361:, Woody Herman had a public row on the bandstand with Chaloff. Herman told Gene Lees: 'He was getting farther and farther out there, and the farther out he got the more he was sounding like a fagalah. He kept saying, ‘Hey, Woody, baby, I'm straight, man, I'm clean.' And I shouted, ‘Just play your goddamn part and shut up!'....I was so depressed after that gig. There was this after-hours joint in Washington called the Turf and Grid....I had to fight my way through to get a drink, man. All I wanted was to have a drink and forget it. And finally I get a couple of drinks, and it's hot in there, and I'm sweating, and somebody's got their hands on me, and I hear, ‘Hey, Woody, baby, whadya wanna talk to me like that for? I'm straight, baby, I'm straight.' And it's Mr. Chaloff. And then I remember an old Joe Venuti bit. We were jammed in there, packed in, and...I peed down Serge's leg. You know, man, when you do that to someone, it takes a while before it sinks in what's happened to him. And when Serge realized, he let out a howl like a banshee.'
774:. According to Richard Chaloff, he took his horn and pet monkey with him: 'He still had the kinkajou monkey Mother got him to keep him company. And he had his horn. I was told they wheeled him into a vacant operating theatre so he could practise, and that was his last gig, his last public performance, solo baritone sax alone in an operating theatre. Nurses, doctors and even patients were standing outside and listening. He fought it to the end. Mother would visit him and urge him on, saying, 'You can beat it' and things. But that last day, they brought a priest to visit him, and the priest saw Serge in bed looking so wasted, and the priest thought he was supposed to perform the last rites. Serge woke up in the middle of it and really panicked, sliding away from him and yelling 'No! No! Get out!' But after that he seemed to give up. I think that's when he realized it was all over.'
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201:, Count Basie's baritone player, Chaloff did not imitate them. According to his brother, Richard, 'he could play (baritone) like a tenor sax. The only time you knew it was a baritone was when he took it down low. He played it high....He had finger dexterity, I used to watch him, you couldn't believe the speed he played. He was precise. He was a perfectionist. He would be up in his bedroom as a teenager. He would be up by the hour to one, two, three in the morning and I'm trying to sleep and he'd go over a phrase or a piece until it was perfect...I used to put the pillow over my head, we had battles.'
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which proved impractical). The work is divided into three movements: first, New
Orleans; second Classical; and third, Not Too Sad An Ending. The soulful baritone solo by Serge Chaloff traces Mabel's humble beginnings working railroad cars in New Orleans to her emergence as a practising crusader for the cause of Jazz. During her Paris days on the Jazz Houseboat, her struggle for self-expression is symbolized by an unusual saxophone duet Charlie Mariano and Varty Haritrounian. Mabel always said she wanted to go out blowing. She did.' The sixth track,
354:, who joined Herman's band in 1950, described the impact of drugs on the band's performances: 'In the band Woody had started on the coast...late in 1947, which I heard many times, several of the guys were on narcotics and four were alcoholics. When the band started a night's work they sounded wonderful, but after the intermission, during which they used the needle or lushed, the good music was over. It was horrible to see them sitting on the stage like living dead, peering into little paper envelopes when they weren't playing.'
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you ever saw. So when he went to the check out, the guy said, 'Mr
Chaloff, it'll cost you.'...He 'how-dared' him a few times. Couldn't get away with it. He said 'Well listen, if I'm gonna pay for the door I want the door.' It was twenty four dollars. So he paid for the door. I happen to be standing close by. 'Hey Terry,' he said. 'Grab this,' and all of a sudden I found myself checking out....We're walking out of the hotel with a door.'
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suffering from cancer of the spine. His brother
Richard described his final illness: 'We took him down there and they found he had lesions on his spine.....they operated and took most of the lesions away, and then he went on a series of X-ray treatments. Oh they were terrible. He must have had twenty or twenty-five in a row. And in those days they really gave you heavy doses of it. Then occasionally he got spots on the lungs'
630:: 'The ingenuity of Chaloff as a soloist is enormous, and his use of dissonance always conveys a sense of purpose and of form. In 'Body and Soul', he exhibited his capabilities vigorously, taking a deliberate tempo and treating the music with a lyric, delicate, tonal standpoint....the harmonies of the group are tense and the melodies resourceful and they play with a kind of controlled abandon.'
446:. Playing in small groups gave Chaloff the space to develop a new style of playing. In 1951, he talked about 'getting away from the fireworks that don't mean anything' that had been a part of his style up to that point and 'adding more colour and flexibility to his work.' His friend Al Cohn observed 'It wasn't until he left the big bands that he really started to develop as a soloist.'
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musicianship....I'd never worked with these guys before except for jamming briefy with Joe Jones eight years ago, but I knew from hearing them what they could do....We were shooting for an impromptu feeling and we got it. It has more freedom and spark than anything I've recorded before. And I don't think there's a better recommendation than that when it comes to honest jazz.'
522:(drums). Yet George Wein wrote on the sleevenote: 'An alternate title for this album could be 'Serge Returns'....Each selection in these six was chosen and arranged solely by Serge.' There were five standards and a Chaloff original, 'Zdot', with an ending 'written by a wonderful pianist and teacher, Margaret Chaloff, Serge's mother.'.
319:, and a little later Al Cohn. He was featured on many Herman recordings, including "Four Brothers", Keen and Peachy", and had solo features in Al Cohn's "The Goof and I". and "Man, Don't Be Ridiculous." On the latter, he demonstrated 'an astonishing technical facility that was quite without precedent on the instrument.'
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review: 'Serge, for years one of music's more chaotic personalities, has made an about face of late and is again flying right. It is evident in his playing, which has become a thing of real beauty....Chaloff offers the best display of his talents ever to be put on wax. It swings, it has heart, it has
488:, who played with Chaloff at Storyville, recalled, 'Serge was a wild character. We were working at Storyville and, if he was feeling good, he used to let his trousers gradually fall down during the cadenza of his feature, 'Body and Soul.' At the end of the cadenza, his trousers would hit the ground.'
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argues that, rather than imitating Parker, Chaloff was inspired by his example 'grasping more the emotional basis for Parker's playing and using it as a starting point for his own style.' Richard
Chaloff said that his brother 'palled' with (Parker) in New York. Any time he had the chance he would pal
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a famous live music venue on Essex Street in Boston. Richard
Chaloff remembered: 'He didn't have a permit to work but he was pretty tall and he went down to see Izzy Ort...and played for him and Izzy liked the sax...and he hired my brother to work nights....My mother used to pray on Sundays that that
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The highlights of the album are
Chaloff's powerful ballad features, "What's New?", and "Body and Soul". In the 1956 Metronome Yearbook, Bill Coss described the latter as 'an almost frightening example of Serge's form, moaning through a seemingly autobiographical portrayal of (his) Body and Soul', an
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The Kenton connection came about through
Mussulli, who had played in his orchestra in 1944-7 and 1952-4. Richard Vacca wrote that 'Chaloff still had his bad boy reputation, and the presence of the steady and reliable Mussulli, who had recorded his own 'Kenton Presents' LP in 1954, was a great relief
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stories of his chaotic behaviour: 'He'd fall asleep with a cigarette all the time and always burn a hole in a mattress. Always! In about twelve hotels. When we'd go to check out, the hotel owner – Serge always had his hair slicked down even though he hadn't taken a bath for three years...the manager
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Chaloff described the sessions: 'When I came back on the music scene, just recently, I wanted a book of fresh sounding things. I got just what I wanted from Herb and Boots. I think their writing shows us a happy group trying to create new musical entertainment by swinging all the time. Jazz has got
170:'s earliest baritone saxophonists, Chaloff has been described as 'the most expressive and openly emotive baritone saxophonist jazz has ever witnessed' with a tone varying 'between a light but almost inaudible whisper to a great sonorous shout with the widest but most incredibly moving of vibratos.'
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Chaloff made his last live appearances at The Stable Club on
Huntington Avenue in Boston the following May. Interviewed in 1993, Charlie 'the Whale' Johnson recalled Chaloff's final performances: 'I remember pushing Chaloff's wheelchair into The Stable for his last appearances there. He was in bad
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analysed
Chaloff's playing on "A Handful of Stars": 'Paraphrase becomes central to his performance of 'A Handful of Stars' where he scrupulously avoids stating the melody as written. At one point he plumbs the baritone for a bumptious bass note and soars to the top of the instrument's range in one
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was introduced to jazz circles in 1951-52 by the Serge
Chaloff Quartet. Audiences found this satirical jazz legend a welcome respite from standard night club fare. In this legend, Mabel is depicted as a woman who loves men, music and her silver saxophone that played counterpoint (her own invention
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polls. How dare you?'...the manager would always say, 'I'm sorry Mr Chaloff,'...Except one time when the band got off on an air-pistol kick....Serge put a telephone book against the door and was zonked out of his bird...he got three shots at the telephone book and made the biggest hole in the door
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Al Cohn described Chaloff's driving: 'I don't know how we kept from being killed. Serge would always be drunk. He was quite a drinker. Everything he did, he did too much. So one time we're driving, after work. It's four o'clock in the morning, and he makes a left turn, and we're wondering why the
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Chaloff continued to work on the West Coast, performing at the Starlite Club in Hollywood in May 1956. That month, while playing golf, he was struck down by severe back and abdominal pains, which paralysed his legs. Chaloff flew back to Boston, where an exploratory operation revealed that he was
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declared the album 'Chaloff's masterpiece' and described it as 'vigorous and moving... "Thanks for the Memory" is overpoweringly beautiful as Chaloff creates a series of melodic variations which match the improviser's ideal of fashioning an entirely new song. 'Stairway to the Stars' is almost as
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Just a month after his second Storyville recording, Chaloff went through a personal crisis. In October 1954, with no money and unable to find heroin, he voluntarily entered the drug rehabilitation program at Bridgewater State Hospital. After being hospitalized for three and a half months. he was
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Richard Chaloff: 'He took a wheelchair down to make that recording, you know. They didn't think he was going to make it. I heard stories from people there. But when he stood up and played, you never knew he was a sick fellow. He played dynamic. If you listen to the record he sounds like the old
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Vladimir Somosko, Chaloff's biographer, described the results: 'The rapport of the group was as moving as the music, and the net effect was of every note being in place, flawlessly executed, as if even the slightest nuance was carefully chosen for maximum aesthetic impact. This is a level of
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was one of those carefully planned things....But this time I was feeling a little more easy-going, and I decided to make a record just to blow. I picked out what I felt was the best rhythm section around and told them just to show up...no rehearsals...no tunes set...and trust to luck and
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Zoot Sims also talked about Chaloff with Gitler: 'When Serge was cleaned up, you know, straight, he could be a delight, really to be around, a lot of fun. He knew how to handle himself. He had that gift. He could get pretty raunchy when he was strung out, but he could also be charming.'
300:. 'All four tunes are daredevil cute and blisteringly fast,' wrote Marc Myers. 'They showcase tight unison lines and standout solos by four of the six musicians, who are in superb form....(On 'Pumpernickel') Chaloff shows off his inexhaustible and leonine approach to the baritone sax.'
752:(drums). On the later recordings, Charlie O'Kane was brought in to play baritone on the section parts, so Chaloff could preserve his strength for the solos. Here his playing was as strong as ever, especially on "Aged in Wood", written as a solo vehicle for Chaloff by Al Cohn.
480:(piano). 'He didn't work a lot,' said Bob Martin, 'because the word was out. You had to talk somebody to give him a chance to play. When you got him a gig in a club or a hotel, he would usually mess it up. But when he did show...and got playing...it was,'Stand back, Baby!
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shape but could still really play, standing leaning on a pillar. However, he didn't have much stamina. He couldn't really finish the gig. I also had to go get pot and booze for him. He was still using these steadily, even in the hospital at the end.'
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In 1950, Chaloff returned to Boston, where he played in small groups in clubs like the High Hat, Petty Lounge and Red Fox Cafe. A 1950 performance at the Celebrity Club in Providence Rhode Island, was broadcast by WRIV, and has been released on CD as
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wrote that Chaloff had 'a satanic reputation as a drug addict whose proselytizing ways with drugs reportedly damaged more people than just himself.' Many musicians blamed him for the drug-related death of the 21-year-old trumpeter
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he'd make it outa there....My brother sat in with bandsmen that were in their thirties and forties...and here he was fourteen, fifteen years old and he played right along with them, and he did so well that they kept him.'
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fine, and the thoughtful 'The Goof and I' and 'Susie's Blues' show that Chaloff still had plenty of ideas about what could be done with a bebopper's basic materials. This important session has retained all its power.'
296:'s Be-Boppers, and his own Serge Chaloff Sextette, which released two 78 records on the Savoy label. Three of the four tunes recorded were written and arranged by Chaloff while the fourth, 'Gabardine and Serge', was by
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Despite his illness, and the gruelling treatment, Chaloff continued to play live. In New York, on 18 June 1956, a wheelchair-using Chaloff took part in a recording of Charlie Parker's "Billie's Bounce", for the
338:, Chaloff was the Woody Herman band's 'chief druggist as well as its number one junkie. Serge would hang a blanket in front of the back seats of the bus and behind it would dispense the stuff to colleagues.'
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Chaloff's come-back began in late 1953, when the Boston DJ Bob 'The Robin' Martin offered to become his manager. Helped by Martin, Chaloff formed a new group which played at Boston's Jazzorama and
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and the leading Boston piano teacher, Margaret Chaloff (known professionally as Madame Chaloff). He learned the piano from the age of six and also had clarinet lessons with Manuel Valerio of the
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breath, effortlessly concealing the remarkable technical skill required for such seemingly throw-away trifles. This sheer joy at music making seems to give his playing a life-force of its own.'
194:'s baritonist, he taught himself to play the baritone. Chaloff later explained to Leonard Feather in an interview: 'Who could teach me? I couldn't chase Carney around the country.'
588:(p), Everett Evans (b) and Jimmy Zitano (d). Pomeroy, Santisi and Zitano were already a tight unit, regularly playing at Boston's Stable Club, where they had recorded a live album
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a reunion album of Woody Herman's Four Brothers for Vik, a subsidiary of RCA Victor. The Four Brothers lineup was Zoot Sims, Al Cohn, Herbie Steward and Chaloff, accompanied by
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with him. He would sit in with him at night....My brother used to say that he was up till 4,5,6, in the morning with the Bird.....All the beboppers found each other out'
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to Capitol.' For the recording, he composed and arranged five new tunes, including 'Bob the Robin', dedicated to Chaloff's manager. Pomeroy arranged the standards.
397:: 'You can't imagine how good it feels to look at my present group and find them all awake. To play a set and not have someone conk out in the middle of a chorus.'
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polls every year from 1949-1953. Yet his drug use and heavy drinking made it difficult for him to keep steady work, and he gave up playing completely in 1952-3.
763:: 'This last session before his death represents a fervent expression of a fatally ill man. It is a kind of significant farewell in the language he knew best.'
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In late 1949, when many big bands were folding for economic reasons, Herman broke up the Second Herd. Fronting a new small band in Chicago in 1950, Herman told
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554:'s 'Lets Jump', was chosen by Chaloff, who said: 'Now that we've proven how advanced we are let's show the people that we can still swing.'
253:, who became a lifelong friend. With Boyd Raeburn, in January 1945, he made his first recordings, including 'Interlude' (Dizzy Gillespie's '
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to swing; if it doesn't, it loses its feeling of expression. This group and these sides are about the happiest I've been involved with.'
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achievement beyond all but the masters, and from an ensemble that was not even a working group it takes on an aura of the miraculous.'
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326:: 'Great conception and execution, good taste, clean tone and Bird-like style have made him the No.1 bop exponent of the baritone.'
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In 1956, Chaloff worked his way across the country, usually working in an alto/baritone format. In Chicago, he played alongside
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Serge. He pulled himself together. I don't know how he did it. But he had tremendous drive, tremendous stamina.'
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Chaloff's Los Angeles appearance led to his recording a second Capitol LP there in March 1956. The drummer was
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road is so bumpy. Turned out he made a left turn into the railroad tracks, and we're going over the ties.'
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to record a Chaloff LP as part of their 'Stan Kenton Presents Jazz' series. Chaloff's come-back album,
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307:'s Second Herd. This was known as the 'Four Brothers Band', after the reed section, comprising Chaloff,
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By 1947, Chaloff, following the example of his hero, Charlie Parker, was a heroin addict. According to
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433:. The group recorded a handful of sides for Victor and Columbia and was also captured on airchecks.
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Sessions with Boyd Raeburn, Jimmy Dorsey, Georgie Auld, Sonny Berman, Woody Herman and Count Basie
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played piano, and Leroy Vinnegar was on bass. Chaloff described the making of the record, called
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s favourable reception brought more work for Chaloff, culminating in a performance at the
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who, like Herman, had broken up his big band. The band comprised Basie, Chaloff,
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was presented as a joint album with Boots Mussulli, with accompaniment by
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would say, 'Mr Chaloff, you burned a hole in your mattress and...' 'How
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Swing to Bop: An Oral History of the Transition in Jazz in the 1940s
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In June and September 1954, Chaloff made two recording sessions for
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was recorded in New York City in April 1955. He was accompanied by
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band, playing tenor sax. This was followed by jobs in the bands of
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quoted by Stuart Nicholson, 'Serge Chaloff' in Max Harrison (ed),
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maturity—it is the long-awaited coalescence of a great talent.'
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Alun Morgan, 'Serge Chaloff: An Introduction and Discography',
506:'s Boston Storyville label, released as two 10" LPs. The first
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Serge Chaloff became a household name in 1947, when he joined
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Michael Cuscina, liner notes to the 1998 Capitol reissue of
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For part of 1950, Chaloff played in the All Star Octet of
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Brian Davis, liner notes to the 1981 Affinity reissue of
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Chaloff's final recording, on 11 February 1957, was for
1692:, 3rd ed., rev., Montréal Vintage Music Society, 1991,
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Stuart Nicholson, 'Serge Chaloff' in Max Harrison (ed),
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Stuart Nicholson, 'Serge Chaloff' in Max Harrison (ed),
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The Essential Jazz Records: Modernism to Postmodernism
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The Essential Jazz Records: Modernism to Postmodernism
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The Essential Jazz Records: Modernism to Postmodernism
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In 1949, Leonard Feather included Chaloff in his book
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Serge Chaloff was the son of the pianist and composer
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From the age of fourteen, Chaloff, was sitting in at
1411:"SERGE CHALOFF SEXTET - What's New ? - YouTube"
1386:"Jazz Riffing on a Lost Worcester: Serge on Central"
159:(November 24, 1923 – July 16, 1957) was an American
777:Serge Chaloff died the next day, at the age of 33.
770:On 15 July 1957, the dying Chaloff was admitted to
245:'s short-lived big band, where he played alongside
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1670:Serge Chaloff: A Musical Biography and Discography
1592:Serge Chaloff: A Musical Biography and Discography
1579:Serge Chaloff: A Musical Biography and Discography
1510:Serge Chaloff: A Musical Biography and Discography
1472:Serge Chaloff: A Musical Biography and Discography
1086:Serge Chaloff: A Musical Biography and Discography
1007:Serge Chaloff: A Musical Biography and Discography
994:Serge Chaloff: A Musical Biography and Discography
981:Simon Says: The Sights and Sounds of the Swing Era
968:Serge Chaloff: A Musical Biography and Discography
604:enormously emotional jazz listening experience.'
272:Alongside his 1945-1946 work in big bands led by
208:Essex Street, Boston, with Izzy Ort's on the left
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533:, who composed three of the five originals, and
529:, Chaloff played in a nine-piece band featuring
225:In 1939, aged just sixteen, Chaloff joined the
1690:Serge Chaloff, an Appreciation and Discography
558:released in February 1955, finally drug free.
1605:"Billie Bounce (feat. Tar Farlow, Zoot Sims)"
1357:Apr 4-5, 1955: Serge Chaloff's Boston Blow-Up
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260:While with Boyd Raeburn, Chaloff first heard
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1778:Neurological disease deaths in Massachusetts
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541:. The ambitious title piece was composed by
464:nightclubs. His usual musical partners were
264:, who became his major stylistic influence.
626:in June 1955. The show was reviewed in the
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1743:American people of Russian-Jewish descent
788:, Boston, Suffolk County, Massachusetts.
377:you. I'm the winner of the down beat and
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545:, who described it on the sleevenote: '
197:Although he was inspired by Carney and
186:. At the age of twelve, after hearing
1188:"Woody Herman - The Goof And I (1947)"
1103:"Jazz news: Serge Chaloff: March 1947"
7:
1684:For a list of Chaloff's recordings,
1220:, J.J.Robbins & Sons, 1949 p. 79
861:The Four Brothers... Together Again!
742:The Four Brothers... Together Again!
592:, on Transition the previous March.
449:Chaloff was now a star, winning the
1773:Deaths from cancer in Massachusetts
1723:American jazz baritone saxophonists
1523:"Serge Chaloff. A Handful of Stars"
1384:Williamson, Chet (April 20, 2013).
1234:"Gene Lees, 'A Portrait of Woody',
1763:20th-century American saxophonists
1499:, reprinted on the 1998 CD reissue
930:"Serge Chaloff: the bebop lowdown"
659:, who was in Los Angeles with the
645:, the leading West Coast bassist.
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1768:Jazz musicians from Massachusetts
637:. In Los Angeles, he played with
1158:"Woody Herman - Keen and Peachy"
748:(piano), Buddy Jones (bass) and
641:, in a band which also included
525:On the second Storyville album,
1758:20th-century American musicians
1645:from the original on 2021-12-22
1615:from the original on 2021-12-22
1564:Richard Cook and Brian Morton,
1533:from the original on 2021-12-22
1452:from the original on 2021-12-22
1198:from the original on 2021-12-22
1168:from the original on 2021-12-22
1138:from the original on 2021-12-22
759:Don Gold reviewed the album in
1128:"Woody Herman - Four Brothers"
900:The Guinness Who's Who of Jazz
772:Massachusetts General Hospital
568:In 1955, Bob Martin persuaded
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1733:Count Basie Orchestra members
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1668:quoted by Vladimir Simosko,
1590:quoted by Vladimir Simosko,
1470:quoted by Vladimir Simosko,
1442:"Body And Soul (Remastered)"
1333:George Wein, sleeve note to
1317:George Wein, sleeve note to
1084:quoted by Vladimir Simosko,
1035:Serge Chaloff: Boss Baritone
1033:Joop Visser, liner notes to
1005:quoted by Vladimir Simosko,
992:quoted by Vladimir Simosko,
1301:Sunenblick, liner notes to
983:, Galahad Books, 1971, p348
721:album. He played alongside
214:Izzy Ort's Bar & Grille
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1738:Jazz baritone saxophonists
241:. In July 1944, he joined
35:Chaloff (lower left) with
1753:Deaths from spinal cancer
1672:,Scarecrow Press,1998 p95
1594:,Scarecrow Press,1998 p93
1581:,Scarecrow Press,1998 p93
1566:The Penguin Guide to Jazz
1512:,Scarecrow Press,1998 p92
1474:,Scarecrow Press,1998 p87
1009:,Scarecrow Press,1998 p12
996:,Scarecrow Press,1998 p11
970:, Scarecrow Press,1998 p9
700:The Penguin Guide to Jazz
184:Boston Symphony Orchestra
28:
16:American jazz saxophonist
1390:Jazzriffing.blogspot.com
1245:Donaldclarkemusicbox.com
979:quoted by George Simon,
849:Metronome All-Stars 1956
1273:, OUP, 1985, p238">
1037:, Proper Records, 2011
800:, Uptown Records, 1994
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61:Background information
51:August 1947. Photo by
1748:Musicians from Boston
1107:News.allaboutjazz.com
782:Forest Hills Cemetery
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347:on January 16, 1947.
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85:Boston, Massachusetts
1688:. Vladimir Simosko,
780:He is buried in the
624:Boston Arts Festival
364:Chaloff's bandmate,
164:baritone saxophonist
905:Guinness Publishing
719:Metronome All Stars
401:Count Basie's Octet
53:William P. Gottlieb
1728:Bebop saxophonists
1577:Vladimir Simosko,
1508:Vladimir Simosko,
1335:The Fable of Mabel
966:Vladimir Simosko,
903:(First ed.).
814:The Fable of Mabel
611:five stars in his
547:The Fable of Mabel
527:The Fable of Mabel
497:The Fable of Mabel
288:'s Big Eight, the
255:A Night in Tunisia
210:
126:Baritone saxophone
1321:, Storyville 1954
1216:Leonard Feather,
174:Musical education
151:
150:
76:November 24, 1923
1785:
1673:
1666:
1655:
1654:
1652:
1650:
1631:
1625:
1624:
1622:
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1595:
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1569:
1562:
1556:
1549:
1543:
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1540:
1538:
1519:
1513:
1506:
1500:
1495:Jacket blurb to
1493:
1487:
1481:
1475:
1468:
1462:
1461:
1459:
1457:
1438:
1432:
1431:
1429:
1428:
1419:. Archived from
1407:
1401:
1400:
1398:
1396:
1381:
1375:
1374:
1372:
1370:
1355:"Richard Vacca,
1351:
1338:
1337:, Storville 1955
1331:
1322:
1315:
1306:
1299:
1290:
1283:
1274:
1267:
1256:
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984:
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964:
958:
952:
946:
945:
943:
941:
925:
919:
918:
891:
684:Stuart Nicholson
657:Philly Joe Jones
620:Boston Blow-Up!'
607:Jack Tracy gave
590:Jazz in a Stable
437:Return to Boston
340:Whitney Balliett
266:Stuart Nicholson
134:
98:
75:
73:
50:
33:
19:
1793:
1792:
1788:
1787:
1786:
1784:
1783:
1782:
1703:
1702:
1682:
1680:Further reading
1677:
1676:
1667:
1658:
1648:
1646:
1633:
1632:
1628:
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1394:
1392:
1383:
1382:
1378:
1368:
1366:
1365:. April 5, 2014
1353:
1352:
1341:
1332:
1325:
1319:Serge and Boots
1316:
1309:
1300:
1293:
1284:
1277:
1268:
1259:
1249:
1247:
1240:
1232:
1231:
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1215:
1211:
1201:
1199:
1186:
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1151:
1141:
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1125:
1121:
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1109:
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1100:
1096:
1090:Scarecrow Press
1083:
1079:
1070:
1063:
1054:
1041:
1032:
1013:
1004:
1000:
991:
987:
978:
974:
965:
961:
956:Boston Blow-Up!
953:
949:
939:
937:
927:
926:
922:
915:
893:
892:
888:
883:
875:
842:Capitol Records
830:Capitol Records
825:Boston Blow–Up!
804:Serge and Boots
794:
746:Elliot Lawrence
710:
673:Boston Blow-up!
653:
609:Boston Blow-Up!
574:Boston Blow-Up!
570:Capitol Records
566:
563:Boston Blow-Up!
531:Charlie Mariano
508:Serge and Boots
500:
493:Serge and Boots
470:Charlie Mariano
439:
403:
359:Washington D.C.
332:
247:Dizzy Gillespie
223:
199:Jack Washington
176:
154:
137:1937–1957
132:
96:
71:
69:
56:
24:
17:
12:
11:
5:
1791:
1789:
1781:
1780:
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1678:
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1656:
1635:"Aged In Wood"
1626:
1596:
1583:
1570:
1557:
1555:, 1999, p. 180
1544:
1514:
1501:
1488:
1476:
1463:
1433:
1402:
1376:
1363:Troystreet.com
1339:
1323:
1307:
1291:
1289:, 1999, p. 179
1275:
1257:
1222:
1209:
1179:
1149:
1119:
1094:
1077:
1075:, 1999, p. 179
1061:
1059:, October 1957
1039:
1011:
998:
985:
972:
959:
947:
936:. Jazz Journal
928:Jack, Gordon.
920:
913:
907:. p. 82.
897:, ed. (1992).
885:
884:
882:
879:
874:
871:
870:
869:
857:
845:
833:
821:
811:
801:
793:
790:
731:Charles Mingus
709:
706:
652:
647:
643:Leroy Vinnegar
578:Boots Mussulli
565:
560:
499:
490:
476:(trumpet),and
466:Boots Mussulli
438:
435:
415:Buddy DeFranco
402:
399:
350:The trumpeter
331:
330:Drug addiction
328:
317:Herbie Steward
282:Sonny Berman's
262:Charlie Parker
239:Ina Ray Hutton
227:Tommy Reynolds
222:
219:
192:Duke Ellington
180:Julius Chaloff
175:
172:
153:Musical artist
152:
149:
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143:
139:
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135:
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128:
123:
119:
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105:
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100:
99:(aged 33)
93:
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78:
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67:
63:
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58:
57:
34:
26:
25:
22:
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1698:1-895002-06-0
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1443:
1437:
1434:
1423:on 2019-04-04
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1219:
1218:Inside Be-Bop
1213:
1210:
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1092:, 1998, p. 22
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921:
916:
914:0-85112-580-8
910:
906:
902:
901:
896:
890:
887:
880:
878:
872:
867:
863:
862:
858:
855:
854:Verve Records
851:
850:
846:
843:
839:
838:
834:
831:
827:
826:
822:
819:
815:
812:
809:
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799:
796:
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791:
789:
787:
786:Jamaica Plain
783:
778:
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764:
762:
757:
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747:
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738:
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732:
728:
724:
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714:
708:Spinal cancer
707:
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696:
692:
688:
685:
681:
677:
674:
670:
666:
662:
658:
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648:
646:
644:
640:
636:
635:Lou Donaldson
631:
629:
628:Boston Herald
625:
621:
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591:
587:
583:
579:
575:
571:
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559:
555:
553:
548:
544:
543:Dick Twardzik
540:
536:
532:
528:
523:
521:
520:Buzzy Drootin
517:
513:
509:
505:
498:
494:
491:
489:
487:
483:
482:
479:
478:Dick Twardzik
475:
471:
467:
463:
458:
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452:
447:
445:
436:
434:
432:
428:
424:
423:Freddie Green
420:
416:
412:
408:
398:
396:
391:
387:
383:
380:
376:
371:
367:
362:
360:
357:One night in
355:
353:
348:
346:
341:
337:
329:
327:
325:
324:Inside Be-Bop
320:
318:
314:
310:
306:
301:
299:
295:
291:
287:
284:' Big Eight,
283:
279:
275:
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165:
162:
158:
157:Serge Chaloff
147:
144:
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136:
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127:
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116:
112:
109:
106:
102:
95:July 16, 1957
94:
90:
86:
83:
79:
68:
64:
59:
54:
46:
42:
38:
32:
27:
23:Serge Chaloff
20:
1689:
1685:
1683:
1669:
1647:. Retrieved
1629:
1617:. Retrieved
1599:
1591:
1586:
1578:
1573:
1565:
1560:
1552:
1547:
1535:. Retrieved
1517:
1509:
1504:
1496:
1491:
1484:
1479:
1471:
1466:
1454:. Retrieved
1436:
1425:. Retrieved
1421:the original
1414:
1405:
1393:. Retrieved
1389:
1379:
1367:. Retrieved
1362:
1356:
1334:
1318:
1302:
1286:
1270:
1269:Ira Gitler,
1248:. Retrieved
1244:
1238:, June 1984"
1235:
1217:
1212:
1200:. Retrieved
1182:
1170:. Retrieved
1152:
1140:. Retrieved
1122:
1110:. Retrieved
1106:
1097:
1085:
1080:
1072:
1057:Jazz Monthly
1056:
1034:
1006:
1001:
993:
988:
980:
975:
967:
962:
955:
950:
938:. Retrieved
934:Jazz Journal
933:
923:
898:
895:Colin Larkin
889:
876:
859:
847:
835:
823:
813:
803:
797:
779:
776:
769:
765:
758:
754:
741:
739:
735:Billy Taylor
715:
711:
698:
695:Brian Morton
691:Richard Cook
689:
682:
678:
672:
668:
654:
649:
632:
619:
618:
608:
606:
602:
598:
594:
589:
582:Herb Pomeroy
573:
567:
562:
556:
546:
535:Herb Pomeroy
526:
524:
512:Russ Freeman
507:
501:
496:
492:
486:Jay Migliori
484:
481:
474:Herb Pomeroy
459:
448:
443:
440:
411:Wardell Gray
404:
392:
388:
384:
378:
374:
363:
356:
352:Rolf Ericson
349:
345:Sonny Berman
333:
323:
321:
305:Woody Herman
302:
278:Jimmy Dorsey
274:Georgie Auld
271:
259:
243:Boyd Raeburn
224:
211:
196:
188:Harry Carney
177:
156:
155:
146:Woody Herman
133:Years active
97:(1957-07-16)
37:Georgie Auld
1718:1957 deaths
1713:1923 births
1305:, Uptown CD
1303:Boston 1950
866:Vik Records
820:LP 317 1955
810:LP 310 1954
798:Boston 1950
792:Discography
665:Sonny Clark
661:Miles Davis
639:Sonny Stitt
586:Ray Santisi
518:(bass) and
516:Jimmy Woode
504:George Wein
444:Boston 1950
431:Gus Johnson
427:Jimmy Lewis
419:Clark Terry
407:Count Basie
366:Terry Gibbs
290:Ralph Burns
286:Bill Harris
235:Shep Fields
231:Dick Rogers
142:Formerly of
1707:Categories
1497:Blue Serge
1485:Blue Serge
1427:2019-03-04
1236:Jazzletter
881:References
837:Blue Serge
818:Storyville
808:Storyville
750:Don Lamond
727:Art Blakey
669:Blue Serge
650:Blue Serge
552:Al Killian
462:Storyville
370:Ira Gitler
294:Red Rodney
122:Instrument
114:Occupation
72:1923-11-24
41:Red Rodney
761:Down Beat
723:Zoot Sims
663:Quintet.
613:Down Beat
539:Tiny Kahn
514:(piano),
455:Metronome
451:Down Beat
395:Down Beat
379:Metronome
336:Gene Lees
313:Zoot Sims
309:Stan Getz
298:Tiny Kahn
292:Quintet,
221:Big bands
166:. One of
45:Tiny Kahn
1649:July 25,
1643:Archived
1619:July 25,
1613:Archived
1537:July 25,
1531:Archived
1456:July 25,
1450:Archived
1395:July 25,
1369:July 25,
1250:July 25,
1202:July 25,
1196:Archived
1172:July 25,
1166:Archived
1142:July 25,
1136:Archived
1112:July 25,
580:(alto),
472:(alto),
117:Musician
1639:YouTube
1609:YouTube
1527:YouTube
1446:YouTube
1416:YouTube
1192:YouTube
1162:YouTube
1132:YouTube
940:9 March
873:Sideman
368:, told
251:Al Cohn
1696:
1568:, 1992
911:
868:, 1957
584:(tp),
104:Genres
81:Origin
43:, and
1241:(PDF)
168:bebop
1694:ISBN
1651:2021
1621:2021
1539:2021
1458:2021
1397:2021
1371:2021
1252:2021
1204:2021
1174:2021
1144:2021
1114:2021
942:2024
909:ISBN
856:1956
844:1956
832:1955
733:and
693:and
495:and
453:and
429:and
375:dare
276:and
249:and
237:and
161:jazz
108:Jazz
92:Died
87:, US
66:Born
1686:vid
697:in
468:or
1709::
1700:.
1659:^
1641:.
1637:.
1611:.
1607:.
1529:.
1525:.
1448:.
1444:.
1413:.
1388:.
1361:.
1342:^
1326:^
1310:^
1294:^
1278:^
1260:^
1243:.
1225:^
1194:.
1190:.
1164:.
1160:.
1134:.
1130:.
1105:.
1088:,
1064:^
1042:^
1014:^
932:.
864:,
852:,
840:,
828:,
816:,
806:,
784:,
737:.
729:,
725:,
425:,
421:,
417:,
413:,
315:,
311:,
233:,
190:,
49:c.
47:,
39:,
1653:.
1623:.
1541:.
1460:.
1430:.
1399:.
1373:.
1359:"
1254:.
1206:.
1176:.
1146:.
1116:.
944:.
917:.
74:)
70:(
55:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
