Thelonious Sphere Monk was an American jazz pianist and composer. He had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "'Round Midnight", "Blue Monk", "Straight, No Chaser", "Ruby, My Dear", "In Walked Bud", "Well, You Needn't". Monk is the second-most-recorded jazz composer after Duke Ellington, remarkable as Ellington composed more than a thousand pieces, whereas Monk wrote about 70. Monk's compositions and improvisations feature dissonances and angular melodic twists and are consistent with his unorthodox approach to the piano, which combined a percussive attack with abrupt, dramatic use of switched key releases and hesitations, his style was not universally appreciated. Monk was renowned for a distinct look which included suits and sunglasses, he was noted for an idiosyncratic habit during performances: while other musicians continued playing, Monk stopped, stood up, danced for a few moments before returning to the piano. Monk is one of five jazz musicians to have been featured on the cover of Time magazine.
Thelonious Sphere Monk was born two years after his sister Marion on October 10, 1917, in Rocky Mount, North Carolina, was the son of Thelonious and Barbara Monk. His badly written birth certificate misspelled his first name as "Thelious" or "Thelius", it did not list his middle name, taken from his maternal grandfather, Sphere Batts. A brother, was born in January 1920. In 1922, the family moved to 243 West 63rd Street, in Manhattan, New York City. Monk started playing the piano at the age of six and was self-taught, he did not graduate. At 17, Monk toured with an evangelist, playing the church organ, in his late teens he began to find work playing jazz. In the early to mid-1940s, he was the house pianist at a Manhattan nightclub. Much of Monk's style was developed during his time at Minton's, when he participated in after-hours cutting contests, which featured many leading jazz soloists of the time. Monk's musical work at Minton's was crucial in the formulation of bebop, which would be furthered by other artists, including Dizzy Gillespie, Charlie Christian, Kenny Clarke, Charlie Parker, Miles Davis.
Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at the club. Monk's style at this time was described as "hard-swinging," with the addition of runs in the style of Art Tatum. Monk's stated influences included Duke Ellington, James P. Johnson, other early stride pianists. According to the documentary Thelonious Monk: Straight, No Chaser, Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager. Mary Lou Williams, who mentored Monk and his contemporaries, spoke of Monk's rich inventiveness in this period, how such invention was vital for musicians, since at the time it was common for fellow musicians to incorporate overheard musical ideas into their own works without giving due credit. "So, the boppers worked out a music, hard to steal. I'll say this for the'leeches,' though: they tried. I've seen them in Minton's scribbling on the tablecloth, and our own guys, I'm afraid, did not give Monk the credit he had coming. Why, they stole his idea of the beret and bop glasses."In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet.
Hawkins was one of the earliest established jazz musicians to promote Monk, the pianist returned the favor by inviting Hawkins to join him on a 1957 session with John Coltrane. In 1947, Ike Quebec introduced Monk to Lorraine Gordon and her first husband, Alfred Lion, the founder of Blue Note Records. From on, Gordon preached his genius to the jazz world with unrelenting passion. Shortly after meeting Gordon and Lion, Monk made his first recordings as the Coleman Hawkins Quartet leader for Blue Note, which showcased his talents as a composer of original melodies for improvisation. Monk married Nellie Smith the same year, on December 27, 1949 the couple had a son, T. S. Monk, who became a jazz drummer. A daughter, was born on September 5, 1953 and died of cancer in 1984. In her autobiography, Gordon spoke of the utter lack of interest in Monk's recordings, which translated to poor sales. "I went to Harlem and those record stores didn't want Monk or me. I'll never forget one particular owner, I can still see him and his store on Seventh Avenue and 125th Street.'He can't play lady, what are you doing up here?
The guy has two left hands."You just wait,' I'd say.'This man's a genius, you don't know anything.'"Due to Monk's reticence, Gordon became his mouthpiece to the public. In February 1948, she wrote to Ralph Ingersoll, the editor of the newspaper PM, described Monk as "a genius living here in the heart of New York, whom nobody knows"; as a result, one of PM's best writers visited Monk to do a feature on him, but Monk wouldn't speak to the reporter unless Gordon was in the room with him. In September of the sam
Joe Pass was an American jazz guitarist of Sicilian descent. He is considered one of the greatest jazz guitarists of the 20th century, he created possibilities for jazz guitar through his style of chord-melody, his knowledge of chord inversions and progressions, his use of walking basslines and counterpoint during improvisation. Pass worked with pianist Oscar Peterson and vocalist Ella Fitzgerald. Born in New Brunswick, New Jersey, Joe Pass was the son of Mariano Passalaqua, a Sicilian-born steel mill worker, he was raised in Pennsylvania. He received a Harmony, on his ninth birthday, his father recognized early that his son had "a little something happening" and pushed him to learn tunes by ear, practice scales, play pieces written for other instruments, to fill in the space between the notes of the melody. As early as 14, Pass started getting jobs performing, he played with bands led by Tony Pastor and Charlie Barnet, honing his guitar skills while learning about the music business. He moved from Pennsylvania to New York City.
In a few years, he spent much of the 1950s in prison. He emerged from addiction through a two-and-a-half-year stay in the Synanon rehabilitation program. During that time he "didn't do a lot of playing". In 1962 he recorded Sounds of Synanon. Around this time he received his trademark Gibson ES-175 guitar as a gift, which he used on tours and records for many years. Pass recorded a series of albums during the 1960s for Pacific Jazz Records, including Catch Me, 12-String Guitar, For Django, Simplicity. In 1963, he received Downbeat magazine's New Star Award, he was played on Pacific Jazz recordings by Gerald Wilson, Bud Shank, Les McCann. He toured with George Shearing in 1965. During the 1960s, he did TV and recording session work in Los Angeles, he was a sideman for Louie Bellson, Frank Sinatra, Sarah Vaughan, Joe Williams, Della Reese, Johnny Mathis, worked on the TV shows The Tonight Show Starring Johnny Carson, The Merv Griffin Show, The Steve Allen Show. In the early 1970s, he and guitarist Herb Ellis performed together at Donte's jazz club in Los Angeles.
This collaboration led to Pass and Ellis recording the first album on Concord Jazz entitled Jazz/Concord with bassist Ray Brown and drummer Jake Hanna. In the early 1970s, Pass collaborated on a series of music books, his Joe Pass Guitar Style is considered a leading improvisation textbook for students of jazz. Norman Granz, the producer of Jazz at the Philharmonic and the founder of Verve Records, signed Pass to Pablo Records in 1970. In 1974, Pass released his solo album Virtuoso on Pablo. In 1974, Pablo released the album The Trio with Pass, Oscar Peterson, Niels-Henning Ørsted Pedersen, he performed with them on many occasions throughout the 1980s. At the Grammy Awards of 1975, The Trio won the Grammy Award for Best Jazz Performance by a Group; as part of the Pablo roster, Pass recorded with Benny Carter, Milt Jackson, Herb Ellis, Zoot Sims, Duke Ellington, Dizzy Gillespie, Ella Fitzgerald, Count Basie. Pass and Ella Fitzgerald recorded six albums together on Pablo toward the end of Fitzgerald's career: Take Love Easy and Pass...
Again, "Hamburg Duets - 1976", "Sophisticated Lady", Speak Love, Easy Living. In 1994, Joe Pass died from liver cancer in Los Angeles, California at the age of 65. Before his death, he recorded an album of Hank Williams songs with country guitarist Roy Clark. Speaking about Nuages: Live at Yoshi's, Volume 2, Jim Ferguson wrote: The follow up to 1993's Joe Pass & Co. Live at Yoshi's, this release was colored by sad circumstances: both bassist Monty Budwig and Pass were stricken with fatal illnesses. All concerned, including drummer Colin Bailey and second guitarist John Pisano, play up to their usual high levels... Issued posthumously, this material is hardly sub-standard. Bristling with energy throughout, it helps document the final stages in the career of a player who, was the greatest mainstream guitarist since Wes Montgomery. New York magazine said of him, "Joe Pass looks like somebody's uncle and plays guitar like nobody's business. He's called'the world's greatest' and compared to Paganini for his virtuosity.
There is a certain purity to his sound that makes him stand out from other first-rate jazz guitarists." His solo style was marked by an advanced linear technique, sophisticated harmonic sense, counterpoint between improvised lead lines, bass figures and chords, spontaneous modulations, transitions from fast tempos to rubato passages. He would add what he called "color tones" to his compositions to give what he believed was a more sophisticated and funkier sound, he would use counterpoint during improvisation, move lines and chords chromatically, or play melodies by shifting chords and descending augmented arpeggios at the end of phrases. Pass's early style, was marked by fast single-note lines, he would break his guitar picks. As he made the transition from ensemble to solo guitar, he abandoned the pick to play fingerstyle, he found. He weaves his own fast-moving chords and filigree work so nimbly that it is hard to believe fingers can physically shift so quickly. Slight moustached balding, he frowns over his fretwork like a worried head waiter with more guests than tables but the sound that comes out could only be the confident product of years of devotion to the instrument...
But it is when he
Ella Jane Fitzgerald was an American jazz singer sometimes referred to as the First Lady of Song, Queen of Jazz, Lady Ella. She was noted for her purity of tone, impeccable diction, intonation, a "horn-like" improvisational ability in her scat singing. After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most associated with the Savoy Ballroom in Harlem, her rendition of the nursery rhyme "A-Tisket, A-Tasket" helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career, her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more noted works her interpretations of the Great American Songbook. While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, The Ink Spots were some of her most notable acts outside of her solo career.
These partnerships produced some of her best-known songs such as "Dream a Little Dream of Me", "Cheek to Cheek", "Into Each Life Some Rain Must Fall", "It Don't Mean a Thing". In 1993, she ended her nearly 60-year career with her last public performance. Three years she died at the age of 79 after years of declining health, her accolades included fourteen Grammy Awards, the National Medal of Arts, the Presidential Medal of Freedom. Fitzgerald was born on April 1917, in Newport News, Virginia, she was the daughter of Temperance "Tempie" Henry. Her parents lived together for at least two and a half years after she was born. In the early 1920s, Fitzgerald's mother and her new partner, a Portuguese immigrant named Joseph Da Silva, moved to Yonkers, in Westchester County, New York, her half-sister, Frances Da Silva, was born in 1923. By 1925, Fitzgerald and her family had moved to a poor Italian area, she began her formal education at the age of six and was an outstanding student, moving through a variety of schools before attending Benjamin Franklin Junior High School in 1929.
Starting in third grade, Fitzgerald admired Earl Snakehips Tucker. She performed for her peers on the way at lunchtime, she and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, where she attended worship services, Bible study, Sunday school. The church provided Fitzgerald with her earliest experiences in music. Fitzgerald listened to jazz recordings by Louis Armstrong, Bing Crosby, The Boswell Sisters, she idolized the Boswell Sisters' lead singer Connee Boswell saying, "My mother brought home one of her records, I fell in love with it... I tried so hard to sound just like her."In 1932, when Fitzgerald was fifteen, her mother died from injuries received in a car accident. Her stepfather took care of her until April 1933; this swift change in her circumstances, reinforced by what Fitzgerald biographer Stuart Nicholson describes as rumors of "ill treatment" by her stepfather, leaves him to speculate that Da Silva might have abused her. Fitzgerald began skipping school, her grades suffered.
She worked as a lookout with a Mafia-affiliated numbers runner. She never talked publicly about this time in her life; when the authorities caught up with her, she was placed in the Colored Orphan Asylum in Riverdale in the Bronx. When the orphanage proved too crowded, she was moved to the New York Training School for Girls, a state reformatory school in Hudson, New York. While she seems to have survived during 1933 and 1934 in part from singing on the streets of Harlem, Fitzgerald made her most important debut at age 17 on November 21, 1934, in one of the earliest Amateur Nights at the Apollo Theater, she had intended to go on stage and dance, but she was intimidated by a local dance duo called the Edwards Sisters and opted to sing instead. Performing in the style of Connee Boswell, she sang "Judy" and "The Object of My Affection" and won first prize, she won the chance to perform at the Apollo for a week but because of her disheveled appearance, the theater never gave her that part of her prize.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She was introduced to drummer and bandleader Chick Webb, who had asked his signed singer Charlie Linton to help find him a female singer. Although Webb was "reluctant to sign her...because she was gawky and unkempt, a'diamond in the rough,'" he offered her the opportunity to test with his band when they played a dance at Yale University. Met with approval by both audiences and her fellow musicians, Fitzgerald was asked to join Webb's orchestra and gained acclaim as part of the group's performances at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs, including "Love and Kisses" and " You'll Have to Swing It", but it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her public acclaim. "A-Tisket, A-Tasket" became a major hit on the radio and was one of the biggest-selling records of the decade. Webb died of spinal tuberculosis on June 16, 1939, his band was renamed Ella and Her Famous Orchestra with Fitzgerald taking on the role of bandleader.
She recorded nearly 150 songs with Webb's orchestra between 1935 and 1942. In The New York Times obituary o
A jam session is a informal musical event, process, or activity where musicians instrumentalists, play improvised solos and vamp on tunes and chord progressions. To "jam" is to improvise music without extensive preparation or predefined arrangements, except for when the group is playing well-known jazz standards or covers of existing popular songs. Original jam sessions, also'free flow sessions', are used by musicians to develop new material and find suitable arrangements. Both styles can be used as a social gathering and communal practice session. Jam sessions may be based upon existing songs or forms, may be loosely based on an agreed chord progression or chart suggested by one participant, or may be wholly improvisational. Jam sessions can range from loose gatherings of amateurs to evenings where a jam session coordinator or host acts as a "gatekeeper" to ensure that only appropriate-level performers take the stage, to sophisticated improvised recording sessions by professionals which are intended to be broadcast live on radio or TV or edited and released to the public.
One source for the phrase "jam session" came about in the 1920s when white and black musicians would congregate after their regular paying gigs, to play the jazz they could not play in the "Paul Whiteman" style bands they played in. When Bing Crosby would attend these sessions, the musicians would say he was "jammin' the beat", since he would clap on the one and the three, thus these sessions became known as "jam sessions". Mezz Mezzrow gives this more detailed and self-referential description, based on his experience at the jazz speakeasy known as the Three Deuces: I think the term'jam session' originated right in that cellar. Long before that, of course, the colored boys used to get together and play for kicks, but those were private sessions for professional musicians, the idea was to try to cut each other, each one trying to outdo the others and prove himself best; those impromptu concerts of theirs were known as'cuttin' contests.' Our idea…was to play together, to make the improvisation collective… Down in that basement concert hall, somebody was always yelling over to me,'Hey Jelly, what you gonna do?'—they gave me that nickname, or sometimes called me Roll, because I always wanted to play Clarence Williams" Jelly Roll'—and every time I'd cap them with,'Jelly's gonna jam some now,' just as a kind of play on words.
We always used the word'session' a lot, I think the expression'jam session' grew up out of this playful yelling back and forth. The New York scene during World War II was famous for its after-hours jam sessions. One of the most famous was the regular after-hours jam at Minton's Playhouse in New York City that ran in the 1940s and early 1950s; the jam sessions at Minton's were a fertile meeting place and proving ground for both established soloists like Ben Webster and Lester Young, the younger jazz musicians who would soon become leading exponents of the bebop movement, including Thelonious Monk, saxophone player Charlie Parker, trumpeter Dizzy Gillespie. The Minton's jams had competitive "cutting contests", in which soloists would try to keep up with the house band and outdo each other in improvisational skill. Influenced by jazz, Cuban music saw the emergence of improvised jam sessions during the filin movement of the 1940s, where boleros and other song types were performed in an extended form called descarga.
During the 1950s these descargas became the basis of a new genre of improvised jams based on the son montuno with notable jazz influences pioneered by the likes of Julio Gutiérrez and Cachao. During the 1960s, descargas played an important role in the development of salsa the salsa dura style; as the instrumental proficiency of pop and rock musicians improved in the 1960s and early 1970s, onstage jamming—free improvisation—also became a regular feature of rock music. However, they can be shorter on the recorded version. Though the Grateful Dead are credited as being the first jam band, Cream incorporated long improvisations into their songs as early as 1967. However, the Grateful Dead allowed the "jam band" to become a genre unto itself. Umphreys Mcgee, Widespread Panic, all of which feature extended improvisational sessions. Other bands, such as the Red Hot Chili Peppers regularly perform live jam sessions. Progressive rock band Coheed and Cambria end shows with a jam session to their song "The Final Cut" with different instruments.
Bluegrass music features a tradition of jamming. Bluegrass jams happen in the parking lots and campgrounds of bluegrass festivals, in music stores and restaurants and on stages. Bluegrass jams tend to be segregated by the skill level of the players. Slow jams for beginners provide an entry point. Open bluegrass jams are open to all comers, but the players in an open jam will expect a certain level of proficiency from participants; the abilities to hear chord progressions and keep time are essential, the ability to play improvised leads that contain at least a suggestion of the melody is desirable. Jams that require advanced musical proficiency are private events, by invitation only. Jamming Free improvisation Free jazz Freestyle rap Scat singing Session musician and Irish traditional music session Collaborative website for jam session Finding Bluegrass (and acousti
Bennett Lester Carter was an American jazz saxophonist, trumpeter, composer and bandleader. With Johnny Hodges, he was a pioneer on the alto saxophone. From the beginning of his career in the 1920s he was a popular arranger, having written charts for Fletcher Henderson's big band that shaped the swing style, he had an unusually long career. During the 1980s and'90s, he was nominated for eight Grammy Awards, which included receiving a Lifetime Achievement Award. Born in New York City in 1907, he was given piano lessons by his mother and others in the neighborhood, he played trumpet and experimented with C-melody saxophone before settling on alto saxophone. In the 1920s, he performed with June Clark, Billy Paige, Earl Hines toured as a member of the Wilberforce Collegians led by Horace Henderson, he appeared on record for the first time in 1927 as a member of the Paradise Ten led by Charlie Johnson. He returned to the Collegians and became their bandleader through 1929, including a performance at the Savoy Ballroom in New York City.
In his early 20s, Carter worked as arranger for Fletcher Henderson after that position was vacated by Don Redman. He had no formal education in arranging, so he learned by trial and error, getting on his knees and looking at the existing charts, "writing the lead trumpet first and the lead saxophone first—which, of course, is the hard way, it was quite some time that I did that before I knew what a score was."He left Henderson to take Redman's former job as leader of McKinney's Cotton Pickers in Detroit. In 1932 he formed a band in New York City that included Chu Berry, Sid Catlett, Cozy Cole, Bill Coleman, Ben Webster, Dicky Wells, Teddy Wilson. Carter's arrangements were complex. Among the most significant were "Keep a Song in Your Soul", written for Henderson in 1930, "Lonesome Nights" and "Symphony in Riffs" from 1933, both of which show Carter's writing for saxophones. By the early 1930s, Carter and Johnny Hodges were considered the leading alto saxophonists. Carter became a leading trumpet soloist, having rediscovered the instrument.
He recorded extensively on trumpet in the 1930s. Carter's short-lived Orchestra played the Harlem Club in New York but only recorded a handful of records for Columbia, OKeh and Vocalion; the OKeh sides were issued under the name The Chocolate Dandies. In 1933 Carter participated in sessions with British band leader Spike Hughes, who went to New York City to organize recordings with prominent African American musicians; these 14 sides plus four by Carter's big band, titled at the time Spike Hughes and His Negro Orchestra, were only issued in England. The musicians were from Carter's band and included Red Allen, Dicky Wells, Wayman Carver, Coleman Hawkins, J. C. Higginbotham, Chu Berry. Carter spent two years as arranger for the BBC Big Band. In England and Scandinavia he recorded with local musicians, he took his band to the Netherlands. In these settings Carter played trumpet, piano and tenor saxophone, provided occasional vocals. In 1938 he returned to America, he found regular work leading his band at the Savoy Ballroom in Harlem through 1941.
The band included Shad Collins, Sidney De Paris, Vic Dickenson, Freddie Webster. After this engagement he led a seven-piece band which included Eddie Barefield, Kenny Clarke, Dizzy Gillespie. In the middle 1940s, he made Los Angeles his home, forming another big band, which at times included J. J. Johnson, Max Roach, Miles Davis, but these would be his last big bands. With the exception of occasional concerts, performing with Jazz at the Philharmonic, recording, he ceased working as a touring big band bandleader. Los Angeles provided him many opportunities for studio work, these dominated his time during the decades, he wrote music and arrangements for television and films, such as Stormy Weather in 1943. During the 1950s and'60s, he wrote arrangements for vocalists such as Louis Armstrong, Ray Charles, Ella Fitzgerald, Peggy Lee, Sarah Vaughan. On something of a comeback in the 1970s, Carter returned to playing saxophone again and toured the Middle East courtesy of the U. S. State Department, he began making annual visits to Japan.
In 1969, Carter was persuaded to spend a weekend at Princeton University by Morroe Berger, a sociology professor at Princeton who wrote about jazz. This led to a new outlet for Carter's talent: teaching. For the next nine years he visited Princeton five times, most of them brief stays except for one in 1973 when he spent a semester there as a visiting professor. In 1974 Princeton gave him an honorary doctorate, he conducted teaching at workshops and seminars at several other universities and was a visiting lecturer at Harvard for a week in 1987. Morroe Berger wrote Benny Carter – A Life in American Music, a two-volume work about Carter's career. Time had little effect on Carter's abilities. During the 1980s he wrote the long composition Central City Sketches, performed at Cooper Union by the American Jazz Orchestra. Another long composition, Glasgow Suite, was performed in Scotland. Lincoln Center commission him to write "Good Vibes" in 1990; the National Endowment for the Arts gave him a grant that led Tales of the Rising Sun Suite and Harlem Renaissance Suite.
This music was performed in 1992. Carter had an unusually long career, he was the only musician to have recorded in eight different decades. Another characteristic of his career was its versatility as musician, bandleader and composer, he helped define the sound of alto saxophone, but he performed and recorded on soprano saxophone, tenor saxophone, trombone and piano. He helped establish a foundation for a
Howard McGhee was one of the first bebop jazz trumpeters, with Dizzy Gillespie, Fats Navarro and Idrees Sulieman. He was known for his fast fingers and high notes. What is not known is the influence that he had on younger hard bop trumpeters, with Fats Navarro. Howard McGhee was raised in Michigan. During his career, he played in bands led by Lionel Hampton, Andy Kirk, Count Basie and Charlie Barnet, he was in a club listening to the radio when he first heard Parker and was one of the early adopters of the new style, a fact, disapproved by older musicians like Kid Ory. In 1946–47, some record sessions for the new label Dial were organized at Hollywood with Charlie Parker and the Howard McGhee combo; the first was held on July 29, 1946. The musicians were Charlie Parker, Howard McGhee, Jimmy Bunn, Bob Kesterson, Roy Porter. With Parker close to a nervous breakdown, he played "Max is Making Wax", "Lover Man", "The Gypsy". McGhee continued to work as a sideman for Parker, he played on titles like "Relaxin' at Camarillo", "Cheers", "Carvin the Bird" and "Stupendous".
Around this time, McGhee "was a central figure in the Los Angeles bebop world, taking part in numerous concerts and running a night club for a time". His stay in California was cut short because of racial prejudice vicious towards McGhee as half of a mixed-race couple. Drug problems sidelined McGhee for much of the 1950s, but he resurfaced in the 1960s, appearing in many George Wein productions, his career sputtered again in the mid-1960s and he did not record again until 1976. He led one of three big jazz bands trying to succeed in New York in the late 1960s. While the band did not survive, a recording was released in the mid-1970s, he taught music through the 1970s, both in classrooms and at his apartment in midtown Manhattan and instructed musicians like Charlie Rouse in music theory. He was as much an accomplished composer-arranger. McGhee died on July 17, 1987 at the age of 69, a memorial service was held for him on July 24, 1987 1946–7 Trumpet at Tempo released 1996 1948 Howard McGhee and Milt Jackson 1950 Howard McGhee, Vol. 1 1951 Night Music 1952 South Pacific Jazz 1952 The McGhee-Navarro Sextet with Fats Navarro 1952 Jazz Goes to the Battlefront Vol. 1 1952 Jazz Goes to the Battlefront Vol. 2 1953 Howard McGhee Vol. 2 1955 The Return of Howard McGhee 1955 That Bop Thing 1956 Life Is Just a Bowl of Cherries 1960 Music from the Connection 1961 Dusty Blue 1961 Together Again!!!! with Teddy Edwards 1961 Maggie's Back in Town!!
1961 Shades of Blue 1961 The Sharp Edge 1962 Nobody Knows You When You're Down and Out 1962 House Warmin'! 1966 Cookin' Time 1976 Here Comes Freddie with Illinois Jacquet 1976 Just Be There with Horace Parlan, Kenny Clarke 1978 Live at Emerson's 1977 Jazz Brothers 1979 Home Run with Benny Bailey 1979 Young at Heart with Teddy Edwards 1979 Wise in Time with Teddy Edwards With Johnny Hartman Songs from the Heart All of Me: The Debonair Mr. Hartman With Tubby Hayes 1957 Changing the Jazz at Buckingham Palace, Tubby Hayes/Dizzy Reece 1957 The Swinging Giant Vol. 2With Coleman Hawkins Disorder at the Border Rainbow Mist With Chubby Jackson 1950 Chubby Jackson All Star Big Band 1969 Chubby Jackson Sextet and Big BandWith James Moody 1959 Hey! It's James Moody 1961 Cookin' the Blues With André Previn 1946 André Previn All-Stars 1975 Previn at SunsetWith Mel Tormé 1956 George Gershwin's Porgy and Bess, Frances Faye/Mel Tormé 1957 At the Crescendo 1957 Songs for Any TasteWith others 1956 Way Out Wardell, Wardell Gray 1960 Griff and Lock, Eddie "Lockjaw" Davis / Johnny Griffin 1960 The Music from "The Connection" Freddie Redd 1962 Deep Roots, Lorez Alexandria 1962 Good Old Zoot, Zoot Sims 1962 Johnny Hodges with Billy Strayhorn and the Orchestra, Johnny Hodges 1962 The Gerry Mulligan Quartet, Gerry Mulligan 1963 At Newport'63, Joe Williams 1965 The Jazz Singer, Eddie Jefferson 1965 Charlie Parker 10th Memorial Concert 3/27/65, Charlie Parker 1967 Autumn in New York, Sonny Stitt 1968 Boppin' & Burnin', Don Patterson 1990 California Boppin' 1947, Sonny Criss 1991 Trio and Orchestra, Slim Gaillard 1993 1940–1942, Andy Kirk & His Clouds of Joy 1994 Red Top, Gene Ammons 1994 Jazz at the Philharmonic, Billie Holiday 1995 Early Quintets, Phil Woods 1996 First Herd, Woody Herman 1996 1944–1945, Wynonie Harris DeVeaux, Scott.
The birth of bebop: a social and musical history. Berkeley: University of California Press. ISBN 9780520216655. Allmusic Discography