Conciise Guide To Jazz 7e Teachers' Manual

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Concise Guide to Jazz 7e Teachers' Manual

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Retrieved on: 19 December 2015
Instructor's Resource Manual
Seventh edition
CONCISE GUIDE TO JAZZ
MARK C. GRIDLEY
Discography Edited by William E. Anderson
Pearson Upper Saddle River, New Jersey 07458

Copyright 2013 Mark C. Gridley
TABLE OF CONTENTS
Page
ABOUT THE AUTHOR ....................................................................................................... iv
PREFACE .................................................................................................................................v
IF YOU ARE TEACHING THIS COURSE FOR THE FIRST TIME1
CONCEPTUALIZING YOUR COURSE...2
WHAT TO DO IN YOUR FIRST CLASS MEETING..................................................6
PREVENTING CONFRONTATIONS ABOUT GRADES...7
SAMPLE LEARNING GOALS...9
SAMPLE COURSE REQUIREMENTS...13
DIFFERENT WAYS TO USE THE TEXTBOOK..15
CAN YOU TEACH WITHOUT ACCOUNTING FOR PERCEPTUAL SKILLS?.17
CONVEYING THE EXTENT OF SPONTANEITY IN JAZZ...20
EASY WAYS TO HELP STUDENTS HEAR THE CHORDS CHANGE22
PITFALLS TO AVOID..24
CONSIDERATIONS REGARDING NONMUSICIANS IN GENERAL
EDUCATION COURSES..28
VIDEO RESOURCES FOR TEACHING JAZZ APPRECIATION.32
CAUTIONS REGARDING CLASSROOM USE OF VIDEOS.34
CONSTRUCTING LISTENING QUIZZES FROM THE CDS39
USES FOR THE DEMONSTRATION CD ...43
HOW TO USE THE JAZZ CLASSICS CDs AND LISTENING GUIDES.45
INTRODUCTION TO SAMPLE SYLLABI: RATIONALE AND DESIGN TIPS..46
15-WEEK "STRAIGHT HISTORY" COURSE - MON-WED-FRI SCHEDULE...53
15-WEEK "STRAIGHT HISTORY" COURSE - TUES-THURS SCHEDULE..58
15-WEEK "INTRO TO JAZZ" COURSE - MON-WED-FRI SCHEDULE63
15-WEEK "INTRO TO JAZZ" COURSE - TUES-THURS SCHEDULE...69
10-WEEK "STRAIGHT HISTORY" COURSE - MON-WED-FRI SCHEDULE...74
10-WEEK "STRAIGHT HISTORY" COURSE - TUES-THURS SCHEDULE..78
10-WEEK "INTRO TO JAZZ" COURSE - MON-WED-FRI SCHEDULE81
10-WEEK "INTRO TO JAZZ" COURSE - TUES-THURS SCHEDULE...85
DEMONSTRATION CD: COMPLETE CONTENTS..88
JAZZ CLASSICS CDs for JAZZ STYLES: COMPLETE CONTENTS..93
CLASSICS CDs FOR CONCISE GUIDE, EDITION 6: COMPLETE CONTENTS.100
2
TEACHING THE ORIGINS OF JAZZ: ISSUES, BIBLIOGRAPHY AND

DISCOGRAPHY..................................................................................................................103
DISCOGRAPHY (alphabetized by artist - anthologies at the end) .....................................118
ABOUT THE AUTHOR

Mark C. Gridley is an active professional jazz musician with a life-long
involvement in educating the public about jazz. He created and produced "Jazz, That
Lively Art" for WOAK-FM radio in Detroit from 1962 to 1965. From 1971 to 1981, he
taught "History and Styles of Jazz" for non-musicians at Case Western Reserve
University in Cleveland, where he earned M.S. and Ph.D. degrees. During 1976 he led
the jazz demonstration unit for the Cleveland chapter of Young Audiences.
By the time he earned a B.S. degree at Michigan State University, Gridley had
won honors playing flute, oboe and saxophone, and he had led numerous bands in
Michigan. The Mark Gridley Quartet from Michigan State University was finalist at the
1968 Notre Dame Collegiate Jazz Festival in which Gridley won the "Best Flutist" award,
and his combo tied for first place with the Randy Sandke-Michael Brecker combo from
Indiana University. Gridley has performed and toured with several name bands (Harry
"Sweets" Edison, Les Elgart) and accompanied numerous popular singers (Lou Rawls,
Sammy Davis, Tony Bennett, Yolande Bavan, Vic Damone, Marlena Shaw, Steve
Lawrence, The Fifth Dimension, The Jacksons, The Temptations, etc.). He has performed
with the Chautauqua Symphony Orchestra in New York, and he continues to maintain the
steady schedule of performances with his own jazz groups that he began in the Cleveland
area in 1969.
Gridley's critically acclaimed text, Jazz Styles: History and Analysis, has been
translated into Bulgarian, Japanese, Danish, Korean, and Polish, and it has earned its
author a listing in Who's Who in the Midwest, as well as commissions that led to
extensive contributions in the Encyclopaedia Britannica, The New Grove Dictionary of
American Music and The New Grove Dictionary of Jazz. Gridley has done field research
in all the jazz centers of the U.S. as well as Africa, South America and the Caribbean.
Several scientific journals have published his research on perception and preferences in
music and art. He frequently addresses scholarly conferences as well as lecturing at
colleges and universities throughout the U.S.
Beginning with its 1985 edition, Jazz Styles became America's most widely-used
introduction to jazz. As of its fourth edition, Gridleys Concise Guide to Jazz became
Americas second-most widely used introduction to jazz, in a field of more than fifty
other titles. Gridley's articles about jazz have appeared in The Musical Quarterly, College
Music Symposium, Current Musicology, The Instrumentalist, The Black Perspective in
Music, Popular Music and Society, Jazz Educator's Journal, and Black Music Research
Journal. In 1987, The Educational Press Association of America gave Gridley its
Distinguished Achievement Award, and in 2003 he was first listed in Whos Who in
America.
PREFACE
This manual should ease your job and help your students get the most out of their
brief time with you. The contents reflect experiences of numerous other instructors and
their students who shared observations with me. Much of the material represents teaching
techniques and materials that I devised while teaching jazz history to non-musicians
during 23 semesters at Case Western Reserve University.
This manual is keyed to the 7th edition of Concise Guide to Jazz (ISBN 0-20593700-4), the Jazz Classics CDs for the 7th edition of Concise Guide to Jazz (ISBN 0205-93738-7), the Jazz Classics 3CD set for the 11th edition of Jazz Styles: History and
Analysis (ISBN 978-0-205-03686-8), the Demonstration CD for Concise Guide to Jazz
(ISBN 978-0-13-601098-2), and the Prentice Hall Jazz Collection, 2nd Edition CD (ISBN
978-0-205-17896-4). If you are missing any of those items, contact your Pearson sales
representative, phone 800-526-0485, write College Humanities Marketing, Prentice-Hall,
Inc., 1 Lake St., Upper Saddle River, NJ 07458, or email: sampling_dept@prenhall.com.
A Test Bank of 300 multiple-choice exam questions is available for download to
teachers who contact Pearson sales representatives, music_service@prenhall.com or
sampling_dept@prenhall.com.
The chapter titled "If You Are Teaching This Course for the First Time"
originally appeared in altered form as "Teaching Jazz History for the First Time" in The
Jazz Educators Journal, Volume XIX, No. 4, the official publication of the International
Association of Jazz Educators. This article is reprinted by permission of the editors.
Considerations Regarding Non-musicians in General Education Courses is an edited
form of a presentation made at the IAJE convention in Chicago, January, 1997. The
outline of the presentation first appeared in Instructors Resource Manual for Concise
Guide to Jazz, Edition 2 (Prentice-Hall, 1998). An edited form of it appeared in Jazz
Educators Journal, Volume XXXIII, No. 2, pages 54-55 as Teaching Jazz
History/Appreciation to the Non-musician. Other portions of the material in this manual
were presented to the National Association of Jazz Educators conventions held in
Columbus, Ohio on January 15, 1984 and Boston, Massachusetts on January 14, 1994.
IF YOU ARE TEACHING THIS COURSE FOR THE FIRST TIME
You might be apprehensive when you are first assigned to teach an entire
semester of an academic course, especially if your training is in band leading or choir
leading, not in musicology. The job looms even larger if the course is in jazz history and
you do not already have a longstanding interest in the area and a large personal collection
of jazz albums. But it is not difficult to get past your apprehensions as soon as you begin
realizing that such an undertaking is going to be fun. You will enjoy it because of the
immense freedom you have in choosing material and the great opportunity you will have
to hear so much new jazz with your students in the classroom. So, the first idea to keep in
mind is that, more than anything else, music appreciation classes are taught because
listening to music is fun, and people like yourself already understand so much about
music that you are in a position to help others derive more enjoyment from music. It is
always a kick to watch others enjoy jazz for the first time.
The course becomes all the more rewarding when you realize that, first, you will
be coaching listening skills that your students will carry with them the rest of their lives
and, second, that you will be introducing students to styles that many will like enough to
go and share with their friends. I have never met anyone who teaches this course who
said he/she did not enjoy it. In fact, one professor remarked to me that he had resisted
taking the position of teaching it because he thought he would not like teaching nonmusicians, yet now he finds he likes it more than conducting (and this is a conductor with
a good reputation and a string of successful bands and albums under his directorship). In
other words, if you keep reminding yourself that the basic purpose is musical pleasure for
you and your students, not only will you succeed in making the course fun for yourself
and your students, but you will also have created a good course and enhanced your
reputation as a stimulating teacher.
You probably dread the prospect of trying to create a new course and still get
through an entire semester without sacrificing your other responsibilities, health and
sanity. But you really can teach a respectable course in jazz appreciation, as long as you
keep in mind that you do not have to cover everything. Basically you are your own boss,
free to allocate whatever you are best able to handle. (At almost no college is this course
a prerequisite for any other course.) If you ignore that consideration, you will be testing
the limits of your health and sanity, and, most importantly, you will run the real risk of
alienating the same students you were hired to stimulate.
Two other basic considerations are worth pondering. One is that probably you
will be hired to teach the course again somewhere, someday. Therefore, all those things
that dawn on you during the semester, that you wish you'd have realized sooner, are not
wasted ideas after all. You can use them the next time. (All good teachers are
continuously refining, as they see what they could have done differently.) In other words,
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try to not get caught despairing what you cannot do or what you didn't do. Try to savor
what you can do and are doing.
Conceptualizing Your Course

Instead of following the set curriculum offered by any given book or any
predecessor's course syllabus, you might wish to decide what you personally believe to
be the absolutely essential skills and information for students to acquire if they have only
a one-semester experience with you. For instance, you might keep in mind that just
because the course title has the word "history" in it does not necessarily mean that you
have to emphasize what happened and when. You could treat styles chronologically or
not. In fact, you don't have to treat the history or origins of jazz at all if you don't think
that such information is essential for appreciating jazz. You could design a course around
your own set of priorities and then cut and paste the appropriate textbook passages, CD
selections, and live performances to fulfill your goals. You could even change the course
title to "jazz appreciation" or "understanding jazz."
Students Don't Share Your Background. In conceptualizing your approach, (a) try
to remember what it was like before you knew anything about jazz. Since many of your
students in a jazz appreciation course have no technical knowledge of music, it is also
helpful to (b) try to remember what it was like before you learned how to read music and
play an instrument. Keep in mind that many of your students did not grow up in musical
families, and you knew more about the inner workings of music as a kid than they might
ever know. Remember that you are an insider. In this course you will be giving outsiders
a peek into your world. So be patient. The most effective teachers try to put themselves in
their students' shoes. In other words, if your course is offered to the campus at large and
not restricted just to musicians, you dare not assume any prior knowledge on the part of
your students. You dare not assume familiarity with even the biggest names in jazz.
What to Spend the Most Time On. Here are a few observations to consider if you
are teaching the course for the first time. Some instructors concentrate on listening skills
and use class time to analyze classic recordings by way of the listening guides in the
textbook. Many instructors begin the course with the Elements of Music appendix for a
few weeks. Though some instructors stick to the historic recordings that come with the
book, other instructors additionally sample recordings that are recommended in the
book's chapter-end lists. Some play and analyze additional recordings that come from
their own personal collections, as well as from the Smithsonian and Ken Burns CD
collections. Some instructors emphasize the place of jazz in American history and
culture.Some instructors revere the jazz giants for their creative genius, spend lots of time
discussing the virtues and the influence of just a few of the biggest names. Some
emphasize style eras more than the giants who spearheaded those eras. Some do a
combination of these approaches.
Trivia Alert. It is almost meaningless to merely tell your students about a musician
or his life if you never expose them to his music. Many instructors feel compelled to tell
students about a number of such musicians in order to fulfill the instructor's own sense of
completeness. But these instructors might fail to recognize that if they dont play an
example of the musicians music, they risk overwhelming students with information that
constitutes trivia in the students mind. Remember that the course is a music course, not a
course in sociology, American history, or the drama of private lives. Students report, for
instance, that lectures about the birthplaces of musicians are not helpful in appreciating
the musicians styles. I have heard complaints from students about instructors who filled
class time with road stories rather than musical insights. Though amusing, the stories
were not meaningful to the students who were not already familiar with the music of the
subjects in the stories, and they provided little for the students to carry away from the
course. The fact that their instructor knows a host of anecdotes may be a liability to the
student who is grappling with a brand new field of inquiry. Keep in mind that students
are trying to stay afloat for an entire semester with requirements for four other courses
and a life outside of the classroom. Though they might not say it aloud during the
storytelling, many will be asking Will this be on the exam?
Live Performances. Students tend to get more out of live performances than they
get from recordings, even if the quality or historical significance of the live performance
is far below that of the recordings. If concert reviews are required for a course grade,
students will find it helpful if your syllabus lists the semester's events. Note that
carpooling is a terrific way to insure that students get to the concerts. It also gets them
thinking about the music before and after the event because they talk to each other during
the trip. Many instructors include in their course syllabi the names, addresses, phone
numbers, maps, and prices for nightclubs that feature jazz in their region. Large cities
tend to have "jazz lines," 24-hour phone numbers that announce the week's activities for
anyone who calls. Some instructors prominently display that number in their syllabi.
Whenever a nationally known musician (or a world-class local musician) is going
to perform in your vicinity, students appreciate an album by that musician being placed
on reserve for them to hear at the library. Or you could provide download information for
essential selections for your students. They also appreciate hearing the music in class,
even if you have to cut some of your standard course material to make time for it. (You
can put on reserve whatever course notes and recordings you cut. Then students won't
miss getting them.) Some of the most enterprising instructors arrange for the musicians
themselves to visit class during the week of the concert. (Big names might surprise you
with their willingness to facilitate jazz appreciation!) If the campus itself is sponsoring
the concert, a door is already open for soliciting a class visit by the performers. This
serves a double function: it increases attendance at the concert (making it more likely
that your students will actually go and hear the music), and it gives students insight into
the people behind the music. Dont be afraid to phone the musicians via their agents or
their presenter. Or determine their hotel, and phone them directly.
Some instructors perform for their students, talk about how they go about piecing
together their improvisations, and they frequently bring in guest artists to play and talk
8
with their students. Note: Always get your visiting musicians to talk about what they are
doing in the music. Otherwise, the experience differs little from standard concertgoing, in
which students don't learn about the inner workings of the music.
Student Projects. Some instructors recognize that many students learn more
effectively on their own than they learn in class meetings. So these instructors assign
independent projects and allocate a substantial portion of the course grade to them.
Topics for the presentations can be selected by your students. Such projects may be as
rudimentary as a book report on a biography that is listed in their textbook's chapter-end
"Read" sections. The report may be presented orally to class.
Caution is in order, however, for teachers who assign biographies Unfortunately,
students might come to buy the myth that they know more about a player's music merely
because they have learned about the player's personal life. Students are easily distracted
by musicians' nonprofessional personal habits and the ironies and tragedies in their life
experiences. Critical thinking might be encouraged in your students if you require them
to distinguish such items from other biographical information that has clear implications
regarding how the biographees were making the music and making it distinctive.
(Though some of us seem to be fascinated by how individuals overcame personal
hardships, the most creative figures in the arts seem to make their work despite the
ironies and tragedies in their private lives, not because of them. Therefore, a focus on
personal tragedies is distracting.) One strategy for overcoming such tendencies in readers
might be to require students to report on concrete musical information that they gleaned
from the biography. You might ask them to identify how the musician came upon a
particular technique or how he came across the music of another player who ultimately
became an influential model for him. For example, sometimes biographies contain
anecdotes about how one musician showed another musician a crucial chord or rhythm or
provided pivotal advice on how to approach improvisation. (Sensationalist movies such
as BIRD and 'ROUND MIDNIGHT entirely ignore such things and emphasize instead the
irrelevant drama of personal life.) You might require students to report on their own
reactions to recordings that the biographies introduced to them.
Take caution if you ask students to prepare a report on a famous musician. Students
are likely to just cut and paste passages from Wikepedia and fanzine web pages instead of
really listening to the musician's work, thinking about their listening experience, and then
placing the music in a personal aesthetic perspective. You can decrease that tendency
with (a) requirements for personal reflection and (b) warnings regarding plagiarism.
Some instructors reproduce their colleges official policy on plagiarism in their course
syllabi.
A student project may be as substantial as preparing a listening guide for a classic
recording. It might be for just one passage in such a recording. (Caution: Be sure that the
recording is not already represented by a listening guide in Jazz Styles, Concise Guide to
Jazz, or in any other books that students are likely to copy or borrow from.) Nonmusician students could try to determine the song form and then graph the ups and downs
of pitch, relative durations of tones and pauses, as well as the changes of sound quality
9
that occur in a given passage. The results could be formally presented to their classmates.
Musician students could be required to transcribe an excerpt from an improvisation by
some eminent jazz musician who plays the same instrument as the student. One goal for
such an assignment could be to highlight the virtues of that improvisation via a class
presentation and hum nuggets of memorable melody that emerge from more intricate
passages.
Justifying Your Allocations:
Neglecting Some Historic Giants for the Sake of Being "Current"
A semester appears painfully brief when the immensity and richness of jazz history
is confronted. It seems even shorter when we realize that many truly deserving musicians
cannot be presented at all. Allocation problems become still more knotty when deciding
about (a) whether to treat recent styles and, if so, (b) how much time to spend on them.
This may be painful when we confront the problem of how to justify touching current
figures who did not innovate (such as the neoclassical figures who have attained
considerable media attention since the 1980s) and to decide whether we can justify
covering any musicians merely because they are currently prominent. This becomes an
ethical dilemma because some figures are prominent despite the fact that they are not as
good as earlier players whom we have not covered. In other words, can we justify
covering them when they are not more original, innovative, or influential than other
players whom we have already neglected?
Implications: No matter what you decide regarding how much coverage to allocate to
each major figure, be cautious about overloading your students. Remember that all the
names you mention will be new for most students in college today. This will be
particularly true for non-musicians in jazz appreciation courses. For these reasons, keep
in mind that
(a) Chapter 11 items are not all included in this manual's sample syllabi, though some of
them appear within "OPTIONAL" designations for end-of-the-semester assignments.
This means that
(b) if you emphasize topics in chapter 11 you will probably need to skip earlier chapters
(or a few figures in them) so that, on balance, you avoid overwhelming your students.
Remember that you can present whatever your conscience allows. Jazz history,
jazz appreciation, or introduction to jazz is not a prerequisite at most schools for any
other course. Its content is unlikely to appear on any proficiency exams for graduating
from college or entering graduate school. Therefore, its content is solely the prerogative
of the instructor.
This means that you have several alternatives for dealing with recent styles:
(1) Dont cover recent styles at all. Just stick to a meat and potatoes diet of (a) the top
twenty giants in jazz history, regardless of era (choose from names that are prominent in
the following syllabi), or (b) just six main categories (early jazz, swing, bop, cool, free,
and fusion).
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(2) Cover a few recent styles at the expense of some older styles. This means that you
could put judiciously selected albums on reserve at your library for the earlier styles you
edged out and for any recent styles that are not represented on the Jazz Classics CDs that
your students bought with their textbook. (The chapter-end lists of albums suggest highquality possibilities.) You could add a paragraph to your syllabus describing the albums,
how to find them, and where to read about the music on them. Additionally, if you
require reports, term papers, or class presentations, you could tell your students that these
optional styles all qualify for such projects.
What to Do at Your First Class Meeting
What to say. Wondering what to do for your first meeting with students in your jazz
history and appreciation class? If you are apprehensive about what to say to your new
students because you have never taught music appreciation, try (1) rehearsing a few
opening lines to break the ice. My own favorite line was something to the effect of,
"Hello. Welcome to Jazz History class. My name is Mark Gridley, and I'm very excited
about having the opportunity to turn you on to jazz and to improve your hearing
without surgery."
What to play. Then I told my students to close their eyes and just listen as I (2) played
about 12 minutes of exciting excerpts from widely varied jazz recordings to illustrate the
diversity of jazz styles. It gave students a taste of things to come and an opportunity to
contemplate what jazz is, by considering what all the pieces had it common. My montage
included an assortment that I'd culled from the most exciting live performances in my
own collection, such as a very swinging solo piano blues by Oscar Peterson from a Jazz
at the Philharmonic concert, a Newport Jazz Festival recording of Roland Kirk's
humming and exploding flute sounds on "One Ton," John Coltrane's impassioned
soprano sax solo over Elvin Jones' wonderful bashing and crashing from their Live at
Birdland album, a very hot Stephane Grappelly violin solo with Django Reinhardt, Bill
Evans' subtly swinging trio sounds from the Village Vanguard sessions, Sidney Bechet
bursting with life in his out-chorus on "China Boy," Dizzy Gillespie's opening
improvisations over the vamp at the beginning of "Manteca," and Louis Armstrong's scat
on "Hotter Than That."
Then I (3) asked students to tell me what all the pieces had in common. This may help
ease you into (4) introducing the concepts of improvisation and (5) swing feeling. It also
can help dispel the notions that (a) music must have the character of a certain era to
qualify as jazz and that (b) it can be played only on certain instruments (as refuted by the
violin and flute solos in the montage).
What to demonstrate. To further demonstrate the concept of improvisation, I asked one
student to tell the class what she had done before arriving. After she'd spoken, I asked her
to tell the class whether she'd known I would ask her to speak and had therefore
rehearsed her answer. When she said, "No," I said, "You used words and phrases that
you'd used before, but you put them in a different order. This means that you improvised
your answer. That is like what jazz musicians do with their pitches and rhythms." Then I
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said, "I'm going to ad lib something." I then performed some free-form improvisations
and explained what I'd done as soon as I stopped playing. (Note: At this moment, it is too
soon for explaining improvisation that is based on chord changes or variations-on-atheme.)
To demonstrate swing feeling, I improvised phrases (a) with and without tempo, (b) with
and without swing eighth notes, (c) with and without syncopation, all the while
systematically defining each term (tempo, syncopation, eighth note, as explained in the
Elements of Music appendix in the book) before illustrating its effect (as explained in the
"What is Jazz?" chapter of the book). For instance, to demonstrate the concept of swing
eighth notes, I played the first phrase of "Lullaby of Birdland," "as Mozart might play it,"
using straight eighths, then, "as Charlie Parker might play it," with swing eighth notes. As
I did this, I was explaining the corresponding change in durations (long-short, long-short)
and emphases (weak-strong, weak-strong), as detailed in the Elements of Music appendix
of the book). Chalkboard assistance is recommended.
(6) I also brought fellow musicians to class with me to jam. (If I had no access to good
players on that particular day, I brought Jamey Aebersold's pre-recorded accompaniments
for 12-bar blues, and I performed alone for the class with their help.) If I was lucky
enough to have a drummer involved, I asked him to identify each piece in his drum kit
and the function it served in the performance. (See Steve Gryb's DVD Listening to Jazz
for examples.) If I had a pianist or guitarist, I asked him to explain comping before he
demonstrated it. If I had a bassist, I asked him to demonstrate walking bass style. Note:
How much you perform during that first class period and how much you and your
musicians explain depends on how much time you have. (It pays to be organized and it
pays to be very concise.)
The first class is crucial to getting students enthused about the course. So try to be
as energetic and positive as possible, without overwhelming your newbies with too much
information. For many of your students, this experience will be the first time they have
ever heard jazz. A live performance sets the pace for the course and gives you a terrific
reputation on campus.
Taking care of business. Before concluding the meeting, I made sure that all the students
had a copy of the (7) course syllabus so they knew all the course requirements, and I (8)
showed them the book and recordings that they needed to buy in order to fulfill their
assignments before the next class meeting.
PREVENTING CONFRONTATIONS ABOUT GRADES
A major consideration regards the single greatest damper on your having fun in
this course: issues surrounding tests and grading. Students take such things so seriously
that they often forget the purpose of the course. They accidentally lead you to dwell on
such matters, to the exclusion of your main purposes. Therefore, it is advisable to
announce in your syllabus and to frequently reiterate in your first lectures that the
purpose of the course is two-fold: "to turn you on to jazz" and "to improve your hearing,
12
without surgery." If you acknowledge all this ahead of time, you can forestall the agonies
and hostilities that always arise otherwise.
The only strategy that ever worked for me in hostilities about grades was to
present a very detailed syllabus. Some of mine ran to 14 pages of single-spaced typing
that spelled out every assignment's textbook page numbers, listening selections, hints for
focusing on particular aspects in the listening experience, and all the course requirements:
a. exam dates,
b. exam content,
c. exam format,
d. where and how exam results will be available,
e. whether exam grades are contestable (if so, what is the appeals procedure),
f. due dates for term papers and reviews (including dates for outlines and
rough drafts; penalties for lateness),
g. grading criteria,
h. absence policy (what are the consequences of missing class?),
i. missed exam policy (scheduling make-up's),
j. what constitutes an acceptable album review or concert review (provide models
and lists of the critical features).
See the sample learning goals and grading criteria at the end of this chapter. But
note that it does not constitute a syllabus. It is only the grading scheme for one. A
true syllabus includes all lecture topics, assignments listed by textbook page
numbers, and recordings, all of which are detailed for every date of the semester.
Sample tests and quizzes were provided, along with scoring criteria and final
grade computation formulae. Then I said, in class, that I was willing to spend any time
necessary during the first week of the semester to discuss any aspect of course grading
that anyone wished, for as long as anyone cared to spend. In addition, I tape recorded all
the first week's class discussions, made spare copies of all the tapes, and I announced that
they were available to anyone who missed hearing the discussions. But I also told them
that, after the first week, I would never again spend any time discussing tests or grading,
in class or outside of class. The only topic to which I would devote any time was jazz.
After laying out something that comprehensive, you should be free to relax and have fun
with the music, and so should your students. Students take grades very seriously.
Where there is little uncertainty about what is expected (and when it is due), there is little
anxiety. And where there is little anxiety, there is even less hostility and confrontation
about tests and grading.
Here is an excerpt from a model for a grading scheme to include in the
syllabus that you give your students on their first day of class. This is not a
complete syllabus in and of itself. A real syllabus also includes lecture topics,
textbook pages and listening assignments for each class meeting. It also includes
due dates for all written assignments, penalties for missing due dates, attendance
policy, and it presents the criteria by which each assignment will be graded. Below
13
is also a set of goals that might be included in a syllabus to help your students focus
their studying. These are offered here merely as samples to get you going if you
have never taught the course before. Before putting your course syllabus together,
you must contemplate your own goals by deciding what you really want students to
retain from their brief semester with you. (Many of these derive from material that
is available only on the Demo CD, not in the textbook.) Its always a guess as to what
will prove to be realistic to expect from your particular group of students. You will
probably modify the goals after a few semesters of experience
Grading Scheme
This course is a perceptual learning experience. There is no way to measure more
than a fraction of the new auditory skills you will acquire. Most of the following
recognition skills would ordinarily be acquired by anyone who seriously pursues
appreciation for jazz by doing the listening, reading and by attending all the
lecture-demonstrations in a course such as this. It might also be acquired by self-study
with the aid of musician friends. However, grades must be assigned because this is a
credit course in college. Therefore, the following guidelines are offered to help you gear
some of your learning to quiz formats that will be used in the class. Dates are attached to
the listening skills goals so that you need not be caught short when quizzes are
administered. A few information goals are also included with some of the listening skills
goals. Quizzes will occasionally draw upon the information outlined in those goals.
Note: Try not to think only in terms of the material needed for quiz passing.
This course is supposed to help you enjoy jazz more. Quizzes and grading
represent only a tiny part of the experience.
Goals for Learning
By January 10, be able to:
1.
offer several different definitions of jazz;
2.
identify jazz when you hear it and say how its sound qualifies it for the
"jazz" label.

1.
distinguish an improvisation based on the 12-bar blues format from one

based on a 32-bar A-A-B-A format;
2.
identify when the bridge occurs while you are listening to an

improvisation based on a 32-bar A-A-B-A form;
3.
identify a solo break when it occurs in a performance;
4.
identify double-time feeling when it occurs in a ballad performance;

14

1.
differentiate the sounds and appearances of soprano, alto, tenor sax and
clarinet;
2.
notice when a chord changes within an accompaniment for an

improvisation.

1.
differentiate the sound of a trumpet from a trombone from a saxophone;
2.
differentiate the sound of a muted trumpet from an un-muted trumpet.

1.
distinguish the sound and the appearance of a ride cymbal from that of the
high-hat;
2.
distinguish time-keeping drumming from coloristic drumming;
3.
distinguish the sound of the snare drum from that of the tom-tom;
4.
distinguish the sounds made by drum sticks from those made by brushes;
5.
explain comping and ride rhythms, and know when you are hearing them;
By February 14, be able to:

1.
tell what instrument is played by:

a. Miles Davis; b. Louis Armstrong; c. Charlie Parker;
d. Dizzy Gillespie; e. Duke Ellington;
2.
distinguish tone with vibrato from tone without vibrato;
3.
distinguish tones containing pitch bending ornaments from unornamented

tones;
4.
list at least 5 reasons why Louis Armstrong is historically significant;
5.
list arranging concepts that Duke Ellington pioneered;
6.
identify growl-style trumpet playing within a recorded passage;

15
7.
identify growl-style trombone playing within a recorded passage.

1.
distinguish the sound of Johnny Hodges from that of Charlie Parker;
2.
distinguish pre-bop jazz piano sound from bop piano sound;
3.
distinguish the sound of Louis Armstrong from that of Dizzy Gillespie;
4.
list at least 3 reasons for Charlie Parker's significance.

1.
differentiate the sound of swing, bop, and free drumming;
2.
distinguish among the sounds of Lester Young, Charlie Parker, Johnny

Hodges and John Coltrane;
3.
indicate when John Coltrane is playing tenor saxophone and when he is

playing soprano saxophone;
4.
differentiate the sound of John Coltrane from that of Cannonball Adderley

on selections from the Milestones album, as on Two Bass Hit;
5.
discuss the various definitions of free jazz and its associated elements;
6.
tell who Bill Evans is and why he is historically significant.
By the end of the semester, be able to do all the above, plus:

1.
tell two different ways John Coltrane was important as a composer;
2.
tell what Weather Report was and why it was historically significant;
3.
explain how misleading the term jazz-rock is;
4.
distinguish the sound of funk bass from non-repetitive-interactive style;
5.
list the ways that jazz-rock/jazz-funk differs from:

a. hard bop;
b. swing;
c. rock;
6.
identify jazz swing feeling when you hear it on a record and distinguish it
from jazz-funk feeling;
16
7.
list at least four ways that jazz differs from rock;
8.
identify similarities between African music and jazz-rock;
9.
distinguish improvised parts from written parts.
17
SAMPLE COURSE REQUIREMENTS

A.
Attend at least 2 live jazz concerts and/or jazz nightclub engagements. (One can
be by a local group, but at least one must be by a national group.) Each attendance
must be accompanied by a 2-page, typewritten, thoroughly proofread review that
must be handed in at least two weeks before the final class meeting. (Two points
of extra credit, equivalent to quiz points, will be granted for every review that is
handed in at the first class meeting that occurs after the event.) In addition to
whatever you feel is significant to say about your experience, you must also list
1.
the instruments that were played,
2.
the form of at least one piece you heard,
3.
the performers,
4.
the time,
5.
date,
6.
place,
7.
price of the event,
8.
an account of your personal impressions of the music that details what you
liked and what you disliked about it and why.
B.
Complete the graphing of recorded solo lines that occasionally will be assigned in
class. In order to receive credit, the work must be handed in within one week of
its being announced in class.
C.
Complete a two-page, thoroughly proofread, typewritten review of one jazz album

(your own or a borrowed one). If you want advice about what to buy, consult the
textbook's chapter endnotes. Within your review, be certain to describe the music
in terms of the categories and musical techniques outlined in lectures (bass roles,
drum roles, era, instruments, etc.) and the form of at least one piece on it (12-bar
blues, 32-bar A-A-B-A, etc.). An alternative to buying or borrowing an album is
recording an hour-long jazz program from the radio or listening to a concert
streamed on the internet and treating it as an album. (Note that you still need to
list correct personnel, tune titles and instruments for all selections, just as you
would in a standard album review.) In order to receive credit for it, this must be
handed in at least one week before the last class meeting.
18
D.
Take at least 8 out of the 9 quizzes that will be administered during the semester
on the dates that are listed in the above course goals. Each quiz counts 3 points.
No make-up quizzes will be given to anyone without a written excuse from the
Dean. All make-ups must be completed before the last class meeting. Your course
grade will otherwise be computed by point total from remaining quizzes.
Assuming on-time completion of all the activities outlined in A-C above, your
course grade will be determined by the semester total from the quiz grades (and
extra credit outlined in A):
23-27 points = 4.0
21-22 points = 3.5
20 points
= 3.0
19 points
= 2.5
18 points
= 2.0
17 points
= 1.5
16 points
= 1.0
less than 16 points total quiz scores and/or missing any work or deadlines from
A-C above = 0.0
Keep track of all your assignment completions and quiz grades. Make a log for yourself,
and enter each item as soon as it is completed. Then you will never need to ask your
instructor about your standing or your course grade.
19
DIFFERENT WAYS TO USE THE TEXTBOOK

No technical knowledge of music is required to understand the contents of
Concise Guide to Jazz, and the text's vocabulary has proven to be comprehensible for
high school students as well as college students. Past editions have been used effectively
in high schools and community colleges, not just universities. Many instructors have
successfully taught their courses from this book without devoting any attention to
technical terms. Other instructors have used the "Elements of Music" appendix at the
beginning of their course to introduce basic technical concepts before discussing selected
jazz styles.
With the Demonstration CD and the Jazz Classics CDs, this text can serve as the
core of a self-paced course of study in which the reader/listener becomes familiar with
the sights and sounds of jazz, separate from the presentations made by the instructor.
Technical concepts that otherwise require lecture/demonstrations by professional
musicians can be learned by pairing the CD with the accompanying text pages. The
contents of the Demonstration CD also can be used as reinforcement of
lecture/demonstrations performed by the instructor, because they provide a handy source
of review materials for study outside of class. Exceptionally efficient instructors have
required that their students learn the contents of the Demonstration CD outside of class.
Then, with the resulting savings in class time, they presented additional historic styles.
Some professors have used Steve Gryb's video adaptation of the Demonstration CD for
the same effect (available as Listening to Jazz, distributed by Pearson as ISBN 0-13601053-9; phone: 800-947-7700; FAX: 515-284-2607; email to seek complimentary
copies via music_service@prenhall.com or sampling_dept@prenhall.com). No matter
what approach is taken to using the book and its CDs, every individual and class is
encouraged to listen to as much jazz, both recorded and live, as possible. The book will
be an effective guide only if reading is accompanied by extensive listening.
For a course in The History of Jazz, the text can be used intact. The text also
provides the essentials for a course called Understanding Jazz if it is accompanied by a
well-chosen collection of recordings (such as the albums cited in endnotes) and several
carefully conceived, in-class demonstrations by musicians. Previous editions of the text
have been used in this way at several colleges, with these chapters providing the keys:
Elements of Music appendix, Chapter 1 (What is Jazz?), Chapter 2 (How to Listen),
and Chapter 3 (Origins of Jazz). Much emphasis was placed on the listening guides that
appear throughout the text. Instructors usually supplemented that material with selected
portions of styles chapters. The portions that give readers the greatest insight into how
jazz is made are the non-biographical units that appear at the beginnings of the remaining
chapters.
Students are often confused and frustrated in courses where instructors do not
routinely follow a detailed syllabus that tells what pages, terms, and musicians the
students must know. Textbooks tend to be overwhelming when students assume that they
must learn everything in them. Helpful teachers tell their students what not to be overly
concerned with. A few examples will clarify this. Whereas some teachers consider
sideman names to be superfluous, others believe that familiarity with every one of
20
Ellington's primary musicians is essential for a minimum understanding of the music.

Whereas some teachers feel that to know Coltrane was an important post-Parker
saxophonist is sufficient, other teachers consider an appreciation of Coltrane's McCoy
Tyner-Jimmy Garrison-Elvin Jones rhythm section also to be essential. And some
teachers want students to remember not only that Coltrane had roots in the style of Lester
Young, but also that Coltrane influenced such recent giants as David Liebman and
Michael Brecker. Some teachers believe that a basic introduction to jazz involves
learning to discriminate soprano from tenor saxophone timbre. Other teachers feel that
such a skill exceeds reasonable expectations for non-musician students. Whereas some
teachers feel that students should be able to recognize the sound of a 12-bar blues before
receiving a passing grade in an introductory course, other teachers are more concerned
that their students remember the birthplaces of famous musicians. Some teachers believe
that an immersion in the sounds of jazz is sufficient, and students need not acquire
knowledge about how jazz is made. Regardless of a teacher's philosophy of education,
students benefit from being told (a) what that philosophy is, (b) what pages to read, (c)
what listening examples on the CDs to study, and (d) what they will be expected to
remember from those materials.
21
CAN YOU TEACH JAZZ HISTORY WITHOUT ACCOUNTING

FOR YOUR STUDENTS' PERCEPTUAL SKILLS?
The instructor who has listened to jazz for many years finds no difficulty in
distinguishing many different styles. For some instructors, it is incomprehensible that
other people cannot immediately recognize the distinctive features of tone quality and
melodic conception that set Clifford Brown apart from Miles Davis or that separate Bix
Beiderbecke from Louis Armstrong. However, most first-time listeners rarely notice such
aspects. Even upon repeated listening, many bright, highly motivated students are unable
to match a musician's name with his sound. In other words, while you are designing your
course and particularly while teaching it, try to remember what it was like to not know
these things and remember what you were like before you developed all these recognition
skills. If you grew up in a musical family and/or a musical neighborhood, try to imagine
growing up elsewhere. That may be helpful in getting perspective on precisely what your
students are bringing with them.
If you acknowledge the low-level listening skills that many students bring with
them, you can help them and prevent losing their interest by requiring recognition of
players on only a few instruments in each era. It may be best to hold students responsible
for identifying the styles of only two major figures per instrument per era.
If you do not spend a week or two discussing the Elements of Music appendix
before launching your chronology of styles, consider first requiring familiarization with
the contents of the Demonstration CD and/or the Steve Gryb Listening to Jazz video and
devoting a week to Chapter 2 (How to Listen). Note that for most students it is not
realistic to expect transfer of knowledge about syncopation, for instance, from its
presentation in the Elements of Music Appendix to actually identifying examples in the
music.
When you cover Chord Progressions and Tune Construction in the
Demonstration CD, you might assign the beginning of the avant-garde chapter for
discussing how free free jazz actually is. It describes how chord changes guide solo
improvisations. This is a splendid time to bring musicians into class, run a question and
answer session, and make the musicians and your students pick apart the musical roles of
improvisers. This may reveal how musicians know what to do at a jam session.
Chapter 2 (How to Listen) requires much classroom illustration before it affects
the listening skills of your students. Therefore, if you are a jazz musician, your students
will be grateful when you bring in your own combo and demonstrate each principle
(12-bar blues, 32-bar A-A-B-A format, stop-times, double-times, bridges, comping,
trading fours, ride rhythms, walking bass patterns, etc.). If your own combo is not
available, organize a combo of student musicians. During demonstrations, it is handy to
have students turn to Elements of Music Appendix pages and follow along. The charts on
page 275 provide a useful guide for your lecture/demonstration as well as a review that
your students can study later. They can use it to accompany their own listening
assignments, too.
22
If you do not have the cooperation of a group of musicians, use Music Minus One
records or the Play-Along format available on Jamey Aebersold's series of recordings: A
New Approach to Jazz Improvisation. (I like Vol. 6, Charlie Parker - "All Bird", because
it has a twelve-bar blues, a couple of 32 bar A-A-B-A pieces, and solo breaks. And it has
stereo separation that allows you to play the walking bass sound in isolation if you want
to demonstrate that style, and/or improvise over it yourself.) You can get the Aebersold
recordings quickly via phone: 800-456-1388; by FAX: 812-949-2006;
www.jazzbooks.com or by writing Jamey Aebersold, P.O. Box 1244-D, New Albany, IN
47151-1244. Current prices appear in recent issues of down beat and International
Musician.
If you don't play jazz yourself, it is especially handy for your students to have a
guest player visit class and explain and demonstrate jazz improvisation. You might be
able to get by with only a pianist and bassist, but a trio or quartet would be more
comprehensive. The earlier in the semester this happens, the more your students will get
out of their remaining listening assignments because they will know what happened in
the recording studios to make the music, and they will have a better appreciation for the
extent of spontaneity in jazz.
It is important to help students learn to distinguish instrument sounds that are
common to different eras in jazz history. Therefore, require familiarity with the
Demonstration CD and Steve Grybs Listening to Jazz DVD, and consider comparing
these pairs of sounds in live demonstrations:
drummer using sticks vs. drummer using brushes (on drum and on cymbal)
electric piano vs. acoustic piano
muted trumpet vs. un-muted trumpet (bring in Harmon and cup mutes)
trumpet vs. trombone
alto sax vs. tenor sax
To further help students distinguish saxophone timbres, play recordings by
musicians who play similar styles but blow different sized horns. For example, play:
Charlie Parker vs. Sonny Rollins (1950s)
Lee Konitz vs. Stan Getz (Cool) (both play on "No Figs" on the Jazz Classics
CD2 from Jazz Styles textbook)
Cannonball Adderley vs. John Coltrane (early 1960s) (Both play on Two Bass
Hit on the Milestones album, excerpted on the Jazz Classics CD1 for Concise
Guide to Jazz, and on "Flamenco Sketches" on the Kind of Blue album, excerpted
on Jazz Classics CD2 for the Jazz Styles textbook.)
David Sanborn vs. Michael Brecker (1970s)
23
One instructor told me he never covered such things in his jazz history class and
did not require the Demo CD because most of his students have played an instrument and
already recognize the sounds. Yet his course was for non-music majors, he had never run
any surveys, and he did not really know how many of his students could recognize all the
instruments on recordings. On the other hand, in surveys on students in jazz history and
jazz appreciation courses all across North America, I have found that there are always
some students in such classes who cannot recognize all the instrument sounds. Surveys
reveal that from 40 to 60% of students in most Intro to Jazz courses have never played a
musical instrument. Very few students can identify soprano sax or the muted brass.
(Music majors who are non-jazzers cannot be expected to know high-hat or ride cymbal.)
Some amateur musicians themselves in those classes have told me that they dont know
what their instructor is trying to get them to recognize. In many of these classes, the
majority of students have no musical background at all. Other observations may help put
this into a larger perspective. I have encountered veteran jazz fans, some of whom are
published discographers, who still cannot distinguish an alto saxophone from a tenor
saxophone on a jazz recording, and many fans, including disc jockeys and jazz
journalists, who dont know what a high-hat is or what sounds on a recording are coming
from it. I even discovered that several eminent discographers had not detected the sound
of a tuba on a famous 1923 recording.
Another instructor told me that the Demo CD was not necessary to teach his
students any instrument identifications because students heard only one soloist per chorus
on the selections he played in class from SCCJ and the Jazz Classics CDs. He assumed
they had learned them by his identifying them once in class. Yet I have interviewed his
students and found a number who still reported not knowing what instrument was making
each sound. This was especially true in busy, thickly layered numbers such as Harlem
Airshaft. In fact, I have found students hearing the solos of Cootie Williams and Joe
Nanton without realizing that the sources were a trumpet and a trombone. And many
could not account for the sounds that you and I know to come from the saxophone
section, the muted trumpets, or the trumpets and trombones playing together. Moreover, I
have found Kenny G fans who dont know that the sound they love so much is coming
from a soprano saxophone.
A number of instructors have told me they dont risk neglecting lack of
background in their students. They have mentioned that even many of their music majors
dont know the I-IV-I-V-I blues progression, or the parts of the drum set, for instance. It
might help to realize also that there are non-jazz music professors who themselves dont
know what goes into the process of improvising jazz. (I once took a Ph.D. music
professor to her very first jazz concert, and this professor at that time was writing an
introductory music appreciation text.) The moral of these stories is that it is not safe to
assume any jazz-relevant knowledge, even from students who might have played an
instrument before college. So, despite your own confidence in the sophistication of the
jazz listeners in your classes, instrument sounds need to be repeatedly identified during
lectures, and the Demo CD is essential for students to own and use by themselves for
reviewing such sounds. It may be best to err on the side of caution.
24
CONVEYING THE EXTENT OF SPONTANEITY IN JAZZ

Students in jazz appreciation classes need to understand that most of what they
are hearing on recordings was being made up by the musicians as they were performing
it. Instructors tell me that their students often come back from attending live
performances and report that the musicians were playing memorized solos and/or reading
all the music from sheets! If such students were attending jazz combo performances,
they were obviously confusing non-jazz formats with jazz format. As speaker at a
booking agents conference, I discovered that most agents are also unaware. Classical
soloists frequently perform without sheet music. However they do this because they have
memorized, note-for-note, their entire part. Jazz musicians, on the other hand, usually
perform without sheet music, not because they are playing memorized parts, but because
what they are playing is not written down. It is being created at the very moment the
audience hears it. If they have memorized anything, it is the chord progressions providing
the harmonic basis for their improvisations. It is therefore essential to stress to your
students that jazz musicians do not perform without sheets because they have memorized
their entire parts, note-for-note. The only part the jazz musician has memorized is the set
of underlying harmonies to the piece. All the rest of the solo is being made up as he goes
along. It is essential to explain that when jazz musicians do perform from sheet music, it
is usually for the purpose of following the chord changes. In fact, jazz musicians rarely
refer to the music as "a score" or as "sheet music." They call it a chart, probably
because that is exactly what it looks like. (Bring a real chart to class for students to
examine so that they can see long stretches of nothing but the chords and slashes that
indicate the organizing harmonies and their respective durations. If you have a large
class, it would be best to make a transparency of an excerpt, and project it onto a screen.)
Another confusing experience for the novice jazz fan is to witness a performance
by a large jazz ensemble. This presents complications because little of the music in such
big bands really is improvised. It is just a swinging concert band, with most of the
musicians reading all their parts, note-for-note. (You can get around the problem by
endorsing combo performances that will fulfill course requirements for attending live
gigs.) But if the students do attend a big band gig, you must explain to them beforehand
that when a musician stands up alone and plays a solo, that solo is improvised. And if the
musician looks like he is reading his part, it is the only the sequence of chords that he is
reading, not a note-for-note copy of his solo. In the case of combo performances, the
musicians might have memorized preset introductions, endings and transitions, as well as
theme statements at the beginning and end of a piece. However, identifying such
organizational aspects should not be allowed to confuse the listeners into thinking that the
bulk of the performance is also memorized. The bulk of the performance is spontaneous.
The solos are spontaneous, and the accompaniments for the solo improvisations are
spontaneous.
25
Jazz is improvised music. However, for most people, the idea that a musician can
simultaneously compose and perform coherent music that has not been rehearsed is quite
difficult to comprehend, perhaps impossible to believe. Therefore, the instructor must
spend considerable class time explaining and demonstrating this. Many courses are taught
in a strictly historical manner. Unfortunately, the graduates of those courses attend jazz
performances without really knowing that they are hearing spontaneously conceived
music resulting from little prearrangement, far less prearrangement than is used in most
other music familiar to them.
Demonstrating the act of improvisation is easy for the instructor who himself is a
jazz musician. All he needs to do is tell the class that he is about to make up something
new for them, and then proceed to play it. He must assure them that what he is doing is
genuinely off the top of his head, and sometimes it helps when he uses themes and
melodic fragments that his students supply. Those instructors who are not players might
be a bit nervous about demonstrating improvisation. But they should not be. They can
discuss the analogy to speech. Ask the question "Is everything you say something that
you have said in exactly the same way before?" Students will say, "Of course not." Then
explain that, "We choose from words we already know, and we improvise sentences with
them, just as jazz musicians choose notes and rhythms to improvise musical sentences."
Another way is to draw upon recordings that show how jazz musicians rarely play the
same tune the same way twice. (Albums of alternate takes are handy for doing this.)
Another strategy is to simply teach your students a song such as I Got Rhythm (Don
Byas has a version on SCCJ). Then indicate the chorus lengths within improvised solos.
Once your students can determine when one chorus starts and another leaves off, tell
them to compare solo choruses. Short of playing the first few measures of two versions of
the same ballad by the same improviser in the same key at the same tempo, this should
help convey the principle of improvisation to your students. This is also demonstrated by
(Meet the) Flintstones on the Demo CD.
If everything is totally new to listeners, they are unlikely to be capable of
recognizing what is different from one version to another or from one chorus to the next.
For example, if a student does not know the melody to Body and Soul, Coleman
Hawkins' entire solo on it will sound improvised! For this reason, first employ only the
simplest melodies and the simplest improvisations. I had much success with Freddie the
Freeloader from the Miles Davis album, Kind of Blue. The piece is a 12-bar blues, a
form you would already have taught. The melody line is very clear and uncomplicated,
and the Miles Davis trumpet solo is easy to sing along with. Just get the students to learn
it and sing along with it. Then compare each successive chorus. By the third chorus of the
Davis solo, students will have grasped the idea of improvisation.
26
IT IS EASY TO HELP STUDENTS HEAR THE CHORD CHANGES

If you are not a musician, you might be intimidated by the prospect of helping
your students hear chord changes. However, if you take a moment to run through the
exercises in the Elements of Music appendix, you will be adequately equipped to
provide your students with all the help they need. Just find a piano, and then follow the
step-by-step instructions that have the piano keyboard illustrations (follow the dots).
Then require students to study those same examples as they are heard on the Demo CD.
Several non-musician instructors have told me that they use the appendix routinely at the
beginning of the course. Some even require their non-musician students to compose an
original 12-bar blues! (But if you do this, first explain the concepts of paired couplets and
iambic pentameter.) A number of students told me that, independent of their course
requirements, they performed the Elements of Music exercises with no trouble. (Some
became so interested that they decided to get formal music lessons thereafter.)
Most students are not sufficiently motivated to complete all the exercises
independently. Therefore, it is a good idea to perform several of the counting/listening
exercises in lecture and require students to review them later by themselves on the Demo
CD. Don't feel shy about pulling the 12-bar blues illustration directly from the book.
Your students will thank you for coaching them on something they can then try again by
themselves. This advice also applies to the listening guides for the pieces by Duke
Ellington, Count Basie, and Miles Davis.
It is essential that you teach your students how to determine the tempo of a piece
and how to find where the first beat of a measure is. Only when you have assured
yourself that they can do this can you expect them to do it for a grade. For instance,
something as complex as Harlem Airshaft (on the Jazz Classics CD1) requires your
loudly counting every beat as it goes by and announcing each section as it arrives. Some
instructors make stereo tape recordings in which one channel has music while the other
has counting. Students can use both channels until they get the hang of it, then they can
switch off the counting channel when they are ready to listen without such cues. All the
listening guides in Concise Guide to Jazz tell how many seconds pass for each main
event. In that way, the students can verify their perceptions of musical events because
many CD players have indications for the passage of time.
Some professors require students to construct event diagrams for at least one brief
passage of one selection each week. The ups and downs of the solo line indicate pitch,
and the line lengths indicate durations. Expression of accompanying sounds can be made
graphically and organized in terms of beats in the song form. You might choose to have
students juxtapose beats, song form, and seconds. Some instructors base their listening
exams on such formats. One of the easiest places to begin training for such a task is the
very slow Flamenco Sketches, from the Miles Davis album Kind of Blue, available on
the Jazz Classics CD2 for the Jazz Styles textbook. The selection is based on five modes
and analyzed, measure-by-measure, in the listening guide in that books Miles Davis
chapter.
27
Students catch on to these principles and acquire these skills quickly if you first
count each beat out loud with the music: 1234 2234 3234 4234 5234, etc., all the time
using a pointer to indicate the pieces construction on an overhead projection or a
chalkboard chart. (Illustrations are on the Demo CD.) Remember that it is too much to
expect students to identify the actual chord. You need only expect them to identify the
moment when the chord changes. This becomes especially easy on Jazz Classics CD2s
Maiden Voyage, that accompanies the Jazz Styles textbook, and the tracking for it is
actually keyed to such changes. The goal is to provide them with a glimpse into the
mental activities of the improviser by providing information about one aspect the
improviser must always keep track of while creating new lines. (Freddie Hubbard
demonstrates this beautifully in his solo on that selection.) Note, however, that such
material usually doesn't mean much unless it is preceded by the basics that are found in
the Elements of Music appendix, accompanied by about a week's worth of
demonstrations, question and answer sessions, and close study of examples on the Demo
CD.
28
PITFALLS TO AVOID
Now let's turn to a few pitfalls that almost everyone encounters. Having talked
with dozens of instructors during their first semesters of teaching this course, I have
identified these assumptions that can trip you:
1.
The book has 11 chapters, and I must cover them all.
No, don't even try. Just take five to ten that you feel comfortable with, and then do
justice to each, and forget the rest. However, try to spend at least a week on
contemporary sounds. Your students will be disappointed if you don't give some
respectful attention to their favorites, or at least to musicians who are still living and
performing.
2.
People already know how to listen, they've been listening all their lives.
Not true. Observations by other instructors and my own studies of listener cognitions,
show that most non-musicians do not actively listen, they do not focus on individual
parts. Note that this statement requires important qualification. It does not say that nonmusicians are incapable of focusing. It says only that frequently they are not in the habit
of focusing. In fact, several reputable studies have shown that non-musician listeners are
just as capable as musician listeners. Once they are told how to follow a sound or a group
of sounds, they can attend as well as musicians can.
3.
Students already know who Benny Goodman , Miles Davis, Louis

Armstrong, and John Coltrane are.
No, they don't. Even those few students who might recognize the names, rarely know
what instruments were played by these musicians, much less their respective era or
sound. For the most part, your students are going to be learning a foreign language from
you, a language in which almost all the names and sounds are fresh. So when you are
lecturing, keep in mind that you and your students do not share a common frame of
reference. You must provide all their prerequisite knowledge before proceeding in your
course.
4.
In one week, I can explain the fundamental principles behind chord

change-based improvisation, mode-based improvisation, and free-form
improvisation via demonstrations and many examples of the 12-bar blues
and 32-bar A-A-B-A forms.
No, you can't. You might be able to mention all these principles, or review them aloud for
yourself in a week. But you cannot get your students to the point of comprehending what
it means for an improviser to select his notes from the framework of the 12-bar I-IV-I-V-I
progression or alter his phrasing when he comes to the bridge of a 32-bar A-A-B-A song
form and what rules keep strangers at a jam session playing well enough together to
29
create a respectable performance without knowing each other or having any prior
discussion among themselves. However, you could do it if you allowed yourself more
time, perhaps 2 or 3 weeks. And you could do it if you:
5.
a.
frequently brought musicians to class and;
b.
played "Misty" or the "(Meet the) Flintstones" theme (the only 32-bar
A-A-B-A songs they are all likely to know) while;
c.
counting measures aloud and;
d.
used charts on the chalk board to guide the listening of your students while
the musicians are playing
e.
played several slow, simple, blues pieces (by B. B. King or T-Bone

Walker, or Hound Dog by Elvis Presley, perhaps), then;
f.
gradually moved to more complex pieces (from blues by Bessie Smith to

blues by Count Basie to Charlie Parker to John Coltrane);
g.
all the while, requiring your students, outside of class, to practice counting
the beats to blues pieces that were on reserve in their library or
recommended as downloads or streamed from the internet.
Students already know the instruments in jazz bands.
No, they don't. You must show them and demonstrate them. Remember that saxophones
are not common, especially in symphony orchestras and even in rock bands.
Furthermore, even if a non-musician does see one, if no one tells him what it is she will
still not know what saxophone it is, and she will know nothing about the differences
among soprano, alto, tenor, and baritone saxophones. (The first time they saw it, most of
my students thought the soprano sax was a metal clarinet.)
Perhaps a few anecdotes will give us more perspective. A dean at my college,
who knew that I played flute, was reading the newspaper and saw a publicity photo of me
holding my flute, and exclaimed, "Mark, I didn't know you played clarinet, too." (And
this was a man who previously had reported to me that he was "a jazz fan"!) I also
remember a particular nightclub gig in which I was playing flute with my guitarist and
acoustic bassist, and one enthusiastic patron ran up to us to compliment my bassist on his
"cello" solo and me on my great "clarinet" playing. (This was the same patron who had
previously told me how much he liked jazz and how large his record collection was!) It
may also be instructive to note that several of my students confused the saxophone with
the trumpet in listening to their copies of the Miles Davis album, Kind of Blue.
A few more anecdotes should help complete our perspective on the normal extent
of ignorance in the population at large. Once I was being interviewed on radio by a well30
known jazz disc jockey. And, after listening to a Stan Getz record and hearing me say
"This featured Stan Getz on tenor sax," the disc jockey said to the audience that she'd
assumed that Getz was playing alto sax. That makes me recall the time I was driving my
young bassist to a gig, while the car stereo was playing an Eric Dolphy bass clarinet
improvisation, and my bassist commented, "What an unusual tone that alto saxophonist
has!" Then there was my gig for a private party at a millionaire's house. When we took a
break, I set my flute on the piano and sat on the couch, away from the guests, but still
within earshot. Soon a guest sat down at the piano and started playing old Irish songs, and
several other guests gathered around him. One looked at my flute, and said to the other,
"That's an oboe, isn't it?" The other replied, "No, it's a clarinet." And the guest kept on
playing piano. No one offered any further corrections. Not even the piano-playing guest
seemed to know what instrument Id set on the piano.
These anecdotes are cited here, not for their comedy value, but because they
reflect the limits of instrument familiarity you are likely to encounter among your
students. Humility in this concern might be afforded when you ask yourself how many
jazz friends of yours can differentiate a viola from a violin, by sound or appearance. Yet
classical players find this to be a major distinction, though it is no better known a
distinction among outsiders than are the distinctions between the alto and tenor sax or
between the clarinet and soprano sax. And how many people do you know who can open
the hood of their car and name all the engine parts underneath? The point is that we all
possess specialized knowledge that we accidentally assume is possessed by the
population at large. So, at least in the case of instrument identifications, one solution is to
frequently direct your students to the instrument photos in their textbook while they are
listening to recordings of the sounds made by those instruments. Another solution is to
require students to familiarize themselves with all the instrument sounds on the
Demonstration CD. Incidentally, many probably will not do that unless you promise to
require such identifications on exams.
TROMBONES are pictured in chapters on Origins of Jazz and early jazz.
SOPRANO SAXOPHONES are pictured in chapters on early jazz, Coltrane (page 175)
CLARINETS are pictured in the chapters on Origins of Jazz, Early Jazz and Swing.
FLUEGELHORN is pictured in the swing chapter.
TUBA is pictured in the early jazz chapter (as Sousaphone).
BARITONE SAXOPHONE is pictured in chapters on swing and cool jazz.
VIBRAPHONE is pictured in the bop chapter.
TENOR SAXOPHONES are pictured in chapters on How to Listen, swing, bop, hard
bop, avant-garde and NOW.
31
ALTO SAXOPHONES are picture in chapters on swing, bop, hard bop, cool, avantgarde, and NOW.
TRUMPETS are pictured in chapters early jazz, swing, bop, hard bop, and NOW.
BASS VIOLS are pictured in almost every chapter.
BASS GUITARS (FENDER BASS) are pictured in the fusion chapter.
BANJO is pictured in the Origins of Jazz chapter.
DRUM SET is pictured in almost every chapter.
ELECTRONIC KEYBOARDS are picture in fusion chapter.
HIGH-HAT CYMBAL APPARATUS is pictured in the How to Listen chapter.
There is another method for helping students learn to match the appearance with the
sound of jazz instruments, and it increases student attention and enthusiasm, too. Simply
gather jazz movies, DVDs, and videotapes for class presentation. If your department has
a budget for such materials, just watch the reviews and advertisements in down beat and
Jazz Times. Then order whatever videos look intriguing. A few distributors include
Rhapsody Films, P.O. Box 179, New York, NY 10014 (phone: 860-434-3610); Jazzland,
Box 366, Dayton, Ohio 45401 (phone: 800-876-4467; www.landofjazz.com); and Jamey
Aebersold (P.O. Box 1244-D, New Albany, IN 47151-1244; phone: 800-456-1388).
Every city has at least one person who collects jazz films, and usually he videotapes
jazz-related shows from television. So make friends with that person and begin
borrowing materials. Libraries, especially some of the larger ones, also lend jazz-related
films. If yours does not own the important ones, they can order them for you via
interlibrary loan. To keep up with much of the material in jazz pedagogy, subscribe to
Jazz Times. They review new books, albums, and videos in their publications. Jazz Times
subscriptions can be obtained at: 85 Quincy Avenue, Suite 2, Quincy, MA 02169; phone:
800-437-5828; www.jazztimes.com.
32
CONSIDERATIONS REGARDING NONMUSICIANS IN GENERAL

EDUCATION COURSES
They differ from musicians in:
1. listening skills
2. motivation
3. vocabulary
4. previous exposure to music, particularly jazz
1. LISTENING SKILLS ARE WEAK with respect to:
a. detecting the beat ("Where's 'one'?")
b. identifying the instruments
I taught jazz history for about 2 years before realizing this. A student
came to me after class and said, "When you drop the needle down on a
record and say, 'Listen to the trumpet' or 'Listen to the sax,' I don't know
which sound you mean."
c. acknowledging every note in a melody line
(Contour might be all they are accustomed to following.)
d. noticing components of accompaniment
(comping, walking bass, etc.)
e. hearing chords change
f. sustaining attention for any given part
(unless it has words)
Remember: IN TODAY'S CULTURE, MOST MUSIC IS BACKGROUND MUSIC.
There is music all around us. Therefore most PEOPLE LEARN TO TUNE IT OUT, at
worst, or hear only slices of it, at best.
FOCUSED LISTENING IS NOT A COMMON HABIT.
2.
ACADEMIC MOTIVATION AND SELF-DISCIPLINE ARE LOWER THAN

IN MOST PEOPLE WHO HAVE BEEN PLAYING INSTRUMENTS FOR
MANY YEARS.
Non-musicians are less inclined to:
a. prepare for class on their own
b. study without the threat of a quiz or exam grade
c. attend concerts or jazz club gigs unless for credit
d. study more than about 3 hours per week per course
At one university, two students told me they got A's on their midterms and
assumed they would do just as well for the entire course. But they got C's for their
course grade. It was a 10-week course with only a midterm and a final. So they
must have flunked the final. Apparently, the midterm format was informationonly, no listening, but the final had listening items. So I asked whether the
33
instructor had made listening assignments throughout the quarter. The students
said HE MERELY TOLD THEM, "LISTEN TO THE TAPE THAT COMES
WITH THE BOOK." And, the students insisted that they did precisely that. They
listened to the WHOLE TAPE the night before the final!
This made me remember a graduate course I had taken at the beginning of my
doctoral studies. The course grade was based entirely on one term paper. I got an
"A" because I wrote well and had original ideas. But I only read the assignments,
never really LEARNED them.
Then I remembered an English course I'd taken in which the professor was prone
to pop quizzes. I now recall it being the ONLY course for which I really
attempted in-depth understanding of each assignment BEFORE coming to class.
Otherwise, as one of my other professors contended, the only time any real
learning occurred on that campus was during midterms and finals weeks.
The trouble with this motivation situation when it comes to jazz appreciation is
that listening skills develop in ways similar to mathematics prowess. HIGHER
SKILLS BUILD ON EARLIER ONES, AND IT TAKES A GRADUAL BUT
CONTINUOUS PROCESS TO ATTAIN COMPETENCE. That's why math
courses have daily assignments that have to be handed in, recitations, and frequent
quizzes.
One of my musician friends teaches a jazz appreciation course, and I'd met some
of his students on my gigs and found that they did not know anything about what
was going on or what to listen for in the music. He didn't know that I knew this.
So, once at a private party that he and I were playing with a bassist who was a
music education major, I asked him how he taught the course. He said he showed
videos, assigned a book report, a concert review, and put my book on sale in the
bookstore. I asked him whether he'd ever CONSIDERED GIVING QUIZZES
TO CHECK WHETHER HIS STUDENTS READ THE BOOK OR LISTENED
TO THE TAPES. He said, "Hell, no! WHAT DO YOU WANT ME TO BE?
THE JAZZ POLICE!?" (My bassist interpreted this as not taking teaching
seriously.)
3.
VOCABULARY OF MUSICAL TERMS AND FAMILIARITY WITH THE BIG

NAMES IN JAZZ IS USUALLY NEGLIGIBLE.
Previous exposure is scattered, particularly with respect to any jazz that was
popular prior to their high school years.
Don't count on recognition or reverence for Louis Armstrong, Duke Ellington, or
even Miles Davis, or any tune familiarity, either, except perhaps for "(Meet the)
Flintstones."
34
HOW CAN YOU ACCOMMODATE THESE DIFFERENCES?

1.
Use class time for coaching, not lecturing

a. present many listening exercises
b. emphasize many re-hearings
For instance, I usually spent at least 30 minutes replaying brief segments
of Harlem Airshaft and asking students to tell what they heard each time. Only
after many such exercises did I play the selection in its entirety. Then when I did,
I required students to listen with their eyes closed.
Note: Music learning is not the only task that requires re-hearings. For instance,
why does directory assistance tell you the phone number twice?
Why cant you retain foreign-language words as well as English words?
Remember that jazz is essentially a foreign language to your students.
c. Adhere to the philosophy of LESS IS MORE.
Rather than trying to share your love for as many sounds as possible,
select a few, and do them justice with in-depth attention. And always do it at your
students' pace, not yours.
Don't be afraid to skip around among the topics in your course textbook.
(I never covered more than half of the big names in my own book in any given
semester, though I alternated what I cut from term to term.)
Whatever information you merely lecture on, you could just as easily
relegate to reading assignments, thereby freeing up valuable class time for
activities your students could not do as well without you. (Think of yourself as a
listening skills coach, not as a purveyor of information.)
2.
Structure your course to devote at least a third to the basics of listening skills,
thereby covering fewer styles, but with greater depth of listening.
3.
Spend time IDENTIFYING STYLE CHARACTERISTICS and LISTENING

FOR THEM during class, instead of reciting sordid biographical information and
social history that has no value at increasing depth of listening. (Have you
noticed that some current jazz history texts read like the NATIONAL INQUIRER?)
4.
Require explicit, questioning-style listening homework for every class period,

with listening quizzes as follow-ups.
"How did the clarinetist's approach differ from the trumpeter's? (More notes?
Jumpier? Less swinging? More surprises?)
"Which solo did you like the best? Why?
35
Hum back a few of your favorite phrases. Were they harder to follow than the
other solos? If not, why?"
After giving students familiarity with a few important sounds, such as Harmonmuted trumpet or walking bass, for instance, send them on "scavenger hunts" for
other examples. (Harmon-muted trumpet is currently common in movie
background music, as is the Jaco Pastorius electric bass sound of sustained,
ringing tones that have a high center of gravity.)
Don't merely tell students: "Listen to the CDs that came with your book" or
"The CDs on reserve will be on the final exam."
THE TWO MOST IMPORTANT ASPECTS OF THE MUSIC TO CONVEY in a jazz
history or appreciation course for non-musicians are (not history or biography):
1.
IMPROVISATION
a. what it is
b. how to recognize it when it happens
c. how to follow it
Here is a story to illustrate how important those aspects are. One night on my gig, three
students from a jazz appreciation course came to the closest table to listen and review our
music. After I'd played an entire set of jazz, one said to me,
"Please be sure to tell us when you start improvising."
Their teacher had never explained the standard performance routine to them (tune,
improvisation, tune). And, when they saw a fakebook on the stand, they apparently
assumed we were reading every note, as classical musicians do. It never dawned on them
that we would have been turning lots of pages if we really were reading all our notes
from the sheet.
2.
HOW TO HEAR THE DIFFERENT PARTS and recognize the roles they play in
relation to each other, for example, comping and walking bass.
Later you can worry about how many styles to introduce.

But only after these first two aspects are firmly understood do the styles get fully
appreciated and differentiated.
This is what students will carry with them, long after they graduate and long after they
forget the names and the style periods. (I have interviewed A students at several
different colleges, a few months after the end of their semester and found that they rarely
could remember the era for any of the major players, and most have forgotten the
instruments they played.)
36
VIDEO RESOURCES FOR TEACHING JAZZ APPRECIATION

Gryb, Steven D. Listening to Jazz (Prentice Hall, 1992) ISBN 0-13-601053-9; available
by phone 800-947-7700 or web prenhall.com; DVD/52 min.; demonstrations of
instruments and their roles, corresponding to the audio on the Demo CD for Mark
Gridley, Jazz Styles: History and Analysis.
After Hours [plus Jazz Dance] (Rhapsody, 1961; c2000); VHS/49 min.; featuring
Coleman Hawkins, Roy Eldridge, Milt Hinton, and Cozy Cole.
The Coltrane Legacy (VAI: 4220, 1985, c2002); DVD/61 min.; John Coltrane performing
with Eric Dolphy, Elvin Jones, McCoy Tyner, Reggie Workman, and Jimmy Garrison;
interviews with Jones, Workman, Jimmy Cobb, and Roy Haynes.
Duke Ellington in Hollywood (Idem: 1029); DVD; film clips of Ellington bands, 19291943.
Great Performances: Lester Young Charlie Parker Miles Davis (Idem: 1057, c2003);
DVD/60 min.; Jammin the Blues with Lester Young; Charlie Parker (1952 with Dizzy
Gillespie and 1950 with JATP); and Miles Davis with John Coltrane & Gil Evans.
One Night with Blue Note: The Historic All-Star Reunion Concert (Blue Note/EMI
Video: 96008, 1985, c2003); DVD/120 min.; Bobby Hutcherson, Herbie Hancock, Ron
Carter, Freddie Hubbard, Joe Henderson, Tony Williams, Art Blakey, Curtis Fuller,
Johnny Griffin, Kenny Burrell, Grover Washington, McCoy Tyner, Jackie McLean,
Woody Shaw, Jack DeJohnette, Charles Lloyd, Jimmy Smith, Cecil Taylor, and others.
Piano Legends (VAI: 4209, 1986, c2001); DVD/63 min.; hosted by Chick Corea;
includes Earl Hines, Mary Lou Williams, Fats Waller, Art Tatum, Teddy Wilson, Bud
Powell, Thelonious Monk, Lennie Tristano, Dave Brubeck, Horace Silver, Bill Evans,
McCoy Tyner, Cecil Taylor, Keith Jarrett, and others.
Reed Royalty (VAI: 69072, c1992); VHS/58 min.; hosted by Branford Marsalis; includes
Benny Goodman, Sidney Bechet, Benny Carter, Johnny Hodges, Charlie Parker, Sonny
Stitt, Cannonball Adderley, Gerry Mulligan, Lee Konitz, Eric Dolphy, Ornette Coleman,
Anthony Braxton, and others.
Satchmo (Columbia Music Video: 49024, 1989, c2000); DVD/86 min.; the career of
Louis Armstrong.
The Sound of Jazz (Idem: 1058, 1957, c2003); DVD/70 min.; an unedited copy of the
kinescope of the CBS broadcast with performances by Henry Red Allen, Count Basie,
Lester Young, Coleman Hawkins, Ben Webster, Billie Holiday, Roy Eldridge,
Thelonious Monk, Jimmy Giuffre, and others. This has the famous Fine and Mellow
with Holiday and Lester Young.
37
Tenor Titans (VAI: 69073, c1992); VHS/60 min.; tenor saxophonists: Coleman Hawkins,
Lester Young, Stan Getz, Dexter Gordon, John Coltrane, Wayne Shorter, Sonny Rollins,
David Murray, and others.
Thelonious Monk: Straight No Chaser (Warner Video: 11896, 1988, c2001); DVD/90
min.; live performances and a recording session; some dialog.
Trumpet Kings (VAI: 69036, c1985); VHS/60 min.; hosted by Wynton Marsalis; includes
Louis Armstrong, Red Allen, Bunny Berigan, Cootie Williams, Rex Stewart, Roy
Eldridge, Dizzy Gillespie, Miles Davis, Art Farmer, Clark Terry, Lee Morgan, Freddie
Hubbard, Lester Bowie, and others.
The Universal Mind of Bill Evans: The Creative Process and Self-Teaching (Rhapsody:
9015, c1991); VHS/45 min.; Evans talks and plays.
Charles Mingus: Triumph of the Underdog (Shanachie: 6315, 1997, c1999); DVD/78
min.
Duke Ellington & His Orchestra: 1929-1943 (Navarre: 16033, c2003); DVD; film clips
of the Ellington orchestra.
Marsalis on Music Series.
Why Toes Tap: Marsalis on Rhythm. Sony Classical Films & Video, 1995,
SHV 66488. (53 min.)
Listening for Clues: Marsalis on Form. Sony Classical Films & Video, 1995,
SHV 66489. (54 min.)
Sousa to Satchmo: Marsalis on the Jazz Band. Sony Classical Films & Video,
1995, SHV 66490. (55 min.)
Wynton Marsalis talks; his band and students play demonstrations; Why Toes Tap
covers sounds of rhythm, rests, meter and measures, tempo, ground rhythm, and
syncopation; Listening for Clues covers exploring form, sonata form, 32-bar song
form, theme and variations, and the blues; Sousa to Satchmo covers instrument
expertise, counting like a musician, jazz vocabulary, improvising and ragging, and
connections.
Most of the videos listed may be available from these distributors:
Rhapsody Films
46-2 Becket Hill Rd.
Lyme, CT 06371
860-434-3610
Jazzland
Box 366
Dayton, OH 45401
800-876-4467
www.landofjazz.com
38
www.amazon.com
Jamey Aebersold Jazz, Inc.

P.O. Box 1244
New Albany, IN 47150-1244
800-456-1388
www.jazzbooks.com
Cadence Music Sales

Cadence Building
Redwood, NY 13679
315-287-2852
www.cadencebuilding.com
Cautions Regarding Classroom Use of Videos

A few considerations are in order before you start students off with videos. The
visual component of jazz performances can be a distraction, and the music in jazz videos
is rarely as good as most studio recordings. Additionally, production quality is further
diminished because many historic jazz videos lack synchronization between the audio
signal and the picture. Sometimes they dont even use the same performance for the
audio.
Consider a few examples of distracting elements. Instead of focusing on the
unfolding of the improvised lines, newcomers focus on Dizzy Gillespie's huge cheeks,
Louis Armstrong's bulging eyes, dancers on stage with the bands, and the cigarette
dangling from the saxophonist's fingers while he is playing. Newcomers are often
distracted by the mugging that both Gillespie and Armstrong do in their filmed
appearances. Misinterpretations can derive from the tendency to link visual information
with musical elements. The converse of Gillespie and Armstrong mugging examples is
exemplified in a magazines review by a journalist who was present during a
performance of Bill Evans at the Village Vanguard nightclub in New York. The reviewer
wrote that Evans "failed to communicate." Apparently this impression was made because
Evans failed to do any mugging! The internal drama of the piano improvisations eluded
the reviewer, whereas Evans' shy stage presence and deep concentration underwhelmed
the reviewer. This also makes me recall the time that one of my students returned from a
jazz concert complaining that the guitar soloist was "uninvolved," not emotional. I was at
the same concert and had noticed that the guitarist was musically very involved,
improvising brilliantly, but displaying complete economy of motion. Apparently my
student had mistaken lack of gyrations for lack of emotion. Keep in mind that we live in a
culture of physicality. This culture can handicap outsiders who attend concerts and watch
videos because they fall prey to the same bias. This illustrates the fact that jazz is not a
particularly visual medium. Most performances are not dramatic, especially to nonmusician viewers, even if the improvisations are profound and hot. It is not opera. It is
not Broadway. Its virtues don't translate to choreography during the act of improvisation.
So dont be surprised if your students begin talking and texting a few moments into any
jazz video that you begin showing them.
Despite these misgivings, you might recognize that for many students who have
never seen any live jazz, even perfunctory performances by the top players can be
compelling experiences if these performances are visual. Knowing this, you may want to
decide whether you feel that for your students to be seeing giants in action offsets the
prospect of not seeing them at all, even if captured during mediocre or perfunctory
performances.
39
Showing videos might not directly increase listening skills, but they might
increase interest in the music. One instructor told me that after he first showed a video by
a particular jazz giant his students tended to get more out of hearing that same giant on
classic recordings by him. So, even though the physical appearance of the player could be
distracting, it also could pull students into taking his music more seriously than if they
never saw him in a video. In other words, the increase in student motivation may offset
the decrease in concentration caused by distracting elements of the movie experience.
Note, however, that you also need to decide whether precious class time is better
spent analyzing a stunning performance that is available only in audio format or in
presenting a video sample of a major player in a performance that does not do the player
justice.
Also ask yourself whether you dare risk using available videos as an excuse for
not preparing an interactive class presentation of your own.
Caution is in order for instructors who show excerpts from the Ken Burns JAZZ
television series. Careful editing will be necessary before showing any episodes from it.
Otherwise, you may be distracting your students with biographical, social and political
side issues that have little to do with the music. Studies show that students are inclined to
remember primarily the tragedy and irony in the dramatic non-musical passages instead
of the inspired performances of the jazz giants. Such findings are reasonable because
personal narratives are easier for non-musicians to understand than the abstract music
itself. Most importantly, studies show that such information will influence the way they
perceive the music. For instance, commentaries about sad lives can cause students to
perceive more sadness in the music than they would perceive if left solely to their own
evaluations of the music. Commentaries about anger can cause students to perceive anger
in the music that they would not otherwise perceive. The most significant implication of
such findings is that sadness and anger might not be present in the music, but listeners
may accidentally impose it on the music if primed to expect it. Another problem is that
instead of becoming impressed by how musicians overcame adversity in their lives, many
students will dwell upon the adversity itself and not get further into an appreciation of the
music itself.
One solution to these dilemmas is to be highly selective. The Sound of Jazz, for
example, is an excellent video, in terms of improvisational quality, and it samples more
jazz giants playing well than you will find in any other filmed performance (Coleman
Hawkins, Ben Webster, Lester Young, Count Basie, Roy Eldridge, Gerry Mulligan,
Thelonious Monk, and others). It also has several 12-bar blues and 32-bar A-A-B-A song
forms with solos that closely adhere to the chord changes in them. NOTE: If you decide
to show videos in class, consider the videos available in the Jazz Icons series
(http://www.jazzicons.com). Their videos are among the best. Visuals are synchronized
with audio signal, and most performances are not merely perfunctory. Many are from
well produced television shows.
40
Another solution to these dilemmas is to recognize that you could put the videos
on reserve for your students to watch at their convenience outside of class. You could
also arrange clearance to show them on the campus television network. Instead of
showing the videos in class, you could save that precious class time for analyzing and
discussing music and taking questions about what is happening in the classic recordings.
Note: The videos listed in the chapter-end VIEW sections of the textbook are offered
merely for glimpses of the jazz giants at work, not as endorsements of
improvisational quality. By contrast, consult the items in the chapter-end LISTEN
sections for particularly interesting and well-developed solo lines. Unlike the videos,
these audio recordings are mostly timeless masterpieces that were selected from
sifting through thousands of selections.
41
HOW TO USE THE DEMONSTRATION CD

Introducing Sounds in Isolation before Listening in Context
The most effective way to help listeners detect something in context is to expose
them to it first in isolation. For instance, if you want someone to notice walking bass
within a bop combo improvisation, first bring a bassist to class, and have him
demonstrate the walking technique. If you want listeners to notice the sound of drummer
Jo Jones keeping time with a Count Basie combo, let your students first see and hear a
drummer play similar patterns on high-hat cymbals in class or on the Steve Gryb video
Listening to Jazz. Only after that experience, will neophyte listeners feel confident in
pinning a label on that aspect of the rhythm section sound within a jazz recording. And
having labeled it perceptually, they might begin to appreciate the contribution that
element makes to the overall sound of the Basie band. For that reason, the Concise Guide
to Jazz textbook comes in several different formats: book with DEMO CD of 171
narrated instrument demonstrations (ISBN 0-205-95901-6); book with the demonstrations
CD plus Jazz Classics 2CD set of historic recordings (ISBN 0-205-94085-4); book alone
(ISBN 0-205-93700-4) with option to purchase compact disc versions separately: Demo
CD (ISBN 0-13-601098-9) and Jazz Classics Compact Discs for Concise Guide to Jazz
(ISBN 0-205-93738-7) or both Jazz Classics CDs with the book (ISBN 0-205-95902-4).
Each of these is available free to instructors who require their students to buy any version
of the textbook. For your complimentary copy, contact your local Pearson field
representative, email sampling_dept@prenhall.com, phone 800-526-0485, or write
College Humanities Marketing, 1 Lake Street, Prentice-Hall, Inc., Upper Saddle River,
NJ 07458.
Perhaps some personal recollections will illustrate my sympathy for your
situation. When I began teaching jazz appreciation courses, I assumed that, like me and
all the kids on the street where I'd grown up, everyone knew what a trumpet, saxophone,
flute, snare drum, and bass drum was. So when my department chairman suggested that
we make General Music ("The Listening Experience") a prerequisite for Music 229:
History and Styles of Jazz, I rejected his idea. But he compromised with me and put a
note in the course roster, saying that the prerequisite for my course was General Music
"or consent of instructor." So I began looking for advantages that might accrue from
listening skills that students acquired in that prerequisite course. I reasoned that perhaps
the course really could do some good by familiarizing students with basic tone colors so
that I did not have to spend class time on them and would therefore have more time to
introduce different jazz styles. To verify this assumption, I began interviewing the people
who taught that course. But I found that they did not, as a rule, teach students to
distinguish the sounds of the instruments common to jazz. I also began asking my
students whether they really had taken General Music. Then I began noticing that, within
recordings, some could not distinguish a sax from a trumpet sound, and that some of
those who failed such a basic identification had taken the prerequisite. In other words, it
42
didn't seem to make any difference whether they had already taken General Music. In
conclusion, what I discovered was that, unlike me and the other kids on the street where
I'd grown up, a substantial portion of college students could not tell the difference
between jazz instruments, in appearance or sound, and general music appreciation
courses failed to remedy this. I also learned that some music majors were unfamiliar with
high-hat, walking bass, or piano comping. I have since learned that many jazz critics and
a few discographers also lack such knowledge.
Even though it took me a few semesters to recognize the situation, I eventually
reorganized my syllabus and cut the number of jazz styles in my course to make way for
presentations of such basics as instrument sounds and song forms. I ultimately settled on
a program in which the entire first month was filled teaching basic listening skills: the
names, appearances and sounds of the instruments; the construction of basic song forms
(32-bar A-A-B-A, 12-bar blues, etc.); meter and syncopation; the fundamentals of
listening (graphing solo lines, focusing on different instruments in the band
one-at-a-time, recognizing the difference between staccato and legato, etc.). Members of
my own professional bands and other free-lance musicians in the community helped me
do this. By the time I'd worked the bugs out of the course and accounted for the musical
ignorance of non-musician students, I was routinely scheduling at least three weeks of
demonstrations scattered throughout every semester. These were class meetings during
which musicians appeared, demonstrated their instruments, and discussed how they
improvised.
Luckily, I was blessed with a department chairman who suggested that the college
could afford a modest honorarium for each guest musician. (It was $20 in 1971.) But, I
also found out that many local professional musicians and almost all student musicians
were quite willing to visit my class and demonstrate their craft for free. So, if you have no
budget for guest players, don't despair. There are at least three alternatives available:
1.
Recruit volunteers.
2.
Do favors for the musicians. (Treat them to a free dinner or drink. Involve them in
faculty recitals that will help them attain recognition in the community. Help find
them private students to teach. Tell your students where the musicians are
performing, thereby increasing attendance at their gigs.)
3.
Dip into your own pocket for carfare. (No matter what burden this may place on
you, it always proves worthwhile over the long run because the demonstrations
will enhance your effectiveness and reputation as a teacher.) Provide
transportation for the musicians yourself, in your own car on your own time,
and/or in student-driven vehicles, and always give the drummer a hand with his
equipment, getting it up and down stairs, through security, in and out of doors.
Unfortunately, we never had the opportunity to put the entire production on video, though
Steve Gryb adapted my script from the original version of the Demonstration Cassette
and prepared a one-hour videocassette introduction for many of the basics. It is now
available in DVD format as Listening to Jazz (published by Prentice-Hall as ISBN 0-1343
601053-9). It can be obtained by special order through any bookstore or to individuals by

phone (800-947-7700) or FAX (515-284-2607). Instructors who require their students to
buy Jazz Styles or Concise Guide to Jazz can get the video for free by phoning 800-5260485 or via email from music_service@prenhall.com or sampling_dept@prenhall.com.
The next best thing is to provide you with an approximation of those events that occurred
during the very first week of classes in my course. But before we get to that, let's briefly
consider how to get students to come to class, take demonstrations seriously, and earn
acceptable grades.
Constructing Listening Quizzes from the Classics CDs and Demo CD
If you are afraid that your students will view live musician demonstrations as
entertainment instead of a method for expanding their listening skills, then organize a
third of the semester's tests and quizzes around the appearances and sounds of the
instruments that are demonstrated. For a quiz, just cue up the Demo CD to the sound of
an instrument without the narrative. Then play that segment, making certain to give no
hints about what portion of the CD held that particular sound, for example, track 25 or 26
illustrating both 12-bar blues and walking bass.
After students have had listening assignments on chords, chord progressions, 12bar blues, 32-bar A-A-B-A (ala Flintstones) from the DEMO CD and were told they
would be quizzed on their understanding of them, you could give two quiz questions
from one musical selection. Just cue up the 12-bar blues progression by walking bass
(track 25), and ask students to circle one of these options: a. blues, b. 32-bar A-A-B-A, c.
neither. Then ask students to circle: a. walking bass, b. comping, c. ride rhythm. After
assigning listening homework for mutes and brass instruments, you could play the
Harmon-muted trumpet example from track 65 of the DEMO CD, and then ask students
to circle one of these options:
a. guitar, b. harmonica, c. Harmon-muted trumpet.
When making exams, you need merely note the track number, and then play it for
your students. This may motivate students to learn both the sounds in isolation (from
their copies of the Demonstration CD) and the sounds in context (from their Jazz Classics
CDs).
To integrate this effectively, clearly state in your syllabus that:
1.
Some of the quiz and exam sounds will always be selected directly from
the CDs, and that
2.
students can reinforce their learning by regularly studying the CDs. (The
Jazz Classics CDs have corresponding listening guides in the text that
identify which instruments are sounding at which moments.)
Here are some concrete examples of how to integrate the CD contents into study
assignments, long-term learning, and test design. To help students learn the parts of the
drum set, frequently direct their attention to the illustrations in Chapter 2. After having a
drummer play in class and dissect his equipment for your students, tell the class that a
44
quiz will require them to identify all the parts of the basic drum set. Then, when
constructing your quiz, just photocopy the sketch of the drum set that appears in the
book, and use Liquid Paper or Wite-Out to blank the labels. Use the altered photocopy as
a master, and include it in your quiz. Make all instrument names blank, but numbered as
"fill-ins" (easy for you to score). For measuring transfer of training, photocopy a drum set
illustration from a different chapter or from an instrument advertisement in a music
magazine such as down beat or Jazz Times.
Here's a listening skills variation upon the above idea. Prepare an altered picture
of the drum set, and put blank spaces next to all the unlabelled parts. Distribute copies to
your students. Then cue up the Demo CD to a brief sequence of sounds produced by
those parts of the drum set (high-hat, snare drum, etc.). Play the sequence, and require
your students to number the sounds on the parts of the picture according to the order in
which you played them.
You need not limit your selections to drum sounds, either. Copy illustrations of
other instruments (trumpet, soprano sax, clarinet, etc.), and make a collage of them. Then
put blanks next to each, and play the instrument sounds from the CD (minus the
narrative), asking students to number the blanks in the same sequence that they heard the
sounds. Later in the semester, do the same thing, but use recorded moments that you have
excerpted from other albums that the students have studied, or from the Jazz Classics
CDs.
A listening quiz administered during the first third of the semester could consist
of the jam session that occupies Track 98 (Instrument Quiz) on the Demo CD. Each
instrument is featured for at least one chorus, and none are identified in the narration.
Though it is intended as a self-quizzing strategy, you could also use it repeatedly as the
basis for listening exams, choosing different instruments for each test. The Jazz Classics
CDs for the Jazz Styles textbook also provide convenient examples of instrument
comparisons on the same piece: clarinet, trombone, baritone sax, alto sax and tenor sax
on No Figs and Harmon-muted trumpet, tenor sax, and alto sax on Flamenco
Sketches. Jazz Classics CDs for the Concise Guide to Jazz textbook provide back-toback comparisons of trumpet, tenor saxophone and trombone on J. J. Johnsons Get
Happy and Art Blakeys The Egyptian.
It is also instructive first to tell students that some demonstration items from the
CD might be used again. Then repeat a few items each time you give a listening exam.
This may ensure that those students who fail an earlier test are motivated to study the CD
again because they know that they will get another chance.
When selecting the excerpts for a test, avoid playing the items in the order that
they occur on the original. Otherwise, some students will begin getting the correct
answers merely because they have learned the order associated with the correct names of
the sounds. And be certain to change your quizzes from semester to semester. Veteran
students will coach your new students, thereby preventing new students from learning the
45
sounds. If you do not change exam items from semester to semester, many students will
learn only the test-taking strategies, not the course material.
In addition to providing a self-paced instructional program for novice listeners,
the Demo CD provides instructors with audio materials to use for quizzes and listening
exams. This will be effective if your course syllabus presents all this. In other words,
your students will learn a lot on their own if you key textbook page numbers to listening
assignments on the Demo CD and, in turn, if you make mastery of those assignments
prerequisite for following the music on the Jazz Classics CDs. Students might review
material on their own that you don't have time to review in class if this is all posted in
your course syllabus along with a clear announcement that quizzes will be drawn from
these materials. You can facilitate this by printing textbook page numbers in your
syllabus, along with the track numbers of selections on the Demo CD that illustrate the
points made in those text passages. To get you started on such a practice, introductory
portions of many listening guides indicate sounds to be learned from the Demo CD before
attempting to follow the music. Incidentally, I have heard from students whose instructors
assigned the Demo CD at the beginning of the semester yet never referred to its contents
thereafter. The concepts were not reviewed or integrated with listening to the jazz
classics. These students were not able to apply the preliminary learning to their jazz
listening later in the semester, though their instructor never realized this. In other words,
it must be continuously integrated.
Allow students a few weeks to listen to the Demo CD, study Chapter 2 (How to
Listen) and the Elements of Music appendix. Then quiz your students by cueing up the
Demo CD to selected examples and playing the sounds without the identifying narration.
This strategy should prove useful for evaluating students' recognition of such sounds as
walking bass, comping, ride rhythms, tenor sax, Harmon-muted trumpet, etc. To be
certain that students are transferring their learning, you will also want to use outside
examples of the same concepts. For instance, Scott LaFaro's work on Solar (Jazz
Classics CD2) illustrates non-repetitive accompaniment style and bass soloing. The Miles
Davis Kind of Blue album would be handy for its back-to-back examples of alto sax
(Cannonball Adderley), tenor sax (John Coltrane), and Harmon-muted trumpet. The
Flamenco Sketches track from this album is on the Jazz Classics CD2 for Jazz Styles.
Its Blue in Green track is on the Jazz Classics CD2 for Concise Guide to Jazz. You are
wasting your time on all this prerequisite building if you dont check whether your
students are transferring such learning to appreciation of what is actually occurring in the
jazz classics.
Numerous examples of basic jazz sounds are provided on SCCJ and the Jazz
Classics CDs for Jazz Styles and Concise Guide to Jazz. To quiz your students on the
clarinet sound, after having it introduced by the Demo CD, you could use SCCJ's Body
and Soul by The Benny Goodman Trio or Prentice Hall Jazz Collections Seven Come
Eleven. Or use the Jazz Classics CD2 for Jazz Styles for Buddy DeFranco's solo on No
Figs, then either Jimmy Strong's solo on West End Blues or Barney Bigard's solo on
Harlem Airshaft from Jazz Classics CD1 for Concise Guide to Jazz. After playing the
plunger-muted growl examples on the Demo CD, you could use Duke Ellington's East
46
St. Louis Toodle-Oo for Bubber Miley and Ellington's Ko-Ko for Tricky Sam Nanton.
After introducing walking bass on the Demo CD, tell your students that another example
is provided by the tenor sax-bass duo of Don Byas and Slam Stewart on I Got Rhythm.
(That selection also illustrates tenor saxophone tone and 32-bar A-A-B-A song form.)
Double-timing is illustrated by Coleman Hawkins on his Body and Soul (available on
SCCJ and the Jazz Classics CD1 for Concise Guide to Jazz). Double-timing is also
illustrated on SCCJ by Charlie Parker on Embraceable You. Stride-style piano playing
can be heard on James P. Johnson's Carolina Shout on SCCJ (and on You've Got to
Be Modernistic on the Jazz Classics CD1 for Jazz Styles and Art Tatum's Tiger Rag
on the Jazz Classics CD1 for Concise Guide to Jazz). Sonny Rollins' Blue Seven on
SCCJ has prominent piano comping.
It is very important for novice listeners to learn that tone qualities differ widely on
the same instrument, from player to player. A wide assortment of samples facilitates this
learning. Ornette Coleman's Lonely Woman on SCCJ has alto saxophone. Other alto
saxophone tones are available on the Jazz Classics CD2 for Jazz Styles by Jackie McLean
on Cranky Spanky, by Lee Konitz on My Lady," Jazz Classics CD1 by Johnny
Hodges on Prelude to a Kiss and then Konitz again on Jazz Classics CD2s track 2 for
No Figs. Alto sax tone can be heard on the Jazz Classics CD1 for Concise Guide to
Jazz by Johnny Hodges on Ive Got It Bad" (track10), by Charlie Parker on Parkers
Mood (track 15), by Lee Konitz on Improvisation (track 21), and by Cannonball
Adderley on Two Bass Hit (track 23). After requiring students to attain familiarity with
drumming techniques on the Demo CD, you could play excerpts from Cranky Spanky
on Jazz Classics CD2 for Jazz Styles or The Egyptian on Jazz Classics CD2 for
Concise Guide to Jazz, and ask them to identify the parts. Walking bass and piano
comping are also audible on those two pieces. Keep in mind that the value of the Demo
CD is to alert listeners to the sounds that they will find in other jazz performances. So
you might first introduce the concepts in class and in listening assignments homework
with the CDs, then require students to unearth examples on other recordings you are
likely to use for quiz material.
To quiz your students in their ability to recognize variations in tone quality
produced by the tenor saxophone, it would be useful first to urge students to become
familiar with all the saxophone examples on the Demo CD. Expand this exercise by
having students get Jazz Classics CD1 for Concise Guide to Jazz and listening to "It
Never Entered My Mind" by Stan Getz and "Body and Soul" by Coleman Hawkins,
thereby illustrating two distinctly different tenor tones. Students might also buy the Jazz
Classics Compact Discs for Jazz Styles and compare the tones of Ben Webster on
Cottontail, Lester Young on Taxi War Dance, John Coltrane on Flamenco
Sketches, Wayne Shorter on Masqualero, Stan Getz on No Figs and Four
Brothers and Bennie Maupin on Chameleon." On SCCJ, students can even compare
different tenor saxophone tone qualities within the same piece because Herschel Evans
takes the first tenor solo, and Lester Young takes the second on Basie's Doggin'
Around. After sufficient exposure to a wide variety of sax styles, a quiz on instrument
sounds would help you assess student progress.
47
For extending the Demo CDs presentation of the 32-bar A-A-B-A song form, a
list of 32-bar A-A-B-A pieces appears in the Elements of Music Appendix on page 276.
For additional examples of comping and walking bass, try Jamey Aebersold's albums of
pre-recorded accompaniments. With these, you can illustrate accompaniment sounds
without the solo part. Stereo separation on the Aebersold recordings allows you to isolate
walking bass because it is on a channel by itself. These recordings are also excellent for
illustrating 32-bar A-A-B-A and 12-bar blues forms. (A New Approach to Jazz
Improvising. Vol. 6, Charlie Parker - "All Bird" has good examples of each.) If neither
you nor the jazz band director at your school has any of the Aebersold recordings,
contact: Jamey Aebersold, P.O. Box 1244-D, New Albany, IN 47151-1244, phone:
800-456-1388, or FAX: 812-949-2006 or email jazzbooks.com.
If it is not already obvious, using multiple choice-formatted quizzes and exams of
factual information (on, for instance, who played with whom and when) should be only a
last resort in a music appreciation course such as Jazz History or Introduction to Jazz.
Multiple choice exams, including the items available for this textbook itself, are
justifiable only for huge classes where the instructor has no assistants and/or when
instructors are saddled with such ungainly teaching and performance loads that they are
unable to devote sufficient time to inventing their own listening exams of sounds and
forms that they personally expect their students to recognize. (In 23 semesters of teaching
jazz history I never gave a multiple-choice exam. I began writing test items for users of
my books only to ease their jobs.) Moreover, multiple-choice exams never tap a students
budding abilities to follow an improvised line as it unfolds. Better ways exist, such as
graphing its contours. Requiring students to sing back phrases of the improvisation is a
more effective teaching technique than asking students to remember names and dates. For
instance, this is easy with Parkers Mood on Concise Guide to Jazz Classics CD1. Just
play one phrase at a time for your students to sing back. Keep hitting the Pause switch
until your students can repeat each phrase in the first chorus. In other words, you play a
phrase. Then students sing it back to you. Then you play the next phrase, and students
sing that back to you. Little by little, students come to appreciate how melodic the
improvisation is. More importantly, they become adept at listening note for note.
Though sad to accept, remember that students are unlikely to acquire the ability to
follow an improvised line if they know they can pass your course merely by memorizing
names, dates, and styles, then matching those names for eras and style categories. Many
listeners, including a number of eminent jazz journalists, still cannot distinguish a wellformed improvisation from a string of off-handed flourishes and posturings. This reminds
us that it may be our responsibility to help students acquire critical listening ability.
Otherwise they may never understand why the greats are great.
Uses for the Demonstration CD
The Demonstration CD has at least four uses:
1.
a source for reinforcing the learning that stems from in-class

demonstrations; (Some students really need this reiteration.)
48
2.
a means for your students to perform independent, self-directed learning;
3.
a source of quiz and exam items concerned with identifying instrument

sounds and song forms;
4.
a substitute for demonstrations by live musicians, if you are completely

unable to gather instruments and musicians to bring to class. Note: If you
do not have access to musicians and a sufficient variety of instruments,
you might bring the Demonstration CD to class every time you begin
discussing a song form that is illustrated by the CD, and every time you
begin discussing a given musician whose instrument is illustrated by the
CD (trumpet, trombone, alto sax, tenor sax, soprano sax, clarinet, drums,
bass, etc.). In other words, identify a particular instrument sound in
isolation from the Demonstration CD before playing an historic recording
in which that sound is important in context, such as the clarinet before
playing a recording by Benny Goodman, the ride cymbal before playing a
Miles Davis record with drummer Tony Williams, or the pizzicato bass
before playing a Bill Evans recording that contains a Scott LaFaro solo.
The Demonstration CD is helpful for ensuring that your students have materials
of their own to study, long after the last sounds in the classroom have faded from their
ears. If you routinely list CD contents in your syllabus, students will know what passages
to study prior to a given lecture. Key the CD listings to the textbook page assignments in
your syllabus. For example, before you deliver your John Coltrane lecture, require your
students to listen to the saxophone examples (tracks 70 and 73) so they can learn to
distinguish soprano from tenor sax. Before discussing Earl Hines, require students to
listen to piano techniques (tracks 38-42) so they can identify tremolo, stride and octaves.
Note: (a) If such details are already in your syllabus, you no longer need to devote
precious class time to putting them on the board or talking about them. And you won't
have to worry about whether you will have time to present it all fresh during lecture. (b)
If they know they are going to be quizzed on them, students will show up for class,
having already studied the appropriate sounds.
The Demonstration CD should help provide what your situation does not provide,
but it is not intended to substitute for demonstrations by local musicians. Live
demonstrations are usually the high points of the semester for your students. And if you
are a performer yourself, frequently play for your students. It increases your credibility
with them, and it makes your teaching more specific because you can create sounds
instantaneously to illustrate points in your lectures.
49
HOW TO USE THE JAZZ CLASSICS CDs and LISTENING GUIDES

The listening guides were initially written for students to use independently while
listening to the historic recordings that accompanied their textbook. However, instructors
were soon found to be going through them in class when they first played the recordings.
So the listening guides can actually benefit classroom exercises, too. But the ultimate
goal of a listening skills approach to jazz history is independent listening that focuses on
noticing the various layers of activity in each selection and recognizing the instruments. It
also aims at developing the capacity to follow an improvised line and seek nuggets of
melody embedded in it. Some instructors go through a few listening guides during class
presentations early in the semester to help students learn how to recognize song forms
and to stop frequently to apprehend highlights. Then they require students to perform
independent study with the remaining selections, assisted by the cues available in the
listening guides and the explanations of basic methods that fill the Demo CD. The final
component of this teaching strategy involves weekly listening quizzes that help motivate
students to complete scavenger hunts in their listening homework.
Teachers and students both benefit from frequently using the pause switch on
their CD players. For newcomers to jazz it is not advisable initially to listen to a new jazz
recording all the way through, especially before they know what distinctive features they
are seeking. Novice listeners tend to be overwhelmed when they dont know what to
expect, especially when so much new material goes by so fast. Remember that jazz is
essentially a foreign language to most listeners. The jazz history instructor must teach
students a few key words in that language before they will notice much when a
recording is playing. To maximize effectiveness of this feature, select a different aspect
to seek upon each repeated playing of a given passage. Some of these aspects can be
drawn from the Demo CD. Some can come from pointers in the listening guides
introductory remarks or from the blow-by-blow narrative attached to the listening guides
timings. Only after a selection has been thoroughly dissected and appreciated for its
individual parts will an uninterrupted play be warranted.
The above strategy hinges on realizing that the sink or swim philosophy only
works for the more sophisticated listeners. (Have mercy on the uninitiated!) Another flaw
in the immersion method of introducing jazz is that it can accidentally convey the
message that it is acceptable to rush through an initial listening and not notice much.
This merely perpetuates the common tendency of todays listeners who are so inundated
with sounds that almost all music is treated as background music. It could accidentally
reinforce the passive stance that characterizes many listeners before they enroll in a
music appreciation course such as jazz history. Remember that the listening skills
approach to jazz history emphasizes active listening, not passive immersion.
50
INTRODUCTION TO SAMPLE SYLLABI

Organization of Lecture Topics and Study Assignments;
Rationale for Using a Syllabus; Tips for Syllabus Design
The following outlines are suggested ways of apportioning topics, readings, and
listening examples across one-semester and one-quarter courses in Jazz History
(Evolution of Jazz) and Introduction to Jazz (Jazz Appreciation). Your schedule will not
perfectly match any of them, but a usable format might be gleaned from parts of them.
After a little cutting and pasting, one of these schedules could save you some time in
organizing your course. The longer you teach the course, the more variations you will
invent.
Why Provide Detailed Course Syllabi?
Many instructors do not provide detailed course syllabi. They announce
assignments and exam times only during classes. That approach is troublesome, however,
because (a) such notifications are often missed because even the most conscientious
students must occasionally be away from class, and many students are frequently absent.
(b) Students appreciate knowing assignments far in advance, rather than having to pester
you for updates whenever they miss class. (Returning phone calls can eat up much of
your time and sap your energy.) (c) If you dont have every assignment already in the
syllabus when you begin the course, you have to devote precious class time writing them
on the board or emailing them to students on Blackboard and waiting for students to copy
them into their notebooks.
Several benefits come with comprehensive syllabi. (a) Students appreciate being
able to plan their assignments and apportion their time appropriately. (b) If it is necessary
to send a substitute teacher to class, a detailed syllabus will ease the transition. (c) If a
you are ill or on tour and want students to proceed without you, a comprehensive syllabus
can help. (d) Some school administrations require detailed accounts of course
organization to monitor teaching, fulfill requirements of accrediting agencies, and use for
proposing curricular changes. (e) Administrators need syllabi to help them handle
disputes that arise between students and teachers. (Precedents in this regard have
established that assignments and grading schemes in course syllabi constitute legal
documents!) If you are not careful in designing and distributing course syllabi, disputes
can get painfully awkward. Haste in syllabus preparation can come back to haunt you.
Adapting Sample Syllabi for Your Own Course
Sample lecture schedules with suggested study assignments are offered next.
These outlines can be modified and combined with adapted versions of the sample course
requirements, grading schemes, and learning goals that were offered previously. In
considering these for your own course, several cautions are relevant. (1) These sample
syllabi are not to be used in exactly the same form in which they appear here. (2)
Like any textbook, the Concise Guide to Jazz is merely a resource, not a rigid course
syllabus itself. (3) Veteran instructors have learned to enter textbook page numbers only
51
for those musician names that they are holding students responsible. (Surveys show that
students dont appreciate being required to learn about musicians whose work they are
never going to hear.) This means that, for instance, if you are not playing examples of
Gerry Mulligan, Stan Kenton or Dave Brubeck, it is not fair to make the entire Cool Jazz
chapter a reading assignment. Similarly, if you dont play Fats Waller or James P.
Johnson for your students, it is not fair to make students read the Early Jazz chapters
passages devoted to those pianists. (Just require the page numbers for passages on Louis
Armstrong and Bix Beiderbecke, for instance.) The names and coverage of Johnson and
Waller will not be meaningful without the sounds those musicians produced. Consider
also that acid jazz is presented in chapter 11 because it was among the few new styles to
emerge during the 1980s and because, during the 1990s, many people did include such
sounds in the jazz category. But if you dont have any examples of acid jazz to play for
your students, it is not fair to make them study the corresponding text pages. You could,
however, have students elect such topics for independent study or special projects to
present to their classmates. For them, the text coverage can provide a good start.
Even if you plan to incorporate the bulk of one of the syllabi sampled in this
manual, your own schedule and instructional goals will necessitate adjustments. For
instance, some instructors do not give quizzes. Some give quizzes, but not for grades.
Some instructors give only quizzes, no exams. Some frequently show videos and/or have
live bands during class time. This sometimes occurs in addition to listening homework,
sometimes without listening homework. Some have found that students learn the most
when they work on their own and devise presentations on particular topics. In such
courses, a substantial portion of class time is devoted to student presentations, not lecture.
When adapting any of the syllabi below for your own course, keep in mind that
college schedules vary. The routine is often interrupted with exam days, "reading" days,
"free" days, field trips, religious holidays, and legal holidays. Semesters don't always
include 15 full weeks, and quarters don't always include 10 full weeks. A
Monday-Wednesday-Friday course does not always have every Monday, Wednesday,
and Friday available to it, and a Tuesday-Thursday class does not always have every
Tuesday and Thursday. Many semesters don't begin on a Monday or end on a Friday.
Some colleges allow exams to be given during class periods, whereas others require that
exams occur only on exam days. Some instructors use a considerable number of class
meetings for administering exams and going over the results, and this eats into the total
number of topics they cover. Other instructors give only a midterm and a final, and some
require only a final and/or a term paper. Some instructors use class time for review
sessions, others use it solely for presentation of new material. Note: Students are more
likely to skip class on Fridays than on Mondays or Wednesdays. Therefore, if quizzes and
exams are scheduled on Fridays, more students will attend more classes than if quizzes
and exams occur on Mondays or Wednesdays.
Note that the syllabi offered below for "Tuesday-Thursday" schedules can be
equally appropriate for any course that meets just twice per week, not just on Tuesdays
and Thursdays. For example, some colleges offer the course on a Monday-Wednesday
schedule, for which the syllabi designated "Tuesday-Thursday" are appropriate
52
allocations of topics and assignments. Similarly, with some creative juggling, eight-week
course syllabi also can be adapted from the 10-week syllabi below.
The Value of Quizzes. A tip from veteran teachers: Instructors who stress
development of listening skills tend to include listening items on their exams. In such
items, they play an excerpt of a recording that students have studied. Then they ask
students to identify its form, instrumentation, era, or soloists.
Some instructors give a brief quiz every time class meets. Otherwise most
students do not keep up with assignments. They usually study only near exam time.
So instructors who want students to be prepared for classes tend to give frequent quizzes.
Though students whine in such classes, they also concede that quizzes tend to motivate
them to do the required reading and listening assignments, no matter how much such
scores count toward their total course grade.
Optional versus Required. Keep in mind that if you tell your students that
the textbook is "optional" ("not required"), even though you may also say that it is
"highly recommended," they will tend neither to buy it nor read it. "Highly
recommended" translates to "optional" which, in turn, translates to "don't bother." If you
tell your students that the book is required, they might buy it. But unless they know they
will be tested on its contents, many of your students will not read it.
Reading versus Learning. Additionally, it is significant to note that
"reading" is different from "studying." Students might read the assigned pages, but not
learn them unless your syllabus clearly states that "students should come to class
prepared to explain, orally or in writing, the contents of" a particular page. It is best to
assign only what you realistically expect students to learn. Merely saying, Read the
book is not sufficient.
About the CDs Cited in the Sample Syllabi
The textbook reading assignments in each of these outlines is organized around
the Concise Guide to Jazz book, its Demo CD, its Jazz Classics CDs, the Prentice Hall
Jazz Classics CD, the Jazz Classics CDs 1, 2 and 3 (JCC1, JCC2, JSCC3) for the Jazz
Styles, 11th Edition textbook. The syllabi also recommend supplements via items on The
Smithsonian Collection of Classic Jazz (SCCJ) and other sources. (Complete contents for
the Demo CD and the Jazz Classics CDs 1 & 2 are listed after the following sample
syllabi.) As an instructor, you should own the CDs that come with the Jazz Styles
textbook, even if your students own only the CDs that come with their Concise Guide to
Jazz textbook. If you have fewer than 30 students, you could grant your students access
to your spare copy (or copies) of the Jazz Styles 3CD compilation and the SCCJ placed
on reserve in your school library or the music library. Items from those compilations
appear in the following syllabi mostly to give you ideas for your class presentations, not
for the students who do not own them. On the other hand, items drawn from the Jazz
Classics CD set for Concise Guide to Jazz are included in the syllabi to indicate required
student homework. Note: The original Smithsonian Collection and the revised edition of
53
the collection (SCCJ-R) are out of print and not scheduled to be re-licensed. A new
Smithsonian anthology is available, but it contains only a few items from the SCCJ.
Both the Demo CD and the Jazz Classics 2CD set are available in specially
discounted Value Pack versions of the Concise Guide to Jazz textbook that bookstores
can order for your students (book with Classics CDs = ISBN 0-205-94085-4 or
0205678416; book with Demo CD + Classics CDs = ISBN 0-205-94085-4 or
0205678424; book + Demo CD = ISBN 0-205-95901-6 or 0-205-72636-4). Note: The
ISBNs are essential for bookstores to identify exactly which individual items or
combination packages you seek.
Bookstores can order copies of the CDs ala carte for students if instructors specify
the Jazz Classics Compact Discs for Jazz Styles (ISBN 978-0-205-03686-8), Jazz
Classics Compact Discs for Concise Guide to Jazz (ISBN 0-205-93738-7) and the Demo
CD (ISBN 978-0-13-601098-2). Bookstores can be instructed to keep a supply on hand to
sell individually if instructors feel that the purchase price of the value packages is
unreasonable yet they still wish to give students the option of owning the CDs. That
music comprises the bare minimum for an introduction to jazz. The main supplements
derive from The Smithsonian Collection of Classic Jazz and the Jazz Classics CDs that
accompany the Jazz Styles, 11th Edition textbook (Pearson).
The compact discs are available free from Pearson to instructors who require their
students to buy the Concise Guide to Jazz textbook. But they dont come automatically.
Instructors must request desk copies through local Pearson field representatives, the
toll-free request line (800-526-0485), email from sampling_dept@prenhall.com or by
writing College Humanities Marketing, 1 Lake Street, Prentice-Hall, Inc., Upper Saddle
River, NJ 07458.
Have a Heart! Simplify Your Study Assignments
For the sake of brevity and flexibility in presenting sample syllabi in this manual,
the reading assignments are sometimes listed only in terms of chapter numbers, not page
numbers for passages on particular musicians. Yet it is not advisable to assign entire
chapters of the textbook to novice listeners in a single-semester jazz appreciation or jazz
history course. There is not enough time to do all the contents justice. Students will be
less inclined to see the forest for the trees if entire chapters are assigned. Furthermore,
most students will not have the majority of recordings that are necessary to make all the
text passages in any given chapter meaningful. It is better to specify only the pages that
cover the musicians you plan to play and discuss in class. Forget the rest. For example,
instead of posting "Read Chapter 4 for Monday," veteran teachers tend to post something
like (1) "Read pages 45-49 (Louis Armstrong) for Monday. (2) Come to class prepared to
list at least five reasons Louis Armstrong is historically significant. (3) Listen to the
West End Blues recording, and (4) note what you like and dislike about it."
Though reading assignments might interest some students, listening assignments
are the most important part of the course. For this reason, a note should be attached to
54
each syllabus saying something to the effect of Focused listening is the key element in
this course. Listening assignments are posted in the course syllabus. Always study
the textbooks corresponding listening guide for each piece before hearing the music
that is assigned. This will put the music in historical perspective, tell why it is
musically worthy, indicate highlights to anticipate, and suggest strategies for
making sense out of arrangements that are particularly complicated. Page numbers
for the listening guides appear on the inside front cover of your textbook.
Tally Your Own Personal Priorities When You Design Your Course
The following outlines are organized according to what surveys have shown to be
the most common approaches for allocating topics across 10-week quarters and 15-week
semesters, with classes meeting either three times per week, presented here as
Monday-Wednesday-Friday, or meeting only two times per week, presented here as
Tuesday-Thursday. Chapter 11 is not included in the sample syllabi because it was
written only as an optional reference source for teachers who wish to touch recent
developments. Instructors who emphasize topics in chapter 11 might find that they need
to skip earlier chapters in order to snug this in. So, no matter what you do, be cautious
about overloading your students. Every teacher needs to tally his/her own priorities when
allocating such treatments. Incidentally, instructors tend to cover more topics when the
same amount of class time is divided into three class meetings per week than two times a
week. This might stem from their tendency to go into more depth (or off on more
tangents) when they have a long class period. Some of these differences have been taken
into account in the number of musicians and styles allocated across semesters in the
sample syllabi. Also keep in mind that instructors differ widely in how much attention
they devote to different topics, regardless of their class schedule. For example, many
instructors spend several weeks on the elements of music and the roles of instruments in
the jazz band. Others dispense with elements and "how to listen"; they jump directly into
a historical survey of the jazz styles. Some instructors don't cover the origins of jazz.
Some don't cover jazz-rock fusion. Many devote only brief time to free jazz and the
avant-garde of the 1960s and 1970s. Some skip hard bop or cool jazz. Others consider
cool jazz to be pivotal. Some professors allocate most of their time to a single figure in
each era. Others survey numerous musicians in each era.
A brief course could be taught with just the Demo CD and the two Jazz Classics
CDs if all students bought the 3CD format of the textbook (ISBN 0-205-94086-2) and the
instructor requested the free Prentice Hall Jazz Collection CD (ISBN 0-205-17896-4) for
all of his students. However, without his/her own personal collection of historic
recordings or a good basic collection in the music library, an instructor would still be
missing some breadth of coverage. An ideal start to remedying that could be achieved by
acquiring items from the chapter-end lists of recordings. But without that advantage, it is
convenient, but not absolutely necessary, also to have the Smithsonian Collection of
Classic Jazz (SCCJ) and the Ken Burns JAZZ set of CDs available for lectures, though at
most schools it is apparently a luxury for students to have personal access to either.
55
Cautions Regarding the Judgment of Ken Burns and Martin Williams

Do not confuse the excellent set of audio recordings compiled to accompany the
Burns project with the 19-hour video production. The television show, now available in a
boxed set of videos, is devoted as much to a history of the twentieth century,
sensationalized coverage of race relations, and gossip about musicians personal lives as
it is devoted to the music itself.
As valuable as the Smithsonian Collection of Classic Jazz (SCCJ) is to instructors
lacking large personal collections, critical opinion remains divergent about SCCJs
historical value and stylistic balance. Some instructors consider the SCCJ contents to be
"the meat and potatoes" of historic examples. Yet many historians and critics question the
taste and judgment of its compiler Martin Williams, and don't necessarily consider all his
choices to be "classic." Whereas some treat it as a canon of jazz history, others consider
SCCJ highly skewed in its allocations of selections. (For instance, because it omits the
Original Dixieland Jazz Band, Chick Corea, Keith Jarrett, the mid-1960s Miles Davis
Quintet, and Weather Report; both the Jazz Classics CDs for Jazz Styles and the Jazz
Classics CDs for Concise Guide to Jazz contain representative selections by those pivotal
figures.) A number of instructors do not use the SCCJ at all. Others require all their
students to attain intimate familiarity with its every selection.
Regarding Compilations of Historic Recordings
The CGC designation in the following syllabi refers to selections on the Jazz
Classics CDs that accompany the Concise Guide to Jazz. The locations for their listening
guides are indicated by page numbers on the inside front cover of the textbook. (If you
have used earlier editions of Concise Guide to Jazz, note that most of the items in its
previous Jazz Classics CD have been retained for the expanded contents of the current
2CD set.) Supplementary selections accompanied by the JCC1, JCC2, and JCC3
designations refer to Jazz Classics CD1, CD2 and CD3 for the Jazz Styles textbook. They
have corresponding listening guides in the appropriate chapters of that book. (Even if
your students own only Concise Guide to Jazz, you will find Jazz Styles to be handy for
preparing your class presentations.) These guides could be used whenever presenting
analysis of a given selection. Citations for SCCJ indicate items found on the Smithsonian
Collection of Classic Jazz, long out of print and not to be confused with any new
anthologies produced by Smithsonian/Folkways Recordings. SCCJ selections are
mentioned here as supplemental items because SCCJ is owned by many instructors and
libraries (It originally sold a million copies). Note: If you are just beginning to teach jazz
history or appreciation courses, dont panic if you dont have SCCJ. You can manage
well with the 5CDs of historic recordings that come with Jazz Styles and Concise Guide
to Jazz.
If your students are using the 4CD format of Concise Guide to Jazz (Prentice Hall
Jazz Collection, the Jazz Classics 2CD set and the Demo CD), they have access to all but
the SCCJ designations in the following syllabi. If your students are using the 3CD format
56
of Concise Guide to Jazz (book, Demo CD and 2CD Jazz Classics set), they will have
personal access only to items in designated CGC (Concise Guide, Jazz Classics CD). So
you could put other CDs on reserve in your music library or listening lab to make
available any important selections your students do not own. And/or you could post
streaming items that you know to be available on the internet.
NOTE: The Prentice Hall Jazz Collection CD (PHJC) comes free for every
student whose instructor requests it. However, the correct ISBN for its package
must be in the order that goes to the bookstore: 0-205-94140-0 or 0-205-94086-2. The
combination of the 2CD Jazz Classics set for Concise Guide to Jazz and the PHJC
affords your students 48 historic recordings. Listening guides for the selections on the
PHJC are available at www.pearsonhighered.com/Gridley. Click on Concise Guide to
Jazz, then on Supplements, then on Listening Guides for Prentice Hall Jazz Collection.
In considering how to assure your students the largest and most representative
sampling of styles, take care to not additionally order the Jazz Classics 3CD set for Jazz
Styles to be packaged with your students Concise Guide to Jazz textbook if you order the
free PHJC because you would end up with several duplications (Wolverine Blues, Seven
Come Eleven, Birdland, Blue Rondo ala Turk, Civilization Day), in addition to the pieces
that the basic Jazz Classics CD sets for Concise Guide to Jazz and Jazz Styles anthologies
already have in common: Taxi War Dance, Dixie Jazz Band One-Step, West End Blues,
Harlem Airshaft, and Solar.
Though you may draw from all these collections for your lectures, keep in mind
that it is unrealistic to expect students to prepare for listening exams based on what they
can hear only in class. Most students need repeated listening to prepare for listening
exams, and such repetition comes from items they own. Moreover, they might not listen
to what they own, even if your course lists it as "required," unless your syllabus tells
them that recognition of those item will be necessary to pass quizzes and exams. Savvy
instructors post dates in their syllabi telling students exactly when familiarity for each
selection will be required.
The syllabi below are classified according to several different orientations that
have been found common among instructors, and they are then organized around 10week college quarters and 15-week college semesters. One orientation takes account of
instructors preferring straight history and who spend very little time easing students into
familiarity with instrument sounds, song forms, and listening strategies. Some of these
instructors teach courses that primarily enroll musicians, and so these instructors feel that
they need not address such basics as the I-IV-I-V-I chord progression or the sounds of the
high-hat or walking bass, for instance. Note, however, that a number of instructors in
such courses have reported that many musician students remain unfamiliar with these
elements. So it may be best to have the Demo CD and the Elements of Music Appendix
listed in their syllabi as optional background study. Other instructors emphasize listening
skills more than exploring numerous styles and how each one developed. For that reason,
some of the following syllabi are constructed with much more time devoted to
57
developing listening skills and less time devoted to major figures. These courses are titled
"Introduction to Jazz," instead of "Straight History."
58
15-WEEK "STRAIGHT HISTORY" OF JAZZ

(no introductory emphasis on elements of music or how to listen)
Monday-Wednesday-Friday schedule; three exams
Week 1
Monday:
What is Jazz?
Wednesday:
Origins of Jazz
Read Chapters 1 and 2
Listen for blue notes (Demo CD tracks 50-58).
Listen to the first 7 selections on JCC1.
Friday:
Origins of Jazz
Read Chapter 3.
Same reading and listening as Wednesday
Supplement: "Maple Leaf Rag" on SCCJ
The 1920s
Week 2
Monday:
ODJB and Jelly Roll Morton

Read Chapter 4.
Listen to "Dixie Jazz Band One-Step" on CGC and
Wolverine Blues on JCC1 and PHJC.
Supplement: "Black Bottom Stomp" on SCCJ
Wednesday:
James P. Johnson and Joe Oliver

Read Chapter 4.
Listen to "Alligator Hop" on CGC and
"You've Got to Be Modernistic" on JCC1.
Supplement: "Carolina Shout," "Dippermouth Blues" on SCCJ
Friday:
Louis Armstrong and Bix Beiderbecke

Read pages 45-53.
Listen to "West End Blues" and Riverboat Shuffle on CGC,
"Singin the Blues and "Hotter Than That" on JCC1.
Supplement: "Weather Bird," "Potato Head Blues," and
"Struttin' with Some Barbecue" on SCCJ
The 1930s
Week 3
Monday:
Duke Ellington
Read pages 74-80.
Listen to "Harlem Airshaft" on CGC and "Cottontail" on JCC1.
Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ
Note: Though these pieces were recorded in 1940, they represent
the culmination of Ellington's work in the 1930s.
59
Wednesday:
Duke Ellington
Read pages 74-80.
Listen to "I've Got It Bad" on CGC,
"Transblucency" and "Prelude to a Kiss" on JCC1.
Note: These pieces were written in the 1930s, but the JCC1
versions were recorded later.
Friday:
Count Basie and Lester Young

Read pages 67-74. Listen to Youngs solos on Back in Your Own
Backyard and "Taxi War Dance" on CGC.
Supplement: Lester Leaps In JCCD1
Week 4
Monday:
Wednesday:
The 1940s
Friday:
Week 5
Monday:
Wednesday:
Coleman Hawkins, Roy Eldridge, and Art Tatum

Read pages 62-67, 88-91.
Listen to "Tiger Rag," "Sittin' In," and Body and Soul on CGC
and "After Youve Gone, "Voodte," and "How Deep Is The
Ocean" on JCC1.
Supplement: "Rockin' Chair," "Willow Weep for Me," "Too
Marvelous for Words," and "I Can't Believe That You're in Love
with Me" on SCCJ.
Benny Goodman
Read Chapter 5.
Listen to Seven Come Eleven on JCC1 and PHJC.
Listen to Benny Goodman Trio's "Body and Soul,"
"I Found a New Baby," and "Breakfast Feud" on SCCJ.
Charlie Parker and Dizzy Gillespie

Read Chapter 6.
Listen to Demo CD Tracks 1-8 for bop drumming.
Listen to Leap Frog and Parkers Mood on CGC,
Groovin High on PHJC, "Things to Come," "Just Friends,"
and "Shaw Nuff" on JCC1.
Supplement: Parker and Gillespie selections on SCCJ
Thelonious Monk and Bud Powell

Read pages 108-113.
Listen to Misterioso on JCC1, Round Midnight on PHJC, and
Powells Get Happy on CGC.
Listen to Monk and Powell selections on SCCJ.
Dexter Gordon and Miles Davis
Read Chapter 6.
60
Listen to Index on CGC.

Supplement: "Bikini," "Boplicity," "Klactoveesedstene," and
"Crazeology" on SCCJ.
Friday:
The 1950s
Week 6
Monday:
FIRST EXAM
Lennie Tristano, Lee Konitz and Stan Kenton

Read Chapter 7.
Listen to Subconscious-Lee and Improvisation on CGC,
My Lady on JCC1, and "No Figs" on JCC2.
Supplement: "Boplicity" and Tristano selections on SCCJ
Wednesday:
Stan Getz
Read pages 114-117.
Listen to It Never Entered My Mind on CGC,
"Four Brothers" on PHJC, "No Figs" on JCC2.
Friday:
Gerry Mulligan and Dave Brubeck

Read Chapter 7.
Listen to Blue Rondo ala Turk on PHJC and JCC2.
Listen to "Boplicity" on SCCJ and albums cited
in endnotes of Chapter 7.
Week 7
Monday:
Clifford Brown and Sonny Rollins

Read Chapter 8.
Listen to J. J. Johnson's "Get Happy" on CGC and
Kiss and Run on JCC2.
Supplement: "Pent-Up House" and "Blue Seven" on SCCJ
Wednesday:
Horace Silver, Art Blakey, and Cannonball Adderley

Read Chapter 8.
Listen to Gregory Is Here, The Egyptian, Two Bass Hit on
CGC, Cranky Spanky on JCC2, and
Adderley's solos on "Flamenco Sketches" on JCC2.
Supplement: "So What" on SCCJ, Silver and Adderley albums
cited in endnotes of Chapter 8.
Friday:
Miles Davis in the 1950s

Read pages 145-151.
Listen to "Blue in Green" on CGC, "Flamenco Sketches" on JCC2
and "Fisherman, Strawberry, Devil Crab" on JCC1.
Supplement: "Summertime" and "So What" on SCCJ
61
The 1960s
Week 8
Monday:
John Coltrane
Read pages 160-161, 175-180.
Listen to "Your Lady," "Blue in Green" on CGC,
"Flamenco Sketches" and "Afro-Blue" on JCC2.
Supplement: "So What" and "Alabama" on SCCJ
Wednesday:
Ornette Coleman
Read Chapter 9.
Listen to Dee-Dee on CGC and Civilization Day on PHJC,
and JCC2.
Supplement: "Congeniality" and "Free Jazz (excerpt)" on SCCJ.
Friday:
Cecil Taylor and Albert Ayler

Read Chapter 9. Listen to Jitney#2 on CGC.
Listen to Ghosts: First Variation on JCC3.
Supplement: "Enter Evening" on SCCJ
Week 9
Monday:
Wednesday:
Friday:
Week 10
Monday:
Wayne Shorter and Freddie Hubbard

Read pages 235-237, 189-191 and 156-157.
Listen to Prince of Darkness and Egyptian on CGC,
"Masqualero, and Maiden Voyage on JCC2.
Supplement: Shorter and Hubbard albums on Blue Note
cited in endnotes of Chapter 8 and 11,
Miles Davis in the 1960s
Read pages 181, 188-191.
Listen to "Prince of Darkness" on CGC and
"Masqualero" on JCC2.
SECOND EXAM
Bill Evans
Read pages 176, 180-187.
Listen to "Blue in Green" and "Solar" on CGC,
"Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ
Wednesday:
Bossa Nova
Supplement: 1960s recordings by Stan Getz with
Joao Gilberto and Antonio Carlos Jobim
Friday:
Wes Montgomery
Read pages 162-164.
62
Listen to "Mr. Walker" on CGC.

Listen to "West Coast Blues" on SCCJ-R.
Week 11
Monday:
The 1970s
Wednesday:
Comparing Coltrane's Chord Progression-Based Improvisation with his

"Free" Improvisation.
Read pages 146 and 160-161, 175-180.
Listen to "Two Bass Hit" and then his Interstellar Space album.
ECM
Read 208-210, 229-234.
Listen to Wind-Up on CGC, and "Sundial: Part 1" on JCC3.
Supplement: assorted ECM records of the 1970s by Gary Burton,
Pat Metheny, Jan Garbarek, Keith Jarrett, and Chick Corea
Friday:
Week 12
Monday:
Herbie Hancock
Read 207-208, 188, and 191.
Listen to Prince of Darkness on CGC, "Masqualero and
Maiden Voyage, on JCC2, and Chameleon on
JCC3.
Supplement: Miles Davis and Herbie Hancock albums cited
in endnotes of Chapters 8 and 10.
Chick Corea
Read pages 208-210 and 212-213.
Listen to Spanish Key on CGC and "Steps" on JCC3.
Supplement: ECM albums by Corea cited in endnotes
of Chapter 10
Wednesday:
Chicago Avant-Garde of the 1960s and 70s

Supplement: albums by Sun Ra, Anthony Braxton,
Art Ensemble of Chicago
Friday:
Keith Jarrett
Read pages 229-234 and 229-234.
Listen to Wind-Up on CGC and "Sundial, Part 1" on JCC3.
Supplement: Atlantic, Impulse and ECM recordings
cited in endnotes of Chapter 11
Week 13
Monday:
Miles Davis Fusion

Read pages 199-201. Listen to Spanish Key on CGC.
Supplement: assorted post-1968 recordings
cited in chapter endnotes
63
Wednesday:
Weather Report
Read pages 202-207.
Listen to "Birdland" on CGC and "Surucuc" on JCC3.
Friday:
John McLaughlin
Read pages 201-202.
Supplement: assorted recordings cited in chapter endnotes
The 1980s and 1990s

Week 14
Monday:
Hard Bop Revival
Read pages 251-254.
Supplement: recordings of 1980s and 1990s by the
Marsalis brothers, Harper Brothers, Roy Hargrove,
Out of the Blue, Eric Alexander, etc.
Wednesday:
New Age
Supplement: assorted Windham Hill and Narada recordings
Friday:
Popular Fusion and Smooth Jazz

Read pages 195-199, 210-222, and 224-228.
Supplement: popular recordings by Spyro Gyra, Kenny G,
George Benson, Grover Washington, Jr., Earl Klugh, Bob James,
Joe Sample, Dave Koz, Rick Braun, Chris Botti, etc.
Week 15
FINAL EXAM
Tuesday-Thursday Schedule; Three Exams
Week 1
Tuesday:
Thursday:
Week 2
Tuesday:
What is Jazz?
Origins of Jazz
Read Chapters 1 and 2
Listen to Demo CD for blue notes (tracks 50-58).
Listen to first 7 selections on JCC1.
Origins of Jazz
Read Chapter 3.
Listen to "Maple Leaf Rag" on SCCJ.
The 1920s
64
Thursday:
Week 3
Tuesday:
Thursday:
Week 4
Tuesday:
The 1930s
Thursday:
Week 5
Tuesday:
Thursday:
ODJB and Joe Oliver

Read Chapter 3.
Listen to "Dixie Jazz Band One-Step" and Alligator Hop on CGC.
Supplement: "Dippermouth Blues" on SCCJ
James P. Johnson and Jelly Roll Morton

Read Chapter 4.
Listen to Wolverine Blues on JCC1 or PHJC, and
"You've Got to be Modernistic" in JCC1.
Supplement: "Black Bottom Stomp" and "Carolina Shout" on SCCJ
Louis Armstrong and Sidney Bechet
Read pages 48-50.
Listen to "West End Blues" and "Reckless Blues" on CGC,
"Hotter Than That," on JCC1.
Supplement: "Weather Bird," "Potato Head Blues,"
"Blue Horizon," and "Cake Walkin' Babies from Home" on SCCJ.
Bix Beiderbecke and Fats Waller

Read pages 49-52 and 42-43.
Listen to Riverboat Shuffle on CGC, "Singin' the Blues" and "Handful
of Keys" on JCC1.
Supplement: "I Ain't Got Nobody" on SCCJ.
Duke Ellington
Read pages 74-81.
Listen to "Harlem Airshaft" in CGC and "Cottontail" on JCC1.
Note: Though these recordings were made in 1940, they represent the
culmination of Ellington's work of the 1930s.
Duke Ellington
Read 86-93.
Listen to "I've Got It Bad" on CGC, "Transblucency,"
and "Prelude to A Kiss" on JCC1.
Note: Though these pieces were written in the 1930s,
the JCC1 renditions were recorded later.
FIRST EXAM
Week 6
65
Tuesday:
Benny Goodman, Coleman Hawkins, and Roy Eldridge

Read Chapter 5.
Listen to Hawkins' "Body and Soul" and Eldridge's "Sittin' In,"
on CGC, Goodman's Seven Come Eleven on PHJC and JCC1,
Eldridge's After Youve Gone, Hawkins' "Voodte," and
"How Deep is the Ocean?" on JCC1.
Supplement: "I Found a New Baby," Goodman Trio's
"Body and Soul," Eldridge's "Rockin' Chair," and
"I Can't Believe That You're in Love with Me" on SCCJ.
Thursday:
Count Basie, and Lester Young, Art Tatum

Read Chapter 5.
Listen to "Taxi War Dance," "Tiger Rag" on CGC. Listen to
Lester Young's solo on "Back in Your Own Back Yard" on CGC.
Supplement: Young's "Lester Leaps In," Basie's "Doggin' Around,"
Tatum's "Willow Weep for Me," and "Too Marvelous for Words"
on SCCJ.
The 1940s
Week 7
Tuesday:
Thursday:
Week 8
Tuesday:
The 1950s
Thursday:

Read Chapter 6.
Listen to Demo CD for bop drumming (tracks 1-8)
and Rhythm Changes (track 33).
Listen to Parkers Mood and Leap Frog on CGC,
Groovin High on PHJC, "Shaw Nuff," "Just Friends,"
and Things to Come on JCC1.
Supplement: Parker and Gillespie selections on SCCJ.
Read pages 108-113.
Listen to Round Midnight on PHJC, Misterioso on JCC1,
Powells Get Happy on CGC.
Listen to Monk and Powell selections on SCCJ.
Dexter Gordon and the Woody Herman bop bands

Read pages 113-114.
Listen to "Index" on CGC, "Four Brothers" on PHJC and JCC1.
Supplement: "Bikini" on SCCJ
Lennie Tristano, Lee Konitz, and Stan Getz

Read Chapter 7.
Listen to "Subconscious-Lee," Improvisation, and "It Never
Entered My Mind" on CGC; "No Figs" and My Lady on JCC2
66
Week 9
Tuesday:
Thursday:
Week 10
Tuesday:
Thursday:
The 1960s
Week 11
Tuesday:
Thursday:
Dave Brubeck and Gerry Mulligan

Read Chapter 7.
Listen to Blue Rondo ala Turk on PHJC and JCC2.
Supplement: Brubeck and Mulligan recordings cited in
endnotes of Chapter 7
Clifford Brown, Art Blakey, and Sonny Rollins
Read Chapter 8.
Listen to J. J. Johnson's "Get Happy" and The Egyptian on CGC,
"Kiss and Run" and Cranky Spanky on JCC2,
Work Song on PHJC
Horace Silver, Cannonball Adderley, and Miles Davis

Read Chapter 8.
Listen to Two Bass Hit, "Blue in Green," and Gregory Is Here
on CGC, Senor Blues and "Flamenco Sketches" on JCC2.
Supplement: "So What" and "Summertime" on SCCJ
and albums by Silver and Adderley cited in endnotes of Chapter 8
SECOND EXAM
Bill Evans and Miles Davis in the 1960s

Read pages 143, 148-151, 176, and 180-187.
Listen to "Solar," "Blue in Green," and "Prince of Darkness"
on CGC; "Flamenco Sketches" and "Masqualero" on JCC2.
Supplement: "So What" on SCCJ.
Note: "Blue in Green," "Flamenco Sketches" and "So What" from
the album Kind of Blue were recorded in 1959, but the impact of
the Evans and Coltrane work in them is associated more with the
1960s than the 1950s.
Ornette Coleman, Albert Ayler, and Cecil Taylor
Read Chapter 9.
Listen to Dee Dee on CGC, "Civilization Day" on PHJC and
JCC2, Ghosts: First Variation on JCC2.
Supplement: "Enter Evening," "Congeniality,"
and "Free Jazz" on SCCJ.
67
Week 12
Tuesday:
Thursday:
The 1970s
Week 13
Tuesday:
Thursday:
Week 14
Tuesday:
John Coltrane
Read pages 160-161 and 175-180.
Listen to Two Bass Hit, "Your Lady," "Blue in Green," and
on CGC, "Flamenco Sketches" and "Afro-Blue" on JCC2.
Herbie Hancock, Wayne Shorter, and Freddie Hubbard
Read pages 235-237, 207-208, 188, 191, and 156-157.
Listen to "Prince of Darkness" on CGC, "Masqualero,"
Maiden Voyage on JCC2, and "Chameleon" on JCC3.
Supplement: albums cited in endnotes of Chapters 8, 10, 11
Chick Corea
Read pages 208-210 and 212-213.
Listen to "Steps" on JCC2 and Spanish Key on CGC.
Supplement: assorted ECM albums cited in endnotes of
Chapter 10 and 11.
Keith Jarrett
Read pages 229-234.
Listen to Wind-Up on CGC, "Sundial: Part 1" on JCC3.
Supplement: assorted ECM albums cited in endnotes of Chapter 11
Weather Report and John McLaughlin

Read pages 201-207.
Listen to "Surucuc" on JCC3 and "Birdland" on CGC.
Supplement: McLaughlin Columbia albums cited in
end notes of Chapter 10
The 1980s and 1990s

Thursday:
Smooth Jazz
Read pages 210-211, 219-221, and 224-227.
Supplement: assorted albums on Windham Hill and Narada,
plus music by Kenny G, Earl Klugh, Grover Washington, Jr.,
Joe Sample, George Benson, Bob James, Rick Braun, Dave Koz,
and other popular contemporary artists.
Week 15
FINAL EXAM
68
15-WEEK INTRODUCTION TO JAZZ

(emphasizing introductory units on elements of music and how to listen)
Week 1
Monday:
What is Jazz?
Wednesday:
Elements of Music (rhythm)

Read pages 259-264 and Chapter 1.
Friday:
Elements of Music (chords)

Read pages 264-274.
Listen to Demo CD tracks 1-58.
Week 2
Monday:
Wednesday:
Elements of Music (instruments)

Read pages 280-283.
Listen to Demo CD tracks 59-98
Listen to J. J. Johnson's "Get Happy" and Art Blakey's
"The Egyptian" on CGC to identify trumpet, tenor saxophone, and
trombone. Listen to "No Figs" on JCC2, to identify clarinet, alto
saxophone, tenor saxophone, baritone saxophone, trombone;
"Flamenco Sketches" to identify Harmon-muted trumpet, alto
saxophone and tenor saxophone. On CGC listen to Blue in
Green for tenor saxophone and Harmon-muted trumpet and to
J. J. Johnson's "Get Happy" to identify trombone, tenor sax, and
trumpet.
How to Listen (song forms and performance routines: blues)
Read pages 272-273.
Listen to Demo CD tracks 16-20 and Reckless Blues,
"West End Blues," "Parker's Mood," and "Index" on CGC
and follow their listening guides.
69
Friday:
Week 3
Monday:
How to Listen (song forms and performance routines: A-A-B-A form)

Read pages 273-275.
Listen to Demo CD track 33.
Listen to "Taxi War Dance" and follow listening guide
on pages 70-72. Listen to Back Home in Your Own Back Yard.
Supplement: "Four Brothers" on PHJC, "Cottontail," and "Shaw
Nuff" on JCC1, and follow their listening guides in
the Jazz Styles textbook.
How to Listen (instrument roles; layered listening)

Read Chapter 2.
Listen to "Harlem Airshaft" and "Prince of Darkness" on CGC.
Use layered listening approach first. Then follow listening guides
on pages 78 and 188.
Wednesday:
How to Listen (graphing solo lines; detecting blues and A-A-B-A)

Read Chapter 2.
Listen to "West End Blues," "Index," on CGC.
Friday:
Origins of Jazz
Read Chapter 3.
Week 4
Monday:
Wednesday:
Friday:
The 1920s
Week 5
Monday:
Origins of Jazz
Read Chapter 3.
Listen to "Maple Leaf Rag" on SCCJ.
Origins of Jazz
Read Chapter 3
Listen to Alligator Hop on CGC.
Supplement: "Dippermouth Blues" and
"Cake Walkin' Babies from Home" on SCCJ.
FIRST EXAM

Read Chapter 4.
Listen to "Dixie Jazz Band One-Step" on CGC,
Wolverine Blues on PHJC and JCC1.
Supplement: "Black Bottom Stomp" and
"Dippermouth Blues" on SCCJ.
70
Wednesday:
Sidney Bechet and James P. Johnson

Read Chapter 4.
Listen to "You've Got to Be Modernistic" on JCC1.
Listen to "Carolina Shout," "Blue Horizon"
and "Cake Walkin' Babies from Home" in SCCJ.
Friday:
Louis Armstrong
Read pages 45-49.
Listen to "West End Blues" and "Reckless Blues" on CGC.
Supplement: "Hotter than That" on JCC1, "Potato Head Blues,"
"Struttin' With Some Barbecue" on SCCJ
The 1930s
Week 6
Monday:
Duke Ellington
Read pages 74-81.
Listen to "Harlem Airshaft" on CGC, and follow its
listening guide.
Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ.
Note: Though these recordings were made in 1940, they represent
the culmination of Ellington's work in the 1930s
Wednesday:
Duke Ellington
Read pages 74-81.
Listen to "I've Got It Bad" on CGC, "Transblucency" and
"Prelude to a Kiss" on JCC1.
Friday:
Coleman Hawkins, Roy Eldridge, and Art Tatum

Read Chapter 5. Listen to "Sittin' In," Hawkins' "Body and Soul,"
"Tiger Rag" on CGC, "Voodte" and "How Deep is the Ocean,"
Eldridge's After Youve Gone on JCC1.
Supplement: Eldridge's "Rockin' Chair" and "I Can't Believe That
You're in Love with Me," Tatum's "Too Marvelous for Words"
and "Willow Weep for Me" on SCCJ.
Week 7
Monday:
Benny Goodman
Read Chapter 5. Listen to Seven Come Eleven on PHJC and
JCC1.
Supplement: "I've Got a New Baby," "Breakfast Feud,"
and Goodman Trio's "Body and Soul" on SCCJ
71
Wednesday:
Count Basie
Read pages 68-74.
Listen to "Taxi War Dance" on CGC, and
study its listening guide.
Supplement: "Lester Leaps In" on JCC1
Friday:
Lester Young
Listen to Young's solos on Billie Holiday's "Back in Your
Own Back Yard" on CGC and Basie's "Taxi War Dance."
The 1940s
Week 8
Monday:

Read Chapter 6.
Listen to "Leap Frog" and Parkers Mood on CGC.
Listen to Groovin High on PHJC, "Shaw Nuff," "Just Friends,"
Supplement: "Ko-Ko" and other Parker and Gillespie
items on SCCJ
Wednesday:

Read pages 108-113.
Listen to Powell's Get Happy on CGC, Monks Round
Midnight on PHJC and Misterioso on JCC1.
Supplement: Monk and Powell items on SCCJ
Friday:
Stan Getz and Dexter Gordon

Read pages 113-116.
Listen to It Never Entered My Mind and Index on CGC,
"No Figs" on JCC2, and "Four Brothers" on PHJC and JCC1.
Supplement: "Bikini" on SCCJ
Week 9
Monday:
Wednesday:
Friday:
Lennie Tristano, Lee Konitz, and Stan Kenton

Read 123-127, 130-134.
Listen to "Subconscious-Lee" and "Improvisation" on CGC,
"Four Brothers" and My Lady on JCC1, and "No Figs" on
JCC2.
Supplement: "Boplicity" and Tristano items on SCCJ
Miles Davis
Listen to "Crazeology," Klactoveesedstene,"
and "Boplicity" on SCCJ.
SECOND EXAM
72
The 1950s
Week 10
Monday:

Read pages 127-129. Listen to Blue Rondo ala Turk on JCC2.
Supplement: "Boplicity" on SCCJ and recordings cited
in endnotes of Chapter 7
Wednesday:

Read 151-156, 158-160.
Listen to J. J. Johnsons "Get Happy" on CGC, "Kiss and Run" on
JCC2.
Friday:
John Coltrane
Read pages 160-161, 146-148.
Listen to "Two Bass Hit" on CGC and "Flamenco Sketches"
on JCC2.
Supplement: "So What" on SCCJ
Week 11
Monday:
Art Blakey
Read 138-140.
Listen to Egyptian on CGC and Cranky Spanky on JCC2.
Supplement: Blakey albums on Blue Note that are cited in
end notes of Chapter 8
Wednesday:
Horace Silver and Cannonball Adderley

Read pages 139, 143 and 146-148.
Listen to Gregory Is Here on CGC, Senor Blues on JCC1,
Adderley solos on "Two Bass Hit" on CGC, "Flamenco Sketches"
on JCC2.
Friday:
Miles Davis
Read pages 143, 148-151, and 188-192.
Listen to "Blue in Green" and "Prince of Darkness" on CGC,
"Flamenco Sketches" on JCC2, "Fishermen, Strawberry, Devil
Crab" in JCC1, and Masqualero on JCC2.
The 1960s
Week 12
Monday:

Read Chapter 9.
Listen to Dee Dee and Jitney #2 on CGC, "Civilization Day"
on PHJC and Ghosts: First Variation on JCC3.
73
Supplement: "Enter Evening," "Congeniality," and

"Free Jazz" on SCCJ
Wednesday:
Bill Evans
Read pages 176, 180-187.
Listen to "Solar" and "Blue in Green" on CGC and
"Flamenco Sketches" on JCC2.
Friday:
John Coltrane
Read pages 175-180.
Listen to "Your Lady" on CGC and "Afro-Blue" on
JCC2.
Supplement: "Alabama" and "So What" on SCCJ
Week 13
Monday:
Bossa Nova
Supplement: 1960s recordings of Antonio Carlos Jobim,
Stan Getz, and Joao Gilberto
Wednesday:
Chicago Avant-Garde of the 1960s and 70s

Listen to recordings of Sun Ra, Art Ensemble of Chicago,
Anthony Braxton
Friday:

Read pages 188-191, 207-208, 235-237, and 156-157.
Listen to Hancock and Shorter on Miles Davis
"Prince of Darkness and to Wayne Shorter on Blakey's
"The Egyptian" on CGC. Listen to Hancock and Hubbard on
Maiden Voyage" and Hancock and Shorter on Davis'
"Masqualero" on JCC2, and study their respective listening
Guides in Jazz Styles.
Supplement: assorted recordings cited in end notes of
Chapters 8, 10 and 11
The 1970s
Week 14
Monday:
Weather Report
Read pages 202-207.
74
Wednesday:
John McLaughlin and Keith Jarrett

Read pages 201-202 and 229-234.
Listen to "Wind-Up" on CGC and "Sundial, Part 1" on JCC3.
Supplement: assorted recordings cited in end notes of
Chapters 10 and 11
The 1980s and 1990s

Friday:
Smooth Jazz
Read pages 210-211, 219-220, and 224-227.
Supplement: assorted recordings on Windham Hill and Narada,
plus popular recordings by Spyro Gyra, Kenny G, George Benson,
Joe Sample, Grover Washington, Jr., Bob James, Rick Braun,
Chris Botti, Dave Koz, Earl Klugh, and other contemporary artists
Week 15
FINAL EXAM
(emphasizing elements of music and how to listen)
Tuesday-Thursday schedule; three exams
Week 1
Tuesday:
Thursday:
Week 2
Tuesday:
Thursday:
Week 3
Tuesday:
What is Jazz?
Read pages 280-283.
"The Egyptian" on CGC for trumpet, tenor saxophone, and
trombone identifications, "No Figs" on JCC2 for clarinet,
trombone, alto saxophone, tenor saxophone, and baritone
saxophone, and "Flamenco Sketches" on JCC1 for Harmon-muted
trumpet, alto saxophone, and tenor saxophone.
Read pages 264-274.
Listen to Demo CD tracks 1-58
How to Listen (song forms and performance routines: blues)

75
Listen to Demo CD tracks 19, 28-30.

Listen to "Reckless Blues," "West End Blues,"
"Parker's Mood," and "Index" on CGC.
Thursday:
Week 4
Tuesday:
Thursday:
Week 5
Tuesday:
Thursday:
The 1920s
Week 6
Tuesday:
Thursday:
How to Listen (song forms and performance routines: A-A-B-A form)

Read pages 273-275.
Listen to Demo CD track 33.
Listen to "Taxi War Dance" and follow its listening guide
on pages 70-72, then "Back in Your Own Back Yard," and
follow its listening guide on page 83.
Supplement: "Four Brothers" on PHJC, "Cottontail," and "Shaw
Nuff" on JCC1, and follow their listening guides in
the Jazz Styles textbook.
How to Listen (instrument roles and jam session routines)

Read Chapter 2.
Listen to Demo CD track 32, then "The Egyptian,"
"Prince of Darkness," and "Gregory Is Here" on CGC.
First, use layered listening approach. Then follow listening guides.
FIRST EXAM
Origins of Jazz
Read Chapter 3.
Origins of Jazz
Read Chapter 3.
Listen to Alligator Hop on CGC, following its listening guide
on pages 34-35.
Supplement: "Maple Leaf Rag" and "Dippermouth Blues"
on SCCJ
Original Dixieland Jazz Band and Jelly Roll Morton

Read Chapter 4.
Listen to "Dixie Jazz Band One-Step" on CGC and follow its
listening guide, beginning on page 32. Listen to
Supplement: "Black Bottom Stomp" on SCCJ
James P. Johnson and Fats Waller
Read pages 41-43.
76
Listen to "You've Got to Be Modernistic" and "Handful of

Keys" on JCC1.
Supplement: "Carolina Shout" and "I Ain't Got Nobody" on SCCJ
Week 7
Tuesday:
The 1930s
Thursday:
Week 8
Tuesday:
Sidney Bechet and Louis Armstrong

Read pages 45-49.
Listen to "West End Blues" and "Reckless Blues" on CGC, then
"Hotter Than That" on JCC1.
Supplement: "Cake Walkin' Babies from Home, "Weather Bird,"
"Blue Horizon," "Potato Head Blues," and "Struttin' with Some
Barbecue" on SCCJ
Duke Ellington
Read pages 74-81.
Listen to "Harlem Airshaft" on CGC, then "Cottontail" on JCC1.
Note: Though these pieces were recorded in 1940 they represent a
culmination of Ellington's work in the 1930s.
Duke Ellington
Read 74-81.
Listen to "I've Got It Bad" on CGC, then "Transblucency" and
Note: Though these pieces were written during the 1930s, the
JCC1 renditions were recorded later.
Thursday:
Week 9
Tuesday:

Read pages 67-74
Listen to "Taxi War Dance" on CGC.
Supplement: Lester Leaps In on JCC1
Benny Goodman, Roy Eldridge, Coleman Hawkins, and Art Tatum

Read pages 74 and 62-67.
Listen to Eldridge's "Sittin' In," Hawkins' "Body and Soul," and
Tatum's "Tiger Rag" on CGC, "Voodte" and "How Deep is the
Ocean?" on JCC1, Goodman's Seven Come Eleven on PHJC
and Eldridge's After Youve Gone on JCC1.
Supplement: "I Found a New Baby," Goodman Trio's "Body and
Soul," Eldridge's "Rockin' Chair" and "I Can't Believe That You're
in Love with Me," Tatum's "Willow Weep for Me" and "Too
Marvelous for Words" on SCCJ.
77
Note: Though some of these selections were recorded after

the 1930s, all their styles reflect jazz of the 1930s.
Thursday:
The 1940s
Week 10
Tuesday:
Thursday:
The 1950s
Week 11
Tuesday:
Thursday:
Week 12
Tuesday:
Thursday:
SECOND EXAM
Charlie Parker, Dizzy Gillespie, Thelonious Monk, and Bud Powell

Read Chapter 6.
Listen to "Leap Frog," Powell's Get Happy, Parkers Mood,
and Index on CGC, Round Midnight on PHJC, Misterioso,
"Shaw Nuff," "Just Friends," and Things to Come on JCC1.
Supplement: Parker, Gillespie, Monk, and Powell items on SCCJ
Lennie Tristano, Lee Konitz, Miles Davis, and Stan Getz
Read Chapter 10.
Listen to "Subconscious-Lee," It Never Entered My Mind, and
Improvisation on CGC, "Four Brothers" on PHJC and JCC1,
"No Figs" and My Lady on JCC2.

Read Chapter 7. Listen to Blue Rondo ala Turk on PHJC
and JCC2.
Supplement: Listen to "Boplicity" on SCCJ and listen to albums
cited in endnotes of Chapter 7.
Read pages 151-156 and 158-160.
Listen to J. J. Johnson's "Get Happy" on CGC and
"Kiss and Run" on JCC2.
Horace Silver, Art Blakey, and Cannonball Adderley
Read pages 137-147, 157-158.
Listen to "Two Bass Hit," Gregory Is Here, and The Egyptian
on CGC, Work Song on PHJC, Cranky Spanky, and
Miles Davis
Read pages 143, 148-151.
Listen to "Blue in Green" and Prince of Darkness on CGC,
78
"Fishermen, Strawberries, Devil Crab" on JCC1, "Flamenco

Sketches" and "Masqualero" on JCC2.
The 1960s
Week 13
Tuesday:
Thursday:
The 1970s
Week 14
Tuesday:
John Coltrane
Read pages 160-161, 175-176.
Listen to "Your Lady," "Two Bass Hit," "Blue in Green,"
on CGC, "Flamenco Sketches" and "Afro-Blue" on JCC2.
Read Chapter 9.
Listen to "Dee Dee" and Jitney #2 on CGC, Civilization Day
on PHJC, "Ghosts: First Variation" on JCC3.
Supplement: "Enter Evening," "Lonely Woman," "Congeniality,"
and "Free Jazz" on SCCJ

Read pages 201-207.
Supplement: McLaughlin Columbia albums cited in
endnotes of Chapter 10
The 1980s and 1990s

Thursday:
Smooth Jazz
Read pages 210-211, 219-221, and 224-227.
plus music by Kenny G, Earl Klugh, Grover Washington, Jr., Joe
Sample, George Benson, Dave Koz, Bob James, Rick Braun,
Chris Botti, and other popular contemporary artists
Week 15
FINAL EXAM

79
Monday-Wednesday-Friday Schedule; midterm and a final exam

Week 1
Monday:
Wednesday:
Friday:
The 1920s
Week 2
Monday:
What is Jazz?
Origins of Jazz
Read Chapters 1, 2.
Listen to "Alligator Hop," following its listening guide on
pages 34-37.

Read Chapter 4.
Listen to "Dixie Jazz Band One-Step" on CGC,
Supplement: "Dippermouth Blues" and
"Black Bottom Stomp" on SCCJ
Wednesday:
Sidney Bechet, Louis Armstrong, and Bix Beiderbecke

Read Chapter 4.
Listen to "West End Blues," "Reckless Blues" and Riverboat
Shuffle on CGC, Singin the Blues, and "Hotter Than That"
on JCC1.
Supplement: "Blue Horizon," "Cake Walkin' Babies from Home,"
"Potato Head Blues," "Weather Bird," on SCCJ
Friday:
James P. Johnson and Fats Waller

Read 41-43.
Listen to "You've Got to Be Modernistic" and "Handful of Keys"
on JCC1.
Supplement: "Carolina Shout" and "I Ain't Got Nobody" on SCCJ
80
The 1930s
Week 3
Monday:
Duke Ellington
Read pages 74-81.
Listen to "Harlem Airshaft" following its listening guide and
"Cottontail" on JCC1.
Note: Though these recordings were made in 1940, they represent
the culmination of work Ellington did during the 1930s.
Wednesday:
Duke Ellington
Read pages 74-81.
Listen to "I've Got It Bad" on CGC and to "Transblucency"
and "Prelude to a Kiss" on JCC1.
Note: These pieces were written during the 1930s,
but the CD renditions cited here were recorded later.
Friday:
Benny Goodman, Coleman Hawkins, Roy Eldridge, and Art Tatum

Read Chapter 5.
Listen to Tatum's "Tiger Rag," Hawkins' "Body and Soul,"
Eldridge's "Sittin' In" on CGC, Goodman's
Seven Come Eleven on PHJC and JCC1, "Voodte"
"How Deep is the Ocean?" and Eldridge's
After Youve Gone on JCC1.
Supplement: Eldridge's "Rockin' Chair," "I Can't Believe That
You're in Love with Me," Tatum's "Willow Weep for Me,"
"Too Marvelous for Words," Goodman's "I Found A New Baby"
and Goodman Trio's "Body and Soul" on SCCJ.
Note: Though some of these recordings were made after 1939,
all represent styles of the 1930s.
Week 4
Monday:
Count Basie
Read pages 67-74.
Listen to "Taxi War Dance" on CGC.
Supplement: "Doggin' Around" on SCCJ
Wednesday:
Lester Young
Read pages 70-74.
Listen to Lester Young solos on Taxi War Dance and
on Billie Holiday's "Back in Your Own Back Yard" on CGC.
Friday:
MIDTERM EXAM
81
The 1940s
Week 5
Monday:
Charlie Parker
Read Chapter 6.
Listen to Demo CD tracks 1-8 for bop drumming.
"Groovin' High" on PHJC, "Shaw Nuff," "Just Friends,"
Supplement: Parker selections on SCCJ
Wednesday:
Dizzy Gillespie
Read Chapter 6.
Listen to Leap Frog on CGC, "Groovin' High" on PHJC,
"Shaw Nuff" and "Things to Come" on JCC1.
Supplement: Gillespie selections on SCCJ
Friday:

Read pages 108-113.
Listen to Round Midnight on PHJC, Misterioso on JCC1,
and to Powell's Get Happy on CGC.
Supplement: Monk and Powell selections on SCCJ.
Week 6
Monday:
Wednesday:
The 1950s
Friday:
Week 7
Monday:

Read Chapter 10.
Listen to "Subconscious-Lee," Improvisation and
It Never Entered My Mind on CGC, "No Figs" on JCC2,
"Four Brothers" on PHJC, and My Lady on JCC1.
Supplement: Tristano selections on SCCJ
Miles Davis
Read pages 125 and 127.
Listen to "Boplicity," "Crazeology," and "Klactoveesedstene"
on SCCJ.
and JCC2.
Supplement: albums cited in endnotes of Chapter 7.

Read pages 151-156, and 158-160.
Listen to J. J. Johnson's "Get Happy" on CGC and Kiss and Run
on JCC2.
82
Wednesday:
Miles Davis
Read pages 143 and 148-151.
Listen to "Blue in Green" on CGC and "Flamenco Sketches"
on JCC2.
Supplement: "Summertime" and "So What" on SCCJ
Friday:
Horace Silver, Art Blakey and Cannonball Adderley

Read Chapter 8.
Listen to "Two Bass Hit," Gregory is Here, and
The Egyptian on CGC. Listen to Senor Blues
and Cranky Spanky on JCC1. Listen to Adderley
solo on "Flamenco Sketches" on JCC2.
Supplement: Adderley solo on "So What" on SCCJ,
Silver and Adderley albums cited in endnotes of Chapter 11
The 1960s
Week 8
Monday:
Bill Evans
Read pages 176, 180-187.
Listen to "Solar" and "Blue in Green" on CGC, and
Wednesday:
Ornette Coleman, Albert Ayler and Cecil Taylor

Read Chapter 9
on PHJC, JCC2, and Ghosts: First Variation on JCC3.
Supplement: "Congeniality," "Free Jazz (excerpt),"
"Lonely Woman," and "Enter Evening" on SCCJ
Friday:
John Coltrane
Read pages 160-161, 175-180.
Listen to "Two Bass Hit, "Blue in Green," "Your Lady,"
on CGC, "Flamenco Sketches" and "Afro-Blue" on
JCC2.
Week 9
Monday:
Wayne Shorter, Herbie Hancock, and Freddie Hubbard

Read pages 235-237, 188-191, 207-208, and 156-157.
Listen to Shorter on Art Blakey's "The Egyptian" and Miles Davis'
Prince of Darkness on CGC. Listen to Hancock and Hubbard
on Hancock's Maiden Voyage, and listen to Hancock and
Shorter on Miles Davis' "Masqualero" on JCC2.
Supplement: Blue Note albums cited in endnotes of Chapters 8,
10, 11
83
The 1970s, 1980s, and 1990s

Wednesday:
Chick Corea and Keith Jarrett

Read 208-210, 212-213, and 229-234.
Listen to Spanish Key, Wind-Up on CGC,
"Steps" and "Sundial: Part 1" on JCC3.
Supplement: Corea and Jarrett albums cited in endnotes
of Chapters 10, 11
Friday:
Weather Report and Smooth Jazz

Read 202-207, 210-211, 219-221, and 223-227.
plus music cited in chapter endnotes by Kenny G,
Grover Washington, Jr., George Benson, Joe Sample, Earl Klugh,
Bob James, Dave Koz, Rick Braun, Chris Botti, and other popular
contemporary artists
Week 10
FINAL EXAM
(without emphasis on elements of music or how to listen)
Tuesday-Thursday Schedule; midterm and final
Week 1
Tuesday:
Thursday:
Week 2
Tuesday:
What is Jazz?
Origins of Jazz
Read Chapters 1, 2 and 3.
Listen to Demo CD tracks 50-58, Alligator Hop on CGC,
following the listening guide on pages 34-37. Listen to first 6
selections on JCC1.
Supplement: "Dippermouth Blues," "Maple Leaf Rag" on SCCJ
Early Jazz: ODJB, Louis Armstrong, and James P. Johnson
Read Chapter 4.
Listen to "Dixie Jazz Band One-Step," "West End Blues,"
"Riverboat Shuffle," Reckless Blues on CGC,
"Wolverine Blues" on PHJC, "Singin' the Blues,"
"Hotter than That" and "You've Got to Be Modernistic" on JCC1.
Supplement: "Cake Walkin' Babies from Home," "Carolina
Shout," "Potato Head Blues," "Weather Bird" on SCCJ
84
Swing
Thursday:
Week 3
Tuesday:
Thursday:
Bop
Week 4
Tuesday:
Thursday:
Cool
Week 5
Tuesday:
Thursday:

Read pages 67-74.
Listen to "Taxi War Dance" and Lester Young's solo on
Billie Holiday's "Back in Your Own Back Yard" on CGC.
Duke Ellington
Read pages 74-81.
Listen to "Harlem Airshaft," "I've Got It Bad" on CGC,
"Cottontail," "Transblucency," and "Prelude to A Kiss" on JCC1.
Supplement: "East St. Louis Toodle-o," "In a Mellotone," and
"Concerto for Cootie" on SCCJ.
FIRST EXAM

Read Chapter 6.
Listen to Demo CD for bop drumming (tracks 1-8).
Listen "Leap Frog" and Parkers Mood on CGC,
"Groovin' High" on PHJC, "Shaw Nuff," "Just Friends,"
and "Things to Come on JCC1.
Read pages 108-113. Listen to Round Midnight on PHJC,
Misterioso on JCC1, Powell's Get Happy on CGC.
Supplement: Monk and Powell selections on SCCJ.

Read Chapter 7.
Listen to Subconscious-Lee," "It Never Entered My Mind," and
Improvisation on CGC, "Four Brothers" on PHJC, My Lady,
and No Figs on JCC2.
Dave Brubeck and Gerry Mulligan
and JCC2.
Supplement: albums cited in endnotes of Chapter 7
85
Hard Bop
Week 6
Tuesday:
Thursday:
Clifford Brown and Sonny Rollins, Art Blakey & Horace Silver
Read Chapter 8.
Listen to Gregory Is Here, J. J. Johnson's Get Happy, and
The Egyptian on CGC, Senor Blues, "Kiss and Run" and
Cranky Spanky on JCC2.
Miles Davis and John Coltrane
Read pages 143, 146-151 and 160-161
Listen to "Two Bass Hit" and "Blue in Green" on CGG, and
Supplement: "So What," "Alabama," "Summertime" on SCCJ
Free Jazz
Week 7
Tuesday:

Read Chapter 14.
on PHJC and JCC2, and "Ghosts: First Variation" on JCC3.
Supplement: "Enter Evening," "Congeniality,"
"Lonely Woman," and "Free Jazz" on SCCJ
1960s Innovations
Thursday:
Week 8
Tuesday:
Thursday:
Bill Evans
Read pages 176, 180-187.
Listen to "Solar" and "Blue in Green" on CGC, and

Read pages 188-191, 207-208, 156-157, 235-237
Listen to Hancock and Shorter on "Prince of Darkness and listen
to Shorter on "The Egyptian" on CGC. Listen to Hancock and
Hubbard on Maiden Voyage and to Hancock and Shorter on
"Masqualero" on JCC2, and study their listening guide in the
Jazz Styles textbook.
Supplement: assorted recordings cited in endnotes of
Chapters 8, 10 and 11
John Coltrane's 1960s Innovations

86
Read pages 175-180

Listen to "Your Lady" on CGC and "Afro-Blue" on JCC2.
1970s, 1980s, and 1990s
Week 9
Tuesday:

Read pages 201-207.
Supplement: recordings cited in endnotes of Chapter 10
Thursday:
Smooth Jazz
Read pages 210-211, 219-221, and 224-227.
Listen to recordings on Windham Hill and Narada, and study the
music of Kenny G, Grover Washington, Jr., Joe Sample, Earl
Klugh, George Benson, Spyro Gyra, Bob James, Dave Koz, Rick
Braun, Chris Botti, and other popular contemporary musicians.
Week 10
FINAL EXAM
(with introductory emphasis on elements of music and how to listen)
Week 1
Monday:
What is Jazz?
Wednesday:

Read chapters 1 and 2, pages 259-264.
Friday:

Read pages 280-283.
Listen to Demo CD tracks 1-15, 59-98.
"The Egyptian" on CGC for identifying trumpet, tenor saxophone
and trombone; "No Figs" on JCC2 for clarinet, alto saxophone,
tenor saxophone, baritone saxophone and trombone, "Flamenco
Sketches" on JCC2 for Harmon-muted trumpet, alto saxophone,
tenor saxophone identifications.
Week 2
Monday:
Wednesday:

Read pages 264-274.
How to Listen (song forms: blues)
87
Read pages 272-273.

Listen to Demo CD tracks 16-20, 33-36, Reckless Blues,
"West End Blues," and "Index" on CGC, following their
listening guides.
Friday:
Week 3
Monday:
Wednesday:
Friday:
Week 4
Monday:
How to Listen (instrument roles and song form: A-A-B-A)

Read Chapter 2.
Listen to Demo CD tracks 19-32, "Taxi War Dance" and
"Back in Your Own Back Yard" on CGC, following their
listening guides on pages 70-72.
Layered Listening Approach

Listen first, and then follow the listening guides for "Harlem
Airshaft" and "Prince of Darkness."
Listening to Blues and A-A-B-A Song Forms
Listen first, and then follow the listening guides for "West End
Blues," "Taxi War Dance," "Parker's Mood" on CGC,
"Cottontail," "Four Brothers," and "Shaw Nuff" on JCC1.
FIRST EXAM
The Origins of Jazz

Read Chapter 3.
Wednesday:
Origins of Jazz
Listen to "Alligator Hop," following its listening guide.
Friday:
Early Jazz (Original Dixieland Jazz Band, James P. Johnson)

Read Chapter 4.
Listen to "Dixie Jazz Band One-Step" on CGC and
"You've Got to Be Modernistic" on JCC1.
Supplement: "Carolina Shout" and "Dippermouth Blues" on SCCJ
Week 5
Monday:
Early Jazz (Louis Armstrong and Earl Hines)

Listen to "West End Blues" and "Reckless Blues" on CGC.
Supplement: "Weather Bird," "Cake Walkin' Babies from Home,"
"Potato Head Blues," and "Hotter Than That" on SCCJ
88
Wednesday:
Swing (Benny Goodman, Coleman Hawkins, and Roy Eldridge)

Read Chapter 5.
Listen to Eldridge's "Sittin' In" and Hawkins' "Body and Soul" on
CGC, Goodman's Seven Come Eleven on PHJC, "Voodte" and
"How Deep is the Ocean?" and Eldridge's After Youve Gone
on JCC1.
Supplement: Goodman Trio's "Body and Soul," Eldridge's
"Rockin' Chair," Goodman's "I Found a New Baby," Hawkins'
"The Man I Love," and Eldridge's "I Can't Believe That You're in
Love with Me" on SCCJ.
Friday:

Read pages 68-74.
Listen to "Taxi War Dance" and Lester Young's solo on Billie
Holiday's "Back in Your Own Back Yard" on CGC.
Supplement: Lester Leaps In on JCC1
Week 6
Monday:
Duke Ellington
Read Ellington coverage, beginning on page 74.
Listen to "Harlem Airshaft" in CGC and "Cottontail" on JCC1.
Wednesday:
Duke Ellington
Read pages 74-80.
Listen to "I've Got It Bad" on CGC; "Transblucency" and
Supplement: Ellington's "Ko-Ko" and "East St. Louis Toodle-o"
on SCCJ
Friday:
Bop (Charlie Parker and Dizzy Gillespie)

Read Chapter 6.
Groovin High on PHJC, "Shaw Nuff," "Just Friends,"
and "Things to Come" on JCC1.
Week 7
Monday:
Wednesday:
Bop (Thelonious Monk and Bud Powell)

Listen to Powell's Get Happy" on CGC, Round Midnight
on PHJC, Misterioso on JCC1.
Supplement: Monk and Powell selections on SCCJ
Cool (Lennie Tristano, Lee Konitz, and Stan Getz)
Read Chapter 7.
Listen to "Subconscious-Lee" on CGC, Improvisation on CGC,
89
"No Figs" and My Lady on JCC2.

Friday:
Week 8
Monday:
SECOND EXAM
Hard Bop
Read Chapter 8.
Listen to J. J. Johnson's "Get Happy," Gregory Is Here, and
The Egyptian on CGC, Work Song on PHJC,
"Cranky Spanky" and Senor Blues on JCC2.
Wednesday:
Miles Davis and John Coltrane

Listen to "Two Bass Hit," "Blue in Green," and "Your Lady,"
Prince of Darkness on CGC, "Flamenco Sketches,"
"Masqualero," and "The Promise" on JCC2,
Friday:
Free Jazz
Read Chapter 9.
Listen to "Dee Dee," Jitney #2, and "The Wind-Up" on CGC
following their listening guides, Civilization Day on PHJC, and
"Ghosts: First Variation" on JCC3.
Supplement: "Enter Evening," "Congeniality," "Lonely Woman,"
and "Free Jazz (excerpt)" on SCCJ
Week 9
Monday:
Bill Evans, Herbie Hancock, and Chick Corea

Read 176, 180-188, 191, 207-210-199.
Listen to "Solar," "Blue in Green," "Prince of Darkness,"
"Spanish Key" on CGC; "Flamenco Sketches," Maiden
Voyage, "Masqualero" on JCC2, and "Steps" on JCC3.
Wednesday:
Fusion (Weather Report)

Read Chapter 10.
Friday:
Smooth Jazz and New Age

Read 210-211, 219-220, and 224-227.
Listen to albums on Windham Hill and Narada, and study the
music of Kenny G, Grover Washington, Jr., Earl Klugh, George
Benson, Spyro Gyra, Bob James, Dave Koz, Rick Braun, Chris
Botti, and other popular contemporary musicians.
90
Week 10
FINAL EXAM
(with introductory emphasis on elements of music and how to listen)
Tuesday-Thursday Schedule; three exams
Week 1
Tuesday:
Thursday:
Week 2
Tuesday:
Thursday:
Week 3
Tuesday:
Thursday:
Week 4
Tuesday:
Thursday:
What is Jazz

Read 280-283.
Listen to Demo CD tracks 1-15, 59-98. Listen to CGC for Art
Blakey's "The Egyptian" and J. J. Johnson's "Get Happy" for
trumpet, tenor saxophone, and trombone identifications; "No Figs"
on JCC2 for clarinet, alto saxophone, tenor saxophone, baritone
saxophone, and trombone, "Flamenco Sketches" on JCC2 for
Harmon-muted trumpet, alto saxophone, and tenor saxophone.
Read 264-274.
Listen to Demo CD tracks 16-20, "Reckless Blues,"
"West End Blues," "Index" on CGC for blues form.
How to Listen (song form routines and instrument roles)

Read Chapter 2 and pages 273-278.
Listen to Demo CD tracks 19-37, "Taxi War Dance" and "Back in
Your Own Back Yard" to learn A-A-B-A, "Parker's Mood" to
review blues.
Supplement: "Cottontail" and "Shaw Nuff," on JCC1 for A-A-B-A
FIRST EXAM
Origins of Jazz
Read Chapter 3.
Listen to first 6 examples on JCC1.
Listen to blue notes and pitch bends on Demo CD tracks 50-58.
Early Jazz (Original Dixieland Jazz Band and Olivers Creole Jazz Band)
91
Read Chapter 5.
Listen to "Dixie Jazz Band One-Step" and "Alligator Hop"
on CGC, following their listening guides.
Supplement: "Carolina Shout" on SCCJ
Week 5
Tuesday:
Thursday:
Early Jazz (Louis Armstrong and Bix Beiderbecke)

Read pages 45-61.
Listen to "West End Blues" and Riverboat Shuffle on CGC,
Singin the Blues and "Hotter Than That" on JCC1.
Supplement: "Weather Bird," "Cake Walkin' Babies from Home,"
"Potato Head Blues" on SCCJ
Swing
Read Chapter 5.
Listen to "Taxi War Dance," "Sittin' In,"
Hawkins' "Body and Soul" on CGC, and Seven Come Eleven on
PHJC, After Youve Gone, and "Lester Leaps In" on JCC1.
Supplement: "Goodman Trio's "Body and Soul,"
"I've Found a New Baby," Hawkins' "The Man I Love" in SCCJ
Week 6
Tuesday:
Duke Ellington
Read 74-81.
Listen to "Harlem Airshaft," "I've Got It Bad" on CGC,
"Cottontail," "Prelude to a Kiss," and "Transblucency" in JCC1.
Thursday:
SECOND EXAM
Week 7
Tuesday:
Bebop
Read Chapter 6.
Listen to Leap Frog, Powell's Get Happy, Index, Parkers
Mood on CGC, Groovin High on PHJC, "Shaw Nuff,"
Misterioso, Things to Come,"
"Four Brothers" on JCC1.
Supplement: Parker and Gillespie items on SCCJ
Thursday:
Cool
Read Chapter 10.
Listen to "Subconscious-Lee," "It Never Entered My Mind,"
Improvisation on CGC, My Lady and "No Figs" on JCC2.
92
Week 8
Tuesday:
Thursday:
Week 9
Tuesday:
Thursday:
Hard Bop and Miles Davis

Read Chapter 8
Listen to Gregory Is Here, The Egyptian, Two-Bass Hit,
"Blue in Green," "Prince of Darkness," J. J. Johnson's "Get Happy"
on CGC, Work Song on PHJC, "Cranky Spanky," Kiss and
Run, Senor Blues, and "Flamenco Sketches" on JCC2.
Supplement: "Pent-Up House," "Blue Seven, "So What,"
and "Summertime" on SCCJ
John Coltrane and Ornette Coleman
Read Chapter 9.
Listen to "Your Lady," "Two Bass Hit," "Blue in Green" on CGC,
"Civilization Day" on PHJC, "Flamenco Sketches" and
"Afro-Blue" on JCC2.
Supplement: "Enter Evening," "Lonely Woman," "Free Jazz
(excerpt)," "Alabama," and "Congeniality" on SCCJ.
Bill Evans, Chick Corea, Herbie Hancock
Read pages 176, 180-188, 191, and 207-210.
Listen to "Blue in Green," "Solar," "Spanish Key," Prince of
Darkness on CGC, "Flamenco Sketches, Maiden
Voyage, "Masqualero" on JCC2, and "Steps" on JCC3.
Fusion
Read Chapter 10.
Listen to "Birdland" on CGC, "Surucuc" and
"Chameleon" on JCC3.
Week 10
FINAL EXAM
93
DEMONSTRATION CD CONTENTS
Note: The 72-minute Demonstration CD is available in a number of packages: the CD
alone (Prentice-Hall, ISBN 0-13-601098-9), the book with Demonstration CD (PrenticeHall, ISBN 0205726364), or the book with Demonstration CD and Jazz Classics CDs
(Prentice-Hall, ISBN 0205678424).
Note: Numbers below do not designate the CD track numbers. They just tally the details.
1. bass drum
2. high-hat cymbal
3. high-hat struck in open position
4. high-hat struck in semi-open position
5. high-hat struck in closed position
6. ride rhythm played on opening and closing high-hat
7. ride rhythm on ride cymbal
8. crash cymbal
9. snare drum
10. ride cymbal vs. crash cymbal
11. small tom-tom
12. large tom-tom
13. combining the drums and cymbals
14. snare drum rhythm of early jazz
15. wood block rhythm of early jazz
16. wire brushes stirring soup on snare drum
17. wire brushes striking ride cymbal
18. drum stick striking ride cymbal
19. mallets striking drums
20. mallets striking cymbals
21. chord definition and demonstration
22. I-chord explanation and demonstration in C
23. I-chord in F#
24. I-chord in Bb
25. I-chord in the key of C
26. II-chord in the key of C
27. III-chord in the key of C
28. IV-chord in the key of C
29. V-chord in the key C
30. VI-chord in the key of C
31. VII-chord in the key of C
32. definition of chord change and example of I-II progression
33. I-IV progression
34. IV-I progression
35. I-V-I progression
36. I-IV-I-V-I blues progression, keyed to diagram in Elements of Music Appendix
37. chord voicing examples as shown in Elements of Music Appendix
94
38. definition of syncopation and comping; demonstration contrasting chording

in unsyncopated manner with:
39. chording in syncopated manner
40. bass played by bow (arco)
41. bass played by plucking (pizzicato)
42. definition and demonstration of walking bass
43. embellished walking style
44. 12-bar blues played by walking bass
45. right-hand horn-like piano lines accompanied by walking bass demonstrating
blues without chord accompaniment
46. horn-like pizzicato bass improvisation
47. non-repetitive style bass playing with piano improvisation
48. walking bass combined with piano comping on 12-bar blues
49. definition of chorus, demonstrated in two choruses of 12-bar blues by walking
bass
3 examples of funk bass
50. piano, bass and drums accompaniment for 12-bar blues
electronic, funk rhythm section style
51. tenor sax accompanied by piano, bass and drums
52. sax accompanied by piano and drums
53. sax accompanied by piano, bass and drums
54. sax accompanied by bass and drums
56. sax accompanied by piano and bass
57. sax accompanied by drums
58. sax accompanied piano, bass and drums
59. sax accompanied by piano
60. sax accompanied by bass
62. explanation and demonstration of A-A-B-A: first A-section of "(Meet the)
Flintstones"
63. second A-section of "(Meet the) Flintstones"
64. bridge of "(Meet the) Flintstones"
65. final A-section of "(Meet the) Flintstones"
66. demonstration of how chords guide improvisation: Flintstones theme played
by flute while pianist improvises, guided by accompaniment chords
67. piano improvisations on Flintstones progression without using the aid of melody
68. stop-time solo break explanation and demonstration
69. double-timing explanation and demonstration
70. half-time explanation and demonstration
71. left-hand comping on piano
72. right-hand horn-like melody lines on piano accompanied by left hand comping
73. right-hand horn-like piano lines without accompaniment
74. stride-style explanation and demonstration
75. stride-style left hand accompaniment with right-hand melody
boogie woogie style left hand
95
boogie-woogie style left hand plus right-hand melody

76. walking tenths
77. horn-like piano lines
78. octave-voiced piano lines
79. tremolo
80. swing eighth-note pattern
81. legato
82. staccato
83. tone with no vibrato
84. tone with regular vibrato (slow)
85. tone with regular vibrato (fast)
86. tone with terminal vibrato
87. drop (fall-off)
88. scoop
89. smear
90. doit
91. C scale without blue notes
92. C scale with the flat third blue note
93. trombone playing C scale
94. trombone playing C scale with flat third
95. trombone playing major scale, sliding down to neutral third
96. trombone playing major scale, sliding up to neutral third
97. trumpet
98. trumpet with no vibrato
99. trumpet with vibrato
100. fluegelhorn
101. trumpet vs. fluegelhorn
102. fluegelhorn identification quiz
103. cup muted trumpet
104. Harmon mute with stem
105. Harmon mute without stem
106. straight mute
107. plunger mute
108. trumpet
109. fluegelhorn
110. cup-muted trumpet
111. Harmon mute with stem
112. Harmon mute without stem
113. straight mute
114. plunger mute and growl
115. clarinet
116. clarinet with no vibrato
117. clarinet with vibrato
118. soprano sax
119. soprano sax with no vibrato
120. soprano sax with vibrato
96
121. clarinet vs. soprano sax

122. alto sax
123. alto sax with no vibrato
124. alto sax with vibrato
125. tenor sax
126. tenor sax with no vibrato
127. tenor sax with vibrato
128. baritone sax
129. baritone sax with no vibrato
130. baritone sax with vibrato
131. flute
132. flute with no vibrato
133. flute with vibrato
134. flute vs. clarinet
135. tenor sax vs. soprano sax
136. tenor sax vs. soprano sax
137. trombone
138. trombone with no vibrato
139. trombone with vibrato
140. cup-muted trombone
141. straight-muted trombone
142. plunger-muted trombone with buzz mute
143. trumpet-fluegelhorn-trombone comparison
144. soprano sax, alto sax, tenor sax, baritone sax, flute & clarinet
145. hollow-body guitar, un-amplified, played pizzicato with pick
146. hollow-body guitar, amplified, played pizzicato with pick
147. hollow-body guitar, amplified, plucked with thumb
148. finger-plucked octaves on hollow-body guitar, amplified
149. rhythm guitar style played with pick
150. comping by guitar, played with pick
151. reverberated electric guitar tone
152. banjo solo line
153. banjo chords played in rhythm style
154. banjo vs. guitar
155. amplified guitar plucked vs. picked vs. octave-voiced
156. reverberated electric guitar
157. vibraphone
158. tenor sax playing blues
159. trumpet playing blues
160. trombone playing blues
161. alto sax playing blues
162. flute playing blues
163. soprano sax playing blues
164. trumpet with Harmon mute with no stem playing blues
165. fluegelhorn playing blues
166. trombone with plunger mute playing blues
97
167. trumpet with plunger mute playing blues

168. baritone sax playing blues
169. trombone with cup mute playing blues
170. trumpet with cup mute playing blues
171. clarinet playing blues
98
CONTENTS FOR THE JAZZ CLASSICS CD1

(Prentice-Hall, ISBN 0-13-600561-6)
Also available bundled with the Jazz Styles textbook (ISBN 0-13-503432-9) and with the
value pack that combines the textbook, the Demo CD, and the 3 classics CDs (ISBN 013-503436-1).
1.
African American Pitch Bending Illustrations

A.
"Street Cries of Charleston" (excerpt); no recording date, composer
or performer credits are known; this is owned by Fantasy Records,
originally issued by Riverside Records; reissued as Riverside History of
Classic Jazz, Fantasy: 3RBCD-005-2, disc 1, track 2.
B.
"Fisherman, Strawberry, Devil Crab" (excerpt); recorded July 29,
1958; first issued on the album, Miles Davis, Porgy and Bess, Columbia
CS 8085, side 2, track 3; composer: George Gershwin; arranger: Gil
Evans; trumpet soloist: Miles Davis.
2.
African American Retentions Sequence

A.
"Hunter's Dance" (30 second excerpt); this is a West African field

recording made by Gilbert Rouget; no composer or performer credits are
known; owned by Vogue, which is a French company and by Everest,
which is an American record company; originally available on the French
LP, Musique D' Afrique Occidentale, Vogue LVLX 193; later issued on
Anthology of Music of Black Africa, Everest SDBR 3254, 3LP set;
available as African Tribal Music and Dance: Music of the Malinke;
Music of the Baoule and Others, Tradition: 2223, AC; or African Tribal
Music and Dances, Legacy International: CD 328, CD.
B.
"One Day" (30 second excerpt); performed by the Angelic Gospel Singers,
Dixie Hummingbirds and a pianist; recorded December 1951; matrix CO
47588; original release Okeh 6858; reissued on disc 2, track 1 of The
Gospel Sound, Columbia: C2X 57160, 2CD set.
C.
One O'Clock Jump" (30 second excerpt); composed and performed by

Count Basie; recorded January 21, 1942; matrix CO 32274; original
release Okeh 6634; owned by Columbia; trumpets: Harry Edison, Al
Kilian, Buck Clayton, Ed Lewis; trombones: Robert Scott, Eli Robertson,
Dicky Wells; saxes: Earl Warren, Tab Smith, Buddy Tate, Don Byas, Jack
Washington; rhythm section: Count Basie, Freddy Green, Walter Page, Jo
Jones.
99
D.
"Birdland" (30 second excerpt); composed by Josef Zawinul; recorded in

1977 in North Hollywood, California; performed by Josef Zawinul,
Wayne Shorter, Jaco Pastorius, Alex Acuna & Manolo Badrena; first issue
on Weather Report, Heavy Weather, Columbia: 34418.
3.
"Dixie Jazz Band One-Step" (2:35); performed by The Original Dixieland Jazz
Band: Nick LaRocca (cornet), Larry Shields (clarinet), Eddie Edwards
(trombone), Henry Ragas (piano); February 26, 1917; matrix B-19332-3;
clearances: ASCAP, Victor.
4.
"Wolverine Blues" (3:21); composer: Jelly Roll Morton; publisher clearances:

ASCAP; recorded for Victor in Chicago, June 10, 1927; performed by Jelly Roll
Morton (piano), Johnny Dodds (clarinet), Baby Dodds (drums); X LVA-3028;
matrix 38663-2; issued as Victor 26731; owned by RCA. also on Prentice Hall
Jazz Collection CD
"Singin The Blues" (2:58); composer: J.R. Robinson & Conrad; recorded
February 4, 1927 in New York; performed by Frankie Trumbauer (C-melody
sax), Bix Beiderbecke (cornet), Bill Rank (trombone), Jimmy Dorsey (clarinet),
Paul Mertz (piano), Eddie Lang (guitar), Chauncey Morehouse (drums); matrix
W80393-B; issued as Okeh 40772; owned by SONY.
6.
"West End Blues" (3:16); recorded June 6, 1928; composed by Joe Oliver and
Clarence Williams; performed by Louis Armstrong, Earl Hines, Fred Robinson,
Jimmy Strong, Mancy Cara and Zutty Singleton; originally issued by Okeh,
owned by Columbia; matrix number 400967B.
"Hotter Than That" (2:58); composer Lil Hardin; recorded in 1927 for Okeh by
Louis Armstrong (trumpet and vocal), Johnny Dodds (clarinet), Kid Ory
(trombone), Lil Hardin (piano), Johnny St. Cyr (banjo) and Lonnie Johnson
(guitar); reissued on The Complete Hot Fives and Hot Seven Recordings Vol. 3.
Columbia/Legacy: 87011, c2003.
8.
"Handful of Keys" (2:43); composer and pianist Fats Waller; recorded in 1929 for
Victor; reissued on Fats Waller Piano Solos: Turn on the Heat. RCA Bluebird:
2482, 2CD set, c1991.
9.
"You've Got to Be Modernistic" (3:10); recorded January 21, 1930; composed

and performed as piano solo by James P. Johnson; Brunswick 4762; matrix
E-31958; owned by MCA.
10.
"Walkin' and Swingin'" (2:38); composer Mary Lou Williams; recorded 1936 in
NYC by Andy Kirk and His Twelve Clouds of Joy featuring Mary Lou Williams
for Decca; reissued on Andy Kirk & Mary Lou Williams: Marys Idea. Decca
Jazz: 622, c1993
100
11.
"Seven Come Eleven" (2:46); composer Benny Goodman & Charlie Christian;
recorded November 22, 1939, New York, matrix WCO 26286054606-1; owned
by RCA. Performed by Benny Goodman (clarinet), Charlie Christian (guitar),
Lionel Hampton (vibraphone), Fletcher Henderson (piano), Artie Bernstein
(bass), Nick Fatool (drums).
12.
"After Youve Gone" (2:38); composer: Creamer & Layton; publisher clearances:
ASCAP; recorded for Okeh May 8, 1941 in New York; performed by Roy
Eldridge (trumpet), Gene Krupa (drums), Norman Murphy, Graham Young, Torg
Halten (trumpets), John Grassi, Babe Wagner, Jay Kelliher (trombones), Clint
Neagley, Musky Ruffo (alto saxes), Sam Musiker (clarinet, tenor sax), Walter
Bates (tenor sax); Bob Curtis (piano), Ray Biondi (guitar), Buddy Bastien (bass);
matrix CO 30605-2; owned by SONY.
13.
"How Deep is the Ocean?" (3:18); composed by Irving Berlin; recorded on

December 8, 1943 for Signature by Coleman Hawkins (tenor sax), Al Casey
(guitar), Ellis Larkins (piano), Oscar Pettiford (bass), and Shelly Manne (drums).
14.
"Voodte" (excerpt; 1:50); composed by Coleman Hawkins; recorded 1943 for

Signature by Coleman Hawkins, Al Casey (guitar), Ellis Larkins (piano), Oscar
Pettiford (bass), and Shelly Manne (drums); Bill Coleman (trumpet) and Andy
Fitzgerald (sax and clarinet); reissued on Classic Tenors (Signature/CBS: 38446,
c1989).
15.
Cottontail (97 seconds) Ella Fitzgerald and Duke Ellington Orchestra recorded
October 19, 1965 in Los Angeles; first issued on Ella at Dukes Place (Verve
4070). Featuring Paul Gonsalves and Jimmy Hamilton on tenor saxophones, John
Lamb on bass, and Louis Bellson on drums.
16.
"Cottontail" (3:08); composer: Duke Ellington; publisher clearances: ASCAP;

recorded May 4, 1940 in Hollywood, California; trumpets: Wallace Jones, Cootie
Williams, Rex Stewart; trombones: Joe Nanton, Lawrence Brown, Juan Tizol;
saxophones: Barney Bigard, Otto Hardwicke, Johnny Hodges, Ben Webster,
Harry Carney; rhythm section: Ellington (piano), Freddy Guy (guitar), Jimmy
Blanton (bass), Sonny Greer (drums); matrix 049655-1; issued as Victor 26610;
owned by RCA.
17.
"Prelude to a Kiss" (4:38); composed by Duke Ellington; recorded October 1,

1957; featuring Johnny Hodges (alto sax); Ellington band with Duke Ellington
(piano), Jimmy Woode (bass), Sam Woodyard (drums); matrix CO59897; first
issued on Ellington Indigos, Columbia CL 1085.
18.
"Harlem Airshaft" (2:57); composer: Duke Ellington; publisher clearances:

ASCAP; recorded July 22, 1940 in New York; performed by same musicians as
"Cottontail"; matrix 054606-1; issued as Victor 26731; owned by RCA.
101
19.
"Transblucency" (2:58); composed by Lawrence Brown and Duke Ellington;

licensed by ASCAP; recorded July 9, 1946 by Kay Davis (vocal), Jimmy
Hamilton (clarinet), Lawrence Brown (muted trombone), Duke Ellington (piano),
Oscar Pettiford (bass); saxophones (one chorus only): Russell Procope, Johnny
Hodges, Al Sears, Harry Carney; matrix D6VB2095; owned by RCA.
20.
"Taxi War Dance" (2:47); composed by Count Basie and Lester Young on the
chord progression of "Willow Weep for Me"; arranged by Buck Clayton;
recorded March 19, 1939; performed by trumpets: Buck Clayton, Shad Collins,
Harry Edison, Ed Lewis; trombones: Dan Minor, Benny Morton, Dicky Wells;
saxes: Earl Warren, Jack Washington, Buddy Tate, Lester Young; Count Basie
(piano), Freddie Green (guitar), Walter Page (bass), Jo Jones (drums); originally
issued as Vocalion 4748 (matrix 24242-1); owned by SONY.
21.
"Lester Leaps In" (3:13); composed by Lester Young; recorded for Okeh
September 5, 1939 by Lester Young, Count Basie, Freddie Green, Walter Page, Jo
Jones.
22.
"Shaw 'Nuff" (2:56); composed by Dizzy Gillespie and Charlie Parker; recorded
May 11, 1945 by Dizzy Gillespie, Charlie Parker, Al Haig, Curley Russell & Sid
Catlett; first issued on Guild 1002 (matrix 566); owned by Universal.
23.
"Things to Come" (2:45); composer: Gil Fuller; publisher clearances: ASCAP;

recorded for Musicraft on July 9, 1946 in New York; performed by Dizzy
Gillespie, Dave Burns,Raymond Orr, Talib Daawood, John Lynch (trumpets),
Alton Moore, Leon Cormenge, Gordon Thomas (trombones), Howard Johnson,
Lucky Warren, Ray Abrams, John Brown, Saul Moore (saxes), John Lewis,
(piano), Ray Brown (bass), Kenny Clarke (drums); matrix 5611; issued as
Musicraft 447; owned by Universal.
24.
"Four Brothers" (3:16); composed by Jimmy Giuffre; licensed by ASCAP;

recorded December 27, 1947 in Los Angeles by Woody Herman band; owned by
Columbia; Woody Herman (clarinet); trumpets: Ernie Royal, Bernie Glow, Stan
Fishelson, Shorty Rogers, Marky Markowitz; trombones: Earl Swope, Ollie
Wilson, Bob Swift; saxes: Herbie Steward, Zoot Sims, Stan Getz, Serge Chaloff;
Fred Otis (piano), Gene Sargent (guitar), Walt Yoder (bass), Don Lamond
(drums); matrix HCO.3061-1; first issued as Columbia 38304. also on Prentice
Hall Jazz Collection CD
25.
"Misterioso" (3:18); composer: Thelonious Monk; recorded July 2, 1948 in New

York; performed by Milt Jackson (vibraphone), Thelonious Monk (piano), John
Simmons (bass), Shadow Wilson (drums); matrix BN 329.
26.
"Just Friends" (3:30); composed by John Klenner and Sam Lewis; recorded
November 30, 1949 for Norman Granz by Charlie Parker (alto sax), Stan
Freeman (piano), Ray Brown (bass), Buddy Rich (drums), three violins, viola,
102
cello, harp, and oboe (Mitch Miller); reissued on Parker,

Confirmation: Best of the Verve Years. (Verve: 527 815, c1995).
27.
"Body and Soul" (3:42); composed by Johnny Green; recorded in 1978 by Sarah
Vaughan (vocal) and Ray Brown (bass); first issued on How Long Has This Been
Going On? (Pablo: 2310-821, c1987).
CD 2
1.
"No Figs" (2:51); recorded by the Metronome All-Stars; composed and arranged
by Lennie Tristano, conducted by Pete Rugolo; clearances: BMI; recorded
January 10, 1950 by Kai Winding (trombone), Buddy DeFranco (clarinet), Lee
Konitz (alto sax), Stan Getz (tenor sax), Serge Chaloff (baritone sax), Billy Bauer
(guitar), Lennie Tristano (piano), Eddie Safranski (bass), Max Roach (drums);
Columbia 38734; matrix CO 42630-1. This is an edited version. The original
additionally has a Dizzy Gillespie solo and a second Getz solo.
2.
"My Lady" (3:19); composer: Bill Russo; recorded September 15, 1952 in
Chicago; performed by Buddy Childers, Maynard Ferguson, Conte Candoli,
Ruben McFall, Don Dennis (trumpets), Bob Burgess, Frank Rosolino, Keith
Moon, Bill Russo (trombones), Lee Konitz, Vinnie Dean (alto saxes), Bill
Holman, Richie Kamuca (tenor saxes), Bob Gioga (baritone sax), Stan Kenton
(piano), Sal Salvador (guitar), Don Bagley (bass), Stan Levey (drums); originally
available on New Concepts of Artistry in Rhythm (Capitol T 383).
3.
"A Trumpet" (4:46); composer: Robert Graettinger; recorded on February 11,

1953 for Capitol by Stan Kenton band featuring Maynard Ferguson (trumpet);
(five saxophones, five trumpets, five trombones, guitar, bass, and drums);
reissued on City of Glass (Capitol: 32084, c1995).
4.
"Blue Rondo ala Turk" (6:44); composed by Dave Brubeck; recorded in New
York by Paul Desmond (alto sax), Dave Brubeck (piano), Gene Wright (bass),
and Joe Morello (drums), August 18, 1959; issued on CD as Time Out (Columbia:
65122).
5.
"Senor Blues" (7:00); composer: Horace Silver; recorded November 10, 1956 in
Hackensack, NJ; performed by Hank Mobley (tenor sax), Donald Byrd (trumpet),
Horace Silver (piano), Doug Watkins (bass), Louis Hayes (drums); originally
issued on Six Pieces of Silver (Blue Note 1539).
6.
"Kiss and Run" (7:28) composed by Sam Coslow; recorded on March 22, 1956
for Prestige by Sonny Rollins (tenor saxophone), Clifford Brown (trumpet),
Richie Powell (piano), George Morrow (bass), and Max Roach (drums); reissued
on Rollins, Sonny Rollins Plus 4. (Fantasy: OJC-243 (Prestige 7038), c1987).
7.
"Cranky Spanky" (4:48); composer: Bill Hardman; recorded 1957 in New York;
103
performed by Jackie McLean (alto sax), Bill Hardman (trumpet), Sam Dockery
(piano), Spanky DeBrest (bass), Art Blakey (drums); originally issued on Hard
Bop (Columbia 1040).
8.
"Maiden Voyage" (7:53); composed by Herbie Hancock; recorded March 17,

1965 in New York; performed by Freddie Hubbard (trumpet), George Coleman
(tenor sax), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums);
first issued on Maiden Voyage (recently available on CD as Blue Note 7243 4
95331)
9.
"Flamenco Sketches" (9:25); recorded by Miles Davis (trumpet), Cannonball

Adderley (alto sax), John Coltrane (tenor sax), Bill Evans (piano), Paul Chambers
(bass), and Jimmy Cobb (drums), April 22, 1959; first issued on Miles Davis,
Kind of Blue, Columbia: PC 8163; side 2, track 2.
10.
"Masqualero" (8:53); performed by Miles Davis (trumpet), Wayne Shorter (tenor

sax), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums); May
17, 1967; composer: Wayne Shorter; licensing: BMI; issued on Miles Davis,
Sorcerer, side 1, track 3 (Columbia CS 9532).
11.
"Afro-Blue" (7:41); composed by Mongo Santamaria; performed by John

Coltrane, McCoy Tyner, Jimmy Garrison & Elvin Jones; recorded November
2,1963 in Berlin; owned by Pablo; originally issued on John Coltrane, Afro-Blue
Impressions(Pablo 7PACD-44332).
12.
"Civilization Day" (6:03); composed by Ornette Coleman; recorded September 9,

1971 in New York; performed by Ornette Coleman (alto saxophone), Don Cherry
(pocket trumpet), Charlie Haden (bass), Billy Higgins (drums); first issued on
Science Fiction (recently available on CD as Columbia C2K 63569); licensed by
ASCAP.
104
CD3
1. Fables of Faubus (8:10); composed by Charles Mingus; recorded in New York,
May 5, 1959; performed by John Handy, Shafi Hadi & Booker Ervin (saxes),
Jimmy Knepper (trombone), Horace Parlan (piano), Charles Mingus (bass),
Dannie Richmond (drums); originally issued on Mingus Ah Um (Columbia CL
1370/CS8171).
2. "Ghosts: First Variation" (5:01); composed by Albert Ayler; recorded July 10,
1964 in New York; performed by Albert Ayler (tenor saxophone), Gary Peacock
(bass), Sunny Murray (drums); first issued on Spiritual Unity (ESP Disk 1002M)
licensed by ASCAP.
3. "Solar" (8:52); composer: Chuck Wayne, (though wrongly credited to Miles
Davis); publisher: Prestige Music; licensing: BMI; performed by Bill Evans
(piano), Scott LaFaro (bass), Paul Motian (drums); owned by Fantasy Records;
originally issued on Bill Evans, Sunday at the Village Vanguard (Riverside:
RLP12-376).
4
"Steps" (5:02); recorded June 1968; composer: Chick Corea; publisher: Litha
Music; licensing: ASCAP; originally issued as Chick Corea, Now He Sings, Now
He Sobs, Solid State: 18039; currently owned by Liberty Records
(Transamerica); performers: Chick Corea (piano), Miroslav Vitous (bass), Roy
Haynes (drums).
5. "Sundial Part 1"(8:54) composed and performed by Keith Jarrett; recorded 1976;
Staircase (ECM 1090/91)
6. "Surucuc" (first 4:10 only); recorded January 13, 1972 in Shibuya Kokaido Hall,
Tokyo, Japan; composer: Wayne Shorter; licensing: BMI; performed by Weather
Report (Joseph Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt & Dom
Um Romao); originally issued on Weather Report, I Sing the Body Electric,
Columbia: KC 31352.
7. "Chameleon" (final 7 minutes only); composed by Paul Jackson, Bill Summers,
Bennie Maupin, Harvey Mason & Herbie Hancock; recorded 1974 in San
Francisco; performed by Herbie Hancock (keyboards), Bennie Maupin (tenor
sax), Paul Jackson (bass guitar), Harvey Mason (drums), Bill Summers (conga
drum); originally issued on Head Hunters, Columbia: CK 65123.
8. "Above and Below" (7:05); composed by Randy Brecker; recorded in 1992 by
Randy Brecker (trumpet), Michael Brecker (tenor saxophone), Mike Stern
(guitar), George Whitty (keyboards), James Genus (bass), Dennis Charles
(drums), Bashiri Johnson (conga drum); Return of the Brecker Brothers (GRP:
9684, c1992).
105
9. "Red Emma" (4:55); composed by Dave Douglas; recorded December 21, 1993 by
Dave Douglas (trumpet), Brad Shepik (guitar) and Jim Black (drums); The Tiny
Bell Trio (Songlines: 1504, c1994).
10. "Miami" (5:34); composed by J. Marquez; recorded July 1982 by Paquito D'Rivera
(alto saxophone), Jorge Dalto (piano), Jeff Fuller (bass), Ignacio Berroa (drums),
Daniel Ponce (percussion); Mariel (Columbia: 38177, c1982).
11. "Express Crossing" (5:11); composed by Wynton Marsalis; recorded in 1993
featuring Wynton Marsalis (trumpet) and Kent Jordan (piccolo); Jazz: Six
Syncopated Movements (Columbia: CK 66379).
12. "Baseball" (7:46); composed by Carla Bley; recorded in 1999 in Oslo, Norway for
Watt by Lew Soloff (trumpet), Wolfgang Puschnig (alto saxophone), Andy
Shepard (tenor saxophone), Gary Valente (trombone), Larry Goldings (organ),
Carla Bley (piano), Steve Swallow (bass), and Victor Lewis (drums); 4x4
(Watt/ECM: 30, 1999, c2000); reissued on Bley, Rarum XV Selected Recordings
(ECM B 0001795, c2004).
Contents for Jazz Classics 2CD set for Concise Guide to Jazz, 7e
(ISBN 0-205-93738-7)
Available in combination packages: with book (ISBN 0-205-95902-4)
with book and Demo CD (ISBN 0-205-94085-4)
The following designations are included for the convenience of instructors who already
own previous editions of the Jazz Classics CD for Concise Guide to Jazz.
* = on Jazz Classics CD for Concise Guide to Jazz, editions 3 & 4
** = substitution for item on editions 3 & 4 Jazz Classics CD for Concise Guide to
Jazz
*** = new item, only on Edition 5
**** = new item, only on Edition 6
***** = substitution for item on Edition 6
CD1 (79 minutes)
*1. Dixie Jazz Band One-Step (Original Dixieland Jazz Band) 1917; 2:35
*** 2. Alligator Hop (King Olivers Creole Jazz Band: Joe Oliver & Louis Armstrong on
cornets, Johnny Dodds on clarinet, Stump Evans on C-Melody saxophone, Johnny St.
Cyr on banjo, Lil Hardin on piano, Baby Dodds on drums); originally on Gennett,
reissued on Louis Armstrong and King Oliver (Milestone MCD- 47017-2) October 5,
1923; 2:22
* 3. West End Blues (Louis Armstrong) recorded June 6, 1928; composed by Joe Oliver
and Clarence Williams; performed by Louis Armstrong, Earl Hines, Fred Robinson,
106
Jimmy Strong, Mancy Cara and Zutty Singleton; originally issued by Okeh, owned by
Columbia; matrix number 400967B; 3:13
***4. Riverboat Shuffle (Frankie Trumbauer, C-Melody sax, Bix Beiderbecke, cornet,
Bill Rank, trombone, Don Murray, clarinet, Irving Riskin, piano, Eddie Lang, guitar,
Chauncey Morehouse, drums). Recorded for Okeh, 40822 Mx W81072-B; (reissued
many times on Columbia, remastered for Smithsonian Collection of Classic Jazz-Revised,
disc 1, track 21, by Sony Music Special Products); February 1927; 3:07
** 5. Reckless Blues (Bessie Smith, Fred Longshaw on harmonium, Louis Armstrong on
cornet); Columbia 14056-D. Mx 140242-1; (excerpted on Leonard Bernsteins What Is
Jazz?), January 14, 1925; 3:01
***6. Sittin In (Roy Eldridge, Chu Berry, Clyde Hart, Danny Barker, Artie Bernstein,
Sid Catlett) November 10, 1938; Commodore. 2:13
*7. Body and Soul (Coleman Hawkins-tenor sax, Gene Rogers-piano, Oscar Smith-bass,
Arthur Herbert-drums) BS-042936; October 11, 1939; 3:02
*8. Taxi War Dance (Count Basie, Lester Young) 1939; 2:49
*9. Harlem Airshaft (Duke Ellington) 1940; 2:57
*10. Ive Got It Bad and That Aint Good (Johnny Hodges with Duke Ellington band
minus Ellington, piano by Jimmy Jones; arrangement by Billy Strayhorn) originally
issued on Verve V6-8452; December 11, 1961; 3:35
*11. Back in Your Own Back Yard (Billie Holiday, Lester Young, Buck Clayton) 1939;
2:39
***12. Flying Home (Ella Fitzgerald); originally issued on a single as Decca 23956;
reissued on Masters of Jazz: Female Vocal Classics, Rhino R2 72472; October 4, 1945;
2:27
* 13. Tiger Rag (Art Tatum-piano) Brunswick 6543; Mx B13164A; March 21, 1933;
2:18
****14. Walkin' and Swingin' (Andy Kirk Band featuring Mary Lou Williams and Dick
Wilson) 1936 in NYC for Decca; three trumpets, one trombone, two alto saxophones, one
tenor saxophone, piano (Williams), guitar, bass, and drums; reissued on Andy Kirk &
Mary Lou Williams: Marys Idea. (Decca Jazz: 622, c1993).
**15. Parkers Mood (Charlie Parker, John Lewis, Curly Russell, Max Roach); reissued
on CD as The Complete Savoy and Dial Studio Sessions, Savoy Jazz 92911; September
18, 1948; 3:00
*16. Leap Frog (Charlie Parker, Dizzy Gillespie) reissued on Bird n Diz (Verve 314 521
436); 1950; 2:29
***17. Get Happy (Bud Powell, Curley Russell, Max Roach); reissued in The Complete
Bud Powell on Verve (Verve 314 521 669-2); February, 1950; 2:52
**18. Index (Dexter Gordon, Fats Navarro, Tadd Dameron, Nelson Boyd, Art Mardigan)
reissued on CD as Timeless Dexter Gordon (Savoy Jazz 17161); December 22, 1947;
3:04
***19. It Never Entered My Mind (Stan Getz); from Stan Getz and J.J. Johnson at the
Opera House; recorded at Los Angeles Shrine Auditorium in mono, originally available
on LP as Stan Getz & J.J. Johnson at the Opera House, Verve MG V-8265, recently
available on CD as Verve 831-272-2 (not to be confused with a 3 30 stereo version
recorded at Chicago Opera House) October 25, 1957; 3:45
*20. Subconscious-Lee (Lennie Tristano, Lee Konitz) Prestige. January 11, 1949; 2:46
107
***21. Improvisation (Stan Kenton, Lee Konitz); from New Concepts in Artistry in
Rhythm (Capitol, reissued on The Complete Bill Russo/Bill Holman Charts; Mosaic
MD4-136, Disc 1, track 11; 1953 6:20
***22. The Egyptian (Art Blakey, Wayne Shorter, Lee Morgan, Curtis Fuller); from
Indestructible (Blue Note 8091); 1964; 10:20
*23. Two Bass Hit (Cannonball Adderley, John Coltrane); from Miles Davis, Milestones
(Columbia CK 40837); 1958; 5:13
Concise Guide to Jazz CD2 (79 minutes)

***1. Gregory Is Here (Horace Silver, Michael Brecker); from In Pursuit of the 27th Man
(Blue Note 35758); November 10, 1972; 6:18
*21. Blue in Green (Miles Davis, Bill Evans, John Coltrane); from Kind of Blue, 1959;
5:25
**3. Get Happy (J.J. Johnson, Clifford Brown, Jimmy Heath, John Lewis, Percy Heath,
Kenny Clarke); reissued on The Eminent J.J. Johnson, Vol. 1 (Blue Note 32143). Note:
This appeared on the Jazz Classics CD for Concise Guide to Jazz, First Edition, before
Blue Note denied clearances for its inclusion on the Jazz Classics CD for Second Edition;
1953; 4:50
***4. Mr. Walker (Wes Montgomery, Tommy Flanagan, Percy Heath, Jimmy Heath);
from The Incredible Jazz Guitar of Wes Montgomery (Riverside 9320, reissued on CD as
Fantasy OJCCD-036); January 26, 1960; 4:33
*5. Dee-Dee (excerpt) (Ornette Coleman); At The Golden Circle (Blue Note 7243 5
35518); 1965 5:40
*6. Your Lady (John Coltrane); from Live at Birdland (Impulse MCAD 33109) 1963;
6:37
*****7. Jitney #2 (Cecil Taylor); from Silent Tongues (Arista); 1974
*8. Solar (Bill Evans, Scott LaFaro, Paul Motian); from Sunday at the Village Vanguard,
Riverside. 1961; 8:57
***9. Prince of Darkness (Miles Davis, Wayne Shorter, Herbie Hancock) from Miles
Davis, Sorcerer on Columbia; 1967; 6:27
*10. Birdland (Weather Report); Heavy Weather (Columbia: 34418); composed by
Josef Zawinul; performed by Josef Zawinul, Wayne Shorter, Jaco Pastorius, Alex Acuna
& Manolo Badrena; 1977; 5:57
*****11. Spanish Key (Miles Davis) from Black Beauty: Miles Davis at the Fillmore
West (SONY) 1970; 4:52 Miles Davis-trumpet, Chick Corea-piano, Dave Holland-bass,
Airto Moreira-percussion, Jack DeJohnette-drums
***12. The Wind-Up (Keith Jarrett-piano, Jan Garbarek-soprano sax); composed by
Keith Jarrett from Belonging (ECM 829 115); 1974; 8:26
****13. Baseball composed by Carla Bley (Carla Bley Band featuring Larry Goldings
and Gary Valente) 4x4 Watt/ECM: 30, 1999, c2000); reissued on Bley, rarum xv Selected
Recordings (ECM B 0001795, c2004).
108
TEACHING THE ORIGINS OF JAZZ:

ISSUES, BIBLIOGRAPHIES AND DISCOGRAPHIES
Teaching the origins of jazz presents several problems for the instructor in a
course devoted to American music or jazz. First of all, to do justice to African music
alone requires at least a semester-long, ethnomusicologically-oriented course. To do
justice to ragtime, blues or blackface minstrel traditions also requires far more than a
week-long slice. In other words, to do the topic justice requires far more time than most
semesters provide, especially if a substantial portion of the semester is allocated to
teaching listening skills and part of the semester introduces recent styles of jazz. A
second problem is that no one knows how jazz originated, and this means that teachers
are speculating in public whenever they lecture on the origins of jazz. Third is the
problem that, though many of us assume jazz to have African roots, we can find little or
no jazz that sounds like any African music available. A brief, but effective solution is
available in the listening guide and accompanying recordings at the end of the Chapter 4:
Origins of Jazz in the Jazz Styles textbook (tracks 3-6 of the accompanying Jazz
Classics CD1). All the recordings in that sequence prominently exhibit the kind of
rhythmic groove that is called "swinging" (or, as Duke Ellington defined it, "a lilting
buoyant feeling"). All of them also use considerable syncopation, extensive repetition of
brief patterns, and overlapping call-and-response format.
One solution to these problems is to skip the origins of jazz and devote your
semester to developing listening skills and to introducing jazz styles instead. A less
extreme solution is, first, to tell students that jazz has roots in ragtime, blues, work songs,
marches, and nineteenth century dance music; second, tell them that we do not know
what weights to attach to any of those likely sources; and finally, go directly into your
coverage of New Orleans and Chicago styles of jazz. This is precisely what I did in the
1978 edition of Jazz Styles, modeled on ten years of teaching "History and Styles of Jazz"
to non-musicians at Case Western Reserve University. However, the most popular
solution is to play brief examples for each of these sources, then move directly to early
jazz. But the connections between jazz and such "roots" might not be apparent to your
students if you approach the problem that way. That catch is one reason behind the
element-by-element format used in Chapter 4 of Jazz Styles. There is still another catch:
the rarity of recorded examples to illustrate the points you will want to make. So, because
of this, what follows is a guide through currently-available source materials that are
appropriate for illustrating and researching the origins of jazz.
No one knows exactly how jazz originated. But we can find clues by comparing
the characteristics of the earliest jazz with characteristics of other kinds of music that
existed near the same time and place as the earliest jazz. Throughout this discussion,
however, we must remember that similarity alone is not sufficient to prove a cause and
effect relationship. In fact, it is dangerous to reason that whatever two styles have in
common indicates the influence that one style had upon another. A few examples should
make this more clear. Call and response format is common in European music and in
African music, though it is found somewhat more often in African music. Therefore,
instances of call and response format in jazz should not be assumed to reflect African
109
influence, even if jazz musicians have African ancestry. Here is another example. Just
because both jazz and African music are highly syncopated does not necessarily prove
that African music influenced jazz. There is syncopation in European music, too, though
it is less prominent than it is in jazz and African music.
Jazz has several characteristics in common with African music. Both kinds of
music are
1.
highly percussive, even in the manner of playing wind instruments
2.
filled with a wide range of rough and colorful timbres;
3.
characterized by much rhythmic variety in terms of off-beat accents, the

simultaneous presence of contrasting rhythms, displacement of phrase
structures, syncopations, multimeters, and polyrhythms;
4.
characterized by pitch flexibility deviating from well-tempered intonation;
5.
improvised, at least somewhat;
6.
dependent upon short-term repetition and brief, cyclic forms;
7.
capable of eliciting a rhythmic feeling ("groove") in the listener that is

distinctive and frequently identified with jazz and African music.
All these similarities are evident in the examples on the "African-American

Retentions Sequence" (tracks 3-6 of Jazz Classics CD1 that accompany the Jazz Styles
textbook). But none of these similarities necessarily proves African roots for jazz. Mere
similarity is not sufficient for proving cause.
A nagging problem that pervades our search for the roots of jazz is that the almost
continuous back and forth borrowing of characteristics and repertory that exists within
the evolution of American musical styles makes it impossible to determine the relative
strength of influence exerted by any given source and to assign proper credit to the
primary innovations. For instance, with respect to Negro spirituals, trying to distinguish
the relative contributions of European hymns from those of African repertory and singing
practices continues to puzzle historians (see readings list for references concerned with
spirituals).
Another problem that plagues our quest for the origins of jazz is that the term
jazz has a narrower meaning today than it had during the 1920s. Before we can say
how jazz originated, we must say what jazz is and when there first was music that
qualifies by that definition. If, as some do, we use jazz to designate almost all its roots
(ragtime, blues, etc.), then the question arises what qualifies some music for the "roots"
category and other music for the "jazz" category? An illustration will make this problem
clearer. For the sake of argument, let's define jazz as highly syncopated American music
110
that is improvised, and let's define improvisation as spontaneously composing fresh

melody lines during each performance. By those constraints, then it would follow that
much New Orleans combo music recorded between 1917 and 1927 is not jazz because it
was worked out in advance, with little spontaneous variation from performance to
performance. (Alternate renditions, by the same musicians, of the "Dixie Jazz Band
One-Step" and "You've Got to Be Modernistic" differ only slightly from the versions
heard on the Jazz Classics CD1 that accompanies the Jazz Styles textbook.) Much
1917-1924 music sounds spontaneous, though such an impression is deceiving, and this is
clearly a credit to the skills of those pioneers. The impression of spontaneity has been
prized in jazz as one component of its spirited nature. However, it is problematic to apply
such a definition here because, knowing that only toward the late 1920s did much
syncopated American music exhibit improvisation in this sense of the term, we might no
longer be justified in saying jazz originated in New Orleans. We would be forced to say
that jazz did not begin until at least the mid-1920s, and then, only within the playing of a
few musicians. And our search for the roots of jazz improvisation would be expanded
beyond New Orleans.
We also must recognize that, not only at the time the first jazz was described, but
recently, too, musicians have referred to ragtime and jazz just as ways of playing music
rather than identifiable bodies of music themselves. To "jazz it" was to vary the rhythms
of a piece and make it sound more lively and make the pitches and timbres more flexible.
In other words, then, as today, "how you play" was the key to extracting the peculiar
feeling we associate with jazz. Almost any type of music--polkas, marches,
ballads--could be altered in performance to sound more lively and swinging. Jazz
performance practice reflects a departure from accepted ways of playing professional
dance music and allows greater latitude for individuality of performance, though we still
cannot tell whether this reflects African tradition or a combination of traditions that
existed in folk music and popular music of Italian, German, Irish, as well as, African
background. (The answer might be "none of the above.")
Among turn-of-the-century New Orleans musicians, the improvisational creativity
of the players was directed at piecing together ensemble routines that were effective.
Some routines were spontaneously devised during performances, thereby qualifying as
improvised, though they were repeated from memory thereafter. Commercially published
stock arrangements often provided the basis for band routines, but the players may have
done much without referring to written scores. However, the absence of notation should
not be taken as evidence of improvisation any more than we would consider
"improvised" the music of today's wedding bands and lounge acts that sometimes play
fresh routines and do so without notation.
At this point, it is relevant to mention how common the practice of reading music
was. Karl Koenig's research has shown that most of the early New Orleans jazz musicians
could read music. Some could not read music, however, and most chose not to read
pieces once they had been learned. There is no question that at one time, and perhaps for
the first few run-throughs in the early jazz combo pieces, many of the parts were not
fixed. Trombone counterlines, clarinet obbligatos, trumpet variations of the melody were
111
invented and performed spontaneously. Accompaniments were improvised and varied by

the more adventurous and creative of the players, but a striving for improvisation during
that era was not as central to a jazz aesthetic as it has become, though there was a striving
for personalization that did not necessarily require spontaneously devised parts. But after
a suitable set of parts had been worked out, frequently the musicians remained relatively
loyal to them. Much of this we have deciphered by comparing alternate takes of recorded
jazz pieces such as the material of The Original Dixieland Jazz Band from 1917 to 1919
and the Joe Oliver band's "Dippermouth Blues," and by studying the evolution of routines
used on such pieces as "Weather Bird" on successive recordings by Joe Oliver and Louis
Armstrong. Some of these conclusions also stem from thinking about the requirements
for the commercial situations these musicians found themselves in playing for dancers
and for crowds who needed predictability and who wanted to hear the same material
again and again in order to coordinate their movements. This resembles today's situation
and the intolerance for improvisation from a public that wants music to sound just like
the recorded version - as though to say, "too many surprises are no fun." But somehow
these tendencies expanded by the late 1920s, and practices evolved into the extent of
improvisation we ordinarily expect from most jazz today. Unfortunately, we will never
know whether this occurred out of boredom with fixed routines, a need to learn new
material without recourse to sheet music, a greater interest in bravura solo excursions, a
continuation of European and/or African traditions for spontaneous alteration, or simply
an unbridled creativity.
Jazz originated in the blends of folk music, popular music and light classical
music that were current near the beginning of the twentieth century, especially in New
Orleans. Collections that are useful for illustrating these styles include (items are
compact discs unless otherwise indicated):
Come and Trip It: Instrumental Dance Music 1780-1920's. New World: 80293, c1978.
Early Band Ragtime: Ragtimes Biggest Hits, 1899-1909. Smithsonian/Folkways:
RBF 38, c1979.
Jazz. Vol. 1, The South. Smithsonian/Folkways: 2801, c1950.
Jazz. Vol. 2, The Blues. Smithsonian/Folkways: 2802, 1923-48, c1956.
Jazz: Some Beginnings. Smithsonian/Folkways: RF 31, 1914-26, c1977.
Riverside History of Classic Jazz. Riverside/Fantasy: 005, 3CD set, ca. 1900-1956,
c1994. [disc 1, track 2]
The Sousa and Pryor Bands: Original Recordings, 1901-1926. New World: NW 282,
LP, 1901-26, c1976. [out-of-print]
Steppin' On the Gas: Rags to Jazz. New World: NW 269, LP, 1913-27, c1978.
[out-of-print] [side 1 only]
112
That's My Rabbit, My Dog Caught It: Traditional Southern Instrumental Styles.

New World: NW 226, LP, 1925-77, c1978. [out-of-print]
Note: New World Records (Recorded Anthology of American Music) may be found in
many college libraries; the Rockefeller Foundation donated sets to many
educational institutions. Folkways records are in many music libraries.
Americans with African ancestry are disproportionately represented throughout
jazz history, and jazz shares several characteristics with African music. However, early
jazz did not derive its similarities to African music directly from contact with African
music. It acquired these tendencies through other music that had been devised itself by
contact with African musical practices in the New World. For instance, some of the
syncopation in jazz probably derived from music played during the 18th and 19th
centuries on the banjo, an instrument invented in the New World by musicians who had
African ancestry (see references list for Dena Epstein's article, "The Folk Banjo: A
Documentary History"). This is because banjo music, in combination with European
march music, influenced the formation of popular piano styles that by the 1890s were
being called ragtime, which, in turn, influenced jazz. Listen to Ragtime (Folkways: RBF
38, c1979); and then listen for similarities in Louis Armstrong and King Oliver
(Milestone: 47017, 1923-24, c1992).
Bluesy approaches to pitch and timbre among jazz hornmen are not in direct
imitation of African singing. The ornamentations in jazz hornwork might stem instead
from imitation of wide-ranging, imaginative sounds found in New World vocal idioms
such as Negro field hollers, work songs, cries of street vendors, and the blues [as
exemplified on Street Cries and Creole Songs of New Orleans (Smithsonian/Folkways:
2202, c1956); Roots of the Blues (New World: 80252, 1959, c1981); Riverside History of
Classic Jazz (Riverside/Fantasy: 005, 3CD set, c1994), disc 1, track 2; and African
Journey: A Search for the Roots of the Blues (Sonet: SNTF 667 [Vanguard 73014/15],
1974)]. Listen to "Street Cries of Charleston" (Track 1 on Jazz Classics CD1 that
accompanies the Jazz Styles textbook) and then to Miles Davis's instrumentalized version
(Track 2 on Jazz Classics CD1 that accompanies the Jazz Styles textbook). African
singing is far less varied in these respects than jazz horn work, and not all non-African
folk music found in the New World is smooth and unvaried in its timbre. The sharp line
drawn by Europeans between speech and lyric singing is less clear in much West African
music. It is possible that a preference for rough, varied timbres was retained by African
Americans in the New World, and it was manifested by the cultivation of rough and
highly varied timbres in jazz. Listen to the male singer on "One Day" (Track 4 on Jazz
Classics CD1 that accompanies the Jazz Styles textbook). Some of this was perpetuated
in the hokum style used by minstrel show musicians and activated in novelty effects such
as the imitation barnyard sounds heard on the Original Dixieland Band's 1917 recording
of "Livery Stable Blues." Listen to the pitch bends of the clarinetist on "Dixie Jazz Band
One-Step" (Track 7 on the Jazz Classics CD1 that accompanies the Jazz Styles textbook).
The tendency to playfully vary the sounds of instruments might stem in part from African
traditions, but similar musical traditions were also available as models in other ethnic
113
groups in New Orleans at the same time, for example, the Scotch-Irish, who had a
tradition for pitch flexibility, leading to what we might identify as "blue notes" (see
William Tallmadge's article "Blue Notes and Blue Tonality"). Therefore we cannot say
that such practices reflect exclusively African American sources.
Summary
Sometimes we need to be reminded that jazz did not come from Africa. Only the
ancestors of most of its originators did. Jazz originated in America, and, despite all the
other areas of the world to which Africans have been moved, America is the only region
in which jazz emerged. Note that jazz emerged only in our part of the New World and
only where African practices were applied to a peculiar mix of non-African music. We
must also remember that, as Karl Koenig has found in his research, about half the early
New Orleans jazz musicians were white (though to be entirely accurate, by comparison
with distribution in the population at large, blacks are over-represented as musicians).
This means that jazz was not the exclusive province of African Americans, though at the
same time this does not necessarily prove that both races were equally involved in its
creation. (White musicians could have imitated black musicians and soon outnumbered
them as players of an originally black style.) Intermingling of styles in America has
resulted in fresh styles. Remember also that the earliest jazz did not sound like African
music so much as it sounded like band ragtime, which was the pop music of the day. And
only a portion of the earliest band repertories was blues. The bulk of most band
repertories was pop music, show tunes, and well-known songs.
The books, articles, recordings listed above and below constitute nowhere near an
exhaustive listing. For a beginning, consult Donald Kennington, The Literature of Jazz: A
Critical Guide, 2nd ed. rev. (American Library Association, 1980); and the bibliography
at the end of The New Grove Dictionary of Jazz, 2nd ed. (Grove, 2001). Remember that,
like textbook assignments, these readings will mean next to nothing unless you hear the
music that they describe. Therefore the discography here is more valuable than the
bibliography.
Basic Texts on African Music
(The most useful texts for a jazz appreciation course are listed first.)
Nketia, J.H. Kwabena. The Music of Africa. Norton, 1974.
Nketia, J.H. Kwabena and Jacqueline Coggell DjeDje, eds. Selected Reports in
Ethnomusicology. Vol. 5, Studies in African Music. Los Angeles, CA: Program in
Ethnomusicology, Department of Music, University of California, 1984.
Bebey, Francis. African Music: A People's Art. L. Hill, 1975.
Kebede, Ashenafi. Roots of Black Music: The Vocal, Instrumental, and Dance Heritage
of Africa and Black America. Prentice-Hall, 1982; Africa World Press, 1995.
Jones, A.M. Studies in African Music. Vols. 1 & 2. Oxford University Press, 1959, 1978.
114
Roberts, John Storm. Black Music of Two Worlds. 2nd ed. Schirmer, 1998. Accompanying
compact discs: Black Music of Two Worlds, Smithsonian/Folkways: 4602, 3CD
set, c1977.
Oliver, Paul, et al. Yonder Come the Blues: The Evolution of a Genre. Cambridge, 2001.
Reprints Savannah Syncopators: African Retentions in the Blues (Stein and Day,
1970) and two other books with added material. Accompanying 2-LP set:
Savannah Syncopators, Columbia (UK): 52799.
Chernoff, John Miller. African Rhythm and Sensibility: Aesthetics and Social Action in
African Musical Idioms. Chicago: University of Chicago Press, 1979, 1981. With
accompanying audio cassette examples.
Gayle, Addison. The Black Aesthetic. Garden City, NY: Doubleday, 1971.
Many important insights and much of the most solid research data never find their
way into full-length textbooks. Much scholarly thinking and data gathering are available
only in papers read at professional conferences, rewritten for professional journals. A few
of such works are included below. If your library does not carry these journals, ask your
reference librarian to request the article via inter-library loan. Frequently a copy can be
sent to you for free or a small fee from a library that holds the journal you seek.
Important Scholarly Papers About African Music
(The most useful papers for a jazz appreciation course are listed first.)
Waterman, Richard A. "Hot Rhythm in Negro Music." Journal of the American
Musicological Society 1 (1948): 24-37. Based on a paper delivered December 28,
1943.
. "African Influence On the Music of the Americas." In Anthropology and Art:
Readings in Cross Cultural Aesthetics. Edited by Charlotte M. Otten, 227-44.
University of Texas Press, 1976. Reprinted from Acculturation in the Americas:
Proceedings and Selected Papers of the XXIX International Congress of
Americanists, edited by Sol Tax, University of Chicago Press, 1952. Paper
delivered in 1951.
. "On Flogging A Dead Horse: Lessons Learned from the Africanisms Controversy."
Ethnomusicology 7 (1963): 83-87.
Evans, David. "African Elements in Twentieth Century United States Black Folk
Music." In International Musicological Society, Report of the Twelfth Congress,
Berkeley, 1977, 54-66. Barenreiter, 1981.
Tallmadge, William. "Blue Notes and Blue Tonality." The Black Perspective in Music 12
(1984): 155-65.
115
Kaufman, Robert. "African Rhythm: A Reassessment" Ethnomusicology 24 (1980):

393-415.
Epstein, Dena J. "The Folk Banjo." Ethnomusicology 19 (1975): 347-372.
Gridley, Mark C., and Wallace Rave. "Towards Identification of African Traits in Early
Jazz." The Black Perspective in Music 12 (1984): 44-56.
Wilson, Olly. "The Significance of the Relationship Between Afro-American Music and
West African Music." The Black Perspective in Music 2 (1974): 3-23.
. "Black Music As An Art form." Black Music Research Journal (1983): 1-22.
Note: Black Music Research Journal is published by Center for Black Music
Research, Columbia College Chicago, 600 South Michigan Ave, Chicago, IL
60605-1996.
Williams-Jones, Pearl. "Afro-American Gospel Music: A Crystallization of the Black
Aesthetic." Ethnomusicology 19 (1975): 373-86
Jacobs, Claude. Benevolent Societies of New Orleans Blacks During the Late
Nineteenth and Early Twentieth Centuries. In Louisiana History, Journal of the
Louisiana Historical Association 29, no.1, 1988.
Joyaux, George J. (Ed.) Forests Voyage aux Etats-Unis de lAmerique en 1831. In
Louisiana Historical Quarterly, vol. 39, No. 4, 1956.
Latrobe, Benjamin Henry. Impressions Respecting New Orleans, Diaries Sketches 18181820. Edited by Sam Wilson, Jr. Columbia Univer. 1951
Logsdon, Joseph, and Arnold Hirsch (Ed.s). Creole New Orleans: Race and
Americanization. Louisiana State Univ., 1992
Midlo-Hall, Gwendolyn. Africans in Colonial Louisiana: The Development of AfroCreole Culture in the Eighteenth Century. Louisiana State Univer. 1992
Floyd, Samuel A., Jr., and Martha J. Reisser. "The Sources and Resources of Classic
Ragtime Music." Black Music Research Journal (1984): 22-59.
See above address for Center for Black Music Research.
Epstein, Dena. "Black Spirituals: Their Emergence Into Public Knowledge."
Black Music Research Newsletter 8 (1986): 5-8.
See above for address of Center for Black Music Research.
Cronbach, Lee. "Structural Polytonality in Contemporary Afro-American Music."
Black Music Research Journal 2 (1981-2): 15-33.
116
Koetting, James. "What Do We Know About African Rhythm?" Ethnomusicology

30 (1986): 58-63.
Stone, Ruth. "The Value of Local Ideas in Understanding West African Rhythm."
Ethnomusicology 30 (1986): 54-57.
117
References for Early African American Culture and New Orleans

(The most useful items for a jazz appreciation course are listed first.)
Epstein, Dena. "A White Origin for the Black Spiritual? An Invalid Theory and How It
Grew." American Music 1 (1983): 53-59.
Lomax, Alan. Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole
and "Inventor of Jazz. Duell, Sloan and Pearce, 1949; Univ. of California, 2001.
Berlin, Edward A. Reflections and Research on Ragtime. I.S.A.M. Monographs, No. 24.
Institute for Studies in American Music, Conservatory of Music, Brooklyn
College, 1987.
Garst, John F. "Mutual Reinforcement and the Origins of Spirituals." American
4 (1986): 390-406.
Music
Foster, George M. Pops Foster: The Autobiography of a New Orleans Jazzman as Told
to Tom Stoppard. Univ. of California, 1971.
Sealsfield, Charles. The Americans As They Are: Described In A Tour Through the Valley
of the Mississippi. London, 1828.
Schafer, William and Richard B. Allen. Brass Bands and New Orleans Jazz. Louisiana
State Univer., 1977
Rightor, Henry (Ed.) Standard History of New Orleans, Louisiana. Lewis Publishing,
Chicago, 1900.
Shapiro, Nat, and Nat Hentoff (Ed.s). Hear Me Talkin' to Ya: The Story of Jazz by the
Men Who Made It. Reinhart, 1955; Dover, 1966.
Marquis, Donald M. In Search of Buddy Bolden: First Man of Jazz. Louisiana State
Univ., 1978, 1993.
Gushee, Lawrence. Pioneers of Jazz: The Story of the Creole Jazz Band. (Oxford
University Press, 2004)
Koenig, Karl. Jazz In Print (1856-1929): An Anthology of Selected Early Readings in
Jazz History. Pendragon, 2002.
Smith, Michael P. Mardi Gras Indians. Pelican Publishing, Gretna, LA, 1994.
Smith, Michael. P. Spirit World: Pattern in the Expressive Folk Culture of AfricanAmerican New Orleans. Pelican Publishing, Gretna, LA, 1992
118
Southern, Eileen. The Music of Black Americans: A History. 3rd ed. Norton, 1997.
Sterkx, H. E, The Free Negro in Ante-Bellum Louisiana Fairleigh Dickinson Univ., 1971
Epstein, Dena J. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Univ.
of Illinois, 1977, 2003.
Blassingame, John W. The Slave Community: Plantation Life in the Antebellum South.
rev. and enl. ed. Oxford, 1979.
Koenig, Karl. "The Plantation Belt Brass Bands and Musicians." The Second Line 33
(1981): 24-40.
Note: The Second Line is published at Suite 265, 828 Royal Street, New Orleans,
LA 70116; TEL: 504-455-6847.
. "Professor James B. Humphrey." The Second Line 34 (1982): 15-19.
."Chris Kelly, Blues King of New Orleans." The Second Line 35 (spring 1983):
4-26.
."Louisiana Brass Bands and History in Relation to Jazz History." The Second Line
35 (summer 1983): 7-15.
."John Philip Sousa's Impact on Jazz." The Second Line 35 (winter 1983): 39-41.
."Jack Laine 'Papa'." The Mississippi Rag (March 1984): 1-6.
Note: The Mississippi Rag is published at 1401 W. 76th St. 250, Minneapolis,
MN 55423-3846; TEL: 612-861-2446; FAX: 612-861-4621.
Note: Informative summaries and bibliographies are included in H. Wiley Hitchcock
and Stanley Sadie, eds., The New Grove Dictionary of American Music
(Macmillan, 1986). See entries for New Orleans, Blues, Traditional Jazz,
Spirituals, and Ragtime, as well as the entries for particular musicians.
119
Album Liner Notes That Summarize Pre-Jazz and Early Jazz Research
(Annotator's name is in parentheses.)
(Items are compact discs unless otherwise stated.)
The Riverside History of Classic Jazz. (Charles Edward Smith) Riverside/Fantasy: 005,
3CD set, 1956, c1994.
The Roots of the Blues. (Alan Lomax) New World: 80252, c1977. Also see video by
Lomax, The Land Where the Blues Began (Vestapol3078), from the American
Patchwork series, available from Rounder as ISBN 1-88461-73-0, from 1 Camp
Street, Cambridge, MA 02140
Steppin' on the Gas: Rags to Jazz 1913-1927. (Lawrence Gushee) New World: NW 269,
LP, c1977. [out-of-print]
Oliver, Joe "King." King Oliver's Jazz Band, 1923. (Lawrence Gushee) Smithsonian:
2001, 2LP set, 1923, c1975. [out-of-print]
Keppard, Freddie. Legendary New Orleans Cornet. (Lawrence Gushee) Smithsonian:
2020, LP, 1924-1927, c1979. [out-of-print]
Roots of Black Music in America. (Samuel Charters) Smithsonian/Folkways: 2694, 2CD
set, c1972.
Come and Trip It: Instrumental Dance Music 1780-1920's. (Thorton Hagert) New World:
80293, c1978.
Georgia Sea Island Songs. (Alan Lomax) New World: 80278, c1977.
Sound Recordings to Aid in Understanding African Music

Here is a brief compilation of available works that are relevant to connecting jazz
and African music. It is far from definitive, but it could get you started if you need
materials for an ethnomusicologically oriented course in jazz or African American music.
In pursuing the items on this list, note that ordinary record stores and most mail order
houses do not sell these records, but you can get them from specialty houses and
importers. Frequently it is best to order directly from mail order services to obtain the
French Ocora records, contact: Harmonia Mundi USA, 1117 Chestnut Street, Burbank,
CA 91506; phone: 818-333-1500); www.harmoniamundi.com/HMboutique. If a large
music library exists near you, it may be helpful to contact the reference librarian there for
the names and addresses of dealers who service the library's ethnomusicology needs.
Many of the best recordings of African music and pre-jazz have been out-of-print
for ages and are not listed here, though you might find them in libraries. One that is
120
particularly worth seeking is Anthology of Music of Black Africa (Everest 3254/3, 2LP
set), half of which was originally issued as Musique D' Afrique Occidentale (French
Vogue LVLX 193), and currently available on compact disc: African Tribal Music and
Dances (Legacy International: 328, 1952, c1993).
Note: If you choose illustrations not listed here, keep in mind that the music of Africa is
very diverse, and that music from West Africa is the most relevant for your
purposes. Stick to Gambia, Senegal, Guinea, Ivory Coast, Ghana, and Nigeria.
Otherwise, you risk generalizing from music that may have had little or no
influence on jazz because the culture that produced it contributed few slaves to
America.
These records are all interesting, and most contain informative notes:
Africa, South of the Sahara. Smithsonian/Folkways: 4503, 2CD set, c1957.
[Compilation by Harold Courlander of numerous cultures, with richly detailed
notes prepared by the eminent Africanist Alan P. Merriam; only some examples
are from West Africa]
Africa, the Dan. [Anthology of World Music]. Rounder: 5105 (Barenreiter Musicaphon
BM 30 L 2301), 1966, c1998.
[Recorded by Hugo Zemp; people of Ivory Coast and Liberia]
African Journey: A Search for the Roots of the Blues. Sonet: SNTF 667
(Vanguard 73014/73015), 1974.
[Compilation of various West African cultures visited by Samuel Charters and
described in his travelogue: Charters, The Roots of the Blues: An African Search
(Boston: M. Boyars, 1981; New York: DaCapo, 1991)]
Black Music of Two Worlds. Smithsonian/Folkways: 4602, 3CD set, c1977.
[Contains music of Ghana, Sierra Leone, Liberia, as well as music from many
areas of the New World; accompanies the book: John Storm Roberts, Black Music
of Two Worlds (Praeger; Tivoli, NY: Original Music, 1972)]
Cote D'Ivoire: Musique Des Baoule-Kode. Ocora: OCR 34, LP, 1961, c1982.
[The Baule people of the Ivory Coast]
Drums of West Africa: Ritual Music of Ghana, Lyrichord: 7307, LP/AC, 1974-76.
[Music of the Ewe people]
Note: order from Lyrichord Discs, Inc.; lyrichord.com
The Griots: Ministers of the Spoken Word. Smithsonian/Folkways: 4178, 2CD set,
1974, c1975.
[Vocal music of Gambia, Senegal and Mali collected by Samuel Charters]
121
Masques Dan: Cote-dIvoire. Ocora: 580048 (OCR 52), 1965-1967, c1993

[Music from Ivory Coast; French import distributed by Harmonia Mundi USA]
Music from Gambia. Vol. 1. Smithsonian/Folkways: 4521, 2CD set, 1971-72, c1978.
The Music of Nigeria: Hausa Music. UNESCO Collection, Anthology of African
Music, vol. 6. Barenreiter Musicaphon: BM 30 L 2306, LP, c1965.
[The Hausa people of Nigeria]
Music of the Cameroons. Smithsonian/Folkways: 4372, 1959, c1961.
The Music of the Senufo. UNESCO Collection, Anthology of African Music,
vol. 8. Barenreiter Musicaphon: BM 30 L 2308, LP, c1965.
[People of Ivory Coast, Upper Volta & Mali]
Musiques du Cameroun. Ocora: OCR 25, LP, 1965, c1965.
[People of the Cameroons]
Roots of Black Music in America. Smithsonian/Folkways: 2694, 2CD set, c1972.
Wide range of African and African American music with lengthy and
well-documented notes by Samuel Charters.
Songs of War and Death from the Slave Coast: Abutia Kloe, Ewe, Ghana.
Smithsonian/Folkways: 4258/4259, 2CD set, c1982.
Music of the Ewe people of Ghana.
Togo: Music from West Africa. Rounder: 5004, 1978, c1991.
Music of the Ewe people; order from Rounder Records, One Camp Street,
Cambridge, MA 02140; 617-354-0700.
Wolof Music of Senegal and the Gambia. Smithsonian/Folkways: 4462, c1955.
122
DISCOGRAPHY OF RECORDINGS CITED IN CONCISE GUIDE TO JAZZ

What follows is information to help you find recordings that are cited in Concise Guide
to Jazz. Music discussed in the text that is contained in The Smithsonian Collection of Classic
Jazz is not covered in as much detail here because it is described within the SCCJ set. And
there are fewer citations for many musicians whose work is available in SCCJ, especially
those for whom SCCJ was the only citation in the text.
This is not a list of recommended "essential" albums, though most are indeed excellent.
What lies here is simply information that would not fit in the textbook itself and/or would be
more convenient if compiled separately. The apportionment of contents here should not be
construed to indicate the relative importance of any musicians. The entries for Duke Ellington,
Miles Davis, and Stan Kenton, for example, far outnumber those for other players who are
equally important. Frequently, as with Ellington, Davis and Kenton, the number of entries
listed for a particular musician reflects only the number illustrations suggested for facets
described in the text passages devoted to those particular musicians, and some text passages
mention more facets than other text passages mention. Consequently there are more albums
listed here for the musicians treated in those passages than for musicians treated in other
passages. Some entries represent my own self-imposed, but not entirely adhered to,
requirement to try to recommend at least one representative work for each musician or band
that is mentioned in the text. Current catalog numbers and reissues have been added to or
substituted for older ones that were listed in the first edition's discography.
The listing in this discography of performers such as Bob James and Kenny G is not
meant to reflect a judgment of musical creativity on the same level as artists whose styles are
discussed at length in the text, but simply to provide examples of the smooth jazz style.
An additional feature of this discography is the inclusion of album lists under a major
player's name that illustrate his stylistic development in the context of albums under other
bandleaders' names. For example, the John Coltrane section cites a Dizzy Gillespie album
which features an early Coltrane solo; the Chick Corea section contains Herbie Mann albums
that feature early Corea solos.
For the convenience of readers who are interested in big band arranging, Count Basie
and Stan Kenton albums are organized by arranger. Note that as we went to press, a few
Stan Kenton albums on Creative World were still available by mail from GNP Crescendo,
Suite 104, 8271 Melrose Ave., Los Angeles, CA 90046; phone: 800-654-7029; web:
www.gnpcrescendo.com. Others listed in this discography are in-print on Capitol.
All the albums listed in this discography are available to anyone willing to seek quality
record stores or contact the mail order firms listed below. The author knows several
individuals who bought the first edition of Jazz Styles in 1978, and, by now, have acquired
every album they wanted that was mentioned in that book's discography. They watched for
reissues, followed auction lists and corresponded with the mail order firms that were listed in
the text's Guide to Record Buying. For obtaining albums listed here, consult the record
dealers and importers that are listed. For out-of-print recordings, contact the rare record
dealers, auction lists, eBay, and used-CD sources such as amazon.com Marketplace.
I am very grateful for the professional effort of William E. Anderson in updating and
editing this discography. Bill's advice and assistance have been indispensable in the
preparation of Concise Guide to Jazz and this manual.
123
REGARDING ASTERISKED RECORDINGS

It is sometimes necessary to cite out-of-print recordings. One reason is that many
historically significant recordings were not in print at press time. Another reason is that
recommending only current issues would be an unintentional disservice to the musician who
has no work in print at press time or whose best work is yet to be reissued. Given a choice
between an out-of-print record representing a player's best work and a current one that does
not do the player justice, the out-of-print one has been listed. Personnel, tune titles, and
recording dates are included so that if the item is reissued, you can recognize it. You can look
for the original copy in libraries, used record stores, rare record dealers, and the cut-out bins,
that are in some record and book stores. It may be helpful to subscribe to jazz magazines that
run record sales and list auctions and rare record finding services. For helpful strategies in
obtaining jazz albums, especially out-of-print items, consult the books appendix Music
Buying Strategies Also see the list of importers and record dealers.
For information about the availability of recordings, the following may be useful:
All Music
www.allmusic.com
eJAZZLINES
www.ejazzlines.com
MUZE
CD-ROM or online catalog available in many libraries and

stores or at www.rovicorp.com
Websites of various jazz record companies may also be useful.

Some of the records listed here might be out-of-print by the time you read this, so the
details attached to the entries constitute your key to finding them in reissued form. Chances
are good that, within a few years of your reading this, some important works that were out-ofprint -- denoted by an asterisk (*) -- will have been reissued. Items marked (+) are currently
available as downloads from various websites including Amazon.com and record company
sites. In the following discography, the most recent issue number is listed first. Original
and/or alternate release numbers are listed in parentheses.
124
INFORMATION FOR MAIL ORDER LABELS

Creative World (Kenton)
c/o GNP Crescendo Records
8400 Sunset Blvd.
Hollywood, CA 90069
800-654-7029
www.gnpcrescendo.com
Mosaic Records
425 Fairfield Ave., Suite 421
Stamford, CT 06902
tel: 203-327-7111
fax: 203-323-3526
www.mosaicrecords.com
Smithsonian Folkways Recordings

600 Maryland Ave., SW, Suite 2001
Washington, DC 20024
tel: 1-888-FOLKWAYS or 202-633-6450
fax: 202-633-6477
www.si.edu/folkways/
New World Records
The Recorded Anthology of American Music (New World
20 Jay Street, #1001
Records) was distributed to many libraries. Some titles
Brooklyn, NY 11201
can still be ordered from this address. Liner notes for out-of-print
Tel: 212-290-1680
albums are available on the website.
www.newworldrecords.org
MAIL ORDER SOURCES FOR JAZZ RECORDINGS (INCLUDING IMPORTS)

Klompfoot
Cadence Building
Redwood, NY 13679
tel: 315-287-2852
www.klompfoot.com
True Blue Music

425 Fairfield Ave. , Suite 421
Stamford, CT 06902
tel: 203-327-7111
fax: 203-323-3526
www.truebluemusic.com
Double-Time Jazz /TheMusicResource.com

P.O. Box 146
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FOR OUT-OF-PRINT RECORDINGS AND AUCTION LISTS

International Association of Jazz Record Collectors: www.
125
iajrc.org
KEY TO INFORMATION IN DISCOGRAPHY
artist
label and current catalog number

title
alternate or series title
original issue number
CANNONBALL ADDERLEY
* Cannonball and Coltrane [Quintet in Chicago]. Emarcy: 834 588-2 (MG-20449),
1959, c1999.
with John Coltrane,
Wynton Kelly, Paul Chambers, and Jimmy Cobb:
Limehouse Blues,
Stars Fell on Alabama, Grand Central.
year recorded, year published
format available (if not CD)
personnel
LP = long-playing record
selected tunes from session
AC = audio cassette
NOTE: ALL ITEMS ARE COMPACT DISCS UNLESS OTHERWISE INDICATED.
* = out of print (2012); many are still available from used dealers, including Amazon.com
+ = out of print but available as a download from recording firms website or Amazon.com.
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CANNONBALL ADDERLEY, 1928-1975 (Alto Sax)

Quintet in Chicago [Cannonball and Coltrane]. Mercury: 559 770-2
(MG-20449), 1959, c1999.
With John Coltrane, Wynton Kelly, Paul Chambers, and Jimmy Cobb.
Them Dirty Blues. Capitol Jazz: 95447 (Riverside 322), 1960, c1989.
With Nat Adderley, Barry Harris or Bobby Timmons, Sam Jones, and Louis
Hayes: Jeannine, Dat Dere, Del Sasser, Work Song, and others.
At the Lighthouse. Capitol Jazz: 31572 (Riverside 344), 1960, c2001.
Includes Sack o Woe.
Jazz Workshop Revisited. Blue Note: 29441 (Riverside 444), 1962, c2001.
Includes Jive Samba.
Cannonball in Europe. Capitol Jazz: 60436 (Riverside 499), 1962, c2005.
With Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones,
and Louis Hayes; includes Trouble in Mind.
Mercy, Mercy, Mercy. Capitol: 29915 (ST 2663), 1966, c1995.
With Nat Adderley, Joe Zawinul, Victor Gaskin, and Roy McCurdy;
recommended not for the popular Mercy, Mercy, Mercy, but for some blazing
solos and driving rhythm section on Fun that seems to show roots in both the
hard bop style of the 1950s and Coltrane's methods of the 1960s.
Best of Cannonball Adderley: The Capitol Years. Capitol Jazz: 95482, 1962-69,
c1991.
Includes Work Song, Jive Samba, Mercy, Mercy, Mercy,
Walk Tall, and Country Preacher.
see MILES DAVIS - Miles Davis & John Coltrane: The Complete Columbia
Recordings 1955-1961, Miles and Coltrane, Milestones, '58 Sessions, and
Kind of Blue
see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz
LOUIS ARMSTRONG, 1901-1971 (Trumpet/Singer)
Ken Burns JAZZ Collection: Louis Armstrong. Sony/Legacy: 61440
(OKeh/RCA/Decca), 1923-67, c2000.
*Louis Armstrong and Sidney Bechet in New York. Smithsonian: 2026, 2LP set, 1923-25,
c1981.
Wild Cat Blues, Cake Walkin' Babies from Home, and others.
Louis Armstrong: Portrait of the Artist as a Young Man. Columbia/Legacy:
85670 (57176), 4CD set, 1923-34, c1994.
127
Hot Fives and Sevens. JSP: JSPLOUISBOX 100 (OKeh), 4CD set, 1925-29,
c[1991].
(import)
* The Complete Hot Five and Hot Seven Recordings. Columbia/Legacy:
C4K 63527 (OKeh), 4CD set, 1925-29, c2000.
The Complete Hot Five and Hot Seven Recordings. Vol. 1. Columbia/Legacy:
86999 (OKeh), 1925-26, c2003.
87010 (OKeh), 1926-27, c2003.
+ The Complete Hot Five and Hot Seven Recordings. Vol. 3. Columbia/Legacy:
87011 (OKeh), 1927-28, c2003.
Vol. 1: Heebie Jeebies, Cornet Chop Suey, Muskrat Ramble, and King of
the Zulus; Vol. 2: Big Butter and Egg Man, Wild Man Blues, Alligator
Crawl, Potato Head Blues, and Twelfth Street Rag; Vol. 3: S.O.L. Blues,
Struttin' with Some Barbecue, I'm Not Rough, Hotter Than That,
Fireworks, Skip the Gutter, A Monday Date, West End Blues, Sugar
Foot Strut, No Papa No, Weather Bird, Muggles, St. James Infirmary,
Tight Like This, and others.
* Louis Armstrong and Earl Hines. Smithsonian: 2002, 2LP set, 1928, c1981.
+ The Complete RCA Victor Recordings. RCA Bluebird: 63846, 4CD set,
1932-33, 1946-47, 1956, c2000.
Sugar: Best of the Complete RCA Victor Recordings. RCA Bluebird: 63851,
1932-47, c2001.
The above items include Thats My Home, I Gotta Right to Sing the Blues,
Basin Street Blues, Ive Got the World on a String, and others.
see KING OLIVER
see BESSIE SMITH
COUNT BASIE, 1904-1984 (Piano/Big Band)
+ Kansas City Powerhouse. RCA Bluebird: 63903 (Victor/Bluebird), 1929-32,
1947-49, c2002.
Includes Moten Swing (1932) and other recordings by the Bennie Moten
Orchestra, with Basie on piano plus the Basie band of the late 1940s.
Ken Burns JAZZ Collection: Count Basie. Verve: 549 090-2
(Bluebird/Decca/Columbia/Verve/Roulette), 1932-57, c2000.
The Complete Decca Recordings. Decca Jazz: GRD3-611, 3CD set, 1937-39,
c1992.
+ The Best of Early Basie. Decca Jazz/GRP: 655, 1936-38, c1996.
One O'Clock Jump, Jumpin' at Woodside, Topsy, Jive at Five, Doggin
Around, Cherokee, and others.
+ Americas #1 Band. Columbia/Legacy: C4K 87110 (Vocalion/Okeh/Columbia),
4CD set, 1936-51, c2003.
+ The Essential Count Basie. Vol. 1. Columbia: 40608 (Vocalion), 1936-39,
c1987.
128

c1987.
Vol. 1: Lady Be Good, Shoe Shine Boy, Pound Cake, and Taxi War
Dance; Vol. 2: Dickies Dream and Lester Leaps In; Americas #1 Band
includes all of these and many more with improved sound quality.
*The Complete Clef/Verve Count Basie Fifties Studio Recordings. Mosaic:
MD8-228, 8CD set, 1952-57, c2006.
*The Complete Roulette Studio Recordings of Count Basie and His Orchestra.
Mosaic: MD10-149, 10CD set, 1957-61, c1993.
Includes the following albums listed on this page: Kansas City Suite, The Legend,
Basie, Basie Plays Hefti, One More Time, and Chairman of the Board.
Best of the Roulette Years. Blue Note: 97969, 1957-61, c1991.
Atomic Swing. Blue Note: 97871 (Roulette), 1957-60, c1999.
see ANTHOLOGIES - Anthology of Big Band Swing, Big Band Jazz, Big Band
Renaissance, Jazz Piano, Jive at Five, Ken Burns JAZZ, and Smithsonian
Collection of Classic Jazz
(The following list of Basie recordings is organized by arranger.)
BILLY BYERS
* More Hits of the 50s and 60s. Verve: V-8563, LP, 1963, c1963.
Basie Land. Verve: B0012699-02 (V-8597), 1963, c2009.
BENNY CARTER
Kansas City Suite. Roulette: 94575 (52056), 1960, c1990.
* The Legend. Roulette: 59038 (52086), 1961, c1985.
NEAL HEFTI
The Complete Atomic Basie. Roulette: 28635 (52003), 1957, c1994.
* Basie Plays Hefti. Roulette: 52011, LP, 1958, c1958.
On My Way and Shoutin' Again. Verve: B0012368-02 (V8511), 1962, c2009.
QUINCY JONES
* One More Time. Roulette: 97271 (52024), 1958-59, c1991.
+ Li'l Ol' Groovemaker. Verve: 821 799-2 (V-8549), 1963, c1980.
129
THAD JONES
Chairman of the Board. Roulette: 81664 (52032),1959, c2003.
SAMMY NESTICO
Straight Ahead. GRP: 822 (Dot 25902), 1967, c1998.
* Have a Nice Day. Emarcy: 824 867-2 (Daybreak 2005), 1971.
ERNIE WILKINS
* Sixteen Men Swingin [Dance Session]. Verve: VE2-2517
(MGC-626/MGC-647), 2LP set, 1953-54, c1977.
Hall of Fame. Fresh Sound: 567 (Verve MGV8291), 1956, c2010. (import)
BIX BEIDERBECKE, 1903-1931 (Cornet)

* The Complete OKeh & Brunswick Recordings of Bix Beiderbecke, Frankie
Trumbauer and Jack Teagarden. Mosaic: MD7-211, 7CD set, 1924-36,
c2001.
Bix & Tram. JSP: 913, 4CD set, 1924-34, c2002.
(import)
Bix Beiderbecke. Vol. 1. Singin' the Blues. Columbia: 45450, 1927-28, c1990.
Frankie Trumbauer, Joe Venuti, Eddie Lang: Singin' the Blues, In a Mist, and
others.
Bix Beiderbecke. Vol. 2. At the Jazz Band Ball. Columbia: 46175, 1927-28,
c1990. A Good Man Is Hard to Find, Mississippi Mud, and others.
+ The Indispensable Bix Beiderbecke. RCA: 66540, 2CD set, 1925-30, c1992.
With Jean Goldkette, Paul Whiteman, and own groups.
see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz, Big Band
Jazz, and Ken Burns JAZZ
GEORGE BENSON, 1943- (Guitar/Singer)
Breezin. Warner Bros.: 3111 (2919), 1976, c1985.
In Flight. Friday Music/Warner Bros.: 2983, 1976, c2011.
BIRTH
* Birth. Mr. Smalls Funhouse, 1999.
* Find. Hopscotch: 11, 2001, c2002.
With Josh Smith, Jeremy Bleich, and Joe Tomino.
130
ART BLAKEY, 1919-1990 (Drums/Bandleader)

Ken Burns JAZZ Collection: Art Blakey. Verve: 549 089-2 (Blue Note/Timeless),
1954-81, c2000.
A Night at Birdland. Vols. 1 & 2. Blue Note: 32146/32147 (1521/1522), 2CDs, 1954,
c2001.
Live recordings with Clifford Brown, Lou Donaldson, Horace Silver, and Curly
Russell; some volatile moments in Blakey's drum style; Silver's piano style is more
Bud Powell-like here than the leaner conception Silver employed later.
The Jazz Messengers. Columbia/Legacy: 65265 (CL 897), 1956, c1997.
With Donald Byrd, Hank Mobley, and Horace Silver; excellent Byrd work and two
Silver compositions; this recording is recommended for some of the most
well-constructed solos of Hank Mobley's career: Ecaroh, Nica's Dream (both
by Silver), Carol's Interlude, Hank's Symphony, and Infra-Rae (all by
Mobley). (Sbme Special Mkts.)
Hard Bop. Mosaic: MCD-1005 (Columbia CL 1040), 1956, c2006.
Hard Bop; Paris Concert. Collectables: 5675 (Columbia CL1040), 1956, 1958,
c1995.
With Bill Hardman, Jackie McLean, Sam Dockery, and Spanky DeBrest;
includes Cranky Spanky (1956).
Moanin. Blue Note: 95324 (84003), 1958, c1999.
Includes Bobby Timmonss Moanin.
* The Complete Blue Note Recordings of Art Blakey's 1960 Jazz Messengers.
Mosaic: MD6-141, 6CD set, 1960-61, c1992.
With Lee Morgan, Wayne Shorter, and Bobby Timmons.
A Night in Tunisia. Blue Note: 64474 (84049), 1960, c2005.
With Morgan, Shorter, and Timmons.
Mosaic. Blue Note: 37769 (84090), 1961, c2006.
With Freddie Hubbard, Curtis Fuller, Wayne Shorter, and Cedar Walton.
+ The Witch Doctor. Blue Note: 21957 (84258), 1961, c1999.
+ Roots and Herbs. Blue Note: 21956 (84347), 1961, c1999.
Three Blind Mice. Vols. 1 & 2. Blue Note: 84451/84452, 2CDs, 1962, c1990.
With Hubbard, Fuller, Shorter, and Cedar Walton.
Caravan. Riverside: 30187 (RLP-9438), 1962, c2007.
Ugetsu. Original Jazz Classics: 32692 (Riverside RLP-9464), 1963, c2011.
Live recordings with Hubbard, Fuller, and Shorter.
Indestructible. Blue Note: 80915 (84193), 1964, c2003.
With Lee Morgan, Wayne Shorter, and Curtis Fuller.
131
+ Buttercorn Lady. Emarcy: 822 471-2 (Limelight 82034), 1966,
c1986.
Album of the Year. Timeless: 74503 (155), 1981, c2010.

Keystone 3. Concord: 4196, 1982, c1990.
Both with Wynton Marsalis on trumpet.
see HORACE SILVER - Horace Silver and The Jazz Messengers
see ANTHOLOGIES - Ken Burns JAZZ and Nica's Dream
CARLA BLEY, 1938- (Composer-Arranger, Keyboards)
Selected Recordings. :rarum xv. ECM: B0001795-02 (Watt), 1971-99, c2004.
Escalator over the Hill. Watt/ECM: 1802 (EOTH), 2CD set, 1968-71, c2000.
+ European Tour 1977. Watt/ECM: 8, 1977, c1978.
Social Studies. Watt/ECM: 11, 1981, c2000.
+ Fleur Carnivore. Watt/ECM: 21, 1988, c1989.
The Very Big Carla Bley Band. Watt/ECM: 23, 1990, c1991.
Big Band Theory. Watt/ECM: 25, 1993, c2000.
+ The Carla Bley Big Band...Goes to Church. Watt/ECM: 27, 1996,
c2000.
Fancy Chamber Music. Watt/ECM: 28, 1997, c2000.
4 x 4. Watt/ECM: 30, 1999, c2000.
Looking for America. Watt/ECM: 31, 2002, c2003.
BLOOD, SWEAT AND TEARS (Jazz-Rock Band)
Child Is Father to the Man. Columbia/Legacy: 63987 (9619), 1967, c2000.
(Sbme Special Mkts.)
Blood Sweat and Tears. Columbia/Legacy: 63986 (9720), 1968, c2000.
MICHAEL BRECKER, 1949-2007 (Tenor Sax)
Michael Brecker. MCA: 5980, c1986.
Dont Try This at Home. Impulse!: 42229, c1988.
see CLAUS OGERMANN - Cityscape
132
MICHAEL and RANDY BRECKER (Tenor Sax/Trumpet)

Brecker Brothers: Heavy Metal Bebop. Arista, 1978, c2008.
Brecker Brothers: Return of the Brecker Brothers. Verve: B0011225-02
(GRP 9684), 1992, c2008.
see HORACE SILVER - In Pursuit of the 27th Man
PETER BRTZMANN, 1941- (Tenor Sax/Clarinet)
Sacred Scrape/Secret Response. Rastascan: 015, 1992, c1994.
CLIFFORD BROWN, 1930-1956 (Trumpet)
The Complete Blue Note and Pacific Jazz Recordings. Blue Note: 34195,
4CD set, 1953-54, c1995.
Brownie: The Complete Emarcy Recordings of Clifford Brown. Emarcy:
838 306, 10CD set, 1954-56, c1989.
Clifford Brown and Max Roach. Verve: 314 543 306-2 (Emarcy 36036), 1954,
c2000. With Harold Land, Richie Powell, and George Morrow.
Clifford Brown and Max Roach at Basin Street. Emarcy: 589 826 (MG-36070),
1956, c2002.
Studio recordings with Sonny Rollins: What Is This Thing Called Love and
Gertrudes Bounce.
see ART BLAKEY - A Night at Birdland
see J.J. JOHNSON The Eminent J.J. Johnson
see SONNY ROLLINS Sonny Rollins Plus 4
see ANTHOLOGIES Bebop and Ken Burns JAZZ
JAMES BROWN, 1933-2006 (R&B-Funk Band)
Star Time. Polydor: 849 108 (King), 4CD set, 1956-1974, c1991.
50th Anniversary Collection. Polydor: B0001125-02, 2CD set, 1959-88, c2003.
20 All Time Greatest Hits. Polydor: 314 511 326, 1956-74, c1991.
All of the above include Cold Sweat (1967).
DAVE BRUBECK, 1920- (Piano)
Ken Burns JAZZ Collection: Dave Brubeck. Sony/Legacy: 61442
(Fantasy/Columbia/Atlantic/MusicMasters), 1953-91, c2000.
The Dave Brubeck Octet. Fantasy: OJC-101 (Fantasy 3-239), 1946-49, c1991.
With Dick Collins, Bob Collins, Paul Desmond, Bob Cummings, Dave Van Kriedt,
Bill Smith, Dave Brubeck, Ron Crotty, and Cal Tjader; some of these
arrangements sound like the Birth of the Cool, historically interesting in light of the
fact that these were made before the Miles Davis Nonet recorded.
133
Jazz at Oberlin. Concord: 31991 (Fantasy 3-245), 1953, c2010. Concert.

These Foolish Things, Perdido, and How High the Moon.
+ Gone with the Wind. Columbia: 40627 (CS 8156/CL 1347), 1959, c1983.
With Desmond, Gene Wright, and Joe Morello. Brubeck's most relaxed date.
Time Out. Columbia/Legacy: 65122 (CS 8192/CL 1397), 1959, c1997.
With Desmond and Morello: Take Five and Blue Rondo a la Turk.
Time Further Out. Columbia/Legacy: 64668 (CS 8490/CL 1690), 1961, c1996.
ORNETTE COLEMAN, 1930- (Alto Sax)
Ken Burns JAZZ Collection: Ornette Coleman. Sony/Legacy: 61450
(Contemporary/Atlantic/Blue Note/Columbia/Horizon), 1958-76, c2000.
Complete Live at the Hillcrest Club. Gambit: 69272 (Inner City), 1958, c2008.
With Don Cherry, Paul Bley, Charlie Haden, and Billy Higgins; includes Charlie
Parkers Klactoveesedstene.
Something Else! Contemporary: 32845 (7551), 1958, c2011.
With Don Cherry, Walter Norris, Don Payne, and Billy Higgins; all tunes by
Coleman: Invisible, The Blessing, When Will the Blues Leave?, Jayne,
and others.
+ Beauty Is a Rare Thing: The Complete Atlantic Recordings. Rhino: 71410,
6CD set, 1959-61, c1993.
The Shape of Jazz to Come. Rhino/Atlantic: 1317, 1959, c1992.
With Don Cherry, Charlie Haden, and Billy Higgins: Lonely Woman,
Congeniality, and Peace.
Change of the Century. Atlantic: 81341 (1327), 1959, c1992.
With Cherry, Haden and Higgins: Ramblin', and others.
Free Jazz. Atlantic: 1364, 1960, c1988.
Recording of one, uninterrupted, collective improvisation, employing very little
preset structure; with Ornette Coleman, Eric Dolphy, Don Cherry, Freddie
Hubbard, Scott LaFaro, Charlie Haden, Billy Higgins, and Ed Blackwell.
At the Golden Circle. Vol. 1. Blue Note: 35518 (84224), 1965, c2002.
Concert by Coleman, David Izenzon, and Charles Moffett: Faces and Places,
European Echoes, Dee Dee, and Dawn.
* Forms and Sounds: The Music of Ornette Coleman. RCA Bluebird: 6561
(LSC-2982), 1968, c1987.
Includes Coleman's Forms and Sounds played by the Philadelphia Woodwind
Quintet with trumpet interludes played by Coleman; and Saints and Soldiers
and Space Flight played by the Chamber Symphony of Philadelphia Quartet.
134
The Complete Science Fiction Sessions. Columbia/Legacy: C2K 63569 (31061),

2CD set, 1971-72, c2000.
Includes Civilization Day with Don Cherry, Charlie Haden, Billy Higgins.
+ Skies of America. Columbia/Legacy: 63568 (31562), 1972, c2000.
Coleman's writing, performed by the London Symphony Orchestra conducted by
David Measham with Coleman on saxophone.
+ Dancing in Your Head. Verve: 314 543 519-2 (Horizon SP-722), 1976, c2000.
Electric band.
* Of Human Feelings. Antilles 2001, 1979, c1982.
Electric band.
* In All Languages. Harmolodic/Verve: 531 915-2 (Caravan of Dreams 85008),
1987, c1997.
Half with Don Cherry, Charlie Haden, and Billy Higgins; half with the electric
band: Prime Time.
see ANTHOLOGIES - Ken Burns JAZZ and The Smithsonian Collection of Classic
Jazz
STEVE COLEMAN, 1956- (Alto Sax)
* Motherland Pulse. Winter & Winter: 919001 (JMT 850001), 1985, c2001.
World Expansion. Winter & Winter: 919010 (JMT 870 101), 1986, c2002.
* Curves of Life. RCA Victor: 31693, 1995, c1995.
* Genesis & The Opening of the Way. RCA Victor: 52934, 2CD set, 1997,
c1997.
JOHN COLTRANE, 1926-1967 (Tenor Sax/Soprano Sax)
* The Last Giant: The John Coltrane Anthology. Rhino: 71255, 2CD set, 1946-67,
c1993.
Includes early solos with Dizzy Gillespie, Gay Crosse, and Johnny Hodges, plus a
selection of Blue Note and Atlantic recordings.
Blue Train. Blue Note: 95326 (81577), 1957, c2003.
With Lee Morgan, Curtis Fuller, Paul Chambers, and Philly Joe Jones.
The Prestige Recordings. Prestige: 4405, 16CD set, 1956-58, c1991.
Traneing In. Prestige: 30156 (7123), 1957, c2007.
With Red Garland, Paul Chambers, and Art Taylor.
Soultrane. Prestige: 30006 (7142), 1958, c2006.
With Garland, Chambers, and Taylor: Good Bait, Theme for Ernie, I Want
to Talk about You, and others.
135
Ken Burns JAZZ Collection: John Coltrane. Verve: 549 083-2 (Atlantic/Impulse!),
1956-67, c2000.
The Heavyweight Champion: The Complete Atlantic Recordings. Rhino: 71984,
7CD set, 1959-61, c1995.
Giant Steps. Atlantic: 1311, 1959, c1988.
With Tommy Flanagan, Elvin Jones; Giant Steps, Countdown, and
Naima.
+ Coltrane Jazz. Rhino: 79891 (Atlantic 1354), 1959, c2000.
My Favorite Things. Rhino: 75204 (Atlantic 1361), 1960, c1998.
Includes My Favorite Things.
Coltrane Plays the Blues. Atlantic: 1382, 1960, c1989.
+ Avant-Garde. Atlantic: 1451, 1960, c1990.
Ol Coltrane. Atlantic: 1373, 1961, c1989.
Includes Ol with Eric Dolphy.
The Complete Africa/Brass Sessions. Impulse!: IMPD2-168 (A-6), 2CD set, 1961,
c1995.
Coltrane: The Complete 1961 Village Vanguard Recordings. Impulse!:
IMPD4-232, 4CD set, 1961, c1997.
With Eric Dolphy, McCoy Tyner, Jimmy Garrison, Reggie Workman, Elvin Jones,
and others; includes Spiritual, Chasin the Trane, Impressions, India, and
others.
Impressions. Impulse!: 314 543 416-2 (A-42), 1961-63, c2000.
Includes Impressions and India.
+ The Classic Quartet: Complete Impulse! Studio Recordings. Impulse!:
IMPD8-280, 8CD set, 1961-65, c1998.
With McCoy Tyner, Jimmy Garrison, and Elvin Jones.
Coltrane. Impulse!: 215 (A-21), 1962, c1997.
Coltrane. deluxe ed. Impulse!: 314 589 567-2 (A-21), 1962, c2002.
Includes Tungi, Miles Mode, Out of This World, and others.
Dear Old Stockholm. Impulse!: 120, 1963, c1993.
Includes After the Rain.
Live at Birdland. Impulse!: B0010968-02 (A-50), 1963, c2008.
Includes Your Lady, The Promise, Alabama, and others.
Crescent. Impulse!: B0010969-02 (A-66), 1964, c2008.
Includes Bessies Blues, Wise One, Lonnies Lament, and others.
136
A Love Supreme. Impulse!: B0010970-02 (A-77), 1964, c2008.

A Love Supreme. deluxe ed. Impulse!: 314 589 945-2 (A-77), 2CD set, 1964, c2002.
Includes Pursuance.
Ascension. Impulse!: B0012402-02 (A-95), 1965, c2009.
Includes editions I & II.
The Major Works of John Coltrane. Impulse!: GRD2-113, 2CD set, 1965, c1992.
Includes Ascension - editions I & II (A-95) and Kulu Se Mama (A-9106).
Meditations. Impulse!: 199 (A-9110), 1965, c1996.
Transition. Impulse!: B0015953-02 (A-9195), 1965, c2011.
Includes Dear Lord.
Live in Seattle. Impulse!: GRD2-146 (A-9202-2), 2CD set, 1965, c1994.
Sun Ship. Impulse!: B0015952-02 (A-9211), 1965, c2011.
Interstellar Space. Impulse!: 314 543 415-2 (A-9277), 1967, c2000.
With Rashied Ali; includes Mars.
Expression. Impulse!: 131 (A-9120), 1967, c1993.
Includes Expression and Ogunde.
see CANNONBALL ADDERLEY - Quintet in Chicago
see MILES DAVIS - New Quintet, Cookin', Relaxin', Workin', Steamin', Miles
Davis & John Coltrane: The Complete Columbia Recordings, 'Round
about Midnight, Miles and Coltrane, Milestones, '58 Sessions, and Kind of
Blue
see THELONIOUS MONK At Carnegie Hall
see ANTHOLOGIES - Ken Burns JAZZ and The Smithsonian Collection
of Classic Jazz
FOR EXAMPLES OF EARLY COLTRANE SOLOS:
see JOHN COLTRANE - The Last Giant (above)
see DIZZY GILLESPIE - School Days and Odyssey
CHICK COREA, 1941- (Keyboards)
Inner Space. Atlantic/Rhino: 305 (Vortex 2004), 1966, c1988.
Tones for Joan's Bones and Litha.
Now He Sings, Now He Sobs. Blue Note: 38265 (Solid State 18039), 1968,
c2002.
With Miroslav Vitous and Roy Haynes: Matrix, Steps-What Was, Now He
Beats the Drum-Now He Stops, and Now He Sings, Now He Sobs.
137
+ The Complete Is Sessions. Blue Note: 40532 (Solid State), 2CD set, 1969,
c2002.
* The Song of Singing. Blue Note: 84353, 1970, c1989.
With Dave Holland and Barry Altschul.
A.R.C. ECM: 1009, 1971, c2000.
With Dave Holland and Barry Altschul: Nefertiti, Ballad for Tillie,
Thanatos, Vendana, and others.
Piano Improvisations. Vol. 1. ECM: 1014, 1971, c2000.
Solo piano; all tunes written by Corea, except Thelonious Monk's Trinkle Tinkle
and Wayne Shorter's Masqualero; also includes Song for Lee Lee, Song for
Sally, Song of the Wind, and Some Time Ago.
Return to Forever. ECM: 1022, 1971, c1999.
With Stanley Clarke, Airto Moreira, Flora Purim, and Joe Farrell; all tunes
composed by Corea: Return to Forever, Crystal Silence, What Game Shall
We Play Today?, and Some Time Ago - La Fiesta.
Return to Forever. Light as a Feather. Polydor: 827 148-2 (5525), 1972, c1987.
Return to Forever. Light as a Feather [remastered]. Verve: 314 557 115-2
(Polydor 5525), 1972, c1998.
With Joe Farrell, Stanley Clarke, Airto, and Flora Purim; includes Spain.
Return to Forever. Hymn to the Seventh Galaxy. Verve: 825 336-2
(Polydor 5536), 1973, c1991.
Return to Forever. Where Have I Known You Before?
Polydor: 825 206 (6509), 1974, c1985.
With Al DiMeola, Stanley Clarke, Lenny White.
Return to Forever. No Mystery. Polydor: 827 149 (6512), 1975, c1989.
With Chick Corea (acoustic and electric piano, clavinet, Yamaha organ,
synthesizers, snare drum, marimba, and vocal), Al Dimeola (electric and acoustic
guitar), Stanley Clarke (acoustic and electric bass, Yamaha organ, synthesizer and
vocal), and Lenny White (drums, marimba, conga, and percussion); Spanish
"flamenco" and rock are the idioms, not primarily jazz, with little soft material,
mostly hard feel: Dayride (Clarke), Jungle Waterfall (Corea-Clarke), Flight
of the Newborn (Dimeola), Excerpt from the Movement of Heavy Metal (entire
band), No Mystery (Corea), Interplay (Corea-Clarke), Celebration Suite I
and II (Corea); this recording is cited to illustrate the mixture of acoustic and
electric, jazz and rock styles, which typified Corea concerts of the mid-1970's.
Trio Music. ECM: 1232, 1981, c2001.
Trio Music Live in Europe. ECM: 1310, 1984, c2000.
With Miroslav Vitous and Roy Haynes.
Chick Corea Elektric Band. GRP: 9535, 1986, c1986.
138
CHICK COREA AS SIDEMAN

Blue Mitchell: The Thing to Do. Blue Note: 94319 (84178), 1964, c2004.
With Chick Corea, Junior Cook, Gene Taylor, Al Foster (basically Horace
Silver's band with Corea taking Silver's place); includes some Bud
Powell-influenced Corea solos.
Herbie Mann: Herbie Mann Plays The Roar of the Greasepaint - The Smell
of the Crowd. Collectables: 6829 (Atlantic 1437), 1965, c2001.
With Chick Corea, Dave Pike, Patato Valdez, Earl May, and Bruno Carr: The
Joker, Feeling Good, Who Can I Turn To?, and On a Wonderful Day
Like Today; contains good examples of early Corea. This reissue is combined
with Herbie Mann, Today! (Atlantic 1454).
+ Herbie Mann: Standing Ovation at Newport. Wounded Bird: 1445
(Atlantic 1445), 1965, c2000.
With Corea, Pike, Valdez, May and Carr; good examples of early Corea.
Herbie Mann: Monday Night at the Village Gate. Wounded Bird: 1462
(Atlantic 1462), 1965, c2001.
With Corea, Pike, Valdez, May, and Carr; good examples of early Corea.
Blue Mitchell: Boss Horn. Blue Note: 63813 (84257), 1966, c2005.
With Chick Corea, Julian Priester, Junior Cook, Pepper Adams, Gene Taylor,
and Mickey Roker: Tones for Joan's Bones, Straight Up and Down, etc.;
includes some Bud Powell-influenced Corea solos.
Note: Both The Thing to Do and Boss Horn were reissued on * The Complete
Blue Mitchell Blue Note Sessions (Mosaic: MD4-178, 4CD set, 1963-67, c1998).
+ Cal Tjader: Soul Burst. Verve: 557 446-2 (V6-8637), 1966, c1998.
With Chick Corea, Jerome Richardson, Jerry Dodgion, Seldon Powell, Richard
Davis, and Grady Tate; includes some McCoy Tyner-influenced Corea soloing.
Stan Getz: Sweet Rain. Verve: B0011226-02 (V6-8693), 1967, c2008.
With Corea, Ron Carter, and Grady Tate: Litha, Windows, and Con
Alma.
see MILES DAVIS - Black Beauty
see ANTHOLOGIES - Jazz Piano
HANK CRAWFORD, 1934-2009 (Saxophone)
Mr. Blues Plays Lady Soul. Collectables: 6244 (Atlantic 1523), 1969, c1999.
+ Soul Survivors. Milestone: 9142, 1986, c1986.
CRUSADERS
The Best of the Jazz Crusaders: The Pacific Jazz Years. Blue Note: 89283,
1961-66, c1993.
139
Southern Comfort. MCA: 6016 (Blue Thumb 9002), 1974, c1997.

Street Life. Blue Thumb: 701 (MCA 3008), 1979, c1996.
All with Joe Sample and Wilton Felder.
MILES DAVIS, 1926-1991 (Trumpet)
Ken Burns JAZZ Collection: Miles Davis. Sony/Legacy: 61443
(Savoy/Capitol/Prestige/Columbia/Warner Bros.), 1947-86, c2000.
Birth of the Cool. Capitol: 30117 (T 762), 1949-50, c2001.
The Complete Birth of the Cool. Capitol Jazz: 94550, 1948-50, c1998.
Sessions arranged by Johnny Carisi, John Lewis, Miles Davis, Gerry Mulligan, and
Gil Evans; with soloists Davis, Mulligan, and Lee Konitz: Jeru, Boplicity,
Budo, Moon Dreams, and others; instrumentation consists of trumpet, alto
sax, baritone sax, trombone, French horn, tuba, piano, bass, and drums; often
called the Miles Davis Nonet.
Chronicle: The Complete Prestige Recordings. Prestige: 012, 8CD set, 1951-56,
c1987.
Dig. OJC/Concord: 32327 (Prestige 7012), 1951, c2010.
With Sonny Rollins, Jackie McLean, Walter Bishop, Jr., Tommy Potter, and Art
Blakey: George Shearing's Conception, McLean's Dig (also called Donna,
based on the chord progressions of Sweet Georgia Brown), Denial (based on
the chord changes of Charlie Parker's Confirmation), Bluing, Out of the
Blue, and It's Only a Paper Moon.
Collector's Items. Prestige: 24022 (P-7044), 1953, 1956, c2007.
With Sonny Rollins, Tommy Flanagan, Paul Chambers, and Art Taylor (1956):
Dave Brubeck's In Your Own Sweet Way and Davis's Vierd Blues and No
Line; also a session with Sonny Rollins, Charlie Parker (playing tenor and
identified as Charlie Chan), Walter Bishop, Jr., Percy Heath, and Philly Joe Jones
(1953): Compulsion, 'Round Midnight, and two takes of The Serpent's
Tooth.
Walkin'. Prestige/Concord: 30008 (P-7076), 1954, c2006.
With Horace Silver, J. J. Johnson, Kenny Clarke, and others.
Bag's Groove. Prestige: 30645 (P-7109), 1954, c2008.
With Milt Jackson, Thelonious Monk, Percy Heath, and Kenny Clarke: Bags'
Groove; also a session with Sonny Rollins, Horace Silver, Percy Heath, and Kenny
Clarke, including the Rollins compositions: Oleo, Doxy, and Airegin, and
But Not for Me (Gershwin).
Miles Davis and the Modern Jazz Giants. Prestige: 30655 (P-7150), 1954, c2008.
With Jackson, Monk, Heath, and Clarke: The Man I Love,
Swing Spring, and Bemsha Swing.
The New Miles Davis Quintet. Prestige: 31343 (P-7014), 1955, c2009.
With John Coltrane, Red Garland, Paul Chambers, and Philly Jo Jones.
140
The Legendary Prestige Quintet Sessions. Prestige: PRCD4-4444-2, 4CD set,

1955-56, c2006.
Cookin'. Prestige: 30157 (P-7094), 1956, c2007.
Relaxin'. Prestige: 8104 (P-7129), 1956, c2006.
Workin'. Prestige: 30080 (P-7166), 1956, c2006.
Steamin'. Prestige: 30167 (P-7200), 1956, c2007.
With Coltrane, Garland, Chambers, and Jones: Oleo, If I Were a Bell,
You're My Everything, I Could Write a Book, It Could Happen to You,
Woody 'n' You, My Funny Valentine, Blues by Five, Airegin, Tune Up,
When Lights Are Low, It Never Entered My Mind, Four, In Your Own
Sweet Way, The Theme (two takes), Trane's Blues, Ahmad's Blues, and
Half Nelson.
Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961.
Columbia/Legacy: 90922, 6CD set, 1955-61, c2004.
'Round About Midnight. Columbia/Legacy: 85201 (CL 949), 1955-56, c2001.
* Miles and Coltrane. Columbia: 44052, 1955, 1958, c1988.
Budo (1955); also includes 1958 Newport performance with John Coltrane,
Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb.
Miles Davis/Gil Evans: The Complete Columbia Studio Recordings.
Includes all of Miles Ahead, Porgy and Bess, Sketches of Spain, plus
additional material.
Miles Ahead. Columbia/Legacy: 65121 (CL1041), 1957, c1997.
Gil Evans arrangements; includes Dave Brubecks The Duke.
Milestones. Columbia/Legacy: 85203 (CL1193), 1958, c2001.
Includes Two Bass Hit and Billy Boy.
Porgy and Bess. Columbia/Legacy: 65141 (CL1274), 1958, c1997.
Gil Evans arrangements; includes Summertime and Fishermen, Strawberry
and Devil Crab.
+ '58 Sessions. Columbia: 47835, 1958, c1991.
Studio and live sessions with Coltrane, Adderley, Bill Evans, Chambers, and Cobb;
includes On Green Dolphin Street.
Kind of Blue. Columbia/Legacy: 64935 (CS8163/CL1355), 1959, c1997.
Includes Freddie the Freeloader, So What, Blue in Green, and
Flamenco Sketches.
Sketches of Spain. Columbia/Legacy: 65142 (CS8271/CL1480), 1959-60,
c1997.
Gil Evans arrangements; includes Concerto de Aranjuez (Adagio), Solea,
Saeta, The Pan Piper, and Will o the Wisp.
141
Someday My Prince Will Come. Columbia/Legacy: 65919 (CS8456/CL1656),

1961, c1999. Sbme Special Mkts.
+ In Person Friday and Saturday Nights at the Blackhawk, Complete.
Columbia/Legacy: C4K 87106 (CL1669/1670), 4CD set, 1961, c2003.
Saturday Night at the Blackhawk. Columbia/Legacy: 87100 (CL1670),
1961, c2003.
Miles Davis at Carnegie Hall: The Complete Concert. Columbia/Legacy:
C2K 65027 (CS8612/CL1812), 2CD set, 1961, c1998.
Seven Steps: The Complete Columbia Recordings of Miles Davis 1963-1964.
Includes Seven Steps to Heaven, In Europe, My Funny Valentine, Four and
More, Miles in Tokyo, and Miles in Berlin.
Seven Steps to Heaven. Columbia/Legacy: 93592 (CS8851/CL2051), 1963,
c2005. Includes I Fall in Love Too Easily. Sbme Special Mkts.
+ In Europe. Columbia/Legacy: 93583 (CS 8983/CL2183), 1963, c2005.
My Funny Valentine. Columbia/Legacy: 93593 (CS9106/CL2306), 1964, c2005.
Concert; includes My Funny Valentine, Stella by Starlight, and All of
You.
Four and More. Columbia/Legacy: 93595 (CS9253/CL2453), 1964, c2005.
Miles in Tokyo. Columbia/Legacy: 93596, 1964, c2005. Sbme Special Mkts.
Concert with Sam Rivers, Herbie Hancock, Ron Carter, and Tony Williams.
Miles in Berlin. Columbia/Legacy: 93594, 1964, c2005.
Concert with Wayne Shorter, Hancock, Carter, and Williams.
Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings.
With Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams; includes
all of E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, part of Filles de
Kilimanjaro, plus additional material.
E.S.P. Columbia/Legacy: 65683 (CS9150/CL2350), 1965, c1998.
Includes E.S.P., Agitation, Little One, R.J.,
Eighty-One, Mood, and Iris.
* The Complete Live at the Plugged Nickel. Columbia/Legacy: CXK 66955, 6CD set,
1965, c1995.
Miles Smiles. Columbia/Legacy: 65682 (CS9401/CL2601), 1966, c1998.
Includes Orbits, Freedom Jazz Dance, Circle, Footprints, Dolores, and
Gingerbread Boy.
142
Sorcerer. Columbia/Legacy: 65680 (CS9532/CL2732), 1967, c1998. Sbme Special Mkts.

Includes The Sorcerer, Limbo, Prince of Darkness, Masqualero,
Vonetta, and Pee Wee.
Nefertiti. Columbia/Legacy: 65681 (CS9594), 1967, c1998.
Includes Nefertiti, Madness, Riot, Fall, and Hand Jive.
Miles Davis Quintet: Live in Europe 1967. Columbia: 94053, 3CD + DVD set, 1967,
c2011.
Miles in the Sky. Columbia/Legacy: 65684 (CS9628), 1968, c1998. Sbme Special Mkts.
Includes Country Son.
Filles de Kilimanjaro. Columbia/Legacy: 86555 (CS9750), 1968, c2002. Sbme.
Includes Filles de Kilimanjaro, Felon Brun, and Tout de Suite.
The Complete In a Silent Way Sessions. Columbia/Legacy: 90921 (CS9875),
3CD set, 1968-69, c2004.
In a Silent Way. Columbia/Legacy: 86556 (CS9875), 1969, c2002.
The Complete Bitches Brew Sessions. Columbia/Legacy: 90924, 4CD set,
1969-70, c2004.
Bitches Brew. Columbia/Legacy: 54519 (GP 26), 2CD + 1DVD set, 1969, c2010.
Includes Bitches Brew and Pharaohs Dance.
The Complete Jack Johnson Sessions. Columbia/Legacy: 86359, 5CD set, 1970,
c2003.
+ A Tribute to Jack Johnson. Columbia: 93599 (30455), 1970, c2005.
Its About That Time: Live at the Fillmore East (March 7, 1970).
Columbia/Legacy: C2K 85191, 2CD set, 1970, c2001.
+ Black Beauty: Miles Davis at the Fillmore West. Columbia/Legacy: C2K 65138
(CBS/Sony: SOPJ 39-40), 2CD set, 1970, c1997.
Live with Steve Grossman, Chick Corea, Dave Holland, Jack DeJohnette, and
Airto Moreira.
Note: In the author's opinion, this set is superior to Big Fun, At the Fillmore, In
Concert, Jack Johnson, On the Corner, and Get Up with It. It provides the only
recorded examples of extended improvisation by Chick Corea while he was with
Davis, and might be the most exciting recorded playing of Corea's career. The
concert was one of those nights when everything seemed to fall into place and forge
ahead with blistering intensity.
+ At Fillmore: Live at the Fillmore East. Columbia/Legacy: C2K 65139
(CG 30038), 2CD set, 1970, c1997.
Live-Evil. Columbia/Legacy: C2K 65135 (G 30954), 2CD set, 1970, c1997.
Includes Sivad, Selim, and Little Church.
Big Fun. Columbia/Legacy: C2K 63973 (PG 32866), 2CD set, 1969-72, c2000.
Includes Great Expectations.
143
The Cellar Door Sessions 1970. Columbia/Legacy: 93614, 6CD set, 1970, c2005.
On the Corner. Columbia/Legacy: 63980 (PC 31906), 1972, c2000.
+ In Concert: Live at Philharmonic Hall. Columbia/Legacy: C2K 65140
(PG 32092), 2CD set, 1972, c1997.
Get Up with It. Columbia/Legacy: C2K 63970 (PG 33236), 2CD set, 1970-74,
c2000.
Agharta. Columbia/Legacy: C2K 46799 (PG 33967), 2CD set, 1975, c1991.
Pangaea. Columbia: C2K 46115 (CBS/Sony: 50DP 239-40), 2CD set, 1975,
c1990.
doo-bop. Warner Bros.: 26938, 1991, c1992.
see CHARLIE PARKER - Savoy and Dial recordings
see ANTHOLOGIES - Bebop, The Birth of the Third Stream, Ken Burns JAZZ,
and The Smithsonian Collection of Classic Jazz
PAUL DESMOND, 1924-1977 (Alto Sax)
+ The Best of the Complete RCA Victor Recordings. RCA: 3634, 1961-65, c2000
+ The Complete RCA Victor Recordings. RCA Victor: 68687, 5CD set, 1961-65,
c1997.
Desmond Blue. RCA Bluebird: 63898 (LSP 2438), 1961-62, c2002. Sbme.
With strings; Jim Hall on some selections.
Two of a Mind: Paul Desmond and Gerry Mulligan. Victor Jazz: 64019
(LSP 2624), 1962, c2003. Sbme.
see DAVE BRUBECK Ken Burns JAZZ, Dave Brubeck Octet, Jazz at Oberlin,
Gone with the Wind, and Time Out
DAVE DOUGLAS, 1963- (Trumpet)

Parallel Worlds. Soul Note: 121 226, 1993, c1993.
The Tiny Bell Trio. Songlines: 1504, 1993, c1994.
Tiny Bell Trio: Constellations. hatOLOGY: 666 (6173), 1995, c2009.
* Tiny Bell Trio Live in Europe. Arabesque Jazz: 0126, 1996, c1997.
+ Witness. RCA Bluebird: 63763, 2000, c2001.
+ The Infinite. RCA Bluebird: 63918, 2001, c2002.
144
see JOHN ZORN - Masada

PAQUITO DRIVERA, 1948- (Saxophone/Clarinet)
+ The Best of Paquito DRivera. Columbia/Legacy: 85342, 1981-87, c2002.
Paquito DRivera/Arturo Sandoval: Reunion. Pimienta/Universal: 245 360 610
(Messidor 15805), 1990, c2004.
Paquito DRivera Presents 40 Years of Cuban Jam Session. Pimienta/Universal:
245 360 632 (Messidor 15826), 1993, c2004.
see IRAKERE - Best of
ROY ELDRIDGE, 1911-1989 (Trumpet)
Little Jazz Trumpet Giant. Proper: BOX 69 (Vocalion/Brunswick/Decca, etc.),
4CD set, 1935-53, c2004.
* Little Jazz. Jazz Archives/EPM: 158362 (Vocalion/Brunswick/Decca),
1935-44, c1995.
Includes Teddy Hill and Fletcher Henderson selections and the following
selections listed below: Wabash Stomp, Florida Stomp, Hecklers Stomp,
After Youve Gone (2 versions), Let Me Off Uptown, Rockin Chair, That
Drummers Band, The Gasser, and I Cant Get Started.
* Little Jazz. Columbia: 45275 (Vocalion), 1935-1940, c1989.
Includes a selection with Teddy Hill (1935); four selections with Fletcher
Henderson (1936); four selections with Teddy Wilson (1936) including Blues in C#
Minor; and a Eldridge band date (1937): Wabash Stomp, Florida Stomp,
Heckler's Hop, After You've Gone, and others.
+ Roy Eldridge with the Gene Krupa Orchestra: Uptown. Columbia: 45448, 1940-49,
c1990.
With Gene Krupa Orchestra and Anita O'Day (1940-42): Green Eyes, Let Me
Off Uptown, After You've Gone, Rockin' Chair, Harlem On Parade, The
Marines' Hymn, That Drummer's Band, Massachusetts, Murder, He Says,
and others.
+ After You've Gone. Decca Jazz/GRP: 605 (Brunswick/Decca), 1943-46, c1991.
Includes The Gasser (1943); After You've Gone, I Can't Get Started (1944);
All the Cats Join In, Hi Ho Trailus Boot Whip, Yard Dog, and Rockin'
Chair (1946).
see COLEMAN HAWKINS - Tenor Giants
see BILLIE HOLIDAY Lady Day
see ANTHOLOGIES - Anthology of Big Band Swing, The 1930's-The Small
Combos and The Smithsonian Collection of Classic Jazz
145
DUKE ELLINGTON, 1899-1974 (Piano, Big Band)

Ken Burns JAZZ Collection: Duke Ellington. Sony/Legacy: 61444, 1927-60,
c2000. Sbme Special Mkts.
* The Duke Ellington Centenial Edition: The Complete RCA Victor Recordings.
RCA: 63386, 24CD set, 1927-73, c1999.
* Beyond Category: The Musical Genius of Duke Ellington. Buddah: 99362
(RCA 49000), 2CD set, 1927-67, c1999.
The Essential Duke Ellington. Columbia/Legacy: C2K 89281, 2CD set, 1927-60, c2005.
Mrs. Clinkscales to the Cotton Club: Vol. 1. JSP: 924 (Brunswick, Vocalion, OKeh,
Victor), 4CD set, 1926-29, c2005.
* Early Ellington. RCA Bluebird: 6852 (Victor), 1927-34, c1989.
Includes Creole Love Call with Bubber Miley, East St. Louis Toodle-oo,
Black and Tan Fantasy, Mood Indigo, Creole Rhapsody, and an early
example of piano comping (first chorus of Hodges's alto solo on The Mooche).
* Jungle Nights in Harlem. RCA Bluebird: 2499 (Victor), 1927-32, c1991.
+ Jubilee Stomp. RCA Bluebird: 66038 (Victor), 1928-34, c1992.
+ Early Ellington: The Complete Brunswick and Vocalion Recordings of Duke
Ellington. Decca Jazz/GRP: GRD-3-640, 3CD set, 1926-31, c1994.
+ The Best of Early Ellington. Decca Jazz/GRP: 660, 1926-31, c1996.
Includes Black and Tan Fantasy, Mood Indigo,
and Creole Rhapsody.
The Cotton Club to Sweden, Vol. 2. JSP: 936 (Victor, Brunswick, Columbia), 4CD set,
1929-40, c2007.
* The Duke. Columbia/Legacy: 92684 (65841), 3CD set, 1927-61, c2004.
Includes East St. Louis Toodle-oo, Black and Tan Fantasy (1927), The
Mooche (1928), It Dont Mean a Thing If It Aint Got That Swing (1932),
Caravan (1937), Prelude to a Kiss (1938), Sophisticated Lady (1940),
Golden Cress, Sultry Serenade, On a Turquoise Cloud (1947), Take
the A Train (1951), The Star-Crossed Lovers (1956), and others.
The Okeh Ellington. Columbia: C2K 46177, 2CD set, 1927-30, c1991.
Includes East St. Louis Toodle-oo, Black and Tan Fantasy, The Mooche,
Mood Indigo, and Rockin' in Rhythm.
The Complete 1932-1940 Brunswick, Columbia and Master Recordings of Duke Ellington
and His Famous Orchestra. Mosaic: MD11-248, 11CD set, 1932-40, c2010.
(mail order - see page 122.)
146
+ Reminiscing in Tempo. Columbia/Legacy: 48654, 1928-60, c1991.

Includes The Mooche (1928), Rockin in Rhythm (1931), It Don't Mean a
Thing If It Ain't Got That Swing (1932), Reminiscing in Tempo (1935), and On
a Turquoise Cloud (1947).
* Braggin' in Brass. Portrait/CBS: 44395 (Brunswick), 2CD set, 1938, c1989.
The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions.
Mosaic: MD7-235, 7C set, 1936-40, c2007. (mail order - see page 000)
+ The Duke's Men: Small Groups. Vol. 1. Columbia/Legacy: C2K 46995, 2CD set,
1934-38, c1991.
+ The Duke's Men: Small Groups. Vol. 2. Columbia/Legacy: C2K 48835. 2CD set,
1938-40, c1993.
Groups led by Johnny Hodges, Rex Stewart, Cootie Williams, and Barney Bigard;
Vol. 2 includes Jeeps Blues and Empty Ballroom Blues which show the Sidney
Bechet influence on Johnny Hodges. All are also on the Mosaic set.
+ Solos, Duets and Trios. RCA Bluebird: 2178-2 (Victor), 1932-1967, c1990.
Includes 1940 duets with bassist Jimmy Blanton: Mr. J.B. Blues and
Pitter Panther Patter..
* Duke Ellington: 1938. Smithsonian: 2003, 2LP set, 1938, c1976.
+ Never No Lament: The Blanton-Webster Band. RCA Bluebird: 50857 (Victor),
3CD set, 1940-42, c2003.
Probably Ellington's best band: Johnny Hodges, Cootie Williams, Joe Nanton, Ben
Webster, Jimmy Blanton, and others; includes Jack the Bear, Conga Brava,
Concerto for Cootie, Cottontail, Never No Lament (Do Nothing Til You Here
from Me), A Portrait of Bert Williams, Harlem Air Shaft, All Too Soon,
Sepia Panorama, In a Mellotone, Warm Valley, The Flaming Sword,
Take the A Train, Blue Serge, Bakiff, Chelsea Bridge, Raincheck, I
Dont Know What Kind of Blues I Got, Perdido, Main Stem, and the 1940
Ellington-Blanton duets: Mr. J.B. Blues and Pitter Panther Patter.
+ The Complete RCA Victor Mid-Forties Recordings. RCA Victor: 63394 (6641),
3CD set, 1944-46, c1999.
Includes Mercer Ellington's Things Ain't What They Used to Be with solos by
Johnny Hodges, Lawrence Brown, and Taft Jordan; a 1945 version of Mood
Indigo with a wordless vocal; the Perfume Suite, Blue Cellophane,
Transblucency, Black, Brown and Beige, Im Beginning to See the Light,
and others.
+ The Best of the Complete RCA Victor Recordings, 1944-1946. RCA Bluebird:
63462, 1944-46, c2000.
Includes Things Ain't What They Used to Be, Transblucency, and I'm
Beginning to See the Light.
* Happy-Go-Luck Local. Musicraft: 52, 1946, c1992.
147
Includes a version of the Deep South Suite and Golden Cress.

* 1946. Classics: 1015 (Victor/Musicraft), 1946, c1998.
Includes a version of the Deep South Suite.
* 1946-1947. Classics: 1051 (Musicraft/Columbia), 1946-47, c1999.
Big band with Lawrence Brown, Tyree Glenn, Ray Nance, Shorty Baker, Dud
Bascomb, Jimmy Hamilton, Johnny Hodges, and Oscar Pettiford; includes
Golden Cress (featuring Lawrence Brown).
+ 1947. Classics: 1086 (Columbia), 1947, c1999.
Includes Boogie Bop Blues (which has some great bass work) and Sultry
Serenade (with solos by Tyree Glenn and Hodges).
* 1947-1948. Classics: 1119 (Columbia), 1947-48, c2000.
Includes On a Turquoise Cloud (with a wordless vocal,
clarinet and muted trumpet, violin, and bass clarinet).
(Note: All Classics label items are imports.)
Ellington Uptown. Columbia/Legacy: 87066 (CL 830), 1947, 1951-52, c2004. Sbme
Big band featuring Russell Procope and Jimmy Hamilton (The Mooche), Paul
Gonsalves (Take the 'A' Train), and Louis Bellson (Skin Deep); also includes
the Liberian Suite (1947).
* The Complete Capitol Recordings of Duke Ellington. Mosaic: MD5-160,
5CD set, 1953-55, c1995.
Includes all of Ellington Showcase.
* Ellington Showcase. Capitol: T 679, LP, 1953-55, c[1956].
Big band including a feature for Harry Carney (Serious Serenade), a feature for
Cat Anderson (La Virgen de la Macarena), and a new version of Harlem
Airshaft (with Clark Terry soloing in the spots where Cootie Williams and Barney
Bigard had soloed, Quentin Jackson taking what had been Tricky Sam Nanton's
part on the original 1940 version, and other interesting differences that help cast
light on the original).
* The Best of Duke Ellington. Capitol Jazz: 31501, 1953-55, c1995.
Includes Serious Serenade, Harlem Airshaft, and others.
* Historically Speaking - The Duke. Avenue Jazz: 74315 (Bethlehem 60), 1956,
c2001.
Big band featuring Jimmy Hamilton, Ray Nance, Johnny Hodges, Quentin Jackson,
and Britt Woodman; the first includes a violin feature for Ray Nance (Lonesome
Lullaby) and two Billy Strayhorn pieces (Midriff and Upper Manhattan
Medical Group - mistakenly credited to Ellington).
Duke Ellington Presents.... Shout Factory: 37470 (Bethlehem 6005), 1956,
c2005. Contains the Harry Carney feature, Frustration.
Ellington at Newport: The Complete Concert. Columbia/Legacy: C2K 64932
(CL 934), 2CD set, 1956, c1999.
148
+ A Drum Is a Woman. Columbia: CL 951, LP, 1956, c1957.

*Duke 56/62. Vol. 1. CBS/France: 88653, 2LP set, 1956-62, c1984.
Includes Cop Out (1957) featuring Paul Gonsalves.
Such Sweet Thunder. Columbia/Legacy: 65568 (CL 1033), 1956-57, c1999. Sbme
+ Ellington Indigos. Columbia: 44444 (CS 8053/CL 1085), 1957, c1989.
Big band featuring Hodges, Gonsalves, Hamilton, and Harold Shorty Baker; high
points are the Hodges solo on Prelude to a Kiss, the Gonsalves solo on Where or
When, and the Baker solo on Willow Weep for Me.
Note: The music on the mono copy (CL 1085) of this album is not identical to that
on the stereo copy (CS 8053); several different improvisations and a few alterations
in ensemble playing occur. The mono copy also contains an entire tune not on the
stereo copy, although it is mistakenly listed on the stereo copy's album jacket. That
tune, The Sky Fell Down, is one of the prettiest Ellington compositions on the
mono album, and it contains a gorgeous Ray Nance trumpet solo. The reissue
(44444) has a previously unissued All the Things You Are and an alternate take
of Autumn Leaves but not The Sky Fell Down.
The Cosmic Scene. Mosaic: MCD-1001 (Columbia CL 1198), 1958, c2006.
(mail order)
Recording with abbreviated instrumentation: Hamilton,
Gonsalves, and Terry plus three trombones, piano, bass, and drums.
* Duke Ellington and His Orchestra Live at Newport 1958. Columbia/Legacy:
C2K 53584 (CS 8072/CL 1245), 2CD set, 1958, c1994.
Featuring Clark Terry, Jimmy Hamilton, Paul Gonsalves, Ray Nance, Harry
Carney, Gerry Mulligan, and others.
Dukes Mixture/ At the Bal Masque. Collectables: 7856 (Columbia CS 8098/CL 1282),
1958, c2007.
+ Anatomy of a Murder [soundtrack]. Columbia/Legacy: 65569 (CL 1630), 1959,
c1999.
+ Festival Session. Columbia/Legacy: 87044 (CL 1400), 1959, c2004.
Big band with Gonsalves, Terry, Hamilton, Hodges, Russell Procope, and Nance:
Idiom '59, Launching Pad, and others.
The Ellington Suites. Fantasy: OJC-446 (Pablo 2310-762), 1959, 1971-72, c1990.
Includes Queen's Suite, Goutelas Suite, and the UWIS Suite.
Three Suites. Columbia: 46825 (CS 8397), 1960, c1990.
Includes Suite Thursday.
Sbme Special Mkts.
Paris Blues [soundtrack]. Jazz Sound Track: 248137 (United Artists 4092), 1960, c2011.
(import)
149
Duke Ellington's Concert of Sacred Music. Status: 1015

c1997. (import)
(RCA
LSP-3582),
1965,
The Far East Suite. RCA Bluebird: 55614 (LSP-3782), 1966, c2003.
Second Sacred Concert. Prestige: 24045 (Fantasy 8407/8), 1968, c1990.
Latin American Suite. Fantasy: OJC-469 (8419), 1968, c1990.
Afro-Eurasian Eclipse. Fantasy: OJC-645 (9498), 1971, c1991.
Togo Brava Suite. Blue Note: 30082 (United Artists UAL 273/4), 1971, c1994.
* Duke Ellington's Third Sacred Concert. RCA: APL1-0785, LP, 1973, c1975.
Renaissance, The Greatest Jazz Concert in the World, Jazz Piano, Jive at Five, Ken
Burns JAZZ, and The Smithsonian Collection of Classic Jazz
BILL EVANS, 1929-1980 (Piano)
Bill Evans: The Complete Riverside Recordings. Riverside: 018, 12CD set,
1956-63, c1987.
New Jazz Conceptions. Fantasy: OJC-025 (Riverside R-223), 1956, c1987.
With Teddy Kotick and Paul Motian: I Love You, Five, Easy Living,
Displacement, Conception, Speak Low, Our Delight, My Romance, and
I Got It Bad.
Everybody Digs Bill Evans. Riverside: 30182 (1129), 1958, c2007.
With Sam Jones and Philly Joe Jones: Peace Piece, Young and Foolish, What
Is There to Say?, Oleo, and others; Evans considered this to be among his very
best playing on record.
Portrait in Jazz. Riverside: 30678 (315), 1959, c2008.
Includes Autumn Leaves, and Peris Scope.
Explorations. Riverside: 32842 (351), 1961, c2011.
With Scott LaFaro and Paul Motian; includes Nardis..
The Complete Village Vanguard Recordings, 1961. Riverside: 3RCD-4443,
3CD set, 1961, c2005.
At the Village Vanguard. Riverside: FCD-60-017, 1961, c1986; or
Sunday at the Village Vanguard. Riverside: 30509 (RLP-9376), 1961, c2008;
and Waltz for Debby. Riverside: 32326 (RLP-9399), 1961, c2010.
With LaFaro and Motian: My Foolish Heart, Waltz for Debby, Alice in
Wonderland, Gloria's Step, Milestones, Solar, All of You, and others.
Undercurrent. Blue Note: 38228 (UA 14003), 1962, c2002.
Duets with Jim Hall.
150
Intermodulation. Verve: 833 771-2 (V6-8655), 1966, c1988.

Recordings, Miles and Coltrane, '58 Sessions, and Kind of Blue
see OLIVER NELSON - Blues and the Abstract Truth
see ANTHOLOGIES - The Birth of the Third Stream, Jazz Piano, and The
Smithsonian Collection of Classic Jazz (revised)
BILL EVANS AS AN INFLUENCE
* Piano Jazz in Czechoslovakia. Supraphon: SUA ST 55991, LP, c1968.
Czech import anthology; the Jan Hammer Trio selections, Responsibility
and Autumn Leaves, display Evans influence.
Jan Hammer. The First Seven Days. Columbia/Legacy: 85401 (Nemperor
432), 1975, c2003.
Sbme Special Mkts.
Light/Sun and Fourth Day display Bill Evans influence.
GIL EVANS, 1912-1988 (Composer/Arranger)
see MILES DAVIS - The Birth of the Cool, Miles Davis/Gil Evans: The Complete
Columbia Studio Recordings, Miles Ahead, Porgy and Bess, and Sketches
of Spain
see CLAUDE THORNHILL - Claude Thornhill and His Orchestra Play the Great Jazz
Arrangements of Gil Evans, Gerry Mulligan, and Ralph Aldrich and Best of the Big
Bands
see ANTHOLOGIES - The Bebop Era, Big Band Jazz, Big Band Renaissance, and Jazz
in Revolution
ELLA FITZGERALD, 1918-1996 (Jazz Singer)
Ken Burns JAZZ Collection: Ella Fitzgerald. Verve: 549 087-2 (Decca/Verve),
1936-63, c2000.
The Best of Ella Fitzgerald. Decca Jazz/GRP: 659, 1935-55, c1996.
Includes A-Tisket A-Tasket, How High the Moon, and others.
Ella Fitzgerald Sings the Cole Porter Song Book. Verve: 314 537 257-2 (4001-2),
2CD set, 1956, c1997.
Ella Fitzgerald Sings the Rodgers & Hart Song Book. Verve: 314 537 258-2
(4002-2), 2CD set, 1956, c1997.
+ Ella Fitzgerald Sings the George & Ira Gershwin Song Book. Verve:
314 539 759-2 (4029-5), 4CD set, 1959, c1998.
Ella Fitzgerald at the Opera House. Verve: 831 269-2 (MGV 8264), 1957, c1986.
Includes Lady Be Good.
151
The Complete Ella in Berlin: Mack the Knife. Verve: 314 519 564-2 (MGV 4041),
1960, c1993.
Includes Mack the Knife and How High the Moon.
Clap Hands, Here Comes Charlie! Verve: 422 835 646-2 (MGV 4053), 1961,
c1989.
Includes Spring Can Really Hang You Up the Most
and Cry Me a River.
see CHARLIE PARKER - Charlie Parker: Jazz at the Philharmonic 1949
CHARLES GAYLE, 1939- (Tenor Sax/Piano)
Consecration. Black Saint: 120 138-2, 1993, c1993.
Kingdom Come. Knitting Factory: 157, c1994.
STAN GETZ, 1927-1991 (Tenor Sax)
The Complete Savoy Recordings. Savoy Jazz: 17121 (12114), 1946-47, c2002.
Includes Opus de Bop, And the Angels Swing, Running Water, and Don't
Worry About Me.
Quartets. Fantasy: OJC-121 (Prestige 7002), 1949-50, c1991.
With Al Haig: There's a Small Hotel, Indian Summer, and others.
+ The Complete Roost Recordings. Roost/Blue Note: 59622, 3CD set, 1950-54,
c1997.
With Al Haig, Horace Silver, Jimmy Raney, and Roy Haynes; also includes
Moonlight in Vermont (1952) with guitarist Johnny Smith.
* Best of the Roost Years. Blue Note: 98144, 1950-52, c1991.
* The Roost Quartets. Roulette Jazz: 96052, 1950-51, c1991.
With Al Haig, Horace Silver, Tommy Potter, and Roy Haynes.
* At Storyville. Roulette: 94507 (Roost), 1951, c1990.
With Jimmy Raney, Al Haig: Rubber Neck, Mosquito Knees, Hershey Bar,
and others.
+ West Coast Jazz. Verve: 314 557 549-2 (Norgran 1032), 1955, c1999.
+ Best of the West Coast Sessions. Verve: 314 537 084-2, 1955-57, c1997.
Stan Getz and J.J. Johnson at the Opera House. Verve: 831 272-2 (MGV-8265),
1957, c1986.
Live concert recording by Stan Getz, J.J. Johnson, Oscar Peterson, Herb Ellis, Ray
Brown, and Connie Kay: Billie's Bounce, My Funny Valentine, Crazy
Rhythm, Yesterdays, It Never Entered My Mind, and Blues in the Closet;
note that the original stereo version (Verve 68490) was not the same music as in the
mono version (V6-8265); the CD reissue includes both stereo and mono versions.
152
Focus. Verve: 314 521 419-2 (V6-8412), 1961, c1997.

Eddie Sauter string arrangements; Getz improvises with no preset melody or chord
progressions, using only the string parts as his guide.
Jazz Samba. Verve: 314 521 413-2 (MGV-8432), 1962, c1997.
With Charlie Byrd: Desafinado.
Getz/Gilberto. Verve: 314 521 414-2 (V6-8545), 1963, c1997.
With Antonio Carlos Jobim, Joao and Astrud Gilberto: Girl from Ipanema,
Desafinado, and others.
see ANTHOLOGIES - The Bebop Era
DIZZY GILLESPIE, 1917-1993 (Trumpet)
Ken Burns JAZZ Collection: Dizzy Gillespie. Verve: 549 086-2, 1940-67, c2000.
* The Development of an American Artist. Smithsonian: 2004, 2LP set,
1940-46, c1976.
Gillespie with his own groups and the bands of Les Hite, Cab Calloway, Coleman
Hawkins, Billy Eckstine, Boyd Raeburn, and others; includes I Cant Get Started
(1945).
+ Odyssey 1945-1952. Savoy Jazz: 17109 (Musicraft/Savoy), 3CD set, 1945-52,
c2002.
Groovin High. Savoy: 0152 (Guild/Musicraft), 1945-46, c1992.
Groovin High: Classic Recordings. Naxos Jazz: 8.120582, 1942-49, c2002.
Shaw Nuff. Collectables: 7729 (Musicraft), 1945-46, c2006.
Combos with Charlie Parker, Al Haig, Curly Russell and Sid Catlett (1945): Salt
Peanuts, Hot House, All the Things You Are, Groovin High, Shaw
Nuff, and Blue n Boogie; big band (1946): Things to Come and Emanon.
Odyssey also contains all recordings from School Days (below).
Dizzy Gillespie, Charlie Parker: Town Hall, New York City, June 22, 1945.
Uptown: 27.51, 1945, c2005.
The Complete RCA Victor Recordings. RCA Bluebird: 66528, 2CD set,
1937-1949, c1995.
Combo with Don Byas, Bill DeArango, Milt Jackson, Al Haig, Ray Brown, and J.C.
Heard (1946): Anthropology, 52nd St. Theme, Ol' Man Rebop, and Night
in Tunisia; big band dates (1947-49) include the Gillespie-George Russell
collaboration Cubano Be - Cubano Bop, Gillespie's Manteca (both featuring
conga drummer Chano Pozo), Tadd Dameron's Good Bait, John Lewiss Two
Bass Hit, Gillespies Woodyn You (Algo Bueno), and others.
Night in Tunisia: The Very Best of. RCA Bluebird: 84866, 1944-49, c2006.
Includes most of the above titles.
+ School Days. Savoy Jazz: 17256 (Regent 6043), 1947, 1951-52, c2003.
Includes We Love to Boogie (1951) which contains an early example of John
Coltrane's solo style (included here only as an example of Coltrane).
153
Duets. Verve: 835 253-2 (MGV-8260), 1957, c1988.

With Sonny Stitt and Sonny Rollins; includes a version of Gillespies Con Alma.
Sonny Side Up. Verve: 314 521 426-2 (MGV-8262), 1957, c1997.
With Stitt, Rollins, Ray Bryant, Tom Bryant, and Charlie Persip: Eternal
Triangle, I Know That You Know, etc.; contains some of the fastest, most fluent
tenor sax playing on record; Rollins, Gillespie, and Stitt keep up with each other at
their fiery best on Eternal Triangle; some authorities consider this to be the best
Rollins on record.
Dizzy Gillespie at Newport. Verve: 513 754-2 (V6-8830/MGV8242), 1957, c1992.
Live recording made by Gillespie big band at Newport Jazz Festival; with Lee
Morgan, Al Grey, Benny Golson, Billy Mitchell, Wynton Kelly, etc.; Gillespie
considers his Dizzy's Blues solo here to be one of his best on record.
see CHARLIE PARKER - Savoy and Dial recordings and Bird and Diz
see ANTHOLOGIES - Bebop, The Bebop Revolution, Big Band Jazz, Big Band
Renaissance, Ken Burns JAZZ, and The Smithsonian Collection of Classic
Jazz
BENNY GOODMAN, 1909-1986 (Clarinet/Big Band)
Ken Burns JAZZ Collection: Benny Goodman. Sony/Legacy: 61445, 1927-49,
c2000.
* B.G. & Big Tea in NYC. Decca Jazz/GRP: 609, 1929-34, c1992.
Red Nichols and His Five Pennies: Dinah with Goodman and Jack Teagarden
(1929); plus Joe Venuti-Eddie Lang: Farewell Blues and Beale St. Blues with
Teagarden, Frank Signorelli, Joe Tarto, and Neil Marshall (1931).
+ The Birth of Swing. RCA Bluebird: 61038 (Victor), 3CD set, 1935-36, c1991.
Big band recordings including Japanese Sandman, Blue Skies, When
Buddha Smiles, King Porter Stomp, and Down South Camp Meeting.
Sing Sing Sing. RCA Bluebird: 5630 (Victor), 1935-38, c1987.
Big band recordings including King Porter Stomp, Down South Camp
Meeting, and Sing Sing Sing.
The Centennial Collection. RCA Bluebird: 60088 (Victor), 1935-39, c2004.
+ The King of Swing. RCA Bluebird: 63902 (Victor), 1935-39, c2002.
Big band recordings including King Porter Stomp, Sometimes Im Happy,
Wrappin It Up, and Sing Sing Sing.
+ The Harry James Years. Vol. 1. RCA Bluebird: 66155, 1937-38, c1993.
+ The Complete RCA Victor Small Group Recordings. Victor Jazz: 68764, 3CD set,
1935-39, c1997.
+ The Legendary Small Groups. RCA Bluebird: 63994, 1935-39, c2002.
Trio and quartet recordings with Teddy Wilson, Lionel Hampton, and Gene Krupa
or Dave Tough; includes Body and Soul.
154
Benny Goodman at Carnegie Hall. Columbia/Legacy: 65143 (OSL 160), 2CD set,
1938, c1999.
Includes Don't Be That Way, One O'Clock Jump, and Shine, with Count
Basie, Lester Young, Lionel Hampton, Harry James, Gene Krupa, Teddy Wilson,
and others; Avalon, Blue Reverie, and Blue Room, with Johnny Hodges,
Teddy Wilson, Gene Krupa, Harry James, and others.
+ Benny Goodman Sextet Featuring Charlie Christian. Columbia: 45144, 1939-41,
c1989. Includes I Found a New Baby.
see ANTHOLOGIES - Big Band Jazz, Big Band Renaissance, Ken Burns JAZZ,
DEXTER GORDON, 1923-1990 (Tenor Sax)
Settin the Pace. Proper: BOX 16 (Savoy, Dial), 4CD set, 1943-50, c2001. (import)
Settin the Pace. Savoy Jazz: 17027 (12130), 1945-47, c1998.
With Argonne Thornton, Gene Ramey, Ed Nicholson (1945): Blow Mr. Gordon,
Dexter's Deck, and others; with Leonard Hawkins, Bud Powell, Curly Russell,
and Max Roach (1946): Long Tall Dexter, Dexter Rides Again, Dexter Digs
In, and others; with Leo Parker, Tadd Dameron, Curly Russell, and Art Blakey
(1947): Settin' the Pace, Dexter's Riff, etc.
Dexter Gordon on Dial: the Complete Sessions. Spotlite: SPJ-130 (Dial), 1947, c1994.
With Red Callender, Chuck Thompson or Roy Porter, Charles Fox, Jimmy
Rowles, Jimmy Bunn, Teddy Edwards, and Wardell Gray: Lullaby in Rhythm,
The Chase, Sweet and Lovely, The Duel, Bikini, and others.
see DIZZY GILLESPIE - Groovin High
see HERBIE HANCOCK - Takin' Off
see ANTHOLOGIES - Jazz in Revolution and The Smithsonian Collection of
Classic Jazz
KENNY G [Gorelick], 1959- (Soprano Sax)
Duotones. Arista: 8496, c1986.
Includes Songbird.
Silhouette. Arista: 8457, c1988.
Breathless. Arista: 18646, c1992.
The Moment. Arista: 18935, c1996.
see JEFF LORBER
HERBIE HANCOCK, 1940- (Keyboards)
Ken Burns JAZZ Collection: Herbie Hancock. Sony/Legacy: 61446
(Blue Note/Columbia), 1962-96, c2000.
Sbme Special Mkts.
155
Best of Herbie Hancock: The Blue Note Years. Blue Note: 91142 (89907),
1962-69, c1988.
Includes Watermelon Man, Maiden Voyage, and Dolphin Dance.
Takin' Off. Blue Note: 92757 (84109), 1962, c2007.
With Dexter Gordon, Freddie Hubbard, and Billy Higgins; includes Watermelon
Man.
Empyrean Isles. Blue Note: 98796 (84175), 1964, c1998.
With Freddie Hubbard, Ron Carter, and Tony Williams.
Maiden Voyage. Blue Note: 95331 (84195), 1965, c1999.
Pianist-composer Hancock leading the Miles Davis group of 1963, with trumpeter
Freddie Hubbard instead of Davis; with George Coleman, Ron Carter, and Tony
Williams; all tunes composed by Hancock: Maiden Voyage, Dolphin Dance,
Little One, and others; it contains some of Hubbard's best recorded solos and
showcases Hancock's best writing.
Speak Like a Child. Blue Note: 64468 (84279), 1968, c2005.
Includes a trio recording of The Sorcerer.
The Prisoner. Blue Note: 25649 (84321), 1969, c2000.
With solos by Johnny Coles, Joe Henderson, Garnett Brown, and Hancock; the
interplay between pianist Hancock, bassist Buster Williams, and drummer Al
Heath on He Who Lives in Fear conceptually resembles the Bill Evans-Scott
LaFaro-Paul Motian approaches; also includes I Have a Dream.
+ Mwandishi Herbie Hancock: The Complete Warner Bros. Recordings. Warner
Bros: 45732 (1898/2617), 2CD set, 1969-71, c1994.
Originally Mwandishi and Crossings; these are from his space music period that
was post-hard bop, pre-jazz/rock.
Sextant. Columbia/Legacy: 64983 (32212), 1972, c1998.
One of the precursors of the jazz/rock styles.
Sbme Special Mkts.
Head Hunters. Columbia/Legacy: 65123 (32731), 1973, c1997.

Hancock's best-selling record prior to Future Shock; a funk/jazz style:
Chameleon and a new Watermelon Man.
Thrust. Columbia/Legacy: 64984 (32965), 1974, c1998.
With Hancock (electric piano and synthesizers), Bennie Maupin (soprano and
tenor sax, saxello, bass clarinet, alto flute), Paul Jackson (electric bass), Mike Clark
(drums), and Bill Summers (percussion); all compositions by Hancock: Spank A
Lee, Butterfly, Actual Proof, Palm Grease; this recording is included as an
example of Hancock's popular mid-1970's band, which was heavily influenced by
Sly Stone and funk; Hancock has stated that, along with Miles Davis, My Funny
Valentine, Thrust represents his best work.
156
* Death Wish. One Way: 26659 (Columbia 33199), 1974, c1996.

Film score by Hancock: Death Wish, Suite Revenge, Fill Your Hand, etc.;
most arranged by Jerry Peters; this is included as an example of Hancock's
versatility as a composer; the first three selections on its second side are beautiful,
classical type pieces in the manner of Erik Satie and other early 20th century
composers.
Future Shock. Columbia/Legacy: 65962 (38814), 1983, c1999.
Includes Rockit.
Sbme Special Mkts.
see MILES DAVIS - Seven Steps to Heaven, In Europe, My Funny Valentine,

Four and More, Miles Davis Quintet 1965-1968: The Complete Columbia Studio
Recordings, Miles in Berlin, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer,
Nefertiti, Miles in the Sky, and Filles de Kilimanjaro
see JOE HENDERSON - Power to the People
see WAYNE SHORTER - Speak No Evil
see ANTHOLOGIES - Jazz Piano and Ken Burns JAZZ
COLEMAN HAWKINS, 1904-1969 (Tenor Sax)
Classic Coleman Hawkins Sessions 1922-1947. Mosaic: MD8-251
(Victor/Bluebird/Signature), 8CD set, 1922-1947, c2012.
* Ken Burns JAZZ Collection: Coleman Hawkins. Verve: 549 085-2, 1926-63,
c2000.
The Essential Sides Remastered. JSP: 931, 4CD set, 1929-39, c2006.
All pre-Body and Soul.
The Hawk in Europe. ASV: 5054 (Swing), 1935-37, c1988.
In Paris: Honeysuckle Rose and Crazy Rhythm with Benny Carter and
Django Reinhardt.
* The Centennial Collection. RCA Bluebird: 60086 (Victor/Bluebird), 1929-57, c2004.
Body and Soul. Victor Jazz: 68515 (Victor/Bluebird), 1939-56, c1996.
All sample a variety of recording sessions including Body and Soul (1939) and a
1947 bop date with Fats Navarro (Half Step Down, Please); When Lights Are
Low.
+ Tenor Giants: Coleman Hawkins and Chu Berry. Commodore/Verve: 543 271-2,
1938-43, c2000.
With Benny Carter, Roy Eldridge, and others; includes I Cant Believe That
Youre in Love with Me (1940).
* The Complete Coleman Hawkins on Keynote. Mercury: 830 960, 4CD set,
1944, c1987.
Includes sessions with Teddy Wilson, Charlie Shavers, Billy Taylor, and Denzil
Best: My Man and El Salon de Gutbucket.
see BENNY CARTER - Further Definitions
see LIONEL HAMPTON - Ring Dem Bells
157
see FLETCHER HENDERSON

see DJANGO REINHARDT - All Star Sessions
see ANTHOLOGIES - Classic Tenors, Jive at Five, Ken Burns JAZZ, and The
Smithsonian Collection of Classic Jazz
JOE HENDERSON, 1937-2001 (Tenor Sax)
Page One. Blue Note: 98795 (84140), 1963, c1999.
In n Out. Blue Note: 96507 (84166), 1964, c2004.
Joe Henderson: The Milestone Years. Milestone: 4413, 8CD set, 1967-75,
c1994.
NOTE: includes all Milestone sessions cited in text.
Tetragon. Fantasy: OJC-844 (Milestone 9017), 1967-68, c1995.
With Kenny Barron or Don Friedman, Ron Carter, Louis Hayes or Jack
DeJohnette: Invitation, Tetragon, and others.
Power to the People. Milestone: 30130 (9024), 1969, c2007.
With Herbie Hancock, Ron Carter, Jack DeJohnette, and, on two tunes, Mike
Lawrence: Black Narcissus, Power to the People, Lazy Afternoon, and
others; four tunes are written by Henderson, one by Carter.
+ Double Rainbow: The Music of Antonio Carlos Jobim. Verve: 314 527 222-2,
1994, c1995.
see HERBIE HANCOCK - The Prisoner
see HORACE SILVER - Song for My Father and Cape Verdean Blues
EARL HINES, 1903-1983 (Piano)
* The Earl Hines Collection: Piano Solos, 1928-1940. Collectors Classics:
COCD-11 (QRS/Okeh/Brunswick/Bluebird), 1928-40, c1993. (import)
Includes Blues in Thirds, Chimes in Blues, and Fifty-Seven Varieties.
* Piano Man. RCA Bluebird: 6750, 1939-42, c1989.
Solo and big band; includes Blues in Thirds with Sidney Bechet.
see LOUIS ARMSTRONG - Louis Armstrong and Earl Hines and
Hot Five. Vol. 3
see ANTHOLOGIES - Jazz Piano and Smithsonian Collection of Classic Jazz
BILLIE HOLIDAY, 1915-1959 (Singer)
Ken Burns JAZZ Collection: Billie Holiday. Verve: 549 081-2
(Columbia/Decca/Verve), 1935-58, c2000.
Lady Day: The Master Takes and Singles. Columbia/Legacy: 10955
(Columbia/Brunswick/Vocalion/OKeh),
4CD set, 1935-42, c2007.
158
Billie Holiday/Lester Young: A Musical Romance. Columbia/Legacy: 86635,

1937-38, 1958, c2002.
Sbme Special Mkts.
The Billie Holiday Collection 1. Columbia/Legacy: 87067, 1935-36, c2003.
+ The Billie Holiday Collection 2. Columbia/Legacy: 87068, 1936-37, c2003.
All with Lester Young, Buck Clayton, Teddy Wilson, Roy Eldridge, and others;
includes Hes Funny That Way; Back in Your Own Backyard is only on the
4CD set.
Includes Gloomy Sunday and God Bless the Child.
The Complete Commodore Recordings. Commodore/GRP: CMD2-401, 2CD set,
1939, 1944, c1997.
The Commodore Master Takes. Commodore/Verve: 543 272-2, 1939, 1944,
c2000.
Includes Strange Fruit and Fine and Mellow.
The Complete Decca Recordings. Decca Jazz/GRP: GRD2-601, 2CD set,
1944-50, c1991.
Includes Lover Man, Good Morning Heartache, and God Bless the Child.
+ Solitude. Billie Holiday Story, 2. Verve: 314 519 810-2 (Clef), 1952, c1993.
Includes These Foolish Things.
Lady in Satin. Columbia/Legacy: 65144 (CS8048), 1958, c1997.
See ANTHOLOGIES - Ken Burns JAZZ and Smithsonian Collection of Classic
Jazz
FREDDIE HUBBARD, 1938-2008 (Trumpet)

see ART BLAKEY - Mosaic, Three Blind Mice, Caravan, and Ugetsu
see ORNETTE COLEMAN - Free Jazz
see JOHN COLTRANE - Ol
see HERBIE HANCOCK - Maiden Voyage and Empyrean Isles for some of
Hubbard's best recorded solos
see J.J. JOHNSON - J.J. Inc.
IRAKERE (Cuban band)
The Best of Irakere. Columbia: 57791, 1978-79, c1994.
Sbme Special Mkts.
With Chucho Valds, Paquito DRivera, and Arturo Sandoval.
+ Live at Ronnie Scotts. World Pacific: 80598, 1991, c1993.
With Chucho Valds.
BOB JAMES, 1939- (Keyboards)
Bob James & Earl Klugh: One on One. Koch: 9941 (Warner Bros. 45141), 1979, c2006.
159
Double Vision. Warner Bros.: 25393, c1986.

With David Sanborn.
Fourplay: Fourplay. Warner Bros.: 26656, c1991.
Fourplay: Between the Sheets. Warner Bros.: 45340, c1993.
KEITH JARRETT, 1945- (Piano)
* Foundations: The Keith Jarrett Anthology. Rhino: 71593, 2CD set, 1966-71,
c1994. Includes work with Art Blakey, Charles Lloyd, Gary Burton, and
trio/quartet with Charlie Haden, Paul Motian, and Dewey Redman.
Somewhere Before. Atlantic (Vortex 2012), 1969, c2010. (import)
With Charlie Haden and Paul Motian; includes Pretty Ballad.
Facing You. ECM: 1017, 1971, c2000.
Solo piano; all compositions by Jarrett: In Front, Ritooria, and others.
In the Light. ECM: 1033/34, 2CD set, 1973, c2000.
The Impulse Years 1973-1974. Impulse!: IMPD4-237, 4CD set, 1973-74, c1997.
Includes Death and the Flower, Backhand, and other material.
+ Death and the Flower. Impulse!: 139 (A-9301), 1974, c1994.
Quartet with Dewey Redman, Charlie Haden, and Paul Motian.
+ Backhand. Impulse!: 9305, LP, 1974, c1975.
With Redman, Haden, Motian, and Guilherme Franco: In Flight, Kuum,
Valpallia, and Backhand.
Belonging. ECM: 1050, 1974, c2000.
With Garbarek, Palle Danielsson, and Jon Christensen; all tunes by Jarrett:
Spiral Dance, Blossom, Long as You Know, You're Living Yours,
Belonging, The Windup, and Solstice.
+ Mysteries: the Impulse! Years. Impulse!: IMPD4-189, 4CD set, 1975-76, c1996.
With Redman, Haden, Motian, and Guilherme Franco; includes Shades
(A-9322), Byablue (A-9331), Bop-Be (A-9334), and additional material;
songs include Shades of Jazz, Pocket Full of Cherry, and Rainbow.
Staircase. ECM: 1090, 2CD set, 1976, c2000.
Solo piano.
Eyes of the Heart. ECM: 1150, 1976, c2000.
Quartet with Redman, Haden, and Motian; includes Encore.
* Silence. Impulse!: 117 (A-9331/A-9334), 1977, c1992.
Quartet with Redman, Haden, and Motian; includes Byablue (9331) and Bop-Be
(9334).
160
My Song. ECM: 1115, 1977, c1999.

With Jan Garbarek, Palle Danielsson, and Jon Christensen.
The Cure. ECM: 1440, 1990, c1991.
Trio with Gary Peacock and Jack DeJohnette.
Radiance. ECM: 1960/61, 2CD set, 2000, c2005.
Solo piano.
KEITH JARRETT AS SIDEMAN
Charles Lloyd: Forest Flower/Soundtrack. Rhino: 71746
(Atlantic 1473/1519), 1966, 1969, c1994.
see Foundations: The Keith Jarrett Anthology (above)
See ART BLAKEY Buttercorn Lady
see CHARLIE HADEN - Closeness
KEITH JARRETT AS INFLUENCE
+ Art Lande & Jan Garbarek: Red Lanta. ECM: 1038, 1973, c1987.
Lande's playing here suggests the work of Keith Jarrett.
* Dave Liebman: Forgotten Fantasies. A&M/Horizon: SP-709, LP, 1975,
c1976.
With Richie Beirach; the piano work here suggests Jarrett.
Brad Mehldau: Art of the Trio 4: Back at The Vanguard. Warner Bros.:
47463, 1999, c1999.
J. J. JOHNSON, 1924-2001 (Trombone)
+ Origins: The Savoy Sessions. Savoy Jazz: 17127 (12106), 1946-49, c2002.
Includes Coppin' the Bop, Jay Jay, and Jay-bird.
The Eminent Jay Jay Johnson. Vols. 1 & 2. Blue Note: 32143/32144
(1505/1506), 2CDs, 1953-55, c2001.
With Clifford Brown, Jimmy Heath, John Lewis, Percy Heath, and Kenny Clarke
(1953): Turnpike, Lover Man, Get Happy, Sketch 1, Capri, and It
Could Happen to You; with Wynton Kelly, Charles Mingus, Kenny Clarke, and
Sabu (1954): Jay, Old Devil Moon; with Hank Mobley, Horace Silver, and
Paul Chambers (1955).
* The Complete Columbia J.J. Johnson Small Group Sessions. Mosaic: MD7-169,
7CD set, 1956-61, c1996.
Includes First Place, Blue Trombone, J.J. Inc., and others.
161
Trombone Master. Columbia: 44443, 1957-60, c1989.

Compilation from various Columbia sessions.
First Place. American Jazz Classics: 99003 (Columbia CL 1030), 1957, c2009. (import)
With Tommy Flanagan, Paul Chambers, and Max Roach.
Blue Trombone. American Jazz Classics: 99002 (Columbia CL 1303), 1957, c2009.
(import)
With Bobby Jaspar, Tommy Flanagan, and Elvin Jones.
+ J.J. Inc. Columbia/Legacy: 65296 (CL 1606), 1960, c1997.
With Freddie Hubbard, Clifford Jordan, and Cedar Walton; includes Aquarius.
see STAN GETZ - Stan Getz and J.J. Johnson at the Opera House
see ANTHOLOGIES - The Birth of the Third Stream
JAMES P. JOHNSON, 1894-1955 (Piano)
* Harlem Stride Piano. Hot n Sweet/EPM: 151032 (OKeh/Victor/Columbia),
1921-29, c1992.
* Harlem Stride Piano 1921-1929. Jazz Archives/EPM: 158952, 1921-29, c1992.
Both include Carolina Shout (1921).
+ Snowy Morning Blues. Decca Jazz/GRP: 604 (Brunswick), 1930, 1944, c1991.
Includes You've Got to Be Modernistic and Jingles (1930).
see ANTHOLOGIES - Jazz Piano, Piano in Style, and The Smithsonian Collection of
Classic Jazz
STAN KENTON, 1912-1979 (Big Band)
* The Complete Capitol Studio Recordings of Stan Kenton 1943-47. Mosaic:
MD8-163, 8CD set/MQ12-163, 12LP set, 1943-47, c1995.
Includes Artistry in Rhythm, Eager Beaver, Tampico, and others.
The Best of Stan Kenton. Capitol: 31504, 1943-61, c1995.
Includes Artistry in Rhythm and Eager Beaver.
* Innovations Orchestra. Capitol Jazz: 59966, 2CD set, 1950-51, c1997.
Includes Pete Rugolos Mirage.
New Concepts of Artistry in Rhythm. Capitol: 92865 (T 383), 1952, c1989.
Arrangements by Gerry Mulligan, Bill Russo, Bill Holman; solos by Conte Candoli,
Lee Konitz, Maynard Ferguson, and Frank Rosolino: My Lady, 23 Degrees N,
82 Degrees W and Portrait of a Count.
Adventures in Jazz. Capitol Jazz: 21222 (T 1796), 1961, c1999.
With mellophoniums; Kenton felt this to be one of his best recordings; includes Bill
Holman's arrangement of Malaguena and Dee Barton's Turtle Talk and
Waltz of the Prophets.
162
+ Retrospective. Capitol: 97350, 4CD set, 1943-1968, c1992.

(The following list of Kenton recordings is organized by arranger.)
DEE BARTON
+ Stan Kenton Conducts the Jazz Compositions of Dee Barton. Creative
World: 1022 (Capitol ST 2922), LP, 1967, c1982.
ROBERT CURNOW
National Anthems of the World. Creative World: 1060, 1972, c2010.
Stan Kenton Plays Chicago. Creative World: 1072, 1974, c1992.
RUSS GARCIA
* Stan Kenton Conducts The Los Angeles Neophonic Orchestra. Capitol:
94502 (SMAS 2424), 1965, c1998.
Includes Adventures in Emotions, Parts I-V.
ROBERT GRAETTINGER
+ The City of Glass. Capitol: 32084 (T 736), 1951, c1995.
BILL HOLMAN
* Stan Kenton: The Complete Capitol Recordings of the Holman and Russo
Charts. Mosaic: MD4-136, 4CD set, 1950-63, c1991.
+ Kenton Showcase. Capitol Jazz: 25244 (W 524), 1952-54, c2000.
Contemporary Concepts. Capitol: 42310 (T 666), 1955, c2003.
STAN KENTON
* Collector's Choice. Creative World: 1027, LP, 1951.
* Jazz Compositions of Stan Kenton. Creative World: 1078 (Capitol), LP,
1946-56.
Includes Eager Beaver, Opus in Pastels, Concerto to End All
Concertos, and others.
* Kenton/Wagner. Creative World: 1024 (Capitol 2217), LP, 1964.
BILL MATHIEU
Standards in Silhouette. Capitol: 94503 (1394), 1959, c1998.
LENNIE NIEHAUS
The Stage Door Swings. Capitol: 77551 (1166),
1958, c2005.
The Sophisticated Approach. Capitol Jazz: 52994 (1674), 1961, c2006.

* Adventures in Standards. Creative World: 1025, LP, 1961.
163
JOHNNY RICHARDS
Cuban Fire. Capitol: 96260 (T 731), 1956, c1991.
Back to Balboa. Capitol Jazz: 93094 (Capitol T 995), 1958, c2004.
* Adventures in Time: A Concerto for Orchestra. Capitol: 55454 (1844),
1962, c1997.
GENE ROLAND
* Viva Kenton! Capitol Jazz: 60444 (1305), 1959, c2005.
* Adventures in Blues. Capitol Jazz: 20089 (1985), 1960-61, c1999.
PETE RUGOLO
+ Stan Kenton Encores. Creative World: 1034 (Capitol T155), LP,
1946-47, c[197?].
* A Concert in Progressive Jazz. Creative World: 1037 (Capitol T172), LP,
1947.
The Kenton Touch/Lush Interlude. Collectors Choice: 81725 (Capitol 1276),
2CD set, 1958, c2003.
BILL RUSSO
Portraits on Standards. Capitol: 31571 (T 462), 1951-54, c2001.
+ Kenton Showcase. Capitol Jazz: 25244 (W 524), 1954, c2000.
Includes Egdon Heath, and others.
see under KENTON ARRANGERS: BILL HOLMAN
see ANTHOLOGIES - Big Band Jazz, Big Band Renaissance, and Mirage
KING CURTIS [Ousley], 1934-1971 (Tenor Sax)
King of the Sax. Fuel 2000: 61378 (Enjoy), [1962], c2004.
Have Tenor Sax Will Blow/Live at Smalls Paradise. Collectables: 6418 (Atco),
1959, c2000.
Soul Meeting. Prestige: 24033 (7222), 1960, c1994.
SEE Oliver Nelson - Soul Battle
ANDY KIRK, 1898-1992 (Bandleader)
* Andy Kirk & The 12 Clouds of Joy with Mary Lou Williams.
ASV Living Era: 5108 (Decca), 1929-40, c1993.
* Andy Kirk & Mary Lou Williams: Marys Idea. Decca Jazz/GRP: 622, 1936-41,
c1993. Mary Lou Williams compositions, arrangements,
and piano for Andy Kirk and His Twelve Clouds of Joy.
164
EARL KLUGH, 1954- (Guitar)

Living Inside Your Love. Blue Note: 77544 (Liberty 667), 1976, c2005.
* Low Ride. Capitol: 12253 (46007), c1983.
see BOB JAMES - One on One
LEE KONITZ, 1927- (Alto Sax)
Subconscious Lee. Fantasy: OJC-186 (Prestige 7004), 1949-50, c1991.
With Lennie Tristano, Warne Marsh, and Shelly Manne; includes Subconscious
Lee, Marshmallow, and Ice Cream Konitz.
Konitz Meets Mulligan. Pacific Jazz: 46847 (PJ 20142), 1953, c1988.
Ideal Scene. Soul Note: 121119, 1986, c1986.
Konitz on tenor saxophone.
see MILES DAVIS - The Birth of the Cool
see GERRY MULLIGAN - Complete Pacific Jazz and Capitol Recordings
see STAN KENTON New Concepts of Artistry in Rhythm
see CLAUDE THORNHILL
see LENNIE TRISTANO - Intuition and Complete Atlantic Recordings
see ANTHOLOGIES - The Bebop Era and Smithsonian Collection of Classic
Jazz
JEFF LORBER, 1952- (Keyboards)
+ The Definitive Collection. Arista: 14639, c2000.
With Kenny G on some selections.
MACHITO [Frank R. Grillo], 1908-1984 (Bandleader/Singer/Maracas)
Ritmo Caliente: Machito and His Afro-Cubans. Proper: BOX 48 (Decca/Clef),
4CD set, 1941-51, c2002.
Includes Mario Bauzs Tanga as well as sidemen
Brew Moore, Zoot Sims, Milt Jackson, Flip Phillips,
Howard McGhee, and Charlie Parker.
Carambola: Live at Birdland. Tumbao: TCD 024, 1951, c1992.
See ANTHOLOGIES - The Original Mambo Kings
BRANFORD MARSALIS, 1960- (Saxophone)
+ Buckshot Lefonque. Columbia: 57323, c1994.
165
WYNTON MARSALIS, 1961- (Trumpet)

+ Wynton Marsalis. Columbia: 37574, c1982.
+ Think of One. Columbia: 38641, c1983.
Black Codes (From the Underground). Columbia: 40009, 1985, c1985.
J Mood. Wounded Bird: 4308 (Columbia 40308), 1985, c2007.
+ Blood on the Fields. Columbia: 57694, 3CD set, 1995, c1997.
see ART BLAKEY - Album of the Year and Keystone 3
JOHN MCLAUGHLIN, 1942- (Guitar)
My Goal's Beyond. Douglas: AD-03 (9), 1970, c2010.
Includes Follow Your Heart.
+ Mahavishnu Orchestra: The Inner Mounting Flame. Columbia/Legacy: 65523
(31067), 1971, c1998.
Mahavishnu Orchestra: Birds of Fire. Columbia/Legacy: 66081 (31996), 1972,
c2000.
Sbme Special Mkts.
see MILES DAVIS - In a Silent Way, Bitches Brew, Jack Johnson, and Live-Evil
see TONY WILLIAMS - Emergency!
THE MODERN JAZZ QUARTET
+ MJQ40: The Boxed Set. Atlantic: 82330, 4CD set, 1952-88, c1991.
Includes Prestige and Atlantic material.
Django. Prestige/Concord: 8110 (P-7057), 1953-54, c2006.
With Milt Jackson, John Lewis, Percy Heath, and Kenny Clarke: Milano,
Django, La Ronde, The Queen's Fancy, and others.
Concorde. Prestige: 30653 (P-7005), 1955, c2008.
With Jackson, Lewis, Heath, and Connie Kay.
European Concert. Collectables: 7836 (Atlantic: 603), 1960, c2007.
Concert by Jackson, Lewis, Heath, and Kay: Django and Bluesology.
THELONIOUS MONK, 1917-1982 (Piano)

Ken Burns JAZZ Collection: Thelonious Monk. Sony/Legacy: 61449
(Blue Note/Prestige/Riverside/Columbia/Black Lion), 1947-71, c2000.
166
+ The Complete Blue Note Recordings of Thelonious Monk. Blue Note: 30363,
4CD set, 1947-52, 1957, c1994.
Genius of Modern Music. Vols. 1 & 2. Blue Note: 32138/32139 (1510/1511),
2CDs, 1947-52, c2001.
With Milt Jackson, Art Blakey, Idris Sulieman, etc.: Humph, In Walked Bud,
Epistrophy, Misterioso, Well You Needn't, Off Minor, Straight No
Chaser, Evidence, Criss Cross, Round Midnight, and others.
Best of Thelonious Monk: The Blue Note Years. Blue Note: 95636, 1947-52,
c1991.
Includes many of the above selections.
The Complete Prestige Recordings. Fantasy: 4428, 3CD set, 1944,
1952-54, c2000.
Includes Smoke Gets in Your Eyes; also includes sessions led by Coleman
Hawkins (1944) and Miles Davis (1954): Bags Groove.
Thelonious Monk: The Complete Riverside Recordings. Riverside: 022,
15CD set, 1955-1961, c1986.
Thelonious Himself. Riverside: 30510 (RLP 235), 1957, c2008.
Solo piano: Functional, I Should Care, and 'Round Midnight.
Thelonious Monk Quartet with John Coltrane at Carnegie Hall.
Blue Note: 35173, 1957, c2005.
Thelonious in Action. Fantasy: OJC-103 (Riverside 262), 1958, c1988.
With Johnny Griffin at the Five Spot Cafe; includes Rhythm-n-ing.
Criss Cross. Columbia/Legacy: 63537 (CS8838/CL2038), 1963, c2003.
Includes Tea for Two.
Sbme Special Mkts.
Its Monk's Time. Columbia/Legacy: 63532 (CS 8984/CL 2184), 1964, c2003.
With Charlie Rouse, Butch Warren, and Ben Riley: Brake's Sake, Lulu's Back
in Town, and Nice Work If You Can Get It.
see MILES DAVIS - Miles Davis and the Modern Jazz Giants and Bag's Groove
see CHARLIE PARKER - Bird and Diz and Bird: Complete on Verve
see ANTHOLOGIES - Bebop, Jazz Piano, Ken Burns JAZZ, and The Smithsonian
WES MONTGOMERY, 1925-1968 (Guitar)
Incredible Jazz Guitar. Riverside: 30790 (RLP 9320), 1960, c2008.
With Tommy Flanagan, Percy Heath, and Al Heath: West Coast Blues, Mister
Walker, Four on Six, and others.
+ Impressions: The Verve Jazz Sides. Verve: 521 690-2, 2CD set, 1964-66, c1995.
Bumpin. Verve: 314 539 062-2 (V6-8625), 1965, c1997.
167
Smokin' at the Half Note. Verve: B0003934-02 (V6-8633), 1965, c2005.

With Wynton Kelly, Paul Chambers, and Jimmy Cobb.
A Day in the Life. A&M: 75021 0816 (3001), 1967, c1989.
JELLY ROLL MORTON, 1890-1941 (Piano/Composer/Bandleader)
Jelly Roll Morton. Milestone: 47018 (Gennett), 1923-26, c1992.
Includes Mamanita and The Pearls.
* The Pianist and Composer. Smithsonian: RD-043, 1923-26, c1991.
Jelly Roll Morton: 1926-1930. JSP: 903, 5CD set (Victor), 1926-30, c[1991].
(import)
* The Jelly Roll Morton Centennial: His Complete Victor Recordings.
RCA Bluebird: 2361, 5CD set, 1926-30, 1939, c1990.
+ The Pearls. RCA Bluebird: 6588 (Victor), 1926-38, c1988.
* Chicago: The Red Hot Peppers. Smithsonian: RD-044 (Victor), 1926-28, c1991.
Birth of the Hot: The Classic Chicago Red Hot Peppers Sessions.
RCA Bluebird: 66641, 1926-27, c1993.
Sbme Special Mkts.
With Kid Ory, George Mitchell, Johnny St. Cyr, and others: Black Bottom
Stomp, The Chant, Dead Man Blues, and others; also Wolverine Blues
with Johnny and Baby Dodds.
+ Jelly Roll Morton: The Complete Library of Congress Recordings
by Alan Lomax. Rounder: 1888, 8CD set + book, 1938, c2005.
Features Morton talking and playing.
Kansas City Stomp. The Library of Congress Recordings, v. 1. Rounder: 1091,
1938, c1993.
Anamule Dance. The Library of Congress Recordings, v. 2.
Rounder: 1092, 1938, c1993.
The Pearls. The Library of Congress Recordings, v. 3. Rounder: 1093, 1938,
c1993.
Winin' Boy Blues. The Library of Congress Recordings, v. 4. Rounder: 1094,
1938, c1993.
The 4 single CDs feature mostly just the musical selections.
see ANTHOLOGIES - Jazz Piano, Ken Burns JAZZ, Piano in Style, Riverside
Collection of Classic Jazz, and The Smithsonian Collection of Classic Jazz
168
GERRY MULLIGAN, 1927-1996 (Baritone Sax)

* The Complete Pacific Jazz and Capitol Recordings of the Original Gerry
Mulligan Quartet and Tentette with Chet Baker. Mosaic: MD3-102, 3CD set,
1952-53, c1989.
With Chet Baker, Bob Whitlock, and Chico Hamilton (1952): Walkin' Shoes,
Soft Shoe, and Freeway; live session with Lee Konitz, Baker, Carson Smith or
Joe Mondragon, and Larry Bunker (1953): I Can't Believe That You're in Love
with Me, Broadway, All the Things You Are, Almost Like Being in Love,
and Lover Man (a transcription of the Konitz solo on this tune is available in
John Mehegan, Jazz Improvisation, vol. 2); Mulligan Tentette with Baker, Pete
Candoli, Bob Enevoldsen, John Graas, Ray Siegel, Bud Shank, Don Davidson,
Mondragon, Hamilton, and Bunker (1953): Walkin' Shoes, Rocker, Flash,
and others; Mulligan considers this session to represent some of his best work.
* The Complete Pacific Jazz Recordings of the Gerry Mulligan Quartet with Chet
Baker. Pacific Jazz: 38263, 4CD set, 1952-57, c1996.
The Original Quartet with Chet Baker. Pacific Jazz: 94407, 2CD set, 1952-53,
c1998.
The Best of the Gerry Mulligan Quartet with Chet Baker. Pacific Jazz: 95481,
1952-53, c1991.
Includes Walkin' Shoes, Soft Shoe, and Freeway.
+ At Storyville. Pacific Jazz: 94472 (1228), 1956, c1990.
With Bob Brookmeyer.
What Is There To Say? Columbia/Legacy: 52978 (CS 8116), 1959, c1994.
Sbme.
With Art Farmer, Bill Crow, and Dave Bailey: What Is There to Say?, Just in
Time, As Catch Can, and others; Mulligan feels this recording to be some of his
best work.
* The Complete Verve Gerry Mulligan Concert Band Sessions. Mosaic: MD4-221
(Verve), 4CD set, 1960-62, c2003.
Includes both of the following two albums:
The Concert Jazz Band. Poll Winners: 27264 (Verve MGV-8388), 1960, c2011.
Big band featuring Mulligan and Bob Brookmeyer: Sweet and Slow, Out of
This World, Duke Ellington's I'm Gonna Go Fishin, and Mulligan's Bweebida,
Bobbida, and others.
Gerry Mulligan and The Concert Jazz Band at the Village Vanguard. Verve:
314 589 488-2 (V6-8396), 1960, c1989.
The above band in concert featuring Clark Terry and Bob Brookmeyer: Black
Nightgown, Body and Soul, Come Rain or Come Shine, and others.
see PAUL DESMOND - Two of a Mind
see DUKE ELLINGTON - Newport 1958
see LEE KONITZ - Lee Konitz Meets Gerry Mulligan
see ANTHOLOGIES - Big Band Renaissance, The Birth of the Cool. Vol. 2, and
Ken Burns JAZZ
169
OLIVER NELSON, 1932-1975 (Saxophone)

Soul Battle. Prestige: OJC-325 (7223), 1960, c1992.
With King Curtis.
Blues and the Abstract Truth. Impulse!: 154 (A-5), 1961, c1995.
With Freddie Hubbard, Eric Dolphy, Bill Evans, and Roy Haynes.
DAVID FATHEAD NEWMAN, 1933-2009 (Saxophone)
* House of David: The David Fathead Newman Anthology. Rhino: 71452
(Atlantic +), 2CD set, 1952-89, c1993.
Fathead: Ray Charles Presents David Newman. Collectables: 6541
(Atlantic 1304), 1958, c2005.
CLAUS OGERMANN, 1930- (Composer/Arranger)
Cityscape. Warner Bros.: 23698, 1982, c1995.
With Michael Brecker.
KING OLIVER, 1885-1938 (Cornet)
King Oliver, Off the Record: The Complete 1923 Band Recordings. Archeophone:
OTR-MM6-C2 (Gennett/OKeh/Paramount), 2CD set, 1923, c2007.
King Olivers Creole Jazzband: The Complete Set. Retrieval/Challenge:
RTR 79007 (Gennett/OKeh/Paramount), 2CD set, 1923-24, c1996. (import)
* King Oliver's Jazz Band. Smithsonian: 2001 (OKeh), 2LP set, 1923, c1975.
With Louis Armstrong, Johnny Dodds, Honore Dutrey, Lil Hardin, etc.: Snake
Rag, Sweet Lovin' Man, High Society Rag, Dippermouth Blues, West End
Blues, etc.
Louis Armstrong and King Oliver. Milestone: 47017 (Gennett/Paramount),
1923-1924, c1992.
Dippermouth Blues and Im Going Away to Wear You Off My Mind (1923)
with Oliver, Armstrong, Johnny Dodds, Honore Dutrey, and Baby Dodds;
Cakewalking Babies from Home (1924) with Armstrong, Sidney Bechet, Lil
Hardin, and Charlie Irvis.
see ANTHOLOGIES - Ken Burns JAZZ and Smithsonian Collection of Classic
Jazz
170
ORIGINAL DIXIELAND JAZZ BAND

+ The 75th Anniversary. RCA Bluebird: 61098 (Victor), 1917-1921, c1992.
Usually considered the first recordings of jazz; sessions feature Nick LaRocca,
Larry Shields, Eddie Edwards, Henry Ragas, and Tony Sbarbaro: Dixie Jazz
Band One-Step, Livery Stable Blues (1917); Tiger Rag, Clarinet
Marmalade (1918); Margie (1920), Home Again Blues (1921), and others.
see ANTHOLOGIES - An Experiment in Modern Music, Ken Burns JAZZ, and
Ragtime
EDDIE PALMIERI, 1936- (Piano/Bandleader)
+ La Perfecta. Fania: 773 130 255-2 (Alegre), 1966, c2007.
The Sun of Latin Music. Music Productions: 6253 (Coco 109), 1973, c1990.
Unfinished masterpiece. Music Productions: 6259 (Coco 120), 1975, c1991.
Palmas. Elektra Nonesuch: 61649, 1993, c1994.
+ Vortex. TropiJazz/RMM: 82043, c1996.
CHARLIE PARKER, 1920-1955 (Alto Sax)
+ Charlie Parker: A Studio Chronicle. JSP: 915 (Decca/Dial/Savoy), 5CD set, 1940-48,
c2003.
* Young Bird. Vols. 1 & 2. Masters of Jazz: 78, 1940-44.
* The Complete Birth of the Bebop. Stash: ST-CD-535, 1940-46, c1991.
Includes Parker's first known recording: Honey & Body (1940) and a 1942
session with Parker on alto plus a guitar; also a 1943 jam session with Dizzy
Gillespie, Oscar Pettiford, and Parker on tenor sax, made in the hotel room of Billy
Eckstine's valet, Robert Redcross: Sweet Georgia Brown, Three Guesses,
Boogie Woogie. These performances are among the most valuable on record for
documenting formative Parker, and, because they are on tenor, clarifying his
Lester Young and Coleman Hawkins roots.
* Early Bird. Stash: ST-CD-542 (Onyx 221/Spotlite 120), 1940-44, c1991.
1940 Wichita transcriptions with Bernard Anderson, Orville Minor, Bud Gould,
Jay McShann, Gene Ramey, and Gus Johnson: I Found a New Baby, Body and
Soul, Moten Swing, Coquette, Lady Be Good, Wichita Blues, and
Honeysuckle Rose; Cherokee (1942) by Parker with an unidentified rhythm
section; 1942 broadcast from the Savoy Ballroom with Jay McShann.
Ken Burns JAZZ Collection: Charlie Parker. Verve: 549 084-2
(Decca/Guild/Savoy/Dial/Verve), 1941-54, c2000.
171
* Yardbird Suite: The Ultimate Charlie Parker Collection. Rhino: 72260

(Savoy/Dial/Mercury/Clef), 2CD set, 1945-54, c1997.
Dial, Savoy, Verve, and live recordings including Groovin High, Salt Peanuts,
Shaw Nuff, Hot House, Nows the Time, Ko Ko, Moose the Mooche,
Yardbird Suite, Ornithology, Cool Blues, Relaxin at Camarillo, Donna
Lee, Dewey Square, Embraceable You, Klactoveesedstene, Parkers
Mood, Bloomdido, Star Eyes, Confirmation, and others.
The Complete Savoy and Dial Studio Sessions 1944-1948. Savoy Jazz: 92911,
8CD set, 1944-48, c2000.
Savoy: with Tiny Grimes, Clyde Hart, etc. (1944): Tiny's Tempo and Red
Cross; with Miles Davis, Dizzy Gillespie, Argonne Thornton, Curly Russell, and
Max Roach (1945): Billie's Bounce, Now's the Time, and Ko Ko; with Davis,
Bud Powell, Tommy Potter, and Roach (1947): Donna Lee and Cheryl; with
Davis, John Lewis, Nelson Boyd, and Roach (1947): Half Nelson and Sippin' at
Bells; with Davis, Duke Jordan, Potter, and Roach (1947): Blue Bird and Bird
Gets the Worm; with Davis, Lewis, Russell, and Roach (1948): Barbados,
Parker's Mood, and others.
Dial: with Dizzy Gillespie, Lucky Thompson, etc. (1946): Diggin' Diz; with Miles
Davis, Lucky Thompson, Dodo Marmarosa, etc. (1946): Moose The Mooch,
Yardbird Suite, Ornithology, and Night in Tunisia; with Howard McGhee,
etc. (1946): Lover Man; with Erroll Garner, etc. (1947): This Is Always, Cool
Blues, and Bird's Nest; with McGhee, Wardell Gray, Marmarosa, etc. (1947):
Relaxin' at Camarillo and Cheers; with Davis, Duke Jordan, Tommy Potter,
and Max Roach (1947): Dexterity, Bird of Paradise, Embraceable You,
Dewey Square, Klactoveesedstene, Crazeology, and others. Also includes
1945 Guild recordings with Dizzy Gillespie: Groovin High, All the Things You
Are, Salt Peanuts, Shaw Nuff, and Hot House.
The Complete Savoy & Dial Master Takes. Savoy Jazz: 17149, 3CD set,
1944-48, c2002.
Best of the Complete Savoy & Dial Studio Recordings. Savoy Jazz: 17120,
1944-48, c2002.
Includes Tinys Tempo, Koko, Moose the Mooche, Yardbird Suite,
Ornithology, Night in Tunisia, Cool Blues, Relaxin at Camarillo,
Cheryl, Embraceable You, Crazeology, Blue Bird, Parkers Mood, and
others.
Charlie Parker & Dizzy Gillespie: Diz n Bird at Carnegie Hall.
Blue Note: 57061, 1947, c1997.
The Complete Live Performances on Savoy. Savoy Jazz: 17021/24, 4CD set,
1947-50, c1998.
The above two include a 1947 live version of Groovin High.
Bird/The Complete Charlie Parker On Verve. Verve: 837 141-2 (Mercury/Clef),
10CD set, 1946-54, c1988.
The Complete Verve Master Takes. Verve: 440 065 597-2, 3CD set,
1947-53, c2003.
172
Confirmation: Best of the Verve Years. Verve: 314 527 815-2, 2CD set, 1946-53,
c1995.
Includes April in Paris and Just Friends with strings; Star Eyes with Hank
Jones; and Bloomdido with Gillespie, Monk, and Buddy Rich.
+ Charlie Parker: Jazz at the Philharmonic 1949. Verve: 314 519 803-2, 1949,
c1993.
Includes Ella Fitzgerald performances of How High the Moon, Perdido, and
Flying Home.
+ Swedish Schnapps. Verve: 849 393-2 (MGV 8010), 1949-51, c1991.
Charlie Parker with Strings: The Master Takes. Verve: 314 523 984-2, 1949-52,
c1995.
Includes April in Paris, Just Friends, Summertime, and others.
Bird and Diz. Verve: 314 521 436-2 (MGV 8006), 1950, c1997.
With Dizzy Gillespie, Thelonious Monk, and Buddy Rich; includes Bloomdido
and Relaxin' with Lee.
* Now's the Time. Verve: 825 671-2 (MGV 8005), 1952-53, c1985.
With Al Haig and Max Roach; includes Nows the Time and Confirmation.
Jazz at Massey Hall. Fantasy: OJC-044 (Debut 124), 1953, c1989.
Concert with Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach.
see DIZZY GILLESPIE - Groovin High and Town Hall 1945
see ANTHOLOGIES - Bebop, Ken Burns JAZZ, and Smithsonian Collection of
Classic Jazz
MACEO PARKER, 1943- (Saxophone)
+ Roots Revisited. Verve: 843 751-2, c1990.
WILLIAM PARKER, 1952- (Bass)
In Order to Survive. Black Saint: 120 159-2, 1993, c1995.
BUD POWELL, 1924-1966 (Piano)
* The Complete Blue Note and Roost Recordings. Blue Note: 30083, 4CD set,
1947-63, c1994.
* The Bud Powell Trio Plays. Roulette: 93902 (Roost 2224), 1947, c1990.
Nice Work If You Can Get It and Somebody Loves Me with Curly Russell and
Max Roach.
173
The Amazing Bud Powell. Vols. 1 & 2. Blue Note: 32136/32137 (1503/1504),
2CDs, 1949-53, c2001.
With Max Roach, Sonny Rollins, Fats Navarro, Tommy Potter, and Roy Haynes:
Un Poco Loco, Bouncing with Bud, Night in Tunisia, Dance of the
Infidels, Parisian Thoroughfare, and Polka Dots and Moonbeams.
+ The Complete Bud Powell on Verve. Verve: 314 521 669-2, 5CD set, 1949-56,
c1994.
+ Jazz Giant. Verve: 314 543 832-2 (MGV 8153), 1949-50, c2001.
With Ray Brown, Curly Russell, Max Roach: Get Happy,
Tempus Fugit,and Celia.
+ The Genius of Bud Powell. Verve: 827 901-2 (V 8115), 1950-51, c1988.
Hallucinations, Tea for Two, and others.
see DEXTER GORDON - Settin the Pace
see CHARLIE PARKER - Savoy recordings and Jazz at Massey Hall
see ANTHOLOGIES - Bebop, The Bebop Revolution, Jazz Piano, Ken Burns
JAZZ, and The Smithsonian Collection of Classic Jazz
TITO PUENTE, 1923-2000 (Timbales/Vibraphone/Bandleader)
The Essential Tito Puente. RCA/Legacy: 69243, 2CD set, 1949-62, c2005.
Mambo Diablo. Concord Picante: 4283, 1985, c1985.
Royal T. Concord Picante: 4553, 1993, c1993.
Special Delivery. Concord Picante: 4732, 1996, c1996.
SONNY ROLLINS, 1929- (Tenor Sax)
Ken Burns JAZZ Collection: Sonny Rollins. Verve: 549 091-2, 1954-66, c2000.
Sonny Rollins: The Complete Prestige Recordings. Prestige: 4407, 7CD set,
1949-56, c1992.
Sonny Rollins Plus 4. Prestige: 30159 (P-7038), 1956, c2007.
With Clifford Brown, Richie Powell, George Morrow, and Max Roach: Pent-Up
House, Kiss and Run, and Valse Hot; Rollins has said that this is some of his
Saxophone Colossus. Prestige/Concord: 8105 (P-7079), 1956, c2006.
With Tommy Flanagan and Max Roach: Blue Seven, St. Thomas, You Dont
Know What Love Is, and others.
Way Out West. Contemporary: 31993 (C-7530), 1957, c2010.
With Ray Brown and Shelly Manne.
174
A Night at the Village Vanguard. Vols. 1 & 2. Blue Note: 99795 (1581), 2CD set,
1957, c1999.
With Wilbur Ware and Elvin Jones: A Night in Tunisia, I'll Remember April,
and others; the set includes all the material on Blue Note 1581 and More from the
Vanguard (Blue Note 475).
+ The Complete RCA Victor Recordings. Victor Jazz: 68675, 6CD set, 1962-65,
c1997. Includes The Bridge and Our Man in Jazz.
+ The Bridge. RCA: 52472, (LSP-2527), 1962, c2003.
With Jim Hall.
(import available)
+ Our Man in Jazz. RCA Victor: 74321851602 (LSP-2612), 1962, c2003.
Our Man in Jazz. RCA/Japan: BVCJ-37211 (LSP-2612), 1962, c2005. (import)
Live with Don Cherry, Henry Grimes, and Ed Blackwell.
see CLIFFORD BROWN - At Basin Street
see MILES DAVIS - Dig, Collector's Items, and Bag's Groove
see DIZZY GILLESPIE - Duets and Sonny Side Up
see BUD POWELL - Amazing Bud Powell
see ANTHOLOGIES - Ken Burns JAZZ, Nica's Dream, and The Smithsonian
ROYAL CROWN REVUE (Swing revival group)
Mugsys Move. Warner Bros.: 46125, c1996.
DAVID SANBORN, 1945- (Alto Sax)
Straight to the Heart. Warner Bros.: 25150, c1984.
Upfront. Elektra: 61272, 1991, c1992.
see BOB JAMES - Double Vision
ARTURO SANDOVAL, 1949- (Trumpet)
Tumbaito. Messidor: 15974, 1986, c1992.
Jam Miami: A Celebration of Latin Jazz. Concord Picante: 4899, 2000, c2000.
With Chick Corea, Claudio Roditi, Poncho Sanchez, and others.
SCHNEIDER, MARIA, 1960- (Bandleader)
Evanescence. ArtistShare: 0006 (ENJA 8048), 1992, c2005.
Coming About. ArtistShare: 0087 (ENJA 9069), 1995, c2008.
Allgresse. ArtistShare: 0005 (ENJA 9393), 2000, c2005.
175
Days of Wine and Roses: Live at the Jazz Standard. ArtistShare: 0017, 2000,
c2005.
Concert in the Garden. ArtistShare: 0001, 2001-04, c2004.
BRIAN SETZER, 1959- (Swing revival guitarist-bandleader)
The Dirty Boogie. Interscope: 90183, c1998.
WAYNE SHORTER, 1933- (Soprano Sax/Tenor Sax)
Night Dreamer. Blue Note: 64467 (84173), 1964, c2005.
With Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones; all tunes
composed by Shorter: Night Dreamer, Oriental Folk Song, Virgo, Black
Nile, Charcoal Blues, Armageddon, and House of Jade.
Speak No Evil. Blue Note: 99001 (84194), 1964, c1999.
With Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones; all tunes
composed by Shorter: Witch Hunt, Fee Fi Fo Fum, Dance Cadaverous,
Speak No Evil, Infant Eyes, and Wild Flower.
Super Nova. Blue Note: 84332, 1969, c1988.
With John McLaughlin, Chick Corea, Jack DeJohnette, and others.
Native Dancer. Columbia/Legacy: 46159, 1975, c1990.
With Milton Nascimento.
Sbme Special Mkts.
Beyond the Sound Barrier. Verve: B0004518-02, 2002-04, c2005.

With Danilo Perez, John Patitucci, and Brian Blade.
see ART BLAKEY - Mosaic, Three Blind Mice, Caravan, Ugetsu, and
Indestructible
see MILES DAVIS - Miles in Berlin, Miles Davis Quintet 1965-1968: The Complete
Columbia Studio Recordings, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer,
Nefertiti, Miles in the Sky, Filles de Kilimanjaro, In a Silent Way, and Bitches Brew
see WEATHER REPORT
see JOE ZAWINUL - Zawinul
HORACE SILVER, 1928- (Piano)
Horace Silver and The Jazz Messengers. Blue Note: 64478 (81518), 1954,
c2005.
With Kenny Dorham, Hank Mobley, and Art Blakey: Doodlin', The Preacher,
Stop Time, and others.
Six Pieces of Silver. Blue Note: 25648 (81539), 1956, c2000.
Includes Senor Blues.
Further Explorations. Blue Note: 14379 (1589), 1958, c2008.
With Art Farmer, Clifford Jordan, and Louis Hayes; includes Moon Rays.
176
Finger Poppin'. Blue Note: 42304 (84008), 1959, c2003.

With Blue Mitchell, Junior Cook, Gene Taylor, and Louis Hayes: Finger
Poppin', Cookin' at the Continental, Mellow D, and others.
Blowin' the Blues Away. Blue Note: 95342 (84017), 1959, c1999.
With Mitchell and Cook: Sister Sadie, Peace, and others.
Horace-Scope. Blue Note: 37775 (84042), 1960, c2006.
With Blue Mitchell and Junior Cook.
Song for My Father. Blue Note: 99002 (84185), 1964, c1999.
With Carmell Jones, Joe Henderson: Song for My Father, The Kicker, etc.
Cape Verdean Blues. Blue Note: 90839 (84220), 1965, c2004.
With Joe Henderson, Woody Shaw and J. J. Johnson.
+ In Pursuit of the 27th Man. Blue Note: 35758 (BN-LA054-F), 1972, c2002.
With Randy Brecker, Michael Brecker, David Friedman, Bob Cranshaw, and
Mickey Roker: Liberated Brothers, Kathy, Gregory Is Here, Summer in
Central Park, Nothin' Can Stop Me Now, In Pursuit of the 27th Man, and
Strange Vibes; included because it contains the best recorded solos of the
Brecker Brothers; it also displays delightful Silver writing, and, on some tunes, an
unusual format for Silver: vibraphone, piano, bass and drums.
see ART BLAKEY - A Night at Birdland and Jazz Messenger
see MILES DAVIS - Walkin' and Bag's Groove
see ANTHOLOGIES - Bebop, Jazz Piano, Ken Burns JAZZ, Nica's Dream, and
BESSIE SMITH, 1894-1937 (Blues Singer)
Bessie Smith: Queen of the Blues, Vol. 1. JSP: 929 (Columbia), 4CD set, 1923-26, c2006.
Bessie Smith: Empress of the Blues, Vol. 2. JSP: 930 (Columbia), 4CD set, 1926-33,
c2007.
The Essential Bessie Smith. Columbia/Legacy: C2K 64922, 2CD set. 1923-33,
c1997.
Bessie Smith: The Complete Recordings. Vol. 3. Frog: DGF42 (Columbia),
1924-25, c2001. (import)
+ The Complete Recordings. Vol. 2. Columbia/Legacy: C2K 47471, 2CD set,
1924-25, c1991.
Includes selections with accompaniment by Louis Armstrong: Sobbin
Hearted Blues and St. Louis Blues (1925).
1926-27, c2001. (import)
1925-28, c1992. Includes Lost Your Head Blues (1926) with Joe Smith.
Note: The releases on Frog have superior sound quality.
177
CHRIS SPEED, 1967- (Tenor Sax, Clarinet)

Deviantics. Songlines: 1524, 1998, c1999.
ART TATUM, 1909-1956 (Piano)
Piano Starts Here. Columbia/Legacy: 64690 (CL2565), 1933, 1949, c1995.
Sbme.
Includes Tea for Two, Humoresque, Tiger Rag, St. Louis Blues, Willow
Weep for Me, The Man I Love, Yesterdays, and others.
+ Classic Early Solos. Decca Jazz/GRP: 607, 1934-37, c1991. (import available)
+ I Got Rhythm. Vol. 3. Decca Jazz/GRP: 630 (Brunswick), 1935-44, c1993.
With Tiny Grimes and Slam Stewart; includes amazing 1944 versions of I Got
Rhythm and Tea for Two, plus Deep Purple, Cocktails for Two, and
others.
* Pieces of Eight. Smithsonian: 2029, LP, 1939-55, c1981.
* Art Tatum: Solos (1940). Decca Jazz/MCA: 42327, 1940, c1990.
The Complete Capitol Recordings of Art Tatum. Capitol Jazz: 21325, 2CD set,
1949-52, c1997.
Vol. 1 includes Willow Weep for Me and Aunt Hagar's Blues.
Art Tatum: 20th Century Piano Genius. Verve: 314 531 763-2, 2CD set, 1950,
1955, c1996.
Include Too Marvelous for Words.
Tatum Group Masterpieces. Vol. 8. Pablo: 2405-431 (Verve MGV 8220), 1956,
c1990.
Ballads by Ben Webster, Tatum, Red Callender, and Bill Douglass: All the Things
You Are, Where or When, My One and Only Love, and others.
see ANTHOLOGIES - Jazz Piano, Ken Burns JAZZ, and The Smithsonian
Collection Of Classic Jazz
CECIL TAYLOR, 1933- (Piano)
Jazz Advance. Blue Note: 84462 (Transition), 1955, c1991.
With Steve Lacy, Buell Neidlinger, and Dennis Charles: Bemsha Swing, Charge
'Em Blues, Azure, Song, You'd Be So Nice to Come Home To, Rick Kick
Shaw, and Sweet and Lovely.
+ Gigi Gryce-Donald Byrd Jazz Laboratory/Cecil Taylor Quartet: At Newport.
Verve: 314 589 764-2 (MGV 8238), 1957, c2003.
Taylor quartet with Steve Lacy, Buell Neidlinger, and Dennis Charles: Johnny
Come Lately, Nonas Blues, and Tune.
178
+ Love for Sale. Blue Note: 94107 (UA 4046), 1959, c1998.
Session with Ted Curson, Bill Barron, Chris White, and Rudy Collins: Get Out of
Town, Carol/Three Points, Love for Sale, Little Lees, and I Love Paris.
Looking Ahead! Fantasy: OJC-452 (Contemporary 7562), 1958, c1990.
Quartet session with vibes.
* The Complete Cecil Taylor/Buell Neidlinger Candid Sessions. Mosaic:
MD4-127, 4CD set, 1960-61, c1989.
The World of Cecil Taylor. Candid: 79006 (8006), 1960, c1992.
With Archie Shepp, Buell Neidlinger, and Dennis Charles: Air, This Nearly
Was Mine, Port of Call, Eb, and Lazy Afternoon.
* Nefertiti, the Beautiful One Has Come. Revenant: 202 (Debut), 2CD set, 1962,
c1997.
With Jimmy Lyons and Sunny Murray; includes Trance.
Unit Structures. Blue Note: 84237, 1966, c1987.
With Eddie Gale Stevens, Jr., Jimmy Lyons, Ken McIntyre, Henry Grimes, Alan
Silva, and Andrew Cyrille.
Conquistador. Blue Note: 90840 (84260), 1966, c2004.
With Bill Dixon, Jimmy Lyons, and Andrew Cyrille; includes Enter Evening.
+ Silent Tongues. 1201 Music: 9017 (Arista/Freedom 1005), 1974, c2000.
Unaccompanied piano improvisations recorded live at the Montreux Jazz Festival:
Abyss, Petals and Filaments, and Jitney #2.
* Fly, Fly, Fly. Pausa: 7108 (MPS), LP, 1980, c1981.
Solo piano.
see ANTHOLOGIES - Ken Burns JAZZ , Smithsonian Collection of Classic Jazz
CLAUDE THORNHILL, 1909-1965 (Piano/Big Band)
Claude Thornhill and His Orchestra Play the Great Jazz Arrangements of Gil Evans,
Gerry Mulligan, and Ralph Aldrich. Fresh Sounds: 365 (Columbia), 1942-53, c2004.
* The Memorable Claude Thornhill. Columbia: 32906, 2LP set, 1941-47, c1975.
Featuring Lee Konitz: Snowfall, Hungarian Dance #5, Traumerai, Portrait
of a Guinea Farm, Where or When, Night and Day, Grieg's Piano
Concerto, I Don't Know Why, Moonlight Bay, Buster's Last Stand,
Moments Like This, A Sunday Kind of Love, Warsaw Concerto, Robbin's
Nest, Lover Man, For Heaven's Sake; and the following Gil Evans
arrangements: There's a Small Hotel, Anthropology, Yardbird Suite, and
Donna Lee.
* Best of the Big Bands: Claude Thornhill. Columbia: 46152, 1941-47, c1990.
see ANTHOLOGIES - The Bebop Era, Big Band Jazz, and Jazz in Revolution
179
LENNIE TRISTANO, 1919-1978 (Piano)

Intuition. Capitol Jazz: 52771 (11060), 1949, 1956, c1996.
With Tristano, Lee Konitz, Warne Marsh, Billy Bauer, and others (1949): Wow,
Crosscurrent, Yesterdays, Marionette, Sax of a Kind, Intuition, and
Digression; balance of CD is a 1956 Warne Marsh session.
Abstraction & Improvisation. Five/Four: 18, 1946-55,
Includes Descent into the Maelstrom (1953).
c2007. (import)
* The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz & Warne
Marsh. Mosaic: MD6-174, 6CD set, 1955-61, c1997.
+ Lennie Tristano/The New Tristano. Rhino: 71595 (Atlantic 1224/1357), 1955,
1961, c1994.
Includes Line Up and Turkish Mambo.
see LEE KONITZ - Subconscious Lee
see ANTHOLOGIES - The Bebop Era, Jazz Piano, Mirage, and The Smithsonian
MCCOY TYNER, 1938- (Piano)
see JOHN COLTRANE - most Atlantic and Impulse! recordings
see WAYNE SHORTER - Night Dreamer
US3 (Acid Jazz Group)
Hand on the Torch. Blue Note: 80883, c1993.
SARAH VAUGHAN, 1924-1990 (Singer)
Ken Burns JAZZ Collection: Sarah Vaughan. Verve: 549 088-2, 1944-74, c2000.
Young Sassy. Proper: PROPER BOX 27 (Continental/Musicraft/Columbia/MGM),
4CD set, 1944-50, c2001. (import)
+ Tenderly. Musicraft: 70057, 1946-48, c1988.
Includes Youre Not the Kind with Freddie Webster on trumpet.
Sarah Vaughan [with Clifford Brown]. Emarcy: 543 305-2 (MG 36004), 1954,
c2000.
Includes Youre Not the Kind.
+ Sarah Vaughan with Michel Legrand. Mainstream: 703 (361), 1972, c1990.
Includes What Are You Doing the Rest of Your Life and The Summer
Knows.
* Live in Japan. Mainstream/Legacy: J2K 57123 (2401), 2CD set, 1973,
c1991.
Includes My Funny Valentine.
180
JUNIOR WALKER, 1931-1995 (Tenor Sax)

Shotgun. Motown: 314 530 245 (Soul 701), 1965, c2001.
The Ultimate Collection. Motown: 314 530 828 (Soul), 1962-96, c1997.
FATS WALLER, 1904-1943 (Piano)
* The Fats Waller Piano Solos: Turn on the Heat. RCA Bluebird: 2482 (Victor),
2CD set, 1927-41, c1991.
Numb Fumblin, Valentine Stomp, and Aint Misbehavin (1929), I Aint
Got Nobody (1937), and Honesuckle Rose (1941).
GROVER WASHINGTON, JR., 1943-2000 (Saxophone)
Mister Magic. Motown: 530 103 (Kudu 20), 1974, c1995.
Winelight. Elektra: 305, 1980, c1980.
WEATHER REPORT (Fusion Group)
Forecast: Tomorrow. Columbia/Legacy: 85570, 3CD set + 1 DVD,
1969-85, c2006.
Includes tracks by Miles Davis, Wayne Shorter, and Cannonball Adderley.
Weather Report. Columbia: 48824 (30661), 1971, c1992.
Sbme Special Mkts.
Includes Seventh Arrow, Umbrellas, Waterfall, and Eurydice.
I Sing the Body Electric. Columbia: 46107 (31352), 1971-72, c1990.
Includes edited live performance by Joe Zawinul, Wayne Shorter, Miroslav Vitous,
Eric Gravatt, and Dom Um Romao: Vertical Invader, T.H., Dr. Honoris
Causa, Surucucu, and Directions; also includes studio date with added
singers, English horn (Andrew White), flute, trumpet, and 12-string guitar:
Unknown Soldier, The Moors, Crystal, and Second Sunday in August.
Live in Tokyo. CBS: 489208 2, 2CD set, 1972, c1997.
(import)
Sweetnighter. Columbia/Legacy: 64976 (32210), 1973, c1996.

Sbme Special Mkts.
th
Includes Boogie Woogie Waltz, 125 St. Congress, Manolete, and
Non-Stop Home.
Mysterious Traveller. Columbia/Legacy: 65112 (32494), 1974, c2002.
Includes Jungle Book and Blackthorn Rose.
Tale Spinnin'. Columbia/Legacy: 65110 (33417), 1975, c2002.
Includes Badia, Man in the Green Shirt, and Five Short Stories.
Black Market. Columbia/Legacy: 65169 (34099), 1976, c2002.
Includes Three Clowns and Barbary Coast.
181
Heavy Weather. Columbia/Legacy: 65108 (34418), 1977, c1997.

Includes Birdland, Teen Town, The Juggler, Palladium,
Harlequin, and Havona.
Mr. Gone. Columbia/Legacy: 46869 (35358), 1978, c1991.
Includes River People and Punk Jazz.
Sbme Special Mkts.
8:30. Columbia/Legacy: 57665 (PC2 36030), 1979, c1994.

Includes The Orphan.
Sbme Special Mkts.
Night Passage. Columbia: 36793, c1980.

Sbme Special Mkts.
Includes Port of Entry, Dream Clock, and Three Views of a Secret.
Weather Report. Columbia: 37616, 1981, c1987.
Sbme Special Mkts.
Includes Crazy About Jazz and Dara Factor One.
MARY LOU WILLIAMS, 1910-1981 (Piano/Arranger)
* Mary Lou Williams 1927-1940. Classics: 630 (Brunswick/Decca/Varsity),
1927-40, c1992.
* Mary Lou Williams 1944. Classics: 814 (Asch/V-Disc), 1944, c1995.
* Mary Lou Williams 1944-1945. Classics: 1021 (Asch), 1944-45, c1998.
Includes The Zodiac Suite.
The Asch Recordings. Folkways: 2966 (Asch), 2CD set, 1944-47.
+ Nite Life. Chiaruscuro: 103, 2CD set, 1971, c1998.
see ANDY KIRK
TONY WILLIAMS, 1945-1997 (Drums)
Emergency! Verve: 314 539 117-2 (Polydor 25-3001), 1969, c1997.
+ Spectrum: The Anthology. Verve: 537 075-2 (VE2-2541), 2CD set, 1969-73,
c1997.
With John McLaughlin and Larry Young.
Four and More, Miles in Berlin, Miles Davis Quintet 1965-1968: The Complete
Nefertiti, Miles in the Sky, Filles de Kilimanjaro, and In a Silent Way
see HERBIE HANCOCK - Empyrean Isles and Maiden Voyage
182
LESTER YOUNG, 1909-1959 (Tenor Sax)

+ Ken Burns JAZZ Collection: Lester Young. Verve: 549 082-2
(Columbia/Decca/Keynote/Aladdin/Verve), 1936-57, c2000.
+ The Kansas City Sessions. Commodore/GRP: 402, 1938, 1944, c1997.
Selections feature Young (on clarinet and tenor saxophone), Buck Clayton, Eddie
Durham, Freddie Green, Walter Page, and Jo Jones: Way Down Yonder in New
Orleans, I Want a Little Girl, Countless Blues, and Pagin' the Devil (1938);
plus Good Mornin Blues without Young.
+ The Complete Aladdin Sessions. Blue Note: 32787, 2CD set, 1942-48, c1995.
Includes D.B. Blues (1945).
see COUNT BASIE - Complete Decca Recordings, Best of Early Basie, and
Americas #1 Band
see BILLIE HOLIDAY - Lady Day and A Musical Romance
see ANTHOLOGIES - Classic Tenors, Ken Burns JAZZ, and The Smithsonian
JOE ZAWINUL, 1932-2007 (Keyboards)
Zawinul. Mosaic Contemporary: 5006 (Atlantic 1579), 1970, c2007. (mail order)
With Wayne Shorter, Earl Turbinton, Woody Shaw, George Davis, Hubert Laws,
Herbie Hancock, Miroslav Vitous, Walter Booker, Jack DeJohnette, Joe
Chambers, Billy Hart, and David Lee: Doctor Honoris Causa, In a Silent Way,
Double Image, and Arrival in New York; this recording displays some of
Zawinul's best composing and arranging.
see CANNONBALL ADDERLEY - Cannonball in Europe and Mercy, Mercy, Mercy
see MILES DAVIS - In a Silent Way and Bitches Brew
see WEATHER REPORT
See ANTHOLOGIES - Ken Burns JAZZ
JOHN ZORN, 1953- (Alto Sax)
Masada Live in Jerusalem 1994. Tzadik: 7322, 1994, c1999.
Masada Live in Middelheim 1999. Tzadik: 7326, 1999, c1999.
Both with Dave Douglas.
183
ANTHOLOGIES (Alphabetically By Title)

* African Journey: A Search for the Roots of the Blues. Sonet: SNTF 667
(Vanguard 73014/15), 1974.
(import)
Recorded by Samuel Charters in Gambia, Senegal, Mali, Ghana, and Togo.
An Anthology of Big Band Swing. Decca Jazz/GRP: GRD2-629, 2CD set,
1930-55, c1993.
Includes Duke Ellington, Fletcher Henderson, Jimmie Lunceford, Count Basie,
Benny Carter, Jay McShann, Roy Eldridge, and others.
* Bebop. New World: 271, LP, 1945-56, c1976.
Parker's Mood, Relaxin' at Camarillo, Ko-Ko, and Embraceable You by
Charlie Parker; Things to Come by Dizzy Gillespie's big band; Un Poco Loco
by Bud Powell; Jahbero by Tadd Dameron with Fats Navarro; Misterioso by
Thelonious Monk; What is This Thing Called Love by Clifford Brown and Max
Roach; Stop Time by Horace Silver; Youre Not the Kind by Sarah Vaughan,
and others.
* The Bebop Era. Columbia: 40972, 1942-51, c1987.
Gil Evans' arrangements for Claude Thornhill of Yardbird Suite and Donna
Lee (1947); and No Figs by the Metronome All Stars with Stan Getz and Lennie
Tristano (1950).
* The Bebop Revolution. RCA Bluebird: 2177, 1946-49, c1990.
Dizzy Gillespie combo (1946) and big band (1947-49); and Kenny Clarke and His
52nd Street Boys with Fats Navarro, Sonny Stitt, and Bud Powell (1946).
Bernstein Century: Bernstein on Jazz [What Is Jazz?]. Sony: SMK 60566
(Columbia CL 919), 1956, c1998.
This presentation remains the single most effective tool for explaining the
principles and concepts underlying jazz, as well as for comparing different styles of
jazz. With his typical clarity, humor, and eclecticism, Leonard Bernstein provides
definitions and musical examples for mutes, vibraphone, cymbals, cow bell,
maracas, bongo drums, jazz shading of tone, syncopation, blue notes, vibrato,
improvisation, instrumental break, collective improvisation, 12-bar blues form, AA-B-A form, theme and variations, etc. He is assisted by an all-star set of jazz
musicians including Louis Armstrong, Bessie Smith, Miles Davis, Buck Clayton,
Buster Bailey, John Coltrane, Teo Macero, Turk Murphy, and Coleman Hawkins.
He also compares jazz styles by offering different renditions of Sweet Sue.
The Best of Ken Burns JAZZ. Sony/Legacy: 61439, 1926-92, c2000.
Includes Jelly Roll Morton, Sidney Bechet, Louis Armstrong, Bix Beiderbecke,
Duke Ellington, Fletcher Henderson, Benny Goodman, Artie Shaw, Count Basie,
Billie Holiday, Dizzy Gillespie, Thelonious Monk, Sarah Vaughan, Dave Brubeck,
Horace Silver, John Coltrane, and Miles Davis.
184
* Big Band Jazz: From the Beginnings to the Fifties. Smithsonian: RJ0001
(2202), 4CD set, 1924-56, c1983.
FLETCHER HENDERSON Copenhagen, Henderson Stomp, Hop Off,
New King Porter Stomp, and Down South Camp Meetin'.
JIMMIE LUNCEFORD Mood Indigo, Stratosphere, Stomp It Off,
Organ Grinder's Swing, and Uptown Blues.
BENNY GOODMAN Sometimes I'm Happy, King Porter Stomp, Sing,
Sing, Sing, Ridin' High, and Mission to Moscow.
TOMMY DORSEY Song of India, Well Git It, On the Sunny Side of the
Street, and Opus Number One.
COUNT BASIE One O'Clock Jump, Sent for You Yesterday, Jumpin' at
the Woodside, Volcano, 9:20 Special, and Shiny Stockings.
ARTIE SHAW Begin the Beguine, Rose Room, and Star Dust.
BENNY CARTER Shufflebug Shuffle.
DUKE ELLINGTON A Gypsy Without a Song, Take the 'A' Train, Just
A-Settin' and A-Rockin', Perdido, C-Jam Blues, Main Stem, and
Happy-Go-Lucky Local.
LIONEL HAMPTON Till Tom Special and Flying Home.
WOODY HERMAN Down Under, Apple Honey, and Four Brothers.
BILLY ECKSTINE Cool Breeze.
DIZZY GILLESPIE Our Delight and Things to Come.
CLAUDE THORNHILL Robbins Nest and Donna Lee.
* Big Band Renaissance: The Evolution of the Jazz Orchestra. Smithsonian:
RJ0014 (RD108), 5CD set, 1941-89, c1995.
Includes Jay McShann, Boyd Raeburn, Duke Ellington, Benny Goodman, Charlie
Barnet, Artie Shaw, Count Basie, Woody Herman, Stan Kenton, Sauter-Finegan,
Ted Heath, Harry James, Maynard Ferguson, Buddy Rich, Herb Pomeroy, Johnny
Richards, Dizzy Gillespie, Terry Gibbs, Gerry Mulligan, Quincy Jones, Gerald
Wilson, Thad Jones, Mel Lewis, Duke Pearson, Clare Fischer, John Dankworth,
Kenny Clarke, Francy Boland, Don Ellis, Toshiko Akiyoshi, Rob McConnell, Gil
Evans, George Russell, Benny Carter, Manny Albam, Henry Mancini, Oliver
Nelson, Muhal Richard Abrams, Sun Ra, Charlie Haden, and others.
* The Birth of the Cool. Vol. 2. Capitol: 98935, 1951-53, c1992.
Gerry Mulligan Tentette (1953): Walking Shoes, Rocker, and Flash;
Mulligan considers this session to represent some of his best work; Shorty Rogers
and His Giants (1951); and the Metronome All Stars (1951) with Miles Davis, Lee
Konitz, Stan Getz, and others.
* The Birth of the Third Stream. Columbia/Legacy: 64929 (WL 127/CL 941),
1956-57, c1996.
Revelations by Charles Mingus; All about Rosie by George Russell featuring
Bill Evans; Three Little Feelings by John Lewis; and Poem for Brass by J. J.
Johnson.
* Black California. Savoy: SVY-0274 (2215), 1945-52, c1995.
With Sonny Criss, Wardell Gray, Roy Porter, Harold Land, and Hampton Hawes.
* The Blues: A Smithsonian Collection of Classic Blues Singers. Smithsonian:
2550 (RD 101), 4CD set, 1923-85, c1993.
185
Breaking Out of New Orleans. JSP: 921, 4CD set, 1922-29, c2004. (import)
Original Tuxedo Jass Band, Sam Morgan, Pirons New Orleans Orchestra,
Red Onion Jazz Babies, Orys Sunshine Orchestra, Fate Marable, Erskine Tate,
Doc Cook, Freddie Keppard, Johnny Dodds, and others.
* The Changing Face of Harlem. Savoy: 2208, 2LP set, 1944-45, c1976.
Included for Earl Bostic solos which show possible origins of certain Coltrane
devices.
* The Chicagoans: The Austin High Gang. MCA: 1350 (Decca 9231), LP,
1928-30, c1982.
Chicago-style combo recordings featuring Frank Teschemacher: Prince of Wails
(1929) by Elmer Schoebel and His Friar's Society Orchestra, with Dick Feige, Jack
Read, Floyd Towne, Elmer Schoebel, Charlie Berger, John Kuhn, and George
Wettling.
* Classic Tenors. Signature/CBS: 38446, 1943, c1989.
Coleman Hawkins with Eddie Heywood, Oscar Pettiford, and Shelly Manne: The
Man I Love and Sweet Lorraine; Lester Young with Bill Coleman and Dicky
Wells: I Got Rhythm, and others.
Come and Trip It: Instrumental Dance Music, 1780s-1920s. New World: 80293,
1978, c1994.
(mail order)
* Cuttin' the Boogie. New World: NW 259, LP, 1926-41, c1977.
Pinetop's Boogie Woogie by Pinetop Smith and Honky Tonk Train Blues by
Meade Lux Lewis.
RBF 38, c1979.
(mail order)
* Early Black Swing: The Birth of Big Band Jazz. RCA Bluebird: 9583, 1927-34,
c1989.
Fletcher Henderson: Sugar Foot Stomp; Bennie Moten: Moten Swing; Jimmie
Lunceford: White Heat and Swingin' Uptown; Duke Ellington, Louis
Armstrong, Earl Hines, McKinney's Cotton Pickers, Charlie Johnson, and the
Missourians.
* An Experiment in Modern Music: Paul Whiteman at Aeolian Hall. Smithsonian:
2028, LP, 1919-24, c1981.
Includes Livery Stable Blues by the Original Dixieland Jazz Band.
+ The Gospel Sound. Columbia/Legacy: C2K 57160, 2CD set, 1926-68, c1994.
Includes One Day by the Angelic Gospel Singers and Dixie Hummingbirds.
186
The Greatest Jazz Concert in the World. Pablo: 2625-704, 3CD set, 1967,
c1992.
Concert with the entire Ellington band (Chromatic Love Affair featuring Harry
Carney; Swamp Goo featuring Russell Procope) plus the Oscar Peterson Trio
(Sam Jones and Louis Hayes), singer Ella Fitzgerald, and others.
Hitsville USA: The Motown Singles Collection. Motown: 374 636 312, 4CD set,
1959-1971, c1992.
Marvin Gaye, Supremes (Reflections, Love Child), Four Tops, Temptations
(Cloud Nine), Miracles, Gladys Knight & the Pips (I Heard It Through the
Grapevine), and others.
* Jammin' for the Jackpot. New World: NW 217, LP, 1929-41, c1977.
Includes 1941 Ebony Silhouette featuring Milt Hinton on bass with Cab
Calloway.
Jazz. Vol. 2, The Blues. Smithsonian/Folkways: 2802, 1923-48.
(mail order)
* Jazz in Revolution. New World: NW 284, LP, 1940-49, c1977.
Includes Mingus Fingers featuring Charles Mingus with the Lionel Hampton
band; Donna Lee arranged by Gil Evans for the Claude Thornhill band; The
Chase by Dexter Gordon and Wardell Gray; and Royal Roost by Fats Navarro
and Kenny Clarke.
* Jazz Piano: A Smithsonian Collection. Smithsonian: 7002, 4CD set, 1924-78,
c1989.
Jelly Roll Morton, James P. Johnson, Willie "The Lion" Smith, Fats Waller, Earl
Hines, Teddy Wilson, Meade Lux Lewis, Count Basie, Billy Kyle, Art Tatum, Duke
Ellington, Nat King Cole, Erroll Garner, Bud Powell, Lennie Tristano, Dodo
Marmarosa, Al Haig, Oscar Peterson, Thelonious Monk, Horace Silver, Herbie
Nichols, Hank Jones, Tommy Flanagan, John Lewis, Bill Evans, McCoy Tyner,
Chick Corea, Keith Jarrett, and Herbie Hancock, and others.
Jazz: The Smithsonian Anthology. Smithsonian Folkways: 40820, 6CD set, c2010.
Includes Original Dixieland Jazz Band, King Oliver, Jelly Roll Morton, Bix
Beiderbecke, Bessie Smith, Duke Ellington, Louis Armstrong, James P. Johnson,
Sidney Bechet, Fats Waller, Billie Holiday, Count Basie, Mary Lou Williams,
Coleman Hawkins, Benny Goodman, Art Tatum, Dizzy Gillespie, Dexter Gordon,
Bud Powell, Charlie Parker, Thelonious Monk, Lennie Tristano, Miles Davis,
Gerry Mulligan, Stan Kenton, Clifford Brown, Modern Jazz Quartet, Horace
Silver, Sonny Rollins, Nat King Cole, Stan Getz, J.J. Johnson, Art Blakey, John
Coltrane, Charles Mingus, Dave Brubeck, Ornette Coleman, Cannonball Adderley,
Sarah Vaughan, Bill Evans, Ella Fitzgerald, Chick Corea, Mahavishnu Orchestra,
Herbie Hancock, Cecil Taylor, Weather Report, Keith Jarrett, Irakere, Steve
Coleman, Michael Brecker, Tito Puente, Wynton Marsalis, John Zorn, and others.
187
* Jive at Five. New World: NW 274, LP, 1927-46, c1976.

Includes Every Tub and Jive at Five by Count Basie; Passion Flower by
Johnny Hodges; Pitter Panther Patter by Duke Ellington and Jimmy Blanton;
and Body and Soul by Coleman Hawkins.
Ken Burns JAZZ: the Story of Americas Music. Sony/Legacy: C5K 61432, 5CD set,
1917-92, c2000.
Includes Jim Europe, ODJB, James P. Johnson, King Oliver, Bessie Smith, Jelly
Roll Morton, Fletcher Henderson, Louis Armstrong, Duke Ellington, Bix
Beiderbecke, Bennie Moten, Jimmie Lunceford, Benny Goodman, Count Basie,
Billie Holiday, Art Tatum, Pete Johnson, Chick Webb, Django Reinhardt,
Coleman Hawkins, Artie Shaw, Tommy Dorsey, Gene Krupa, Dizzy Gillespie,
Charlie Parker, Bud Powell, Thelonious Monk, Miles Davis, Sarah Vaughan,
Chet Baker, Gerry Mulligan, Horace Silver, Clifford Brown/Max Roach, Sonny
Rollins, Modern Jazz Quartet, Dave Brubeck, John Coltrane, Cecil Taylor,
Ornette Coleman, Charles Mingus, Stan Getz, Weather Report, Grover
Washington, Herbie Hancock, Dexter Gordon, and others.
+ Legends of the Blues. Vol. 1. Columbia: 46215, 1925-1965, c1990.
* Legends of the Blues. Vol. 2. Columbia: 47467, 1929-1940, c1991.
Vol. 1: Bessie Smith, Robert Johnson, Leadbelly, Lonnie Johnson, and others. Vol.
2: Roosevelt Sykes, Tampa Red, Charlie Spand, and others.
* Masters of Jazz. Vol. 1. Traditional Jazz Classics. Rhino: 72468, 1923-92,
c1996.
King Oliver, New Orleans Rhythm Kings, Clarence Williams, Bessie Smith, Jelly
Roll Morton, Bix Beiderbecke, Louis Armstrong, Fats Waller, Fletcher Henderson,
Benny Goodman, Duke Ellington, Red Nichols, Sidney Bechet, and others.
* Masters of Jazz. Vol. 2. Bebops Greatest Hits. Rhino: 72469, 1945-54,
c1996.
Dizzy Gillespie, Charlie Parker, Kenny Clarke, Lester Young, Dexter Gordon,
Wardell Gray, Claude Thornhill, Thelonious Monk, Miles Davis, Bud Powell,
James Moody, George Shearing, Clifford Brown, Max Roach, and others.
* Masters of Jazz. Vol. 3. Big Bands of the 30s & 40s. Rhino: 72470, 1931-47,
c1996.
Bennie Moten, Don Redman, Fletcher Henderson, Chick Webb, Jimmie
Lunceford, Benny Goodman, Andy Kirk, Count Basie, Erskine Hawkins, Duke
Ellington, Earl Hines, Jay McShann, Jimmy Dorsey, Lionel Hampton, Billy
Eckstine, and Dizzy Gillespie.
* Masters of Jazz. Vol. 4. Big Bands of the 50s & 60s. Rhino: 72471,
1949-66, c1996.
Woody Herman, Lionel Hampton, Duke Ellington, Stan Kenton, Count Basie,
Maynard Ferguson, Gerald Wilson, Buddy Rich, Oliver Nelson, and others.
188
* Mirage: Avant-Garde and Third-Stream Jazz. New World: NW 216, LP,

1946-61, c1977.
Includes Mirage (arranged by Pete Rugulo) and Egdon Heath (arranged by
Bill Russo) performed by the Stan Kenton big band; Eclipse by Charles Mingus;
Yesterdays by Lennie Tristano; and Concerto for Billy the Kid by George
Russell.
* Nica's Dream. New World: NW 242, LP, 1955-64, c1977.
Nica's Dream by Art Blakey; Blues March by the Jazztet; Original Faubus
Fables by Charles Mingus; Sonny Rollins; and the Modern Jazz Quartet.
* The 1930's - The Small Combos. Columbia: 40833, 1930-39, c1987.
Shoe Shine (1936) by Jones-Smith Inc. (Basie/Lester Young); Wabash Stomp
(1937) by Roy Eldridge; Echoes of Harlem (1938) by Cootie Williams.
* The Original Mambo Kings. Verve: 314 513 876-2 (Clef), 1948-54, c1993.
With Machito, Mario Bauz, Charlie Parker, Howard McGhee, and Dizzy
Gillespie.
* Piano in Style. MCA: 1332, LP, 1926-30, c1980.
Includes Pinetop Smith (Boogie Woogie), James P. Johnson, and Jelly Roll
Morton.
* Ragtime: Pianos, Banjos, Saxophones, Cake-Walks, Brass Bands, Jass....
RCA (France): 64122, 2CD set, 1900-1930, c2004. (import)
Includes the Sousa Band, Jim Europe's Society Orchestra, Earl Fuller, the Original
Dixieland Jazz Band, and others.
Riverside History of Classic Jazz. Riverside/Fantasy: 005, 3CD set, ca.1900-1954, c1994.
Includes Jelly Roll Morton, The Pearls (1923), and Steady Roll (1924); New
Orleans Rhythm Kings, Livery Stable Blues (1922); Louis Armstrong and Sidney
Bechet, Cake Walkin' Babies from Home (1924); Scott Joplin The Cascades;
street cries of Charleston (that illustrate Afro-American pitch bending by Southern
Negro street vendor); also brass bands, vocal blues, ragtime, black religious music,
and numerous selections by early New Orleans and Chicago musicians.
* The Roots of the Blues. New World: 80252, 1959, c1981.
Field recordings by Alan Lomax.
* The Smithsonian Collection of Classic Jazz. revised edition. Smithsonian:
RJ0010 (2502), 5CD set, 1916-1981, c1987.
Note: Critic-journalist Martin Williams has drawn from the vaults of many record
companies to compile an ambitious collection for the Smithsonian Institute. It is an
excellent place to find one or more good examples of a particular musician's work
without purchasing the albums from which the selections were taken. It would
take months, even years, to obtain the selections contained in this collection
separately. However, it should not be purchased with the intention of gaining a
well-balanced view of jazz history because of the lengthy list of historically
significant players and groups omitted: tenor saxophonist Albert Ayler,
pianist-composer-bandleader Sun Ra, The Original Dixieland Jazz Band, Stan
Kenton's big bands, Woody Herman's big bands, Stan Getz (Smithsonian
189
Collection of Classic Jazz (revised) has 8 measures of Getz on a Red Norvo

recording
of
Body
and
Soul),
post-1963
John
Coltrane,
pianist-composer-bandleaders Herbie Hancock, Chick Corea, Keith Jarrett,
combos led by composer-baritone saxophonist Gerry Mulligan, the combos of Art
Blakey and Horace Silver (SCCJ-R (revised) has one selection by a Silver quintet of
1958), and combos led by Miles Davis during the 1960's and 1970's. There is
nothing representing the past 30 years of jazz history, except one selection by the
World Saxophone Quartet.
Of course, it is not what the collection omits that is
important, but what it includes.
The following is a partial listing:
LOUIS ARMSTRONG - eight selections including West End Blues (1928) with
Earl Hines; a duet with Hines called Weather Bird (1928); Hotter Than
That (1927) with Johnny Dodds, Kid Ory, Lil Hardin Armstrong, Lonnie
Johnson, and Johnny St. Cyr.
BIX BEIDERBECKE - Singin' the Blues (1927) with Frankie Trumbauer.
DON BYAS - I Got Rhythm (1945): duet with Slam Stewart.
ORNETTE COLEMAN - Congeniality and Lonely Woman with Don Cherry,
and an excerpt from Free Jazz.
MILES DAVIS - Boplicity (Birth of the Cool, 1949), and So What(Kind of Blue,
1959) with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers,
and Jimmy Cobb.
DUKE ELLINGTON - eight big band selections including Concerto for Cootie,
Harlem Air Shaft, and Ko-Ko (all 1940); SCCJ-R has Cottontail (1940)
but not Harlem Airshaft.
ROY ELDRIDGE - big band version of Rockin' Chair (1941).
DIZZY GILLESPIE - I Can't Get Started (1945), and Shaw 'Nuff (1945) with
Charlie Parker, Al Haig, Curly Russell, and Sid Catlett.
BENNY GOODMAN - Body and Soul (1935) with Teddy Wilson, and I
Found a New Baby and Breakfast Feud (1941) with Charlie Christian.
COLEMAN HAWKINS - the famous Body and Soul (1939).
FLETCHER HENDERSON - Stampede (1926) and Wrappin' It Up (1934).
JAMES P. JOHNSON - Carolina Shout (1921).
LEE KONITZ - Crosscurrent (1949) with Konitz, Warne Marsh, Billy Bauer,
and Lennie Tristano; SCCJ-R substitutes Subsconsious Lee with all but
Marsh.
MEADE LUX LEWIS - the famous Honky Tonk Train Blues (1937).
JIMMIE LUNCEFORD - Lunceford Special (1939); SCCJ-R substitutes Organ
Grinder's Swing (1936).
CHARLES MINGUS - Hora Decubitus (1963); SCCJ-R substitutes 1957
Haitian Fight Song (1957).
THELONIOUS MONK - six selections including Criss Cross and Misterioso
(SCCJ-R contains five Monk selections).
JELLY ROLL MORTON - Black Bottom Stomp, Dead Man Blues, and
Grandpa's Spells (1926).
KING OLIVER - Dippermouth Blues (1923) with Johnny Dodds and Louis
Armstrong.
CHARLIE PARKER - seven selections including two versions of Embraceable
You (1947), one version of Parker's Mood (1948), and one of his fastest
performances: Ko-Ko (1945); SCCJ-R has eight Parker selections.
190
BUD POWELL - Somebody Loves Me (1947) with Curly Russell and Max
Roach; SCCJ-R substitutes A Night in Tunisia (1951).
SONNY ROLLINS - Blue Seven (1956) with Tommy Flanagan, Doug Watkins,
and Max Roach.
ART TATUM - Willow Weep for Me (1949) and Too Marvelous for
Words (1956).
CECIL TAYLOR - a selection from Unit Structures (1966).
FATS WALLER - I Ain't Got Nobody (solo piano - 1927).
WORLD SAXOPHONE QUARTET - Steppin' (1981 - only in revised).
LESTER YOUNG - Lester Leaps In and Taxi War Dance (1939), both with
Count Basie.
* The Sousa and Pryor Bands: Original Recordings, 1901-1926. New World:
NW 282, LP, c1976.
* Steppin' On the Gas: Rags to Jazz. New World: NW 269, LP, 1913-1927,
c1977.
She's Cryin' for Me Now (1925) by the New Orleans Rhythm Kings; Ory's
Creole Trombone and Society Blues (1922) by Kid Ory; as well as several nonjazz pieces that cast light on where jazz originated (including 1914 band ragtime by
James Reese Europe).
Stomp and Swerve: American Music Gets Hot. Archeophone: 1003, 1897-1925, c2003.
* The Story of the Blues. Columbia/Legacy: C2K 86334 (30008), 2CD set,
1928-1968, c2003.
Compiled by Paul Oliver.
Street Cries & Creole Songs of New Orleans. Folkways: 2202 (FP 602), c1956.
(mail order)
* Sweet and Low. New World: NW 256, LP, 1926-33, c1977.
Includes Sweet and Low Blues and Til Times Get Better by Jabbo Smith.
* That's My Rabbit, My Dog Caught It: Traditional Southern Instrumental Styles.
New World: NW 226, LP, 1925-77, c1978.
* Thesaurus of Classic Jazz. Columbia: C4L 18, 4LP set, 1927-30, c1959.
Includes twelve 1927-30 recordings by Miff Mole and His Molers (At the
Darktown Strutters Ball with Red Nichols and Jimmy Dorsey, That's a Plenty
with Jimmy Dorsey and Eddie Lang); eleven 1927 recordings with Red Nichols and
the Charleston Chasers (Farewell Blues with Jimmy Dorsey and Miff Mole,
Five Pennies with Pee Wee Russell); and other groups.
191
ACID JAZZ, HIP HOP, AND TECHNO ANTHOLOGIES

* The New Groove. The Blue Note Remix Project, Vol. 1. Blue Note: TOCP-65755
(36594), c1996.
* A New Type of Jazz. New Breed: 020, c1994.
Includes Move Yall, Racial Facial, and T.S.O.J.
* Rave Til Dawn: Technos Finest. SBK/EMI: 27018, c1993.
* Red Hot Trip Hop. Street Beat: 1021, c1996.
* The Source Presents: Hip Hop Hits. Vol. 1. Polygram: 314 536 204, c1997.
* This Is Acid Jazz. Vol. 1. Instinct: EX225, c1991.
Includes Keep On.
+ This Is Acid Jazz: New Voices 3. Instinct: EX338, c1996.
192
All Music
www.allmusic.com
eJAZZLINES
www.ejazzlines.com
MUZE


193
194

8400 Sunset Blvd.
Hollywood, CA 90069
800-654-7029
Mosaic Records
Stamford, CT 06902
tel: 203-327-7111
fax: 203-323-3526

tel: 1-888-FOLKWAYS or 202-633-6450
fax: 202-633-6477
New World Records
Brooklyn, NY 11201
Tel: 212-290-1680

Klompfoot
Cadence Building
Redwood, NY 13679
tel: 315-287-2852
www.klompfoot.com
True Blue Music

Stamford, CT 06902
tel: 203-327-7111
fax: 203-323-3526

P.O. Box 146
fax: 812-923-1971
J&R Music World

tel: 800-806-1115
www.jr.com
The Jazz Loft

www.jazzloft.com
Jazz Record Mart

www.jazzmart.com

www.dtmgallery.com
www.amazon.com

195
iajrc.org
artist

title
CANNONBALL ADDERLEY
1959, c1999.
with John Coltrane,
Limehouse Blues,
personnel
AC = audio cassette
196

(MG-20449), 1959, c1999.
c1991.
Kind of Blue
(OKeh/RCA/Decca), 1923-67, c2000.
c1981.
85670 (57176), 4CD set, 1923-34, c1994.
197
c[1991].
(import)
C4K 63527 (OKeh), 4CD set, 1925-29, c2000.
86999 (OKeh), 1925-26, c2003.
87010 (OKeh), 1926-27, c2003.
87011 (OKeh), 1927-28, c2003.
1932-33, 1946-47, 1956, c2000.
1932-47, c2001.
see KING OLIVER
see BESSIE SMITH
1947-49, c2002.
c1992.
4CD set, 1936-51, c2003.
c1987.
198

c1987.
MD8-228, 8CD set, 1952-57, c2006.
Mosaic: MD10-149, 10CD set, 1957-61, c1993.
BILLY BYERS
BENNY CARTER
NEAL HEFTI
QUINCY JONES
199
THAD JONES
SAMMY NESTICO
ERNIE WILKINS
(MGC-626/MGC-647), 2LP set, 1953-54, c1977.

c2001.
(import)
others.
BIRTH
200

1954-81, c2000.
c2001.
c1995.
Mosaic: MD6-141, 6CD set, 1960-61, c1992.
201
c1986.

c2000.
4 x 4. Watt/ECM: 30, 1999, c2000.
202

(GRP 9684), 1992, c2008.
4CD set, 1953-54, c1995.
838 306, 10CD set, 1954-56, c1989.
1956, c2002.
Gertrudes Bounce.
203

and others.
6CD set, 1959-61, c1993.
(LSC-2982), 1968, c1987.
204

2CD set, 1971-72, c2000.
Electric band.
Electric band.
1987, c1997.
band: Prime Time.
Jazz
c1997.
c1993.
205
1956-67, c2000.
7CD set, 1959-61, c1995.
Naima.
c1995.
IMPD4-232, 4CD set, 1961, c1997.
others.
IMPD8-280, 8CD set, 1961-65, c1998.
206

Includes Pursuance.
Includes Dear Lord.
Blue
of Classic Jazz
c2002.
207
c2002.
A.R.C. ECM: 1009, 1971, c2000.
(Polydor 5525), 1972, c1998.
(Polydor 5536), 1973, c1991.
Polydor: 825 206 (6509), 1974, c1985.
Trio Music. ECM: 1232, 1981, c2001.
208

(Atlantic 1445), 1965, c2000.
(Atlantic 1462), 1965, c2001.
Alma.
CRUSADERS
1961-66, c1993.
209

c1987.
Tooth.
210

1955-56, c2006.
Half Nelson.
and Devil Crab.
Flamenco Sketches.
c1997.
211

1961, c2003.
C2K 65027 (CS8612/CL1812), 2CD set, 1961, c1998.
You.
1965, c1995.
Gingerbread Boy.
212

c2011.
3CD set, 1968-69, c2004.
1969-70, c2004.
c2003.
Airto Moreira.
(CG 30038), 2CD set, 1970, c1997.
213
(PG 32092), 2CD set, 1972, c1997.
c2000.
c1990.
c1997.
(LSP 2624), 1962, c2003. Sbme.

214

(Messidor 15805), 1990, c2004.
245 360 632 (Messidor 15826), 1993, c2004.
4CD set, 1935-53, c2004.
1935-44, c1995.
c1990.
and others.
Chair (1946).
215

RCA: 63386, 24CD set, 1927-73, c1999.
(RCA 49000), 2CD set, 1927-67, c1999.
Victor), 4CD set, 1926-29, c2005.
1929-40, c2007.
216

1934-38, c1991.
1938-40, c1993.
3CD set, 1940-42, c2003.
3CD set, 1944-46, c1999.
and others.
63462, 1944-46, c2000.
217

5CD set, 1953-55, c1995.
c2001.
(CL 934), 2CD set, 1956, c1999.
218

(mail order)
C2K 53584 (CS 8072/CL 1245), 2CD set, 1958, c1994.
1958, c2007.
c1999.
Sbme Special Mkts.
(import)
219

c1997. (import)
(RCA
LSP-3582),
1965,
1956-63, c1987.
I Got It Bad.
3CD set, 1961, c2005.
220

432), 1975, c2003.
Sbme Special Mkts.
of Spain
Bands
in Revolution
1936-63, c2000.
2CD set, 1956, c1997.
(4002-2), 2CD set, 1956, c1997.
314 539 759-2 (4029-5), 4CD set, 1959, c1998.
221
1960, c1993.
c1989.
and Cry Me a River.
Worry About Me.
c1997.
and others.
1957, c1986.
222
Focus. Verve: 314 521 419-2 (V6-8412), 1961, c1997.

1940-46, c1976.
(1945).
c2002.
Uptown: 27.51, 1945, c2005.
1937-1949, c1995.
223
Duets. Verve: 835 253-2 (MGV-8260), 1957, c1988.

Rollins on record.
Jazz
c2000.
1935-39, c1997.
224
1938, c1999.
Classic Jazz
Includes Songbird.
see JEFF LORBER
Sbme Special Mkts.
225
1962-69, c1988.
Man.
Bros: 45732 (1898/2617), 2CD set, 1969-71, c1994.
Sbme Special Mkts.

226

composers.
Includes Rockit.
Sbme Special Mkts.

c2000.
Django Reinhardt.
Low.
1938-43, c2000.
1944, c1987.
227

c1994.
1994, c1995.
Hot Five. Vol. 3
4CD set, 1935-42, c2007.
228

1937-38, 1958, c2002.
Sbme Special Mkts.
4CD set.
1939, 1944, c1997.
c2000.
1944-50, c1991.
Jazz

Sbme Special Mkts.
With Chucho Valds.
229

With David Sanborn.
Facing You. ECM: 1017, 1971, c2000.
Belonging. ECM: 1050, 1974, c2000.
Solo piano.
(9334).
230
My Song. ECM: 1115, 1977, c1999.

The Cure. ECM: 1440, 1990, c1991.
Solo piano.
(Atlantic 1473/1519), 1966, 1969, c1994.
c1976.
47463, 1999, c1999.
(1505/1506), 2CDs, 1953-55, c2001.
7CD set, 1956-61, c1996.
231

(import)
1921-29, c1992.
Classic Jazz
232

DEE BARTON
ROBERT CURNOW
RUSS GARCIA
94502 (SMAS 2424), 1965, c1998.
ROBERT GRAETTINGER
BILL HOLMAN
STAN KENTON
1946-56.
BILL MATHIEU
LENNIE NIEHAUS
1958, c2005.

233
JOHNNY RICHARDS
1962, c1997.
GENE ROLAND
PETE RUGOLO
1946-47, c[197?].
1947.
2CD set, 1958, c2003.
BILL RUSSO
1959, c2000.
234

Jazz
4CD set, 1941-51, c2002.
235

(31067), 1971, c1998.
c2000.
Sbme Special Mkts.

236
4CD set, 1947-52, 1957, c1994.
2CDs, 1947-52, c2001.
c1991.
1952-54, c2000.
15CD set, 1955-1961, c1986.
Blue Note: 35173, 1957, c2005.
Sbme Special Mkts.
Bumpin. Verve: 314 539 062-2 (V6-8625), 1965, c1997.
237

(import)
RCA Bluebird: 66641, 1926-27, c1993.
Sbme Special Mkts.
1938, c1993.
Rounder: 1092, 1938, c1993.
c1993.
1938, c1993.
238

1952-53, c1989.
c1998.
1952-53, c1991.
Sbme.
best work.
(Verve), 4CD set, 1960-62, c2003.
314 589 488-2 (V6-8396), 1960, c1989.
Ken Burns JAZZ
239

With King Curtis.
(Atlantic +), 2CD set, 1952-89, c1993.
(Atlantic 1304), 1958, c2005.
Blues, etc.
1923-1924, c1992.
Jazz
240

Ragtime
c2003.
241

8CD set, 1944-48, c2000.
1944-48, c2002.
1944-48, c2002.
others.
Blue Note: 57061, 1947, c1997.
1947-50, c1998.
10CD set, 1946-54, c1988.
1947-53, c2003.
242
c1995.
c1993.
Flying Home.
c1995.
Classic Jazz
1947-63, c1994.
Max Roach.
243
2CDs, 1949-53, c2001.
c1994.
1949-56, c1992.
244
1957, c1999.
With Jim Hall.
(import available)
245
c2005.
Sbme Special Mkts.

Indestructible
see WEATHER REPORT
c2005.
246

c2007.
c1997.
1924-25, c2001. (import)
1924-25, c1991.
1926-27, c2001. (import)
247

Sbme.
others.
1949-52, c1997.
1955, c1996.
c1990.
Verve: 314 589 764-2 (MGV 8238), 1957, c2003.
248
MD4-127, 4CD set, 1960-61, c1989.
c1997.
Solo piano.
Donna Lee.
249

c2007. (import)
1961, c1994.
4CD set, 1944-50, c2001. (import)
c2000.
Knows.
c1991.
250

2CD set, 1927-41, c1991.
1969-85, c2006.
Sbme Special Mkts.
(import)

Sbme Special Mkts.
th
Non-Stop Home.
251

Sbme Special Mkts.

Sbme Special Mkts.

Sbme Special Mkts.
Sbme Special Mkts.
1927-40, c1992.
see ANDY KIRK
c1997.
252

Americas #1 Band
see WEATHER REPORT
253

(Vanguard 73014/15), 1974.
(import)
1930-55, c1993.
and others.
Tristano (1950).
(Columbia CL 919), 1956, c1998.
254
(2202), 4CD set, 1924-56, c1983.
RJ0014 (RD108), 5CD set, 1941-89, c1995.
1956-57, c1996.
Johnson.
2550 (RD 101), 4CD set, 1923-85, c1993.
255
devices.
1928-30, c1982.
Wettling.
1978, c1994.
(mail order)
Meade Lux Lewis.
RBF 38, c1979.
(mail order)
c1989.
Missourians.
2028, LP, 1919-24, c1981.
256
c1992.
1959-1971, c1992.
Calloway.
(mail order)
and Kenny Clarke.
c1989.
257

1917-92, c2000.
c1996.
c1996.
c1996.
1949-66, c1996.
258

1946-61, c1977.
Russell.
Gillespie.
Morton.
RJ0010 (2502), 5CD set, 1916-1981, c1987.
259

recording
of
Body
and
Soul),
post-1963
John
Coltrane,
and Jimmy Cobb.
Marsh.
Armstrong.
260
and Max Roach.
Words (1956).
Count Basie.
NW 282, LP, c1976.
c1977.
1928-1968, c2003.
(mail order)
New World: NW 226, LP, 1925-77, c1978.
261

(36594), c1996.
Includes Keep On.
262
All Music
www.allmusic.com
eJAZZLINES
www.ejazzlines.com
MUZE


263
264

8400 Sunset Blvd.
Hollywood, CA 90069
800-654-7029
Mosaic Records
Stamford, CT 06902
tel: 203-327-7111
fax: 203-323-3526

tel: 1-888-FOLKWAYS or 202-633-6450
fax: 202-633-6477
New World Records
Brooklyn, NY 11201
Tel: 212-290-1680

Klompfoot
Cadence Building
Redwood, NY 13679
tel: 315-287-2852
www.klompfoot.com
True Blue Music

Stamford, CT 06902
tel: 203-327-7111
fax: 203-323-3526

P.O. Box 146
fax: 812-923-1971
J&R Music World

tel: 800-806-1115
www.jr.com
The Jazz Loft

www.jazzloft.com
Jazz Record Mart

www.jazzmart.com

www.dtmgallery.com
www.amazon.com

265
iajrc.org
artist

title
CANNONBALL ADDERLEY
1959, c1999.
with John Coltrane,
Limehouse Blues,
personnel
AC = audio cassette
266

(MG-20449), 1959, c1999.
c1991.
Kind of Blue
(OKeh/RCA/Decca), 1923-67, c2000.
c1981.
85670 (57176), 4CD set, 1923-34, c1994.
267
c[1991].
(import)
C4K 63527 (OKeh), 4CD set, 1925-29, c2000.
86999 (OKeh), 1925-26, c2003.
87010 (OKeh), 1926-27, c2003.
87011 (OKeh), 1927-28, c2003.
1932-33, 1946-47, 1956, c2000.
1932-47, c2001.
see KING OLIVER
see BESSIE SMITH
1947-49, c2002.
c1992.
4CD set, 1936-51, c2003.
c1987.
268

c1987.
MD8-228, 8CD set, 1952-57, c2006.
Mosaic: MD10-149, 10CD set, 1957-61, c1993.
BILLY BYERS
BENNY CARTER
NEAL HEFTI
QUINCY JONES
269
THAD JONES
SAMMY NESTICO
ERNIE WILKINS
(MGC-626/MGC-647), 2LP set, 1953-54, c1977.

c2001.
(import)
others.
BIRTH
270

1954-81, c2000.
c2001.
c1995.
Mosaic: MD6-141, 6CD set, 1960-61, c1992.
271
c1986.

c2000.
4 x 4. Watt/ECM: 30, 1999, c2000.
272

(GRP 9684), 1992, c2008.
4CD set, 1953-54, c1995.
838 306, 10CD set, 1954-56, c1989.
1956, c2002.
Gertrudes Bounce.
273

and others.
6CD set, 1959-61, c1993.
(LSC-2982), 1968, c1987.
274

2CD set, 1971-72, c2000.
Electric band.
Electric band.
1987, c1997.
band: Prime Time.
Jazz
c1997.
c1993.
275
1956-67, c2000.
7CD set, 1959-61, c1995.
Naima.
c1995.
IMPD4-232, 4CD set, 1961, c1997.
others.
IMPD8-280, 8CD set, 1961-65, c1998.
276

Includes Pursuance.
Includes Dear Lord.
Blue
of Classic Jazz
c2002.
277
c2002.
A.R.C. ECM: 1009, 1971, c2000.
(Polydor 5525), 1972, c1998.
(Polydor 5536), 1973, c1991.
Polydor: 825 206 (6509), 1974, c1985.
Trio Music. ECM: 1232, 1981, c2001.
278

(Atlantic 1445), 1965, c2000.
(Atlantic 1462), 1965, c2001.
Alma.
CRUSADERS
1961-66, c1993.
279

c1987.
Tooth.
280

1955-56, c2006.
Half Nelson.
and Devil Crab.
Flamenco Sketches.
c1997.
281

1961, c2003.
C2K 65027 (CS8612/CL1812), 2CD set, 1961, c1998.
You.
1965, c1995.
Gingerbread Boy.
282

c2011.
3CD set, 1968-69, c2004.
1969-70, c2004.
c2003.
Airto Moreira.
(CG 30038), 2CD set, 1970, c1997.
283
(PG 32092), 2CD set, 1972, c1997.
c2000.
c1990.
c1997.
(LSP 2624), 1962, c2003. Sbme.

284

(Messidor 15805), 1990, c2004.
245 360 632 (Messidor 15826), 1993, c2004.
4CD set, 1935-53, c2004.
1935-44, c1995.
c1990.
and others.
Chair (1946).
285

RCA: 63386, 24CD set, 1927-73, c1999.
(RCA 49000), 2CD set, 1927-67, c1999.
Victor), 4CD set, 1926-29, c2005.
1929-40, c2007.
286

1934-38, c1991.
1938-40, c1993.
3CD set, 1940-42, c2003.
3CD set, 1944-46, c1999.
and others.
63462, 1944-46, c2000.
287

5CD set, 1953-55, c1995.
c2001.
(CL 934), 2CD set, 1956, c1999.
288

(mail order)
C2K 53584 (CS 8072/CL 1245), 2CD set, 1958, c1994.
1958, c2007.
c1999.
Sbme Special Mkts.
(import)
289

c1997. (import)
(RCA
LSP-3582),
1965,
1956-63, c1987.
I Got It Bad.
3CD set, 1961, c2005.
290

432), 1975, c2003.
Sbme Special Mkts.
of Spain
Bands
in Revolution
1936-63, c2000.
2CD set, 1956, c1997.
(4002-2), 2CD set, 1956, c1997.
314 539 759-2 (4029-5), 4CD set, 1959, c1998.
291
1960, c1993.
c1989.
and Cry Me a River.
Worry About Me.
c1997.
and others.
1957, c1986.
292
Focus. Verve: 314 521 419-2 (V6-8412), 1961, c1997.

1940-46, c1976.
(1945).
c2002.
Uptown: 27.51, 1945, c2005.
1937-1949, c1995.
293
Duets. Verve: 835 253-2 (MGV-8260), 1957, c1988.

Rollins on record.
Jazz
c2000.
1935-39, c1997.
294
1938, c1999.
Classic Jazz
Includes Songbird.
see JEFF LORBER
Sbme Special Mkts.
295
1962-69, c1988.
Man.
Bros: 45732 (1898/2617), 2CD set, 1969-71, c1994.
Sbme Special Mkts.

296

composers.
Includes Rockit.
Sbme Special Mkts.

c2000.
Django Reinhardt.
Low.
1938-43, c2000.
1944, c1987.
297

c1994.
1994, c1995.
Hot Five. Vol. 3
4CD set, 1935-42, c2007.
298

1937-38, 1958, c2002.
Sbme Special Mkts.
4CD set.
1939, 1944, c1997.
c2000.
1944-50, c1991.
Jazz

Sbme Special Mkts.
With Chucho Valds.
299

With David Sanborn.
Facing You. ECM: 1017, 1971, c2000.
Belonging. ECM: 1050, 1974, c2000.
Solo piano.
(9334).
300
My Song. ECM: 1115, 1977, c1999.

The Cure. ECM: 1440, 1990, c1991.
Solo piano.
(Atlantic 1473/1519), 1966, 1969, c1994.
c1976.
47463, 1999, c1999.
(1505/1506), 2CDs, 1953-55, c2001.
7CD set, 1956-61, c1996.
301

(import)
1921-29, c1992.
Classic Jazz
302

DEE BARTON
ROBERT CURNOW
RUSS GARCIA
94502 (SMAS 2424), 1965, c1998.
ROBERT GRAETTINGER
BILL HOLMAN
STAN KENTON
1946-56.
BILL MATHIEU
LENNIE NIEHAUS
1958, c2005.

303
JOHNNY RICHARDS
1962, c1997.
GENE ROLAND
PETE RUGOLO
1946-47, c[197?].
1947.
2CD set, 1958, c2003.
BILL RUSSO
1959, c2000.
304

Jazz
4CD set, 1941-51, c2002.
305

(31067), 1971, c1998.
c2000.
Sbme Special Mkts.

306
4CD set, 1947-52, 1957, c1994.
2CDs, 1947-52, c2001.
c1991.
1952-54, c2000.
15CD set, 1955-1961, c1986.
Blue Note: 35173, 1957, c2005.
Sbme Special Mkts.
Bumpin. Verve: 314 539 062-2 (V6-8625), 1965, c1997.
307

(import)
RCA Bluebird: 66641, 1926-27, c1993.
Sbme Special Mkts.
1938, c1993.
Rounder: 1092, 1938, c1993.
c1993.
1938, c1993.
308

1952-53, c1989.
c1998.
1952-53, c1991.
Sbme.
best work.
(Verve), 4CD set, 1960-62, c2003.
314 589 488-2 (V6-8396), 1960, c1989.
Ken Burns JAZZ
309

With King Curtis.
(Atlantic +), 2CD set, 1952-89, c1993.
(Atlantic 1304), 1958, c2005.
Blues, etc.
1923-1924, c1992.
Jazz
310

Ragtime
c2003.
311

8CD set, 1944-48, c2000.
1944-48, c2002.
1944-48, c2002.
others.
Blue Note: 57061, 1947, c1997.
1947-50, c1998.
10CD set, 1946-54, c1988.
1947-53, c2003.
312
c1995.
c1993.
Flying Home.
c1995.
Classic Jazz
1947-63, c1994.
Max Roach.
313
2CDs, 1949-53, c2001.
c1994.
1949-56, c1992.
314
1957, c1999.
With Jim Hall.
(import available)
315
c2005.
Sbme Special Mkts.

Indestructible
see WEATHER REPORT
c2005.
316

c2007.
c1997.
1924-25, c2001. (import)
1924-25, c1991.
1926-27, c2001. (import)
317

Sbme.
others.
1949-52, c1997.
1955, c1996.
c1990.
Verve: 314 589 764-2 (MGV 8238), 1957, c2003.
318
MD4-127, 4CD set, 1960-61, c1989.
c1997.
Solo piano.
Donna Lee.
319

c2007. (import)
1961, c1994.
4CD set, 1944-50, c2001. (import)
c2000.
Knows.
c1991.
320

2CD set, 1927-41, c1991.
1969-85, c2006.
Sbme Special Mkts.
(import)

Sbme Special Mkts.
th
Non-Stop Home.
321

Sbme Special Mkts.

Sbme Special Mkts.

Sbme Special Mkts.
Sbme Special Mkts.
1927-40, c1992.
see ANDY KIRK
c1997.
322

Americas #1 Band
see WEATHER REPORT
323

(Vanguard 73014/15), 1974.
(import)
1930-55, c1993.
and others.
Tristano (1950).
(Columbia CL 919), 1956, c1998.
324
(2202), 4CD set, 1924-56, c1983.
RJ0014 (RD108), 5CD set, 1941-89, c1995.
1956-57, c1996.
Johnson.
2550 (RD 101), 4CD set, 1923-85, c1993.
325
devices.
1928-30, c1982.
Wettling.
1978, c1994.
(mail order)
Meade Lux Lewis.
RBF 38, c1979.
(mail order)
c1989.
Missourians.
2028, LP, 1919-24, c1981.
326
c1992.
1959-1971, c1992.
Calloway.
(mail order)
and Kenny Clarke.
c1989.
327

1917-92, c2000.
c1996.
c1996.
c1996.
1949-66, c1996.
328

1946-61, c1977.
Russell.
Gillespie.
Morton.
RJ0010 (2502), 5CD set, 1916-1981, c1987.
329

recording
of
Body
and
Soul),
post-1963
John
Coltrane,
and Jimmy Cobb.
Marsh.
Armstrong.
330
and Max Roach.
Words (1956).
Count Basie.
NW 282, LP, c1976.
c1977.
1928-1968, c2003.
(mail order)
New World: NW 226, LP, 1925-77, c1978.
331

(36594), c1996.
Includes Keep On.
332

Conciise Guide To Jazz 7e Teachers' Manual

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Concise Guide to Jazz 7e Teachers' Manual

Available from: Mark Gridley

Instructor's Resource Manual

Discography Edited by William E. Anderson

Pearson Upper Saddle River, New Jersey 07458

TEACHING THE ORIGINS OF JAZZ: ISSUES, BIBLIOGRAPHY AND

ABOUT THE AUTHOR

IF YOU ARE TEACHING THIS COURSE FOR THE FIRST TIME

Conceptualizing Your Course

offer several different definitions of jazz;

By January 15, be able to:

distinguish an improvisation based on the 12-bar blues format from one

identify when the bridge occurs while you are listening to an

identify a solo break when it occurs in a performance;

identify double-time feeling when it occurs in a ballad performance;

By January 21, be able to:

notice when a chord changes within an accompaniment for an

By January 24, be able to:

differentiate the sound of a trumpet from a trombone from a saxophone;

differentiate the sound of a muted trumpet from an un-muted trumpet.

By January 31, be able to:

distinguish time-keeping drumming from coloristic drumming;

By February 14, be able to:

tell what instrument is played by:

distinguish tone with vibrato from tone without vibrato;

distinguish tones containing pitch bending ornaments from unornamented

list at least 5 reasons why Louis Armstrong is historically significant;

list arranging concepts that Duke Ellington pioneered;

identify growl-style trumpet playing within a recorded passage;

identify growl-style trombone playing within a recorded passage.

By February 19, be able to:

distinguish the sound of Johnny Hodges from that of Charlie Parker;

distinguish pre-bop jazz piano sound from bop piano sound;

distinguish the sound of Louis Armstrong from that of Dizzy Gillespie;

list at least 3 reasons for Charlie Parker's significance.

By February 26, be able to:

differentiate the sound of swing, bop, and free drumming;

distinguish among the sounds of Lester Young, Charlie Parker, Johnny

indicate when John Coltrane is playing tenor saxophone and when he is

differentiate the sound of John Coltrane from that of Cannonball Adderley

tell who Bill Evans is and why he is historically significant.

By the end of the semester, be able to do all the above, plus:

tell two different ways John Coltrane was important as a composer;

explain how misleading the term jazz-rock is;

distinguish the sound of funk bass from non-repetitive-interactive style;

list the ways that jazz-rock/jazz-funk differs from:

list at least four ways that jazz differs from rock;

identify similarities between African music and jazz-rock;

distinguish improvised parts from written parts.

SAMPLE COURSE REQUIREMENTS

the instruments that were played,

the form of at least one piece you heard,

price of the event,

Complete a two-page, thoroughly proofread, typewritten review of one jazz album

DIFFERENT WAYS TO USE THE TEXTBOOK

Ellington's primary musicians is essential for a minimum understanding of the music.

CAN YOU TEACH JAZZ HISTORY WITHOUT ACCOUNTING

CONVEYING THE EXTENT OF SPONTANEITY IN JAZZ

IT IS EASY TO HELP STUDENTS HEAR THE CHORD CHANGES

The book has 11 chapters, and I must cover them all.

Students already know who Benny Goodman , Miles Davis, Louis

In one week, I can explain the fundamental principles behind chord