Introduction 6

Jazz Riffs of the Bebop Era: The Early 1950's 7 The Early 1950's 7

Chord Voicings 7

Scales Most Commonly Used 7 II-V Riffs 8

Riffs of the Late 1950's 10 The Baron Re turns 12 Rhythm Changes 16

Jazz in the 1960's 20

Two Widely Used Diminished Scales 20 Common Patterns for the Diminished Scale 20 1960's Chord Progressions 23

Two-Finger Chordal Riffs: Blues in F 28

Solo in Octaves and Chords: Blues in F 29 Modal Jazz 30

Chordal Riffs in the Modal Style 37 Discography 39

One of my main purposes in writing this book has been to clarify the musical language of today's jazz musicians. The rhythmic, harmonic and melodic advances in jazz technique since the 1950's are presented in such a way that the reader will develop a strong sense of musical organization. Coherence is a key factor in achieving musical expression; structure and organization are emphasized throughout the book.

I suggest that you examine each of the musical examples in several ways: (I) Study the scales involved. (2) Check all the tones that are used. (3) Observe how the notes are combined to create the different riffs and melodies. (4) Search for the musical congruity. Some examples are longer than others, but all are composed of the same basic ingredients.

A word on interpretation: all notes written ( n n ), in even eighths, are generally played and phrased ( J.j n ), in dotted eighths and sixteenths; the strong accent o falls on the dotted eighth. The rhythmic expressiveness so essential to good jazz is greatly enhanced by playing this way.

Musical evolution occurs on each page of this book. Creative expression constantly grows; from one note to the next, the musical thought expands and flourishes. The creation of a musical solo is like the blossoming of a flower: a slow and steady process where every movement creates a new one, and each has its own relevance and integrity. Don't be discouraged or impatient. This book is designed to help anyone and everyone interested in playing jazz; the examples are clear, precise, and explore a wide range of musical thought. It can help any jazz student learn, grow and enjoy.

JazzRj"s

., -ahe Be-Bop EI·.:

,.he Early I.SO's

Chord V oicings

~ I
IJ T.
I#'; ... - - _,._ -
~
I' V _ - ,
1-- i ~
( ~
0 .... __O
I ... ' • T. '-J -
" .. n-_ ~
1/ '" T. '-J LY ~ ~
" -
i u Scales Most Commonly Used

C Dorian Scale

"

e

II

II

Scale Alterations

Jazz articulation requires that the eighth notes sound:

'I i ~j J. 3 ~J. j J. j I d. j l a r ;:t 0 I" I

When they are written:

II-V Riffs

,., I _ l I -
I)' ~ 1_ rJ_ -
I ... I. .... - ... r -
'" ... _Ll_ - - .... - ...._
v - • - - ... ....
411 :: • - ....
• •
~ .
• • rJ I. , • , • r - , • ,
II' " "
• • • em7 F7 nb

II me ( r e[ 0' I ~e I

em7 F7 em7

,&b E E E J ~; &J J J I e

em7 F7

II; J J J J J J ;1

,~ JJ JJ J~ II to J J J J 3 J I J J J J E E [1 I D II

~ L - I I
[J - ....
"'" ... I. at " - .... r- - ... ,
- • .. "
"'>.:1.1' .... ' ....
I" - I ,_,;
-3
n .....
• --
•• I)' ••
./ ... '" ~ .. ~
;' Cm7 F7

3

~ ~~ e 'I )l J J J E E E ~rr I J _J J J f J ~ J I

Cm7 F7 Cm7

,J' J J J J ~J J J J I J J J 3 J ~J J J I e II

Cm7 e ~~ ~ b F7

, ~e l r L r [ t l r I r ~t ~r r E -r ~ F I

,~~ cO' r r; f t F ~t tc f" Iff f I f i-I

Cm7 F7 Cm7 F7 Bb

, &b cUl' err r, l~iJ JJ.l §1lp1 J J J J lJ J I J I - I

~ ~ Cm7

, ~I, e C:' ~ n Pc ~ riC' r r! t ~ tel f i-I

F7

P r ~ r b~ [ E ~rr I J J J 9 J

Cm7 F7 Cm7

4 ~b rtf;.O 1) J J I C C-j i= f l ,'t g au.( f= ~ r I

F7 Cm7 F7

~ &~ j J J J lJ J~J I; t - I [1 Er fj J~] W J JJ; I I

For maximum effectiveness these riffs should be played in all 12 keys.

RWs ... h. La •• I.sO's

" I
IJ ~ ~
I ... -
"ft v '.I ~
, .. - -
0
I~· -
.-. IT 7lfI .
,/ ... 'J ~
v Cm7 F7 Cm7

,~~ I 'IF' Laj 1M3 JijJd J I nd9 H'rr f~r~rr C C WI

Cm7

Cm7 F7 3 Cm

,~ l r r 1 E §r ~E r I J &fJ J i 3 J ij3 I J t - II

II - V Riffs In Other Keys

Cm7 Bbm7 Eb 7

'e ctrlr: r I Pc r r L r er I rjrijr r £J Us JJdOd J J J I

II

Am7 07 G

,,, '1 P E!r ~E r E ~r I J pj J J"3 d J J I II

~""

Bm7 E7 Bm7

'(l7pn~w.3 2 J I~F l Cr E r j r 1.##2 Jd J JpqiJl

"
~ :tlft: .. L~
JJ. ....... _ - JJ.'
I" _v .. ._ fI-
1- ~ ~ ... • - n lU
~
~.
I-Y.
/ 07 Am7 0

, J &J j J J GJ J ~J I j J 3 J i J OnJ ] I 0 II

Here is a tune combining several be-bop riffs.

The Baron Returns

Mitch Kerper

Cm7 Bbm Am7 Abm7 ob7

~ e erE hfl 0 1'1 P&[ ttrijC~[ r' I~peeff J J J J I

3

Gm7 C7 Fmaj7 Bbm 7 Eb 7 Abmaj7

, _arWJJ.]J1 n '1. 4rJJ I C~r&e:r i.JdJI jdJJ&J)&JJI

..._...,

Am7 07 G Abm7 ob 7 Gb

, gCJ [~r r r liip J )l Gl l&ttrl:tT C p I {Jd J&J 3d J I

---

Gm7 c7 F Bbm7 Eb 7 Ab

, ql~rttt [Ulgr] OJ J I c![~a F r I {J J J~J J~J J I

Am7 o~ 3 ~ G AmbS 07b9 G

, .r r j &[ J r ~r I r j) J I 'I )5 U~L r [1 I C· J) J

---- ___...

Bbm7 Eb7 Ab Am7 07 Gmaj7

, '1&Jlttr r f r r I r·~8 I c~c err £J J J Inn J.

Cm7 F7 Bbm7 Eb7 11.Am7 07 b G~m~~

, JQ [TOfUI [1 rttTgc~cr I .[be ere F ft I" I" I Q I

© Amsco Music Publishing Company, 1977

The following material consists of typical improvised choruses on "The Baron Returns." Each of the phrases can be singled out as a useful riff to apply to the chord type indicated above it.

G

'iJJ

Abm7 ob 7

- I 'f ~~iJdd J J I J.~J)&j I 7 ;;yJ ~J~I

Gb

Gm7

F

- --

Eb7

r rbe r ~CJ~J&J J ~ I

Abmaj7 Ambs 07

, d Jj&J }J J&g~j J J J~, E r~ I~E jT Jd J j"J ad J J. j I

G Ambs 07

, ~fO 9#3 Jj J J#; r rtr C [~Lt I [ ~bk r j~j -fJ J 5#Jd J j I

G ~m7 ~7 ~

Cm7 F

1 "I ft bg r r 1 r

Bbm7 Eb7 Am7 07 Gm

~ ., bp "I~Et r t~t 1 r Cl~~· )21 1.0 ncr rJ U 1

A.map Gm 7 . ~q b E b

~ E ~t i 0 J~; 3_) 1 q {J ~ Q~r a r j L r e c r r 1

Abm~7 Gm7

~ eq C~~r F l~r liS J j J 1 AS J OJ n n. 19 J J 1

, '1 ~JjbJbJiD? I '1 ;';:j J~F ~r Etrl J J b#J J J j J I

Bbm 7 Eb 7 Ab Am 7 3 07

, "I~YJ E~rijL r IbL L~fj n J I~a f3J J jijJd I

G Abm7 ob7 Gb

Rhythm Changes

Here are four possibilities for the first section of a standard jazz progression, called "rhythm" changes after its use by Gershwin for the tune "I Got Rhythm." They are followed by the chord changes for the bridge section of the progression.

Cm

F7

Dm

Cm

~ I +
[~ .. ~ ,
I'V ,,- ~ 7.
I~ ~r.-' ~ ~~ ~'1~ ~ .,~ ~ ~ ~t tl'~r;-
I I I
I~.
". IJ •• _.. r.,..
./ r. , r.J fI vfI ~ r. '"
v ..,
I I --rJ rJ ~ I
Itt,! _... --
" " 'J r: IJ~ -- r._, [J~ , r.,
e: .. - ... '"" 7. --. ';;;' ....... ,.. .. ....
I~ ~ -6 '1~ '1 ~1;; I)f(' ~ ~~ .,~~ .. ~ ~
I I I
· -;,
· -~ -..., r:
t-
v ~ _., <I
-6 I <I (J 'J (J ~ L 1 I
I , ~ tr ....
" IT7
...r
I4IIJ -6 ~1; Ir~ ~~~ ~ n~ ~~ Tl;f6 '6 ~?; If' ~ ~~F -
I I
• , -;,
',. ~ , ~ r.,
r._ IV~
y "I -, ... ,.
~ ~ .... (.,j o ~''6 "-6 -..., ~ .., Col f1 L
I It'; r. ••
" v '-I 1.1. L
I- b~ ~'1i Ib~ f-6 ~''6 ~'1~ b"i ~"i
I
I ... '. .. ~ ".J -;, ,.
,. [JL!l ... , ....
./ r. ~I I
" [J IJ -, ~ .. ,.
~?; ~ .... -v .... ., .... Cmll

fJ I I
[J
Jl ""- ,
"' " ., [J"; ... _
, ~~ Q vu 4- tr"~ -rJ t F
L
I~· [J";
• r: 1. L
./ ... ".
...
~ 1)-6 b~ .., ~ rJ a _1
[J
U"~ " (If" I'iL _.I.l
I" ~ .. " u.~ r: .. " .... "
I" ~ it'~ ~~ 1~11-6 ql-6 ~'ii I)i;l
1 .. 11> • r: (If" .. "
•• [J III'" III'" I~
" "" r~
q4- I r - r

r

EmIl

1\ I
,.
I ~ "-- l!.
"" " (If" '" ~
11 ."" ".J ~ ~ r:
" ,.~ ~ 11 ~ ~r , ~ ~r ~t ~
( ------
I~ • I ~ -

L
III'" r~ -.
it~ q I r - r r

r

r

Bridge

Am7bs D7b9

Gm7

Cl3

fJ I +5 I l I I I I I
_.IL ..... U ".
t Ill .... "" "'" r: ... ".
" ... " .. '" ".., U IIU - ........
... .lIIlC .. __ "'-1'!110. ...-
, - '~ ,~ ~ ~ v-s:- ~
bo ~o
l-"~ •
1- •• IJII'. [J~
.. ~ -
- u ''''1

Applying riffs to this chord progression offers the following possibile combinations:

Bb G7 Cm7 F7b Bb G7

Cm7 F7 Fm7 Bb 7+5 EbmaF Ab 7

~ ~ §( F ef' n J 1"1 ~ c;t ~ 1 E F f J J d J ] 1

Bb G7 Cm7 F7 Bb G7

~&b J3J]dJJdI3~JdJdJJJIJ. ;,3. ~I

Cm 7 F 7 Bb G 7 Cm 7 F 7

~ ~ J a J J J J J J 1"~)5i]&L&(~r± I r~eEl&E L&~~ 1

Fm 7 Bb 7 Eb Ab 7 Bb

~ &b '1)5 &n ~p( &r r 1 j J J J Ii) J J 1 fJ J J D ~ fI 1

b b Am7 D7

,~~ rITe r F tit ., ~~ bE E j &f 1 J d J J #3 1 1

Dm7 G7 _ 3 Gm7

,&b f Ji3~iJ a J 1#[" Fa ]~iJ i I" PEJ l j [1 I

c7 Cm7 F7

,~ rOr E [~E~r~E 1 C~F E r PCbE r 1 ec 0; f3 J ] 1

Bb G7b9 Cm7 F7 Bb G7 b

,~ jJ'O )&J J~ J I§( E E&f' r: E rtr I~¥ r r E~E fY 1

Cm7 F7 Fm7 Bb 7 Eb Ebm7

--

Bb Cm7 F7 Bb BbmaF G13b9 Cm9 F13b9

,~~ dijJJdi3JJIr t - IlfEEritlJJIJJJJCC[fl

Ab 7 G7 GbmaF F7 Fmll E9augll

'~b F" ~g IT E ifll dH 3~J E r r&r 1 J ~J J hJ ~ ~~ 1

Eb maj9 A13b9 Ab 13 G7aug9 ~ ~ Gbmaj~ F7+S

,~~ J~J J J-r&ePr 1 r IT r r [il r f 1 t_ UfiJ Jd~J 1

F7

C3 bE f E ~f 1 hJ J J J I

Bb Gm7

__ - ~ __ ~_~_~_-

Two Widely Used Diminished Scales

e "

-e-~OvVvV

whole half whole half

half whole half whole

Common Patterns for the Diminished Scale

~ ,
.. \
I~ . ._ ..... • , ~-
!'\ 'J '" ... • ... - II •• ~
, \: ...... ..... ~ - ..
... .._, ..,. - ,- 11 ,-
1,0 J,.
:lIr.. ~
,- .... eJ_ , -
./_ '-J ~ -_ __J' t -

II

You can use the following riffs with a C pedal-tone in the bass:

, C 1ft I J d d J J J J J Id J J.J l E ~r k I a II

~e J J ~'hJ d a J ~J I r ~r br ~F ·r ~e r f 1_° II

,,, E r -r E bE ~F nr I Q II·E r be I J ~J J J 1#0 II

'lfE ~E r r J J #J ~J I ~e II J bJ J g ~fd J ~ I '~J bJ d bJ J ~J nJ ~3 I 0" 1° II

'I~ J d J 3 J J ,S J 1,3 J d bJ J J J J I _ I _ II

-eo -eo

----

1960's Chord Progressions

Progression Number 1:

d~9) B (~9) Eb (~9)D (~9) Gb (b9) F (~9) A (~9) G# (b9) c_!9)

fI I ~- ~- .. .it • -n-
'" IJ'. .. .... " .. IIIr_ f'I' La_ AL..
I~ - .. ... .... - u.' • • .... - " r- ~-
v _ • v -
~ ....
.. v • " .. .,- -
(
I L
~. r. _l IJ'r~
,. - IJ'C.J
./ '" ~ ~
~
I Riffs

'e iJ ~4J b[j [;j 181 b tJ b4J

II

, IJJ d d ~; #J J d J 1_' 1#] J #3 ; J J J J 1

, #0 I#J J J ~J J J J J 1 #0 1 t ~r dtc C E; I" I

'WI gtfEftdel~E#r~C#r#EbE j~r I~[r~rr( 1° I

, C J J 3 d j d &3 ~J 1 j #J~; J 't r r; 1 ~e I

3

3 3 3

, ~ J#Jd j@nj)~cftE) l~act~r~a#c!f1~dr~ I ~~ II

3 3 3

~ f &J J F lij] ~ro br I J IF 8F I~ro r r I f C ~F I r Pro I

, IF ng J I kg jro ijJ I J I

Progression Number 2

C (b9) Eb (~9) Gb (b9) A (b9) C (b9)

,., I ~ 19-. ~.
• i"I.
'r_. • ~ . •
I~ U ,_ . '" _, . 1.1' • '" "". I-
r_ T. -:; . " .., • v-
I, - ...,_ .. " •
I" [7~ • '1"'"
II~: -IT I
./ T. ~.
-
~. ~. ~. :i. 24

Riffs

, c btELrb[~cr:FlttrL~rt*EhE#E I~f ObCbE Prlot Ibn II

Progression Number 3

B maj 7 - D 7 - G maF Bb 7 Eb

~/~/~/~/

minor 3rd perfect 4th

minor 3rd perfect 4th

Bmaj7

Gmaj7

Ebmaj7

f.. ,~ ",
~ _1.10 ... I"':' -- L: ~
'" r. ~ 1.10 .... " -
-"li'
I' I ll(.jl ~~ IU
(
0
Il~. A
.. - , '" ", 17~
/' r. \,1111 f# ... '"
- ,;. ~--
I .... Bmap D7/2nd inv. Gmap Bb 7/2nd inv. Ebmap

1'1 "~""
rrr'\ A~" ~ .LIo""': ,., L. ..........
-" v ~. __ (; I~ -- ~
I'" n 11 (.jI ~~ IU
o -.
II"" • A r- r.J ,."
••
~_ This progression can be applied to several well-known tunes, including "But Not For Me," "Giant Steps," and "Night and Day,"

r

! I

Riffs

Bmaj7

Gmaj7

~ ~ _l
I""""'" - - ~ [J~
" I. - ,...
rr~ '-.J ~ - - - .. ~
.-.; ~ L_ .. ,...
I" "111 ~ ... it- n ~. -
~-
~. _..
-.. .. '" , - , ... , ,
- " ... t- "
• ... ..
- !)-eo Bmap 07 Gmap Bb 7 Eb

Bmaj7 07

p-f IE t 1 E ~F t

Gmaj7 Bb7 Eb
• I f r f ~ 2 ~c r I ~e "
J •
J J
Bmap 07 GmaP Bb 7 Eb

Bm~7 07 G

Bb7 Eb
;a J bJ J
r r J I ~e II
r ~·r DC r F [ ~C ~r r I E

Bmaj7 07 Gmaj7 Bb 7 Eb

, e J J #3 #J l r r r I i J J #3 ~J d J 3 I ~ II

Bmaj7 07

Gmaj7 Bb7 Eb
I J &t J #J I e II Bmaj7 07 Gmaj7 Bb 7 Eb

, C i J IJ 13 ijj J J J ILL r r E ~r r r I ~e I

Bma/ 07 Gma/ Bb 7 Eb

Bmaj7 07 Gma/ Bb 7 Eb

,(! ., P; tr J J 13 j I J IS J J i J d ijS I e I

Bmaj7

07 Gmaj7

Eb

r J Il

II

Bmap 07 Gmap Bb 7 Ebmap

Bmaj 7 Fm 7 Bb 7 Eb

Gmaj7

Two - Finger Chordal Riffs: Blues in F

Gm7

Solo in Octaves and Chords: Blues in F

Bb7 F

c7

,; ;7J~

~

F c7 ~

i I =: 3 J.a urI 1Ft w~ ~! II

29

NocIaIJazz

Bb Ionian
4 je I
be e ~
D
&-0- ~ "'"
4Do:n Phrygian
be ~ II ~e ~ e II
je " e " ~e " e "
0 0
,LYdian be Mixolydian be e
~e u e II ~e a e II
" e " " e "
be
,A:tian b~ " Locrian b~ (,lo&-
e e
be " e II ~e " e II
D "
Left Hand Voicings ,
, ! bF &E
,: II , II II II W~ II
30

Dorian Lines

b

~ • ~,.fI. • .- Ill. • - • ...
r- r- - - I
.... Ie ... - -
--
'- ~
-
I ~':
L '-
..... <,
- - ~ - • 'f'- !:.~ - • -
I'"" ... - -
_ .. ... - -
" , ., -
1'-.: r- •
I- - • ~.
-z.; •
.
.
~ --
- -- b

i

II

">,

Phrygian Lines f!:_

, a ~EO a EO II e b f C r C r L r PC r r oJ J J J I

(') ~e Q e n , :

" "
~ "'" .. -
j ~ ,t. """' ,,- -' - ..
~ ~ ... - -' ...r - - - -
, tJ - - - , - _.....
• • ... \1':'. -.J .-.' •
~ ~
~.
,- ..
L -
.. Lydian Lines

'~EO "

II

"

1\ -.~ I!: • 'I'- _ • -
!-' - r-
"'" ~
f'" r- .. -
\: U
III
~ ~n
~. 11 ~
r-T. ~ r
./
Poe- 32

Mixolydian Lines ~~ ~ ~

~ "a 0 ~a Q a b" a II~ e: fer ~ [ r n r r r I wi II

Fa be eft r ( fF be E g J J ~j I i I

Aeolian Lines -.. b~ ~ f!::. ~

~ a o~a Q abo a QII~ 0 fCEfcCEfk&b[bCcrl i

~C'l , ro:t E ~ rEf r r r ItS j J I i II

II

Locrian Lines e- b '=

, nba 0 abo e" 114 H ; Jtj~ 0 r r flbiJ J J I &a

~IH r r r , , Ct Elk ~ E eft I b! II

II

33

In the style of Herbie Hancock:

Cm 3

;$' ija J ]~j ClU'

In the style of McCoy Tyner:

Ebm

3

fI ~ I ---. I ,....., -.:
'" h._ IJ
I lJ" ,
~'- "
" V h..I ... ~ .J-
, ... v- b ....... ..... I ..
:-- 3-
~ ~~! _b~ ;: ~.~~ • L ~~
~ ~
I"" • 1 ... \ - ... .. ., -
. ,
I)~ 1'\
I~ -
"' OJ_ -
V 100
• ... - ~1I
( ~==
lIi." -
I' - --.
L " In the style of Chick Corea:

Em Bm

'e - q fJ ~ 1#J J j I.] J J ; F] 'E E rijrt ~L r r I

Gbm Bbm

, d J &J J dB &J J J J J g J J 3d I &~ II

Dbm~7 Gbm~7

~I! i ,~r~rI r~CFlbJJd~J Id J J ~hJ q4 g 1 i. II

,C'I D 0 J ~a I~Ettd ijr'r E r I j. ~ E E~F:1' I , ~r ijr r r J J OJ J I&J J J ~J ~In t I

, C - ct mT rj J

I - II

, J a ~J ~ I J J gil J ~r ~F

II

Chordal Riffs in the Modal Style

" L J 1 '"
,. "'- , v- -
" - -- ""]III ft .....t_. J ~~ • '" ·
"'" I "' ... _~. [,-r "'"'" • ·
- r: IV - 1'1 .. L ... . •
:-- ~"j_j - .... __ - - - v_~ ... -
-
-- lJ I ~~!-: ~ L~.i - .. ,1,._. ~~ Ih. ft .. ----=--- .It. ·
l6.'. ,.._ lJ ~~ ,v - .. .. " L.a L.a !'I .._. ~ " L.a ,- "'- ...
J_. _ [J' .,. .'" ",- ~ "I '" - - "I
./ ,. "'~ LV - - pr
- ._.. [J • • ...... .-
!)-e- _... ~ ~ -
"
lI'I .fL ~ · "]I .. .,_
r", , I. · ... - '" ... . f .,."'- f '" , . , ~"I [J' • - "
I,\: · • • Ir.; .. _w- u •
1-- ~- ...._ . ~~ __ . .. ~~ i ". ~ '. - TI If
- bb, b~==
,b •• ~ ~_...- . 1. ... ~ ... .b • u#1'-
:::. ....
I'" • "'- _. L.a 1- .w'- I"'" ~ " ... IV _III "'- .. - ..,
•• I •..... ~ . .., . .., j ,
L , 1"" .... - -- ~ .. ".
j
- l

... IJI'

I"" "

t.

,,, ,~ ,

I

-

,

I"

, ..

I'-}:. ~!: ~f!= I. ~

"'~I _, a_ ~- ...

... ...__.. ~ -

~b~~ h~ ~- :: ~~: !, •.

'''-LA •

_ _ fir 1II

_<e# f

I ,"'-

~.~ b~' bt~ I..

.. I"" 'fir LA La

1II1""

t) .. •

(Records marked with an * are especially recommended)

Charlie Parker, Kings of Jazz, vol. I KLJ-20010
Fats Navarro and
Bud Powell
Pepper Adams Pepper Adams, Donald Byrd Quintet Warwick 2041
Red Garland Quintet Red Garland Quintet J azzland 987
Dizzy Gillespie Dizzy, Rollins & Stitt Verve 8477
Sonny Rollins
Sonny Stitt
Wynton Kelley Wynton Kelly Riverside 12-254, 12-298
John Coltrane * Live at Birdland Impulse A-50
*A Love Supreme Impulse A-77
Crescent Impulse A-66
01/: Atlantic 1373
Believer Prestige 7292
Bahia Prestige 7353
"Giant Steps Atlantic 1311
Black Pearls Prestige 7316
"Impressions Impulse A-42
*Stardust Prestige 7268
Plays the Blues Atlantic 1382
Chick Corea Hymn of the Seventh Galaxy Polydor 5536
Return to Forever Polydor 1022
"Romantic Warrior Columbia 34076
Miles Davis * "Four" & More Columbia 9253
In Europe Columbia 8983
* Kind of Blue Columbia 8163
"Miles Davis (2-record set) Prestige 2400 I
Miles Smiles Columbia 940 I
My Funny Valentine Columbia 9106
Bill Evans Everybody Digs Bill Evans Riverside 6090
"Explorations Riverside 6038
"Portrait in Jazz Riverside 12-312
"Village Vanguard Sessions Milestone 47002
Charlie Parker Bird on 52nd Street Jazz Workshop 501
"Charlie Parker vol. 2- BeBop
Charlie Parker vol. 3-Le Jazz Cool
Sonny Rollins "Night at the Village Vanguard Blue Note 1581
McCoy Tyner "Trident Milestone 9063
Art Tatum Discoveries Ultraphonic 3029

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