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Teddy Charles
Teddy Charles
Teddy Charles
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Key Information

Teddy Charles, born Theodore Charles Cohen (April 13, 1928 – April 16, 2012)[1] was an American jazz musician and composer, whose instruments were the vibraphone, piano, and drums.[1]

Career

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Born Theodore Charles Cohen in Chicopee Falls, Massachusetts, United States,[1] he studied at the Juilliard School of Music as a percussionist.[1] Later he began to record and made personal appearances as Teddy Cohen with bands[2] as a vibraphonist, writing, arranging, and producing records. In 1951, he changed his last name to Charles.

Charles was one of many jazz musicians who hung out at an apartment building at 821 Sixth Avenue, in New York City, known as the Jazz Loft rented by photographer and artist David X. Young, who in turn sublet two apartments to Hall Overton (Charles's mentor) and Dick Cary.

Known as an innovator, Charles's main work was recorded in the 1950s, with polytonal albums such as New Directions, Collaboration: West, Word from Bird, and The Teddy Charles Tentet. He was a studio musician for Miles Davis, Charles Mingus, Shelly Manne, and Dion.[1] From the mid-1950s onwards, Charles worked primarily as a record producer.[1] He was also a co-leader of the Prestige Jazz Quartet. He recorded an album, Live at the Verona Jazz Festival, for Soul Note in 1988.

Charles was captain of the 1906 wooden schooner Mary E he purchased in 1973 and restored, and later captained the boat Pilgrim out of Greenport, New York (on the North Fork of Long Island) and performed music locally. In his last years, he began performing again after spending some years at sea. His last recording was the 2011 collaboration with Wily Bo Walker and Danny Flam featuring the song "You Don't Know What Love Is".

He died of heart failure in 2012, aged 84.[3]

Discography

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As leader

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Reissues

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  • Nontet & Tentet Complete Recordings (Jazz Collectables, 2001)
  • Adventures in California (Fresh Sound Records, 2006; reissue of West Coasters and New Directions 4)

As sideman

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With Bob Brookmeyer

With Charles Mingus

  • East Coasting (Bethlehem, 1957)
  • Town Hall Concert (United Artists, 1962)
  • Nostalgia in Times Square/The Immortal 1959 Sessions (Columbia, 1979)
  • Mingus Dynasty (Columbia, 1960)

With others

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Teddy Charles

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Teddy Charles is an American jazz vibraphonist and composer known for his innovative contributions to modern jazz, his distinctive improvisational style, and his leadership of groundbreaking ensembles during the post-bebop era. Born Theodore Charles Cohen on April 13, 1928, in Chicopee Falls, Massachusetts, he studied at Juilliard in the mid-1940s and quickly immersed himself in New York's jazz scene, where he substituted on piano for Thelonious Monk with Coleman Hawkins’s band and performed with luminaries including Charlie Parker, Miles Davis, Charlie Mingus, and others. In the 1950s, he led his own groups, including the influential Teddy Charles Tentet, which featured advanced arrangements by composers such as George Russell, Bob Brookmeyer, and Jimmy Giuffre, and he composed original works including “Word from Bird,” “No More Nights,” and “Blues Become Elektra.” His vibraphone playing emphasized rhythmic drive and unpredictable phrasing that made his solos particularly compelling to fellow musicians. In the 1960s, Charles stepped away from the New York jazz world to pursue a career as a ship captain, operating the skipjack Pilgrim out of Greenport Harbor on Long Island and running commercial sailing charters along the Atlantic coast for over three decades. He returned to active performing in the 2000s, collaborating with younger musicians on projects that revived his earlier repertoire, including appearances at venues such as the Village Vanguard and the recording of new material. He was inducted into the Long Island Music and Entertainment Hall of Fame in 2010. Charles died on April 16, 2012, in Riverhead, New York, three days after his 84th birthday.

Early Life and Education

Birth and Family Background

Teddy Charles was born Theodore Charles Cohen on April 13, 1928, in Chicopee Falls, Massachusetts, in the western part of the state. He was the youngest of four siblings in a family without professional music connections. His brother was a self-taught pianist who played in the Fats Waller style and provided early musical exposure by tutoring him and sharing knowledge of jazz on the family piano. He later adopted the professional name Teddy Charles.

Musical Training and Early Influences

Teddy Charles received early exposure to music through his older brother George, a self-taught pianist and jazz enthusiast who shared recordings of artists like Lionel Hampton and encouraged Teddy to experiment on the family's out-of-tune piano, providing valuable keyboard familiarity. In 1946, Charles enrolled in a summer extension program at the Juilliard School of Music and was subsequently accepted as a full-time percussion major that fall, studying percussion there for two years before departing due to financial constraints. While at Juilliard, he was re-exposed to the vibraphone and, recognizing that his drumming style—influenced by swing-era players—was ill-suited to the emerging bebop style, chose to pursue the vibraphone instead, aided by his existing piano and drum proficiency. Largely self-taught on the vibraphone, Charles drew key influences from Lionel Hampton and Red Norvo while assimilating the bebop vocabulary of Charlie Parker and Dizzy Gillespie, positioning himself among the early modern vibraphonists. After relocating to New York, he immersed himself in the city's bebop scene on 52nd Street, frequently visiting clubs to listen to performances, sitting in on drums and piano when possible, and engaging with other young musicians through jam sessions. He initially performed and recorded under his birth name, Teddy Cohen. In late 1951, he legally changed his surname to Charles at his manager's urging, who believed the original name posed barriers to club bookings due to its ethnic associations.

Jazz Career

Rise in the 1940s and Early 1950s

Teddy Charles launched his professional jazz career in the late 1940s after completing his percussion studies at Juilliard. His first recordings came with Chubby Jackson's big band, marking his entry into the New York jazz scene as a vibraphonist performing under the name Teddy Cohen. He toured and performed with Benny Goodman in 1948, followed by engagements with Chubby Jackson and Buddy DeFranco. In 1949, Charles joined Buddy DeFranco's sextet, collaborating with drummer Max Roach and guitarist Jimmy Raney in a group that showcased his growing versatility on the vibraphone. He continued sideman work by touring with Artie Shaw in 1950, gaining further experience in big band and small group settings. By 1951, he had changed his name to Teddy Charles and began recording as a leader for Prestige Records, producing sessions through 1953 that highlighted his evolving style. During these early Prestige dates, he pioneered the use of four-mallet technique on the vibraphone, allowing for more complex chordal and polyphonic playing. Charles also became part of the informal Jazz Loft scene at 821 Sixth Avenue in New York City, where he was mentored by composer Hall Overton amid a creative hub frequented by jazz musicians.

Innovative Recordings and Third Stream Experiments

Teddy Charles produced some of his most creative and experimental work as a leader during the mid-1950s, focusing on polytonality and Third Stream approaches that merged jazz improvisation with classical structures and compositional techniques. His New Directions series on Prestige, recorded between 1953 and 1954, featured trio and quartet settings that pioneered experimental jazz concepts later embraced by other musicians. In 1956, Charles released Collaboration: West on Prestige, an album that extended his experimental explorations through collaborations with Shorty Rogers, Jimmy Giuffre, Shelley Manne, and others, emphasizing innovative interplay and harmonic ideas. That same year, he assembled the Teddy Charles Tentet for an Atlantic recording, with notable arrangements contributed by Jimmy Giuffre, Bob Brookmeyer, George Russell, and Gil Evans, creating a chamber-like ensemble sound that highlighted Third Stream sensibilities. The Tentet performed at the Newport Jazz Festival in 1956, where it drew positive reviews for its swinging beat and sophisticated arrangements. The composition "Word from Bird," debuted by the Tentet at Newport in 1956, later appeared as the title track on Charles's 1957 Atlantic album Word from Bird. Additional 1957 releases included work with the Prestige Jazz Quartet and the album Evolution, which drew from his earlier experimental sessions. Charles also shared his four-mallet vibraphone technique with Tito Puente, influencing the percussionist's approach on the instrument.

Record Production and Key Collaborations

Teddy Charles became increasingly involved in record production during the mid-1950s, shifting focus from leading his own groups to overseeing sessions for several prominent jazz labels. He produced and supervised numerous recording dates primarily for Prestige, Bethlehem, and Warwick, including work with artists such as John Coltrane, Zoot Sims, and Howard McGhee. At Bethlehem, he produced numerous records, most of which featured other musicians rather than himself as leader. As a sideman and arranger, Charles maintained significant collaborations with key figures in modern jazz. He participated in the pioneering Jazz Composers Workshop bands formed by Charles Mingus in 1955, performing with Mingus at the Newport Jazz Festival that year. He also contributed as vibraphonist and arrangements on Miles Davis' Blue Moods (1955), a graceful ballad-oriented session released on Mingus's Debut label that included Mingus on bass and Elvin Jones on drums. Beyond jazz, Charles engaged in extensive studio work as a session musician and contributor with pop, soul, and rock artists. His credits include recording dates with Aretha Franklin, Dion DiMucci, Bobby Vinton, and others.

Hiatus from Music

Departure from Jazz Scene

In the early 1960s, Teddy Charles stepped away from the active jazz scene, influenced by a deepening commitment to sailing and significant personal changes. In 1960, he was scheduled to perform at the Newport Jazz Festival with Charles Mingus but chose to sail his boat to the event; his vessel became becalmed, causing him to miss the appearance. He did, however, participate in Mingus's alternative festival of new music held at the Cliff Walk Manor that same year. Following these events, Charles separated from his fashion-model wife, Diana, and abandoned his jazz career in favor of a seafaring life. This shift marked a temporary hiatus from music that extended for several decades until his return to active performing in the 2000s.

Career as Sea Captain

Teddy Charles transitioned to a maritime career after leaving the jazz scene in the mid-1960s, becoming a charter boat captain in the eastern Caribbean. In 1973, he purchased and restored the 1906 wooden schooner Mary E, which he captained primarily in the waters around Antigua and Martinique. During his time in the Caribbean, Charles initially carried passengers on charters before switching to transporting cargo, including rum and soap. He supplemented his work as captain by serving as a salvage diver and sail rigger, and he ran a sailing club. Later, Charles captained the Pilgrim out of Greenport, Long Island, where he focused on summer charters in the New York area. He described his charter work as “a paid vacation of sun and fun” with little time for music.

Return to Music and Later Years

Comeback Performances

Teddy Charles' passion for jazz performance was rekindled in 1980 while he was working as a charter boat captain in the Caribbean, when he began playing piano with a jazz clarinettist in Antigua, prompting a renewed commitment to music. This experience drove him to relocate his sailing business to the Bronx and Long Island during the summer months, allowing him to resume an active presence in New York City's jazz scene. He returned to performing at prestigious venues including the Village Vanguard, Iridium, and Smalls, where he appeared intermittently over the following decades. Charles also performed in Europe, notably with a quartet featuring pianist Harold Danko at the Verona Jazz Festival in 1988. He maintained regular jazz jam sessions at his home and lectured occasionally on jazz topics. In his later years, following a resurgence of activity around 2007, he reformed the Teddy Charles Tentet in collaboration with younger musicians such as saxophonist and arranger Chris Byars, leading to performances at New York clubs including Smalls, the Village Vanguard, and Iridium during 2008 and beyond. Among his notable late-career appearances was a March 2009 tribute to Charlie Parker's music, where he performed alongside veteran pianist Hank Jones.

Final Recordings and Activities

Teddy Charles' later years featured a handful of significant recordings that marked his continued engagement with jazz after his return to performing. A notable live album, Live at the Verona Jazz Festival 1988, captured his June 25, 1988, performance at the Teatro Romano in Verona, Italy, with a quartet including Harold Danko on piano, Ray Drummond on bass, and Tony Reedus on drums; the recording was released by Soul Note in 1989. The album presented extended takes on standards such as "All the Things You Are," "A Night in Tunisia," and "'Round Midnight," alongside Charles' composition "Third Leveling," showcasing his vibraphone work in a live setting. Following his comeback performances in the 2000s, Charles recorded his first new studio album in approximately forty years, Dances with Bulls, on July 23, 2008, at Nola Studios in New York City. Released by Smalls Records in 2009, the album featured a sextet with trombonist John Mosca, saxophonist and flutist Chris Byars, pianist Harold Danko, bassist Ari Roland, and drummer Stefan Schatz performing Charles' compositions including the title track, "Bunni," "Blues Without Woe," "No More Nights," "Arlene," and "Nostalgia in Times Square." The project highlighted his return to studio recording with fresh interpretations of his earlier material. Charles' final recording appearance occurred on December 17, 2010, when he contributed vibraphone to Wily Bo Walker's rendition of "You Don't Know What Love Is," featuring trombonist Danny Flam and a supporting ensemble; the track was released digitally in 2011 and later included on Walker's compilation album.

Personal Life and Death

Family and Relationships

Teddy Charles was married to Diana, a fashion model. They separated in the mid-1960s and divorced in 1965. This separation coincided with his transition to a career as a sea captain. Charles had no immediate survivors at the time of his death in 2012. His niece Gail Aronow confirmed the cause of death as heart failure. His home in Greenport, Long Island, reflected his passions through a distinctive interior that blended nautical elements with bebop influences.

Later Residence and Passing

In his later years, Teddy Charles made his home in Riverhead, New York, on the North Fork of Long Island. He had previously been associated with nearby Greenport, where he operated a charter sailboat business, before settling in Riverhead. Charles died on April 16, 2012, in Riverhead at the age of 84 from heart failure. He passed away at Peconic Bay Medical Center due to complications from heart disease.

Legacy and Media Appearances

Influence on Jazz Vibraphone and Composition

Teddy Charles played a pivotal role in the evolution of jazz vibraphone, ushering the instrument into the modern era alongside contemporaries like Milt Jackson and Terry Gibbs while extending its legacy beyond the foundational contributions of Lionel Hampton and Red Norvo. His distinctive sound and approach emphasized advanced harmonic concepts and structural experimentation, setting him apart from earlier vibraphonists and establishing him as a key figure in expanding the instrument's expressive range in jazz. As one of the pioneers of Third Stream music, Charles boldly integrated jazz with modern classical influences, incorporating spontaneous counterpoint, modal approaches, polytonal structures, and impressionistic harmonies. He drew inspiration from modern classical composers to explore thematic development and classical forms within jazz contexts, pushing the boundaries of composition and improvisation. He also participated in a collaboration with composer Edgard Varèse. Charles also advanced vibraphone technique through his use of four-mallet playing, which he taught to Tito Puente. His experimental albums from the 1950s, such as New Directions, exemplified these innovations by adapting instrumentation and concepts in ways that diverged from traditional models like the Red Norvo trio.

Television and Documentary Credits

Teddy Charles had limited credits in television and documentary productions, primarily tied to his jazz activities and archival material. He provided uncredited soundtrack contributions to one episode of the 1958 television series Art Ford's Jazz Party, performing "Jeepers Creepers" and "I Can't Get Started." In the documentary The Jazz Loft According to W. Eugene Smith (2015), released posthumously, Charles appeared as himself through interview material or archival audio, reflecting on the mid-century New York jazz scene documented by photographer W. Eugene Smith. No other verified television appearances, documentary features, composing credits for media, or acting roles are documented.

References

  1. https://www.limusichalloffame.org/inductees/teddy-charles/
  2. https://jazztimes.com/features/tributes-and-obituaries/chris-byars-remembers-teddy-charles/
  3. https://www.discogs.com/artist/300566-Teddy-Charles
  4. https://www.nytimes.com/2012/04/21/arts/music/teddy-charles-jazz-musician-turned-sea-captain-dies-at-84.html
  5. https://web.archive.org/web/20160529064554/http://suffolktimes.timesreview.com/2012/04/31512/jazz-great-teddy-charles-dead-at-84/
  6. https://attictoys.com/teddy-charles/new-directions-revisited/
  7. https://concord.com/artist/teddy-charles/
  8. https://www.allaboutjazz.com/news/teddy-charles-1928-2012/
  9. https://www.discogs.com/artist/252928-Teddy-Charles
  10. https://concord.com/concord-albums/new-directions/
  11. https://thejazztome.info/teddy-charles-collaboration-west/
  12. https://www.wtju.net/jazz-100-hour-35-big-bands-1950s/
  13. https://www.organissimo.org/forum/topic/27940-aotw-june-25-july-1/
  14. https://thejazztome.info/teddy-charles-word-from-bird/
  15. https://thejazztome.info/teddy-charles-evolution/
  16. https://www.allaboutjazz.com/musicians/teddy-charles/
  17. https://www.theguardian.com/music/2012/apr/30/teddy-charles
  18. https://www.freshsoundrecords.com/10858-teddy-charles-albums/9-vinyl-records
  19. https://www.smallslive.com/artists/172-teddy-charles/
  20. https://attictoys.com/teddy-charles/the-return-of-teddy-charles-2008/
  21. https://attictoys.com/teddy-charles/teddy-charles-discography/
  22. https://www.npr.org/sections/ablogsupreme/2012/04/20/151054054/remembering-teddy-charles-composer-vibraphonist-sailboat-captain
  23. https://riverheadnewsreview.timesreview.com/2012/04/36139/jazz-great-teddy-charles-dead-at-84/
  24. https://www.latimes.com/local/obituaries/la-me-teddy-charles-20120419-story.html
  25. https://www.newsday.com/long-island/obituaries/jazz-vibraphonist-teddy-charles-dies-at-84-u04216
  26. https://jazztimes.com/reviews/albums/teddy-charles-walter-wolff-trio-live/
  27. https://www.newyorker.com/magazine/1957/06/08/jazz-4
  28. https://www.local802afm.org/allegro/articles/requiem-125/
  29. https://www.allaboutjazz.com/new-directions-teddy-charles-prestige-records-review-by-derek-taylor
  30. https://www.imdb.com/name/nm3660474/
  31. https://www.wnycstudios.org/podcasts/jazz-loft/episodes/special-episode-jazz-loft-jam-sessions
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