32 Facts About Frank Wess

Frank Wellington Wess was an American jazz saxophonist and flutist.

Frank Wess was renowned for his extensive solo work; however, he was remembered for his time playing with Count Basie's band during the early 1950s into the early 1960s.

Since he was young, Wess grew up listening to music.

Frank Wess's mother was one of his major influences as she would take him to watch performers like Roland Hayes and Ida Cox.

Up until that pivotal moment, Frank Wess had viewed his interactions with his mother as bonding where she emphasized the importance of being aware of culture.

Frank Wess grew up loving the saxophone, specifically the tenor saxophone and alto saxophone.

Frank Wess began with classical music training and played in Oklahoma in high school.

Frank Wess experienced a shift in preferences as he opted to begin playing jazz.

Frank Wess had two opening numbers in the same week, which gave him a boost of confidence.

Shortly upon returning from his time in the Army in 1944, Frank Wess joined the Billy Eckstine and his orchestra.

Frank Wess played a pivotal role in the formation of Count Basie's orchestra as he recruited the following musicians: Thad Jones, Bill Hughes, Eddie Jones, Al Aarons, and Eric Dixon.

Frank Wess would have an eye on everything and knew what was occurring in the musicians' personal lives.

When it came to instrumentation, Frank Wess opted for the tenor saxophone and flute.

For Frank Wess, he felt that swing was important for anyone who wanted to play jazz.

In 1957, Frank Wess willingly changed to playing the alto saxophone as the band had added Eddie "Lockjaw" Davis.

Frank Wess turned to Broadway and television as his next career path.

For Broadway, Frank Wess was a part of the pit bands for the shows Golden Boy, Chicago, Annie, and Sugar Babies.

Frank Wess continued to play outside of musicals and television shows.

Frank Wess became a sideman that was often in high demand by all sorts of musicians.

Frank Wess was a leader and co-leader for numerous sessions for the and Savoy record labels.

Foster utilized a more aggressive approach while Frank Wess focused on sounding more lyrical.

Frank Wess was a key part of The New York Jazz Quartet along with Sir Roland Hanna on the piano, George Mraz or Ron Carter on the bass, and either Ben Riley, Richard Pratt, or Grady Tate on drums.

Frank Wess's key was to always find a venture to keep him occupied.

At the age of 89 Frank Wess recorded an album named Magic 101.

Frank Wess played the tenor saxophone throughout the song, showcasing a slower side of jazz.

The album began with a song named "Say It Isn't So," that showcased the swing that Frank Wess had built his legacy on during his time with Count Basie.

Frank Wess brought back a steady swing throughout the duration of this song.

On October 30,2013, Frank Wess was in a taxi on "his way to get a dialysis treatment," when he suffered a sudden heart attack.

Frank Wess's health had been in decline for months, but a month before his passing, he was still playing music with his friends.

Frank Wess was survived by his companion, Sara Tsutsumi, two daughters, two grandchildren, and four great-grandchildren.

Frank Wess loved having the opportunity to play with other musicians, and he would try to invite young and moved musicians to his house for a jam session.

Frank Wess ensured that his legacy lived far beyond than the confines of his own family.