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Truck Parham Painting

Dorian Allworthy

United States

Painting, Oil on Canvas

Size: 38 W x 48 H x 3 D in

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About The Artwork

Truck Parham From Wikipedia, the free encyclopedia Charles Valdez "Truck" Parham Born January 25, 1911 Origin United States Died June 5, 2002 (aged 91) Genres Jazz Occupation(s) Athlete boxer, football and Musician Instruments double-bass Notable instruments double-bass Charles Valdez "Truck" Parham (January 25, 1911 – June 5, 2002) was an American jazz double-bassist. Parham played professional sports early in his career; he was a boxer and played football with the Chicago Negro All Stars. He played drums before settling on bass, and studied under Walter Page. He played in the Midwest territory band of Zack Whyte in 1932-34, playing primarily in Cincinnati. After returning to Chicago, he played with Zutty Singleton, Roy Eldridge (1936–38), Art Tatum, and Bob Shoffner in the 1930s. In 1940 he joined Earl Hines's orchestra, where he remained for two years; in 1942 he was hired by Jimmie Lunceford and played with him until 1947. Parham continued to play revival gigs with Muggsy Spanier (1950–55), Herbie Fields (1956–57), Hines again, and Louie Bellson. He spent much of the 1960s working with Art Hodes, and played in numerous Dixieland jazz groups later in his career. Parham never recorded as a leader, though he recorded profusely as a sideman.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:38 W x 48 H x 3 D in

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I was born in Philadelphia, and studied under Arthur DeCosta at the Pennsylvania Academy of Fine Arts. I moved to Chicago to further my studies with my adopted father, the noted painter Joseph Allworthy. I specialize in large figure paintings as well as still life compositions and landscapes. I'm also noted for my genre paintings which depict domestic activities and children. I paint on unstretched canvas, then have the canvas mounted on thick bookbinder's board by a master bookbinder. He folds the edges of the canvas over the board, then covers the back with archival paper. The result is museum-quality and exquisite, each one distinctive and a work of art in and of itself. It is an expensive and labor-intensive process, but I feel that it creates something beautiful on the reverse side of the painting, making both sides special.

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