Monday, December 2, 2024

GENE ROLAND - The Untold Story by Bill Coss

 © Introduction Copyright ® Steven Cerra, copyright protected; all rights reserved.



“Roland, Gene (b Dallas, 15 Sept 1921; d New York, 11 Aug 1982). Composer, arranger, and multi-instrumentalist. He first worked for Stan Kenton, composing songs for June Christy and playing his own new fifth trumpet parts (1944). After brief periods with Lionel Hampton and Lucky Millinder he rejoined Kenton as an arranger and trombonist, again on a new fifth part (1945). He began writing arrangements for four tenor saxophones while in New York in 1946, and continued his experiments in Los Angeles (where he played piano with Stan Getz, Jimmy Giuffre, Herbie Steward, and Zoot Sims); this innovation later led to the distinctive grouping of the Four Brothers within the Woody Herman Orchestra. In the late 1940s Roland played trombone with Georgie Auld and trumpet with Count Basie, Charlie Barnet, and Millinder; he also wrote arrangements for Claude Thornhill and Artie Shaw. In 1950 he led a 26-piece big band which included Dizzy Gillespie, Charlie Parker, and other prominent bop musicians, but it was unsuccessful and he resumed work as an arranger for Kenton (from 1951) and Herman (1956-8), In writing for four mellophoniums he introduced a new sound to Kenton's band; he also played as a soloist on mellophonium and soprano saxophone in his compositions for Kenton's album Adventures in Blues (1961). Roland visited Copenhagen in 1967 to compose for and conduct the Radiohus Orchestra. He toured with Kenton again in 1973, but thereafter worked in New York, playing piano, tenor saxophone, and trumpet, and writing arrangements for his own big bands. A fine example of his trumpet playing and an unusual instance of his singing may be heard on Jimmy Knepper's Gee baby, ain't ! good to you on the album A Swinging Introduction to Jimmy Knepper (1957, Beth. 77).” 

  • Barry Kernfeld, The New Groove Dictionary of Jazz [1988, 1994]


© Introduction Copyright ® Bill Coss, copyright protected; all rights reserved, used with permission.


The following appeared in the August 28, 1963 edition of Downbeat magazine and we are lucky to have it as aside from this piece, the above citation in The New Groove Dictionary of Jazz and a 1982 obituary in JazzJournal, one would be hard pressed to find any other sources about one of the more innovative musicians in the history of modern Jazz in the second half of the 20th century.


I mean, check out his multi-instrumentalist abilities, “four brothers sound” credentials, innovative Kenton arrangements and the development of the mellophonium sound, the “nine hot weeks” reference in the following Bill Coss article; the man was a creative force in Jazz in many ways and for many years.


And yet, mention his name in Jazz circles, and very few fans know anything about him.


Perhaps the following posting will help to draw back the veil of anonymity obscuring his legacy.


“GENE ROLAND made one of the most important innovations in big-band jazz, the Four Brothers sound. But until recently (DB, April 25), this had never been mentioned in print, and few musicians knew it.


Gene Roland may have written more arrangements in his life than anyone else, but practically no one knows that either.


Gene Rolland is responsible for changes in the Stan Kemon Band that are almost beyond belief, but nobody knows that — as a matter of fact, he isn't even credited for Kenton's Capitol album Viva Kenton that was arranged, in its entirety, hy him.

Gene Roland can play, and play well, almost every instrument, but practically no one has ever been informed of this.


Gene Roland is one of those persons only a few others know exist. Musician, arranger, composer, he is hardly ever given the curious privilege of being criticized.


Fortunately for Roland, he is concerned only with the music he writes and the band for which it is written. Even more fortunately, he has only rarely been without work.

The chasm between what he has done and the degree to which his accomplishments are recognized is a fascinating one, made only a bit clearer by the rambling biography that is his life.


He was born in Dallas, Texas, on Sept. 15, 1921. No one in his family was musical. His father was a fine and successful commercial artist. But Gene early found a fondness for jazz. He remembers that "at 11 or 12 I had piano lessons. I never took them seriously. I was a typical American boy. But I began to pick up an interest in jazz after I stopped piano lessons, around 1937. A cartoonist for the school paper introduced me to records by Benny Goodman, Count Basie, and Jimmie Lunceford.

"I think now, looking back at it, that my early influences were Louis Armstrong, Trummy Young. Coleman Hawkins, and Benny Goodman. I always liked Basie, but his band was always too raucous for me. I looked to Jimmie Lunceford for progress."


In 1939, he began playing trumpet, "very badly," he said, and with no lessons from anyone but apparently well enough so that local musicians urged him to study. So in 1941, when he was to make a choice of colleges to attend, musician friends convinced him to go to North Texas State (wherefrom fine musicians have been graduated in large numbers).


Roland said he feels especially lucky. "Within a short time" he said, "I landed in an off-campus cottage with Jimmy Giuffre, Herb Ellis, Harry Babasin, and some other guys [“the" other guys" all died in World War II].


"We had a group you couldn't believe. We would play for hours, sometimes until we fell asleep. Then we would get up again and play some more. We lived mostly on home brew that was usually over fermented and cheese sandwiches. But the thing we did most was play,


"There's a little piece of jazz history in that house. We were followers of Sam Donahue and Jimmie Lunceford. Jimmy Giuffre was our unnamed leader —he should have been. Sometimes he was the only one who would go to class. The rest of us would just sit around all day playing and miss all of school. Anyway, due to being in such fast company, I progressed very much faster than I ordinarily would have. I was concentrating then on trumpet and arranging."


Fast company or demands have always watched over Rolland. In 1942, the war broke up the group. Giuffre went into the Air Force, and so did Roland, to the Eighth Army Air Force Band, a 60-piece orchestra, in which he stayed for two years, and in which his primary job was to write dance-band libraries. He wrote six different ones.


Out of the service in the summer of 1941, he immediately joined Stan Kenton, almost exclusively writing arrangements for the band's girl singers, Anita O'Day and later June Christy, and, incidentally, adding a fifth trumpet — and a fifth-trumpet book—to the Kenton band during that year (the five-man trumpet section continues in that band).


Then Roland joined Lionel Hampton as an arranger. "Arnett Cobh got me in," he said, "but I spent six frustrating weeks trying to get the band together for one rehearsal."


It was then summer, 1945, and Roland joined Lucky Millinder for a short time, playing third trumpet and arranging, before again returning to Kenton, this time arranging for Miss Christy and playing fifth trombone chair, adding parts for that chair to the band's book. (Five trombones also remain a feature of Kenton's band.)


"In early 1946," he said — and Giuffre and Stan Getz have corroborated this —"I came back to New York and organized the first four-tenor saxophone band I know of. It had Al Cohn, Joe Magro, Stan Getz and Louis Ott. Nothing much happened with it, but it was an exciting sound.


"So, anyway, I got back out to the West Coast, and I was writing for Vido Musso's big band. The tenor saxophones there were Getz, Giuffre. Herbie Steward, and Zoot Sims. We worked weekends as an eight-piece group — I played piano for $10 a night, and trumpeter Tommy DeCarlo was the leader— at a place called Pontrelli's Ballroom in Los Angeles. That was where a lot of people heard that four-tenor sound."


It worked for several months, but then Roland went back to Kenton. In that summer of 1947 he worked in a Kenton all-star group, led by Musso, at the Hotel Sherman in Chicago. Pete Rugolo was on piano with trumpeters Buddy Childers and the late Ray Wetzel, saxophonists Boots Mussulli and Bob Gioga in addition to Musso, and drummer Roy Harte.


That was just before returning to New York to work with Georgic Auld, playing valve trombone with a nine-piece band that included bassist Curly Russell, trumpeter Red Rodney, and the late drummer Tiny Kahn. Then he played bass trumpet for Count Basie, and arranged for the band, and played the late Al Killian's chair in Charlie Barnet's Orchestra.


Most of 1948 was taken up with arranging for Claude Thornhill and Artie Shaw, Then followed another tour with Lucky Millinder, playing jazz trumpet in a band that also included [drummer] Art Blakey.


Finally, in 1950, there came what Roland calls "nine hot weeks." This consisted of an experimental band playing his arrangements and rehearsing at New York's Nola studios. It was a huge band, few people remember it, only a few pictures exist of it, and only rumors attest to the assertion that some recordings were made of it.


But in the band were eight trumpets, six trombones, eight reeds, and seven rhythm. And among its personnel it numbered Dizzy Gillespie, Red Rodney, Miles Davis, Al Porcino, trumpets; Jimmy Knepper, Eddie Bert, trombones; Charlie Parker (playing lead alto), Joe Maini, Al Cohn. Zoot Sims, Charlie Kennedy, Gerry Mulligan, Billy Miles, saxophones; Sam Herman, guitar; Buddy Jones, bass; and Phil Arabia, Charlie Perry, drums.


This remarkable aggregation came to nothing, and, in 1951, Roland returned to Kenton for two years, writing a host of arrangements.


In 1953 he met Dan Terry (formerly known as Kostraba) and wrote 20 arrangements for that band, some of which were later released on Harmony as Teen Age Dance Party. Roland said, “I’m still getting royalty checks from that album. I've earned over $10,000 from that album one way or the other; more than I ever have."


He returned again, in 1955, to Kenton but after a year left for Chicago and Ralph Marterie ("Ralph sure tried hard for me in Chicago"). And in 1957-58 he was a salaried arranger for Woody Herman and has played trombone for him, too, at times since.


All during those years, from 1956 until 1962, he was writing and planning for Kenton. He introduced the mellophonium section in the band, or, as Roland puts it, "It was the third different horn I played for him."


So now he is with the new Dan Terry Band. In Roland's words, "I wanted something important to do."


Because there is no doubt about what Roland has done and the influence he has wielded, a few of his observations on past associates are in order:

Stan Kenton: "My father in the music business. He taught me how to organize my thinking. He was a counselor and adviser, for which I will be forever grateful."


Vido Musso: "Very talented, very high-strung but likeable. He should have made it, but he was too honest and naive."


Count Basie: "He's only used one arrangement of the 20 I've written for

him and been paid for. He wastes so much, but God bless him. I love him."


Claude Thornhill: "The original pixie of this business. He's very hard to analyze, very complex. He's a controversial guy, but we got along well."


Charlie Barnet:  "He's lots of fun."


Woody Herman: "He's the strongest influence of the old, tried and true bandleaders next to Kenton. Woody's still blowing strong: God bless him."


Sam Donahue: "I think he's the greatest of the big-name rebels. He's still got the bit in his teeth."


"My strongest personal influence was Lester Young. Among the arrangers I most appreciate are Al Cohn, Bill Holman, Neal Hefti, Nat Pierce, and Gil Evans. Gil got me with Claude. I'm grateful for that and just knowing Gil."


Those brief quotes should give a concept of the lean, balding Roland. He is normally off-beat, gentle, and quixotic, and in this may lie the problem, for apparently very few have known what he has done and fewer have thought about what he might be able to do. It only can be said now that some indication of the accomplishment and potential have finally been put in print.”





Jazz West Coast A Reader Volume 2 - Holiday Gift

 © Copyright ® Steven Cerra, copyright protected; all rights reserved.


With the holiday season upon us, I hope you will consider making a gift of A Jazz West Coast Volume 2 to the Jazz fans among your family and friends.


It is available exclusively through Amazon.com and it offers 47 chapters plus an Introduction and a Prologue each of which is full of information about the West Coast Jazz Masters including Bill Perkins, Richie Kamuca, Buddy Collette, Bob Cooper, Wardell Gray, Dexter Gordon, Bill Holman, Marty Paich, Teddy Edwards, Bob Brookmeyer and Cal Tjader among many, many others. 


I have priced it very reasonably at $24.99 for the paperback and $9.99 for an eBook.


To give you some idea of the breadth and depth of the writings on offer in this 353 page anthology, some of which are extremely rare, I am posting the book’s Table of Contents for you to look over.


Also, please keep in mind that I am sharing 50% of the profits from the sale of the book to the local school district for use toward the purchase of musical instruments for individual students.

 

Happy Holidays to you and yours from The Cerra Family.


Table of Contents


Introduction pp. 6-10

Prologue - Seeds in the Swing Era from Modern Jazz by Alun Morgan and Raymond Horricks pp. 11-20

Chapter 1. The Miles Davis 1948/1949 Group from Modern Jazz by Alun Morgan and Raymond Horricks, pp. 21-29

Chapter 2. The Los Angeles Jazz Scene of the 1950’s The Gerry Mulligan Quartet by Robert Gordon, pp. 30-38 

Chapter 3. The West Coast Sound by Robert Gordon, pp. 39-48

Chapter 4. Two Tenor Conversation with Bill Perkins and Richie Kamuca by John Tynan, pp. 49-53

Chapter 5. Bill Perkins - The Gordon Jack Interview, pp. 54-58

Chapter 6. Richie Kamuca - The Gordon Jack Interview, pp. 59-62

Chapter 7. Bob Cooper - Quietly, Always There by Steven A. Cerra, pp. 63-68

Chapter 8. William “Buddy” Collette, 1921-2010 by Peter Jacobson and the Central Avenue Sounds Editorial Committee, pp. 69-73

Chapter 9. The Forgotten Ones - Buddy Collette - by Gordon Jack, pp. 74-77

Chapter 10. Harold Land [1928-2001]: The Hard Bop Legacy - Steven A. Cerra and John Tynan, pp. 78-82

Chapter 11. Jack Montrose by Gordon Jack, pp. 83-89

Chapter 12. Chet Baker - “The Jazz Musician Interview” by Jerome Reece, pp. 90-99

Chapter 13. Remembering Wardell Gray [1921-1955] - Part 1 - The Ira Gitler Notes, pp. 100-104

Chapter 14. Remembering Wardell Gray [1921-1955] - Part 2 - The Michael James Essay, pp. 105-111

Chapter 15. Remembering Wardell Gray [1921-1955] - Part 3 - The Herbie Butterfield Essay, pp. 112-117

Chapter 16, Remembering Wardell Gray [1921-1955] - Part 4 - The Alun Morgan Essay, pp. 118-122

Chapter 17. Funny Frank [Rosolino] by John Tynan, pp. 123-125

Chapter 18. Lou Levy - John Tynan, pp. 126-129

Chapter 19. Lou Levy - An Interview with Steve Voce, pp. 130-137

Chapter 20. Jimmy Rowles: Sprinkling Jazz by Steven A. Cerra, pp. 138-144

Chapter 21. Jimmy Rowles: The Len Lyons Interview, pp. 145-150

Chapter 22. Pete Jolly - Some Variations by Steven A. Cerra, pp. 151-163

Chapter 23. Willis and John Haley - Bill Holman Talks About Zoot Sims, pp. 164-176

Chapter 24. Bill Holman: Recollections of Fellow Musicians from The Early Years with Bill Dobbins, pp. 177-187

Chapter 25. Bob Gordon -Baritone Blues by Gordon Jack, pp. 188-193

Chapter 26. The Great Herb Geller by Gene Lees, pp. 194-203

Chapter 27. Herb Geller and Interview with Gordon Jack, pp. 204-212

Chapter28. Teddy Edwards: A Tenor Saxophonist of Importance by Steven A. Cerra, pp. 213-215

Chapter 29. The Advent of Victor Feldman by Steven A. Cerra, pp. 216-226

Chapter 30. Victor Feldman and Frank Rosolino: The “Lost Recordings” by Steven A. Cerra, pp. 227-231

Chapter 31. Nascent Lennie Niehaus by Max Harrison, pp. 232-239

Chapter 32, Bud Shank - Burning Brighter by Fran Kelley, pp. 240-242

Chapter 33. Bud Shank Parts 1 and 2 by Doug Ramsey and Gordon Jack, pp. 243-261

Chapter 34. Milt Bernhart by Gordon Jack, pp. 262-265

Chapter 35. Bob Brookmeyer: An Interview with Bill Coss, pp. 266-270

Chapter 36. Extracts From An Interview with Bob Brookmeyer by Wayne Enstice and Paul Rubin, pp. 271-278

Chapter 37. Bob Enevoldsen with Gordon Jack, pp. 279-283

Chapter 38. Marty Paich and A Band Within A Band” by Steven A. Cerra, pp. 284-293

Chapter 39. Cal Tjader - The 1957 Downbeat Interview by John Tynan, pp. 294-297

Chapter 40. Cal Tjader, Paul Horn and the 1958 Monterey Jazz Festival, pp. 298-302

Chapter 41. Cal Tjader: “A Certain, Smooth Elegance” [La Onda Va Bien] by Steven. A Cerra, pp. 303-309

Chapter 42. “The Latinization of Cal Tjader - Or … what’s a nice Swedish boy like you doing in a bag like this?” by Harvey Siders, pp. 310-316

Chapter 43. College Goes to Jazz - John Graas and the Westlake College Quintet, pp. 317-321

Chapter 44. “Don Fagerquist - The Forgotten Ones” Series by Gordon Jack, pp. 322-325

Chapter 45. Bass Players: Scott LaFaro and Gary Peacock by Martin Williams, pp. 326-333

Chapter 46. California Hard 1 - Clifford Brown, Herb Geller, Hampton Hawes and Dexter Gordon by Robert Gordon, pp. 334-343

Chapter 47. California Hard II - The Curtis Counce Group, Chet Baker Quintet, Pepper Adams - Mel Lewis Quintet and Others by Robert Gordon, pp. 344-354




Saturday, November 30, 2024

Jazz West Coast Reader, Volume 1 - Holiday Gift

 © Copyright ® Steven Cerra, copyright protected; all rights reserved.

With the holiday season upon us, I hope you will consider making a gift of A Jazz West Coast Volume 1 to the Jazz fans among your family and friends.


It is available exclusively through Amazon.com and it offers 46 chapters plus an Introduction, Prologue and Epilogue each of which is full of information about the West Coast Jazz Masters including Shorty Rogers, Jimmy Giuffre, Shelly Manne and Howard Rumsey and the Lighthouse All-Stars. 


I have priced it very reasonably at $24.99 for the paperback and $9.99 for an eBook.


To give you some idea of the breadth and depth of the writings on offer in this 347 page anthology, some of which are extremely rare, I am posting the book’s Table of Contents for you to look over.


Also, please keep in mind that I am sharing 50% of the profits from the sale of the book to the local school district for use toward the purchase of musical instruments for individual students.

 

Happy Holidays to you and yours from The Cerra Family.




Table of Contents


Introduction: The Jazz West Coast Style of Music by Steven A. Cerra, pp. 6-9

Prologue - West Coast Sounds by John Dutton, pp. 10-16

Chapter 1. Central Avenue Sounds by Bob Gordon, 17-32

Chapter 2. Shorty Rogers and His Giants - by Bob Gordon, 33-44

Chapter 3. Shorty Rogers and the Development of the West Coast Style of Jazz by John Graas, pp. 45-48

Chapter 4. Shorty Rogers - The Gentle Giant by Howard Lucraft, pp. 49-53

Chapter 5. Shorty Rogers The Steve Voce Interview, pp. 54-58

Chapter 6. Shelly Manne - The Lighthouse and Shorty Rogers - Steven A. Cerra, pp. 59-73 

Chapter 7. The Lighthouse Café as an Incubator for West Coast Jazz by Steven A. Cerra, pp. 74-77

Chapter 8. Jim Giuffre Musician by Nat Hentoff - Jim Giuffre Composer As Told to Downbeat [John Tynan], pp. 78-81

Chapter 9. The Passionate Conviction: An Interview with Jimmy Giuffre by Lorin Stephens, pp. 82-90. 

Chapter 10. Jimmy Giuffre in the Jazz Literature : Jordi Pujol, Will McFarland and Francis Davis, pp. 91-101

Chapter 11. Jimmy Giuffre - The Pastoral Man by Ed Michel, pp. 102-112

Chapter 12. Peter Welding - Booklet Notes to The Complete Pacific Jazz and Capitol Recordings of the Gerry Mulligan Quartet and Tentette with Chet Baker [Mosaic MR 5-102], pp. 113-118

Chapter 13. Gerry Mulligan: The Gordon Jack Interview, pp. 119-125

Chapter 14. The West Coast School Of White Musicians And Its Soloists - from "Modern Jazz" by Morgan and Horricks, pp. 126-134

Chapter 15. The Composers of the West Coast School  - from "Modern Jazz" by Morgan and Horricks, pp. 135-142

Chapter 16. Shelly Redux – More Thoughts From and About The Manne by Steven A. Cerra, pp. 143-153

Chapter 17. Shelly Manne & His Men at The Blackhawk: A Review of the Jazz Literature by Steven A. Cerra, pp. 154-169

Chapter 18. Shelly Manne and His Men Play Peter Gunn by Lester Koenig, pp. 170-172

Chapter 19. Hank Mancini - Jazz Musician by Steven A. Cerra, pp. 173-175

Chapter 20. Stan Getz - East of the Sun: The West Coast Sessions - The Ted Gioia Notes, pp. 176-181

Chapter 21. STAN AND GERRY - Occasional Collaborators" by Gordon Jack, pp. 182-185

Chapter 22. Shelly Manne: “Portrait of a Jazz Success” by John Tynan, pp.186-193

Chapter 23. Art Pepper - "The Whiteness of the Wail" by Gary Giddins, pp. 194-197

Chapter 24. Art Pepper-Marty Paich Inc. by Alun Morgan, pp. 198-203

Chapter 25. Art Pepper Plus Eleven by Marty Paich, pp. 204-207

Chapter 26. "Straight Life - The Story of Art Pepper" by Gary Giddins, pp. 208-212

Chapter 27. Art Pepper by Larry Kart, pp. 213-217 

Chapter 28. Stan Levey -  The Alun Morgan Interview, pp.218-222

Chapter 29. Stan Levey: From Left to Right - The JazzProfiles Interview by Steven A. Cerra, pp. 223-231

Chapter 30. Stan Levey - The Gordon Jack Interview, pp. 232-236

Chapter 31. Mel Lewis in the Jazz Literature - Steven A. Cerra, Ed.. pp. 237-247

Chapter 32. Mel Lewis – Life in Los Angeles - Chris Smith, pp. 248-253

Chapter 33. Mel Lewis, Terry Gibbs and The Dream Band by Terry Gibbs and Chris Smith, pp. 254-258

Chapter 34. Larry Bunker - Portrait of a Jazz Drummer and Studio Musician - The Gordon Jack Interview, pp. 259-263

Chapter 35. Larry Bunker - Modern Drummer Interview with David Levine and the Steve Voce Obituary for the Independent, pp. 264-269

Chapter 36. Whatever Happened to Larry Bunker? by Mal Sands, pp. 270-277 

Chapter 37. JazzLife - Hollywood and Los Angeles by William Claxton, pp. 278-284

Chapter 38. Dave Pell by Gordon Jack, pp. 285-288    

Chapter 39. Dave Pell - The Complete Trend and Kapp Recordings 1953-1956 by Steven A. Cerra and Jordi Pujol, pp. 289-296

Chapter 40. The Case for Dave Pell - The Octets and Beyond by Steven A. Cerra, pp. 297-302

Chapter 41. Chico Hamilton Quintet - The Robert Gordon/Mosaic Records Notes, pp. 303-307

Chapter 42. The Chico Hamilton Quintet by Gordon Jack, pp. 308-312

Chapter 43. Terry Gibbs' Big Band - "Vamp 'Till Ready" by John Tynan, pp. 313-318

Chapter 44. Part 1 - The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 319-326

Chapter 45. Part 2 -The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 327-334

Chapter 46. Part 3 -The Terry Gibbs Dream Band from “Terry Gibbs Good Vibes - A Life in Jazz,” pp. 335-344

Epilogue: Jazz on the West Coast - “Preface” by Robert Gordon, pp. 345-347 


Friday, November 29, 2024

A Dave Brubeck Reader, Volume 1 - 1948 to 1972 - Holiday Gift

 Copyright ® Steven Cerra, copyright protected; all rights reserved.

With the holiday season upon us, I hope you will consider making a gift of A Dave Brubeck Reader - Volume 1 - 1948-1972 to the Jazz fans among your family and friends.


It is available exclusively through Amazon.com and, given that it offers 364 pages of information about Dave and his music, I have priced it very reasonably at $25.99 for the paperback and $9.99 for an eBook.


To give you some idea of the breadth and depth of the writings on offer in the anthology, some of which are extremely rare, I am posting the book’s Table of Contents for you to look over.


Also, please keep in mind that I am sharing 50% of the profits from the sale of the book to the local school district for use toward the purchase of musical instruments for individual students.

 

Happy Holidays to you and yours from The Cerra Family.



Table of Contents


Introduction, pp. 7-9


Prologue - Dave Brubeck: A Life in American Music by Doug Ramsey, pp. 10-35


Chapter 1 - “Time to Begin” by Fred M. Hall, pp. 36-43


Chapter 2. The Dave Brubeck Octet by Dave Brubeck and Dr. Frank Tirro, pp. 44-51


Chapter 3. The Dave Brubeck Octet: A Formula and A Dilemma by Raymond Horricks, pp. 52-57


Chapter 4. The Dave Brubeck Octet by Philip Clark, pp. 58-70


Chapter 5. Cal Tjader and The Dave Brubeck Octet and Trio by S. Duncan Reid, pp. 71-78 


Chapter 6. The Complete Storyville Broadcasts - Jason Yale, pp. 79-83


Chapter 7. The Formative Years of the Dave Brubeck Quartet by Philip Elwood, 

pp. 84-94


Chapter 8. Brubeck at Oberlin, A Review of the Jazz Literature by Steven A. Cerra, pp. 95-104.


Chapter 9. 1954 Jazz at College of the Pacific and Jazz Goes to College - Wayne Morrill, Katie Neubauer and George Avakian, pp. 105-114


Chapter 10. The Early Years at Columbia Records and Brubeck Time by Stephen Crist, pp. 115-120


Chapter 11. Dave Brubeck Answers His Critics - Don Freeman DB 8.10.1955, pp. 121-123


Chapter 12. Ralph J. Gleason - “Dave Brubeck: What Makes Him Tick,” DB 7.25.1957, pp. 124-130


Chapter 13. Ralph J. Gleason - Dave Brubeck: 'They Said I Was Too Far Out' DB 8. 8. 1957, pp. 131-137


Chapter 14. Ralph J. Gleason - Dave Brubeck: First Things First, DB 9.5.1957, pp. 138-145


Chapter 15. The Quartet from These Jazzmen of Our Times  by Raymond Horricks, pp. 146-152 


Chapter 16. Jazz Impressions of the U.S.A. and Dave Digs Disney by Philip Clark, pp. 153-159


Chapter 17. Jazz Impressions of Dave Brubeck by Steven A. Cerra and Howard Mandel, 160-166


Chapter 18. Digging Dave Brubeck and Time Out - Alan Goldscher, pp. 167-182


Chapter 19. Metrical Experimentation from "Dave Brubeck's Time Out" by Stephen Crist, pp. 183-189


Chapter 20. Dave Brubeck’s Time Out: Why It’s So Great - Kile Smith, pp. 190-192


Chapter 21. Dave Brubeck - Beyond Take Five - John Edward Hasse, pp. 193-196


Chapter 22. Dave Brubeck and Stan Kenton: Alike and Unalike by Harry Frost, pp. 197-200


Chapter 23. Pops - Dave and Iola Brubeck - The Real Ambassadors by Steven A. Cerra and Ricky Riccardi, pp. 201-210


Chapter 24. The Real Ambassadors by Penny M. von Eschen, pp. 211-218


Chapter 25. The Real Ambassadors by Keith Hatschek, pp. 219-225


Chapter 26. Mr. Armstrong and Mr. Glasser - Gary Giddins, pp. 226-228


Chapter 27. Beyond Time Out - The Undiscovered Dave Brubeck by Steven A. Cerra, 229-237


Chapter 28. Dave Brubeck, Composer, by Leonard Feather, pp. 238-244


Chapter 29. A Quartet of Five (Dave Brubeck) by Gary Giddins, pp. 245-249 


Chapter 30. Dave Brubeck: The Man on the Buffalo Nickel - Gene Lees, pp. 250-268


Chapter 31. Compadres with Brubeck and Mulligan - Jerome Klinkowitz, pp. 269-278


Chapter 32. “A Quarter Century Young: The Dave Brubeck Quartet,” Arnold J. Smith, DB March 25,1976, pp. 279-288


Epilogue - Dave Brubeck: The Smithsonian Oral History Program NEA Jazz Masters Interviews, pp. 289-352


Bibliography, pp. 353-360


Discography, pp. 361-364