Hubbry Logo
Buster SmithBuster SmithMain
Open search
Buster Smith
Community hub
Buster Smith
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Buster Smith
Buster Smith
Buster Smith
View on Wikipedia
from Wikipedia

Key Information

Henry Franklin "Buster" Smith (August 24, 1904 – August 10, 1991),[1] also known as Professor Smith, was an American jazz alto saxophonist and mentor to Charlie Parker.[2] Smith was instrumental in instituting the Texas Sax Sound with Count Basie and Lester Young in the 1930s.

Smith played saxophone for a number of prominent band leaders including Duke Ellington and Earl Hines as well as vocalist Ella Fitzgerald. He recorded his only album as leader in 1959 and despite intending to record a follow-up, he was injured in an accident and nothing else was released.

Biography

[edit]

Early life

[edit]

Smith was born and raised in Alsdorf, Texas, a small township near Telico in the outskirts of Dallas, where he attended school as a child. Smith earned the name "Buster" from his parents as a baby, as he was born as an overweight child.[3] Buster was the third of five boys and had no sisters, though both of his older brothers died in childhood of measles.[3]

Smith's early musical influences were his mother, and his father, who played guitar. At the age of four years, Buster was playing the organ with his brother, pianist Boston Smith; Buster played the keys and Boston stepped on the pedals. Soon thereafter, his grandfather gave away the family organ because he believed it would only direct Buster to a life of sin.[3]

Early career

[edit]

In 1919, Smith picked cotton for a week to earn himself the money to buy a $3.50 clarinet. Smith learned to play several instruments by the time he was eighteen years old. In 1922, Smith and his family moved to Dallas. He joined the Voodie White Trio, playing Alto saxophone and clarinet. In 1923, he began his professional music career playing alto saxophone with the medicine shows, though he had to play very loudly to draw in more customers.[2] This experience led to Smith defining his own musical style, known for being loud. The time with the medicine shows also led to Oran "Hot Lips" Page inviting Smith to join his group, the Oklahoma City Blue Devils, in 1925. Over the next few years, Smith wrote much of the group's music, learning from banjo player Johnny Clark, writing lyrics with co-workers from the bank that he worked in.[3]

Peak success

[edit]

When Smith joined the Blue Devils, the line-up consisted of Walter Page, Oran Page, Lester Young, Count Basie, Jimmy Rushing, and Emir "Bucket" Coleman. They toured the Kansas City area and the Midwest, playing jazz for a year, bringing all of its members into prominence. Basie and Page both left the group; however Smith decided to stay on, though this was very short lived and soon after he left also. After leaving the group, he and Basie formed the Buster Smith-Count Basie Band of Rhythm, where the two innovated a louder style of Jazz. Buster's contribution to the unique sound was by using a tenor saxophone reed in his alto saxophone to achieve a louder, "fatter" sound.[2] Lester Young also joined the band and, to complement Smith's louder sound, he also opted for a harder reed, using a baritone saxophone reed on his tenor saxophone. This sound was later labelled the Texas Sax Sound. Smith gained a great amount of influence in the Texan music community and industry. Smith mentored legendary saxophonist Charlie Parker during the 1930s, developing a "father-son relationship" through mentoring Parker.[3]

In 1941, Smith decided to return to Dallas and to cease touring, though he remained active in the local music scene. In the following years, he wrote for jazz and blues bands, played often, and taught many young Texan musicians, including Aaron "T-Bone" Walker and Red Garland among others.[4] He also performed session work with artists such as Pete Johnson's Boogie-Woogie Boys, Eddie Durham, Leo "Snub" Mosley, Bon and His Buddies, and the Don Redman Orchestra.[3]

Solo career

[edit]

In 1959, Buster led his first solo recording session in Fort Worth, as prompted by Atlantic Records. From these sessions, released by Atlantic with the title The Legendary Buster Smith, Smith's notable songs included "Kansas City Riffs," "Buster's Tune," "E Flat Boogie," and Kurt Weill's "September Song." For the sessions, Buster enlisted his brother Boston Smith to play piano, along with musicians spanning his career to date.[5]

Later life

[edit]

In the 1960s, Smith was involved in an auto accident, in which he was injured and no longer able to play the saxophone. In order to continue playing music, he started to play the bass guitar throughout Dallas and continued to participate in the Dallas musical community. Buster led a dance music band until 1980, and played in the Legendary Revelations in the mid-1980s. Smith died in Dallas on August 10, 1991, of a heart attack.[2]

Discography

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Buster Smith

View on Grokipedia
from Grokipedia
Buster Smith is an American jazz saxophonist, composer, arranger, and bandleader known for pioneering the "Texas sax sound" and serving as a key mentor to Charlie Parker. Born Henry Franklin Smith on August 24, 1904, in Alsdorf, Texas, he grew up in a musical family and mastered multiple instruments, including organ, guitar, clarinet, and alto saxophone, before launching his professional career in the 1920s with medicine shows and local Dallas groups. His forceful playing style, developed to project over crowds, led to innovations in tone, particularly by using a tenor reed in his alto saxophone to achieve a louder, fuller sound that influenced the broader "Texas sax sound." Smith rose to prominence in the late 1920s and 1930s as a member of Walter Page's Blue Devils, where he contributed as an arranger and composer alongside musicians such as Count Basie, Lester Young, and Jimmy Rushing. He later co-led the Buster Smith–Count Basie Band of Rhythm, helping shape the Kansas City jazz style with its emphasis on rhythmic drive and ensemble power. In the mid-1930s, he taught Charlie Parker saxophone techniques and provided crucial early guidance, a relationship Parker later described as paternal and which profoundly shaped the young musician's development. After choosing not to relocate to New York with Basie's band, Smith returned to Dallas in 1941 and focused on local performance, composition, and teaching, influencing subsequent generations of Texas musicians including T-Bone Walker. Despite limited recordings—highlighted by his 1959 Atlantic Records session—he remained active until health issues forced him to switch to bass guitar in the 1960s, leading bands into the 1980s. He died in Dallas on August 10, 1991, leaving a legacy as an under-recorded but foundational figure in swing-era jazz and blues.

Early life

Childhood and family background

Henry Franklin Smith, professionally known as Buster Smith, was born on August 24, 1904, in Alsdorf, Ellis County, Texas. He was the third of five boys in his family, with no sisters. Smith grew up in a musical household in rural Texas, where his father played guitar and his parents fostered an early musical environment that shaped his formative years. He had a brother named Boston, with whom he shared early musical moments playing organ as children.

Early musical experiences

Buster Smith's early musical experiences began in his childhood home, where he first engaged with music at the age of four by playing the organ alongside his brother Boston Smith, with Buster handling the keys and Boston managing the pedals. The family organ was soon given away by his grandfather, who feared its potential sinful influence on the household. In 1922, Smith earned the $3.50 needed to purchase a clarinet by picking more than 2,000 pounds of cotton in five days. Through self-instruction and practice, he developed skills on several instruments, becoming proficient on them by age 18. The family relocated to Dallas in 1922, setting the stage for his further musical growth.

Early career

Professional debut

In 1922, Buster Smith and his family moved to Dallas, where he joined the Voddie White Trio, performing on alto saxophone and clarinet. The following year, Smith began his professional career in earnest, playing alto saxophone with traveling medicine shows. These outdoor performances demanded a forceful approach, as he had to play very loudly to attract crowds and potential customers for the shows' remedies. This necessity shaped an element of his emerging style, contributing to the powerful projection that later distinguished his saxophone work.

Oklahoma City Blue Devils

Buster Smith joined the Oklahoma City Blue Devils in 1925 after being invited by trumpeter Oran "Hot Lips" Page. He became a key member of the band, serving as an arranger and composer. The Oklahoma City Blue Devils, led by bassist Walter Page, were one of the most respected territory bands of the era, known for their powerful ensemble sound and innovative approach to jazz. The band featured several musicians who would later achieve major prominence, including Oran "Hot Lips" Page on trumpet, vocalist Jimmy Rushing, pianist Count Basie, and saxophonist Lester Young. Smith's contributions helped shape the band's repertoire and style during the mid-1920s, supporting its reputation as a key ensemble in the Southwest jazz scene. Later, he would briefly co-lead a group with Basie after the Blue Devils' dissolution, though that period is covered in detail elsewhere.

Southwest jazz scene

Blue Devils era and Basie collaboration

During the late 1920s and early 1930s, Buster Smith remained a key member of the Oklahoma City Blue Devils, serving as alto saxophonist, clarinetist, and primary arranger while the band toured the Midwest and maintained a presence in the Kansas City jazz scene. The group featured notable talents including Count Basie on piano and Walter Page on bass during overlapping periods, though both musicians departed for other opportunities—Basie by 1929 to join Bennie Moten's orchestra and Page around the same time. Smith continued with the Blue Devils until approximately 1933, when the band effectively disbanded amid personnel shifts and regional challenges. After Bennie Moten's death in 1935, Smith briefly co-led the Buster Smith-Count Basie Band of Rhythm with Basie, forming a nine-piece ensemble drawn from former Blue Devils and Moten band members to perform in Kansas City venues such as the Reno Club. This collaboration represented a transitional moment in the evolution of Kansas City jazz, with Smith contributing arrangements during its early stages. The partnership proved short-lived, however, as Smith soon departed for higher-paying work with Claude Hopkins and other projects by 1936.

Development of the Texas Sax Sound

In the 1930s, Buster Smith employed his innovative saxophone technique in the Buster Smith–Count Basie Band of Rhythm, contributing to the Kansas City sound with his characteristic powerful tone. Smith pioneered the Texas sax sound by using a tenor saxophone reed in his alto saxophone, which produced a more powerful and robust timbre. This approach became known as the Texas sax sound, for which Smith is recognized as the pioneer through his influence in jazz and blues.

Kansas City period

Mentorship of Charlie Parker

During the late 1930s in Kansas City, Buster Smith mentored the teenage Charlie Parker, who joined his band around 1937–1938 as its youngest member. Smith, known as “Professor,” helped Parker refine his saxophone technique and influenced his stylistic development, particularly through the incorporation of double and triple time in transitions. The two performed together regularly at Lucille’s Paradise on 18th Street, where Smith led the group for approximately two years, with Parker remaining by his side throughout that period. Their relationship developed into a close father-son dynamic, with Smith describing Parker’s attentiveness and loyalty: “He’d listen to you. He used to call me his dad. I called him my boy.” Parker was persistent in his pursuit of guidance, often staying close to Smith: “I couldn’t get rid of him. He was always up under me.” In the band, they frequently split solos evenly, and Parker insisted that Smith take the first solo so he could learn from it. Smith later reflected on Parker’s rapid progress: “He did play like me quite a bit I guess. But, after a while, anything I could make on my horn, he could make too, and make something better of it.” This mentorship provided Parker with critical early professional experience and musical direction in the vibrant Kansas City scene.

Return to Dallas and later career

Local activity and session work

In 1941, Buster Smith returned permanently to Dallas and ceased touring, prioritizing his local roots over national fame while continuing to play an active role in the area's music scene. He wrote arrangements for jazz and blues bands, performed frequently in Dallas, and engaged in session work that kept him connected to the regional circuit. Smith shared his expertise by teaching young Texas musicians, including Aaron "T-Bone" Walker, helping shape the next generation of players in the Southwest. His sustained involvement in Dallas solidified his influence within the community even as he stepped away from extensive road work.

1959 album and final performances

In 1959, Atlantic Records convinced Buster Smith to record his first session as a leader in Fort Worth, producing his only LP as a leader, later titled The Legendary Buster Smith. The album featured notable tracks including "Kansas City Riffs," "Buster's Tune," "E Flat Boogie," and Kurt Weill's "September Song," with his brother Boston Smith on piano (on one track) alongside other musicians. It was reissued by Koch Records in 1999. An automobile accident in the 1960s ended Smith's saxophone playing due to injury, leading him to switch to bass guitar to remain active in music. He led a dance music band in Dallas until 1980.

Personal life

Family

Henry "Buster" Smith was born into a musical family as the third of five boys, with no sisters. His parents played guitar and were his earliest musical influences. At the age of four, Smith began playing the organ in collaboration with his brother, the pianist Boston Smith, with Buster handling the keys while Boston operated the pedals. The family organ was soon given away by his grandfather, who feared it would lead Buster toward a life of sin. Boston Smith later rejoined his brother musically by playing piano during Buster Smith's 1959 Atlantic Records session.

Automobile accident and adaptation

In the 1960s, Buster Smith was injured in an automobile accident that left him unable to play the saxophone again. As a result, he switched to bass guitar, which enabled him to remain active as a performer in the Dallas music scene despite the physical limitations.

Legacy

Influence on jazz and musicians

Buster Smith was a key architect of the Texas Sax Sound, a distinctive style characterized by a louder, fatter tone achieved by inserting a tenor saxophone reed into an alto saxophone. This innovation, developed in collaboration with Lester Young who applied a similar approach using a baritone reed on tenor, produced a bigger sound that distinguished Southwest jazz. In the 1930s, Smith helped shape the louder Kansas City and Southwest jazz style through his work in the Buster Smith–Count Basie Band of Rhythm, where the emphasis on powerful, riff-based arrangements and harmonic sophistication contributed to the hard-swinging ensemble sound that defined the era. His riff-setting required other horns to harmonize, creating a polished, written-like effect even in head arrangements, which influenced the rhythmic and ensemble precision of the emerging Kansas City scene. Smith's mentorship extended to several prominent musicians, most notably serving as an important early influence and teacher to Charlie Parker during the late 1930s. He passed on his signature huge sound and taught techniques such as effortlessly switching between double and triple time at various tempos, elements that aided Parker's later rhythmic innovations in bebop. Smith also taught Aaron "T-Bone" Walker and Red Garland, among other young Texas musicians; Garland studied alto saxophone under him and learned to read music, skills that supported his subsequent transition to piano. After returning to Dallas in 1941, Smith remained a long-term contributor to the local music scene as a performer, writer, arranger, and teacher, perpetuating the Texas Sax Sound and influencing subsequent generations of jazz and blues players through his active involvement well into the 1980s. His role as a mentor and stylistic innovator earned him enduring respect, with his contributions to ensemble dynamics and tonal power continuing to resonate in Southwest jazz traditions.

Recognition

Buster Smith did not receive any major awards or formal honors during his lifetime, a circumstance consistent with the limited mainstream recognition afforded many pioneering jazz musicians of his era. His contributions have instead been acknowledged through historical documentation and the preservation of his recorded work. His only album as a leader, recorded in 1959, was reissued in 1999 by Koch Jazz as a remastered edition, making his music more accessible to later generations of listeners and scholars. Smith is recognized as a significant figure in Texas jazz history, particularly for his pioneering role in developing the Texas sax sound and for the enduring respect he commanded among musicians. In the 1930s, as an African-American performer, he earned great respect from peers across the jazz world despite prevailing racial barriers. His influence remained strongly felt in the Dallas music community for decades after his return to the city in 1941.
Add your contribution
Related Hubs
User Avatar
No comments yet.