Alan "Blind Owl" Christie Wilson (July 4, 1943 – September 3, 1970) was the leader, singer, and primary composer in the American blues band Canned Heat. He played guitar and harmonica, and wrote most of the songs for the band.
Wilson was born in Boston, Massachusetts and grew up in the Boston suburb of Arlington. He majored in music at Boston University and often played the Cambridge coffeehouse folk-blues circuit. He acquired the nickname "Blind Owl" owing to his extreme nearsightedness; in one instance when he was playing at a wedding, he laid his guitar on the wedding cake because he did not see it. As Canned Heat's drummer, Fito de la Parra, wrote in his book: "Without the glasses, Alan literally could not recognize the people he played with at two feet, that's how blind the 'Blind Owl' was."
With Canned Heat, Wilson performed at two prominent concerts of the 1960s era, the Monterey Pop Festival in 1967 and Woodstock in 1969. Canned Heat appeared in the film Woodstock, and the band's "Going Up the Country," which Wilson sang, has been referred to as the festival's unofficial theme song. Wilson also wrote "On the Road Again," arguably Canned Heat's second-most familiar song.
Wilson was a passionate conservationist who loved reading books on botany and ecology. He often slept outdoors to be closer to nature. In 1969, he wrote and recorded a song, "Poor Moon", which expressed concern over potential pollution of the moon. He wrote an essay called 'Grim Harvest', about the coastal redwood forests of California, which was printed as the liner notes to the Future Blues album by Canned Heat.
After Eddie 'Son' House's 'rediscovery' in 1964, Wilson taught him how to play again the songs House had recorded in 1930 and 1942 (which he had forgotten over a long absence from music); House recorded for Columbia in 1965 and two of three selections featuring Wilson on harmonica and guitar appeared on the set. On the double album Hooker 'N Heat (1970), John Lee Hooker is heard wondering how Wilson is capable of following Hooker's guitar playing so well. Hooker was known to be a difficult performer to accompany, partly because of his disregard of song form. Yet Wilson seemed to have no trouble at all following him on this album. Hooker concludes that "you [Wilson] musta been listenin' to my records all your life". Hooker is also known to have stated "Wilson is the greatest harmonica player ever"
Stephen Stills' song "Blues Man" from the album Manassas is dedicated to Wilson, along with Jimi Hendrix and Duane Allman.
Wilson died in Topanga Canyon, California of a drug overdose at age 27. Although Wilson had reportedly attempted suicide twice before and his death is sometimes reported as a suicide, this is not clearly established as he left no note.
Alan Christie Wilson (4 de julio de 1943 Boston Massachusetts – †3 de septiembre de 1970 Topanga Canyon, California)
Nombre real del legendario cantante líder y guitarrista, fundador de la banda Canned Heat conocido en el ámbito artístico como Alan "Blind Owl-(Búho Ciego)" Wilson. Destacado músico poseedor de un especial talento para interpretar la música Blues. Murió el mismo año que Jimi Hendrix y Janis Joplin.
Alan Christie Wilson nació en Boston Massachussets Estados Unidos, Hijo de John C. Wilson (personalidad del mundo de la radio) y de Shirley Brigham, en 1943.
Alan poseía una sensibilidad enorme ya que renuente a seguir los pasos de su padre, quedo cautivado por la música, en especial por la guitarra de la cual era un asiduo practicante. A la par poseía una gran admiración por la naturaleza -especialmente por las Secoyas-. desarrollo una especial aprecio por los músicos negros y principalmente por el blues, dicha admiración se tradujo en intentos serios por reactivar las carreras de algunos de ellos.
Su paso por el mundo musical se tradujo en brillantes actuaciones en el Monterrey Pop Festival de 1967 y en Woodstock en 1969 convirtiéndolo en figura mítica de la música Blues/Rock.
Narrado por el propio Bob Hite, Adolfo de la Parra y otas amistades cercanas a Alan, la sensibilidad de Wilson era a flor de piel en muchos aspectos, el especial afecto a la naturaleza -su hábito de conservar semillas o plantas en sus bolsillos lo reflejaban-; su sensibilidad lírica era evidente.
En cierta ocasión Bob narró en una entrevista que Alan sufría mucho a causa de su poca popularidad entre las Groupies quienes lo rechazaban frecuentemente, quizás en razón del poco cuidado personal que solía tener ante ellas, estallaba en llanto al verse marginado, la amistad de sus compañeros de grupo era la salvaguarda que lo sacaba adelante. Con varios intentos anteriores por quitarse la vida, la situación se complicaba más, al parecer las sesiones con su psiquiatra lograban levantarle el ánimo. Sin embargo era conocido por todos el uso que en aquella época se hacia de las drogas con fines recreativos, Alan consumía algunos tipos ellas. La personalidad de Alan oscilaba en estados de profunda serenidad a una exacerbada excitación.
No obstante, días antes de su aparente suicidio parecía encontrarse en el mejor estado de ánimo posible. Canned Heat había logrado una presentación en Berlín por lo que se disponían a partir en un vuelo que los condujese allá, pero los elementos del grupo no lo hallaron, -eran frecuentes los escapes de Alan en los cuales se internaba en el bosque ya sea para caminar, admirar los árboles, la naturaleza o para pernoctar a campo abierto y observar las estrellas, algo muy usual en él-. En aquel tiempo vivía en la casa de Bob Hite en Topanga Canyon, California.
La banda tuvo que partir a Alemania sin él el 2 de septiembre de 1970 -no lo encontraron-. El misterio comienza aquí, el reporte policíaco no concordaba con las declaraciones de Skip Taylor (productor de la banda) quien manifestaba ser él quien encontró el cuerpo de Alan, pero el reporte policíaco no lo incluye y en lugar de él se maneja el nombre de otra persona de nombre Craig Hope, afirmando que no presentaba golpes y que se econtraba desnudo dentro de un saco de dormir con una bolsa de cápsulas rojas de barbitúricos. El dictamen del forense indicaba presencia de 1.9mg de barbitúricos, una cantidad insuficiente -pero si tóxica- para indicar una sobredosis, ya que de ser intencional, la ingesta de cápsulas habría sido masiva y la muerte hubiese sido rápida sin dar oportunidad al organismo de disminuir las trazas en el estómago y en la sangre; además, el informe del forense señalaba el no haberse encontrado trazas de alcohol, algo que no concuerda con la posible ingesta de ginebra que en un momento dado se consideró como coadyuvante de su muerte y que fue conocido por todos, incluyendo a los miembros del grupo. Alan Wilson murió en las montañas de Topanga Canyon California, rodeado de árboles y arbustos. No dejó recado o nota póstuma.
Bob Hite y el resto del grupo nunca pudieron superar completamente la pérdida de su mejor amigo.
Warren Harding "Sonny" Sharrock (August 27, 1940 – May 26, 1994) was an American jazz guitarist. He was once married to singer Linda Sharrock, with whom he sometimes recorded and performed.
One of few guitarists in the first wave of free jazz in the 1960s, Sharrock was known for his incisive, heavily chorded attack, his bursts of wild feedback, and for his use of saxophone-like lines played loudly on guitar.
Sharrock began his musical career singing doo wop in his teen years. He collaborated with Pharoah Sanders and Alexander Solla in the late 1960s, appearing first on Sanders's 1966 effort, Tauhid. He made several appearances with flautist Herbie Mann and also made an uncredited guest appearance on Miles Davis's A Tribute to Jack Johnson, perhaps his most famous cameo.
He had in fact wanted to play tenor saxophone from his youth after hearing John Coltrane play on Davis's album Kind of Blue on the radio at age 19, but his asthma prevented this from happening. Sharrock said repeatedly, however, that he still considered himself "a horn player with a really fucked up axe."
Three albums under Sharrock's name were released in the late '60s through the mid-'70s: Black Woman (which has been described by one reviewer as bringing out the beauty in emotions rather than technical prowess[2]), Monkey-Pockie-Boo, and an album co-credited to both Sonny and his wife, Paradise (an album by which Sharrock was embarrassed and stated several times that it was not good and should not be reissued.
After the release of Paradise, Sharrock was semi-retired for much of the 1970s, undergoing a divorce from wife/occasional collaborator Linda in 1978. In the intermittent years until producer/bassist Bill Laswell coaxed him out of retirement, he worked as both a chauffeur and a caretaker for mentally challenged children. At Laswell's urging, Sharrock appeared on Material's (one of Laswell's many projects) 1981 effort, Memory Serves. In addition, Sharrock was a member of the punk/jazz band Last Exit, together with Peter Brötzmann, Laswell and Ronald Shannon Jackson. During the late 1980s, he recorded and performed extensively with the New York-based improvising band Machine Gun, as well as leading his own bands. Sharrock flourished with Laswell's help, noting in a 1991 interview that "the last five years have been pretty strange for me, because I went twelve years without making a record at all, and then in the last five years, I've made seven records under my own name. That's pretty strange."
Laswell would often perform with the guitarist on his albums, and produced many of Sharrock's recordings, including the entirely solo Guitar, the metal-influenced Seize the Rainbow, and the well-received Ask the Ages, which featured John Coltrane's bandmates Pharoah Sanders and Elvin Jones. "Who Does She Want To Be" is very lyrical piece harking back to the Coltrane/Davis Kind Of Blue sessions that had inspired him to play. One writer described Ask the Ages as "hands down, Sharrock's finest hour, and the ideal album to play for those who claim to hate jazz guitar." Sharrock is perhaps best known for the soundtrack to the Cartoon Network program Space Ghost Coast to Coast with his drummer Lance Carter, one of the last projects he completed in the studio before his death.
In 1994, Sharrock died unexpectedly of a heart attack in his hometown of Ossining, New York, just as he was on the verge of signing the first major label deal in his entire career. He was 53. He left behind his wife of 11 years, Nettie and his daughter, Jasmyn. He is interred at the Dale Cemetery in Ossining, NY.
Warren Harding Sharrock, más conocido como Sonny Sharrock (Ossining, New York-EEUU, 27 de agosto de 1940 - 26 de mayo de 1994), fue un guitarrista de jazz.
A los 19 años, comenzó a estudiar guitarra y composición en el Berklee School of Music y, más tarde, en California. Descubrió muy pronto la música de ornette Coleman, lo que le llevó a New York, donde conoció a Sun Ra y comenzó a tocar con el percusionista Olatunji (1965). a partir de 1966, ya totalmente integrado en la corriente del free jazz, tocó con Pharoah Sanders y Byard Lancaster, además de con Sunny Murray y Herbie Mann, con quien se enroló en 1967. Grabó discos con Miles Davis y Don Cherry.
Su esposa, Linda Sharrock, participó con él en todas las experiencias musicales, hasta su separación, en los años 70. A finales de esta década, formó el Power Trio, con Bill Laswell (contrabajo) y Stu Martin (batería y, a través del propio Laswell, entró a formar parte del colectivo Material (Henry Threadgill, John Zorn, Derek Bailey...).
Como instrumentista, no ha brillado por su finura y sofisticación, sino más bien por su expresividad, fulgor y poderío de trazos. Fue el primer guitarrista free en Norteamérica.
El 26 de mayo de 1994, Sonny Sharrock muere inesperadamente de un ataque al corazón en su pueblo natal de Ossining, en Nueva York, justo cuando estaba a punto de firmar su primer contrato discográfico con uno de los grandes sellos (majors).
Shelly Manne (June 11, 1920 – September 26, 1984), born Sheldon Manne in New York City, was an American jazz drummer. Most frequently associated with West Coast jazz, he was known for his versatility and also played in a number of other styles, including Dixieland, swing, bebop, avant-garde jazz and fusion, as well as contributing to the musical background of hundreds of Hollywood films and television programs.
Manne's father and uncles were drummers. In his youth he admired many of the leading swing drummers of the day, especially Jo Jones and Dave Tough. Billy Gladstone, a colleague of Manne's father and the most admired percussionist on the New York theatrical scene, offered the teenage Shelly tips and encouragement. From that time, Manne rapidly developed his style in the clubs of 52nd Street in New York in the late 1930s and 1940s. His first professional job with a known big band was with the Bobby Byrne Orchestra in 1940. In those years, as he became known, he recorded with jazz stars like Coleman Hawkins, Charlie Shavers, and Don Byas. He also worked with a number of musicians mainly associated with Duke Ellington, like Johnny Hodges, Harry Carney, Lawrence Brown, and Rex Stewart.
In 1943, Manne married a Rockette named Florence Butterfield (known affectionately to family and friends as "Flip"). The marriage would last 41 years, until the end of Manne's life.
When the bebop movement began to change jazz in the 1940s, Manne loved it and adapted to the style rapidly, performing with Dizzy Gillespie and Charlie Parker. Around this time he also worked with rising stars like Flip Phillips, Charlie Ventura, Lennie Tristano, and Lee Konitz.
Manne rose to stardom when he became part of the working bands of Woody Herman and, especially, Stan Kenton in the late 1940s and early 1950s, winning awards and developing a following at a time when jazz was the most popular music in the United States. Joining the hard-swinging Herman outfit allowed Manne to play the bebop he loved. The controversial Kenton band, on the other hand, with its "progressive jazz", presented obstacles, and many of the complex, overwrought arrangements made it harder to swing. But Manne appreciated the musical freedom that Kenton gave him and saw it as an opportunity to experiment along with what was still a highly innovative band. He rose to the challenge, finding new colors and rhythms, and developing his ability to provide support in a variety of musical situations.
In the early 1950s, Manne left New York and settled permanently on a ranch in an outlying part of Los Angeles, where he and his wife raised horses. From this point on, he played an important role in the West Coast school of jazz, performing on the Los Angeles jazz scene with Shorty Rogers, Hampton Hawes, Red Mitchell, Art Pepper, Russ Freeman, Frank Rosolino, Chet Baker, Leroy Vinnegar, Pete Jolly, Howard McGhee, Bob Gordon, Conte Candoli, Sonny Criss, and numerous others. Many of his recordings around this time were for Lester Koenig's Contemporary Records, where for a period Manne had a contract as an "exclusive" artist (meaning that he could not record for other labels without permission).
Manne led a number of small groups that recorded under his name and leadership. One consisting of Manne on drums, trumpeter Joe Gordon, saxophonist Richie Kamuca, bassist Monty Budwig, and pianist Victor Feldman performed for three days in 1959 at the famous Black Hawk club in San Francisco. Their music was recorded on the spot, and four LPs were issued. Highly regarded as an innovative example of a "live" jazz recording, the Black Hawk sessions were reissued on CD in augmented form years later.
Manne is often associated with the frequently criticized West Coast school of jazz. He has been considered "the quintessential" drummer in what was seen as a West Coast movement, though Manne himself did not care to be so pigeonholed. In the 1950s, much of what he did could be seen as in the West Coast style: performing in tightly arranged compositions in what was a cool style, as in his 1953 album named The West Coast Sound, for which he commissioned several original compositions. Some of West Coast jazz was experimental, avant-garde music several years before the more mainstream avant-garde playing of Cecil Taylor and Ornette Coleman (Manne also recorded with Coleman in 1959); a good deal of Manne's work with Jimmy Giuffre was of this kind. Critics would condemn much of this music as overly cerebral.
Another side of West Coast jazz that also came under critical fire was music in a lighter style, intended for popular consumption. Manne made contributions here too. Best known is the series of albums he recorded with pianist André Previn and with members of his groups, based on music from popular Broadway shows, movies, and television programs. (The first and most famous of these was the one based on My Fair Lady, recorded by Previn, Manne, and bassist Leroy Vinnegar in 1956. See My Fair Lady (Shelly Manne album).) The music—with each album devoted to a single show—was improvised in the manner of jazz, but always in a light, immediately appealing style aimed at popular taste, which did not always go over well with aficionados of "serious" jazz music, which may be one reason why Manne has been frequently overlooked in accounts of major jazz drummers of the 20th century. Much of the music produced on the West Coast in those years, as Robert Gordon concedes, was in fact imitative and "lacked the fire and intensity associated with the best jazz performances". But Gordon also points out that there is a level of musical sophistication, as well as an intensity and "swing", in the music recorded by Manne with Previn and Vinnegar (and later Red Mitchell) that is missing in the many lackluster albums of this type produced by others in that period.
West Coast jazz, in any case, represented only a small part of Manne's playing. In Los Angeles and occasionally returning to New York and elsewhere, Manne recorded with musicians of all schools and styles, ranging from those of the swing era through bebop to later developments in modern jazz, including hard bop, usually seen as the antithesis to the cool jazz frequently associated with West Coast playing.
From the 78-rpm recordings of the 1940s to the LPs of the 1950s and later, to the hundreds of film soundtracks he appeared on, Manne's recorded output was enormous and often hard to pin down. According to the jazz writer Leonard Feather, Manne's drumming had been heard on well "over a thousand LPs"—a statement that Feather made in 1960, when Manne had not reached even the midpoint of his 45-year-long career.
An extremely selective list of those with whom Manne performed includes Benny Carter, Earl Hines, Clifford Brown, Zoot Sims, Ben Webster, Maynard Ferguson, Wardell Gray, Lionel Hampton, Junior Mance, Jimmy Giuffre, and Stan Getz. In the 1950s, he recorded two solid albums with Sonny Rollins—Way Out West (Contemporary, 1957) received particular acclaim and helped dispel the notion that West Coast jazz was always different from jazz made on the East Coast—and, in the 1960s, two with Bill Evans. Around the same time in 1959, Manne recorded with the traditional Benny Goodman and the iconoclastic Ornette Coleman, a striking example of his versatility.
One of Manne's most adventurous 1960s collaborations was with Jack Marshall, the guitarist and arranger celebrated for composing the theme and incidental music for The Munsters TV show in that period. Two duet albums (Sounds Unheard Of!, 1962, and Sounds!, 1966) feature Marshall on guitar, accompanied by Manne playing drums and a wide variety of percussion instruments unusual in jazz, from "Hawaiian slit bamboo sticks", to a Chinese gong, to castanets, to piccolo Boo-Bam.
Another example of Manne's ability to transcend the narrow borders of any particular school is the series of trio albums he recorded with guitarist Barney Kessel and bassist Ray Brown as "The Poll Winners". (They had all won numerous polls conducted by the popular publications of the day; the polls are now forgotten, but the albums endure, now reissued on CD.) Manne even dabbled in Dixieland and fusion, as well as "Third Stream" music. He participated in the revival of that jazz precursor ragtime (he appears on several albums devoted to the music of Scott Joplin), and sometimes recorded with musicians best associated with European classical music. He always, however, returned to the straight-ahead jazz he loved best.
In addition to Dave Tough and Jo Jones, Manne admired and learned from contemporaries like Max Roach and Kenny Clarke, and later from younger drummers like Elvin Jones and Tony Williams. Consciously or unconsciously, he borrowed a little from all of them, always searching to extend his playing into new territory.
Despite these and numerous other influences, however, Shelly Manne's style of drumming was always his own—personal, precise, clear, and at the same time multilayered, using a very broad range of colors. Manne was often experimental, and had participated in such musically exploratory groups of the early 1950s as those of Jimmy Giuffre and Teddy Charles. Yet his playing never became overly cerebral, and he never neglected that element usually considered fundamental to all jazz: time.
Whether playing Dixieland, bebop, or avant-garde jazz, in big bands or in small groups, Manne's self-professed goal was to make the music swing. His fellow musicians attested to his listening appreciatively to those around him and being ultra-sensitive to the needs and the nuances of the music played by the others in the band, his goal being to make them—and the music as a whole—sound better, rather than calling attention to himself with overbearing solos.
Manne refused to play in a powerhouse style, but his understated drumming was appreciated for its own strengths. In 1957, critic Nat Hentoff called Manne one of the most "musical" and "illuminatively imaginative" drummers. Composer and multi-instrumentalist Bob Cooper called him "the most imaginative drummer I've worked with". In later years this kind of appreciation for what Manne could do was echoed by jazz notables like Louie Bellson, John Lewis, Ray Brown, Harry "Sweets" Edison, and numerous others who had worked with him at various times. Composer, arranger, bandleader, and multi-instrumentalist Benny Carter is on record as having been "a great admirer of his work". "He could read anything, get any sort of effect", said Carter, who worked closely with Manne over many decades.
Though he always insisted on the importance of time and "swing", Manne's concept of his own drumming style typically pointed to his melody-based approach. He contrasted his style with that of Max Roach: "Max plays melodically from the rhythms he plays. I play rhythms from thinking melodically".
Manne had strong preferences in his choice of drum set. Those preferences, however, changed several times over his career. He began with Gretsch drums. In 1957, intrigued by the sound of a kind of drum made by Leedy (then owned by Slingerland), he had a line made for him that also became popular with other drummers. In the 1970s, after trying and abandoning many others for reasons of sound or maintainability, he settled on the Japanese-made Pearl Drums.
A star in Stan Kenton's famous orchestra in the 1940s and 1950s, as well as that of Woody Herman, also in the 1940s, and winner of numerous awards, Manne slipped from public view as jazz became less central in popular music. In the 1960s and early 1970s, however, he helped keep jazz alive on the Los Angeles scene as part owner of the nightclub Shelly's Manne-Hole. There, the house band was Shelly Manne and His Men, which featured some of his favorite sidemen, such as Russ Freeman, Monty Budwig, Richie Kamuca, Conte Candoli, and later Frank Strozier and Mike Wofford, among many other notable West Coast jazz musicians.
Also appearing was a roster of jazz stars from different eras and all regions, including Ben Webster, Rahsaan Roland Kirk, Les McCann, Bill Evans, John Coltrane, Sonny Stitt, Thelonious Monk, Michel Legrand, Carmen McRae, Milt Jackson, Teddy Edwards, Monty Alexander, Lenny Breau, Miles Davis, and many, many others. Stan Getz was the last to be featured (at a briefly occupied second location), when, late in 1973, Manne was forced to close the club for financial reasons.
From that point, Manne refocused his attention on his own drumming. It might be argued that he never played with more taste, refinement, and soulful swing than in the 1970s, when he recorded numerous albums with musicians like trumpeter Red Rodney, pianist Hank Jones, saxophonists Art Pepper and Lew Tabackin, and composer-arranger-saxophonist Oliver Nelson.
From 1974 to 1977 he joined guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, and bassist Ray Brown to perform as the group The L.A. Four, which recorded four albums before Manne left the ensemble.
In the 1980s, Manne recorded with such stars as trumpeter Harry "Sweets" Edison, saxophonist Zoot Sims, guitarists Joe Pass and Herb Ellis, and pianist John Lewis (famous as the musical director of the Modern Jazz Quartet).
Meanwhile, he continued to record with various small groups of his own. Just one representative example of his work in this period is a live concert recorded at the Los Angeles club "Carmelo's" in 1980 with pianists Bill Mays and Alan Broadbent and bassist Chuck Domanico. With their enthusiasm and spontaneity, and the sense that the audience in the intimate ambience of the club is participating in the music, these performances share the characteristics that had been celebrated more than two decades before in the better-known Black Hawk performances. Although this phase of his career has frequently been overlooked, Manne, by this time, had greatly refined his ability to back other musicians sympathetically, yet make his own musical thoughts clearly heard.
Manne's heavy load of Hollywood studio work sometimes shifted his attention from his mainstream jazz playing. Even in lackluster films, however, he nevertheless often succeeded in making art of what might be called hackwork. Still, for all his tireless work in the studios, Manne's labor of love was his contribution to jazz as an American art form, to which he had dedicated himself since his youth and continued to work at almost to the last day of his life.
Manne died somewhat before the popular revival of interest in jazz had gained momentum. But in his last few years, his immense contribution to the music regained at least some local recognition, and the role Manne had played in the culture of his adopted city began to draw public appreciation. Two weeks before his sudden death of a heart attack, he was honored by the City of Los Angeles in conjunction with the Hollywood Arts Council when September 9, 1984 was declared "Shelly Manne Day".
Shelly Manne (Nueva York, 11 de junio de 1920 - Los Ángeles, 26 de septiembre de 1984), batería y director de orquesta estadounidense de jazz. Aunque representante destacado del west coast jazz (cool), realizó también aproximaciones al bop y al hard bop.
Manne creció en una familia musical; su padre, batería y timpanista, se opuso al deseo de Shelly de ser batería y le compró un saxofón, que Shelly ni siquiera llegó a tocar. Al llegar a los 18, convenció a su padre de cuál era el instrumento indicado para él y se convirtió pronto en un profesional. Su primer trabajo fue como batería en la orquesta de un barco con destino a Europa. Entre viajes, pasaba su tiempo en la calle 52 y en Harlem, escuchando y aprendiendo música. Proto se convirtió en una figura familiar en esos lugares y músicos famosos le pedían que tocase con ellos. Sus baterías admirados fueron Jo Jones y, especialmente, Dave Tough.
Una noche de 1939, tocando en Kelly's Stables con Kenny Watts and his Kilowatts, fue escuchado por Ray McKinley quien lo recomendó a Bobby Byrnes. Tras ocho semanas en la big band de Byrnes, ocupó el lugar de Dave Tough con Joe Marsala cuando aquel se marchó a la orquesta de Benny Goodman. A esto le seguiría numerosos trabajos dentro de big bands: Bob Astor, Raymond Scott, Will Bradley (reemplazando a Ray McKinley), Les Brown. Después estuvo tres años y medio en las Fuerzas Armadas.
En Nueva York grabó con pequeños grupos liderados por Dizzy Gillespie, Coleman Hawkins, Ben Webster y otros. Tras dejar el ejército y trabajar en ocasiones en la calle 52, Shelly se unió a Stan Kenton en una asociación que le haría famoso.
Tras varios años con él, Shelly abandonó a Kenton en 1951 y se fue a vivir a California del Sur, tocando en estudios cinematográficos, para espectáculos radiofónicos, en clubes nocturnos y enseñando también música. Colaborará con los músicos de la escena West Coast, y especialmente con Shorty Rogers, Joe Mondragon y Jimmy Giuffre.
En noviembre de 1955 formó su propio grupo con el que haría varias grabaciones para la discográfica Contemporary. Realizó una gira por el país en la primavera y verano de 1956. Por su parte, continuó colaborando en el cine (por ejemplo, en El hombre del brazo de oro de Otto Preminger).
Regentó un club con cierta popularidad durante los años 1960 a 1974, el Shelly's Manne-Hole, donde experimentó con nuevos sonidos más libres, invitando a músicos como el trompetista Gary Barone y el saxo tenor John Gross. A mediados de los setenta tocó con los L.A. Four, y siguió siendo muy activo hasta su muerte.
