|Birth name||John Josephus Hicks Jr.|
|Born||December 21, 1941|
Atlanta, Georgia, U.S.
|Died||May 10, 2006 64) (aged|
New York City, New York
|Genres||Jazz, hard bop, bebop, free jazz, modal jazz|
|Occupation(s)||Musician, composer, arranger, educator|
|Associated acts||Jazz Messengers, Woody Herman, Betty Carter, Mingus Dynasty Band, Elise Wood|
John Josephus Hicks Jr. (December 21, 1941 – May 10, 2006) was an American jazz pianist, composer, and arranger. He was leader of more than 30 recordings and played as a sideman on more than 300.
After early experiences backing blues musicians, Hicks moved to New York in 1963. He was part of Art Blakey's band for two years, accompanied vocalist Betty Carter from 1965 to 1967, before joining Woody Herman's big band, where he stayed until 1970. Following these associations, Hicks expanded into freer bands, including those of trumpeters Charles Tolliver and Lester Bowie. He rejoined Carter in 1975; the five-year stay brought him more attention and helped to launch his recording career as a leader. He continued to play and record extensively in the United States and internationally. Under his own leadership, his recordings were mostly bebop-influenced, while those for other leaders continued to be in a diversity of styles, including multi-year associations with saxophonists Arthur Blythe, David Murray, David "Fathead" Newman, and Pharoah Sanders.
Hicks was born in Atlanta, Georgia, on December 21, 1941,the oldest of five children. As a child, he moved with his family around the United States, as his father, the Rev John Hicks Sr, took up jobs with the Methodist church. His family was middle class: "I was brought up as a decent human being, where you had aspirations and there were expectations", he commented. His mother, Pollie, was his first piano teacher, after he began playing aged six or seven in Los Angeles. He also took organ lessons, sang in choirs and tried the violin and trombone. Around the age of 11, once he could read music, Hicks started playing the piano in church.
His development accelerated once his family moved to St. Louis, when Hicks was 14 and he settled on the piano.There, he attended Sumner High School and played in schoolmate Lester Bowie's band, the Continentals, which performed in a variety of musical styles. Hicks cited influences "from Fats Waller to Thelonious Monk to Methodist church hymns", as well as local pianists. He was initially interested in the blues-based compositions of Horace Silver and popular songs such as "I Got Rhythm" and "There Will Never Be Another You", for their easily recognised harmonies.
Hicks worked summer gigs in the southern United States with blues musicians Little Milton and Albert King.His stint with Little Milton provided his first professional work, in 1958; Hicks stated that his playing in a variety of keys improved because the venue's piano was so out of tune that he had to transpose each piece that they played. Hicks studied music in 1958 at Lincoln University in Pennsylvania, where he shared a room with drummer Ronald Shannon Jackson. He also studied for a short time at the Berklee School of Music in Boston before moving to New York in 1963.
In New York, Hicks first accompanied singer Della Reese.He then played with Joe Farrell and toured with trombonist Al Grey and tenor saxophonist Billy Mitchell. In 1963 he was also part of saxophonist Pharoah Sanders' first band, and appeared on CBC Television backing vocalist Jimmy Witherspoon. After periods with Kenny Dorham and Joe Henderson, Hicks joined Art Blakey's Jazz Messengers in 1964. His recording debut was with Blakey in November that year on the album 'S Make It . Early in 1965, Hicks toured with Blakey to Japan, France, Switzerland, and England. Blakey encouraged his band members, including Hicks, to compose for the band, although they also played compositions by previous members of the band. He stayed with Blakey for two years, during which time his playing was compared with that of McCoy Tyner, for the level of energy displayed and for some of the intervals that they used.
In the period 1965 to 1967, Hicks worked on and off with vocalist Betty Carter;her liking for slow ballads helped him develop his sense of time. He then joined Woody Herman's big band, where he stayed until 1970, playing as well as writing arrangements for the band. Hicks also began recording as a sideman with a wide range of leaders – in the 1960s these included Booker Ervin, Hank Mobley, and Lee Morgan – a trend that continued for the remainder of his career. From 1972 to 1973, Hicks taught jazz history and improvisation at Southern Illinois University. From the 1970s, he also played in more avant garde bands, beginning with recordings led by Oliver Lake and performances and recordings in the Netherlands with Charles Tolliver. He played with Blakey again in 1973. Hicks' debut recording as leader was on May 21, 1975, in England. The session resulted in two albums – the trio Hells Bells , with bassist Clint Houston and drummer Cliff Barbaro, and the solo piano Steadfast – that were released by Strata-East Records several years later.
Hicks reunited with Carter in 1975, including accompanying her in a musical play, Don't Call Me Man, that year.After recording with Carter on her Now It's My Turn in 1976, Hicks returned to her band full-time; this raised his profile and led to his own recording – After the Morning . His sideman recording also continued, including with Carter Jefferson (1978) and Chico Freeman (1978–79). Hicks was dismissed in 1980 by Carter, a forceful bandleader, for drinking.
Some Other Time in 1981, with bassist Walter Booker and drummer Idris Muhammad, revealed more of Hicks as a composer, and included his best-known song, "Naima's Love Song".
Hicks was the leader of groups from the mid-1970s onwards.His small groups included a quartet featuring Sonny Fortune, Walter Booker, and Jimmy Cobb (1975–82, from 1990); a group featuring the flutist Elise Wood (with or without a drummer); and other groups featuring Gary Bartz, Vincent Herring, trombonist Craig Handy, bassists Curtis Lundy or Ray Drummond and drummers Idris Muhammad or Victor Lewis. His quintets and sextets included Robin Eubanks and Tolliver (both from 1982), Branford Marsalis (1982–4), Hannibal Peterson (from 1983), Wynton Marsalis (1983–4), Craig Harris (1985–6), Eddie Henderson (1985–6, 1988–90), and Freeman (1985–8). A big band was created in autumn 1982 and revived on occasion subsequently. He played in the UK with Freeman's band in 1989.
From 1983, the flautist Elise Wood was frequently a member of his groups.As a duo, they played mostly jazz, but also some classical music. They formed a business partnership – John Hicks-Elise Wood, Inc. – and toured the US, Europe and Japan in the 1980s.
He also freelanced, including with players such as Arthur Blythe, David Murray, and Pharoah Sanders.During the 1980s, was a sideman for Richie Cole (1980), Arthur Blythe (In the Tradition), David Murray, Hamiet Bluiett, Art Davis, and Pharoah Sanders; recording with as Ricky Ford (1980, 1982), Alvin Queen (1981), Peter Leitch (1984), Herring (1986), and Bobby Watson (1986, 1988). In 1984, he had a big band that rehearsed; a sextet from it played concerts. From around 1989 into the 1990s, he played with the Mingus Dynasty band, including for performances of the symphony Epitaph. He recorded two albums in Japan in 1988 – the trio East Side Blues and the quartet Naima's Love Song , with altoist Bobby Watson added. By now making regular appearances at jazz festivals internationally, Hicks continued to perform in New York City.
Hicks divorced his wife, Olympia, in the early 1990s.The couple had a son and daughter (Jamil Malik and Naima).
Like many jazz musicians in the 1990s, Hicks recorded for multiple labels proposing different recording ideas.The resultant recordings included duo sessions with Jay McShann (1992) and Leitch (1994) for the American Reservoir Records, and several trio-based sessions for Japanese labels – the New York Unit with bassist Richard Davis and drummer Tatsuya Nakamura for Paddle Wheel Records, and the New York Rhythm Machine with bassist Marcus McLaurine and drummer Victor Lewis for Venus Records. These were followed by more trio recordings for other labels – the Keystone Trio of George Mraz and Muhammad for the Milestone label from 1995, and a longer-lasting band with Dwayne Dolphin on bass and Cecil Brooks III on drums for HighNote Records from 1997. The last of these included his most commercially successful recordings, which were tributes to other pianists, including Something to Live For: A Billy Strayhorn Songbook , Impressions of Mary Lou , and Fatha's Day: An Earl Hines Songbook . There were five such albums, all linked to Pittsburgh-associated pianist-composers; the other two were Nightwind: An Erroll Garner Songbook , and Music in the Key of Clark for Sonny Clark. Hicks played on five of David "Fathead" Newman's albums for HighNote, and was described in 2000 as the "HighNote house pianist".
There were also more dates as a sideman for Murray, Leitch, Blythe, Freeman, and Roy Hargrove (1989–90, 1995), Bartz (1990), Lake (1991), Steve Marcus and Valery Ponomarev (both 1993), Nick Brignola, Russell Gunn, and Kevin Mahogany (all 1994), the Mingus Big Band (c1995), Fortune (1996), and Jimmy Ponder (1997).As leader, his repertoire in the 1990s was often of familiar standards. He performed in the UK with the Mingus Big Band in 1999, and played on their album Blues and Politics in the same year. The pianist recorded the seventh instalment of the "Live at Maybeck Recital Hall" series of solo piano concerts which were recorded for Concord Records. He was part of Joe Lovano's quartet in 1998, which led to Hicks being part of the saxophonist's nonet from its formation the following year.
Hicks and Wood married in June 2001.He made a rare recording on organ (Hammond B3) on saxophonist Arthur Blythe's Exhale. Over the last decade or so of Hicks life, he recorded several collaborations with Elise Wood to mixed reviews (Single Petal of a Rose, Trio & Strings, Beautiful Friendship).
Towards the end of his life, Hicks taught at New York University and The New School in New York.Asked about his teaching in January 2006, Hicks replied that "I don't care how advanced my students are, I always start them off with the blues. It all comes from there." Early in 2006, Hicks again played in a big band, this time led by Charles Tolliver. In January and February, he toured Israel, chiefly playing Thelonious Monk compositions. Hicks' final studio recording was On the Wings of an Eagle in March 2006. His last performance was at St Mark's United Methodist Church in New York City a few days before he died. He died on May 10, 2006, from internal bleeding. Hicks is buried at South-View Cemetery in his hometown of Atlanta.
Wood survived him, and has led a band dedicated to his music.In the view of AllMusic reviewer Michael G. Nastos, "Hicks died before reaping the ultimate rewards and high praise he deserved". A collection of his papers and compositions, as well as video and audio recordings, is held by Duke University.
Fellow pianist George Cables stated that Hicks "was a very strong and energetic player, and a very warm player, very much part of the tradition".Hicks's playing was sometimes criticized as being insubstantial; The Penguin Guide to Jazz commented that "This [...] is missing the point. Almost always, he is more concerned to work within the dimensions of a song than to go off into the stratosphere."
Hicks had a style of his own, containing a "combination of irresistible creativity and responsiveness [...] encompassing swing, hard bop and the avant garde, and made him a first-call choice for many of the most important American modern jazz groups".A reviewer of a 1993 release, Lover Man: A Tribute to Billie Holiday , commented that Hicks "mastered the technique of shaping a piano chord so it sounds like the rising and falling of a breath". A few years later, another reviewer highlighted the "subtle dynamic shadings" of Hicks's left hand, and his "reverence for melody and a sense of musical destination that gives form to his improvisations." As an accompanist, Hicks played delicately, with carefully voiced chords.
His compositions "are wandering and melodic, suggestive and malleable yet memorable".He "enjoyed writing arrangements for a quintet or sextet, often, like the finest jazz composers, tailoring parts to specific musicians. In the past, these have included artists of the caliber of Bobby Watson and Vincent Herring; more recently he has been working with Javon Jackson and Elise [Wood]".
An asterisk (*) after the year indicates that it is the year of release.
|1975||Hells Bells||Strata-East||Trio, with Clint Houston (bass), Cliff Barbaro (drums); released 1980|
|1975||Steadfast||Strata-East||Solo piano; released 1980|
|1979||After the Morning||West 54||Some tracks solo piano; some tracks duo, with Walter Booker (bass); one track trio, with Cliff Barbaro (drums) added|
|1981||Some Other Time||Theresa||Most tracks trio, with Walter Booker (bass), Idris Muhammad (drums); two tracks solo piano|
|1982||John Hicks||Theresa||Some tracks solo piano; some tracks trio, with Bobby Hutcherson (vibes), Walter Booker (bass); one track duo, with Olympia Hicks (piano); reissue by Evidence added one track trio, with Olympia Hicks, Idris Muhammad (drums)|
|1984||In Concert||Theresa||Most tracks trio, with Walter Booker (bass), Idris Muhammad (drums); some tracks quartet, with Elise Wood (flute) or Bobby Hutcherson (vibes) added; in concert|
|1985||Inc. 1||DIW||Most tracks trio, with Walter Booker (bass), Idris Muhammad (drums); some tracks solo piano|
|1985||Sketches of Tokyo||DIW||Duo, with David Murray (tenor sax)|
|1986–87||Two of a Kind||Theresa||Duo, with Ray Drummond (bass)|
|1987||I'll Give You Something to Remember Me By||Limetree||Trio, with Curtis Lundy (bass) Idris Muhammad (drums)|
|1985–88||Luminous||Nilva||Some tracks duo, with Elise Wood (flute); some tracks quartet, with Walter Booker (bass), Jimmy Cobb, Alvin Queen (drums, separately) added; some tracks quintet, with Clifford Jordan (tenor sax) added|
|1988||East Side Blues||DIW||Trio, with Curtis Lundy (bass), Victor Lewis (drums)|
|1988||Naima's Love Song||DIW||Quartet, with Bobby Watson (alto sax), Curtis Lundy (bass), Victor Lewis (drums)|
|1989||Oleo||CBS/Sony||As New York Unit; quartet, with George Adams (tenor sax), Richard Davis (bass), Tatsuya Nakamura (drums)|
|1989||Rhythm-a-Ning||Candid||As Kenny Barron-John Hicks Quartet; quartet, with Kenny Barron (piano), Walter Booker (bass), Jimmy Cobb (drums)|
|1990||Power Trio||Novus||Trio, with Cecil McBee (bass), Elvin Jones (drums)|
|1990||Is That So?||Timeless||Trio, with Ray Drummond (bass), Idris Muhammad (drums)|
|1990||Live at Maybeck Recital Hall, Volume Seven||Concord Jazz||Solo piano; in concert|
|1990||Blue Bossa||Paddle Wheel||As New York Unit; quartet, with George Adams (tenor sax), Richard Davis (bass), Tatsuya Nakamura (drums)|
|1991||St. Thomas: Tribute to Great Tenors||Paddle Wheel||As New York Unit; trio, with Richard Davis (bass), Tatsuya Nakamura (drums)|
|1991–92||Tribute to George Adams||Paddle Wheel||As New York Unit; quartet; some tracks with George Adams, Dan Faulk (tenor sax; separately), Richard Davis (bass), Tatsuya Nakamura (drums); some tracks with Javon Jackson (tenor sax), Santi Debriano (bass), Nakamura (drums)|
|1992||Friends Old and New||Novus||Most tracks sextet, with Joshua Redman (tenor sax), Clark Terry and Greg Gisbert (trumpet), Ron Carter (bass), Grady Tate (drums); one track septet, with Al Grey (trombone) added|
|1992||Now's the Time||Paddle Wheel||As New York Unit; quartet, with Marvin "Hannibal" Peterson (trumpet), Richard Davis (bass), Tatsuya Nakamura (drums)|
|1992||Crazy for You||Red Baron||Trio, with Wilbur Bascomb (bass), Kenny Washington (drums)|
|1992||Over the Rainbow||Paddle Wheel||As New York Unit; mostly quartet, with Pharoah Sanders (tenor sax), Richard Davis (bass), Tatsuya Nakamura (drums); also released by Evidence as Naima|
|1992||Single Petal of a Rose||Mapleshade||Some tracks duo, with Elise Wood (flute); some tracks trio or quartet, with Jack Walrath (trumpet), Walter Booker (bass) added|
|1992||After the Morning||DSM||Solo piano; in concert|
|1992||The Missouri Connection||Reservoir||Duo, with Jay McShann (piano, vocals); one track solo piano|
|1992||Blues March: Portrait of Art Blakey||Venus||As New York Rhythm Machine; trio, with Marcus McLaurine (bass), Victor Lewis (drums)|
|1992||Moanin': Portrait of Art Blakey||Venus||As New York Rhythm Machine; trio, with Marcus McLaurine (bass), Victor Lewis (drums)|
|1993||Beyond Expectations||Reservoir||Trio, with Ray Drummond (bass), Marvin "Smitty" Smith (drums)|
|1993||Lover Man: A Tribute to Billie Holiday||Red Baron||Trio, with Ray Drummond (bass), Victor Lewis (drums)|
|1994||Gentle Rain||Sound Hills||Trio, with Walter Booker, (bass) Louis Hayes (drums)|
|1994||Duality||Reservoir||With Peter Leitch (guitar)|
|1994||Akari||Apollon||As New York Unit; quartet, with Marvin "Hannibal" Peterson (trumpet), Richard Davis (bass), Tatsuya Nakamura (drums)|
|1994||In the Mix||Landmark||Quintet, with Vincent Herring (alto sax, soprano sax), Elise Wood (flute), Curtis Lundy (bass), Cecil Brooks III (drums)|
|1995||Piece for My Peace||Landmark||Some tracks solo piano; one track trio, with Curtis Lundy (bass), Cecil Brooks III (drums); one track quintet, with Bobby Watson and Vincent Herring (alto sax) added; most tracks sextet, with Elise Wood (flute) added; one track duo, with Wood (flute)|
|1995||Heart Beats||Milestone||As Keystone Trio; with George Mraz (bass), Idris Muhammad (drums)|
|1997||Newklear Music||Milestone||As Keystone Trio; with George Mraz (bass), Idris Muhammad (drums)|
|1997||Something to Live For: A Billy Strayhorn Songbook||HighNote||Trio, with Dwayne Dolphin (bass), Cecil Brooks III (drums)|
|1997||Nightwind: An Erroll Garner Songbook||HighNote||Trio, with Dwayne Dolphin (bass), Cecil Brooks III (drums)|
|1997||Cry Me a River||Venus||Trio, with Dwayne Burno (bass), Victor Lewis (drums)|
|1997||Trio + Strings||Mapleshade||With Elise Wood (alto flute), Steve Novosel (bass), Ronnie Burrage (drums), Steve Williams (drums), Rick Schmidt (cello), Debbie Baker (viola), Charles Olive and Tom Ginsberg (violin)|
|1998||Impressions of Mary Lou||HighNote||Trio, with Dwayne Dolphin (bass), Cecil Brooks III (drums)|
|1998||Ow!||Paddle Wheel||As New York Unit; quartet, with Javon Jackson (tenor sax), Richard Davis (bass), Tatsuya Nakamura (drums)|
|1998*||Hicks Time||Passin' Thru||Solo piano|
|2000||Beautiful Friendship||HiWood||Duo with Elise Wood (flute)|
|2001||Music in the Key of Clark||HighNote||Trio, with Dwayne Dolphin (bass), Cecil Brooks III (drums)|
|2003||Fatha's Day: An Earl Hines Songbook||HighNote||Trio, with Dwayne Dolphin (bass), Cecil Brooks III (drums)|
|2003*||Besame Mucho||IJE||As New York Unit; trio, with Santi Debriano (bass), Tatsuya Nakamura (drums)|
|2005–06||Twogether||HighNote||Most tracks duo, with Frank Morgan (alto sax); some tracks solo piano|
|2006||On the Wings of an Eagle||Chesky||Trio, with Buster Williams (bass), Louis Hayes (drums)|
|2006||I Remember You||HighNote||Solo piano; in concert|
|2006||Sweet Love of Mine||HighNote||Some tracks quartet, with Javon Jackson (tenor sax), Curtis Lundy (bass), Victor Jones (drums); some tracks quintet, with Elise Wood (flute) added; some tracks sextet, with Ray Mantilla (percussion) added|
|2005||Eric Alexander||Sunday in New York||Venus|
|1989||Ray Anderson||What Because||Gramavision|
|1996||Ray Appleton||Killer Ray Rides Again||Sharp Nine|
|1998||Harold Ashby||Just for You||Mapleshade|
|2001||Billy Bang||Vietnam: The Aftermath||Justin Time|
|2004||Billy Bang||Vietnam: Reflections||Justin Time|
|1990||Gary Bartz||West 42nd Street||Candid|
|2001||Mickey Bass||Live at the Jazz Corner of the World||Early Bird|
|1986||Abdul Zahir Batin||Live At The Jazz Cultural Theater||Cadence Jazz|
|1993||Dick Berk||East Coast Stroll||Reservoir|
|1999||Alex Blake||Now Is the Time: Live at the Knitting Factory||Bubble Core|
|1964||Art Blakey||'S Make It||Limelight|
|1965||Art Blakey||Are You Real||Moon|
|1965||Art Blakey||Soul Finger||Limelight|
|1965||Art Blakey||Hold On, I'm Coming||Limelight|
|1972||Art Blakey||Child's Dance||Prestige|
|2001*||Johanne Blouin||Everything Must Change||Justin Time|
|1983||Hamiet Bluiett||Bearer of the Holy Flame||Black Fire|
|1984||Hamiet Bluiett||Ebu||Soul Note|
|1981||Arthur Blythe||Blythe Spirit||Columbia|
|1988*||Arthur Blythe||Basic Blythe||Columbia|
|1993||Arthur Blythe||Calling Card||Enja|
|2001||Arthur Blythe||Blythe Byte||Savant|
|1990||Bob Thiele Collective||Sunrise Sunset||Red Baron|
|2005–06||Richard Boulger||Blues Twilight||B-1 Music|
|1974||Lester Bowie||Fast Last!||Muse|
|1991||Teresa Brewer||Memories of Louis||Red Baron|
|1994*||Nick Brignola||Like Old Times||Reservoir|
|2000||Cecil Brooks III||Live at Sweet Basil||Savant|
|2000||Cecil Brooks III||Live at Sweet Basil, Volume Two||Savant|
|1998||Jeri Brown||Zaius||Justin Time|
|1998||Jeri Brown||I've Got Your Number||Justin Time|
|1976||Betty Carter||Now It's My Turn||Roulette|
|1979||Betty Carter||The Audience with Betty Carter||Bet-Car|
|1992||Betty Carter||It's Not About the Melody||Verve|
|2003||James Carter||Gardenias for Lady Day||Columbia|
|1980||Richie Cole||Side by Side||Muse|
|1998||Larry Coryell||Monk, Trane, Miles & Me||HighNote|
|2000||Larry Coryell||Inner Urge||HighNote|
|1985||Art Davis||Life||Soul Note|
|2001*||Richard Davis||The Bassist: Homage to Diversity||Palmetto|
|1987*||Paquito D'Rivera||Manhattan Burn||Columbia|
|1966||Booker Ervin||Structurally Sound||Pacific Jazz|
|1980||Ricky Ford||Flying Colors||Muse|
|1996||Sonny Fortune||From Now On||Blue Note|
|1999||Sonny Fortune||In the Spirit of John Coltrane||Shanachie|
|1978||Chico Freeman||The Outside Within||India Navigation|
|1978–79||Chico Freeman||Spirit Sensitive||India Navigation|
|1978–79||Chico Freeman||Still Sensitive||India Navigation|
|1989||Chico Freeman and Arthur Blythe||Luminous||Jazz House|
|1998||Mac Gollehon||Live at the Blue Note||Half Note|
|1994||Thurman Green||Dance of the Night Creatures||Mapleshade|
|1971||Earl Grubbs and Carl Grubbs||The Visitors - Earl Grubbs - Carl Grubbs||Cobblestone|
|1994||Russell Gunn||Young Gunn||Muse|
|1989||Roy Hargrove||Diamond in the Rough||Novus|
|1986*||John Hazilla||Chicplacity||Cadence Jazz|
|1994*||Norman Hedman||Flight of the Spirit||Monad|
|1968||Woody Herman||Light My Fire||Cadet|
|1969||Woody Herman||Heavy Exposure||Cadet|
|1986–89||Vincent Herring||American Experience||Nimbus|
|1978||Carter Jefferson||The Rise of Atlantis||Timeless Muse|
|1993*||Sofia Laiti||Inspira||Midnight Sun|
|1971||Oliver Lake||Ntu: Point from Which Creation Begins||Arista|
|1991||Oliver Lake||Again and Again||Gramavision|
|1990*||Peter Leitch||Mean What You Say||Concord Jazz|
|1992*||Peter Leitch||From Another Perspective||Concord Jazz|
|1993||Peter Leitch||A Special Rapport||Reservoir|
|1995||Peter Leitch||Colours and Dimensions||Reservoir|
|1999||Peter Leitch||California Concert||Jazz House|
|2005||Amy London||When I Look in Your Eyes||Motéma Music|
|1999||Joe Lovano||52nd Street Themes||Blue Note|
|2002||Joe Lovano||On This Day ... Live at The Vanguard||Blue Note|
|2005||Joe Lovano||Streams of Expression||Blue Note|
|1999*||Curtis Lundy||Against All Odds||Justin Time|
|2001||Curtis Lundy||Purpose||Justin Time|
|1994||Kevin Mahogany||Songs and Moments||Enja|
|1993||Steve Marcus||Smile||Red Baron|
|1993||Chris McNulty||Time for Love||Amosaya|
|1997*||Mingus Big Band||Live in Time||Dreyfus|
|1999*||Mingus Big Band||Blues and Politics||Dreyfus|
|2004||Mingus Big Band||I Am Three||Sunnyside|
|1991*||Mingus Dynasty||Next Generation Performs Charles Mingus' Brand New Compositions||Columbia|
|1966||Blue Mitchell and Sonny Red||Baltimore 1966||Uptown|
|1967||Hank Mobley||Hi Voltage||Blue Note|
|1968||Lee Morgan||Taru||Blue Note|
|1968||Lee Morgan||Live In Baltimore: 1968||Fresh Sound|
|1980s||Tisziji Munoz||Visiting This Planet||Anami|
|1980s||Tisziji Munoz||Hearing Voices||Anami|
|1983||David Murray||Morning Song||Black Saint|
|1986||David Murray||I Want to Talk About You||Black Saint|
|1988||David Murray||Ming's Samba||Portrait|
|1991||David Murray||Fast Life||DIW/Columbia|
|1991||David Murray||Ballads for Bass Clarinet||DIW|
|1991||David Murray||David Murray/James Newton Quintet||DIW|
|1992||David Murray||MX||Red Baron|
|1993||David Murray||Jazzosaurus Rex||Red Baron|
|1993||David Murray||Saxmen||Red Baron|
|1993||David Murray||For Aunt Louise||DIW|
|1993||David Murray||Love and Sorrow||DIW|
|2000||David Murray||Like a Kiss that Never Ends||Justin Time|
|1998||David "Fathead" Newman||Chillin'||HighNote|
|2000||David "Fathead" Newman||Keep the Spirits Singing||HighNote|
|2002||David "Fathead" Newman||The Gift||HighNote|
|2003||David "Fathead" Newman||Song for the New Man||HighNote|
|2004||David "Fathead" Newman||I Remember Brother Ray||HighNote|
|1997||Jimmy Ponder||James Street||HighNote|
|1998||Jimmy Ponder||Ain't Misbehavin'||HighNote|
|1998||Jimmy Ponder||A Guitar Christmas||HighNote|
|1993||Valery Ponomarev||Live at Sweet Basil||Reservoir|
|1985||Alvin Queen||Jammin' Uptown||Nilva|
|1995||Michael Rabinowitz||Gabrielle's Balloon||Jazz Focus|
|1990||The Reunion Legacy Band||The Legacy||Early Bird|
|1979||Pharoah Sanders||Journey to the One||Theresa|
|1981||Pharoah Sanders||Pharoah Sanders Live...||Theresa|
|1987||Pharoah Sanders||A Prayer Before Dawn||Theresa|
|1984||Bill Saxton||Beneath the Surface||Nilva|
|1995||Archie Shepp||Blue Ballads||Venus|
|1996||Archie Shepp||True Ballads||Venus|
|1998||Archie Shepp||True Blue||Venus|
|1996||Archie Shepp||Something to Live For||Timeless|
|1966||Sonny Simmons||Staying on the Watch||ESP|
|1972||Charles Tolliver||Live at the Loosdrecht Jazz Festival||Strata-East|
|2001*||Barry Wallenstein||Tony's Blues||Cadence Jazz|
|1997*||Frederick Washington, Jr.||Lilac: Volume 1||Passin' Thru|
|1986||Bobby Watson||Love Remains||Red|
|1988*||Bobby Watson||No Question About It||Blue Note|
|2006*||Ed Wiley, Jr.||About the Soul||Swing|
|2005||Steve Williams||New Incentive||Elabeth|
|1995||Dave Young||Two by Two: Volume One||Justin Time|
|1996*||Dave Young||Side by Side, Volume Three||Justin Time|
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Henry Jones Jr., best known as Hank Jones, was an American jazz pianist, bandleader, arranger, and composer. Critics and musicians described Jones as eloquent, lyrical, and impeccable. In 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award. He was also honored in 2003 with the American Society of Composers, Authors, and Publishers (ASCAP) Jazz Living Legend Award. In 2008, he was awarded the National Medal of Arts. On April 13, 2009, the University of Hartford presented Jones with an honorary Doctorate of Music for his musical accomplishments.
Arthur Murray Blythe was an American jazz alto saxophonist and composer. He was described by critic Chris Kelsey as displaying "one of the most easily recognizable alto sax sounds in jazz, big and round, with a fast, wide vibrato and an aggressive, precise manner of phrasing" and furthermore as straddling the avant garde and traditionalist jazz, often with bands featuring unusual instrumentation.
John Gilmore was an American jazz saxophonist, clarinetist, and percussionist. He was known for his tenure with the avant-garde keyboardist/bandleader Sun Ra from the 1950s to the 1990s.
Robert Henry Timmons was an American jazz pianist and composer. He was a sideman in Art Blakey's Jazz Messengers for two periods, between which he was part of Cannonball Adderley's band. Several of Timmons' compositions written when part of these bands – including "Moanin'", "Dat Dere", and "This Here" – enjoyed commercial success and brought him more attention. In the early and mid-1960s he led a series of piano trios that toured and recorded extensively.
Wynton Charles Kelly was an American jazz pianist and composer. He is known for his lively, blues-based playing and as one of the finest accompanists in jazz. He began playing professionally at the age of 12 and was pianist on a No. 1 R&B hit at the age of 16. His recording debut as a leader occurred three years later, around the time he started to become better known as an accompanist to singer Dinah Washington, and as a member of trumpeter Dizzy Gillespie's band. This progress was interrupted by two years in the United States Army, after which Kelly worked again with Washington and Gillespie, and played with other leaders. Over the next few years, these included instrumentalists Cannonball Adderley, John Coltrane, Hank Mobley, Wes Montgomery, and Sonny Rollins, and vocalists Betty Carter, Billie Holiday, and Abbey Lincoln.
Thomas Lee Flanagan was an American jazz pianist and composer. He grew up in Detroit, initially influenced by such pianists as Art Tatum, Teddy Wilson, and Nat King Cole, and then by the newer bebop musicians. Within months of moving to New York in 1956, he had recorded with Miles Davis and on Sonny Rollins' landmark Saxophone Colossus. Recordings under various leaders, including the historically important Giant Steps of John Coltrane, and The Incredible Jazz Guitar of Wes Montgomery, continued well into 1962, when he became vocalist Ella Fitzgerald's full-time accompanist. He worked with Fitzgerald for three years until 1965, and then in 1968 returned to be her pianist and musical director, this time for a decade.
Raphael Homer "Ray" Bryant was an American jazz pianist, composer, and arranger.
Mulgrew Miller was an American jazz pianist, composer, and educator. As a child he played in churches and was influenced on piano by Ramsey Lewis and then Oscar Peterson. Aspects of their styles remained in his playing, but he added the greater harmonic freedom of McCoy Tyner and others in developing as a hard bop player and then in creating his own style, which influenced others from the 1980s on.
Craig Marvin Taborn is an American pianist, organist, keyboardist and composer. He works solo and in bands, mostly playing various forms of jazz. He started playing piano and Moog synthesizer as an adolescent and was influenced at an early stage by a wide range of music, including by the freedom expressed in recordings of free jazz and contemporary classical music.
John Esposito is an American jazz pianist of advanced bebop tendencies. Known as a composer for his own groups and a versatile sideman capable of all styles from stride piano to free improvisation, he is a pianist highly influenced by modernism, and capable of playing off of several rhythmic and harmonic levels at once. As manifested in music for his quintet and trio, Esposito's compositions are couched in an expansion of bebop harmony, often using rhythmic schemes of complex and subtle metric modulation. Some of his pieces are transformations of jazz standards rendered unrecognizable by such techniques as running the chord progression backwards, or using a complex system of chord substitutions.
Geoffrey Keezer is an American jazz pianist.
Heart Beats is an album by the Keystone Trio – pianist John Hicks, bassist George Mraz, and drummer Idris Muhammad.
Moanin': Portrait of Art Blakey is an album by the New York Rhythm Machine, led by pianist John Hicks.
Blues March: Portrait of Art Blakey is an album by the New York Rhythm Machine, led by pianist John Hicks.