‌. . .
Ellipsis
…  . . .  ⋯ Precomposed ellipsis  Spaced 3 periods  Mid-line ellipsis
Punctuation apostrophe ( ’ ' ) brackets ( [ ], ( ), { }, ⟨ ⟩ ) colon ( : ) comma ( , ، 、 ) dash ( ‒, –, —, ― ) ellipsis ( …, ..., . . . ) exclamation mark ( ! ) full stop/period ( . ) guillemets ( « » ) hyphen ( ‐ ) hyphen-minus ( - ) question mark ( ? ) quotation marks ( ‘ ’, “ ”, ' ', " " ) semicolon ( ; ) slash‌/stroke‌/solidus ( /,  ⁄  ) Word dividers space ( ) ( ) ( ) interpunct ( · ) General typography ampersand ( & ) at sign ( @ ) asterisk ( * ) backslash ( \ ) bullet ( • ) caret ( ^ ) dagger ( †, ‡ ) degree ( ° ) ditto mark ( 〃 ) inverted exclamation mark ( ¡ ) inverted question mark ( ¿ ) number sign‌/pound‌/hash ( # ) numero sign ( № ) obelus ( ÷ ) ordinal indicator ( º, ª ) percent, per mil ( %, ‰, ‱ ) pilcrow ( ¶ ) prime ( ′, ″, ‴ ) section sign ( § ) tilde ( ~ ) underscore‌/understrike ( _ ) vertical bar‌/broken bar‌/pipe ( ¦, | ) Intellectual property copyright symbol ( © ) registered trademark ( ® ) service mark ( ℠ ) sound recording copyright ( ℗ ) trademark ( ™ ) Currency currency (generic) ( ¤ ) currency (specific) ( ₳ ฿ ₵ ¢ ₡ ₢ ₠ $ ₫ ৳ ₯ € ƒ ₣ ₲ ₴ ₭ ℳ ₥ ₦ ₧ ₱ ₰ £ ₹ ₨ ₪ ₸ ₮ ₩ ¥ ៛ ) Uncommon typography asterism ( ⁂ ) tee ( ⊤ ) up tack ( ⊥ ) index/fist ( ☞ ) therefore sign ( ∴ ) because sign ( ∵ ) interrobang ( ‽ ) irony punctuation ( ؟ ) lozenge ( ◊ ) reference mark ( ※ ) tie ( ⁀ ) Related diacritical marks whitespace characters non-English quotation style ( « », „ ” ) In other scripts Chinese punctuation
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Look up ellipsis in Wiktionary, the free dictionary.

Ellipsis (plural ellipses; from the Ancient Greek: ἔλλειψις, élleipsis, "omission" or "falling short") is a series of marks that usually indicate an intentional omission of a word, sentence or whole section from the original text being quoted. An ellipsis can also be used to indicate an unfinished thought or, at the end of a sentence, a trailing off into silence, (aposiopesis), example: "But I thought he was . . ." When placed at the beginning or end of a sentence, the ellipsis can also inspire a feeling of melancholy or longing. The ellipsis calls for a slight pause in speech or any other form of text, but it is incorrect to use ellipses solely to indicate a pause in speech.

The most common form of an ellipsis is a row of three periods or full stops (. . .) or a pre-composed triple-dot glyph (…). The usage of the em dash (—) can overlap the usage of the ellipsis. The Chicago Manual of Style recommends that an ellipsis be formed by typing three periods, each with a space on both sides.

The triple-dot punctuation mark is also called a suspension point, points of ellipsis, periods of ellipsis, or colloquially, dot-dot-dot.

In writing[link]

In the 19th and early 20th centuries, an ellipsis was often used when a writer intentionally omitted a specific proper noun, such as a location: "Jan was born on . . . Street in Warsaw."

As commonly used, this juxtaposition of characters is referred to as "dots of ellipsis" in the English language.

Occasionally, it would be used in pulp fiction and other works of early 20th C. fiction to denote expletives that would otherwise have been censored.^[1]

An ellipsis may also imply an unstated alternative indicated by context. For example, when Count Dracula says "I never drink . . . wine", the implication is that he does drink something else.

In reported speech, the ellipsis is sometimes used to represent an intentional silence, perhaps indicating irritation, dismay, shock or disgust.^{[citation needed]}

In poetry, this is used to highlight sarcasm or make the reader think about the last points in the poem.

In news reporting, it is used to indicate that a quotation has been condensed for space, brevity or relevance.

Herb Caen, the decades-long, Pulitzer-prize-winning columnist for the San Francisco Chronicle, was famously known for his "Three-dot journalism".

Across different languages[link]

In English[link]

The examples and perspective in this section may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (February 2011)

The Chicago Manual of Style suggests the use of an ellipsis for any omitted word, phrase, line, or paragraph from within a quoted passage. There are two commonly used methods of using ellipses: one uses three dots for any omission, while the second one makes a distinction between omissions within a sentence (using three dots: . . .) and omissions between sentences (using a period and a space followed by three dots: . ...). An ellipsis at the end of a sentence with no sentence following should be preceded by a period (for a total of four dots).

The Modern Language Association (MLA), however, used to indicate that an ellipsis must include spaces before and after each dot in all uses. If an ellipsis is meant to represent an omission, square brackets must surround the ellipsis to make it clear that there was no pause in the original quote: [ . . . ]. Currently, the MLA has removed the requirement of brackets in its style handbooks. However, some maintain that the use of brackets is still correct because it clears confusion.^[2]

The MLA now indicates that a three-dot, spaced ellipsis ( … ) should be used for removing material from within one sentence within a quote. When crossing sentences (when the omitted text contains a period, so omitting the end of a sentence counts), a four-dot, spaced (except for before the first dot) ellipsis (. . . . ) should be used. When ellipsis points are in the original text, the ellipsis points should be enclosed in square brackets. (text . . . text would be quoted as "text […] text") ^[3]

According to the Associated Press, the ellipsis should be used to condense quotations. It is less commonly used to indicate a pause in speech or an unfinished thought or to separate items in material such as show business gossip. The stylebook indicates that if the shortened sentence before the mark can stand as a sentence, it should do so, with an ellipsis placed after the period or other ending punctuation. When material is omitted at the end of a paragraph and also immediately following it, an ellipsis goes both at the end of that paragraph and in front of the beginning of the next, according to this style.^[4]

According to Robert Bringhurst's Elements of Typographic Style, the details of typesetting ellipsis depend on the character and size of the font being set and the typographer's preference. Bringhurst writes that a full space between each dot is "another Victorian eccentricity. In most contexts, the Chicago ellipsis is much too wide"—he recommends using flush dots, or thin-spaced dots (up to one-fifth of an em), or the prefabricated ellipsis character (Unicode U+2026, Latin entity …). Bringhurst suggests that normally, an ellipsis should be spaced fore-and-aft to separate it from the text, but when it combines with other punctuation, the leading space disappears and the other punctuation follows. This is the usual practice in typesetting. He provides the following examples:

In legal writing in the United States, Rule 5.3 in the Bluebook citation guide governs the use of ellipsis and requires a space before the first dot and between the two subsequent dots. If an ellipsis ends the sentence, then there are three dots, each separated by a space, followed by the final punctuation, unless the final mark of punctuation is also a period.

In Polish[link]

This unreferenced section requires citations to ensure verifiability.

When applied in Polish language syntax, the ellipsis is called wielokropek, which means "multidot". The word wielokropek distinguishes the ellipsis of Polish syntax from that of mathematical notation, in which it is known as an elipsa.

When an ellipsis replaces a fragment omitted from a quotation, the ellipsis is enclosed in parentheses or square brackets. An unbracketed ellipsis indicates an interruption or pause in speech.

The syntactical rules for ellipses are standardized by the 1983 Polska Norma document PN-83/P-55366, Zasady składania tekstów w języku polskim ("Rules for setting texts in the Polish Language").

In Japanese[link]

The most common character corresponding to an ellipsis is called 3-ten rīdā ("3-dot leaders", …). 2-ten rīdā exists as a character, but it is used less commonly. In writing, the ellipsis consists usually of six dots (two 3-ten rīdā characters, ……). Three dots (one 3-ten rīdā character) may be used where space is limited, such as in a header. However, variations in the number of dots exist. In horizontally written text the dots are commonly vertically centered within the text height (between the baseline and the ascent line), as in the standard Japanese Windows fonts; in vertically written text the dots are always centered horizontally. As the Japanese word for dot is pronounced "ten", the dots are colloquially called "ten-ten-ten" (てんてんてん, akin to the English "dot dot dot").

In Japanese manga, the ellipsis by itself represents speechlessness, or a "pregnant pause". Given the context, this could be anything from an admission of guilt to an expression of being dumbfounded at another person's words or actions. As a device, the ten-ten-ten is intended to focus the reader on a character while allowing the character to not speak any dialogue. This conveys to the reader a focus of the narrative "camera" on the silent subject, implying an expectation of some motion or action. It is not unheard of to see inanimate objects "speaking" the ellipsis.

In Chinese[link]

This unreferenced section requires citations to ensure verifiability.

In Chinese, the ellipsis is six dots (in two groups of three dots, occupying the same horizontal space as two characters) (i.e. ……). The dots are always centered within the baseline and the ascender when horizontal (on the baseline has become acceptable)^{[citation needed]} and centered horizontally when vertical.

In mathematical notation[link]

An ellipsis is also often used in mathematics to mean "and so forth". In a list, between commas, or following a comma, a normal ellipsis is used, as in:

Failed to parse (Missing texvc executable; please see math/README to configure.): 1,2,3,\ldots,100\,.

To indicate the omission of values in a repeated operation, an ellipsis raised to the center of the line is used between two operation symbols or following the last operation symbol, as in:

Failed to parse (Missing texvc executable; please see math/README to configure.): 1+2+3+\cdots+100\,

(though sometimes, for example, in Russian mathematical texts, normal, non-raised, ellipses are used even in repeated summations^[5]).

The latter formula means the sum of all natural numbers from 1 to 100. However, it is not a formally defined mathematical symbol. Repeated summations or products may similarly be denoted using capital sigma and capital pi notation, respectively:

Failed to parse (Missing texvc executable; please see math/README to configure.): 1+2+3+\cdots+100\ = \sum_{n=1}^{100} n

Failed to parse (Missing texvc executable; please see math/README to configure.): 1 \times 2 \times 3 \times \cdots \times 100\ = \prod_{n=1}^{100} n = 100!

(see factorial)

Normally dots should be used only where the pattern to be followed is clear, the exception being to show the indefinite continuation of an irrational number such as:

Failed to parse (Missing texvc executable; please see math/README to configure.): \pi=3.14159265\ldots

Sometimes, it is useful to display a formula compactly, for example:

Failed to parse (Missing texvc executable; please see math/README to configure.): 1+4+9+\cdots+n^2+\cdots+400\,.

Another example is the set of zeros of the cosine function.

Failed to parse (Missing texvc executable; please see math/README to configure.): \left\{\pm\frac{\pi}{2}, \pm\frac{3\pi}{2}, \pm\frac{5\pi}{2}, \ldots \right\}\,.

There are many related uses of the ellipsis in set notation.

The diagonal and vertical forms of the ellipsis are particularly useful for showing missing terms in matrices, such as the size-n identity matrix

Failed to parse (Missing texvc executable; please see math/README to configure.): I_n = \begin{bmatrix}1 & 0 & \cdots & 0 \\0 & 1 & \cdots & 0 \\\vdots & \vdots & \ddots & \vdots \\0 & 0 & \cdots & 1 \end{bmatrix}.

The use of ellipses in mathematical proofs is often discouraged because of the potential for ambiguity. For this reason, and because the ellipsis supports no systematic rules for symbolic calculation, in recent years some authors have recommended avoiding its use in mathematics altogether.^[6]

Computer interfaces and programming[link]

This unreferenced section requires citations to ensure verifiability.

Ellipses are often used in an operating system's taskbars or web browser tabs to indicate longer titles than will fit. Hovering the cursor over the tab often displays a tooltip of the full title. When many programs are open, or during a "tab explosion" in web browsing, the tabs may be reduced in size so much that no characters from the actual titles show, and ellipses take up all the space besides the program icon or favicon.

In many user interface guidelines, a "…" after the name of a command implies that the user will need to provide further information, for example in a subsequent dialog box, before the action can be completed. A typical example is the Save As… command, which after being clicked will usually require the user to enter a filename, as opposed to Save where the file will usually be saved under its existing name.

An ellipsis character after a status message signifies that an operation may take some time, as in "Downloading updates…".

The ellipsis is used as an operator in some programming languages. The precise meaning varies by language, but it generally involves something dealing with multiple items. See Ellipsis (programming operator).

On the Internet and in text messaging[link]

The ellipsis is^{[citation needed]} one of the favorite constructions of Internet chat rooms, and it has^{[citation needed]} evolved over the past ten years into a staple of text-messaging. Although an ellipsis is technically complete with three periods (...), its rise in popularity as a "trailing-off" or "silence" indicator, particularly in mid-20th century comic strip and comic book prose writing, has led to expanded uses online. It has been used in new ways online, sometimes at the end of a message "to signal that the rest of the message is forthcoming."^[7]

Today, extended ellipsis of two, seven, ten, or even dozens of periods have become common constructions in Internet chat rooms and text messages.^[8] Often, the extended ellipses indicate an awkward silence or a "no comment" response to the previous statement made by the other party. They are sometimes used jokingly or for emphatic confusion about what the other person has said.^{[citation needed]}

The incorrect use of "elliptical commas", or commas used in plurality for the effect of an ellipsis or multiple ellipses, has also grown in popularity online—although no style journal or manual has yet embraced them.^{[citation needed]}

Computer representations[link]

In computing, several ellipsis characters have been codified, depending on the system used.

In the Unicode standard, there are the following characters:

In Windows, it can be inserted with ALT+0133.

In the Mac OS, it can be inserted with OPTION+; (on an English language keyboard).

In Chinese and sometimes in Japanese, ellipsis characters are done by entering^{[clarification needed]} two consecutive horizontal ellipsis (U+2026). In vertical texts, the application should rotate the symbol accordingly.

Unicode recognizes a series of three period characters (U+002E) as compatibility equivalent (though not canonical) to the horizontal ellipsis character.^[9]

In HTML, the horizontal ellipsis character may be represented by the entity reference … (since HTML 4.0). Alternatively, in HTML, XML, and SGML, a numeric character reference such as … or … can be used.

In the TeX typesetting system, the following types of ellipsis are available:

	Character	TeX markup
Lower ellipsis	Failed to parse (Missing texvc executable; please see math/README to configure.): \ldots\,\!	\ldots
Centred ellipsis	Failed to parse (Missing texvc executable; please see math/README to configure.): \cdots\,\!	\cdots
Diagonal ellipsis	Failed to parse (Missing texvc executable; please see math/README to configure.): \ddots\,\!	\ddots
Vertical ellipsis	Failed to parse (Missing texvc executable; please see math/README to configure.): \vdots\,\!	\vdots
Up-Right Diagonal Ellipsis		\reflectbox{\ddots}

The horizontal ellipsis character also appears in the following older character maps:

• in Windows-1250—Windows-1258 and in IBM/MS-DOS Code page 874, at code 85 (hexadecimal)
• in Mac-Roman, Mac-CentEuro and several other Macintosh encodings, at code C9 (hexadecimal)
• in Ventura International encoding at code C1 (hexadecimal)

Note that ISO/IEC 8859 encoding series provides no code point for ellipsis.

As with all characters, especially those outside of the ASCII range, the author, sender and receiver of an encoded ellipsis must be in agreement upon what bytes are being used to represent the character. Naive text processing software may improperly assume that a particular encoding is being used, resulting in mojibake.

The Chicago Style Q&A recommends to avoid the use of … (U+2026) character in manuscripts and to place three periods plus two nonbreaking spaces (. . .) instead, so that an editor, publisher, or designer can replace them later.^[10]

In Abstract Syntax Notation One (ASN.1), the ellipsis is used as an extension marker to indicate the possibility of type extensions in future revisions of a protocol specification. In a type constraint expression like A ::= INTEGER (0..127, ..., 256..511) an ellipsis is used to separate the extension root from extension additions. The definition of type A in version 1 system of the form A ::= INTEGER (0..127, ...) and the definition of type A in version 2 system of the form A ::= INTEGER (0..127, ..., 256..511) constitute an extension series of the same type A in different versions of the same specification. The ellipsis can also be used in compound type definitions to separate the set of fields belonging to the extension root from the set of fields constituting extension additions. Here is an example: B ::= SEQUENCE { a INTEGER, b INTEGER, ..., c INTEGER }

See also[link]

Cohesion (linguistics)

References[link]

Further reading[link]

Joy Orbison (Born Peter O'Grady) is a DJ and producer based in London. His style is generally accepted as a coalescence of dubstep, UK funky, UK garage, and house. O'Grady achieved underground success with his debut single, "Hyph Mngo" released via Hotflush Recordings in October 2009.

Biography[link]

O'Grady credits his uncle Ray Keith with introducing him to jungle and UK garage at a young age. At 13 he took up DJing and eventually moved into production in his 20s, using Fruity Loops to create 8-bar grime loops before developing his sound combining house, disco, and dubstep. He cites influences as diverse as J Dilla, My Bloody Valentine, GG Allin, Josef K, and The Beach Boys.

His debut single “Hyph Mngo” was called the most forward-thinking dubstep track of 2009 and received airplay, floorplay and foreplay worldwide.^[1] This was followed by “BRKLN CLLN” on O’Grady’s own Doldrums label, which he runs in tandem with partner Impey.^[2] In 2010, O'Grady released "The Shrew Would Have Cushioned The Blow" on Aus Music, an eclectic record label founded by Will Saul and Fink.

"Hyph Mngo" was voted #23 in the Resident Advisor top 100 tracks of the 2000s and #1 in Fact Magazine's top tracks of 2009.^[3][4] He was named number 18 in NME's New Music Tips of 2010.^[5]

In 2012 O'Grady began a residency at Manchester's Meandyou club night.

Discography[link]

• "Hyph Mngo/Wet Look" (Hotflush Recordings)- 2009
• "J.Doe / BRKLN CLLN" (Doldrums Recordings) 2009
• "The Shrew Would Have Cushioned The Blow" (Aus Music) – 2010
• "BB / Ladywell" (Doldrums Recordings) – 2010
• "Wade In/Jels" (Hotflush Recordings) - 2011 (as Joy O.)
• "Sicko Cell/Knock Knock" (Swamp81) - 2011 (uncredited, but widely believed to be written and produced by O'Grady)
• "Swims" (with Boddika) (Swamp81) - 2012

References[link]

External links[link]

• MySpace: Joy Orbison
• Discogs: Joy Orbison
• Resident Advisor: Joy Orbison
• Joy Orbison DJ set from Sonar 2010
• Meandyou.

Sam Rivers
Rivers and Joe Daley, 1976
Background information
Birth name	Samuel Carthorne Rivers
Born	(1923-09-25)September 25, 1923 Enid, Oklahoma, U.S.[1][2]
Died	December 26, 2011(2011-12-26) (aged 88) Orlando, Florida, U.S.
Genres	Avant-garde jazz Free jazz
Occupations	Musician Bandleader Composer
Instruments	Saxophone Clarinet Flute Harmonica Piano
Years active	1950s–2011
Labels	Blue Note, RCA, Impulse, Stunt
Associated acts	Quincy Jones Miles Davis Dizzy Gillespie Bobby Hutcherson Andrew Hill Jimmy Lyons Dave Holland
Website	Sam Rivers

Samuel Carthorne Rivers (September 25, 1923 – December 26, 2011) was an American jazz musician and composer. He performed on soprano and tenor saxophones, bass clarinet, flute, harmonica and piano.

Rivers was born in Enid, Oklahoma. Active in jazz since the early 1950s, he earned wider attention during the mid-1960s spread of free jazz. With a thorough command of music theory, orchestration and composition, Rivers was an influential and prominent artist in jazz music.^[2]

Early life[link]

Rivers's father was a gospel musician who had sung with the Fisk Jubilee Singers and the Silverstone Quartet, exposing Rivers to music from an early age. Rivers moved to Boston, Massachusetts in 1947, where he studied at the Boston Conservatory with Alan Hovhaness.^[2]

He performed with Quincy Jones, Herb Pomeroy, Tadd Dameron and others.

Blue Note era[link]

In 1959 Rivers began performing with 13-year-old drummer Tony Williams, who later went on to have an impressive career. Rivers was briefly a member of the Miles Davis's quintet in 1964, partly at Williams's recommendation. This quintet recorded a single album, Miles in Tokyo. However, Rivers' playing style was too free to be compatible with Davis's music at this point, and he was soon replaced by Wayne Shorter. Rivers was signed by Blue Note Records, for whom he recorded four albums as leader and made several sideman appearances. Among noted sidemen on his own Blue Note albums were Jaki Byard, who appears on Fuchsia Swing Song, Herbie Hancock and Freddie Hubbard. He appeared on Blue Note recordings by Tony Williams, Andrew Hill and Larry Young.

Rivers's music is rooted in bebop, but he is an adventurous player, adept at free jazz. The first of his Blue Note albums, Fuchsia Swing Song, is widely regarded as a masterpiece of an approach sometimes called "inside-outside". With this approach the performer frequently obliterates the explicit harmonic framework ("going outside") but retains a hidden link so as to be able to return to it in a seamless fashion. Rivers brought the conceptual tools of bebop harmony to a new level in this process, united at all times with the ability to "tell a story" which Lester Young had laid down as a benchmark for the jazz improviser.

His powers as a composer were also in evidence in this period: the ballad "Beatrice" from Fuchsia Swing Song has become an important standard, particularly for tenor saxophonists. For instance, it is the first cut on Joe Henderson's 1985 The State of the Tenor, Vols. 1 & 2, and Stan Getz recorded it during the 1989 sessions eventually issued as Bossas & Ballads – The Lost Sessions.

Loft era[link]

During the 1970s, Rivers and his wife, Bea, ran a noted jazz loft called "Studio Rivbea" in New York City's NoHo district. It was located on Bond Street in Lower Manhattan and was originally opened as a public performance space as part of the first New York Musicians Festival in 1970.^[3] Critic John Litweiler has written that "In New York Loft Jazz meant Free Jazz in the Seventies" and Studio Rivbea was "the most famous of the lofts". ^[4] The loft was important in the development of jazz because it was an example of artists creating their own performance spaces and taking responsibility for presenting music to the public. This allowed for music to be free of extra-musical concerns that would be present in a nightclub or concert hall situation. A series of recordings made at the loft were issued under the title Wildflowers on the Douglas label.

During this era Rivers continued to record for a variety of labels, including several albums for Impulse!: Streams, recorded live at Montreux, Hues (both records contain different trio performances later collated on CD as Trio Live), the quartet album Sizzle and his first big-band disc, Crystals; perhaps his best-known work from this period though is his appearance at 49 years old on Dave Holland's Conference of the Birds, in the company of Anthony Braxton and Barry Altschul.

Later career[link]

He performed regularly with his Orchestra and Trio (with Doug Matthews and Rion Smith). In 1998 he recorded two big-band albums for RCA Victor with the RivBea All-Star Orchestra, Culmination and Inspiration (the title-track is an elaborate reworking of Dizzy Gillespie's "Tanga": Rivers was in Gillespie's band near the end of the trumpeter's life). Other recent albums of note include Portrait, a solo recording for FMP, and Vista, a trio with drummers Adam Rudolph and Harris Eisenstadt for Meta. During the late 1990s he appeared on several albums on Postcards Records.

In 2006, he released Aurora, a third CD featuring compositions for his Rivbea Orchestra and the first CD featuring members of his working orchestra in Orlando.

Rivers died from pneumonia on December 26, 2011 at the age of 88 in Orlando, Florida.^[5][6]

Discography[link]

Jemeel Moondoc and Rashid Bakr at Studio Rivbea July, 1976

Lake Eola, Orlando Fl in 2008

2007

As leader[link]

• 1964: Fuchsia Swing Song (Blue Note)
• 1965: Contours (Blue Note)
• 1966: A New Conception (Blue Note)
• 1967: Dimensions & Extensions (Blue Note)
• 1973: Streams (Impulse!)
• 1973: Hues (Impulse!)
• 1974: Crystals (Impulse!)
• 1976: Sizzle (Impulse!)
• 1976: Dave Holland / Sam Rivers (Improvising Artists)
• 1976: Sam Rivers / Dave Holland Vol. 2 (Improvising Artists)
• 1976: The Tuba Trio Vols 1-3 (Circle)
• 1976: Jazz Of The 70's (Circle)
• 1976: The Quest (Red / Pausa)
• 1977: Paragon (Fluid)
• 1978: Waves (Tomato)
• 1980: Contrasts (ECM)
• 1981: Crosscurrent (Blue Marge)
• 1982: Colours (Black Saint)
• 1995: Portrait (FMP)
• 1997: Configuration" (Nato)
• 1998: Eight Day Journal (Nato)
• 1999: Winter Garden (Nato)
• 1999: Inspiration (RCA Victor)
• 2004: Celebration
• 2007: Firestorm
• 2011: Trilogy (Mosaic)

As sideman[link]

With Barry Altschul

• You Can't Name Your Own Tune (Muse, 1977)

With Steven Bernstein

• Diaspora Blues (Tzadik, 2002)

With Miles Davis

• Miles in Tokyo (Columbia, 1964)

With Brian Groder

• Torque (2007)

With Andrew Hill

• Change (Blue Note, 1966)

With the Dave Holland Quartet

• Conference of the Birds, (ECM, 1973)

With Bobby Hutcherson

• Dialogue (Blue Note, 1965)

With Jason Moran

• Black Stars (Blue Note, 2001)

With Music Revelation Ensemble

• In the Name of... (DIW, 1993)

With Don Pullen

• Capricorn Rising (Black Saint, 1975)

with Cecil Taylor

• The Great Concert of Cecil Taylor (Prestige, 1969)

With Alexander von Schlippenbach

• Tangens (FMP, 1998)

With Tony Williams

• Life Time (Blue Note, 1964)
• Spring (Blue Note, 1965)

With Larry Young

• Into Somethin' (Blue Note, 1964)

With NOJO

• City Of Neighbourhoods (2004)

References[link]

External links[link]

• Sam Rivers Web Site
• The Sam Rivers Sessionography and Gigography
• Jazz at Lincoln Center - Chat With Sam Rivers
• FMP Releases
• NPR profile, September 20, 2009
• Interview at allaboutjazz.com