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1960s, with many musicians withdrawing from
Melotone and Totem. Many of his colleagues believe that powerful interests considered Gryce's publishing activities a threat, and were forcing him out of business. Rumors circulated about intimidation and threats to his family. While these rumors have not been confirmed, Gryce's behavior became extremely introverted and erratic during this time. He dissolved his publishing companies in 1963 and gave up his music career, thereafter adopting his Islamic name entirely, Basheer Qusim. Several of his compositions are credited to the pseudonym Lee Sears.
259:. As it was for many, a musical instrument would have been a crippling expense for the Gryces during the Depression; when Gigi and his brother Tommy studied clarinet with Shepard they allegedly borrowed the same clarinet from a friend directly before each lesson. Eventually, Gigi's mother was able to buy him his own Cavalier metal clarinet, with which Gigi became quite successful as a high school student, winning school and state competitions. At school Gigi was also able to study music theory, which he very much enjoyed and continued to explore on the piano at home
396:. Gryce became particularly close friends with Clifford Brown, with whom he found much in common. The Hampton tour did not pay well, and Gryce and others frequently sought recording opportunities on the side, particularly in Stockholm and Paris, where Europeans were eager to record touring Americans. There was already some tension in the band between young bebop-influenced musicians and the more established swing musicians (including Hampton himself), and Hampton did not react well when he heard his musicians were recording on the side.
299:, and Bunky Emerson. While Gryce developed his theoretical background and a passion for the works of Bartok and Stravinsky, he simultaneously developed an obsession for the work of Charlie Parker and Thelonious Monk, with whom, around 1949, he became acquainted and also performed. Gryce developed a reputation as a well-trained and talented artist, and became relatively well known in the local Boston and Hartford scenes. He also began to explore the New York scene, where he would eventually find himself in the early fifties.
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industry. Many musicians neglected the business side of their careers or were actively cheated by record companies. As a composer Gryce always ensured that he got credit for his work, and actively encouraged his colleagues to do the same. Silver largely credits Gryce with inspiring him to found his Ecaroh Music company and the
Silveto label. Little is known about Gryce's financial troubles in the early 1960s, but this hardship very much contributed to Gryce's breakdown and withdrawal from the jazz community.
314:. However, there is much confusion and rumor surrounding this period in Gryce's life, and there is no evidence to suggest that Gryce did receive a Fulbright or formally study with the two composers. Gryce did take two semesters off to study in Europe, but little is known about his travels. It is possible that he studied with the composers privately. While Gryce did propagate the Fulbright rumor himself to substantiate his credentials, Gryce had little else to say about this time in his life.
566:. Gryce is believed to have converted during or shortly after his travels in Europe during his college years. While Gryce did not regularly attend the mosque, he did read the Qur'an and abstain from drugs, alcohol, and pork. His faith was a source of some tension in his marriage to Eleanor, who remained a practicing Christian. Many of Gryce's compositions had Islamic titles and his first two children were given Islam-inspired names.
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second class. While stationed in Great Lakes, Illinois, Gryce spent time in
Chicago during leaves and became more acquainted with the sound of bebop. It was at this time that he bought his own alto saxophone and, in Chicago, that he met musicians Andrew "Goon" Gardner and Harry Curtis. Gryce may have even briefly studied at the
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499:, which produced play-along recordings as educational tools. Gryce's arrangements were fresh but accessible, tailored for educational purposes. The rhythm section played with a soloist to give the play-alongs a more natural feel. The group also performed, and gave a rather lukewarm performance at the Newport Jazz Festival.
519:'s Uhuru Afrika. However, by this time Gryce was becoming preoccupied with business troubles associated with his publishing companies, as well as some family issues. Gryce's genre of hard bop was beginning to give way to more experimental strains. Around 1963, Gryce withdrew completely from his jazz career.
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His compositions and arrangements with Farmer continued to feature non-standard forms and harmonies 175. His approach to hard bop trod the line between experimental and accessible, particularly in later work with the Teddy
Charles Tentet and the Oscar Pettiford Orchestra. As an experimental composer,
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In 1972, Gigi Gryce, now known as
Basheer Qusim, married Ollie Warren, a school secretary in the Bronx. Throughout their marriage until Gryce's death, his earlier music career took a back seat to his passionate dedication to education. Focused on teaching children, Gryce went above and beyond, aiming
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Gigi very much applied his family's sense of discipline to his developing passion for music. As a youth Gigi was described as bright but reserved, extremely polite, studious, and formal in nature. It is unclear exactly when Gigi first began learning the clarinet – it is rumored he may have started as
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On
December 20, 1953, soon after his return from the Lionel Hampton tour, he married Eleanor Sears, to whom he was introduced by trumpeter Idrees Sulieman. Their wedding was a simple event, held at a mosque in Brooklyn. The ceremony and the subsequent luncheon were attended by only Eleanor's sister,
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In addition to his musical career, Gryce was a vehement advocate of composers' and musicians' rights. In 1955 he started his own publishing company, Melotone Music, and later an additional company called Totem. This was a time when black musicians in particularly were taken advantage of by the music
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During his time at the conservatory Gryce also developed connections in the
Hartford, Boston, and New York jazz scenes which would have a tremendous effect on his later career as a jazz musician, composer, and arranger. While New York was best known for cutting edge jazz of the time, both Boston and
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Gryce graduated from high school in 1943, working at the shipyard and playing in
Raymond Shepard's professional band for a time before being drafted by the navy in March 1944. Gryce continued to pursue music during his two-year term, making his way into the navy band and earning the rank of musician
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Music was very much emphasized in the Gryce household. The family had a piano, which Gigi and his siblings (four older sisters and one younger brother) were encouraged to play. Mostly church music was performed in the Gryce home, while pop and jazz was mostly frowned upon. (Later, however, when Gigi
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While his performing career was relatively short, much of his work as a player, composer, and arranger was quite influential and well-recognized during his time. However, Gryce abruptly ended his jazz career in the 1960s. This, in addition to his nature as a very private person, has resulted in very
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From childhood Gryce was always marked by a private and formal disposition. While he was very well liked by his colleagues, he was often very much an outsider in the community. Gryce also followed a strict moral lifestyle, abstaining from alcohol, drugs, and other vices common among his colleagues.
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Gryce and the other personnel from the
Hampton Band returned to New York in November 1953, where the hard bop scene was just beginning to gain traction. This was the perfect time for Gryce to arrive on the scene. Soon after his return, he recorded with Henri Renaud, and Art Blakey recorded seven of
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era (roughly 1953–1965). Composer of softer, more poetic music who discovered a friendly environment in Hard-Bop. He was a well-educated composer and musician, and wrote some classical works as a student at the Boston
Conservatory. As a jazz musician and composer he was very much influenced by the
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in 1978 and developed an incredible passion for teaching. He left a lasting legacy at Elementary School No. 53 in the Bronx, which was renamed in his honor after his death. Students, colleagues, and parents who encountered Gryce during this time knew him as a very private, serious, passionate, and
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Gryce had always been described as having a strict moral sensibility. He may have been interested in Islam as early as 1950, and as a student became interested in religious history. At the Boston Conservatory in 1953 he named one of his symphonies "Gashiya" for a surah in the Qur'an. Gryce reveals
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Little is known about the real nature of Gryce's retreat from jazz, as this period is characterized by a great deal of misunderstanding and rumor. Gryce revealed very little about his business hardships, but what is known is that his publishing business encountered financial troubles in the early
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Gryce is known to have had other romantic relationships before his marriage to Eleanor Sears in 1953. Gryce had a brief relationship with Evelyn "Baby" Dubose in Pensacola during his Pensacola and Navy years, for whom he named his piece "Baby" which was recorded in Europe in 1953.. He also had a
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The recordings Gryce made with Clifford Brown and others on the tour were often hurried and done on the fly, yet they were instrumental in building his career, particularly as a composer. Notable of these European recordings were "Paris the Beautiful", featuring tonal centers a third apart and a
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Gryce died on March 14, 1983, of a heart attack after becoming increasingly ill. His death was a shock to many of his former music career colleagues, as well as students, teachers, and parents of the students whom he had encountered over the years. Before his death, he reached out to his family
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began to take hold, the Gryces were forced to sell their cleaning business. Two years later, Gigi's father, George Sr., died after suffering a heart attack. Rebecca Gryce was forced to raise the children as a single mother, relocating the family in order to rent out the house. Even through this
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Gryce spent most of his early life in Hartford, Connecticut. His family's strong emphasis on music, manners, and discipline had a tremendous effect on him as a child and into his later career. Gryce's parents were of modest means: his father owned a small cleaning and pressing service, and his
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While in many ways his work exemplifies the conventions of the hard-bop era, Gryce always attempted to push the limits of common practice. As an educated composer with an extensive theoretical background, Gryce was prone to unconventional harmonization, form, and instrumentation as his style
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pursued jazz as a career, his mother and older sisters would support him personally and financially.) Many of the Gryce children were encouraged to pursue vocal performance at church, school, and other community; for a time the family even held weekly recitals in their home.
283:. At the Boston Conservatory Gryce developed his theoretical background and studied classical composition, writing three symphonies and a ballet in addition to other works. He was very much inspired and influenced by the work and philosophy of Boston Conservatory composer
430:. Gryce's works with Farmer are some of his most influential and best known. In June of that year Gryce again recorded with Farmer, this time exclusively as composer and arranger. By the time Farmer and Gryce began their third project, they had hit their creative stride.
341:, with whom he played in 1953 at the Paradise Club. Gryce had not yet reached his peak as a musician or soloist, but was developing a reputation as a versatile and talented composer and arranger. Later in 1953 Gryce also contributed a tune, "Up in Quincy's Place" to
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to bring out the best in his students, many of whom were at risk of failing. His innovative approach included using music to teach reading skills, aligning with research that shows music instruction improves reading and math skills for students in grade school.
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immediately after. The Farmer record featured non-standard forms, and adventurous arrangements which pushed the limits of the hard bop idiom. His Signal Records arrangements were very much influenced by the style and instrumentation of Miles Davis's
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While the style of the Hampton band was outdated and overly commercialized in Gryce's eyes, the opportunities and connections made on the European tour were largely what propelled Gryce into success as an artist. In Hampton's band, Gryce played with
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In the 1960s Gryce reinvented himself as a public school teacher in New York. He was somewhat interested in education throughout his life, and was said to be an excellent music instructor. He received a master's degree in education from
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early as age 9 or 10, but the first evidence for his pursuit appears later as he entered high school. The under-resourced, and at this time, mostly black Booker T. Washington High School had a series of music teachers through the
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her husband, and a Muslim friend of Gryce's. They had three children: Bashir (born 1957); Laila (born 1959); and Lynette (born 1963).. They also had a child, Bilil, in 1958 who was born prematurely and did not survive infancy..
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and attended services diligently. Especially as the Great Depression began to take its toll on the family's financial welfare, the Gryces did their best to instill the value of discipline and hard work in their children.
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caring man. Believing that music aided literacy, Gryce was a strict but caring teacher, and went out of his way to aid students at educational risk, working at an under-resourced mostly black and Hispanic school.
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in 1960. His recordings with the Orch-tette had potential, but featured intricate arrangements which limited space for solos. Gryce worked on a handful of other projects in 1960, including a film score to
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solo by Gryce; "Brown Skins", a concerto for a large jazz ensemble; "Blue Concept", recorded by the Gryce-Brown sextet; and "Strictly Romantic", which oscillates between A flat and G major. In addition,
445:'s octet, and got the opportunity to play alto in Thelonious Monk's session with Percy Heath and Art Blakey for Signal Records (released as one side of Gryce's 1955 album, best known under the title
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group, and were very well received by the jazz community. By the mid-1950s Gryce was a major figure in jazz, known as a great individualist, a competent studio musician, and an innovative composer.
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hardship, however, Rebecca continued to motivate her children for success through strict but supportive parenting, encouraging musical development, hard work, discipline, and Christian morals.
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While Gryce was a very accomplished saxophonist, clarinetist, and flautist, his playing tended to be less innovative than his writing. As a saxophonist, he was always very much influenced by
492:. His work with the Oscar Pettiford Orchestra was also extremely well-recognized, producing significant coverage to the musicians who participated as well as to Gryce himself.
441:, and drummer Art Taylor. This session exemplifies Gryce's feel for thematic development, all of the pieces artfully composed and arranged. Later in 1955 Gryce also played for
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to hire Gryce for his band in the summer of 1953. After playing with Hampton's band in the States, Gryce was invited to join the band for their European tour.
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as well as his mother and older sisters. He moved to Hartford to live with his sister Harriet and her husband in 1946, and the following year enrolled at the
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Hartford were also the sites of active and innovative jazz scenes. Gryce traveled between the two cities, and arranged for local bands including those of
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After graduating with a degree in composition in 1952, Gryce relocated to New York City, where he would enjoy much success in the mid fifties. In 1953
488:'s Jazz Composers Workshop, and was very successful as a performing dance band despite its experimental nature. Gryce primarily served as sideman in
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More recently, Gryce's music has found a resurgence, specifically his composition "Social Call". Prominent recordings of this song (with lyric by
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little about who or what urged his conversion, but Islam was an increasingly popular faith among black jazz musicians in the fifties, particularly
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612:, who he had always idolized and became friends with in the mid-fifties. Contemporaries recall that Parker would sometimes borrow Gryce's horn.
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Gryce stayed on the cutting edge through 1956 until his career peaked in 1957. He worked on several projects as composer and arranger with the
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The years 1957 to 1960 saw a series of miscellaneous projects for Gryce. He continued to play with the Jazz Lab, as well as writing for
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The final ticket to Gryce's success was his third recording with the Farmer Quintet in October 1955 and his nonet recordings for
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345:'s Prestige recordings. While this recording was rather inconsequential, Farmer would become one of Gryce's closest colleagues.
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developed. In "Up in Quincy's Place", one of his very early tunes, Gryce was rather ahead of his time in his frequent use of
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After completing his time in the navy, Gryce decided to continue his musical education, financially supported by the
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mother, Rebecca Rials, was a seamstress who also helped her husband run the business. The family belonged to the
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Gryce's songs for EmArcy records. Gryce formed a quintet with Farmer in March 1954, which first recorded for
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his goal was not jazz without limits, but forms which provided boundaries which liberated the soloist.
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recorded an entire album exclusively of Gryce's work, which did a great deal to build his reputation.
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casual relationship with vocalist Margie Anderson, with whom he worked during his time in Boston.
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Bayoumi, Moustafa. “East of the Sun (West of the Moon): Islam, the Ahmadis, and African America”,
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The early '30s saw tragedy and hardship for the Gryce family. In 1931, as the economic crisis of
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little knowledge of Gryce today. Several of his compositions have been covered extensively ("
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DeVeaux, Scott; Giddins, Gary. Jazz. New York: W.W. Norton & Company, 2009, p. 379.
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recorded one of Gryce's charts with his septet, and soon after Gryce recorded with
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197:. Gryce's playing, arranging, and composing are most associated with the classic
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372:, Oscar Estelle (baritone saxophone), Walter Williams (trumpet), Art Farmer,
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165:; November 28, 1925 – March 17, 1983), later in life changing his name to
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The record made in May 1955 by the Farmer-Gryce quintet featured pianist
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In 1957 Gryce and Donald Byrd collaborated on a series of projects with
2058:"Rat Race Blues: The Musical Life of Gigi Gryce," Second Edition (2014)
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and the Oscar Pettiford Orchestra. The Tentet began as an outgrowth of
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in May of that year. Personnel included pianist Horace Silver, bassist
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One of the most important connections Gryce made in New York was with
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saxophonist, flautist, clarinetist, composer, arranger, and educator.
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again, and visited Pensacola for the first time in almost 30 years.
287:, a musical eclectic whose passion was for melodicism and lyricism.
619:) have been recorded by a new generation of jazz vocalists such as
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892:(sextet with Charlie Rouse) (Blue Note, 1953) – also included in
601:, a practice that would be popularized during the cool jazz era.
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Comprehensive and regularly updated Discography of Gigi Gryce
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1955:
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1132:(ABC-Paramount, 1956) – performer, composer and arranger
181:", "Social Call", "Nica's Tempo") and have become minor
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American jazz musician, composer, arranger, and educator
1819:. Philadelphia, Pennsylvania: Temple University Press.
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1491:. Rockville: Current Research in Jazz. p. 10.
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1137:The Oscar Pettiford Orchestra in Hi-Fi Volume Two
726:, 1958) – Live. One side of LP; other side is by
302:Gryce is rumored to have traveled to Paris on a
2043:List of CDs featuring appearances by Gigi Gryce
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922:Clifford Brown in Paris (Complete Master Takes)
837:, 2011) – previously unissued tracks of 1957–61
2039:by David Griffith, from All About Jazz website
2012:Rat Race Blues: The Musical Life of Gigi Gryce
1817:Whisper Not: The Autobiography of Benny Golson
1489:Rat Race Blues: The Musical Life of Gigi Gryce
1140:(ABC-Paramount, 1958) – performer and arranger
515:by Phil Baker and a final studio recording on
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942:(Peacock, 1958) – also rereleased as part of
318:New York, the Lionel Hampton Band, and Europe
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1155:The Max Roach Quartet featuring Hank Mobley
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31:
20:
2010:Cohen, Noal; Fitzgerald, Michael (2002).
1487:Cohen, Noal; Fitzgerald, Michael (2014).
1432:Hard bop: jazz and Black music, 1955-1965
2352:20th-century African-American musicians
1434:. Oxford University Press. p. 44.
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1005:Art Farmer Quintet featuring Gigi Gryce
1388:
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1129:The Oscar Pettiford Orchestra in Hi-Fi
641:Grammy Award for Best Jazz Vocal Album
570:Withdrawal, teaching career, and death
115:Musician, arranger, composer, educator
2322:Boston Conservatory at Berklee alumni
592:Musical style, influences, and legacy
218:George General Gryce Jr. was born in
7:
2342:20th-century American male musicians
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1008:(Prestige, 1955) – also released as
2133:Gigi Gryce and the Jazz Lab Quintet
1870:Journal of African American Studies
1077:Benny Golson and the Philadelphians
706:Gigi Gryce and the Jazz Lab Quintet
2332:20th-century American saxophonists
1815:Golson; Benny; Merod, Jim (2016).
1103:Thelonious Monk with John Coltrane
916:The Clifford Brown Sextet in Paris
306:scholarship in 1951 to study with
228:African Methodist Episcopal Church
14:
2287:Musicians from Pensacola, Florida
1251:The Magnificent Thad Jones Vol. 3
1243:(United Artists, 1959) – arranger
1080:(United Artists, 1958) – arranger
1020:(United Artists, 1958) – arranger
765:with Donald Byrd (Columbia, 1957)
1043:The Greatest Trumpet of Them All
680:(Signal, 1955) – re-released on
2257:African-American jazz musicians
2141:New Formulas from the Jazz Lab
736:New Formulas from the Jazz Lab
1:
1061:Benny Golson's New York Scene
876:(RCA Victor, 1957) – arranger
270:Chicago Conservatory of Music
2347:American male jazz musicians
1072:(Riverside, 1957) – arranger
982:(Riverside, 1957) – arranger
974:(Blue Note, 1955) – arranger
956:(Columbia, 1980) – rec. 1956
924:(Prestige, 1971) – rec. 1953
918:(Prestige, 1970) – rec. 1953
912:(Prestige, 1956) – rec. 1953
2277:Jazz musicians from Florida
1993:Cohen & Fitzgerald 2002
1981:Cohen & Fitzgerald 2002
1960:Cohen & Fitzgerald 2002
1945:Cohen & Fitzgerald 2002
1933:Cohen & Fitzgerald 2002
1921:Cohen & Fitzgerald 2002
1909:Cohen & Fitzgerald 2002
1897:Cohen & Fitzgerald 2002
1882:Cohen & Fitzgerald 2002
1872:(October 2001): pp. 251-63.
1857:Cohen & Fitzgerald 2002
1842:Cohen & Fitzgerald 2002
1830:Cohen & Fitzgerald 2002
1800:Cohen & Fitzgerald 2002
1788:Cohen & Fitzgerald 2002
1776:Cohen & Fitzgerald 2002
1764:Cohen & Fitzgerald 2002
1752:Cohen & Fitzgerald 2002
1740:Cohen & Fitzgerald 2002
1728:Cohen & Fitzgerald 2002
1716:Cohen & Fitzgerald 2002
1704:Cohen & Fitzgerald 2002
1692:Cohen & Fitzgerald 2002
1680:Cohen & Fitzgerald 2002
1668:Cohen & Fitzgerald 2002
1656:Cohen & Fitzgerald 2002
1644:Cohen & Fitzgerald 2002
1632:Cohen & Fitzgerald 2002
1620:Cohen & Fitzgerald 2002
1608:Cohen & Fitzgerald 2002
1596:Cohen & Fitzgerald 2002
1584:Cohen & Fitzgerald 2002
1572:Cohen & Fitzgerald 2002
1560:Cohen & Fitzgerald 2002
1548:Cohen & Fitzgerald 2002
1536:Cohen & Fitzgerald 2002
1524:Cohen & Fitzgerald 2002
1512:Cohen & Fitzgerald 2002
1458:Cohen & Fitzgerald 2002
1372:(Atlantic, 1961) – arranger
1000:(Prestige, 1954) – arranger
627:. The song is included on
413:Career in the United States
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2267:American male saxophonists
2262:American jazz saxophonists
2053:Compositions of Gigi Gryce
1261:Do It Yourself Jazz Vol. 1
1219:(EmArcy, 1959 ) – arranger
1166:(Mercury, 1959) – arranger
251:; Gigi first studied with
2317:Riverside Records artists
1430:Rosenthal, David (1992).
1012:(Prestige New Jazz, 1962)
390:William "Monk" Montgomery
30:
2312:Prestige Records artists
2307:Columbia Records artists
2272:African-American Muslims
1286:(Epic, 1957) – arranger
1204:The Teddy Charles Tentet
868:(Savoy, 1957) – arranger
337:Gryce was influenced by
163:George General Grice Jr.
53:George General Grice Jr.
2157:Modern Jazz Perspective
2014:. Berkeley Hill Books.
1477:. Retrieved 2011-10-20.
1403:All Music Guide to Jazz
1186:The Complete Tony Scott
1180:The Touch of Tony Scott
890:New Star on the Horizon
842:As sideman and arranger
762:Modern Jazz Perspective
1314:Howard McGhee Volume 2
1294:The Modern Art of Jazz
386:George "Buster" Cooper
222:on November 28, 1925.
43:Background information
2302:Verve Records artists
2297:Savoy Records artists
2282:Hard bop saxophonists
2109:When Farmer Met Gryce
1010:Evening In Casablanca
997:The Art Farmer Septet
660:When Farmer Met Gryce
249:Federal Music Project
2357:Muslims from Florida
2292:Big band bandleaders
1228:Earl Coleman Returns
1064:(Contemporary, 1957)
948:(Impulse!/GRP, 1982)
490:Teddy Charles Tentet
482:Teddy Charles Tentet
240:The Great Depression
1832:. p. 234, 276, 308.
1283:Salute to the Flute
1188:(RCA, Victor, 1957)
639:which won the 2023
549:Conversion to Islam
368:(tenor saxophone),
334:'s sextet as well.
281:Boston Conservatory
2337:Bebop saxophonists
2189:The Rat Race Blues
1469:Yanow, Scott.
1304:Big Maybelle Sings
1182:(RCA Victor, 1956)
1106:(Riverside, 1957 )
802:The Rat Race Blues
752:with Donald Byrd (
739:with Donald Byrd (
722:with Donald Byrd (
581:Fordham University
263:Early music career
220:Pensacola, Florida
169:, was an American
97:Pensacola, Florida
81:Pensacola, Florida
2327:Converts to Islam
2234:
2233:
2173:Saying Somethin'!
2021:978-1-8931-6325-6
1498:978-0-9906686-0-2
1328:(Blue Note, 1957)
1325:Lee Morgan Vol. 3
1316:(Blue Note, 1953)
1253:(Blue Note, 1957)
1163:Rich Versus Roach
1124:(Bethlehem, 1955)
1098:(Riverside, 1957)
904:(Blue Note, 1956)
784:Saying Somethin'!
467:Publishing career
461:Birth of the Cool
402:Parker-influenced
352:, who encouraged
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2031:External links
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426:, and Drummer
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374:Clifford Brown
370:Clifford Scott
362:Anthony Ortega
354:Lionel Hampton
330:and wrote for
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285:Alan Hovhaness
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204:Charlie Parker
183:jazz standards
155:Musical artist
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2037:"Gigi Gryce"
2011:
2003:Bibliography
1988:
1976:
1967:
1940:
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1634:. pp. 79-90.
1627:
1615:
1603:
1598:. pp. 70-74.
1591:
1586:. pp. 54-62.
1579:
1574:. pp. 37-52.
1567:
1562:. pp. 29-32.
1555:
1550:. pp. 20-24.
1543:
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1519:
1507:
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1482:
1465:
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1401:
1369:
1359:Uhuru Afrika
1357:
1354:Randy Weston
1345:
1336:The Big Beat
1335:
1323:
1313:
1303:
1300:Big Maybelle
1296:(Dawn, 1956)
1293:
1281:
1272:Kenny Clarke
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1240:Sliding Easy
1238:
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1223:Earl Coleman
1216:Rhythm Crazy
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1053:Benny Golson
1050:
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1035:Jazz Recital
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517:Randy Weston
513:On the Sound
512:
504:Betty Carter
501:
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476:Later career
470:
453:
448:Nica's Tempo
446:
435:Freddie Redd
432:
428:Kenny Clarke
416:
407:Henri Renaud
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350:Quincy Jones
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339:Tadd Dameron
336:
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297:Phil Edmonds
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187:Benny Golson
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93:(1983-03-14)
18:
2252:1983 deaths
2247:1925 births
2216:Live albums
2197:Reminiscin'
1370:Blues Shout
1342:Mal Waldron
1332:Johnnie Ray
1290:Mat Mathews
1278:Herbie Mann
1265:Duke Jordan
1257:Duke Jordan
1193:With others
1121:Another One
953:Social Call
823:Compilation
811:Reminiscin'
694:Donald Byrd
647:Discography
564:Sunni Islam
532:Family life
508:Eddie Costa
424:Percy Heath
394:Alan Dawson
293:Sabby Lewis
2241:Categories
2224:At Newport
2165:Gigi Gryce
2094:Gigi Gryce
1471:Gigi Gryce
1377:References
1366:Leo Wright
1320:Lee Morgan
1247:Thad Jones
1173:Tony Scott
1017:Modern Art
989:Art Farmer
971:Afro-Cuban
849:Art Blakey
771:Gigi Gryce
741:RCA Victor
719:At Newport
665:Art Farmer
629:Samara Joy
437:, bassist
343:Art Farmer
255:and later
214:Early life
159:Gigi Gryce
145:.gigigryce
74:1925-11-28
49:Birth name
37:Gigi Gryce
25:Gigi Gryce
1995:. p. 157.
1983:. p. 189.
1947:. p. 329.
1911:. p. 310.
1899:. p. 235.
1802:. p. 148.
1766:. p. 335.
1754:. p. 307.
1742:. p. 290.
1718:. p. 213.
1706:. p. 198.
1694:. p. 167.
1394:Wynn, Ron
1147:Max Roach
939:Out There
776:MetroJazz
711:Riverside
657:1954–55:
652:As leader
556:Ahmadiyya
324:Max Roach
304:Fulbright
277:G.I. Bill
2149:Jazz Lab
2125:Jazz Lab
1962:. p. 91.
1884:. p. 74.
1859:. p. 50.
1844:. p. 253
1790:. p. 68.
1778:. p. 28.
1646:. p. 94.
1622:. p. 89.
1610:. p. 79.
1538:. p. 14.
1526:. p. 12.
1514:. p. 11.
1475:AllMusic
1398:Ron Wynn
1396:(1994),
909:Memorial
749:Jazz Lab
698:Columbia
689:Jazz Lab
669:Prestige
497:Jazz Lab
378:Al Hayse
202:work of
199:hard bop
179:Minority
1400:(ed.),
818:, 1960)
816:Mercury
778:, 1960)
756:, 1958)
754:Jubilee
743:, 1982)
713:, 1957)
700:, 1958)
671:, 1955)
138:Website
2227:(1957)
2208:(2011)
2200:(1960)
2192:(1960)
2184:(1960)
2176:(1960)
2168:(1958)
2160:(1957)
2152:(1957)
2144:(1957)
2136:(1957)
2128:(1957)
2120:(1955)
2112:(1954)
2018:
1495:
1438:
1414:
896:(1956)
865:Mirage
857:Blakey
835:Uptown
808:1960:
799:1960:
790:1960:
781:1960:
768:1958:
759:1957:
746:1957:
733:1957:
716:1957:
703:1957:
686:1957:
674:1955:
562:, and
392:, and
161:(born
102:Genres
83:, U.S.
1347:Mal-1
1263:with
1171:With
1145:With
1111:With
1085:With
1051:With
1025:With
987:With
961:With
929:With
881:With
847:With
724:Verve
692:with
682:Savoy
663:with
128:flute
2016:ISBN
1493:ISBN
1436:ISBN
1412:ISBN
623:and
451:) .
310:and
206:and
193:and
171:jazz
147:.com
106:Jazz
88:Died
68:Born
1473:at
1408:299
631:'s
143:www
2243::
1952:^
1889:^
1849:^
1807:^
1450:^
1410:,
1385:^
1368:,
1356:,
1344:,
1334:,
1322:,
1312:,
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1270:,
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1237:,
1225:,
1213:,
1201:,
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558:,
388:,
384:,
380:,
364:,
295:,
272:.
210:.
189:,
126:,
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2079:t
2072:v
2024:.
1501:.
1460:.
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