Piano Corner

Born Jonathan David Samuel Jones in Chicago, Illinois, Jo Jones got his start playing drums and tap-dancing in carnival shows in Alabama until joining Walter Page's band in Oklahoma City in the late 1920s. He, along with Walter Page and Freddie Green, joined Count Basie's band in 1934. That rhythm section would forever change the sound and feeling of jazz.

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 taxi drivers at the time, started to play together in various Chicago nightclubs and rent parties.

Art Farmer has long been admired for his lyrical playing. He started on trumpet, then switched to flugelhorn, helping to popularize the instrument. Eventually , Art played the Flumpet, a Flugelhorn-Trumpet combination that was especially designed for him. He played professionally since the 1940s, and started recording in bands at 19 years of age in 1948, when he played in the bands of Jay McShann, Benny Carter, Gerald Wilson and others.

Bill Pierce is known in the jazz world for both his innovative hard bop playing and his distinguished career as an educator. He hails from a musical family in Florida, with parents both educators who emphasized the value of music; he took up the saxophone early.

Born in Los Angeles, Billy Higgins played professionally in R&B bands such as those of Bo Diddley and Jimmy Witherspoon. In 1953 he joined high school friend Don Cherry's group "The Jazz Messiahs." Higgins and Cherry met Ornette Coleman and joined his rehearsal band. The band played for years before debuting their music in 1958. It was with Ornette Coleman that Higgins first came to New York, where he became one of the most sought after contemporary jazz drummers.

New York native Bobby Porcelli is one of Latin and Afro-Cuban jazz's most accomplished flautists and alto saxophonists. An exciting soloist influenced heavily by Charlie Parker and Sonny Still, Porcelli's alto has soared gracefully above the legendary percussive ensembles of Machito (1965-1966), Mongo Santmaria ('87-'90), and Tito Puente ('66-'00).

A beloved pianist with one of the most easily recognizable styles, Bobby Timmons is responsible not only for bringing his unique gospel-tinged voice to the piano, but also for his funky compositional masterpieces that have become jazz standards, like Moanin’ and This Here (‘Dis Here). These two are by no means the only memorable original works of Bobby’s—nearly all of his works are instantly recognizable as a Bobby Timmons original, as they all have his signature style of soul, funk, and gospel, all while still maintaining the hallmarks of true hard-bop jazz.

Pianist Buddy Montgomery’s music was straight ahead bebop jazz. He played in many styles, but always with a bebop approach. With no formal training, he played entirely by ear in any key, choosing what he felt were the most beautiful and creative chord changes, making him a challenging and inventive sideman and leader. He infused lyrical ballads with warmth and swung hard as well. Though he never crossed over outside of jazz, his music is accessible to casual listeners but still prized by jazz fans.

Butch Warren's discography speaks for itself, ranging from recordings with Herbie Hancock, Dexter Gordon, Joe Henderson and Donald Byrd, to name but a few. His began playing professionally at the age of 14 in his native Washington, D.C. with his father, Edward Warren. After becoming one of the most in-demand bassists in D.C., Warren moved to New York City in 1958 to where he quickly became recognized by Jackie McLean, Kenny Dorham and a long list of other contemporary musicians and producers.

A leader in jazz drumming, drummer Carl Allen has been a force in the New York scene since the 1980s. Carl became interested in jazz after hearing an LP of Benny Carter as a teen. In his hometown of Milwaukee, Carl worked with Sonny Stitt and James Moody early in his career. He moved to the east coast to study at William Patterson College; a year before his graduation, Carl worked with Freddie Hubbard, for whom he served as music director for the next eight years. Over the course of his career, Carl has recorded on over 200 sessions as a sideman including dates with Donald Byrd, Art Farmer and Jackie McLean. He has performed with a who's who of jazz legends, including J.J. Johnson, Herbie Hancock, Wayne Shorter, Benny Golson, Joe Henderson, and many others.

Originally from Kansas City, MO, Curtis Counce moved to Los Angeles in 1945 where he became known as one of the great West Coast bassists. It was there he performed and recorded with all the top West Coast musicians of the time including Hampton Hawes, Shelly Manne, Shorty Rogers, and Stan Kenton. Counce also recorded six records as a leader, unlike most bassists of his time.

Daryl Johns was born in the Bronx and began playing bass at age seven with encouragement from his father, drummer Steve Johns, and his mother, saxophonist Debbie Keefe. Johns has studied with Chip Jackson and Dave Santoro. He has attended the Jazz in July program, the Vermont Jazz Center, and the Litchfield Jazz Camp. Johns sits in regularly around the New York area with musicians including Joe Lovano, Dave Liebman, and Randy Brecker. He also performs throughout New York and New Jersey with a trio of his peers. Johns was featured on a Fox television segment called “12-Year-Old Jazz Prodigy."

Heralded by pianist Cedar Walton as the "brightest star on jazz piano's horizon," David Hazeltine is considered to be one of jazz's premier pianists as well as composer-arrangers. With a mantra to "swing as much as humanly possible," David's style is infused with influences of Art Tatum, Bud Powell, Buddy Montgomery, Barry Harris and Cedar Walton while still retaining his own fiercely individual voice. Hailing from Milwaukee, David made his professional debut on the organ when he was just thirteen years old.

Don Friedman was only four years old, living in San Francisco, when he started playing his parents' piano. A year later, he started lessons with a private teacher. His love for jazz music was born when he moved to L.A. and heard the likes of Les Brown and Lee Konitz for the first time.

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.

Saxophonist Lucky Thompson is one of the great musical treasures of jazz. He was born in Columbia, South Carolina, but was raised in Detroit, Michigan. He played in local groups with Hank Jones, Sonny Stitt and others. In August, 1943, when he was 19, he left Detroit with Lionel Hampton's Orchestra, eventually arriving in New York City. Still a teenager, his first recording date was with Hot Lips Page on March 18, 1944. Later in 1944 he started recording with both Lucky Millinder and Count Basie.

An imaginative pianist who valued subtlety over virtuosity in the landscape of bebop, Elmo Hope never achieved the fame that his close friends did, perhaps because he so rejected stylistic norms of the time. Elmo was a classically trained pianist with technique rivaling that of his childhood friend Bud Powell and a composer of music whose inventiveness and complexity approaches that of Thelonious Monk. In fact, Elmo, Thelonious and Bud used to hang out so much together they became known as "The Three Musketeers."

Born in Vienna, Austria, acclaimed European pianist and composer Fritz Pauer began his career in the early 1960s, making his first recording (at age 19) with the Hans Koller quartet in 1962. He moved to Berlin, Germany, 1964-68, and played at Dug's Night Club & Jazzgalery as accompanist for Herb Geller, Johnny Griffin, Don Byas, Booker Erwin, Dexter Gordon, Leo Wright, Carmell Jones, Pony Poindexter, Jimmy Woode and vocalist Annie Ross, recording with many of them.

A lauded name on the jazz scene since the tender age of 17, Geoffrey Keezer is one of the best-loved pianists today. A native of Eau Claire, Wisconsin, Geoff took up the piano at age three and quickly showed himself to be a prodigy. As an eighteen-year-old freshman at Berklee College of Music in 1989, he was invited to join Art Blakey's Jazz Messengers, launching his talents into the spotlight. The year before, his mentor James Williams encouraged him to record his debut album, the well-received "Waiting In The Wings." His career continued to take off in the early 1990s with a performance at the Hollywood Bowl of Gershwin's Rhapsody In Blue (conducted by John Mauceri).

Gigi Gryce was a fine altoist in the 1950s, but it was his writing skills, both composing and arranging (including composing the standard Minority) that were considered most notable. After growing up in Hartford, CT, and studying at the Boston Conservatory and in Paris, Gryce worked in New York with Max Roach, Tadd Dameron, and Clifford Brown. He toured Europe in 1953 with Lionel Hampton and led several sessions in France on that trip.

Groove, impeccable taste, a shimmering tone and a deep feeling for the blues define Grant Green’s musicianship. Whether playing in soulful organ groups, hard bop ensembles or leading a funk band, Green’s guitar sound is instantly recognizable. While Charlie Christian and Jimmy Raney are certainly influences of his on the guitar, Green claimed to listen primarily to horn players, particularly Charlie Parker.

Many people only know of Harold Land as the great tenor saxophone soloist who made the classic quintet recordings with the Clifford Brown - Max Roach Quintet: Joy Spring, Daahoud, The Blues Walk and other classics—many of which are available from jazzleadsheets.com. Harold is far more than just a great tenor saxophonist sideman.

The inventive and iconic pianist Herbie Hancock has a career that spans multiple decades and many genres. Not unlike his mentor, Miles Davis, Herbie has inspired new horizons in jazz music through his own transformations as an artist. An early piano prodigy who performed a piano concerto with the Chicago Symphony Orchestra at age 11, Herbie began jazz piano in high school. His career began when he was discovered by Donald Byrd in 1960. Soon after, he was signed to Blue Note as a solo artist. In 1963, he released "Takin' Off," which included his famous composition Watermelon Man.

Herbie Nichols is a classic example of a visionary jazz composer whose music was way ahead of its time. His life story and music have some parallels to those of Thelonious Monk, whom he knew well. Like Monk, Nichols wrote music in the 1940s and '50s that was much more advanced and idiosyncratic than the mainstream of jazz at the time. However, whereas Monk's music became widely known later in his life, Nichols did not live long enough to see such recognition.

Horace Silver is the pianist on the recordings of the songs shown above. We've written out Piano Comping Voicings á la Horace Silver for these titles. Click on the song title then on the Piano Corner tab to see details.

Pianist Jack Wilson was born in Chicago but moved to Fort Wayne, Indiana, at age seven. By his fifteenth birthday, he had become the youngest member ever to join the Fort Wayne Musician’s Union. At the age of seventeen he played a two-week stint as a substitute pianist in James Moody’s band. After graduating from the local high school, Wilson spent a year and a half at Indiana University, where he met Freddie Hubbard and Slide Hampton. He went on to tour with a rock ‘n roll band, which led him to Columbus, Ohio, where he found the then-unknown Nancy Wilson and Rahsaan Roland Kirk. He settled there for a year, then moved to Atlantic City, where he led the house band at the local Cotton Club.

James Williams' distinguished career began in the city in which he was raised: Memphis, Tennessee. Having taken up piano at the age of thirteen, he graduated from Memphis State University in the early seventies and threw himself into his city's jazz community. Only a year after attaining his degree, Williams was hired as a professor at Berklee College of Music in Boston, Massachusetts. Coming to a new city opened up an entirely new scene for the young pianist, who began to play as a sideman for visiting artists like Red Norvo, Art Farmer, Sonny Stitt and Milt Jackson.

An important performer but decidedly less celebrated than deserved, Jimmy (James Bryant) Woode was a formidable presence in rhythm sections of bands lead by numerous jazz icons. A partial and curtailed list presents Sidney Bechet, Billie Holiday, Charlie Parker and for five years Duke Ellington.

Trumpeter Joe Gordon was born and raised in Boston, Massachusetts. As a teenager, he became a fan of the Count Basie band, and especially trumpeter Harry "Sweets" Edison. Later, Joe was impressed by a live performance of "Little" Benny Harris with the Coleman Hawkins/Don Byas group. Soon after, he took a modern music class at the New England Conservatory taught by trumpeter Fred Berman.

Jon Davis has performed with and contributed compositions to many of the top jazz musicians worldwide throughout his career, which has spanned over 35 years, and has recorded many albums as a leader. Jon took up piano and guitar as a young teenager; he was inspired to play jazz after hearing records of Red Garland and Miles Davis. He briefly studied with Lennie Tristano then attended New England Conservatory, where his teachers included Ran Blake, Jaki Byard, and Madam Chaloff. After six months, he left to begin gigging around Boston.

Modern alto saxophonist and composer Jon Gordon is a driving force in cutting-edge jazz. A native New Yorker, he began his musical exploration at the age of ten, encouraged by his musical family. He attended Performing Arts High School and studied saxophone privately in his teen years and showed significant promise, winning numerous awards at a young age. His love for jazz began as a teenager after listening to a Phil Woods record; not long after, he began to study with Phil Woods himself after sitting in with Eddie Chamblee at Sweet Basil. Jon studied at Manhattan School of Music, during which time he worked with Roy Eldridge, Leon Parker, Doc Cheatham, Larry Goldings, Al Grey, Eddie Locke, Red Rodney, and Mel Lewis.

Trumpeter/composer Kenny Dorham was very much on the jazz scene from the mid-1940s through most of the 1960s. He worked and recorded with all the major figures in the modern jazz movement, which includes the legendary Billy Eckstine big band, Dizzy Gillespie, Art Blakey, Bud Powell, Charlie Parker, Thelonious Monk and Max Roach as well as Kenny Clarke, Sonny Stitt, Fats Navarro, J.J. Johnson and many other giants of that period.

Kenny Drew was born in New York City. He studied classical piano but soon turned to jazz. His recording career started in 1950 at age 22, first with Howard McGhee for Blue Note, then Sonny Stitt for Prestige. These two 1950 recordings plus a surviving radio broadcast with Charlie Parker (December 8, 1950) put him in the company of jazz greats J.J Johnson, Max Roach and Art Blakey.

Kenny Drew, Jr., son of pianist/composer Kenny Drew, Sr., started music lessons at the age of four. He studied classical piano with his aunt Marjorie, but soon found he enjoyed playing jazz as well. He performed worldwide with a comprehensive variety of musicians, including Stanley Jordan, OTB, Stanley Turrentine, Slide Hampton, the Mingus Big Band, Steve Grossman, Yoshiaki Masuo, Sadao Watanabe, Smokey Robinson, Frank Morgan, Daniel Schnyder, Jack Walrath, Ronnie Cuber and many others.

As a titan of jazz-rock fusion, guitarist Larry Coryell was known for his blistering lines. However, as pianist Billy Taylor stated, "[Larry] plays all the styles: Latin, jazz-rock, straight-ahead jazz, European classical music. You name it, he's a master of it."

Born in Galveston, Texas in 1943, Coryell began playing the guitar in his teens and performing in various high school rock bands. After moving to New York to attend the Mannes School of Music, he replaced Gabor Szabo in Chico Hamilton’s quintet. Later, after breaking new musical ground with his fusion group the Free Spirits in the mid 1960s, Coryell went on to join vibraphonist Gary Burton. Since then, he performed and recorded with the likes of Charles Mingus, Ron Carter, John McLaughlin and Chick Corea.

Malcolm Earl Waldron was born in NYC. He studied classical piano starting at age eight. He switched to alto saxophone, but as he said, "when I first heard Charlie Parker I decided to go back to the piano." He was drafted into the Army for two years starting in 1943. He then earned a bachelor of arts degree in composition at Queens College in New York. He made his professional debut in 1950 as a member of Ike Quebec's combo at Café Society in New York City, and recorded with him in 1952.

Born Meade Anderson Lewis in Chicago, Meade "Lux" Lewis is one of the most important early jazz pianists. When he was a child, his father insisted that Meade learn violin. After his father died, he took up piano at the age of 16. He learned by listening to pianist Jimmy Yancey and received no training. Despite this, his considerable skill earned him the attention of the Chicago music scene, and in addition to securing local gigs, he made his recording debut in 1927 with "Honky Tonk Train Blues" for Paramount Records.

A forward-leaning yet strongly swinging modern pianist, Cochrane studied with the noted Boston-based piano teacher Madame Margaret Chaloff (mother of Serge Chaloff) and the inimitable Jaki Byard. In a fruitful career, he has performed and/or recorded with saxophonists Michael Brecker, Sonny Fortune, Oliver Lake, David Schnitter and Chico Freeman and trumpeters Clark Terry, Valery Ponomarev, Jack Walrath and Ted Curson; also bassist Eddie Gomez, as well as many others.

Accomplished soloist, accompanist, composer and educator, Norman Simmons is well known as a pianist with an great ability to connect with jazz singers. Born in Chicago, Simmons taught himself piano and at age sixteen enrolled in the Chicago School of Music. He formed his own group in 1949 and began recording in 1952 when he worked as a house pianist for Chicago clubs The BeeHive and the C&C Lounge. During this period, his first recordings were under the leadership of tenor saxophonists Claude McLin, Paul Bascomb and Coleman Hawkins.

Oscar Pettiford's mother was Choctaw and his father was half Cheokee and half African American, making for an interestingly rich musical background. He grew up singing and playing piano in a family band before eventually switching to the bass at the age of 14. Pettiford was strongly influenced by the great Milt Hinton who helped convince Pettiford that if he continued to pursue music, he would make a successful career from it. Performing with Dizzy Gillespie helped Pettiford become recognized as one of the first bassists in the bebop world.

Bassist Paul Chambers was a leading rhythmic force in the 1950s and 1960s. He became one of the signature bassists in jazz history. Born in Pittsburgh but raised in Detroit, Chambers initially took up the baritone horn as a child. He followed suit with the tuba and didn't become interested in the string bass until 1949. Listening to Charlie Parker and Bud Powell and studying under a bassist of the Detroit Symphony Orchestra, Chambers began making headway in small bars of Hastings Street area and doing club jobs with Kenny Burrell, Thad Jones and Barry Harris. He did classical work in a group called the Detroit String Band, a rehearsal symphony orchestra.

Born in London, saxophonist Ralph Moore came to the US and attended Berklee College of Music, where he studied with saxophonist Andy McGhee. Three years later he received the Lenny Johnson Memorial Award for outstanding musicianship from the college. He moved to New York City in 1981 and within two months had joined the Horace Silver Quintet for an association that lasted four years and included tours of Europe and Japan.

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.

Ray Drummond is a bass player and educator with a prolific career. He is best known as a sideman and has appeared on over 300 albums, but he has eight albums as a leader under his belt and close to three decades of experience leading combos. Ray's musical life began at age eight when he took up the trumpet, but he switched to bass at 14. He attended Stanford Business School and worked in business while gigging on the side with musicians like Bobby Hutcherson and Tom Harrell. In 1977, he left the corporate world behind and moved to New York, where he worked with the biggest stars on the scene: Betty Carter, the Thad Jones/Mel Lewis Orchestra, Wynton Marsalis, Woody Shaw, Hank Jones, Jon Faddis, Milt Jackson, Johnny Griffin, Kenny Barron, Pharoah Sanders, and George Coleman.

Richard Wyands is a remarkably gifted and precocious musician who is best known as a sideman. A native of Oakland, California, he started playing piano in local clubs in San Francisco when he was only sixteen years old, at which time he became a union member (with a sponsor, of course, due to his youth). Since the 1950s, he has played alongside some of the greatest and best-known American jazz musicians, such as Charles Mingus and Roy Haynes.

Ronnie Mathews was born in Brooklyn, NY. He studied at Brooklyn College, and also with pianist/composer/arranger Hall Overton starting in 1953, then continuing his music education at Manhattan School Of Music from 1955-1958. He played with Gloria Lynne (1958-1960) and started his small group jazz recording career with Charles Persip And The Jazz Statesmen for Bethlehem records on April 2, 1960. He also performed with Kenny Dorham in 1960 and 1961, as well as recording in 1961 on sessions with leaders Clifford Jordan (February 14), Roland Alexander (June 17), his own trio session for Savoy (June 19, unissued), Bill Hardman (October 18), and Junior Cook (December 4).

Sam Jones was most known for his work with the great Cannonball Adderley but he played extensively with all the great bandleaders including Bobby Timmons, Ray Bryant and Kenny Dorham. His discography speaks for his versatility as he could mold to any situation, but Jones was most known for his strong, confident beat and great bass lines. These traits are what led to countless recordings with various leaders, (especially with Cannonball and Nat Adderley) as well as replacing Ray Brown in Oscar Peterson's trio from 1966-1970.

A remarkable composer and pianist whose special touch and articulation makes him instantly recognizable at the piano, Sonny (Conrad Yeatis Clark) was born in Herminie, PA, a small mining town 60 miles from Pittsburgh. He started piano at four, and at six was featured playing boogie-woogie on several amateur hour radio programs. He spent his teenage years in Pittsburgh, playing vibes and bass in high school as well as being featured on piano. He went to California in 1951 with his older brother, also a pianist, and worked in both San Francisco and Los Angeles, starting his recording career at age 22 in February, 1953, with Teddy Charles.

Pianist Tommy Flanagan was born in Detroit. The youngest of six children, Flanagan began as a clarinetist before switching to piano. While his early influences included older style pianists such as Art Tatum and Teddy Wilson, he was ultimately drawn to bebop and the playing of Bud Powell.

While his virtuosic harmonica playing was featured on Sesame Street and Midnight Cowboy and his whistling on Old Spice advertisements, Toots Thielemans considered himself first and foremost a guitarist. Born in Brussels, Belgium in 1922, Thielemans got his start playing accordion as a child in his parents’ cafe.

5-time Grammy Award Winner, Vince Cherico, is the drummer for featured artists in today's Jazz and World music venues. From 1995 - 2006 he was the drummer with Ray Barretto & The New World Spirit, later The Ray Barretto Sextet, and developed his reputation in Latin Jazz while touring the world, recording 6 CD's and 2 Grammy nominations for Contact & Time Was,Time Is. Modern Drummer describes Cherico as, "a drummer of fluidity, fire, and physical ease" who "plays with balanced dynamics and a commanding yet sensitive touch."

Walter's piano playing was influenced strongly by Bud Powell, and he has that Bud Powell energy in his piano playing. Like many of the other talented players coming up in the 1950s, Walter's ears were wide open to everything good. For example, he listened to Stravinsky with Bird and Dizzy, and in later years, you could find Walter hanging with Mick Jagger and the Rolling Stones.

Arguably the most famous jazz guitarist of all time, Wes Montgomery has had a lasting impact on guitarists of all genres. Known for his stunning chord solos, signature use of octaves and velvety tone—which he achieved by picking with his thumb—Montgomery’s guitar work is instantly identifiable, whether leading his own bands in club settings, adding textures as a sideman or soloing atop an orchestra.

Wilbur Ware's unique approach to the function of the bass in an ensemble has inspired countless musicians to play what they hear, even if it's not the most typical approach. Ware was renowned for his idiosyncratic yet immensely swinging beat that locked down the band rhythmically, as well as his highly creative harmonic sense. Wilbur's ability to play his "own notes," as bassist Ron Carter said, distinguished him from the other practitioners of his instrument. John Coltrane stated in an interview with August Blume, "Wilbur Ware, he's so inventive . . . He doesn't always play the dominant notes . . . He's superimposing things. He's playing around, under and over, so when he comes back you feel everything set in . . . A lot of fun playing that way."