Bobby Hutcherson
Bobby Hutcherson (vibraphonist)
Background information
Born	(1941-01-27) January 27, 1941 (age 71)
Origin	Los Angeles, United States
Genres	Progressive jazz Hard bop Post-bop Mainstream jazz Free jazz
Occupations	Vibraphonist
Instruments	Vibraphone, Marimba
Years active	1961–present

Bobby Hutcherson (born January 27, 1941, Los Angeles)^[1] is a jazz vibraphone and marimba player. His vibraphone playing is suggestive of the style of Milt Jackson in its free-flowing melodicism, but his sense of harmony and group interaction is thoroughly modern. Hutcherson has influenced younger vibraphonists like Steve Nelson, Joe Locke and Stefon Harris.^[1]

"Little B's Poem" (from his album Components) is one of his best-known compositions.

Biography[link]

Attracted foremost to more experimental free jazz and post-bop, Hutcherson made early recordings in this style for the Blue Note label with Jackie McLean, Eric Dolphy, Andrew Hill, Grachan Moncur III, Joe Chambers, and Freddie Hubbard, both as a leader and a sideman. In spite of the numerous avant-garde recordings made during this period however, Hutcherson's first session for Blue Note, The Kicker (1963) (not released until 1999), demonstrates his background in hard bop and the blues, as well as the early session Idle Moments for Grant Green, for example.^[1] Many of his later recordings return to this hard bop and less adventurous, soulful sound.^[1]

The 1966 Blue Note session, Stick-Up!, featuring saxophonist Joe Henderson, is notable, being the first recorded session Hutcherson made with McCoy Tyner on piano, a lasting association that continues today.^[1]

His 2007 quartet included Renee Rosnes on piano, Dwayne Burno on bass and Al Foster on drums.

His 2008 quartet has included Joe Gilman on piano, Glenn Richman on bass and Eddie Marshall on drums.

Hutcherson appeared as the bandleader in They Shoot Horses, Don't They? (1969), and as Ace in Round Midnight (1986).

Awards & honors[link]

In year 2010 he received the lifetime Jazz Master Fellowship Award from the National Endowment for the Arts.^[2]

Discography[link]

As Leader[link]

Bobby Hutcherson

• 1963 The Kicker (released 1999) (Blue Note)
• 1965 Dialogue (Blue Note)
• 1965 Components (Blue Note)
• 1966 Happenings (Blue Note)
• 1966 Stick-Up! (Blue Note)
• 1967 Oblique (Blue Note)
• 1968 Patterns (Blue Note)
• 1968 Total Eclipse (Blue Note)
• 1968 Medina (Blue Note)
• 1969 Now! (Blue Note)
• 1970 San Francisco (Blue Note)
• 1971 Head On (Blue Note)
• 1972 Natural Illusions (Blue Note)
• 1973 Bobby Hutcherson Live at Montreux (Blue Note)
• 1974 Cirrus (Blue Note)
• 1974 Linger Lane (Blue Note)
• 1975 Inner Glow (Blue Note)
• 1975 Montara (Blue Note)
• 1976 The View from the Inside (Blue Note)
• 1976 Waiting (Blue Note)
• 1977 Knucklebean (Blue Note)
• 1978 Highway One (Columbia)
• 1979 Conception: The Gift of Love (Columbia)
• 1979 Un Poco Loco (Columbia)
• 1982 Solo / Quartet (Contemporary)
• 1982 Farewell Keystone (Theresa Records)
• 1983 Four Seasons (Timeless)
• 1984 Good Bait (Landmark)
• 1985 Color Schemes (Landmark)
• 1985 It Ain't Easy (Landmark)
• 1988 Cruisin' The Bird (Landmark)
• 1989 Ambos Mundos (Landmark)
• 1991 Mirage (Landmark)
• 1992 Landmark (Landmark)
• 1993 Acoustic Masters II (Atlantic)
• 1999 Skyline (Verve)
• 2004 The Al Grey & Dave Burns Complete Sessions (recorded 1962-63, Lone Hill Jazz)
• 2007 For Sentimental Reasons (Kind of Blue)
• 2009 Wise One (Kind of Blue)

As sideman[link]

With Curtis Amy & Frank Butler

• Groovin' Blue (Pacific Jazz, 1961)

With The Aquarians

• Jungle Grass (Uni, 1969)

With Kenny Barron

• Other Places (Verve, 1993)

With Bayete

• Worlds Around the Sun (Prestige, 1972)

With Dave Burns

• Warming Up (Vanguard, 1962)

With Donald Byrd

• Ethiopian Knights (Blue Note, 1971)
• A City Called Heaven (Landmark, 1991)

With George Cables

• Cables' Vision (Contemporary, 1979)

With Stanley Cowell

• Brilliant Circles (Freedom Records, 1969)

With Joey DeFrancesco

• Organic Vibes (Concord, 2006)

With Smith Dobson

• Sasha Bossa (Quartet, 1988)

With Eric Dolphy

• Iron Man (Douglas, 1963)
• Conversations (Fred Miles, 1963)
• Out to Lunch (Blue Note, 1964)

With Bruce Forman

• Full Circle (Concord, 1984)
• There are Times (Concord, 1987)

With Chico Freeman

• Destiny's Dance (Contemporary, 1981)

With Kenny Garrett

• Happy People (Warner Bros., 2001)
• Beyond the Wall (Nonesuch, 2006)

With Luis Gasca

• Collage (Fantasy, 1975)

With Dexter Gordon

• Gettin' Around (Blue Note, 1964)
• Sophisticated Giant (Columbia, 1977)
• The Other Side of Round Midnight (Blue Note, 1985)

With Grant Green

• Idle Moments (Blue Note, 1964)
• Street of Dreams (Blue Note, 1964)

With Al Grey

• Snap Your Fingers (Argo, 1962)
• Having a Ball (Argo, 1963)
• Night Song (Argo, 1962)

With Herbie Hancock

• Round Midnight (Columbia, 1985)

With John Handy

• New View (Columbia, 1967)

With Roy Haynes

• Thank You Thank You (Galaxy, 1977)

With Eddie Henderson

• Sunburst (Blue Note, 1975)

With Joe Henderson

• Mode for Joe (Blue Note, 1966)

With John Hicks

• John Hicks (Theresa, 1982)
• In Concert (Theresa, 1984)

With Andrew Hill

• Judgment! (Blue Note, 1963)
• Andrew!!! (Blue Note, 1964)
• Eternal Spirit (Blue Note, 1989)

With Stix Hooper

• The World Within (MCA, 1979)

With Freddie Hubbard

• Keystone Bop Vol. 2: Friday & Saturday (Prestige, 1981 [1996])
• Keystone Bop: Sunday Night (Prestige, 1981)

With Ron Jefferson

• Love Lifted Me (Pacific Jazz, 1962)

With Osamu Kitajima

• Masterless Samurai (Headfirst, 1979)

With Barney Kessel

• Feeling Free (Contemporary, 1969)
• Red Hot and Blues (Contemporary, 1988)

With Harold Land

• The Peacemaker (Cadet, 1967)
• A New Shade of Blue (Mainstream, 1971)
• Xocia's Dance (Sue-sha's Dance) (Muse, 1981)
• Choma (Burn) (Mainstream, 1971)

With Prince Lasha & Sonny Simmons

• Firebirds (Contemporary, 1968)

With John Lewis

• Slavic Smile (Baystate, 1982)

With Abbey Lincoln

• Wholly Earth (Verve, 1998)

With Eddie Marshall

• Dance of the Sun (Timeless, 1977)

With Jackie McLean

• One Step Beyond, (Blue Note, 1963)
• Destination... Out! - (Blue Note, 1964)
• Action Action Action (Blue Note, 1964)
• Hipnosis (Blue Note, 1967)

With Billy Mitchell

• This Is Billy Mitchell (Smash, 1962)

With Grachan Moncur III

• Evolution (Blue Note, 1963)

With Frank Morgan

• Reflections (Contemporary, 1988)

With Lee Morgan

• The Procrastinator (Blue Note, 1967)

With Grassella Oliphant

• The Grass Roots (Atlantic, 1965)

With John Patton

• Let 'em Roll (Blue Note, 1965)

With Duke Pearson

• The Phantom (Blue Note, 1968)
• I Don't Care Who Knows It (Blue Note, 1969)

With Lou Rawls

• At Last (Blue Note, 1989)

With Dianne Reeves

• I Remember (Blue Note, 1988)

With Sonny Rollins

• No Problem (Milestone, 1981)

With Ted Rosenthal

• Calling You (CTI, 1992)

With Joe Sample

• Roles (MCA, 1987)

With Pharoah Sanders

• Rejoice (Theresa, 1981)

With SFJAZZ Collective

• SFJAZZ Collective (Nonesuch, 2004)
• SFJAZZ Collective 2 (Nonesuch, 2005)
• "SFJAZZ Collective volume 3" (SFJazz, 2006)

With Woody Shaw

• Master of the Art (Elektra/Musician, 1982)
• Night Music (Elektra/Musician, 1982)

With Archie Shepp

• On This Night (Impulse!, 1965)
• New Thing at Newport (Impulse!, 1965)

With Sonny Stitt

• Just In Case You Forgot How Bad He Really Was (32 Jazz, 1981)

With McCoy Tyner

• Time for Tyner (Blue Note, 1967)
• Sama Layuca (Milestone, 1974)
• Together (Milestone, 1978)
• Quartets 4 X 4 (Milestone, 1980)
• La Leyenda de La Hora (Columbia, 1981)
• Manhattan Moods (Blue Note, 1993)
• Land of Giants (Telarc, 2003)

With Harold Vick

• The Caribbean Suite (RCA, 1966)

With Larry Vuckovich

• Blue Balkan (Inner City, 1980)

With Cedar Walton

• Among Friends (Evidence, 1982)

With Paula West

• Come What May (Hi Horse, 2001)

With Tony Williams

• Life Time (Blue Note, 1964)
• Foreign Intrigue (Capitol, 1985)

With Gerald Wilson

• Everywhere (Pacific Jazz, 1968)
• California Soul (World Pacific, 1968)
• Eternal Equinox (World Pacific, 1969)

References[link]

External links[link]

• Complete discography, news and reviews

Harold de Vance Land (December 18, 1928 – July 27, 2001)^[1] was an American hard bop and post-bop tenor saxophonist. Land developed his hard bop playing with the Max Roach/Clifford Brown band into a personal, modern style. His tone was strong and emotional, yet displayed a certain fragility that made him easy to recognize.^[2]

Biography[link]

Land was born in Houston and grew up in San Diego. He started playing at the age of 16. He made his first recording as the leader of the Harold Land All-Stars, for Savoy Records in 1949. In 1954 he joined the Clifford Brown/Max Roach Quintet. Because of family problems he moved to Los Angeles in 1955. There he played with Curtis Counce, led his own groups, and co-led groups with Bobby Hutcherson, Blue Mitchell, and Red Mitchell. From the 1970s onwards his style showed the influence of John Coltrane.

In the early 1980s through to the early 1990s he worked regularly with the Timeless All Stars, a group sponsored by the Timeless jazz record label. The group consisted of Land on tenor, Cedar Walton on piano, Buster Williams on bass, Billy Higgins on drums, Curtis Fuller on trombone and Bobby Hutcherson on vibes. Land also toured with his own band during this time, often including his son on piano and usually featuring Bobby Hutcherson and Billy Higgins as well. During these years he played regularly at Hop Singhs in Marina Del Rey in the L.A area and the Keystone Korner in San Francisco.

Land was a professor at the University of California, Los Angeles. He joined the UCLA Jazz Studies Program as a lecturer in 1996 to teach instrumental jazz combo. "Harold Land was one of the major contributors in the history of the jazz saxophone," said jazz guitarist Kenny Burrell, founder and director of the UCLA Jazz Studies Program. "He was a vital and well-loved member of the jazz faculty here at UCLA."^{[cite this quote]}

Land died in July 2001, from a stroke, at the age of 73.^[1]

Discography[link]

As leader[link]

• Grooveyard (Contemporary) 1958
• Harold in the Land of Jazz (Contemporary/OJC) 1958
• The Fox (HiFi Jazz/OJC) 1959 with Elmo Hope, DuPree Bolton, Herbie Lewis, and Frank Butler.
• Eastward Ho! Harold Land in New York Jazzland (OJC) 1960
• West Coast Blues! Jazzland (OJC) 1960
• Hear Ye! Harold Land Quintet with Red Mitchell (Atlantic) 1961
• The Peacemaker (Cadet) 1967
• Take Aim (Blue Note) 1969
• Jazz Impressions of Folk Music (Imperial) 1971
• A New Shade of Blue (Mainstream) 1971
• Choma (To Burn) (Mainstream) 1971
• Damisi (Mainstream) 1977
• Mapenzi with Blue Mitchell (Concord Jazz) 1977
• Xocia’s Dance (Muse) 1981
• A Lazy Afternoon (Postcards Records) 1995
• Promised Land (Audiophoric) 2001

As sideman[link]

With Curtis Counce

• You Get More Bounce With Curtis Counce originally released as Counceltation^[3] (Contemporary, 1956)
• Landslide (Contemporary, 1956)
• Sonority (Contemporary, 1958)
• Exploring the Future (Dooto, 1958)
• Carl's Blues (Contemporary, 1960 - recorded 1957)

With Ella Fitzgerald

• Things Ain't What They Used to Be (And You Better Believe It) (1969)

With Bill Evans

• Quintessence (Fantasy Records, 1976)

With Chico Hamilton

• Chic Chic Chico (Impulse!, 1965)

With Bobby Hutcherson

• Medina (Blue Note, 1969)
• Total Eclipse (Blue Note, 1968)
• Blow Up (Blue Note, 1969)
• Now! (Blue Note, 1969)
• San Francisco (Blue Note, 1970)
• Head On (Blue Note, 1971)
• Cirrus (Blue Note, 1974)
• Inner Glow (Blue Note, 1975)

With Blue Mitchell

• African Violet (Impulse!, 1977)
• Summer Soft (Impulse!, 1978)

With Clifford Brown and Max Roach

• Clifford Brown & Max Roach (EmArcy, 1954)
• Brown & Roach, Incorporated (EmArcy, 1954)
• Study in Brown (EmArcy, 1955)

With Donald Byrd

• Ethiopian Knights (Blue Note, 1971)

With Timeless All Stars (featured Cedar Walton, Curtis Fuller, Bobby Hutcherson, Buster Williams and Billy Higgins)

• It's Timeless (Timeless, 1982)
• Timeless Heart (Timeless, 1983)
• Essence: The Timeless All Stars (Delos, 1986)
• Time For the Timeless All Stars (Early Bird, 1991)

Notes[link]

The progressive rock band Yes included a song "Harold Land" on their eponymous debut album in 1969. In a news/blog post on the 20th of September 2010, Bill Bruford commented about the song - "(Harold Land was a hard-bop tenor saxophone player, dead now, but quite why we named a song after him I can’t remember.)" ^[4] The song is about the effects of war on the named character, and bears no relation to the life of the sax player.

References[link]

External links[link]

• Harold Land discography
• Harold Land at Find a Grave

Joe Chambers (born June 25, 1942) is an American jazz drummer, pianist, vibraphonist and composer. He attended the Philadelphia Conservatory for one year.^[1] In the 1960s and 70s Chambers gigged with many high-profile artists such as Eric Dolphy, Charles Mingus, Lou Donaldson, Chick Corea, Freddie Hubbard, Jimmy Giuffre and Bobby Hutcherson. Other artists Joe Chambers has worked with in his career include Andrew Hill, Archie Shepp, Miles Davis, David Murray, Joe Henderson, Franck Amsallem and Max Roach. He has been a member of several incarnations of Roach's M'Boom percussion ensemble.^[2]

He has also taught, including at the New School for Jazz and Contemporary Music in New York, NY. At the school he leads the "Outlaw Band,"^[3][4][5][6] In 2008, he was hired to be the Thomas S. Kenan Distinguished Professor of Jazz in the Department of Music at the University of North Carolina Wilmington.^[7]

Discography[link]

As leader[link]

• 1971: The Almoravid
• 1973: Almoravid, (Muse)
• 1976: New World, (Finite)
• 1977: Double Exposure (Muse)
• 1981: New York Concerto
• 1991: Phantom of the City
• 1998: Mirrors (Blue Note)
• 2006: The Outlaw
• 2010: Horace to Max

With M'Boom

• Re: Percussion (Strata-East, 1973)
• M'Boom (Columbia, 1979)
• Collage (Soul Note, 1984)

As sideman[link]

With Donald Byrd

• Mustang! Blue Note, 1964
• Fancy Free Blue Note, 1969

With Chick Corea

• Tones for Joan's Bones Atlantic Records, 1966

With Miles Davis

• The Complete In A Silent Way Sessions, Blue Note Records, 1969

With Art Farmer

• Something Tasty, Baystate, 1979

With Don Friedman

• Metamorphosis, Prestige Records, 1966

With Joe Henderson

• Mode for Joe Blue Note, 1966
• Joe Henderson Big Band, Polygram Records, 1992

With Andrew Hill

• Andrew!!! Blue Note Records, 1964
• One For One, Blue Note Records, 1965
• Compulsion!!!!! Blue Note Records, 1965

With Freddie Hubbard

• Breaking Point, Blue Note Records, 1964

With Bobby Hutcherson

• Dialogue, Blue Note Records, 1965
• Components, Blue Note Records, 1965
• Happenings, Blue Note Records, 1966
• Spiral, Blue Note Records, 1965–1968
• Oblique, Blue Note Records, 1967
• Patterns, Blue Note Records, 1968
• Total Eclipse, Blue Note Records, 1968
• Medina, Blue Note Records, 1969
• Now!, Blue Note Records, 1969

With Hubert Laws

• Wild Flower (Atlantic, 1972)

With Charles Mingus

• Charles Mingus and Friends in Concert (Columbia, 1972)
• Something Like A Bird, Atlantic Records, 1978
• Me, Myself and Eye, Atlantic Records, 1978

With Sam Rivers

• Contours, Blue Note Records, 1965

With Woody Shaw

• Cassandranite, Muse, 1965

With Archie Shepp

• Fire Music, Impulse!, 1965
• On This Night, Impulse!, 1965
• New Thing at Newport, Impulse!, 1965 (also features a set by John Coltrane)
• For Losers Impulse!, 1969
• Kwanza Impulse!, 1969
• On Green Dolphin Street, Denon, 1977

With Wayne Shorter

• Et Cetera Blue Note, 1965
• The All Seeing Eye Blue Note, 1965
• Adam's Apple Blue Note, 1966
• Schizophrenia Blue Note, 1967

With The Super Jazz Trio

• The Super Jazz Trio, Baystate Records, 1978
• The Standard, Baystate Records, 1980

With Hidefumi Toki

• City, Baystate Records, 1978

With Charles Tolliver

• Paper Man (1969) - Black Lion Records

With McCoy Tyner

• Tender Moments Blue Note, 1967

With Miroslav Vitous

• Infinite Search, Embryo, 1969

With Tyrone Washington

• Natural Essence Blue Note, 1967

With Joe Zawinul

• Zawinul Atlantic, 1970

References[link]

External links[link]

• Interview with Brian L. Knight

Milt Jackson
Milt Jackson, Village Jazz Lounge with the Bubba Kolb Trio, late 1970s.
Background information
Birth name	Milton Jackson
Born	(1923-01-01)January 1, 1923 Detroit, Michigan
Died	October 9, 1999(1999-10-09) (aged 76) Manhattan, New York
Genres	Hard bop Afro-Cuban jazz Modal jazz Mainstream jazz Post bop
Occupations	Musician, Soloist, Composer, Band Leader
Instruments	Vibraphone
Labels	Impulse!, Atlantic, Prestige, Apple
Associated acts	John Coltrane, Ray Charles, Miles Davis, Dizzy Gillespie, The Modern Jazz Quartet, Thelonious Monk, Wes Montgomery

Milton "Bags" Jackson (January 1, 1923 – October 9, 1999) was an American jazz vibraphonist, usually thought of as a bebop player, although he performed in several jazz idioms. He is especially remembered for his cool swinging solos as a member of the Modern Jazz Quartet and his penchant for collaborating with several hard bop and post-bop players.

A very expressive player, Jackson differentiated himself from other vibraphonists in his attention to variations on harmonics and rhythm. He was particularly fond of the twelve-bar blues at slow tempos. He preferred to set the vibraphone's oscillator to a low 3.3 revolutions per second (as opposed to Lionel Hampton's speed of 10 revolutions per second) for a more subtle vibrato. On occasion, Jackson would also sing and play piano professionally.

Biography[link]

He was discovered by Dizzy Gillespie, who hired him for his sextet in 1946 and also kept him for larger ensembles. He quickly acquired experience working with the most important figures in jazz of the era, including Woody Herman, Howard McGhee, Thelonious Monk, and Charlie Parker.

In the Gillespie big band, Jackson fell into a pattern that led to the founding of the Modern Jazz Quartet: Gillespie maintained a former swing tradition of a small group within a big band, and his included Jackson, pianist John Lewis, bassist Ray Brown, and drummer Kenny Clarke (considered a pioneer of the ride cymbal timekeeping that became the signature for bop and most jazz to follow) while the brass and reeds took breaks. When they decided to become a working group in their own right, around 1950, the foursome was known at first as the Milt Jackson Quartet, becoming the Modern Jazz Quartet in 1952. By that time Percy Heath had replaced Ray Brown.

Known at first for featuring Jackson's blues-heavy improvisations almost exclusively, in time the group came to split the difference between that, and Lewis's more ambitious musical ideas (Lewis had become the group's musical director by 1955, the year Clarke departed in favour of Connie Kay), boiling the quartet down to a chamber jazz style that highlighted the lyrical tension between Lewis's mannered, but roomy, compositions (as committed as he was to formalising the group's style, Lewis always left room enough for improvisation, whether his own spare piano style or Jackson's bluesy style) and Jackson's unapologetic swing.

The MJQ had a long independent career of some twenty years until disbanding in 1974, when Jackson split with Lewis, partially in an attempt to make more money on his own and more likely, because he sought the improvisational freedom he once enjoyed. The group reformed in 1981, however, and continued until 1993, after which Jackson toured alone, performing in various small combos, although agreeing to periodic MJQ reunions.

From the mid-1970s to the mid-1980s, Jackson recorded for Norman Granz's Pablo Records, including Jackson, Johnson, Brown & Company (1983), featuring Jackson with J. J. Johnson on trombone, Ray Brown on bass, backed by Tom Ranier on piano, guitarist John Collins, and drummer Roy McCurdy.

He also was a guest on recordings by many leading jazz, blues, and soul artists, such as B.B. King, John Coltrane, Wes Montgomery, and Ray Charles.

His composition "Bags' Groove" is a jazz standard ("Bags" was a nickname given to him by a bass player in Detroit. "Bags" referred to the bags under his eyes^[1] from his habit of staying up all night.^{[citation needed]}). He has been featured on the NPR radio program Jazz Profiles. Some of his other signature compositions include "The Late, Late Blues" (for his album with Coltrane, Bags & Trane), "Bluesology" (a Modern Jazz Quartet staple), and "Bags & Trane."

Milt Jackson was a resident of Teaneck, New Jersey.^[2] He died on October 9, 1999, aged 76, and was interred at Woodlawn Cemetery, Bronx, New York.

Discography[link]

• 1948-52: Wizard of the Vibes (Blue Note)
• 1949-56: Roll 'Em Bags (Savoy)
• 1949-56: Meet Milt Jackson (Savoy)
• 1955: Milt Jackson Quartet (Prestige)
• 1956: Opus de Jazz (Savoy)
• 1957: Ballads & Blues (Atlantic)
• 1956: The Jazz Skyline (Savoy)
• 1956: Jackson's-ville (Savoy)
• 1957: Plenty, Plenty Soul (Atlantic)
• 1957: Bags & Flutes (Atlantic)
• 1957: Soul Brothers - with Ray Charles (Atlantic)
• 1958: Soul Meeting - with Ray Charles (Atlantic)
• 1959: Bean Bags - with Coleman Hawkins (Atlantic)
• 1959: Bags' Opus (United Artists)
• 1960: Bags & Trane - with John Coltrane (Atlantic)
• 1960: The Ballad Artistry of Milt Jackson (Atlantic)
• 1961: Vibrations (Atlantic)
• 1961: Very Tall - with Oscar Peterson Trio (Verve)
• 1961: Statements (Impulse!)
• 1961: Bags Meets Wes! - with Wes Montgomery (Riverside)
• 1962: Big Bags (Riverside)
• 1962: Invitation (Riverside)
• 1962: For Someone I Love (Riverside)
• 1963: Milt Jackson Quintet Live at the Village Gate (Riverside)
• 1964: Much in Common with Ray Brown (Verve)
• 1964: Jazz 'n' Samba (Impulse!)
• 1964: In a New Setting (Limelight)
• 1965: Ray Brown / Milt Jackson with Ray Brown (Verve)
• 1965: Milt Jackson at the Museum of Modern Art (Limelight)
• 1966: Born Free (Limelight)
• 1968: Milt Jackson and the Hip String Quartet (Verve)
• 1969: That's the Way It Is featuring Ray Brown (Impulse!)
• 1969: Just the Way It Had to Be featuring Ray Brown (Impulse!)
• 1969: Memphis Jackson with the Ray Brown Big Band (Impulse!)
• 1972: Sunflower (CTI)
• 1973: Goodbye with Hubert Laws (CTI)
• 1974: Olinga (CTI)
• 1975: The Milt Jackson Big 4 (Pablo)
• 1975: The Big 3 with Joe Pass and Ray Brown (Pablo)
• 1976: Milt Jackson at the Kosei Nenkin (Pablo)
• 1976: Feelings (Pablo)
• 1977: Quadrant - with Joe Pass, Ray Brown, and Mickey Roker
• 1977: Soul Fusion (Pablo)
• 1979: Milt Jackson (Quintessence Jazz Series) (Pickwick)
• 1979: Loose Walk (Palcoscenico Records)
• 1980: Night Mist (Pablo/OJC)
• 1981: Ain't But a Few of Us Left - with Oscar Peterson
• 1982: A London Bridge [live] (Pablo)
• 1982: Mostly Duke [live] (Pablo/OJC)
• 1982: Memories of Thelonious Sphere Monk (Pablo/OJC)
• 1983: Jackson, Johnson, Brown & Company - with J. J. Johnson
• 1983: Two of the Few with Oscar Peterson
• 1983: Soul Route (Pablo)
• 1993: Reverence and Compassion (Warner Bros.)
• 1994: The Prophet Speaks (Qwest)
• 1995: Burnin' in the Woodhouse
• 1998: The Very Tall Band with Oscar Peterson and Ray Brown (live from Blue Note)

With the Modern Jazz Quartet[link]

As sideman[link]

With Cannonball Adderley

• Things Are Getting Better (Riverside, 1958)

With Miles Davis

• Bags' Groove (Prestige, 1954)
• Quintet / Sextet (Prestige, 1955)

With Dizzy Gillespie

• Dee Gee Days: The Savoy Sessions (Savoy, 1951-52 [1976])
• The Dizzy Gillespie Big 7 (Pablo, 1975)
• Dizzy Gillespie Jam (Pablo, 1977)
• Musician, Composer, Raconteur (Pablo, 1981)

With Hank Mobley

• Hank Mobley and His All Stars (Blue Note, 1957)

With Oscar Peterson

• Reunion Blues (MPS, 1971)
• The Oscar Peterson Big 6 At The Montreux Jazz Festival 1975 (Pablo, 1975)

With Don Sebesky

• Giant Box (CTI, 1973)

With Stanley Turrentine

• Cherry (CTI, 1972)

References[link]

External links[link]

• Milt Jackson at Allmusic
• Milt Jackson at the Hard Bop Homepage
• Milt Jackson at Find-A-Grave

Cedar Walton
Cedar Walton, 2001
Background information
Birth name	Cedar Anthony Walton, Junior
Born	(1934-01-17) January 17, 1934 (age 78)
Origin	Dallas, Texas
Genres	Hard bop and Jazz-Funk
Occupations	pianist
Instruments	piano
Years active	1950s–present
Labels	Various
Associated acts	Jazz Messengers

Cedar Anthony Walton, Junior (born January 17, 1934) is an American hard bop jazz pianist.

Biography[link]

Walton grew up in Dallas, Texas. His mother was an aspiring concert pianist, and was Walton's initial teacher. She also took him to jazz performances around Dallas. As a result, he was exposed to a wide range of jazz, including Nat King Cole, Errol Garner, Mary Lou Williams, Earl Hines, Hank Jones, Oscar Peterson, Lester Young and Dizzy Gillespie. Walton cites Nat King Cole, Bud Powell, Thelonious Monk and Art Tatum as his major influences on piano.^{[citation needed]} He began emulating recordings of these artists from an early age, and also began composing "hieroglyphics"^{[citation needed]} for friends to play along with him.

While on family vacation as a teen his family visited the University of Denver, which was surprised and attracted Walton because the "dormitories were coed."^{[citation needed]} He ended up attending the University of Denver as a composition major originally, but was encouraged to switch to a music education program targeted to set up a career in the local public school system. This switch later proved extremely useful since Walton learned to play and arrange for various instruments, a talent he would hone with Art Blakey's Jazz Messengers.

Walton was tempted by the promise of New York through his associations with the likes of John Coltrane, Charlie Parker, and Richie Powell, whom he met at various after hours sessions around the city of Denver. In 1955, he decided to leave school and drove with a friend to New York City. He quickly got recognition from Johnny Garry, who ran Birdland at that time. Garry included Walton on Monday nights with players "striving to make a name for themselves."^{[citation needed]}

Walton was drafted into the Army, and stationed in Germany, cutting short his rising status in the after hours scene. While in the Army, he played with musicians Leo Wright, Don Ellis, and Eddie Harris. Upon his discharge, he picked up where he left off, playing as a sideman with Kenny Dorham and J. J. Johnson, and joining the Jazztet, led by Benny Golson and Art Farmer. Walton played with this group from 1958 to 1961. In April 1959, Cedar Walton recorded an alternate take of "Giant Steps" with John Coltrane, though he did not solo.

In the early 1960s, he joined Art Blakey's Jazz Messengers as a pianist-arranger for 3 years (the same day as Freddie Hubbard), where he played with Wayne Shorter and Freddie Hubbard. In this group, he demonstrated a keen sense of arranging in originals such as "Ugetsu" and "Mosaic". He left the Messengers in 1964 and by the late 1960s was part of the house rhythm section at Prestige Records, where in addition to releasing his own recordings, he recorded with Sonny Criss, Pat Martino, Eric Kloss, and Charles McPherson. For a year, he served as Abbey Lincoln's accompanist, and recorded with Lee Morgan from 1966 to 1968. During the mid-1970s, Walton led the funk group Mobius.

In 1974, Cedar Walton formed his own band, Eastern Rebellion. From the 1980s until the present day, Cedar Walton has remained active, and many of his compositions have been adopted as jazz standards, including "Firm Roots", "Bolivia" and "Cedar's Blues". "Bolivia" is perhaps Walton's best known composition, while one of his oldest is "Fantasy in D", recorded under the title "Ugetsu" by Art Blakey in 1963.^[1]

In January 2010, he was inducted as a member of the NEA 2010 class of Jazz Masters. He stated "It's quite an honor because it represents the endurance of an artist and his output as an artist and his ability to keep a certain stream of good performances throughout his or her career."^{[citation needed]}

Discography[link]

As leader[link]

• 1967: Cedar! (Prestige Records)Theresa Records
• 1968: Spectrum (Prestige Records)
• 1969: Plays Cedar Walton, 1967–69, (Prestige Records)
• 1969: Soul Cycle (Prestige Records)
• 1972: Breakthrough! with Hank Mobley (Cobblestone Records/Muse)
• 1974: Firm Roots (Muse)
• 1975: Mobius (MCA Records)
• 1975: Eastern Rebellion, Vol. 1 (Timeless Records)
• 1976: The Pentagon (East Wind Records)
• 1977: First Set (SteepleChase)
• 1977: Second Set (SteepleChase)
• 1977: Third Set (SteepleChase)
• 1977: Eastern Rebellion 2 (Timeless Records)
• 1978: Animation (Columbia)
• 1980: Soundscapes (CBS Records)
• 1980: The Maestro (Muse Records)
• 1981: Piano Solos (Clean Cuts)
• 1982: Among Friends (Theresa Records)
• 1985: The Trio, Vol. 1 (Red)
• 1985: The Trio, Vol. 2 (Red)
• 1985: The Trio, Vol. 3 (Red)
• 1985: Cedar's Blues (Red)
• 1985: Bluesville Time (Criss Cross)
• 1986: Up Front (Timeless Records)
• 1986: Cedar Walton Plays (Delos)
• 1987: This Is For You, John (Timeless Records)
• 1990: Eastern Rebellion - Mosaic (Musicmasters)
• 1992: Live at Maybeck (Concord Jazz)
• 1992: Manhattan Afternoon (Criss Cross)
• 1992: Eastern Rebellion- Simple Pleasure (Musicmasters)
• 1994: Eastern Rebellion - Just One of Those... Nights At The Village Vanguard (Musicmasters)
• 1996: Composer (Astor Place)
• 1999: Roots (Astor Place)
• 2001: Promise Land (Highnote Records)
• 2002: Latin Tinge (Highnote Records)
• 2005: Naima (Savoy Jazz)
• 2005: Midnight Waltz (Venus Records)
• 2005: Underground Memoirs (Highnote Records)
• 2006: One Flight Down (Highnote Records)
• 2008: Seasoned Wood (Highnote Records)
• 2009: Voices Deep Within (Highnote Records)
• 2010: Cedar Chest (Highnote Records)
• 2011: The Bouncer (Highnote Records)

As sideman[link]

With Art Blakey

• Mosaic (Blue Note, 1961)
• Three Blind Mice (Blue Note, 1962)
• Free For All (Blue Note, 1964)
• Indestructible (Blue Note, 1964)

With Donald Byrd

• Slow Drag (Blue Note, 1967)

With Ornette Coleman

• Broken Shadows (Columbia, 1972 [1982])

With John Coltrane

• Giant Steps (Atlantic, 1959)

With Kenny Dorham and Cannonball Adderley

• Blue Spring (Riverside, 1959)

With Curtis Fuller

• Soul Trombone (Impulse!, 1961)

With Eddie Harris

• Cool Sax from Hollywood to Broadway (Columbia, 1964)
• The In Sound (Atlantic, 1965)
• Mean Greens (Atlantic, 1966)
• The Tender Storm (Atlantic, 1966)
• Excursions (Atlantic, 1966-73)
• How Can You Live Like That? (Atlantic, 1976)

With Joe Henderson

• Mode for Joe (Blue Note, 1966)

With Freddie Hubbard

• Here To Stay (Blue Note, 1962, [1979])

With Bobby Hutcherson

• Highway One (Columbia, 1978)

With Milt Jackson

• Milt Jackson at the Museum of Modern Art (Limelight, 1965)
• Born Free (Limelight, 1966)
• Milt Jackson and the Hip String Quartet (Verve, 1968)
• Goodbye (CTI, 1973)
• Olinga (CTI, 1974)