelanced with several artists including Glenn Ferris and Ray Charles for several years until he relocated to New York. Walrath was adept in several jazz styles, and for the latter part of the 1970s and most of the 1980s, he worked as a sideman with groups led by Charli Persip, Dannie Richmond, Joe Morello, and Sam Rivers. During the 1980s, Walrath also began to lead his own groups, usually quintets or sextets, and was often active as a composer and arranger.

WALTON, CEDAR (1934– ). After studying piano at the University of Denver, Walton relocated to New York at the age of 21 to play jazz professionally. Despite a brief hiatus while he served in the U.S. Army, Walton connected with several top-flight musicians toward the end of the 1950s and worked with trumpeter Kenny Dorham and tenor saxophonist John Coltrane before being hired to replace Bobby Timmons in the Hard Bop group, Art Blakey and the Jazz Messengers. Walton was a first-call pianist for many groups in the late 1960s and worked with Joe Henderson, Lee Morgan, and Hank Mobley, among others.

Walton also began leading groups in the 1960s and formed the basic quartet that would result in one of the top jazz groups of the 1980s: Eastern Rebellion. Eastern Rebellion was made up of Billy Higgins, Sam Jones, or David Williams on bass, and several saxophone players including Clifford Jordon, George Coleman, and Bob Berg at different times. Walton spent much of the 1980s touring with this group or his own trio. Walton is credited with contributing several songs to the jazz repertoire including “Bolivia” and “Fantasy in D.”

WARE, WILBUR (1923–1979). Ware came to prominence as a bassist during the 1940s while working with Roy Eldridge and Sonny Stitt, before substance abuse slightly derailed his career. In the 1950s, Ware resumed performing and appeared with Clifford Brown and Johnny Griffin before he became a staple at the Beehive Jazz Club in Chicago. He worked with Art Blakey, Stan Getz, and Cannonball Adderley, in addition to leading his own groups for the latter part of the 1950s and early 1960s. Ware adopted the Free Jazz movement and worked with Archie Shepp in the 1960s, continuing his association with many of the musicians he had worked with in the 1950s, such as Thelonious Monk and Sonny Rollins.

WARREN, EARLE (1914–1994). Based out of the Midwest, Warren’s career was hallmarked by his tenure as lead alto with the Count Basie band. Warren’s time with Basie began in 1937 and lasted the better part of the next three decades. He lived in Europe for several years during the 1980s and spent time working on tributes to Count Basie. Warren is generally remembered as being important for helping shape the Basie band’s sound, rather than as a soloist.

WARREN, EDWARD “BUTCH” (1939– ). Born in Washington, D.C., Warren made his mark playing bass in New York–based groups and on recordings with Straight-Ahead artists including Kenny Dorham, Sonny Clark, and Dexter Gordon. Warren spent some of the 1960s working with Pop groups and doing studio sessions and returned to playing jazz during the 1970s.

WASHBOARD BAND. The name for a group of musicians that included a washboard among the instruments used in the group. Several groups were considered to be washboard bands, and oftentimes they would feature strings or singers. The Washboard Rhythm Kings were an example of a washboard band.

WASHBOARD RHYTHM KINGS. Another name for the Alabama Washboard Stompers, the Washboard Rhythm Kings were based out of both New Jersey and Philadelphia. The band was popular during the 1930s, and several other groups have since used the name Washboard Rhythm Kings. See also WASHBOARD BAND.

WASHINGTON, DINAH (1924–1963). Born Ruth Lee Jones, Washington had her name changed in the 1940s after her first big break singing with the Lionel Hampton band. Washington was known as a master interpreter of styles and would record songs in many different genres including Pop, Rhythm and Blues (R&B), Blues, and jazz. Washington worked with several important jazz musicians in the 1950s including Clifford Brown and Cannonball Adderley before she died from a drug overdose in 1963.

WASHINGTON, GEORGE (1907– ). Washington served as a trombonist with many of the touring bands of the 1930s including Benny Carter and Don Redman. Despite several tours with bands during the 1940s and 1950s, most of Washington’s career was spent working as a studio musician on the West Coast.

WASHINGTON, GROVER, JR. (1943–1999). Washington’s early saxophone career was marked by service in the military, followed by several apprenticeships with groups based on the use of the Hammond B3 organ. Washington became a bandleader in the 1970s and primarily played what would be considered Soul Jazz or Contemporary Jazz. Washington made several Billboard Top 100 hits, most notably his classic “Mister Magic.” Most of Washington’s recordings were made while a leader, but he did some side work in the 1990s prior to his death. See also HAMMOND ORGAN.

WASHINGTON, KENNY (1958– ). Coming from a musical family, Washington took up the drums at a young age and was working with Lee Konitz at the age of 19. Well respected by older musicians, Washington played with many jazz greats during the 1980s and 1990s including Johnny Griffin, Cedar Walton, Ron Carter, and Milt Jackson. Washington worked with both big bands and small groups in the late 1980s and 1990s. He ended up one of the most recorded jazz drummers of the 1990s, despite rarely leading groups on his own.

WASHINGTONIANS. A precursor to the Duke Ellington Orchestra, Elmer Snowden started the group in the early 1920s, with Ellington taking leadership shortly thereafter. The group would eventually assume Ellington’s name in the late 1920s.

WATANABE, KAZUMI (1953– ). Watanabe served a role as an important Fusion guitarist during the 1970s, working primarily in his home country of Japan until he became involved with several American artists during the 1980s. Watanabe worked with the Brecker Brothers and Jaco Pastorius in addition to starting several of his own groups, which frequently toured. Watanabe is also very active as a composer and has written many jazz-inspired pieces for solo guitar. See also ELECTRIC GUITAR; JAPAN.

WATANABE, SADAO (1933– ). Working as an alto saxophonist while in his twenties in Tokyo with Toshiko Akiyoshi’s groups, Watanabe made his first significant work in the Japanese jazz scene. Watanabe studied jazz in the United States at the Berklee School of Music for several years during the 1960s. After his time at Berklee, Watanabe continued to live in New York for several years working with Gary McFarland and Chico Hamilton before moving back to Japan in the 1970s. Watanabe would lead his own groups for most of the remainder of this career and frequently tour the United States and Africa.

WATERS, BENNY (1902–1998). Waters was an influential woodwind player during the 1920s and performed on all of the saxophones and clarinet. Waters was influenced by New Orleans–based groups, and the majority of his career was spent working with groups that played Traditional Jazz, including those led by King Oliver and Jimmy Archey. In the 1960s, Waters moved to France where he primarily led his own groups. Waters frequently switched instruments and for a while almost exclusively played tenor saxophone before primarily playing the alto saxophone in the 1990s.

WATERS, ETHEL (1896–1977). Water’s career is defined by her ability to sing a variety of styles and her ability to incorporate many influences, including White vaudeville singing and the African-American Blues tradition. During the 1930s, Waters, along with Ma Rainey and Bessie Smith, led the way for African-American vocalists and frequently recorded and performed. Waters also starred in several Broadway musicals and regularly recorded popular music in addition to jazz. She continued to perform professionally as a solo act throughout the 1940s and 1950s until becoming involved with a choir organized for evangelist Billy Graham.

WATKINS, JULIUS (1921–1977). Beginning his career on trumpet in the late 1940s, Watkins’ career changed for the better when he was hired to play French horn with Kenny Clarke. Throughout the 1950s, Watkins regularly played French horn with many of the top jazz musicians, including Thelonious Monk, Sonny Rollins, Oscar Pettiford, and George Shearing. Watkins was hired by Gil Evans in the late 1950s and began to branch out and do studio work and Broadway shows. For the majority of the 1960s and 1970s, Watkins worked in Classical settings and did very few jazz-related performances.

WATROUS, WILLIAM “BILL” (1939– ). Watrous moved around the country during his military service in the 1950s but made his mark in New York playing trombone in Kai Winding’s different trombone groups. After spending much of the late 1960s working with Quincy Jones, Maynard Ferguson, and doing a variety of studio-related work, Watrous began leading his own groups in the 1970s. Watrous frequently fronted his own big band, the Manhattan Wildlife Refuge, and appeared as a sideman with trumpet player Billy Berry, Albert Mangelsdorff, and Winding, among others. Throughout the 1990s and 2000s, Watrous continued to lead groups under his own name and performed as guest artist for festivals and university-related ensembles.

WATSON, ROBERT “BOBBY” (1953– ). Hailing from Kansas City, Watson learned to play saxophone from his father. Watson pursued a collegiate education at the University of Miami and played frequently in the area until being hired by Art Blakey in the late 1970s. Watson stayed with Blakey until 1981 and recorded many of his own tunes during his time as a member of the Jazz Messengers. “A Wheel Within a Wheel” is considered to be one of Watson’s most memorable compositions from this time.

After leaving the Jazz Messengers, Watson formed his own group, Horizon, and started a record label of the same name. Watson worked extensively with several musicians during the 1980s and 1990s including Victor Lewis, Curtis Lundy, and Terrell Stafford, all of whom played in the Horizon group. Watson joined the music faculty at the University of Missouri at Kansas City and remains an active performer today.

WATTS, ERNIE (1945– ). Watts grew up in Delaware and took up the saxophone when he was a teenager. After studying at the State Teachers College in Pennsylvania and at the Berklee School of Music in the 1960s, Watts gained recognition playing with the big band of Buddy Rich. After relocating to Los Angeles, Watts worked with many popular West Coast bands including ones led by Gerald Wilson, Oliver Nelson, Doc Severinsen, and Cannonball Adderley. Watts freelanced during most of the 1970s and 1980s, alternating between studio work and touring performances. He gained special recognition for his work on the soundtrack to the movie Chariots of Fire. Watts was actively performing in the 1990s and frequently toured both the United States and Europe. In the 2000s, he appeared as a sideman in groups led by Charlie Haden and Doc Severinsen.

WA-WA. One of the many sounds that can be generated on a trumpet or trombone. A wah-wah can be made by use of a plunger, a combination of a plunger with a Harmon mute, or a specialized wah-wah mute. See also MUTE.

WEATHERFORD, TEDDY (1903–1945). Weatherford developed his basic jazz roots while learning piano in New Orleans. In the 1920s, he moved to Chicago and became one of the leading Stride pianists in the city. Weatherford spent much of the 1930s playing abroad in Asian locales, such as Singapore, Manila, Shanghai, and eventually India.

WEBB, CHICK (1909–1939). One of the most prominent bandleaders and drummers of the 1930s, Webb’s career was almost always fronting a band. Webb’s group frequently played in New York and often featured many of the up-and-coming musicians of the 1920s and 1930s. Included in his group at different times were Johnny Hodges, Ella Fitzgerald, Benny Carter, and Mario Bauza. Webb considered the legendary Savoy Ballroom in New York to be a second home, and his band was known for playing there regularly. Webb was of substantial influence to the next wave of big band drummers that included Gene Krupa and Jo Jones. Webb died in 1939 from complications with spinal surgery. See also BATTLE OF BANDS; LITTLE CHICKS.

WEBB, GEORGE HORACE (1917– ). An Englishman, Webb was a prominent Traditional Jazz bandleader and pianist in London during the 1940s. Webb founded the group the Dixielanders, who were in existence for about 10 years before the group disbanded and Webb retired from playing to pursue business ventures in the music business.

WEBSTER, BENJAMIN FRANCIS “BEN” (1909–1973). Beginning his musical career as a pianist before switching to tenor saxophone in the 1930s, Webster would become not only one of the most influential jazz musicians of the 1930s, but of all time. Touring first with bands led by Bennie Moten and Andy Kirk before being hired by Fletcher Henderson and Duke Ellington, Webster developed a new tenor saxophone sound that garnered him much acclaim. Webster began recording and touring with his own groups in the 1940s and was included in Norman Granz’s Jazz at the Philharmonic groups that toured throughout the 1950s.

Webster recorded frequently during the 1950s and worked with many popular vocalists including Carmen McRae and Billie Holiday, in addition to being featured on the Columbia Broadcasting System (CBS) program The Sound of Jazz. Webster was one of the first major jazz figures to move to Europe in the 1950s; he lived there until his death. While living in Europe, Webster became a regular at jazz festivals held in various countries and played frequently in Copenhagen. Many saxophonists who developed their styles during the 1940s and 1950s considered Ben Webster to be a significant influence along with Coleman Hawkins and Lester Young.

WEBSTER, FREDDIE (1916–1947). As a trumpet player, Webster first gained notoriety by playing with pianist Earl Hines before being hired to play in many of the popular New York big bands, including those led by Benny Carter, Eddie Durham, and Jimmie Lunceford. Webster always held the respect of his peers and influenced both Dizzy Gillespie and Miles Davis before his early death.

WEIN, GEORGE (1925– ). Wein’s career in jazz is equal parts music business and performance. In the 1940s, Wein led his own groups and played piano in addition to working as a sideman in Traditional Jazz groups led by Wild Bill Davison, among others. Wein made his mark in the 1950s when he opened a Traditional Jazz club, Storyville, and formed a record label of the same name. Wein was a very savvy businessman, and after a few years he opened up another club in addition to starting what is now known as the Newport Jazz Festival in 1954.

During Wein’s career, he would continue performing with artists like Joe Venuti, Sidney Bechet, Ruby Braff, and Jimmy McPartland, while maintaining the growth and development of the Newport festival. Wein continued to expand the festival and to develop festivals in other cities and countries, and he performed well into the 1970s and 1980s. Eventually Wein sold the majority of the performance rights to his production company, Festival Production, to BET in the late 1990s, but he still remained an active participant running the Newport Festival and other endeavors that promoted and supported jazz.

WELLS, WILLIAM “DICKY” (1907–1985). After spending several years playing trombone with bands in his native Louisville, Kentucky, Wells moved to New York at the age of 19 and found great success early on. Playing with several lesser-known groups until he worked with Elmer Snowden, Wells became an important figure when he performed with bands led by Benny Carter and Fletcher Henderson in the 1930s.

In the 1940s, Wells did some work as a bandleader but primarily served as a trombonist for Count Basie’s groups. Wells followed his time with Basie by working in groups led by Jimmy Rushing, Paul Quinichette, and Buck Clayton. After spending some time working with Ray Charles, Wells took a semi-retirement to recover from alcohol abuse before resuming playing in the 1970s. He freelanced, primarily with big bands, for the remainder of his career and is considered along with Jack Teagarden to be one of the most influential trombone players of the 1930s.

WESS, FRANK (1922– ). Inspired by Lester Young, Wess took up the tenor saxophone as a youth and performed in military bands during the 1940s. Several years after being discharged, Wess found work with Count Basie and would remain with the band for almost 10 years until 1964. Wess was an important and influential tenor saxophonist and was, along with James Moody, one of the first musicians to embrace the flute as a jazz solo instrument.

During the 1970s, 1980s, and 1990s, Wess freelanced as a sideman with many groups while also becoming more prominent as a leader. He led several small groups during the 1980s that featured Kenny Barron and Rufus Reid. Wess also worked with several big bands later in his career, including that of Woody Herman and another that he led that featured many members from the Basie band.

WEST, DOC (1915–1951). A big band drummer, West was a first substitute player for many of the top-working drummers, filling in for Chick Webb and Jo Jones when they could not perform with their respective groups. West worked with many well-known players of the 1940s including Wardell Gray, Tiny Grimes, and Roy Eldridge, with whom he was playing when he died prematurely in 1951.

WEST COAST JAZZ. A style of jazz that became popular in the early 1950s and is sometimes considered synonymous with the term “Cool Jazz.” Some historians refer to West Coast Jazz as being “White Jazz.” West Coast Jazz often featured a more relaxed style of playing, warmer tones, and a focus more on melodic development than rhythmic or harmonic development, as well as an increased emphasis on arrangements. Important West Coast Jazz musicians included Chet Baker, Stan Getz, Gerry Mulligan, Shorty Rogers, and Shelly Manne.

WESTERN SWING. A style of Country and Folk music that incorporated many elements considered important to jazz, most notably improvisation. Fiddle player Bob Wills was considered one of the top musicians to work in this style, which was popular in Texas during the first half of the 21st century.

WESTON, RANDY (1926– ). Weston began playing professionally with Rhythm and Blues (R&B) bands in the early 1950s after serving in the military. Weston befriended fellow pianist Thelonious Monk and landed a record deal with the Riverside label. Weston primarily worked as a leader from that point and toured constantly for the next few decades. Playing music arranged by trombonist Melba Liston, Weston’s groups were featured in Europe and Africa in addition to touring the United States.

Weston maintained residences in New York, France, and Tangier during the 1970s and worked with musicians including Talib Kibwe, Neil Clarke, Ahmad Abdul-Malik, and Cecil Payne in his groups. Weston was well respected in several different genres of jazz and teamed up with Bebop musicians like Dizzy Gillespie and Free Jazz giants like David Murray and Pharoah Sanders. Much of Weston’s work throughout the 1980s and 1990s was in the form of tribute to his many influences, including groups that honored Duke Ellington and Thelonious Monk. Weston also contributed several songs to the jazz canon including “Hi-Fly.”

WETTLING, GEORGE (1907–1968). Wettling was an important Traditional Jazz drummer who worked with many of the top Early Jazz musicians during the 1930s, including Jimmy McPartland, Red Norvo, and Paul Whiteman. In the 1940s, Wettling became a staple with groups led by Eddie Condon that performed at major venues including Carnegie Hall and Town Hall. Wettling became a leader in the 1950s when he created the Dixielanders, and he continued his association with Condon and performing with various Traditional Jazz all-star groups. See also DODDS, BABY; EARLY JAZZ.

WHEELER, KENNETH “KENNY” (1930– ). Born in Toronto, Canada, Wheeler moved to England in the 1950s and found work playing the trumpet with many England-based dance bands. Being hired by John Dankworth in the late 1950s inspired Wheeler to study composition throughout the 1960s when Dankworth recorded several albums of compositions. Wheeler worked with many of Europe’s top jazz musicians throughout the 1960s and 1970s, including John Surman, Alan Skidmore, and Tubby Hayes.

Wheeler also openly explored Free Jazz and was associated with saxophonist Anthony Braxton during the 1970s. At the end of the decade, Wheeler began to lead his own groups, both large and small. The group Azimuth was an important band formed by Wheeler, John Taylor, and Norma Winstone that remained together for several decades and recorded several albums.

Wheeler was a prominent performer during the 1980s as a member of Dave Holland’s groups and working with guitarist Bill Frisell. Throughout the 1990s, Wheeler freelanced frequently and played with Jane Ira Bloom, John Scofield, Paolino Dalla Porta, and Lee Konitz. Wheeler is also credited with being a top-notch composer and has composed music for both small group and big band that has been recorded by other artists.

WHETSOL, ARTIE (1905–1940). Born in Florida, Whetsol was friends with Duke Ellington as a youth and played trumpet in Ellington’s band for several years during the 1920s and 1930s. Whetsol suffered from frequent health problems during his tenure with the band, which led to his retirement and eventual passing in 1940.

WHITE, LENNY (1949– ). White learned to play the drum set as a teenager and landed gigs playing with Miles Davis, Jackie McLean, and Freddie Hubbard before turning 21. Being at the forefront of the Fusion movement, White’s style often included elements of Rock and Latin music. For this reason, he was often used in Fusion-styled groups including Return to Forever and the groups of Stanley Clarke. Throughout the 1980s and 1990s, he worked with many important jazz figures, including Herbie Hancock and Chick Corea. White continues to lead his own groups that include John Scofield and Geri Allen, among others.

WHITEMAN, PAUL (1890–1967). Born in Denver, Whiteman played violin and worked with military bands during World War I. After being discharged, Whiteman gave up playing full time to pursue a career as a bandleader. He successfully led bands in San Francisco, Los Angeles, and Atlantic City before establishing himself in New York in the early part of the 1920s.

Whiteman’s first major success in New York was his association with composer George Gershwin, who penned the classic “Rhapsody in Blue” for Whiteman. Throughout the 1920s and 1930s, Whiteman’s popularity soared, and he was often imitated and copied. Though his music was generally commercially oriented, rather than pure jazz, he was referred to in the press as “the King of Jazz.” Whiteman’s orchestra featured many of the rising stars of the jazz world including saxophonist Frankie Trumbauer, Jack Teagarden, Joe Venuti, Tommy Dorsey, Red Norvo, and Bix Beiderbecke.

Whiteman’s great success carried on into the 1940s, and his band was included in several motion pictures and frequent recording sessions. Whiteman retired from band leading when he was offered a job with the American Broadcasting Company’s radio division, re-forming his orchestra from time to time. Much of his music has been preserved at Williams College in Williamstown, Massachusetts. See also DANCE BAND; SWING.

WILBER, ROBERT “BOB” (1928– ). Wilber’s career began as a saxophonist and clarinetist, and he received some lessons from soprano saxophone legend Sidney Bechet in the 1940s. Originally from New York, Wilber made a point of playing Traditional and New Orleans Jazz to help keep the spirit of that music alive on the East Coast. Much of his career would be dedicated to maintaining the spirit and style of Traditional Jazz. Wilber worked with several important musicians in the 1950s including Bechet, Bobby Hackett, Benny Goodman, and Jack Teagarden. He worked with a New Orleans–inspired soprano saxophone group in the late 1970s named Soprano Summit and was also active in education. In the later decades he often paired with Kenny Davern in addition to working in groups inspired by Bechet.

WILDER, JOSEPH “JOE” (1922– ). Trumpeter Wilder’s career started with several appearances with Lionel Hampton, Jimmie Lunceford, and Dizzy Gillespie. In the 1950s, Wilder freelanced with many artists including Count Basie, Ernie Wilkins, and J. J. Johnson, in addition to working as a studio musician. For the next few decades, Wilder would primarily work as a studio musician. He was considered to be a standout lead trumpet player, and he continued to be involved in studio work and performances in pit orchestras for Broadway shows until the 1980s when he became more active as a leader and a sideman. Finally, after more than 62 years playing for others, he led his own quartet at the Village Vanguard in 2006.

WILKINS, ERNIE (1922–1999). After learning violin and piano as a youth, Wilkins decided to try the saxophone, an instrument that he would play for the remainder of his career. Wilkins studied music in college and served in the military before his discharge granted him the opportunity to tour and perform regularly in the late 1940s. He was hired by Count Basie in the early 1950s and would play a major figure in Basie’s career, writing many arrangements for the band.

In 1955, Wilkins left the band as a performer but was hired to write for it and for other groups including bands led by Dizzy Gillespie, Tommy Dorsey, and Clifford Brown. The remainder of Wilkins’ career would be hallmarked by his abilities in arranging and composing, which he did frequently for many bands, most notably that of Clark Terry. Wilkins also led his own band during the 1980s and moved to Europe.

WILLIAMS, CHARLES “BUSTER” (1942– ). Williams, a bassist, got his initial professional opportunities with several tenor saxophonists including Jimmy Heath, Gene Ammons, and Sonny Stitt before working primarily with vocalists for much of the 1960s. Toward the end of the 1960s, Williams spent time in Los Angeles freelancing before moving to, and permanently residing in, New York. After relocating, Williams worked with Art Blakey, Herbie Hancock, Tony Williams, and Mary Lou Williams before becoming a member of the group Sphere along with fellow Philadelphian, pianist Kenny Barron. Williams became an active leader and frequently led trios and quartets in addition to continuing his work with Sphere. Williams also became increasingly involved as an educator, teaching at the New School in New York City during the late 1990s.

WILLIAMS, CLARENCE (1893–1965). Williams initially played piano in the New Orleans and Chicago areas during the 1920s before moving to New York and making a career in the business side of the music world. Involved in music printing and promoting, Williams would be influential in increasing the awareness and popularity of Stride pianists James P. Johnson and Fats Waller, in addition to recording and producing sessions for Louis Armstrong and Sidney Bechet.

WILLIAMS, COOTIE (1911–1985). Born in Alabama, trumpet player Charles “Cootie” Williams made a name for himself after being invited to tour with the Young Family Band in 1925, which included a young Lester Young. Williams moved to New York when he was 17 to record and play with jazz stars Chick Webb and Fletcher Henderson, later being hired by Duke Ellington in the early 1930s. Ellington made Williams an important member of the ensemble and often wrote pieces for him, including “Concerto for Cootie,” which featured the player’s outstanding plunger technique.

During the 1940s, Williams took a hiatus from playing with the Ellington Orchestra to freelance, during which time he worked with Benny Goodman, Teddy Wilson, and Charlie Christian. He failed at leading a big band due to economic concerns, but he continued to lead a small group into the 1950s. After playing in Rhythm and Blues groups for a few years, Williams rejoined Ellington in the 1960s and remained a member for several decades.

WILLIAMS, JAMES (1951–2004). Born in Memphis, Williams, along with Phineas Newborn, Harold Mabern, Mulgrew Miller, and Donald Brown, became one of the many pianists to come out of the Memphis tradition. Williams attended the Berklee College of Music in the 1970s before working with Alan Dawson, Joe Henderson, Clark Terry, and Art Blakey. In the 1980s, Williams began working as a leader with a variety of musicians including Billy Higgins and Rufus Reid in addition to serving as a sideman for several artists. Williams was also an active educator during this time and taught at the Hart School of Music in Connecticut.

Williams ran several groups in the early 1990s, including a tribute to Newborn, the Contemporary Piano Ensemble, and a group named ICU (or Intensive Care Unit) that played Blues-influenced music and included the use of a vibraphone. Williams started his own production company during this time and presented concerts featuring pianists in the New York area. The Jazz Studies Department of William Patterson University named Williams director of jazz studies in 1995, and several years later he gained critical acclaim for many of his records.

WILLIAMS, JOE (1918–1999). A vocalist, Williams’ career began in the Chicago area working with instrumentalists including Coleman Hawkins and Jimmie Noone. In the 1950s, Williams began an on-again, off-again relationship working with the Count Basie Orchestra, where his rich voice and bluesy style made a perfect match. For most of the 1960s and 1970s, Williams freelanced with many leading jazz artists, including Cannonball Adderley, Harry Edison, Junior Mance, and George Shearing.

Williams began leading his own groups in the 1970s and also worked in television during the 1980s, most notably as a recurring character on The Cosby Show. Williams primarily performed at festivals and on cruise ships during the 1990s until eventually settling in Las Vegas. Notable recordings include Count Basie Swings, Joe Williams Sings (1954, Verve) and The Definitive Joe Williams (2001, Verve). An NEA Jazz Master, he garnered eight Grammy nominations, winning in 1984 in the category of Best Jazz Vocal Performance. Williams died due to complications from a respiratory disease.

WILLIAMS, MARY LOU (1910–1981). One of the most significant women in jazz, Williams was influential on many levels. She was a performing pianist, a bandleader, and a composer and arranger, having produced hundreds of arrangements and compositions. Williams worked almost exclusively with the Andy Kirk band during the 1930s, both playing in the band and acting as the band’s primary arranger. In addition to writing for the Kirk band, Williams also wrote for many other groups and artists including Tommy Dorsey, Earl Hines, Dizzy Gillespie, and Duke Ellington.

Williams took a break for several years in the early 1950s to pursue other endeavors before leading groups in the late 1950s and 1960s. She was also a record producer, music publisher, and mentor to many of the great figures in jazz. Williams was honored during the last years of her career and also became involved in teaching, working at Duke University until her death.

WILLIAMS, SANDY (1906–1991). Williams worked as a trombonist with Fletcher Henderson and Chick Webb during the 1930s and continued performing with a variety of big bands in the 1940s, including ones led by Coleman Hawkins, Benny Carter, and Cootie Williams. Williams worked briefly with Duke Ellington before he was forced into a musical retirement due to health problems in the early 1950s.

WILLIAMS, TONY (1945–1997). A prodigious drummer as a youth, Williams studied and worked as a teenager with fellow drummers Alan Dawson, Art Blakey, and Max Roach. Jackie McLean is credited with convincing Williams to move to New York, an important move that led to his hiring by Miles Davis. Williams would be affiliated with Davis for most of the 1960s and was one of the revolutionary members that Davis used in this late quintet. His drum style was unique, and he was very influential in helping to further develop the drums as a melodic and solo instrument.

Williams would be affiliated with his Davis counterparts, most notably Herbie Hancock and Wayne Shorter, for the next few decades and frequently recorded with both. Williams led his own group, Lifetime, toward the end of the 1960s and maintained the name for the next few decades, although the group frequently changed personnel. In the 1970s, Williams worked with Stan Getz and the supergroup V.S.O.P., which used the same personnel as Davis’ later quintet but with Freddie Hubbard assuming the role of Davis. Williams continued to work throughout the 1990s until he died due to complications from gall bladder surgery.

WILSON, GERALD (1918– ). Wilson’s career began as a trumpet player working with the band of Jimmie Lunceford in the late 1930s. Shortly after Wilson ended his tenure with Lunceford, he relocated to Los Angeles where he would be one of the city’s primary big band leaders for decades. Wilson was mostly active as a composer and bandleader, although he also performed with some groups. His arrangements were played by the bands of Count Basie, Dizzy Gillespie, and Duke Ellington.

In the 1960s, Wilson wrote for many vocalists and ran a new edition of his big band that garnered much acclaim. Wilson frequently hired the best West Coast musicians, and his bands were constantly loaded with talent. Wilson became involved in education during the next few decades and taught at a variety of schools including the University of Utah, San Fernando Valley State College, and California State University at Los Angeles. Wilson’s band recorded and toured often, most notably giving several important performances at the Monterey Jazz Festival.

WILSON, NANCY (1937– ). Wilson’s career as a jazz vocalist blossomed when she sat in with Cannonball Adderley’s quintet during a tour in the late 1950s, which led her to a record deal with Capitol records. Throughout the 1960s, Wilson’s vocals would be heard on her own feature records in addition to dates with Adderley and George Shearing. Wilson took several breaks from singing jazz to record Pop albums until she returned to her jazz roots in the late 1970s, working with Hank Jones, Joe Henderson, and Art Farmer. Much of the 1980s was dedicated to performing worldwide at numerous jazz festivals while also recording more contemporary, Pop-related material. She is still actively performing today and received a National Endowment for the Arts (NEA) Jazz Master award in 2004.

WILSON, THEODORE “TEDDY” (1912–1986). Wilson was hired to play piano with Louis Armstrong in Chicago, an event that introduced Wilson into the 1930s jazz scene. Shortly after, Wilson moved to New York and worked with Benny Carter and Benny Goodman, the latter of whom was important because Wilson and Goodman helped break down racial boundaries by performing together. Wilson worked primarily as a leader for much of the 1940s until being hired to teach jazz at Juilliard in New York in 1950.

Wilson maintained a stellar reputation in terms of being a professional musician and was praised by his peers. He performed and made significant recordings with vocalist Billie Holiday. Despite recording several albums with Lester Young and Roy Eldridge in the late 1950s, Wilson primarily worked under his own name for the remainder of his career. Along with Nat “King” Cole, Wilson is considered to be one of the most important pianists to come out of the 1930s.

WINDING, KAI (1922–1983). Originally from Denmark, Winding moved to the United States when he was 12 and took up the trombone shortly after. In the late 1940s, Winding caught on with many of the top working bands, including those led by Benny Goodman, Stan Kenton, and Gerry Mulligan. Winding was very active in the new Bebop movement that was taking place and worked with Charlie Parker and Miles Davis.

During the 1950s, Winding dedicated much of his work to trombone-based ensembles. He formed a long-lasting relationship working with fellow trombonist J. J. Johnson and put together several groups of multiple trombones throughout the 1950s and 1960s. Winding worked with Bill Watrous, Carl Fontana, Wayne Andre, Albert Mangelsdorff, and Jiggs Whigham at various points. During the 1970s, Winding freelanced with many groups including those led by Dizzy Gillespie, Curtis Fuller, and Lionel Hampton. Winding retired to Spain before passing away in 1983.

WOLVERINES. An influential Early Jazz group formed in Chicago that was inspired by many of the New Orleans bands. The Wolverines recorded a few times, and included in the personnel was a rising cornet player, Bix Beiderbecke. The Wolverines were only in existence from 1923 to 1930.

WOODS, PHILIP “PHIL” (1931– ). Woods received early jazz training from pianist Lennie Tristano before studying clarinet and saxophone at the Manhattan School of Music in the early 1950s. Shortly after graduating, Woods began working with several New York–based groups including ones led by George Wallington, Kenny Dorham, and Dizzy Gillespie. For most of the late 1950s and 1960s, Woods worked frequently as a sideman with artists including Quincy Jones and Buddy Rich, while also leading his own groups with fellow alto saxophonist Gene Quill. Woods moved several times during the 1970s and formed bands in both France and Los Angeles before settling down in Pennsylvania. During this time, Woods formed the beginnings of his band by hiring bassist Steve Gilmore and drummer Bill Goodwin, both of whom would play with Woods for the next three decades. The piano chair would alternate, as a well as the second horn chair, which was filled at times by trumpeters Tom Harrell or Brian Lynch. Woods would continue to record and tour well into the 2000s and is still playing today.

WOODYARD, SAM(UEL) (1925–1988). After Woodyard’s drumming with various New York–based small groups was heard by Duke Ellington during the early 1950s, he was hired to take over the drum chair for Ellington’s orchestra. After an 11-year tenure with the Ellington band, Woodyard freelanced for several years until he moved to Europe. Health problems and alcohol abuse led to a steep decline for Woodyard who all but retired from playing before his death in 1988.

WORKMAN, REGGIE (1937– ). Born in Philadelphia, Workman’s career as a bassist began working with fellow Philadelphian musicians McCoy Tyner and Odeon Pope in the mid-1950s. From 1955 to 1969, Workman played with many of the best groups in jazz including long stays with Art Blakey and the Jazz Messengers, John Coltrane’s famous quartet, Jackie McLean, Cedar Walton, and Bobby Hutcherson. Throughout the later decades, Workman formed a series of groups with drummer Andrew Cyrille and would play music that leaned toward the Avant-Garde. Workman also became interested in education and held teaching positions at the University of Massachusetts and Long Island University, and he eventually became a key member of the faculty of the New School’s Jazz and Contemporary Music Program.

WORLD SAXOPHONE QUARTET (WSQ). Founded in 1976 and based on a commission received by Anthony Braxton, the World Saxophone Quartet remained in existence for over three decades. Braxton wrote for fellow saxophonists Julius Hemphill, Oliver Lake and Hamiet Bluiett, and David Murray, but did not play in the group himself. The group recorded several times and had several members leave or take a hiatus from the group. At various points, Arthur Blythe, John Purcell, and James Carter were all involved with the World Saxophone Quartet. The WSQ has made several records and continues to record on the Justin Time record label.

WORLD’S GREATEST JAZZ BAND. The culmination of several groups including the Eight, Nine, or Ten Greats of Jazz, the World’s Greatest Jazz Band was formed in the late 1960s in Denver, Colorado. In existence for almost 10 years, The World’s Greatest Jazz Band featured many top players and at times included Billy Butterfield, Carl Fontana, Bob Wilder, Bud Freeman, Roger Kellaway, Hank Jones, and Urbie Green.

WORLD WIDE. Founded by Herman Lubinsky, World Wide served as an opportunity for jazz musicians to be recorded more effectively using newer recording capabilities in the late 1950s. World Wide was affiliated with the Savoy record label and recorded sessions with musicians including Frank Wess, Pepper Adams, and Joe Wilder.