Harry Howell Carney was born in 1910 in Boston, Massachusetts. He began on the piano at age six, moved to the clarinet at 13, and added the alto saxophone a year later. He grew up next door to future Ellington bandmate Johnny Hodges, four years his elder, who was an early influence on his music. His other main influences included clarinetists Buster Bailey and Don Murray and saxophonists Coleman Hawkins and Adrian Rollini.
After playing a variety of gigs in New York City at the age of 17, Carney joined Ellington in Boston in 1927. He initially played alto and soprano saxes, doubling on clarinet while Otto Hardwick handled the baritone parts. Carney initially vied with clarinetist Rudy Jackson for the hot clarinet solos and with Hardwick for alto and soprano solos. An example of this is on Blue Bubbles, a song with Carney on alto and soprano, and Hardwick on baritone. As Hardwick didn't stand out on baritone sax as much as his other horns, Carney saw an opportunity and immediately purchased a baritone sax. His progress was quick, and soon began being featured on the instrument.
When Otto Hardwick left Ellington in 1928 to go to Europe, Carney took over the lead alto parts with Johnny Hodges taking over the main alto and soprano parts. Harry Carney took a rare solo on tenor sax (borrowing Barney Bigard's horn) on the Ellington song Hot Feet. He also occasionally took a solo on clarinet, despite Bigard being the featured clarinetist with Ellington from 1928-1942. Examples include Bugle Call Rag, Rexatious (with Rex Stewart), the 1932 versions of Creole Love Call (his is the first clarinet solo), I Don't Know What Kind of Blues I've Got, It's Like Reaching For The Moon (with Teddy Wilson and Billie Holiday) and so forth. Carney performed a rare alto clarinet solo on Duke's Saddest Tale, and borrowed a bass clarinet for Blue Light in 1938.
Carney didn't fully take up bass clarinet until 1943, becoming one of the pioneers of the instrument. His alto saxophone work was reduced back to section work after 1932 when Otto Hardwick returned to the band full-time as lead alto. He does have a few rare features on a 1940 session with Rex Stewart playing alto on Linger Awhile and My Sunday Gal. Although still seen doubling alto on a 1943 musical short "Symphony in Swing", he soon stopped playing alto shortly thereafter. This was lamented by Mercer Ellington in his autobiography as his playing alto sax brought an additional tonal color to the sax section.
Carney focused mainly on the baritone saxophone for the remainder of his career, doubling bass clarinet, and less frequently clarinet. He temporarily played some established clarinet solos in the 1940s such as on Mood Indigo, Creole Love Call, Sugar Hill Penthouse and The Mooche, but this was taken over later by Russell Procope's more New Orleans-ish styled clarinet later on. He did retain his sole set clarinet solo on Rockin' In Rhythm.
Carney was the longest serving player in Duke Ellington's orchestra. On occasions when Ellington was absent or wished to make a stage entrance after the band had begun playing the first piece of a performance, Carney would serve as the band's conductor. Ellington and Carney were close friends. The majority of their careers they rode together in Carney's car to concerts, allowing Ellington to come up with new ideas. Fictionalized accounts of these road trips are documented in Geoff Dyer's But Beautiful (1991).
Ellington wrote many showpiece features for Carney throughout their time together, such as "Frustration" (c. 1944-45). This was typical of Ellington's ability to exploit the voices of his most treasured soloists by creating works that were tailored specifically to the individual rather than being for a generic baritone saxophonist. In addition, Ellington would sometimes feature Carney's robust renditions of the melodies of such hits as "Sophisticated Lady" and "In a Mellow Tone". In 1973 Ellington built the Third Sacred Concert around Carney's baritone saxophone.
As the Ellington orchestra increased its reed section to five players Carney's voice was heard a little less as a soloist than it had been in the 1930s. From late 1939 onwards a regular tenor saxophonist was added, the most important being the outstanding Ben Webster and later Paul Gonsalves. It was also in the early 1940s that Carney ceased using the alto saxophone and Johnny Hodges abandoned the soprano saxophone. Carney's clarinet continued to be deployed in the well-known composition "Rockin' in Rhythm", for which he is also credited as a co-composer. This was one of the 'work-horses' of the Ellington orchestra that remained in the band books throughout its life on the road. After Ellington's 1974 death, Carney said: "This is the worst day of my life. Without Duke I have nothing to live for." Four months later, Carney also died.
While not the first baritone saxophonist in jazz, Carney broke through to greatness, producing s sound that influenced several generations of musicians.
Throughout his career he played saxophones manufactured by C.G. Conn, and like other jazz musicians was known to offer endorsements of his preferred brand. Photographic evidence suggests that the mouthpieces he used were predominantly those of the Woodwind Company of New York. (His preferred model may have been that company's 'Sparkle-Aire' 5.) The combination of such a large-chambered mouthpiece and the Conn brand of baritone saxophone was certainly a factor in the production of his enormous, rich tone.
He was an early jazz proponent of circular breathing. He was also Hamiet Bluiett's favorite baritone player because he "never saw anybody else stop time" in reference to a concert Bluiett attended where Carney held a note during which all else went silent.
Carney made a few recordings as a leader, and also recorded with Lionel Hampton.
Take The 'A' Train
Harry Carney Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
To go to Sugar Hill way up in Harlem
If you miss the "A" train
You`ll find you missed the quickest way to Harlem
Hurry, get on, now it`s coming
Listen to those rails a-thrumming
All aboard, get on the "A" train
Soon you will be on Sugar Hill in Harlem
The lyrics to Harry Carney's song, Take the A Train, were penned by Billy Strayhorn, a jazz pianist and composer. The song is an ode to the fastest and most convenient way to get to Harlem; by taking the A train. The first line of the song sets the tone for the rest of the lyrics as it strongly urges listeners to hop on the subway train to Sugar Hill. The mention of Sugar Hill, a famous African-American neighborhood in Harlem, evokes a sense of community and pride in the cultural hub of New York City.
The next line of the song is a warning of sorts, emphasizing that if one misses the A train, they will miss the quickest route to Harlem. This phrase can be interpreted in a broader sense as well. It could refer to the need for people to seize opportunities in their lives when they present themselves; otherwise, they might lose their chance to reach their desired destination.
The final few lines of the song describe the inviting sounds of the train as it arrives and urges listeners to board, promising that soon they will be on Sugar Hill in Harlem. The lyrics evoke a sense of urgency, excitement, and community spirit, making the song a classic example of swing-era jazz.
Line by Line Meaning
You must take the "A" train
In order to reach Sugar Hill in Harlem, it is necessary to take the train labeled "A"
To go to Sugar Hill way up in Harlem
The destination being referred to is Sugar Hill, which is located far in the uptown area of Harlem.
If you miss the "A" train
If the "A" train is not boarded on time, it will be a missed opportunity to get to Sugar Hill quickly.
You`ll find you missed the quickest way to Harlem
By failing to catch the "A" train, one would forfeit the fastest route possible to get to Harlem.
Hurry, get on, now it`s coming
Act quickly and board the train because it is arriving imminently.
Listen to those rails a-thrumming
Notice the rhythmic vibrations made by the train's tracks, indicating that it is ready to depart.
All aboard, get on the "A" train
Passengers are invited to board the train labeled "A".
Soon you will be on Sugar Hill in Harlem
After getting on the "A" train, the destination of Sugar Hill in the Harlem area will be reached shortly thereafter.
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, Reservoir Media Management, Inc., Warner Chappell Music, Inc.
Written by: Billy Strayhorn
Lyrics Licensed & Provided by LyricFind
George Woolley
such a huge beautiful yet brutal sound. harry is exactly what a jazz bari sax should sound like
bari time!
George Woolley indeed Woolley indeed
Urdaddoobie
what an inspirational sound and improvisational concept. You take this and mesh it with some modern bebop ideas and you’ve got the next big thing ladies and gents I swear
jaschaheifetz
Super rare! Great track!
Thanks for uploading.
Zac Taylor Schindler
Such a great tone, take that gerry mulligan
SELMER B.Action
Mr Baritone in person !!!
tomfletchervideos
Do people give videos the thumbs down just for the sake of it?
Stanley Zappa
heaven
A Happy Lil' Fella
3/2/2018