Jazz Lead Sheets

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ERIC ALEXANDER (born August 4, 1968)
A straight-ahead jazz saxophonist, Eric Alexander is known for his sophisticated hard and post bop style. Born in Washington, he began as a classical musician studying alto sax, but quickly began an obsession with the tenor saxophone at Indiana University at Bloomington. Inspired to pursue his musical pursuits further, Eric transferred to William Paterson College in New Jersey, where he studied with jazz legends like Harold Mabern, Joe Lovano, Norman Simmons and Rufus Reid. After receiving his degree, he moved back to the Midwest, where he became a fixture in the Chicago club scene touring with Charles Earland.

Eric's first taste of fame came after placing second in the 1991 Thelonious Monk International Jazz Saxophone Competition. He was signed to a recording contract shortly after and was thus launched into the life of a professional jazz musician. Eric made his recording debut with Charles Earland that year, shortly thereafter cutting his first record as a leader, “Straight Up.” Since then, he has recorded prolifically, releasing 36 albums as a leader in his career.

Alexander has worked with many notable jazz musicians, including organist Mel Rhyne, baritone saxophonist Cecil Payne, pianists Kenny Barron and Harold Mabern, trumpeter Eddie Henderson, bassist Ron Carter and drummer Joe Farnsworth. He has worked extensively with the sextet One for All. He continues to tour the world while remaining based in New York City, where he appears regularly at the club Smoke on the Upper West Side.

Roland Alexander

ROLAND ALEXANDER (September 25, 1935 - June 14, 2006)
Twenty-year-old Roland Alexander made his recording debut not on saxophone, as you would think, but rather on piano. The session wasn't planned to happen that way. On April 20, 1956, he was a visitor at the Paul Chambers session for the Transition label. The scheduled pianist, whom I believe was supposed to be Red Garland, didn't make the session, so Roland was asked to sit in on piano for the blues Trane's Strain. This was quite a break for the young musician, since the other players on the session were John Coltrane, Curtis Fuller, Pepper Adams, and the rest of Miles Davis' current rhythm section, Paul Chambers and Philly Joe Jones.

In 1959 and 1960, Roland did some recording sessions behind singers for the Bethlehem label, which led to him recording with the newly formed band of Charles Persip And The Statesmen, on April, 2, 1960. On that band Roland played alongside either Freddie Hubbard or Marcus Belgrave, with Ronnie Mathews, Ron Carter and the leader, Charli Persip, as he is now known, on drums. The group also recorded two of Roland's compositions, Sevens and Soul March. Roland then recorded with Howard McGhee, also for Bethlehem, before getting his own first album as a leader for the New Jazz label. This June 17, 1961, recording is called "Pleasure Bent," and was the first recording of the composition. On December 4, 1961, Junior Cook did a session for Jazzland and also recorded Pleasure Bent. This was Blue Mitchell's first exposure to the song, and, as you'll see on iTunes, Mitchell also later recorded it himself.

ALBERT AMMONS (September 23, 1907 - December 2, 1949)

Albert Ammons, one of the most influential figures in early jazz piano, is best remembered for his contributions to the burgeoning style of boogie-woogie piano. Albert was born in Chicago on September 23, 1907. He began playing professionally at age 17 when he and childhood friend Meade "Lux" Lewis, both taxidrivers at the time, started to play together in various Chicago nightclubs and rent parties.

In 1934, Albert started his own band at the Club DeLisa on the South Side of Chicago, where he remained for two years. He began recording in 1936 for Decca, releasing the Boogie Woogie Stomp and Swanee River Boogie with his band, the Albert Ammons Rhythm Kings. These tracks were wildly popular and led to the growing rise of boogie-woogie as a popular trend.

Shortly after, Albert relocated to New York City and teamed up with pianist Pete Johnson; the two regularly performed at Cafe Society and were occasionally joined by Meade Lux. In 1938, the three pianists played in the historic Carnegie Hall concert "From Spirituals To Swing," an event that helped launch boogie-woogie into the national spotlight. There, he and Meade Lux were noticed by producer Alfred Lion, who recorded the two on January 6, 1939, playing a series of solos and duets; this ended up being the first session for the legendary Blue Note label.

He was also noticed at the Carnegie Hall concert by other big names like Benny Goodman and Harry James and later performed with them. Albert continued performing and recording into the 1940s, but was inactive in the early part of the decade due to a cooking accident that severed part of his finger. He returned to the scene in 1944 with a recording for Commodore as a soloist. Later that year, he appeared as himself in the movie "Boogie-Woogie Dream." Albert relocated to Chicago in 1945 and secured a regular gig at the Bee Hive club. He also recorded several dates as a sideman for blues singer Sippie Wallace; on one of these sessions, he collaborated with his son, Gene Ammons. He played at the inauguration of President Harry Truman in 1949, but sadly passed away in December of that year.

Gene Ammons

GENE AMMONS (April 14, 1925 - July 23, 1974)
Gene Ammons is the son of the great boogie-woogie pianist Albert Ammons. Born in Chicago, Gene studied music at Du Sable High School under Captain Walter Dyett. He left Chicago at 18 to tour with King Kolax. At 19, he made his first recording, with Billy Eckstine and his Orchestra on September 5, 1944. The Eckstein band was truly legendary. At that time the other tenor saxophonist was Dexter Gordon, Leo Parker was on baritone sax, Dizzy Gillespie was in the trumpet section, Art Blakey was the drummer, Tommy Potter on bass, and Sarah Vaughan also sang with the band. Tadd Dameron was one of the arrangers. A hothouse of talent and creativity. Gene continued playing and recording with the Eckstine band through their October 6, 1946, recording.

During Gene's tenure, here are a few of the other great horn players who recorded with the band:
trumpeters Fats Navarro, Kenny Dorham, Miles Davis
saxophonists Budd Johnson, Sonny Stitt, Frank Wess and Cecil Payne

In 1947, Gene did his first sessions (5) as a leader, as well as recording with his father for Mercury records (Albert Ammons And His Rhythm Kings), also participated in Leo Parker's All Stars for Savoy Records. In 1949, he recorded with Woody Herman And His Orchestra, replacing Stan Getz. On February 6, 1950, he recorded a Count Basie octet session. On March 5, 1950, he and Sonny Stitt recorded their classic two-tenor composition Blues Up And Down for the first time. Gene continued to record a session every year, primarily under his own name, through September, 1962. On November 10, 1969, he made "The Boss Is Back!" and continued to record until 1974. Ironically, the last song that he ever recorded, March 20, 1974 (just a short time before he was diagnosed with terminal cancer) was Goodbye.

As Scott Yanow says, "Gene Ammons, who had a huge and immediately recognizable tone on tenor, was a very flexible player who could play bebop with the best (always battling his friend Sonny Stitt to a tie) yet was an influence on the R&B world." He loved to team up with and do battle with other tenor players: setting a precedent with Sonny Stitt and later with Don Byas, Dexter Gordon and Eddie "Lockjaw" Davis, among others.

ROB BARGAD (born September 7, 1962)
Boston-native Rob Bargad is an accomplished pianist, organist, producer, arranger and songwriter. In 1984 he began his jazz career accompanying Little Jimmy Scott and Dakota Staton in New York City. He toured the United States as the pianist for vibes master Lionel Hampton, the Harper Brothers and most notably, the late cornetist Nat Adderley. Rob played and recorded with Adderley for eight years.

Bargad has recorded several CDs as a leader and co-leader both in the US and in Europe, where he has been living for the past few years.

Rob's compositions have been recorded by Adderley, saxophonist Vincent Herring and singer-pianist Dena DeRose, among others. Rob Bargad is now a Professor of Jazz Piano at the music conservatory of Klagenfurt, Austria, and Jazz Vocal Assistant at the Kunstunivesität in Graz. Bargad has also led his own bands since the late 1980s and continues recording today.

Bill Barron

BILL BARRON (March 27, 1927 - September 21, 1989)
Tenor saxophonist Bill Barron was also a gifted composer. His first record date was with Cecil Taylor in 1959. In November of that year he recorded Interpretation with drummer Philly Joe Jones on the Riverside label. Barron continued to perform and record with Jones through 1960. In 1961 he started recording as a leader for Savoy records and began his association with trumpeter Ted Curson which resulted in several more recordings. Barron also had a successful career as an educator in the NY area. He introduced his younger brother, pianist Kenny Barron, to the jazz recording world and featured him on most of his own recordings.

PAMELA BASKIN WATSON (born July 22, 1953)

Kansas-born Pamela Baskin Watson is a versatile pianist, vocalist, composer, arranger and educator. She began studying the piano during her high school years at the Conservatory of Music at the University of Missouri. She continued her music education studying piano and accompaniment at the University of Miami.

In 1976, upon moving to New York City, she developed a strong reputation as a freelance accompanist. A number of Ms. Watson’s compositions and arrangements have been recorded by major jazz musicians such as Art Blakey and the Jazz Messengers, Betty Carter, Bobby Watson, Roy Hargrove, Victor Lewis, Terrell Stafford, James Williams and Kevin Mahogany.

Ms. Watson wrote a musical theater work entitled The Meetin' which is based on a Langston Hughes short story "Mother and Child”. The work was commissioned by Opera Ebony of New York City. She has made headways in musical education founding and directing the Harlem School of the Arts Vocal Jazz Ensemble and working closely with vocal teachers Yvonne Hatchett and Diane Randolph.

In 2002 she returned to Kansas city where she currently resides with her husband alto saxophonist Bobby Watson and continues her work as an accompanist, vocalist and educator.

MICKEY BASS (born May 2, 1943)

Born Lee Odiss Bass III, Mickey Bass is an American bassist, composer, arranger, music educator and producer. He was born in Pittsburgh, PA. His grandmother, a minstrel show performer, taught Mickey and his cousins Barbershop Harmony, a great start to a life in music.

In 1961 Mickey entered Howard University in Washington, D.C., where he studied bass with Bernard Mason, director of the symphony orchestra. He was "failed" when a teacher heard him playing jazz, a forbidden genre on campus. In 1963, Mickey moved to New York City where he had his first break, playing with Hank Mobley at Harlem's famous Hotel Theresa. Mickey also played at the original Birdland club with Sonny Rollins and Bennie Green.

Mickey's first recording was in 1965 on Bobby Timmons' "Chicken And Dumplin's" album for Prestige. He recorded another album with Timmons the following year, and in 1968 recorded on a Lee Morgan session for Blue Note. In 1972 Mickey recorded with Curtis Fuller and started recording with Art Blakey and the Jazz Messengers. He continued to record as a Jazz Messenger the following year.

Mickey has also played or recorded with Kenny Dorham, Jackie McLean, Billy Eckstine, Johnny Hartman, Joe Henderson, Sonny Stitt, Ramon Morris, Reuban Wilson, Freddie Hubbard, Freddie Redd, Tony Williams, Philly Joe Jones, Walter Bishop Jr., Zoot Sims, Mose Allison, Wynton Kelly, John Hicks, Ruth Brown, Carmen McRae, Miriam Makeba and Gloria Lynne (for whom he also served as Musical Director for seventeen years). Mickey continues to perform and promote jazz in NYC.

EDDIE BERT (May 16, 1922 - September 27, 2012)

Trombonist Eddie Bert was born in Yonkers, NY. His main interest, even as a youngster, was music. When he started on trombone, he studied with Benny Morton, of the Count Basie Band. As a professional, he graced the bands of vibraphonist Red Norvo, Stan Kenton, Woody Herman, Thelonious Monk, the Thad Jones/Mel Lewis Orchestra and many, many others. He worked as a studio musician in the New York area, also playing in many Broadway shows. His mastery of the trombone allowed him to play in a variety of musical contexts, "from the infectious swing of Benny Goodman to the wild experimentation of Charles Mingus," as writer Peter Keepnews wrote. The only trombonist Thelonious Monk invited to perform and record with his two larger ensemble projects, Eddie Bert was someone special, musically and personally, to everyone who knew him.

Eddie recorded more than sixteen albums as a leader, from 1952 (one of engineer Rudy Van Gelder's first professional albums) to 1999. His first session featured several of his own compositions, and he continued to record them on other sessions. He has received many accolades from fellow musicians, critics and fans, including Metronome Magazine's "Musician of the Year" award in 1955.

Eddie always gave 100% of himself in every situation. Plus, he wrote it down. He kept a diary of his engagements, noting the place, time, personnel and other details of each session. He was always happy to share information from his diaries with jazz historians and fans. Editor/historian Jeff Sultanof writes, "In fact, it was Eddie's diary showing a recording date with Benny Goodman that was the first step in finding previously unknown and undocumented recordings by the infamous 'bop' band that Benny led in 1949."

DENZIL BEST (April 27, 1917 - May 25, 1965) Drummer and composer Denzil Best started on the piano at age six.Then he took up trumpet and played trumpet with Chris Columbus in 1940, and also in early sessions at Minton's. Denzil seemed to be on his way as a trumpet player until a lung disease in 1940 and 1941 put an end to that career. Denzil then started gigging on piano and bass, and in 1943 started concentrating on the drums. On February 8, 1944, he made his first recording on drums under the leadership of Ben Webster, with Hot Lips Page and Clyde Hart.On July 27, 1944, he started recording with Coleman Hawkins, first in a band with Charlie Shavers and Clyde Hart, and then with Buck Clayton on October 17. On October 18, another Charlie Shavers session, this time with Coleman Hawkins as a sideman. And the next day Best recorded with Coleman Hawkins as leader again, with Thelonious Monk on piano. Before the end of the year, he was in the studio for at least three more sessions. The last one, on December 19, was Clyde Hart's Hot Seven session with Little Bennie Harris on trumpet along with Budd Johnson on tenor sax and Chuck Wayne on guitar. They recorded Denzil's own composition Dee Dee's Dance on this session.

 In 1945 Best continued playing and recording with Coleman Hawkins as well as Don Byas. In 1946 he recorded with a variety of artists, including Eddie "Lockjaw" Davis, first in a quartet setting and then with Fats Navarro added on trumpet. In 1947 he recorded on Fat's own Savoy session and did his first recording with George Shearing, followed by a number of sessions that include Jimmy Jones, more Eddie "Lockjaw" Davis and Ben Webster, a couple of Billy Taylor sessions,singer sessions with Etta Jones and Helen Humes, and a Teddy Wilson date, before heading to Europe to tour with Chubby Jackson (late 1947-1948). Best returned to the US to record with Billy Holiday in December 1948. From 1949 through 1951 he recorded many more albums with Shearing, as well as albums with Serge Chaloff, Mary Lou Williams, Lenny Tristano and Lee Konitz. In 1953, another Teddy Wilson date, and a Bobby Hacket session. In 1954 Henry Renard/Al Cohn Quartet and Jack Teagarden.

From 1955 to 1957 he was an important member of the Erroll Garner Trio, while still recording with Johnny Guarneri and George Wallington. In 1958 he recorded with Phineas Newborn, Jr., Stuff Smith, Tony Scott and Seldon Powell. His last recording was with Sheila Jordan (Portrait of Sheila) for Blue Note on October 12, 1962. Calcium deposits in his wrists hampered him in later years. He died following a fall down a flight of subway steps.

Denzil was also an excellent composer and several of his compositions have become jazz standards (these include Move, Wee (a/k/a Allen's Alley) and of course, Bemsha Swing with Thelonious Monk.

WALTER BOLDEN (December 17, 1925 - February 7, 2002)
Drummer Walter Bolden went to the Hartt School Of Music in Hartford, Connecticut, from 1945 to 1947, simultaneously playing with saxophonist Gigi Gryce from 1945 through 1948. He worked in pianist Horace Silver's Trio from 1947 to 1951.

In 1950, when Walter was 24 years old, he was playing at the Sundown Club in Hartford with Silver's trio when Stan Getz came through town. Getz liked the group so much he took them on the road, launching both Walter's and Horace's careers. Both recorded with Getz on December 10, 1950, and January 23, 1951, for the Roost label.

In September 21, 1951, Walter recorded with Gerry Mulligan for the Prestige label. Walter, Gigi and Horace were all together again for a Howard McGhee session for Blue Note Records on May 20, 1953, where they also recorded recorded Walter's own original Ittapnna.

Later that year Walt can be heard on recordings with accordionist Mat Mathews and a live broadcast from Birdland with the Allen Eager/Howard McGhee quintet. In 1954, he recorded on a Henri Renaud date which also featured J.J. Johnson, Al Cohn and Gigi (this time on bari sax). In 1958, Walt recorded with Tony Scott in a group that also featured Coleman Hawkins, pianist Tommy Flanagan and trombonist Jimmy Knepper.

In 1959, Walt recorded with Jon Hendricks, then Lambert,Hendricks & Ross, which got him in the recording studio with both the three Montgomery brothers as well as the two Adderley brothers, among others. In 1960, he recorded with George Shearing as well as another session with Howard McGhee ("Dusty Blue" Bethlehem Records).

When the music scene shifted to rock & roll in the '60s Walter essentially went into musical semi-retirement, doing only occasional session dates. He returned to music in 1973, when he was chosen Music Director and Co-ordinator of the Arts for Project Create in Harlem. This took up the majority of his time until 1976. In 1976 he recorded again with Howard McGhee as well as Frank Strozier. In 1977 he did his own album for Nemperor Records and continued recording through the 1980s.

BOB BROOKMEYER (December 19, 1929 - December 15, 2011)
Stemming from his classical music influences, American jazz trombonist Robert Brookmeyer has become one of the top valve trombonists and advanced arrangers to date. Born in Kansas City, Missouri, he started as a pianist in dance bands, winning the Carl Busch Prize for Choral Composition during his attendance at Kansas City Conservatory of Music.

When he came to New York, he freelanced with musicians such as Coleman Hawkins, Pee Wee Russell, Ben Webster and Charles Mingus. He joined forces with Stan Getz for 15 years, but didn't gain widespread notoriety until a member of Gerry Mulligan's quartet in 1954.

He is marked as the creator of the Concert Jazz Band, working with musicians throughout the decades including Bill Evans, Jimmy Guiffree, and Clark Terry's quintet. He was an original member of the Thad Jones/Mel Lewis Orchestra and was a busy studio musician.

He was appointed Director of the BMI Composers Workshop. In 1991 he moved to Holland to start a new school for improvised and composed music. As a teacher of jazz composition at the New England Conservatory of Music, he continued to write and record innovative, expressive forms of the jazz orchestra until his recent death in 2011.

Tina Brooks

TINA BROOKS (June 7, 1932 - August 15, 1973)
Harold Floyd "Tina" Brooks and his twin brother Harry were born in Fayetteville, North Carolina, becoming the youngest of eight children. The family moved to NYC in 1944. By then, Harold was already being called Tina (pronounced Teena), a grade school nickname that came from his tiny or teensy size. Around this time, he started playing the C Melody saxophone, studying with his older brother David "Bubba" Brooks, Jr. Bubba had become an established R&B tenor saxophonist, and in late 1950, Tina subbed for Bubba for a few months in pianist Sonny Thompson's R&B band. Tina made his first recording with this band.

Throughout the early fifties, Tina worked with local New York Latin bands and various R&B outfits such as those of singer-pianist Charles Brown and trumpeter Joe Morris. In 1953 or 1954, he went on the road with pianist Amos Milburn, then joined Lionel Hampton's orchestra for the spring and summer of 1955. But he found this to be little more than another R&B gig: not enough room to stretch out.
In 1956, Brooks met trumpeter-composer Little Bennie Harris at the Blue Morocco, a Bronx jazz club. Harris took the young tenor player under his wing and taught him the vocabulary and intricacies of modern jazz. Tina also developed a close friendship with the brilliant pianist-composer Elmo Hope.

Alfred Lion, the owner of Blue Note Records, remembers Bennie Harris calling him up to a Harlem club to hear Tina in late 1957. He immediately began recording Brooks on Blue Note at a regular pace. He first hired Tina for a marathon Jimmy Smith recording on February 25, 1958, which led the next month to Tina's first leader session for Blue Note on March 16. This led to another session with Jimmy Smith, followed by several Kenny Burrell sessions and Howard McGhee's June 13, 1960, "The Connection" session, which was recorded less than 4 months after Freddie Redd's original "The Connection" album for Blue Note.

During 1959 and 1960, Tina was the understudy for Jackie McLean in Jack Gelber's play "The Connection," which was presented by The Living Theater in NYC. The pianist, composer, and musical director was Freddie Redd. This association led to three more Blue Note dates: both McLean and Brooks were on two Redd sessions; and under McLean's leadership, Tina played on and wrote three of the six tunes (Medina, Isle Of Java and Street Singer) for a wonderful sextet date.
Through his association with Blue Note, Tina met another great and underrated tenorman, Ike Quebec, who introduced him to Freddie Hubbard. Tina recorded on Freddie's first album as a leader on June 19, 1960, and contributed two originals, both the title composition Open Sesame and Gypsy Blue. Less than a week later, June 25, Freddie recorded on Tina's "True Blue" session, Tina's first released album as a leader.
Tina Brooks would only record two more sessions, both his own, which became: "Back In The Tracks" (October 20, 1960) and "The Waiting Game" (March 2, 1961). He was still only 28 years old when his recording career ended. Although he lived until 1974, he had been very ill and unable to play the saxophone for several years.

Tina Brooks' combo arrangments are available from Second Floor Music: Open Sesame and Street Singer.

Clifford Brown

CLIFFORD BROWN (October 30, 1930 - June 27, 1956)
Clifford Brown was legendary and influential trumpet player who had everything going for him: an incredible sound, dazzling technique and ideas, and a great compositional gift. Brown was in the limelight for just five years (he died in a car accident at age 25) yet his mark on jazz is indelible. Early performances at jam sessions with Dizzy Gillespie, Charlie Parker and Fats Navarro (his major influences) led to work with R&B bandleader Chris Powell, Lionel Hampton and Tadd Dameron through 1953. Brown was then heard briefly with Art Blakey before teaming with Max Roach and forming their heralded quintet. His compositions Joy Spring, Daahoud and Sandu are jazz classics. He also contributed other important compositions to the jazz repertoire.

DONALD BROWN (born March 28, 1954)
A lyrical pianist and prolific composer as well as a teacher, band leader and arranger, Donald Brown is considered one of the masters of contemporary jazz composition. Raised in Memphis, Tennessee, Donald studied trumpet and drums as a youth. It was not until he began studying at Memphis State University that he switched to piano as his primary instrument, the late start making his pianistic skill all the more incredible.

His professional music career began as an accompanist for local R&B artists, but he quickly gained recognition after he replaced James Williams in Art Blakey's Jazz Messengers in 1981. It was with the Messengers that he recorded on his first professional gig. He was appointed to be a professor at Berklee College of Music in 1983 and continued his teaching career with the University of Tennessee in 1988.

Donald's prolific discography includes many as a leader on a variety of labels like Evidence, Muse, and Sunnyside. His composition The Insane Asylum earned a Grammy nomination when it was recorded by trumpeter Wynton Marsalis. He has collaborated and recorded with a diverse list of jazz legends such as Louis Hayes, Wynton Marsalis, Slide Hampton, Billy Pierce, TS Monk, Billy Drummond, Bobby Watson, Steve Nelson, Woody Shaw, Kenny Garrett and Diane Reeves. He continues to be one of the top jazz pianists of his generation and is composing and performing extensively today.

Ray Bryant

RAY BRYANT (December 24, 1931 - June 2, 2011)
Following performances in his native Philadelphia with guitarist Tiny Grimes and as house pianist at the Blue Note Club with Charlie Parker, Lester Young, Miles Davis and others, Ray Bryant came to New York in the mid-1950s. His first jazz recording session in New York was with Toots Thielemans (August, 1955) for Columbia Records. That session led to his own trio sessions as well as sessions with vocalist Betty Carter for Epic Records in May and June ("Meet Betty Carter and Ray Bryant"). On August 5, 1955, Ray recorded with Miles Davis, and on December 2, 1955, with Sonny Rollins, both for Prestige Records. On April 3, 1956, Ray started his "Ray Bryant Trio" album for Epic Records, which contains his own first recording of his classic title Cubano Chant. Cal Tjader had recorded Cubano Chant earlier, on November 11, 1955, on Fantasy Records.

On September 17 and 19, 1956, Ray recorded on "Max Roach Plus 4," with Kenny Dorham and Sonny Rollins. In February, 1957, he recorded Cubano Chant two more times, first with the Art Blakey/Jo Jones Percussion Ensemble (February 22) and on February 25, with Art Taylor ("Tailor's Wailers"). Also in 1957, Ray can be heard on his own recordings and recordings with Carmen McRae, more Art Blakey, Clifford Jordan, Coleman Hawkins and Lee Morgan. Ray was also on three Dizzy Gillespie recordings that year, the first of which contains the first recording of Dizzy's classic, Con Alma, the second contains some great Gigi Gryce compositions and arrangements ("The Greatest Trumpet Of Them All"), and the third has Sonny Stitt's classic The Eternal Triangle, with Ray comping behind the incredible battling tenors of Sonny Stitt and Sonny Rollins ("Sonny Side Up").

Not bad for a young man who still hadn't turned 26 years of age! More of Ray's long and illustrious career will be discussed with his individual lead sheets.