A Birth of Jazz 7
A You Tube History of Music
Modern Jazz 4
Bass - Drums - Guitar - Harp - Theramin - Vibraphone - Violin
Other Instrumentation
Featured on this page loosely in order of first recording or record release (as possible):
Big Sid Catlett Django Reinhardt Stephane Grappelli Les Paul Machito Desi Arnaz Billy Bauer George Duvivier
Oscar Pettiford Les Baxter Ray Brown Chuck Wayne Percy Heath Tito Puente Cal Tjader Hank Garland
Kenny Burrell Jimmy Cobb Terry Gibbs Grady Martin Milt Jackson Shelly Manne Art Blakey Elvin Jones
Charles Mingus Red Mitchell Paul Chambers Chico Hamilton Max Roach Barney Kessel Herb Ellis Jim Hall
Nelson Riddle Dorothy Ashby Charlie Byrd Philly Joe Jones Art Taylor Wes Montgomery Joe Pass
Not on this page? See history tree below.
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Django Reinhardt
Machito
Billy Bauer
Oscar Pettiford
Ray Brown
Percy Heath
Cal Tjader
Kenny Burrell
Terry Gibbs & Terry Pollard
Milt Jackson
Art Blakey
Charles Mingus
Paul Chambers
Max Roach
Herb Ellis
Nelson Riddle
Charlie Byrd
Arthur Taylor
Joe Pass
| One might think of the history of jazz a little like the
ka-boom of string-theory cosmology (or one such version): in the beginning
was the big bounce of small bands (Ka . . . call Buddy Bolden the
elusive string), next the inflation of full swing orchestras (Boom . . .
Hi!-de-ho!), then the jazz universe as we know it, of solo stars in small
clusters of all variety. This page concerns the birth of modern jazz via
various instruments, excluding horn and piano. Drummer Big Sid Catlett began his professional career in 1928 with Darnell Howard and was a member of the Chocolate Dandies. Among his first recordings in 1928 was with the Creole Jazz Band. Though definitely a swing drummer, Catlett was quick to groove with the newer developments of early modern jazz. Big Sid Catlett 1928 Big Sid Catlett 1944 Big Sid Catlett 1945 Guitar: Al Casey Big Sid Catlett 1947 Big Sid Catlett 1947 Film: 'Sepia Cinderella' Guitarist Django Reinhardt was a swing (era) musician. But he wasn't a big band musician, and song wasn't the thing with Reinhardt as were other factors (foreign influence and emphasis on individual virtuosity) for which reason we place him at the deep roots of modern jazz. Reinhardt first recorded with Jean Sablon in 1933 France. ('Parce Que Je Vous Aime', below, also features vocalist Eliane De Creus.) Burn injuries via candle as a boy left Reinhardt with two paralyzed fingers such that he could strum chords with four fingers but could play melody with only two, all the more phenomenal. Though known as a swing musician, Reinhardt mixed it with gypsy and Romani influence. In 1934 he founded the Quintette du Hot Club de France with Stephane Grappelli. As Reinhardt and Grappelli are most famous for their collaborations together, several of the Reinhardt samples below feature Grappelli as well. Django Reinhardt 1933 With Jean Sablon Parce Que Je Vous Aime (Because I Love You) Django Reinhardt 1933 With Jean Sablon Django Reinhardt 1936 Django Reinhardt 1936 Django Reinhardt 1937 Django Reinhardt 1940 Acoustic guitar Django Reinhardt 1949 Electric guitar Django Reinhardt 1950 Though Stephane Grappelli was also a pianist (see Coleman Hawkins in Jazz 4) he is most famous for his skill with violin. Albeit one could well categorize Reinhardt and Grappelli as swing musicians, their sound is too unique for that period to not be placed on this page as forerunners of early modern jazz (which is exactly where they belong, even did we create a category under Swing Jazz which page would better accommodate them). Since Grappelli first recorded in Paris with Django Reinhardt, the guitar in a few of the samples below is by Reinhardt. The partnership between Grappelli and Reinhardt was the French version of the collaboration between guitarist Eddie Lang and violinist Joe Venuti in America that began some eight years earlier in 1926 (Jazz 1). Stephane Grappelli 1937 Stephane Grappelli 1939 Stephane Grappelli 1949 Stephane Grappelli 1956 Stephane Grappelli 1973 With Oscar Peterson Stephane Grappelli 1990 Live performance Stephane Grappelli 1991 Live performance Guitarist Les Paul (Lester William Polsfuss) quit high school to play professionally at KMOX radio in St. Louis, Missouri. He first recorded in 1936. One of those recordings, with Georgia White, 'I'll Keep Sitting On It (If I Can't Sell It)', is available for purchase (remastered) but the original recording (very scratchy) can't be heard on the internet without invitation (perhaps a case of I'll keep sitting on it if I can't sell it). Paul next formed the Les Paul Trio and released his first album the next year under the name Rhubarb Red and His Rubes, unfound for this history. (Though Paul made a number of recordings in the years prior to his marriage and musical partnership with Mary Ford, the earliest examples we could find are not until 1944.) Les Paul's fame as a fabulous guitar player, as well as his collaborations with Mary Ford (Jazz 8), is overshadowed by his contribution to Orville Gibson's design of the Gibson Les Paul electric guitar. Paul had an innovative lean, from assembling a neck brace as a boy so he could play guitar and harmonica at once, to the invention of multi-track recording, overdubbing and the little black box attached to his guitars called the paulverizer (the effects of which can be heard in a few of the tracks below). Les Paul 1944 Les Paul 1944 Les Paul 1944 Les Paul 1950 Les Paul 1950 With Mary Ford Les Paul 1955 Les Paul 1988 Live performance Hailing from Havana, Cuba, Machito (Francisco Raúl Gutiérrez Grillo) was a Latin jazz and salsa vocalist and band leader with a fondness for maracas. He first recorded in 1937 with Conjunto Moderno (unfound). Machito first recorded as a lead singer in 1941 with the Noro Morales Orquesta. Briefly afterward he formed his own orchestra. Though Machito was a swing era musician we place him on this page as a forerunner in the development of modern jazz. Machito 1938 Vocalist: Johnny Lopez Machito 1939 Machito 1940 Machito 1941 Machito 1943 Vocalist: Graciela Machito 1958 Rumba master, Desi Arnaz (Sr.), famous as Lucille Ball's husband on the television comedy, 'I Love Lucy', was sixteen when his family (of Bacardi Rum wealth) fled Cuba upon the revolution led by Batista in 1933. Though Arnaz sang and played guitar he is better known as a bandleader and conga player. His first recordings, with his first orchestra, in 1939 are unfound. Due to the draft and military service during World War II it would be seven years before Arnaz released another record with his second orchestra. (Arnaz actually was married to Lucille ball in 1940. They divorced twenty years later.) Desi Arnaz 1946 Desi Arnaz 1946 Desi Arnaz 1946 Modern jazz is initially conceived via three main forces: bebop (in which the majority of musicians in the Birth of Modern Jazz had engaged at one time or another in their careers), emphasis upon individual solo performance, and exploration of international musical styles. As for cool, some say it developed out of bebop, others say it was unique to itself. Casting no vote either way, let's but say that Billy Bauer was a guitarist in whom some hear bebop moving toward cool jazz. It is thought he first appeared in recordings in 1941 as a member of the Carl Hoff Orchestra (unfound). But he certainly was a member of Woody Herman's First Herd which he joined in 1944 (see Woody Herman in Jazz 2.) And he certainly recorded 'Groovin' High' in 1947 with saxophonist Allen Eager, though he is perhaps better known in association with pianist Lennie Tristano (a sample of his guitar in that partnership under Tristano in Jazz 6). Billy Bauer 1947 Sax: Allen Eager Billy Bauer 1949 Lennie Tristano Sextet George Duvivier, bassist, first recorded with pianist Bud Powell in 1943. George Duvivier 1943 Piano: Bud Powell George Duvivier 1984 Guitar: Johnny Smith Double bassist and cello player Oscar Pettiford first worked with Milt Hinton, double bassist alike. He made his debut recording, 'The Man I Love', in 1943 with Coleman Hawkins. Oscar Pettiford 1943 With Coleman Hawkins Oscar Pettiford 1959 Drums: Jimmy Pratt Guitar: Attila Zoller Sax: Hans Koller Oscar Pettiford 1959 Drums: Jimmy Pratt Guitar: Attila Zoller Sax: Hans Koller Oscar Pettiford 1959 Drums: Jimmy Pratt Guitar: Attila Zoller Sax: Hans Koller Oscar Pettiford 1959 Tenor Sax: Stan Getz Arranger, composer, conductor and pianist Les Baxter began his jazz career by joining Mel Tormé and the Mel-tones in 1945 (age 23), switching from classical piano to singing. Baxter is famous for exotica, as well as conducting with one of rarer musical instruments, the theramin. The theramin is featured below with tracks from Baxter's first two albums, 'Music Out Of the Moon' and 'Perfume Set to Music', released in 1947 and 1948. Les Baxter 1947 Composition: Harry Revel Theramin: Samuel Hoffman Les Baxter 1947 Composition: Harry Revel Theramin: Samuel Hoffman Les Baxter 1948 Composition: Harry Revel Theramin: Samuel Hoffman Les Baxter 1951 Les Baxter 1951 Les Baxter 1952 Les Baxter 1953 Vocalist: Bill Kennedy Les Baxter 1956 Vocalist: Will Hart Les Baxter 1957 Les Baxter 1970 Les Baxter 1970 Bassist Ray Brown released his first album, 'New Sounds in Modern Music', in 1946. Ray Brown 1946 Drums: Max Roach Piano: Hank Jones Saxophone: Stan Getz Ray Brown 1977 Drums: Elvin Jones Piano: Cedar Walton Ray Brown 1992 Piano: Gene Harris Trumpet: James Morrison Ray Brown 1992 Piano: Gene Harris Ray Brown 2001 Ray Brown 2001 Violin: Regina Carter Guitarist Chuck Wayne released his debut album, 'The Jazz Guitarist', in 1946 (unfound). He is also the guitarist on the tracks of Tony Bennett below. Chuck Wayne 1950 Chuck Wayne 1957 Bassist Percy Heath first recorded in 1948 as a member of the Howard McGhee Sextet. Unfortunately no earlier recording that features his abilities could be found than 'I'll Remember April', released in 1955, also with the Howard McGhee Sextet. Percy Heath 1948 Howard McGhee Sextet Drums: Philly Joe Jones Like Machito, Tito Puente, born of Puerto Rican heritage in New York City, was a Latin jazz and salsa band leader, but famous playing the timbales. Puente had graduated from Julliard in the latter forties, first recorded in 1948, and eventually released his first album as a band leader, 'Puente In Percussion', in 1956. Tito Puente 1948 Tito Puente 1956 Tito Puente 1956 Tito Puente 1985 Tito Puente 1997 Tito Puente 1999 Though Cal Tjader is better known as a vibraphonist, he began his career playing a variety of percussion. He was at San Francisco State when he met Dave Brubeck and Paul Desmond. Among his first recordings with the Dave Brubeck Octet in 1949 he plays bongos in the sample below. He was a member of the Dave Brubeck Trio below, later playing vibraphone with George Shearing (Jazz 6). Cal Tjader 1949 Dave Brubeck Trio Cal Tjader 1964 Cal Tjader 1966 Piano: Eddie Palmieri Jazz guitarist Hank Garland got his start in country music at age fourteen, joining Paul Howard's Georgia Cotton Pickers with whom he played at the Grand Ole Opry. At age nineteen Garland's career got a major boost upon composing 'Sugarfoot Rag' and recording it with Red Foley for release in 1950. (Two versions at A Birth Of Country Western.) Garland was a popular session guitarist, perhaps most notably with Elvis Presley. In 1961 he released his first two (jazz) albums: 'Jazz Winds From a New Direction' and 'Velvet Guitar'. Hank Garland 1961 From 'Velvet Guitar' Hank Garland 1961 From 'Velvet Guitar' Hank Garland 1961 From 'Velvet Guitar' Hank Garland 1961 From 'Jazz Winds From a New Direction' Guitarist Kenny Burrell began his recording career in 1951 with Dizzy Gillespie. Some five years later he released his first album, 'Introducing Kenny Burrell'. Kenny Burrell 1956 Piano: Tommy Flanagan Kenny Burrell 1956 Piano: Tommy Flanagan Jimmy Cobb, drummer, is well known for his work with Miles Davis. Cobb began is professional career in 1950, first recording in 1951 with bandleader Earl Bostic. (More Bostic in Jazz 4.) Jimmy Cobb 1951 Jimmy Cobb 1957 Bass: Sam Jones Piano: Junior Mance Alto Sax: Cannonball Adderley Trumpet: Nat Adderley Jimmy Cobb 1957 Bass: Sam Jones Piano: Junior Mance Alto Sax: Cannonball Adderley Trumpet: Nat Adderley Terry Gibbs, vibraphone, released his first album, 'Good Vibes', in 1951 (unfound). His second album, titled simply 'Terry Gibbs', followed two years later. Gibbs can be found under Buddy DeFranco in Jazz 5 as well. Terry Gibbs 1953 Pianist: Terry Pollard Terry Gibbs 1982 Terry Gibbs 1982 Phenomenal jazz guitarist Grady Martin was also a country western musician who liked to mix the two genres together. Martin got his professional break early, performing regularly for WLAC radio in Nashville at age fifteen. Several years later he put together a band called the Slew Foot Five and made his first recordings (1951), 'Bully Of the Town', below, among them. Most of the tenor sax on the recordings below is by Dutch McMillin. (More Grady Martin in A Birth of Country Western and A Birth of Rock & Roll.) Grady Martin 1951 Grady Martin 1956 Grady Martin 1957 Grady Martin 1959 Composition: William Handy Milt Jackson first pursued music as a pianist, later switching to the vibraphone. Discovered by Dizzy Gillespie in 1946, he produced his first album in 1952. Milt Jackson 1952 Milt Jackson 1952 Live performance 1986 Milt Jackson 1955 Trumpet: Miles Davis Milt Jackson 1955 Piano: Hank Jones Milt Jackson 1956 Milt Jackson 1959 Bass: Paul Chambers Drums: Connie Kay Piano: Tommy Flanagan Sax: Benny Golson Trumpet: Art Farmer Milt Jackson 1970 Milt Jackson 1974 Milt Jackson 1977 Milt Jackson 1984 Performance with Percy Heath Milt Jackson 1990 Live performance Milt Jackson 1990 Live performance Milt Jackson 1990 Live performance Milt Jackson 1994 Live performance Drummer Shelly Manne got his first professional job at age twenty (1940) with the Bobby Byrne Orchestra. Largely associated with West Coast jazz, Manne began recording for his first album in 1953. Shelly Manne 1953 You and the Night and the Music Shelly Manne 1958 Shelly Manne 1958 Bass: Monty Budwig Piano: Russ Freeman Sax: Richie Kamuca Trumpet: Conte Candoli Shelly Manne 1959 Double Bass: Monty Budwig Piano: Victor Feldman Tenor Sax: Richie Kamuca Trumpet: Joe Gordon Shelly Manne 1962 Bass: George Duvivier Piano: Hank Jones Sax: Coleman Hawkins Art Blakey was a drummer whose career in jazz began in 1942, playing swing with various musicians, his big break with Billy Eckstine. Five years later he formed the Seventeen, which would become the Jazz Messengers. Later that year he formed the Art Blakey Quintet, joined by Clifford Brown. (Each sample of both formations below feature Horace Silver on piano as well.) Art Blakey 1954 Jazz Messengers Piano: Horace Silver Art Blakey 1954 Art Blakey Quintet Piano: Horace Silver Drummer Elvin Jones first recorded the album, 'J Is For Jazz', with Charles Mingus in 1955 (unfound). Unfortunately the earliest recording of Jones for this history isn't until 1960, ('Afro Blue'), the same year he began working with John Coltrane. Elvin Jones 1962 Pianist: McCoy Tyner Elvin Jones 1965 Pian0: McCoy Tyner Sax: John Coltrane Another musician at the avant-garde of modern jazz was phenomenal bassist Charles Mingus who studied classical before touring with Louis Armstrong in 1943, after which he played with all the big names from Ellington to Parker. Charles Mingus 1955 Drums: Max Roach Bassist Red Mitchell produced his first album, titled simply, 'Red Mitchell', in 1955. Red Mitchell 1955 Drums: Chuck Thompson Piano: Hampton Hawes Sax: Joe Maini Trumpet: Conte Candoli Red Mitchell 1961 Drums: Leon Petties Piano: Frank Strazzeri Sax: Harold Land Trumpet: Carmell Jones Red Mitchell 1974 Composition: Cole Porter Alto Sax: Lee Konitz Bassist Paul Chambers made a giant step in his career upon recording numbers such as 'A Little Taste' and 'Flamingo' with Cannonball Adderley in 1955 (under Adderley in Jazz 3). He released his first album, 'Chamber's Music', the next year. Paul Chambers 1956 Saxophone: John Coltrane Paul Chambers 1956 Saxophone: John Coltrane Paul Chambers 1956 Paul Chambers 1956 Drummer and band leader Chico Hamilton began his professional career with Dexter Gordon and Charles Mingus. He put together his own trio in 1956 with bassist George Duvivier and guitarist Howard Roberts. Unfortunately that first album is unfound. (Hamilton also plays drums on selections for Buddy Collette in Jazz 4.) Chico Hamilton 1958 Bass: Wyatt Ruther Cello: Nathan Gershman Guitar: Dennis Budimir Alto Sax: Eric Dolphy Max Roach was a seriously gifted drummer who studied classical percussion before beginning his jazz career in 1942. He played with such as Charlie Parker and Dizzy Gillespie before starting his own band (Max Roach + Four) in 1956, recording 'Ezz-Thetic' the same year (released 1957). Max Roach 1957 Saxophone: Sonny Rollins Released 1957 Guitarist Barney Kessel began recording with other musicians like Charlie Parker in the forties. He largely worked as a Hollywood sessions guitarist, likely getting his start via Chico Marx of the Marx Brothers (Marx a pianist). Kessel appeared in his first film, 'Jammin' the Blues' with Lester Young in 1944. He began recording his first album, 'Easy Like', in 1953, and released it in 1955 with two others, 'Kessel Plays Standards' and 'To Swing or Not to Swing'. Barney Kessel 1955 Recorded 1953 Bass: Red Mitchell Piano: Claude Williamson Barney Kessel 1955 Recorded 1954 Barney Kessel 1955 Recorded 1954 Barney Kessel 1955 Recorded 1954 Barney Kessel 1959 Like novelist, Henry Miller, who wrote because he was too poor to pursue anything else, so it was with guitarist Herb Ellis. Unable to finish college, Ellis nevertheless got a break from Glen Gray (Jazz 2) not long later. His first recorded solos (unfound) were with Jimmy Dorsey (Jazz 2). In 1956 Ellis released his first album, 'Ellis in Wonderland' (unfound), then became a member of the group, Soft Winds, with Coleman Hawkins and Stan Getz (both in Jazz 4), in 1957. Herb Ellis 1958 Trumpet: Dizzy Gillespie From the album 'Nothing But the Blues' Herb Ellis 1969 Piano: Oscar Peterson Bass: Sam Jones Drums: Bob Durham Herb Ellis 1969 Piano: Oscar Peterson Bass: Sam Jones Drums: Bob Durham Herb Ellis 1979 Duet with Barney Kessel Herb Ellis 1986 Live performance with Dave Maslow Herb Ellis 1986 Live performance with Dave Maslow The earliest recording found on which Jim Hall plays guitar is 'The Wind' in 1956. Hall was educated at the Cleveland Institute of Music and released his first album, 'Jazz Guitar', in 1957. The pianist in tracks from that album below is Carl Perkins. Jim Hall 1956 Chico Hamilton Quintet Bass: Carson Smith Cello: Fred Katz Alto Sax: Buddy Collette Jim Hall 1957 Bass: Red Mitchell Piano: Carl Perkins Jim Hall 1957 Bass: Red Mitchell Piano: Carl Perkins Jim Hall 1957 Bass: Red Mitchell Piano: Carl Perkins Arranger, composer, conductor and pianist Nelson Riddle began playing trombone for Tommy Dorsey in 1944. Not a year later he was drafted into the army, after which he began arranging, his first big success, 'Mona Lisa', for Nat King Cole in 1950. He released his first single as a bandleader in 1956 ('Lisbon Antigua', below). Nelson Riddle 1956 Nelson Riddle 1958 Nelson Riddle 1960 Nelson Riddle 1960 Nelson Riddle 1962 Dorothy Ashby made a transition from piano to harp upon graduating from college in 1952. She initially found resistance to the notion that harp could be a jazz instrument, especially bebop, but was too talented to long despise, soon recording with big names. She released her first album, 'The Jazz Harpist', in 1957. Dorothy Ashby 1957 Dorothy Ashby 1958 Dorothy Ashby 1958 Guitarist Charlie Byrd, perhaps most famous for his contributions to 'Jazz Samba' with Stan Getz (Jazz 4), released his first album, 'First Flight', in 1957, which was a compilation of two other albums released the same year ('Jazz Recital' and 'Blues for Night People'). Charlie Byrd 1957 Charlie Byrd 1957 Blues My Naughty Sweetie Gives to Me Charlie Byrd 1957 Charlie Byrd 1961 Charlie Byrd 1974 Charlie Byrd 1980 Philly Joe Jones got his major start in jazz in 1947 as a house drummer at Café Society in New York City. His first album, 'The Joe Jones Special', released in 1957, is unfound for this history. But he released his second album, 'Blues for Dracula', the next year. Philly Joe Jones 1958 Bass: Jimmy Garrison Piano: Tommy Flanagan Philly Joe Jones 1960 Arthur Taylor, drummer, began his professional career in 1948, playing with such as Howard McGhee, Coleman Hawkins, Buddy DeFranco and Bud Powell before forming his own band, Taylor's Wailers, in 1956, releasing his first name album the next year with that group. Art Taylor 1957 Piano: Ray Bryant Guitarist Wes Montgomery's first big break came in 1948, touring with the Lionel Hampton Orchestra for a couple years. The examples below for year 1965 are from the release 'Smokin' At the Half Note'. Wes Montgomery 1959 Wes Montgomery 1959 Wes Montgomery 1959 Wes Montgomery 1965 Piano: Wynton Kelly Bass: Paul Chambers Drums: Jimmy Cobb Wes Montgomery 1965 Piano: Wynton Kelly Bass: Paul Chambers Drums: Jimmy Cobb Wes Montgomery 1965 Piano: Wynton Kelly Bass: Paul Chambers Drums: Jimmy Cobb Wes Montgomery 1965 Piano: Wynton Kelly Bass: Paul Chambers Drums: Jimmy Cobb Wes Montgomery 1965 Piano: Wynton Kelly Bass: Paul Chambers Drums: Jimmy Cobb Wes Montgomery 1967 Wes Montgomery 1968 Piano: Herbie Hancock Bass: Richard Davis Drums: Ed Shaughnessy We suspend this Birth of Modern Jazz with guitarist Joe Pass. By the time Pass lands his first recording contract in 1961 jazz is well developed beyond the big swing orchestra, largely via the introduction of sounds from without the United States in the thirties, then bebop and individualists such as Nat King Cole in the forties. The fifties will have commenced with "cool" jazz ('Birth of the Cool', released by Miles Davis in 1950 representative of such) and be a decade of experiment giving passage to prominent compositions in the sixties announcing that modern jazz has arrived (such as 'Desafinado' in Jazz 4 or 'Take Five' in Jazz 6). By the time Joe Pass records his first album drummers such as Louie Bellson, Ed Thigpen and Louis Hayes are poised to take jazz through the sixties along with bassists like Jimmy Garrison, Ron Carter and Sam Jones. As for orchestration, such as Henry Mancini will emerge in the sixties as well. Joe Pass, however, had largely dropped out of the jazz scene in the fifties. Though he had begun playing gigs at age fourteen (1944) and had spent the forties traveling with various bands, he met with drugs for several years. It was during two and a half years of rehabilitation, begun in the latter fifties, that he resumed guitar, with concentration sufficient to reemerge in 1961 with 'The Sounds of Synanon', from which the tracks below are taken. Joe Pass 1961 Joe Pass 1961
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Big Sid Catlett
Stephane Grappelli
Mary Ford & Les Paul
Desi Arnaz
George Duvivier
Les Baxter
Chuck Wayne
Tito Puente
Hank Garland
Jimmy Cobb
Grady Martin
Shelly Manne
Elvin Jones
Red Mitchell
Chico Hamilton
Barney Kessel
Jim Hall
Dorothy Ashby
Philly Joe Jones
Wes Montgomery
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A Birth of Country 1: Bluegrass
A Birth of Country 3: Country Western
A Birth of Jazz 2: Swing Era 1: Big Bands
A Birth of Jazz 3: Swing Era 2: Song
A Birth of Jazz 4: Modern 1: Saxophone
A Birth of Jazz 5: Modern 2: Trumpet - Other Horn
A Birth of Jazz 6: Modern 3: Piano
A Birth of Jazz 7: Modern 4: Other Instrumentation
A Birth of Jazz 8: Modern 5: Song
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