Britt Woodman, though technically skilled, was well-respected as a soloist. However, his skills as a section player were more appreciated by his fellow musicians. Charles Mingus and Duke Ellington, two of the greatest jazz composers and bandleaders, made extensive use of his interpretive and reading abilities. Woodman and Mingus were longtime musical friends as well as childhood friends. An account of their relationship is found in the autobiography of the bassist, Beneath the Underdog. Woodman was a trombone player in his teens, as well as playing clarinet and tenor saxophone. Before joining the army in World War II, he worked with Phil Moore and Les Hite. Woodman continued his work with Eddie Heywood and Boyd Raeburn after he was discharged. In 1946, he joined Lionel Hampton. He then studied music at Westlake College Los Angeles between 1948-1950. In 1951, he replaced Lawrence Brown in Ellington’s band. He continued to play with Ellington for the next ten years, but occasionally worked as a freelancer, such as with Miles Davis during the Blue Moods sessions. Woodman performed with various Broadway pit orchestras after he left Ellington in 1960. From 1960 to 1963, he recorded many times with Mingus. Woodman returned to the West Coast in 1970, and he lived in Southern California the following years. He led an octet during the 1970s; he also performed with the Toshiko Aiyoshi Lew Tabackin and Frankie Capp–Nat Pierce big bands. Woodman lived in two different places during the 1980s and 1990s. He was musically active until he was unable to return to New York due to respiratory illness. Woodman was also a member the Lincoln Center Jazz Orchestra, and the Mingus Big Band in his later years. Woodman was the embodiment of “first call” music; his employers included Dizzy Gillespie and Benny Goodman, Quincy Jones and Chico Hamilton. Woodman was admired by many younger musicians, including Wayne Goodman and Steve Turre. Allmusic
