Ed Wiley Jr. (March 14, 1930 – September 27, 2010) was an American tenor saxophonist whose big sound and soulful expression helped lay the foundation for early blues, R&B and what would later come to be known as “rock-and-roll” music. During the late 1940s and early 1950s, when brash, honking tenormen were the driving force behind Texas blues and R&B, Wiley's bold, soulful delivery established him as a mainstay of the post-World War II music world. In later years, after more than a decade away from touring and recording, Wiley would re-emerge on the jazz scene, touring and recording with many of the leading musicians of the genre. Although Wiley never abandoned the rich, soulful style he honed during his early years, his later recordings showed a greater appreciation for bebop, and he collaborated with such stalwarts of the bebop era as drummers Mickey Roker, Bobby Durham and Ben Riley; bassists Keter Betts and Charles Fambrough; and pianists John Hicks, Kenny Barron and Sir Roland Hanna. Early life Wiley was born in Houston's Fourth Ward. His parents divorced when he was very young, and Wiley was raised by his mother, Vanilla Yancy, and two sisters. Wiley attended Booker T. Washington High School, where he played clarinet in the marching band and concert band. In his final year of high school, Wiley, who cites Lester Young, Arnett Cobb and Gene Ammons as his leading influences, began playing saxophone at local dances. By his 18th birthday, he had recorded on several upstart Texas labels and was a regular at such venues as Houston's Eldorado Ballroom and the Bronze Peacock, and Don's Keyhole in San Antonio. 'Texas tenor' legacy Wiley is among a long lineage of “Texas tenor” reedmen, known for their bold, bluesy, and often boisterous way of blowing. They included such saxophone legends as James Clay, Arnett Cobb, King Curtis, Booker Ervin, Illinois Jacquet, David "Fathead" Newman, Buddy Tate and Donald Wilkerson. There were also several other horn players – such as Chicagoan Gene Ammons, Floridian Willis Jackson and Missourian Lester Young – who share the Texas tenor pedigree because of their sound rather than their hometown. The monthly Cadence Review of Jazz & Blues: Creative Improvised Music writes that Wiley has an “appreciation of the classic ‘Texas tenor’ sound of people such as Arnett Cobb and Illinois Jacquet. But his sound is more polished and urbane compared with those past