WELCOME TO CUESHEET, one of a

series of performance guides published

by the Education Department of the

John F. Kennedy Center for the

Performing Arts, Washington, D.C. This

Cuesheet is designed to be used before

and after attending the performances

of The Billy Taylor Trio and the Turtle

Island String Quartet.

What’s in Cuesheet?What is Jazz? page 2

Jazz—An Overview, page 3

Building Blocks of Music, page 4

Improvisation, page 5

Development of Jazz, page 6

Glossary, page 7

Billy Taylor Trio, page 8

Turtle Island String Quartet, page 10

Bibliography and Discography, page 12

Dr. Billy Taylor and the Billy Taylor

Trio demonstrate the characteristics of

jazz and perform works that show how

various styles of jazz developed over

the years.

The Turtle Island String Quartet play

jazz arrangements and original compo-

sitions and discuss the performance

techniques used for jazz and related

contemporary musical forms.

What is JAZZ?

It has been said that there isa style of jazz that soundslike European classicalmusic, a style of jazz thatsounds like country andwestern music, a style ofjazz that sounds like Latinmusic, a style of jazz thatsounds like rock music, andstyles that sound like variousother kinds of music heardin this country andelsewhere in the world.

You will learn about threeimportant elements in music—melody, harmony, and rhythm.You will also learn about impro-visation—an important part of ajazz performance. You will learnthat every jazz musician is acomposer, and improvisation isinstant composition.

Take a look at the glossary ofterms on page 7 before attend-ing the presentations.

“Comparing styles is the bestway to discover that there is no one way ofplaying jazz, for there areas many different ways ofplaying the music as there aremusicians playing it.”— Dr. Billy Taylor*

*quotes throughout are fromTaylor, Billy. Jazz Piano—A Jazz History. Dubuque,

Iowa: Wm. C. Brown Company Publishers, 1983.

and Taylor, Billy; Stokolosa, MaryAnn; Bass,

Mickey. Music Activities Packet. New York:

Jazzmobile, Inc., 1979.

Dr. Billy Taylor, the renowned jazz artist/educa-tor/composer/author answered this question bystating that, “Jazz is America’sclassical music. It is anAmerican way of playingmusic.”Jazz has developed as a musical language froma single expression of the consciousness ofblack people to a national music which expresses Americana to Americans as well as topeople from other countries.

Jazz has been a major influence on the musicof the world for more than ninety years.

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Jazz History and DevelopmentAn Overview

Jazz is an art form that originated andwas used as a medium of expressionby African Americans. It emerged fromthe need of African Americans toexpress themselves in musical terms.This need for self-expression stemmeddirectly from the African musical heritage.

The African Musical Tradition—InAfrican societies, music was mostimportant in maintaining and continu-ing a culture. As a result, Africansbrought with them to this country thetradition of having music to accompanyand define the activities of their lives.There was music for working, for play-ing, for festivals, for marriages, births,deaths, and wars. For Africans, musichad many purposes.

As Dr. Billy Taylor explains in his bookJazz Piano—A Jazz History, becausetransplanted Africans did nothave the same freedom to main-tain their cultural identity,their musical traditions had tochange. As Africans endured slavery,they had to reshape work, songs,leisure songs, religious music, and

other types of music found in their her-itage. Africans created American musicas they adapted to this new land andfaced the conditions of slavery.

Most slaves were taken from the west-ern countries of Africa. They were Vai,Twi, Mandingo, Yoruba, or people ofdozens of other tribes. They broughtwith them their memories and habitsbased on the old waysof life—religious beliefsand practices, crafts,music, dances, and thetradition of oral trans-mission of history.

Music played a veryimportant part in thedaily lives of Africans.Enslaved Africansbegan to use music asa relief from both thephysical and spiritualburdens they enduredin America. It was alsoused as a tool for com-munication, sinceAfricans came herefrom different tribesand backgrounds.

Music in the Early Days of Slavery

WORK SONGS—The slaves’ work song was a revision of the

African work song. Work songs were sung to make one’s

labors easier to perform. The words (lyrics) spoke about

work being done and were also comments of social criticism,

ridicule, gossip, and protest.

CRIES, CALLS, AND FIELD HOLLERS—The melodic calls were

used to communicate messages of all kinds. They were used

to bring people in from the fields, to call them to work, to

attract the attention of a person in the distance, to signal

hunting dogs, or to make a person’s presence known. Some

were happy, some were sad.

SPIRITUALS—Group expressions of many aspects of the

slaves’ life, most spirituals were used to express religious

convictions. There were also spirituals used to give

messages, to teach, to scold, to speak of escape, and to

express the desire for freedom.

SATIRICAL SONGS—These were songs used to make fun of

people and events.

BALLADS—These were songs used to tell stories of good and

bad men and women, heroes, heroines, justice, injustice,

great events, and problems blacks in America were having.

These forms of music formed the musical fam-ily that produced jazz.

Black Americans created something of beautyfrom a very ugly situation—slavery. They creat-ed African American music.

3

“This new music was to be the trunk ofthe tree from which a truly Americanmusic would grow—jazz, America’s classical music.”

TheBuildingBlocksof Music

When we listen carefully to music,

we can hear the tune —Melody,

the notes that provide counterpoint to the tune — Harmony,

and we can feel the beat of the music — Rhythm.

This helps us tell the difference between a march and a waltz. Italso helps us keep time and sing or play music together.

The melody, the harmony, and the rhythm are the “buildingblocks” of music.

How do we hear these threeimportant “building blocks” whenwe listen?

There are three important

elements in music we hear.

They are:

*Melody

*Harmony

*Rhythm

When we listen to a jazz group, the rhythm is usually played bythe drums. The string bass or bass guitar helps the drum “keeptime,” and also plays low notes that sound good with the melodyand harmony.

The piano and the guitar play the harmony or chord progres-sions. These are other notes that sound good with the melody.When these “harmony” notes are played together they are calledchords, when they are played separately they are called arpeg-gios, or broken chords. The piano and the guitar are sometimesused to play the rhythm when there is no bass or drums.

The melody may be played by any instrument. It may also besung. In large groups the melody is frequently played by instru-ments like the trumpet, the trombone, the saxophone, the clar-inet, the flute, the violin, or the melodica.

Listen carefully to what theBilly Taylor Trio will do with 3instruments. Can you identify who isplaying the melody, the harmony, and therhythm? Does this ever change?

4

Is the mode angry andaggressive or tender and loving?Are you trying to say somethingfunny or sad? What does themusician want to say? To whom?

When jazz musicians improvise, they make upmusic as they go along. Because every jazzmusician is a composer, improvisation is instantcomposition. A good improvisation has abeginning, a middle, and an ending. It is liketelling someone something. You must put yourthoughts into phrases that are easilyunderstood. In musical composition you mustdo the same—the only difference is that you areusing musical sounds instead of words.

“Since jazz improvisation is apersonal statement drawing uponmelody, rhythm, and harmony,serious jazz musicians do notwant their statement to rambleor be incoherent. The bestimprovisers try to be assuccinct as possible,stating an idea, developing itto its logical conclusion, andstopping—having said all thatwas necessary to convey thethought.”

is an important part of a jazz performance. Every jazz musicianis a composer. Improvisation is a way of expressing yourselfthrough music.

What do you think about whenyou improvise?

“If you are ajazz musician,you think ofthe mosteffectiveway to saywhat youhave to sayin the musicalstyle of yourchoice.”

Improvisation

In a jazz group, improvi-sation is like a conversa-tion; the musician who isimprovising listens to the

other members of the groupand says something to them,using musical phrases.Sometimes it is like call andresponse, with the group askinga question musically and theimprovising musician answeringthem.

Jazz does not exist in a vacu-um. It reflects life as it is beinglived. In the jazz tradition, musi-cians are free to express theirideas and feelings in a way thatis not possible in other styles ofmusic.

As you see and hear the BillyTaylor Trio perform, try tolisten to what eachplayer is doing.

5

Development ofJazzRagtime was the earliest

form of jazz, characterized bysyncopation, improvisation, andcross-rhythms. 1896 is consid-ered to be the beginning of rag-time, because that was thedate of the first publication of aragtime piece for the piano;however, most jazz historiansagree that piano ragtime exist-ed before it was published.Ragtime became the leisure-time music of slaves onSouthern plantations. It alsowas the music of performers intaverns and places of entertain-ment and social events.Ragtime was sung, and wasplayed on banjos, fiddles, har-monicas, drums, trumpets, andwhatever other instrumentswere available. At this time thehuman voice was the mostimportant musical instrument.

Photo courtesy of the Institute of Jazz Studies, Rutgers University

6“As America

,s classical music, a melting pot of

music from various musical traditions, jazz has provided a unique and continuing view of who Americansare and what we are about. Theblues provides an excellent example of howmusic expresses us to ourselves and to others.”

Blues is of equal importance as a parent ofjazz. Its roots are as old as the presence ofAfricans in the United States. The blues evolvedfrom the spirituals and the work songs, and likethem began as vocal music.

Performers used “the voice” according totheir needs and concepts. The blues developedits style and repertory almost entirely fromAfrican musical concepts and materials. It wasfolk-oriented jazz in the beginning. The blues, asin the African tradition, expressed how an indi-vidual related to the culture. The blues were cre-ated after the Civil War period. As the musicbecame popular, groups with instrumentalistswere formed.

In the late 1920s and early 1930s, becauseof phonograph records and radio shows, theblues became very popular in urban areas.

This music created by African Americans inthe South became even more popular when theymigrated north to Chicago and Kansas City.

During that period, jazz, which had combinedthe elements of ragtime and blues, became sopopular that the 1920s became known as theJazz Age.

Swing was the dominant jazz form of the1930s and 1940s. One of its distinctive featureswas the accent of four beats to a measure. Itexpanded the rhythmic patterns of ragtime. Itwas played by big bands and small bands andwas used mostly for dancing.

Pre—bebop was an outgrowth of swingmusic, which was melodically, harmonically, andrhythmically more complex than its predeces-sors. It led directly to bebop and beyond.

FAMOUS JAZZPIANISTSRagtimeScott JoplinJelly Roll MortonJames P. Johnson

BluesMeade Lux LewisCow Cow DavenportBlind Lemon

Jefferson

SwingTeddy WilsonMary Lou Williams

Pre—BebopArt TatumNat King Cole

BebopBilly TaylorBud Powell

Cool JazzTadd DameronGeorge Shearing

Hard BopHorace SilverHampton Hawes

Progressive JazzDave BrubeckLennie Pristano

Funky JazzBobby TimmonsCarl Perkins

Abstract JazzCecil TaylorPaul Bley

Modal JazzMcCoy Tyner

Jazz RockJan HammerHerbie Hancock

MainstreamMulgreu Miller

Ray Charles

Bebop was the jazz style of the 1940 s. Itfeatured long melodic lines and impressionisticharmonic patterns, many of which ended on anaccented upbeat.

Cool jazz was an attemptmade by jazz musicians of thelate 1940s and early ‘50s toreorder the basic elements ofjazz. They used subtle rhythms,impressionistic harmonies,melodies which were not ruggedor aggressive, and combinationsof musical instruments whichwere not typical in ensembles.They tone it down in volume andthe rhythmic aspects were moresubtle.

At the end of this period, jazz was rush-

ing toward its next phases—hard bop,

progressive, funky, abstract, modal, jazz

rock, third stream, and mainstream.

Hard bop—an aggressive return to

bebop concepts with a more direct

approach to “hot” phrases and

rhythms. Progressive jazz—an

extension of bebop and cool techniques

and devices, which incorporated tonal

mass and density as sonorities as well

as uneven combinations and meter

arrangements such as 5/4, 7/4, and

so forth. Funkyjazz —a return to a

blues- and gospel-oriented feeling which

was updated to include melodies and

harmonies which were in common use

at that time. Abstract jazz—in

the late ‘60s, a period of spontaneous

exploration. Modal jazz—the redis-

covery and use of traditional church

modes in jazz. Jazz rock—an

attempt to fuse the elements of rock

with the elements of jazz, often using

electronic instruments. The thirdstream—an attempt to organize jazz

materials using classical and contempo-

rary European musical techniques and

devices. The first stream—European

classical; the second stream—jazz; the

third stream—fusion of the two.

Mainstream jazz—since the late

1980s and currently part of the

renewed interest in the jazz tradition.

From the 1970s, into the1990s we are seeing a renewed

interest in jazz, especially among young

people. In contrast to jazz styles which

were becoming more complex, interest

has been revived in the concepts and

devices of the jazz masters of the past.

The music of many of these masters

(i.e. Duke Ellington, Thelonious Monk,

Charles Mingus) is being redefined by a

generation of young musicians.

7

BEAT—rhythm and the tempo or timing

in music.

BOOGIE WOOGIE—A kind of blues that is

played on the piano with a strong, deep

bass added.

CHORD—A combination of notes that

blend and sound good when played

together.

HARMONY—a pleasing arrangement of

simultaneous sounds.

JAM SESSION—Holding a jam session,

“jamming,” means getting together to

play jazz.

MELODY—A series of single tones, rhyth-

mically arranged, so as to produce a

pleasing effect on the ear. When we lis-

ten carefully to music, we can hear the

tune (the melody).

IMPROVISATION—a way of expressing

yourself with music. When a jazz musi-

cian improvises, he/she makes up music

as he/she goes along.

NOTES—symbols that represent tones in

music.

RAGTIME—rhythm with a syncopated

melody and a regularly accented accom-

paniment.

RHYTHM—the movement of music. A part

of music with accent, tempo or time.

SCORE—written or printed music.

SYNCOPATION—this is a shifting of

accents and stress from what are nor-

mally strong beats to the weak beats. It

often means playing one rhythm against

another in such a way that listeners want

to move, nod heads, clap hands, or

dance. Syncopation is part of jazz.

Glo

ssary

8

Dr.BillyTaylor, generally consid-ered to be America’s leading spokesman for jazz,began his illustrious 50 year career as a profes-sional musician on New York’s truly legendary52nd Street. He can be heard on countlessrecordings from the beginning of his career to thepresent. He maintains a very busy touring sched-ule with the Billy Taylor Trio while serving as Artis-tic Advisor for Jazz at the Kennedy Center inWashington, D.C.

Winner of two Peabody Awards, an EmmyAward, and a Grammy nomination for Best Instru-mental Composition (1995—Homage Part 1), Dr.Taylor is also the recipient of the nation’s highestaward for distinguished accomplishments in thearts, the National Medal of Arts (1992). Addition-ally, he was awarded the Jazz Masters Fellowshipby the National Endowment for the Arts in 1987. He has been aguest artist at the White House on seven different occasions andhas participated in three State Department tours to date. He isFounder and Past President of New York City’s Jazzmobile, theunique outreach organization which produces concerts, musicalclinics and educational programs responsible for bringing jazz tothousands of people in free public performances.

Dr. Taylor has been an arts commentator on the CBS televisionprogram Sunday Morning since 1980. Dr. Taylor’s composition, IWish I Knew (How It Would Feel To Be Free) is featured as thetheme for the film, Ghosts of Mississippi.

Clearly arts education has been, and continues to be, a pas-sion which drives Billy Taylor. In addition to his four musical seriesheld each year at the Kennedy Center (Art Tatum Pianorama,Mary Lou Williams Women in Jazz Festival, Louis Armstrong Lega-cy and Billy Taylor’s Jazz from the Kennedy Center) Dr. Taylor hasdeveloped cooperative programs between the Kennedy Centerand the Prince William County Public School System which shareartistic resources with students and teachers through interactiveTV. His Performances for Young People are yet another outreachprogram — this one aimed at children grades five through eight.

Chip Jackson, bassist,praised for his “big melodious tone” and“exquisite intonation with a flowing time sense”that make his solos “models of inventiveness,”has performed with many great jazz artists,including Elvin Jones, Red Rodney, Stan Getz,Horace Silver, Tony Bennett, Woody Herman,and Joe Henderson. His multifaceted careerincludes writing, leading, and arranging for hisown groups, clinical and private teaching,recordings, and touring throughout the world.Mr. Jackson can be heard on recordings withChuck Mangione, Jack Walrath, and RonnieCuber. Mr. Jackson, who is based in New YorkCity, received his formal training in music fromthe Berklee School of Music in Boston.

Dr. Billy Taylor is a role model for theyoung to emulate, musicians to watchand learn from, and jazz fans to cherish.

The Billy Taylor TrioL–R: Chip Jackson, Billy Taylor, Steve Johns

Barnett Williamsis anationally recognized performing artist and edu-cator. He has performed with artists thatinclude Gil Scott-Heron, Donald Byrd, DonnyHathaway and Oscar Brown, Jr. He has writtenpercussion books and conducted workshopsand lectures in over 50 colleges anduniversities in the U.S. and Europe.Constantly in demand as an educatorhe presents his Hands On PercussionWorkshop throughout metropolitanWashington. He has been a residencyartist for the Arts Enterprise Zone pro-ject (a collaborative arts education pro-ject of the Kennedy Center, WashingtonPerforming Arts Society, the LevineSchool of Music and the WashingtonParent Group Fund) for the past fouryears and presents workshops for chil-dren who participate in the Wolf TrapInstitute‘s Early Learning Program.

Steve Johns, drummer, leftBoston for New York in 1982. Since then hehas performed with a diverse array of jazzmusicians including John Hicks, Larry Coryell,Bobby Watson, Gary Bartz, Diane Schuur, andRoy Hargrove. He has toured the United Stateswith the Count Basie Orchestra under the direc-tion of Frank Foster, and Europe with the GilEvans Orchestra, the George Russell LivingTime Orchestra, and the Mingus EpitaphOrchestra. Mr. Johns can be found at the TimeCafe in New York City every Thursday night withthe Mingus Big Band. He has recorded withGaryt Bartz, George Russell, and ThomasChapin. He can be seen on WGBH-TV’s “AnEvening with Stanley Turrentine’ and was partof National Public Radio’s “Jazzset” hosted byBranford Marsalis. Mr. Jones studied privatelywith the renowned drummer Alan Dawson andlater at the New England Conservatory of Musicin Boston.

Candido is one of the world’s most exciting conga andbongo show artists. His artistry on the conga drums has beenimmortalized with an entry into the World Book Encyclopedia.Candido was born in the El Cerro District of Havana in 1921. Hebegan his musical career on bass and guitar at the age of 14. In1946, he changed to the bongos and then added conga drumsto his repertoire. Candido worked for six years at C.M.Q. Radio inHavana, as well as at the Tropicana Club. He first came to theUnited States in 1952 to work in Miami’s Clover Club. Candidothen came to New York, where he became friends with DizzyGillespie. Together they went to Le Downbeat, where Candido satin for a few sets with Billy Taylor. His talent amazed everyonethere, and Candido stayed on and worked the club for a year.New York jazz critics all praised Candido as one of the greatest

drummers to ever come out ofCuba. Candido went on to workwith Stan Kenton in the fall of1954, and is heard on Stan’srecord of Bacante, as well as therecordings of Coleman Hawkin’sRuby, Woody Herman’s Run Joe,George Shearing’s Caravan,Dizzy Gillespie’s Manteca, DukeEllington’s recording and televi-sion special The Drum is aWoman. He has also appearedin concert at Carnegie Hall, andon the television shows of EdSullivan and Steve Allen.

The

Billy

Tay

lor

Trio

9

Barnett Williams

Candido

Turtle Island StringQuartet

As a founding member of the David GrismanQuintet (DGQ), Darol Anger (violin,baritone violin) helped pioneer the “newacoustic” movement from 1975 to 1984, work-ing with noted improvising string musiciansincluding Stephane Grappelli, Tony Rice, MarkO’Connor, Bela Fleck, and Mike Marshall. DarolAnger produced and recorded a solo album,Fiddlistics, and various duo albums, culminat-ing in a live recording at the Montreux JazzFestival and the formation of the Montreux

Band. He helped form TISQ in 1985, acting asproducer and composing for five albums todate. He can be heard on many current record-ings with musicians such as Suzanne Vega,Holly Near, Bela Fleck, and John Gorka. Motionpicture soundtrack credits include Country andSweet Dreams. He has been active in develop-ing synthesizer violin technology, working as aconsultant with the groundbreaking ZetaCompany. Darol also performs and records withhis new acoustic/bluegrass outfit, Psychograss.

Since beginning in 1985, Turtle Island StringQuartet have been no mere innovators, but rather inventorsof their own glorious musical world. Combining influences ofjazz, classical, bluegrass, rock, R&B, and blues, they are muchmore than a “jazz string quartet.” Whether they’re performingGillespie, Jimi Hendrix, Gershwin, Ellington, Billy Taylor, or theirown original compositions, the feeling of being present at thebirth of something musically new is inescapable.

10

Tracy Silverman (violin) made hisdebut at age 13 as soloist with the ChicagoSymphony Orchestra, and has garnered manyawards including the national Stillman-KellyAward. He studied at the Chicago MusicalCollege and graduated from the Juilliard school,studying violin with Ivan Galamian and chambermusic with Sam Rhodes of the Juilliard Quartet.He has performed in orchestras under thedirection of Leonard Bernstein and GerardSchwartz, as well as the Saint Paul ChamberOrchestra, Minnesota Sinfonia, and other majorballet companies. He has also performed withvarious artists including Luciano Pavarotti, JonBon Jovi, and Stanley Jordan, and has conduct-ed his own orchestral work commissioned bythe Minnesota Sinfonia.

Danny Seidenberg (viola, violin)made his solo viola debut at age 16 with thePittsburgh Symphony as part of their YoungPeople’s Concert series, and has performed asprincipal violist for the Joffrey Ballet, BrooklynPhilharmonic, Philharmonia Virtuosi, SolistiNew York, Dance Theatre of Harlem, and theSoviet Emigre Orchestra. Danny has toured,performed, and recorded with Steve Reich andMusicians, the Village People, Liza Minelli, TonyBennett, James Brown, and Richie Havens. Hehas recorded for CBS Records and AristaRecords. Danny is an early-instrument specialistand a graduate of the Juilliard School.

Mark Summer (cello) graduated fromthe Cleveland Institute of Music and workedwith the Winnipeg Symphony for three seasonsbefore forming his own groups. He has com-bined his study of classical cello with improvis-ing pop and jazz on piano, guitar, and drum,and when he moved to San Francisco perform-

ing with the Chamber Symphony of SanFrancisco and Oakland Symphony, he contin-ued his study of jazz. As co-founder of TISQ, hedeveloped a unique and kaleidoscopic stylewhich incorporates virtuoso jazz soloing, distinc-tive bass lines, and extended percussive tech-niques adapted from the guitar gaining himrecognition as today’s premier jazz cellist. Hiscomposition, Julie-o, a piece for solo cellowhich appears on the TISQ album Metropolis,is a favorite of cellists around the world. Markhas recorded with Will Ackerman and per-formed with Toni Childs. He currently plays withTrio con Brio, an ensemble based in SanFrancisco.

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“At a time when many people inthe music field are looking for anew direction and renewal, theTurtle Island String Quartet is aunified voice that trulybreaks new ground...authentic and passionate...a reflection of some ofthe most creative music-making today.”–Yo Yo Ma

Lawrence J. Wilker, President

Derek E. Gordon, Associate Managing Director, Education

What is Jazz?Performances by The Billy Taylor Trio

and Turtle Island String Quartet

Cuesheet was written by Anita Batisti, Ph. D. arts educator,

fund-raiser and adjunct professor at Fordham University,

Graduate School of Education, N.Y.C., and PACE University,

Graduate School of Education, N.Y.C.

Cuesheet is funded in part through the support of the U.S. Department

of Education, The Kennedy Center Corporate Fund, and The Morris and

Gwendolyn Cafritz Foundation.

©1996 The John F. Kennedy Center for the Performing Arts.

selected reading/references for teachers

12

Questions1. What is the most truly American music?

2. What are the roots of Jazz?

3. If we listen carefully to music, what three (3) things will we hear?

4. What musical instruments usually playthe rhythm of a song?

5. What instruments usually play theharmonies?

6. What are some of the instruments which may be used to play the melody?

7. What is improvisation?

8. What are the things one will find in agood improvisation?

9. What does a musician who isimprovising with a group do?

10. What was the earliest form of jazz?

11. What form of jazz was of equalimportance as a parent of jazz?

12.What decade became known as theJazz Age?

Chernoff, John Miller. African Rhythm andAfrican Sensibility. Chicago: Union ChicagoPress.

Haskin, Jim and Biondi, JoAnn. From Afar toZulu. New York: Walker & Co. Publishers (adictionary of African cultures).

Roberts, John Storm. Black Music of TwoWorlds. New York: Praeger Publishing Co.(music of Cuba and Brazil).

Taylor, Billy. Jazz Piano—A Jazz History.Dubuque, Iowa: Wm. C. Brown Co. Publishers, 1983.

DiscographyThe Billy Taylor Trio

Solo

White Nights and Jazz in Leningrad (Taylor MadeLabel, November 1988)

You Tempt Me and We Meet Again (Arabesque)

It’s a Matter of Pride (GRP label)

My Fair Lady Loves Jazz (1956, Billy Taylor Trioand all-star band arranged by Quincy Jones re-issue)

Step Into My Dream

Homage

Turtle Island String Quartet

Who Do We Think We Are

Spider Dreams

On the Town

Skylife Metropolis

Turtle Island String Quartet

By the Fireside