Today, when music arrangers and composers have been replaced by music producers, Leon Mitchell discusses how music is a skill with many facets. Starting his career as an Alto Saxophonist from Northeast High School in 1951, Leon says, “musicians had to know the melody, chord changes, and the form of the song in order to hold their own. There was a whole lot of structure to the music and you could hear it.” As a Protégé of Gigi Gryce, Leon soon found his niche in composition, arranging, and educating.
Some of his most notable works include; “Late Spring” (1956) with Art Blakey and the Jazz Messengers and “To Lady” (1959) recorded by Max Roach. During this same time Leon worked as Artist & Repertoire (A&R) Director for Blue Note Records, in New York City supervising sessions that featured Stanley Turrentine, Horace Parlan, Donald Byrd, Johnny Griffin, Kenny Durham, and Jackie McLean.
On the R&B side of music, working at the Uptown theatre (1963-1974), Leon wrote commercial arrangements for The Four Tops, Harold Melvin & The Blue Notes, The Dramatics, Curtis Mayfield, Billy Paul. His stage arrangements included The Three Degrees, “Cat” Anderson, The Stylistics, Stevie Wonder, and Billy Paul.
When asked to explain the difference in the music between generations he says, “it’s in the content of the music, we had to learn the standards.” Leon recalls, a musical experience when Charlie Parker said, “Leon you wanna play with us?” NO, Leon replied because he didn’t think he was “at that level yet.” This is the ultimate example of the respect all musicians had for the music.
Leon carried this level of expertise and respect with him to the Philadelphia Clef Club of Jazz and Performing Arts in 1993 when he became director of The Philadelphia Legends of Jazz Orchestra. He describes the orchestra as “an accumulation of musical knowledge and history.”
One important lesson Leon enforces to the young musicians, is that, “it’s a learning experience, you learn the fundamentals because it allows you to be functional. He also explains, syncopation is one of the things that needs to be locked down. Musicians nowadays don’t lock music down because there’s not much to lock down, it’s very simple.”
So how does master composer/arranger Leon Mitchell continue to re-introduce his own voice? He continues composing and arranging for his wife, vocalist Ella Gant and explains, “we are always working on a process, it’s constantly evolving.”