Wynton Charles Kelly was born on December 2, 1931, and died on April 12, 1971. He was an American jazz pianist and composer known for his energetic, blues-style playing and his skill as a supporting musician in jazz. He started playing professionally at age 12 and was the pianist on a top R&B song at age 16. His first recording as a leader happened three years later, around the time he became well-known for working with singer Dinah Washington and as a member of trumpeter Dizzy Gillespie’s band. His career was paused for two years when he served in the United States Army. After returning, he worked again with Washington and Gillespie and performed with other musicians. These included instrumentalists Cannonball Adderley, John Coltrane, Hank Mobley, Wes Montgomery, and Sonny Rollins, and vocalists Betty Carter, Billie Holiday, and Abbey Lincoln.
Kelly gained widespread recognition as part of Miles Davis’s band from 1959, including a role on the album Kind of Blue, often called the best-selling jazz album ever. After leaving Davis in 1963, Kelly led his own trio, which recorded music for multiple labels and toured the United States and other countries. His career did not grow much after this, and he struggled to find enough work later in life. Kelly, who had epilepsy, died in a hotel room in Canada after a seizure at age 39.
Early life
Kelly was born on December 2, 1931, in Brooklyn, New York. He was the son of Jamaican immigrants. He started playing the piano when he was four years old, but he did not get much formal training in music. He attended the High School of Music & Art and the Metropolitan Vocational High School in New York. However, "[t]hey wouldn't give us piano, so I fooled around with the bass and studied theory."
Kelly began his professional career in 1943, working with R&B groups. Through these experiences, he improved his playing skills because the music needed to be easy to dance to and fun to listen to. This helped shape his future style. Around this time, he also played the organ in local churches. In his local area, he played with Lee and Ray Abrams, as well as Ahmed Abdul-Malik, Ernie Henry, and Cecil Payne. These musicians later became famous in the jazz world.
Main career
At 15, Kelly toured the Caribbean with Ray Abrams' R&B band. At 16, he made his recording debut by playing on saxophonist Hal Singer's 1948 song "Cornbread," which became a top hit on the Billboard R&B chart. The next year, he recorded with vocalist Babs Gonzales, including his first recorded solos. He also played with R&B bands led by Hot Lips Page (1948 or earlier), Eddie "Cleanhead" Vinson (1949), and Eddie "Lockjaw" Davis (1950). Sessions on July 25 and August 1, 1951, were used to create Piano Interpretations, a trio album that marked Kelly's first recording as a leader. It was released by Blue Note Records later that year. Critic Scott Yanow noted that Bud Powell was Kelly's main influence at this time, but his playing also showed the joy of Teddy Wilson's style and his own unique chord choices. Kelly became more well-known after joining vocalist Dinah Washington's band in 1951. Later, he played in bands led by Lester Young in 1952 and Dizzy Gillespie, recording with Gillespie later that year. In September 1952, as Kelly began gaining recognition, he was drafted into the U.S. Army.
After training at Fort McClellan in Alabama, Kelly joined a traveling show with the Third Army. He recruited fellow draftee and future jazz pianist Duke Pearson, helping to include more Black musicians in the group, as they were initially the only two out of about 24 performers. By April 1954, Kelly was "Private First Class Wynton Kelly," the musical director of the show. He ended his military service with a performance for 10,000 people at the Chastain Memorial Park Amphitheater in Atlanta.
Kelly left the military after two years and later worked with Washington and Gillespie again. He also joined Charles Mingus' group for a tour of Washington, D.C., California, and Vancouver in late 1956 to early 1957. He left Mingus to rejoin Gillespie, who led a big band touring Canada and the southern United States. Saxophonist Benny Golson, from Gillespie's band, said Kelly could adapt to different musical settings while keeping his unique style. In 1956, Kelly recorded with vocalist Billie Holiday, including the original version of her song "Lady Sings the Blues," and also appeared on the Blue Note debuts of saxophonists Johnny Griffin and Sonny Rollins. After leaving Gillespie again, Kelly formed his own trio.
Kelly was in high demand as a sideman, appearing on albums by many major jazz leaders in the late 1950s and early 1960s. In April 1957, he joined an expanded version of Art Blakey's Jazz Messengers for an album called Theory of Art, which included trumpeter Lee Morgan. Later that month, he recorded with Blakey, Morgan, and others on Griffin's A Blowin' Session, followed by sessions with Gillespie and trumpeter Clark Terry. In 1957, Kelly played bass on one track of vocalist Abbey Lincoln's That's Him! after the regular bassist fell asleep in the studio.
In 1958, Kelly released his second album as a leader, Piano, more than six years after his first. That same year, he played with vocalist Betty Carter and appeared on albums led by Cannonball Adderley, Blue Mitchell, and Hank Mobley. He also played organ on one track of Pepper Adams and Jimmy Knepper's The Pepper-Knepper Quintet, a rare change from his usual instrument.
In January 1959, Kelly joined Miles Davis, the musician he became most associated with. Alto saxophonist Cannonball Adderley explained that Kelly replaced Red Garland on piano after Davis noticed Kelly's talent during a previous collaboration. Kelly stayed with Davis until March 1963, appearing on albums like Kind of Blue and Someday My Prince Will Come, as well as many concert recordings. On Kind of Blue, Kelly played on the track "Freddie Freeloader," the only piece on the album he appeared on, as Davis had originally planned it for pianist Bill Evans. Kelly toured Europe with Davis in 1960, and fellow pianist McCoy Tyner praised Kelly's ability to "swing" and hold the group together.
Davis often left time between engagements, allowing musicians to work with others. Kelly continued recording with other leaders, including members of Davis' band. In 1959, he played with Cannonball Adderley's Quintet in Chicago and bassist Paul Chambers' Go. Later that year, he released his first album for Vee-Jay Records with Wayne Shorter. Kelly also recorded with John Coltrane, including the track "Naima" from Coltrane's Giant Steps. After Adderley left Davis in 1959, he tried to recruit Kelly, who declined but still participated in more sessions with Adderley, Griffin, Mobley, and others. Kelly recorded with guitarist Wes Montgomery in 1961, and their collaboration was described as highly successful.
After leaving Davis, Kelly formed his own trio with bassist Paul Chambers and drummer Jimmy Cobb. The trio toured nationally and recorded with Verve Records after Kelly left Vee-Jay. In 1964, the calypso track "Little Tracy" from Kelly's Verve album Comin' in the Back Door reached number 38 on the Billboard R&B chart. Later that year, the trio toured Japan for concerts organized by George Wein. In 1965, the trio joined Montgomery on a U.S. tour, including an appearance at the Newport Jazz Festival and a club recording called Smokin' at the Half Note. The trio also played with Joe Henderson and others after leaving Davis. According to Cobb, he managed the trio's finances and recruited members, while Kelly focused on playing piano and handling interviews. The trio remained together until 1969, when Chambers died.
Later in his career, Kelly struggled to find work but played with Ray Nance and as a soloist in New York. His final recording session appears to have been in the autumn of 1970, accompanying saxophonist Dex.
Death
On April 12, 1971, Kelly died in Toronto, Canada, after having an epileptic seizure. He had traveled from New York to Toronto to perform in a club with drummer George Reed and vocalist Herb Marshall. Kelly had a long-term epilepsy condition and needed to carefully manage his health. A friend, Cobb, described the events: "Wynton told his girlfriend in New York, 'I don't feel well.' She suggested, 'Go downstairs to the bar so someone can help you if needed.' It is unknown if he followed this advice, as he was found in his room later." Marshall discovered Kelly in his room at the Westminster Hotel on Jarvis Street. It was reported that Kelly had very little money when he died. A memorial concert took place on June 28 in New York, featuring many famous musicians from that time.
Personal life and personality
Kelly was survived by a daughter named Tracy. Bassist Marcus Miller is a cousin of Kelly. Rapper Foxy Brown and pianist Randy Weston are also cousins of Kelly.
Kelly drank a lot. Saxophonist Jimmy Heath said Kelly was an alcoholic who could control his drinking and it did not affect his music. People described Kelly as kind and generous. Bassist Bill Crow said Kelly was fun-loving and enjoyed telling stories. He often made others laugh during breaks between performances. Wynton had a removable upper front tooth plate. When he saw people watching from the side of the stage, he would turn around so the audience could not see, give them a serious look, and push his upper plate down onto his lower lip, creating a funny and strange face. Sometimes he made the moment more humorous by sticking his tongue out over his upper teeth.
Playing style
Kelly played with a clear and lively blues style that caused a lot of excitement, according to The Washington Post's obituarist. Cobb described his music as always happy and having a lively, energetic feel, with a bright and sparkling sound. The Rough Guide to Jazz noted that Kelly mixed bop-style lines with bluesy parts, but had a tight sense of timing that was unique except for his followers. It also praised his use of block chords, which helped create a powerful and energetic style for supporting other musicians. Pianist Brad Mehldau said Kelly played eighth notes with strong, noticeable dots, and this made his music exciting to listen to.
Kelly was very skilled at reading sheet music quickly and could memorize music easily. He could also play pieces he had heard but never read before.
Many experts, including critic Ray Comiskey and music teacher Mark Levine, have called Kelly the best accompanist in jazz. Drummer Philly Joe Jones said Kelly supported other musicians by creating a smooth, supportive background without trying to take attention away. Pianist Bruce Barth explained that Kelly's success as an accompanist came from using bluesy phrases and melodies instead of just chords. Pianist Sergio Pamies suggested that Kelly connected the supportive style of Red Garland with the more conversational style of Bill Evans.
Legacy and influence
According to critic Gary Giddins:
Writer David Rosenthal said: "Kelly seemed unable to escape being typecast as a sideman."
Kelly's style of playing has influenced many pianists, starting in the 1960s. Pianists who have directly named him as an influence include Monty Alexander, Chick Corea, Brad Mehldau, and Chucho Valdés. Pamies suggested that Kelly's way of playing had a direct influence on Herbie Hancock and McCoy Tyner. Pianists Dan Nimmer and Willie Pickens have recorded tribute albums to Kelly.
The trumpeter Wynton Marsalis (born 1961) was named after Kelly.