Bobby Hackett

1.1. Childhood and Education

Hackett was born in Providence, Rhode Island, United States. His family, an Irish immigrant household with nine children, faced economic hardship. His father worked as a blacksmith, and his mother was a housewife. Due to the family's poverty, Hackett left formal education at the age of 14 to begin playing guitar and violin in a local Chinese restaurant band, contributing to his family's income. This early departure from traditional schooling meant his foundational musical learning was self-directed and driven by practical performance experience.

1.2. Musical Influences and Early Career

A pivotal moment in Hackett's musical development occurred when he witnessed Louis Armstrong perform live. This experience deeply inspired him, prompting him to learn the cornet and trumpet. He later recounted this moment to jazz critic Whitney Balliett, stating, "I've never been the same since... That man was and is the greatest hot-trumpet player in jazz." While Armstrong was his primary inspiration, Hackett also gained recognition for his stylistic affinity with cornet player Bix Beiderbecke.

In the late 1930s, jazz critic George Frazier praised Hackett in several articles, leading to his move to New York City in 1937. He first played with clarinetist Joe Marsala before spending a year performing at Nick's, a popular Greenwich Village bar renowned for its Dixieland jazz music. During his time at Nick's, he became an integral part of a group of notable Dixieland musicians that included Pee Wee Russell, Brad Gowans, Zutty Singleton, Billy Butterfield, Dave Tough, Joe Sullivan, and Eddie Condon. In a testament to his burgeoning talent and his ability to channel Beiderbecke's distinctive sound, Benny Goodman enlisted the then 23-year-old Hackett in 1938 to recreate Beiderbecke's famous "I'm Coming Virginia" solo at Goodman's seminal 1938 Carnegie Hall concert.

2.1. Big Band Era and Early Challenges

In the late 1930s, Hackett served as lead trumpet in the Vic Schoen Orchestra, which notably provided musical backing for the popular vocal group, the Andrews Sisters. His versatility extended to Hollywood, where he could be heard on the soundtrack of the 1940 Fred Astaire movie, Second Chorus, for which he notably dubbed Astaire's trumpet playing in two numbers.

A challenging period arose in 1939 when the talent agency MCA supported Hackett in forming his own big band. However, the venture proved unsuccessful, leaving him in substantial debt to MCA. To manage this financial burden, he joined the bands of Horace Heidt and subsequently Glenn Miller in 1941 and 1942. During this time, Hackett also faced a significant personal challenge as his lip suffered from dental surgery, making it difficult for him to play the trumpet or cornet. In response, Glenn Miller offered him a position as a guitarist within his orchestra. This shift in role drew criticism from some jazz critics who accused him of "selling out" due to his move into a more commercial setting. Hackett, however, countered this by stating, "When I joined the band and I was making good money at last, [...] [jazz critics] accused me of selling out. Hell I wasn't selling out, I was selling in! It's funny, isn't it, how you go right into the wastebasket with some critics the minute you become successful." Despite his lip problems, Hackett managed to play occasional short solos, most famously on the Glenn Miller Orchestra's 1942 recording of "A String of Pearls", a solo he modestly referred to as "just a little exercise." However, jazz critic Whitney Balliett praised this twelve-bar solo for its "design (scale), tone (moonlike), and lyricism (Bach)," calling it "one of the recorded improvisational wonders."

2.2. Post-Big Band and Studio Work

In the mid-1940s, Bobby Hackett spent two years as a member of Glen Gray's orchestra. In 1946, he joined the music staff at the ABC, a position he held for 15 years. This tenure provided him with a steady income, allowing him to maintain financial stability while continuing his live performances and recordings, including regular appearances at Eddie Condon's and other jazz clubs.

A significant highlight of his career was his involvement in Louis Armstrong's 1947 Town Hall Jazz Concert. Hackett served as the music director for the concert and played second cornet, fulfilling a long-held dream. Balliett remarked on his performance, noting that Hackett's background figures "made Louis Armstrong sound like a nightingale," underscoring his supportive yet vital role. In November 1947, Hackett recorded two sides with Frank Sinatra. The first, "I've Got a Crush on You," was recorded on November 5 with a small group and reached number 21 on the pop charts. On November 9, he recorded "Body and Soul" with Sinatra and a large orchestra; this recording was later featured on Sinatra's fourth Columbia album, Frankly Sentimental, released in June 1949.

Between 1951 and 1952, Hackett took a leave of absence from ABC to form a septet, performing at various nightclubs, including The Embers in New York. Five years later, he organized another sextet that played at the Henry Hudson Hotel and several jazz festivals.

2.3. Collaboration with Jackie Gleason and Solo Albums

Bobby Hackett's public profile significantly increased after he was featured as a cornet soloist on seven of Jackie Gleason's highly successful mood music albums. Beginning in 1952, he appeared on Gleason's inaugural Capitol Records album, Music for Lovers Only, which, along with the subsequent ten albums on which Hackett featured, achieved gold status. This prominent association directly led to Hackett's own signing with Capitol Records, where he recorded several popular solo albums featuring his trumpet and flugelhorn solos. Notably, in 2001, when Mosaic Records released The Complete Capitol Bobby Hackett Solo Sessions as a five-CD limited edition set, most of the tracks were drawn from his contributions to Gleason's mood music albums. According to liner notes, Hackett received between 30.00 K USD and 40.00 K USD for his work on six of Gleason's albums.

2.4. Later Career and Tours

In 1954, Bobby Hackett became a regular on the ABC variety show The Martha Wright Show, also known as The Packard Showroom, further broadening his public reach. Later in his career, he extensively toured with acclaimed singer Tony Bennett, accompanying him on two European tours in 1966 and 1967. In the early 1970s, Hackett continued to collaborate with prominent musicians, performing separately with jazz legend Dizzy Gillespie and singer Teresa Brewer, demonstrating his continued relevance and adaptability within the jazz and popular music scenes.

3.1. Family and Residences

Bobby Hackett married Edna Lillian Lee Hackett in 1937, and they remained together until her passing in 2000. The couple had two children: a daughter named Barbara, who passed away in 2003, and a son named Ernie, who followed in his father's footsteps to become a professional drummer. The Hackett family grew to include two grandchildren and four great-grandchildren. Their primary residences included New York City, with significant time spent in Greenwich Village, and later Los Angeles, California. They also cherished their summers, often residing in Cape Cod, Massachusetts and Chatham, Massachusetts.

3.2. Other Affiliations

Bobby Hackett was also a member of the Freemasons and actively participated in the St. Cecile Lodge #568. This particular lodge is notable for its membership, which is specifically composed of musicians and artists, reflecting Hackett's deep connection to his professional and artistic community.

4.1. Circumstances of Death

Bobby Hackett passed away on June 7, 1976, at the age of 61. He died in Chatham, Massachusetts, as a result of a heart attack.

5.1. Musical Legacy and Influence

Bobby Hackett's musical legacy is defined by his unique playing style, characterized by its lyrical quality, melodic elegance, and emotional depth, particularly on the cornet and trumpet. His versatility was exceptional, as he seamlessly transitioned between the hot, improvisational style of Dixieland, the structured arrangements of big band swing, and the lush, melodic textures of mood music. He was not only a master of brass instruments but also a skilled guitarist, showcasing his comprehensive musicianship. Hackett's ability to adapt and excel in different musical contexts, from recreating the intricate solos of Bix Beiderbecke to serving as a featured soloist for Jackie Gleason, solidified his reputation as an accomplished and adaptable artist. Notably, he was an early idol of Miles Davis, a testament to his profound influence on later generations of jazz musicians and his lasting contribution to the evolution of the genre.

5.2. Honors and Tributes

In recognition of his significant musical contributions and enduring legacy, Bobby Hackett was inducted into the Rhode Island Music Hall of Fame in 2012, posthumously honoring his impact on American music.

6.1. As Leader

• Soft Lights and Bobby Hackett (Capitol, 1954)
• In a Mellow Mood (Capitol, 1955)
• Coast Concert (Capitol, 1956)
• Gotham Jazz Scene (Capitol, 1957)
• Rendezvous (Capitol, 1957)
• Bobby Hackett At The Embers (Capitol, 1958)
• Don't Take Your Love from Me (Capitol, 1958)
• Jazz Ultimate with Jack Teagarden (Capitol, 1958)
• The Bobby Hackett Quartet (Capitol, 1959)
• Blues with a Kick (Capitol, 1959)
• Hawaii Swings (Capitol, 1960)
• Dream Awhile (Columbia, 1960)
• The Most Beautiful Horn in the World (Columbia, 1962)
• Night Love (Columbia, 1962)
• Jazz from Lionel Bart's 'Oliver' (Epic, 1963)
• Bobby Hackett Plays Henry Mancini (Epic, 1962)
• Plays the Music of Bert Kaempfert (Epic, 1964)
• Hello Louis!: Plays the Music of Louis Armstrong (Epic, 1964)
• Trumpets' Greatest Hits (Epic, 1965)
• A String of Pearls (Epic, 1965)
• Trumpet de Luxe with Billy Butterfield (CBS [Japan], 1966)
• Creole Cookin (Verve, 1967)
• That Midnight Touch (Project 3, 1967)
• A Time for Love (Project 3, 1967)
• Bobby/Billy/Brazil (Verve, 1968)
• This Is My Bag (Project 3, 1969)
• Live at the Roosevelt Grill (Chiaroscuro, 1970)
• The Bobby Hackett 4 (Hyannisport, 1972)
• Bobby Hackett and Vic Dickenson at the Royal Box (Hyannisport, 1972)
• What a Wonderful World (Flying Dutchman, 1973)
• Strike Up the Band (Flying Dutchman, 1975)
• Live in New Orleans (Riff, 1976)
• Featuring Vic Dickenson at the Roosevelt Grill (Chiaroscuro, 1977)
• Tin Roof Blues (Honey Dew, 1977)
• Butterfly Airs Vol. 1 (Honey Dew, 1977)
• Jazz Session (CBS, 1980)

6.2. As Sideman

'With Jackie Gleason'

• Music for Lovers Only (Capitol, 1952)
• Music to Make You Misty (Capitol, 1953)
• Music, Martinis, and Memories (Capitol, 1954)
• Jackie Gleason Presents Autumn Leaves (Capitol, 1955)
• Music to Remember Her (Capitol, 1955)
• Music to Change Her Mind (Capitol, 1956)
• Jackie Gleason Presents Music for the Love Hours (Capitol, 1957)
• Jackie Gleason Presents Lush Musical Interludes for That Moment (Capitol, 1959)
• The Most Beautiful Girl in the World (Pickwick/33, 1967)

'With others'

• Louis Armstrong, Town Hall (RCA Victor, 1957)
• Tony Bennett, The Very Thought of You (Columbia, 1965)
• Tony Bennett, A Time for Love (Columbia, 1966)
• Teresa Brewer, Good News (Signature, 1974)
• Ruth Brown, Ruth Brown (Atlantic, 1957)
• Jim Cullum Jr., Goose Pimples (Audiophile, 1967)
• Eddie Condon, Bixieland (credited as Pete Pesci, Columbia, 1955)
• Eddie Condon, Midnight in Moscow (Epic, 1962)
• Eddie Condon, Eddie Condon On Stage (Saga, 1973)
• Dizzy Gillespie, Giants (Perception, 1971)
• Benny Goodman, The Famous 1938 Carnegie Hall Jazz Concert (Columbia, 1950)
• Bill Kenny, I Don't Stand a Ghost of a Chance with You (Decca, 1951)
• Frankie Laine, Te Amo (Columbia, 1955)
• Glenn Miller, A String of Pearls (Bluebird, 1941)
• Glenn Miller, Rhapsody in Blue (Victor, 1942)
• Frank Sinatra, I've Got a Crush on You (Columbia, 1947)
• Frank Sinatra, Body and Soul (Columbia, 1947)
• Jack Teagarden, Jack Teagarden!!! (Verve, 1962)
• Lee Wiley, Night in Manhattan (Columbia, 1955)