sign in sign up
<<
Home , Big Bags, Golden Gate Ballroom, Smooth as the Wind, Symphony Sid, Tadd Dameron

Index: University of Michigan Press

A arch form, 136–137 “A” (inmate at Lexington), 140–141, 151, archives, music, 31–32, 147 198 Armed Forces Radio “A-La Bridges” ( and tune), 16, recordings for, 45, 58–59, 69 155 Vaughan's guest appearances on, 46 Abersold, Jamie, 205 Armstrong, Jackie, 108 “Accentuate the Bass” (tune), 203–204 Armstrong, Lil Hardin, 158 Adams, Pepper, 180 Armstrong, Louis, 6 Adderley, Cannonball, 151, 153 Addison, Bernard, 158 as compositions, 18 Advent Lutheran Church (New York City), integration of improvisations and, 191 200 romantic, 44–45 advertisements See also specific arrangement titles for 3 Bips and a Bop, Panel A ASCAP (American Society of Composers, for entertainment in , 8 Authors and Publishers), 186, 205 AFM recording bans, 27–28, 32, 40, 41, 85 Aspar, Henri, 104 AFRS. See Armed Forces Radio Association of U.S. Mayors of , 122 Ahlert, Fred, 46 At Basin Street (), 134 “Airmail Special” (arrangement), 53 “At Christmastime” (tune), 181–182, 193 Albam, Manny, 51 Atkins, C.B., 180 Albertson, Chris, 158 Atlantic Records, 120, 124, 162, 174, 181 Alexander, Joe, 1, 135–136 Atlantic Studios, 176 “Algo Bueno” (arrangement), 85 Auld, Georgie “All The Things You Are” (tune), 85–86 Dameron recommends Levey for job Allen, Gene, 169 with, 50–51 “Aloof Spoof” (tune), 158, 161, 201 Dameron's work with, 51, 59, 65, 191 American Federation of Musicians. See AFM gives up his , 66 recording bans guest appearances by Eckstine, 43 American Society of Composers, Authors Levy's association with Dameron and, and Publishers (ASCAP), 186, 205 115 Amvets Post number 29 (Cleveland), 113 popularity of, 51 Anderson, Andy, 16–17, 190 records of Dameron's arrangements, 53, Anderson, Buddy, 88 58, 60 Andre, Wayne, 169 Avakian, George, 13 “Angel Face” (arrangement), 81 Ayler, Albert, 1, 195 Anthony, Ray, 186 “Anthropology” (tune), 64 B Apollo Theater (New York City), 68, 124 Bach, Bob, 73 “April In Paris” (arrangement), 81, 92 “(Back Home in) Indiana” (tune), 75 Arcadia Ballroom (New York City), 47 “Bah-U-Bah” (tune), 104 Bailey, Benny, 1, 36–37, 47, 132 “Beautifully Adorned” (tune), 162–163 Bailey, Dixie, 75 Bailey, Mildred, 158 advertisement for 3 Bips and a Bop, Bailey, Pearl, 111–112, 139, 190 Panel A Baker, Chet Dameron's contributions to, 41–65, 89, appearances at the Loop Lounge by, 131 190–192 becomes Dameron's houseguest, 185 featured in Chicken Shack Dameron tunes recorded by, 144, 161, concerts, 84–85 170, 201 first big band recognized in, 47 incarceration of, 150 Gillespie introduces pieces with, 85–87 visits Dameron, 185 supporters of, 76 Baker, Harold “Shorty,” 36–37 See also big bands; bands. See specific band names Bechet, Sidney, 95, 98 Bank, Danny, 106 Beckett, Fred, 27, 169–170 Barbour, Dave, 52 Belleclaire Hotel (New York City), 183 Barclay, Eddie, 95–96 Bellson, Louie, 67–68 Barclay, Nicole, 95–96 Beneke, Tex, 111 Barclay Records, 95 Bennett, Tony, 180 Barefield, Eddie, 9 Quintet, 200 Barelli, Aime, 104 Benny Moten Band, 13 Barker, Danny, 15 Benton, Brook, 190 Barnet, Charlie, 73 Berman, Sonny, 47, 51 Basie, William “Count” Bernhart, Milt, 109–110 Blakeneys meet Dameron at show of, Best, Denzil, 84 171 “Best Things in Life Are Free, The” Dameron arrangements recorded by, (arrangement), 152, 155 41–42, 52, 63, 195 “Bevan Beeps” (arrangement and tune), Dameron on quality of “Solid as a Rock” 157–158, 160–161 recording by, 111 “Bevan's Birthday” (arrangement and tune), Dameron's work with, 10, 26–27, 37–38, 164–165, 182 41–42, 44 “Bewildered” (arrangement), 31, 32–34, 39, gives dance book to 190 Orchestra, 43 (album), 153, 175 's work in, 164 big bands popularity of in Kansas City, 13 changes in arrangements for during early records “San José,” 189–190 1940s, 41 working relations with BVC, MCA, and, progressive, Dameron as key player in 26 development of, 191 Bavan, Yolande, 172–173 See also bebop; specific big band names BBC, 99–100, 103, 112–113 Big Sea, The (book), 4 “Be Bop Carroll, A” (tune), 79, 90, 194 Big Ten (band), 88–94, 139, 201 “Bearcat Shuffle” (tune), 17 Billy Berg's (Los Angeles), 62 Beau Brummels. See Chocolate Beau Billy Eckstine Orchestra Brummels creates featurette containing Dameron's arrangements, 64 during Royal Roost period, 85, 93 Dameron's work for, 42–48 first as a band leader, 77–78 Gordon recalls playing Dameron charts “Lady Bird,” 68–69 in, 193 “lost session,” the, 158–163 mentioned, 204 registers copyrights for Dameron tunes, plays with, 88 157 Navarro leaves, 75 3 Bips and a Bop's recordings by, 73–74, Birdland (New York City), 110, 112, 157, 171 Panel A sessions, 88 Blue Room (New York City), 47 Bishop, Walter Jr., 112 “Blue Satin” (arrangement), 110 Biss, Harry, 51 Blue Star (record label), 96 “Black and Tan Fantasy” (arrangement), 6 “Blue Time, A” (arrangement and tune), Blaine, Jerry, 121 152–154 Blakeney, Barbara (friend), 157, 171–173, Bluebird (record label), Rockets' recordings 179–180, 183–184 for, 13, 15–16, 21–27 Blakeney, Edgar “Egg” (friend), 157, 171– form (12–bar), 23, 45, 69, 107, 152– 173, 179–181 154, 178 Blakey, Art “Bob White” (song), 170 Brooks' drumming style compared to, Boggs-Daniels Act, 140–141, 149 151 Bolden, Louis, 7, 198 drug use by, 115 Bonaparte, Napoleon, 137 Mary Lou Williams has falling out with, (New York City), 110, 116 37 Bop for the People (band), 73 mentioned, 147, 199 bop vocalizations, 73 on notation Dameron wrote on back of “Boplicity” (arrangement), 111 Shaw score, 106 Borgers, Ken, 15 plays with Miles Davis Sextet, 112 Bown, Patti, 197 recalls Dameron's summer show at the Boyd, Jimmy, 117 Paradise, 128 Boyd, Nelson, 77, 80, 105–106, 186, 199 recalls rebellious nature of the Billy Boyd Raeburn and His Orchestra, 47 Eckstine Orchestra, 43–44 “Boydstown” (title), 47, 182 records album with Fats Novarro and His Braddock Hotel (New York City), 38 Thin Men, 80 Braveman, Mal, 76 Blannin, Pete, 111 Bregman, Jack, 26 Blanton, Jimmy, 10 Bregman, Vocco and Conn (publishers). See “Blindfold Tests” (article), 111 BVC block-chord style of soloing, Dameron as Brent, Earl, 81 pioneer of, 191 Breslaw, Lennie, 102 Blue Moon (album), 138–140 Bretton, Elise, 155 “Blue Moon” (arrangement), 138–139 bridges Blue Note (record label) “A-La Bridges,” 20 produced by, Gettin' Around, 172 “All The Things You Are,” 85–86 company holdings by, 157 “At Christmas Time,” 182 Dameron's recordings for “Bewildered,” 32, 33 “Choose Now,” 127 , Bob, 192 common Brooks, Bott, 150–151 examples of, 17, 67 Brown, Bobby, 186 as signature in Dameron's writing, 193 Brown, Clifford “Conversation,” 26, 50 appearances at the Loop Lounge, 131, “Dameron Stomp,” 21 133 “Delirium,” 136 finishes At Basin Street album, 134 “Dig It,” 25 mentioned, 62, 199 “Euphoria,” 108 plays on Dameron's albums, 124–127, “Flossie Lou,” 135 135–136 “Fred's Delight,” 109 plays with Band, 120 “Frolic at Five,” 54 Prestige reissues sessions with Dameron “,” 194 and, 201 “If You Could See Me Now,” 166, 168, tours Europe with , 129– 195 130 “Just You, Just Me,” 59 Brown, Lee. See Gonzales, Babs “Keep Rockin',” 24 Brown, Lew, 155 “Lament for the Living,” 161 Brown, Ray, 63 “Le Coiffeur,” 172 Bryan (composer of “San José”), 52 “Mating Call,” 144 “Bula-Beige” (arrangement and tune), 135– “Mean to Me,” 46 137 “Moo-See-Ka,” 55 Bull Moose Jackson Band, 120–121, 124 “Moon from the East,” 169 Bunch, John, 169 “On a Misty Night,” 166, 196 Burgess, Bob, 150 open Burke, Johnny, 91, 155 “Bebop Carroll, A,” 79 Burman, Maurice, 101 “Chase, The,” 78 Burns, Dave, 63, 191 “Good Bait,” 48 Burns, Ralph, 58 “Ice Freezes Red,” 75 Burns, Tito, 102 “On a Misty Night,” 144 “But Beautiful” (arrangement), 152, 155 “Our Delight,” 78 Butcher, Mike, 156 “Tadd Walk, The,” 79 Butts, Jimmy, 58 “Our Delight,” 46, 78, 164 “Buy Bonds Right Away!” (song), 35 “Philly J.J.,” 125 BVC (publishers) “Rock and Ride,” 17 catalog listing for “Lovely One in the “San José,” 52 Window” in, 203 “Scene Is Clean, The,” 136 Dameron's arrangements published by, “,” 196 163, 165 “Symphonette,” 86 Dameron's works copyrighted by, 71, “Take 'Um,” 23 132, 141–142, 147 “Theme of No Repeat,” 126–127 disputed copyrights with Carpenter, 184 “Zakat,” 56 as exclusive publishers of Rockets' Bridges, Henry, 16, 20–23, 27 compositions, 26 British Broadcasting Company. See BBC filed assignment papers for Dameron's titles, 182–183 Casa Loma Orchestra, 6, 22 publishes Dameron's arrangements for “Casbah” (arrangement and tune), 90–91 educational market, 180 “Case for Modern Music, The” (article), 38– seeks financial assistance for Dameron's 39, 42, 82 hospital bills, 186 Caswell, Chris, 182 “special arrangement” by, 164 cat, pictured with Dameron, Panel E Tadmal assigns “Swift as the Wind” Catlett, Sid, 10 rights to, 181 Cedar Avenue (Cleveland), 1–2, 8 Byas, Don Cedar Gardens (Cleveland), 2, 8, 9 in Paris Jazz Festival, 95 Cedar Theater (Cleveland), 6 performance of “For Europeans Only” Central Avenue (Cleveland), 4 by, 67–68 Central High School (Cleveland), 4, 6–7, 8 plays in Clarke-Michelot octet, 104 Chaiken, Chick, 10 plays in Redman's big band, 64 Chambers, Paul, 87, 160, 199 plays with , 39–40 “Chant of the Weed” (arrangement), 64 Byers, Billy, 89 Charles, Ray, 190 Byrd, Donald, 199 Charlie Mingus Presents: Jazz Composers Workshop (album), 145 C “Chase, The” (arrangement and tune), 78, “C-Jam Blues” (tune), 48 81, 193 Cafe Society (Cleveland), 2 Chatterbox (Cleveland), 2 Café Society (New York City), 111 Cheatham, Jeannie, 90, 197 Cain, Jackie, 73 Cheatham, Jimmy, 197 “Caldonia” (arrangement), 64 “Chega De Saudade” (tune), 48 Call and Post (newspaper), 8, 112–114, 131, Chicken Shack (Royal Roost, New York City), 197 83–94 Calloway, Blanche, 8–9, 10 Chocolate Beau Brummels, 9–10 Calloway, Cab, 8, 15 “Choose Now” (arrangement and tune), “Cancel Out” (arrangement), 162 124, 127 cancer, Dameron diagnosed with, 186–189 chord progressions Capitol (record label), 88–90, 105, 132, 192, “Bewildered,” 32 201 “Come Close,” 181–182 Carlo, Albert, 77, 79, 170 “Conversation,” 26 Carmichael, Hoagy, 100, 155 “Dameron Stomp,” 21–22 Carnegie Avenue (Cleveland), 2, 4 “Don't Forget It,” 34–35 (New York City), 69, 71, 94 “'s Opening Theme,” 123 Caronia (cruise ship), 111 “Focus,” 92 Carpenter, Richard, 141–142, 149, 173, “Good Bait,” 56 183–185, 199 “Honey,” 51 Carr, Roy, 101–102 “It Couldn't Be,” 20 Carr, Tony, 101 “Keep Rockin',” 24 Carter, Benny, 37, 153 “Look, Stop and Listen,” 168 Carter, Betty, 128 “Moo-See-Ka,” 55 Carter, Ron, 165–166, 199 “My Dream” and “A-La Bridges,” 19–20 “One I Love, The,” 32 Club Congo (Cleveland), 2, 131 “Sando Latino,” 162 Club Eleven (London), 102 “You Left Me All Alone,” 67 (Philadelphia), 121 “Zakat,” 56, 58 Club Plantation (St. Louis), 43 Christian, Charlie, 10 Club Sudan (New York City), 75 chromatic root motion Club Zanzibar (New York City), 42 “Dameron Stomp,” 21 cocaine, Dameron's use of, 115 “I'm Losing My Mind Because of You,” 30 Cohn, Al, 51, 106 “Keep Rockin',” 24 Coker, Henry, 134, 136 “Rock and Ride,” 17–18 Cold War, 169 “The One I Love (Belongs to Somebody Cole, Bill, 89 Else),” 32 Cole, Cozy, 84 Civil Works Administration, 7–8 Coleman, Bill, 95, 104 Clarke, Kenny Coleman, Earl, 83 as a key figure in formation of modern Coles, Johnny, 118–119, 128, 204 jazz, 190 College Inn (Kansas City), 27 considers moving to Europe, 103 Collins, John, 91–92, 105–106, 110, 115 Dameron scores pieces for, 104 Colpix (record label), 201 former spouse of, 139 Coltrane, John, 87, 142–145, 162–163, 171 hangs out in Paris night clubs with Columbia (record label), 41, 87, 112 Dameron, 96 Columbus, Chris, 58 in house orchestra at Plantation Club, 10 Columbus Nightclub (Cleveland), 8 involvement in Paris Jazz Festival, 95 “Come Close” (tune), 181 in jams at Minton's, 38, 40 common bridge mentioned, 199 examples of, 17, 67 plays at the Nocturne, 77 as signature in Dameron's writing, 193 plays on Blue Note recording, 85 compositions plays with Dizzy Gillespie, 79 arrangements as, 18 recalls Dameron playing chords with Dameron's early experimentation with, flatted fifths, 38, 190 16 records “Bah-U-Bah” with Hawkins, 104 improvisations as elements of, 155–156 rehearses with Miles Davis and Dameron See also specific titles in Paris, 98 Continental (record label), 60–61 clave rhythm, 138 contrapuntal motion, 61 Claxton, Roselle, 19 “Conversation,” 25–26, 50, 190 Cleveland Call and Post. See Call and Post cook, Dameron's abilities as, 151 Cleveland , 8 Cooke, Ann, 156 Cleveland Institute of Music, 5 Cooke, Jack, 156 Cleveland, Jimmy, 163, 166, 178, 199 “Cooking in Tempo” (tune), 159 Clouds of Joy (band), 35–36 “Cool Breeze” (arrangement), 39, 45, 63, Club 18 (Troubadour) (New York City), 78– 69–70, 140 79 copyrights Club 845 (New York City), 83 Dameron's works, by BVC, 71, 132, 141– Club Celebrity (Cleveland), 2 142, 147 Leonard's practices related to, 16 Dameron, Marguerite (wife), 11–12, 14, 28 Corey, Irwin, 82 Dameron, Ruth Olga (mother), 3–6, 11, 117, Cornell University (Ithaca, New York), 39, 71 142, 145 Corner Tavern (Cleveland), 2 “Dameron Stomp” (arrangement and tune), Coss, Bill, 159, 170–171 21–22, 201 Cotton Club (New York City), 8 Dameron, Tadley “Tadd” Ewing Coulsen, Vic, 50 as a cook, 151 counterpoint, in octet arrangements, 161 as a perfectionist, 15–16 Crawford, James H., 151 apartment of at 490 West End Avenue, Crawford, Jimmy, 60 170–173 “Cream Oil Charlie” (tune), 53, 74 birth of, 2 Creole Bar (Cleveland), 10 career of “Creole Love Call” (arrangement), 90 achieves fame in Europe, 95–104 Crewe, Buddy (friend), 11, 110, 117, 142 as “architect of bebop,” 41–65 Crombie, Tony, 102 with Basie, 10, 26–27, 37–38, 41–42, Cromwell Music, Inc., 181, 203 44 Crosse, Gay, 143 with the Big Ten, 88–94 Crothers, Benjamin “Scatman,” 11, 132 with Bull Moose Jackson, 118–120 Crow, Bill, 169 contributions to At Basin Street, 134 Curnow, Bob, 148 develops interest in music, 5–7 Cuscuna, Michael, 158 with Dizzy Gillespie, 38–40, 44, 48–49, 48–59, 58, 62–65, 68–72, 110, D 164 Dahl, Linda, 37 during the early days, 7–12 Dailey, Al, 186 with Eckstine, 42–48, 51–53, 58–59, Dallin, Leon, 194 68, 164, 191 Dameron, Adolphus (stepfather), 3–5 in industrial plants, 27–28, 132 Dameron, Caesar (brother) interviewed by Frost for DownBeat, birth of, 3 120–122 brings Tadd to sit in with Snake White's Kay becomes manager of, 76–77 band, 16–17 with Lunceford, 11, 27, 29–37, 48, 53, businesses owned by, 2, 117 190 confirms Tadd’s authorship of “Good mentors Davis, 88–89 Bait” in 1939, 49 with Miles Davis, 104–106, 112 as musician, 7, 8, 117, 131 musical influences of, 6, 19–20, 29, performs with Tadd, 75, 113 33, 35–36, 171, 192–194 stress between Tadd and, 141–142 as pianist and bandleader, 74–81 Tadd moves in with, 183 ranks second in Esquire poll, 58 teaches harmony to Tadd, 7 records A Study in Dameronia, 124– Dameron, Cicero (grandfather), 4 127 Dameron, Dorothy (sister-in-law), 149 records Fontainebleau, 135–137 Dameron, Fannie Aker (grandmother), 4 records Mating Call, 142–145 Dameron, Mabel “Mia” (wife), 7, 117, 183– records The Magic Touch, 163–170 186 with the Rockets, 13–28, 38 at the Royal Roost, 83–94 Davidson, Jim, 103 summer stand at the Paradise, 127– Davis, Charles, 204 130 Davis, Lockjaw, 131 with Vaughan, 46, 51–52, 58, 60–62 Davis, Miles writes “” during appearances at the Loop Lounge, 131 incarceration, 151–156 “birth of the cool” and Dameron, 89 changes spelling of his nickname, 81–82 Dameron on quality of “Boplicity” by, childhood of, 2–7 111 children of, 11–12, 117–118, 157 Dameron plays for sextet of, 112 death of, 2, 188, 200 drug use by, 105, 115 drug use by invited to party at Blakeneys’ apartment, arrests for heroin possession, 140– 172 146, 148–149 mentioned, 199 becomes more visible, 114–117 mentored by Dameron, 88–89 beginning of, 83 performs at Paris Jazz Festival, 95 disappears during Paradise Club raid, plans to form large jazz ensemble with 129 Dameron, 104–106 incarcerated for second violation, receives poor performance reviews in 149–156 Paris, 96–97 tragedy of, 199–200 records “Tadd's Delight,” 90 education of, 4, 6–7 rehearses with Dameron at Salle Playel, health problems of, 171–174, 179–181, 97–98 183–188 respected in Europe, 116 legacy of similarities of recording to Dameron's in his life's tragedies, 196–201 composition, 122 as an innovator in jazz, 189–193 solo part in “Casbah,” 91 melodic techniques of, 193–196 use of “Lady Bird” form by, 69 posthumous releases, 201–205 use of “Lady Bird” shout line by, 87 marriages of, 11–12, 183–186 Davis, Sammy Jr., 129 memories of Davis, Walter Jr., 204 first meeting with , 14 De Sylva, Buddy, 155 introduction to Gillespie, 38–39 Dearie, Blossom, 172 playing with Bessie Smith, 4–5 Debussy, Claude, 123 music listening preferences, 111 Decca (record label), 40, 102 pictures of, Panels A-F Dedications (album), 192, 203 Dameron turn-around, 87 defense industry plants, Dameron's work in, “Dameronia” (arrangement and tune), 78, 27–28 81, 90 Delaunay, Charles, 95–96 Dameronia (band), 205 “Delirium” (arrangement and tune), 135– Dameron's Hut (Cleveland), 117, 142 136 Dameron's work with, 11 Delius, Frederick, 111, 123 Dance, Stanley, 14 Delux (record label), 45 Daniele, Maely. See Dufty, Maely Dennis, Willie, 169 D'Arango, Bill, 1, 51 DePaure, Princess, 128 Depression, 7 Smooth as the Wind, 152 Determeyer, Eddy, 56, 189 on Musso accepting job from Harry “Dexter's Mood” (tune), 81 James, 12 “Dextivity” (tune), 81 news about Dameron in “Dextrose” (tune), 81 arrest and trial, 141–142 “Dial 'B' for Beauty” (arrangement and Beckett's contributions to Leonard's tune), 124–127, 164 recordings with, 169–170 Diamond, Dr., 151 caption, 26–27 Dickenson, Vic, 10 Davis-Dameron jazz ensemble, 105– “Dig It” (arrangement), 21, 23, 25 106 “Dig These Riffs” (tune), 34 freelance score work, 10 “Dim Out” (title), 35 Gibbs joins Dameron's band, 77 diptych, “Theme of No Repeat” as, 126 profile about comeback, 170 “Dizzy Crawl” (quote), 63 unhappiness with his piano playing, Dizzy Gillespie Orchestra, 88, 96, 191, 204 159 “Do-Bla-Bli” (song), 74 visit to France, 96 “Do You Remember Now?” (song), 35 photo of Dameron from, Panel D Dodgion, Jerry, 163, 166, 169 quote about Soldier Meyer's in, 110 “Doin' the Nitty Gritty” (tune), 159 review of the Rockets by, 13 Domnerus, Arne, 192 “Dream Is You, The” (arrangement and Don Redman's Band, 8, 64 tune), 174–175 “Don't Ask Me Why” (arrangement), 119 Drears, Al, 186 “Don't Blame Me” (arrangement), 46 Driggs Collection, 31–32 “Don't Forget It” (song), 34 drum parts, use of by Dameron and “Don't Take Your Love from Me” Ellington, 122 (arrangement), 77 Dubin, Al, 143 Dorham, Kenny, 83, 95, 134, 162, 199 Dufty, Bevan (son), 157, 179 Dorsey, Jimmy, 111, 136–137 Dufty, Bill, 157 Dorsey, Tommy Dufty, Maely (partner), 141, 157–158, 170– Dameron's work for, 136–137, 140, 142, 174, 179–183, 186, 203 190, 199 Dugan, George, 200 death of, 142 “Duke Ellington's Opening Theme” Rich's departure from, 59 (arrangement), 122–123, 146 Dotson, Hobart, 150 Duke, Vernon, 81 Downbeat Club (New York City), 70, 79 Dunlop, Frankie, 186 DownBeat (magazine) Durham, Eddie, 14, 16 article about numerology in, 82 Duvivier, George, 162, 164–165, 199 Golson recalls writing first arrangements in, 120 E MCA's promotions for in, “Each New Christmas” (lyric), 182 13 Eager, Allen, 77, 84–86, 101, 105–106 music reviews by East 105th Street (Cleveland), 1, 2, 6 Fontainebleau, 135 East Eighty-ninth Street (Cleveland), 5 Magic Touch, The, 170 East Fifty-fifth Street (Cleveland), 2, 8 East Ninety-fifth Street (Cleveland), 5 “Exactly Like You” (arrangement), 81 East Seventy-seventh Street (Cleveland), 5 Eyo, Chico, Panel A East Seventy-third Street (Cleveland), 6 “East St. Louis Toddle-oo” (song, Ellington), F 6 Fagerquist, Don, 106 East Twentieth Street (Cleveland), 1 Fame, Georgie, 144, 203–204 Ebony (Cleveland), 2 Famous Door (New York City), 77 “Ebony Concerto” (long-form), 72 and His Thin Men, 80–81 “Echoes” (arrangement), 176 Fats Navarro Featured with the Tadd Eckstine, Billy Dameron Band (album), 170 considers rehiring Dameron, 180 FBI (Federal Bureau of Investigation), Dameron's work for, 42–48, 51–53, 58– investigates , 185 59, 68, 164, 191 Feather, Leonard, 105–106, 111, 160 disbands his orchestra, 66 Fedchock, John, 1 gives Dameron arrangements to Dizzy Federal Bureau of Investigation (FBI), Gillespie, 62–63 investigates Chet Baker, 185 Rouse's work with, 79 Federal Prison Hospital, 140 thirty-minute featurette by, 64 Feldman, Victor, 169, 192 Edison, Harry, 10 Few, Bobby, 1 Edwards (composer of “San José”), 52 Fields, Dorothy, 46, 77, 81, 112 Edwards, Sherman, 155 Fifth-fifth Street (Cleveland), 2 Eighty-third Street (Cleveland), 6 “Fine and Dandy” (arrangement), 54, 56– “Elder Speaks, The” (arrangement), 158 57, 189 “Elegy” (composition), 192 Finegan, Bill, 97 Ellington, Duke Fischer, Clare, 48 Dameron writes “Duke Ellington's Fitzgerald, Ella, 1, 73, 190 Opening Theme” for, 122–123 Five Spot Café (New York City), 186 Dameron's composing style compared Flanagan, Tommy, 162, 199 to, 19–20, 48 “Flossie Lou” (arrangement and tune), 134, early masterpieces of, 6 135 featured in television program, 157–158 FM Listeners Guide (magazine), 171, 179 mentioned, 1, 185 “Focus” (arrangement and tune), 91, 92–93, as musical influence on Dameron, 16, 29, 117 35–36, 90, 171, 192–194 Fol, Hubert, 104 Nance's career with, 58 Fontainebleau (album), 135–137, 140–143, use of “classical” elements by, 72 204 “Embraceable You” (arrangement), 42 “Fontainebleau” (long-form) Enoch, Tommy, 36–37 adapted for student bands, 180 Ephram, Bobby, 128 analyzed, 137–138 Esquire (magazine), 58, 81 Dameron's compositional practice in, Euclid Avenue (Cleveland), 1, 2, 6 193 “Euphoria” (arrangement), 100, 108 introduction of, 21 Evans, Bill, 164, 166, 185, 199 mentioned, 70, 93, 134 Evans, Gil, 89, 160, 171–173, 181, 192 played during Goodman's Soviet tour, 169 Garner, Erroll, 116 recorded for The Magic Touch, 165 Gaskin, Leonard, 38 relationship between third-stream music Gay Crosse band, 143 and, 156 Gee, Matthew, 105–106, 178 rhythmic motifs in, 25 Gelder, Rudy Van, 134–135 as title track on Fontainebleau, 135 General Hospital (Valley Forge, voicings in, 161 Pennsylvania), 59 “For All Fans” (title), 35 Gensel, John, 200 “For Europeans Only” (arrangement and Geraldo Orchestra, 97–100, 102 tune), 64, 66–68, 85 Gershwin, George “For Heaven's Sake” (arrangement), 152, Dameron's arrangements of works by, 155 42, 108, 138 Ford, Jimmy, 105–106 as musical influence on Dameron, 6, 19, Foster, Frank, 93, 190–193, 205 33, 192 “490, The” (tune), 177–178 Gershwin, Ira, 42, 108, 138 “400 Swing” (arrangement and tune), 16–19 “Gertrude's Bounce” (tune), 134 Frank, Aubrey, 101, 103 Gettin Around (album), 172 Frank Driggs Collection of Getz, Stan, 112 Orchestrations, 31–32 “” (tune), 163 “Fred's Delight” (arrangement and tune), Gibbs, Terry, 77 106, 108–109 Gillespie, Chester, 5 French CBS (record label), 63 Gillespie, John Burks “Dizzy” Fresh Viewpoint and Murial Winston, A as a key figure in formation of modern (album), 201 jazz, 190 Frisco's International Atomic Bopera House in Billy Eckstine Orchestra, 43–44, 47 (Paris), 104 bop vocalizations by, 73 “Frolic at Five” (arrangement and tune), 31– coda composition for “Round Midnight,” 32, 54–55, 72, 92 175 Frosk, John, 169 as cultural ambassador for the U.S., 140 Frost, Harry, 30, 38, 120–122 Dameron's work with, 38–40, 44, 48–49, Fuller, Curtis, 160, 199 58, 62–65, 68–72, 110, 164 Fuller, Gil Eckstine shares Dameron arrangements as a music coach, 63 with, 45–46 as an innovator in modern jazz, 191 friendship with Dameron, 172 involvement in Savoy recording sessions Mairants' comments about “Our Delight” by, 75 recording by, 97 recalls Dizzy Gillespie acquiring Dameron mentioned, 143, 161, 199 arrangements from Eckstine, 62 passes through Cleveland during work in film industry by, 153, 179 Dameron's retreat, 133 writes lead sheet for “Lady Bird,” 68 plays at the Royal Roost, 88 Furnace Room (Cleveland), 8 plays Dameron's arrangements in Europe, 96 G plays on and in Town Hall, Gardner, Barbara, 152 76 receives warm receptions in Europe, 103 plays at Dameron's funeral, 200 records “,” 132 plays on A Study in Dameronia, 124–125, in Three Deuces engagement, 49–50 127 at Williams' private party, 75–76 on police raid in Atlantic City, 199 works with , 124 rehearses new members of Paradise works with , 51–52 Club house band, 129 Gillespie, Lorraine, 172 in Rubin concerts featuring Dameron's Gimbel, Norman, 186 songs, 205 Gitler, Ira works with Dameron, 152, 191 association with the Blakeneys, 171 “Gone With the Wind” (arrangement), 79– mentions ballet score by Dameron for 80 Mexican dance company, 180 Gonzales, Babs quotes from Dameron by advertisement for 3 Bips and a Bop, band directing and rehearsing, 16 Panel A boredom with music classes, 7 on Dameron's association with Basie, complaints about the current jazz 37–38 scene, 171 Dameron's work for, 64, 72–75, 77, 191 recording disappointments, 29 photo of, Panel A types of work after quitting throws benefit concert for Dameron, 186 Lunceford's band, 37 “Good Bait” (arrangement and tune) using Crawfords' piano during adapted for student bands, 180 incarceration, 151 analysis of, 48–49, 56 weariness as back-up musician, 74 background line comparisons in, 154 work in defense industry plants, 27 Basie as coauthor of, 37, 49 Trummy Young's memories of working changes in Dameron's style reflected in, with Dameron published by, 11 31–32 visits at Dameron's apartment, 185, 187– coda of arrangement for Lunceford, 56– 188 57, 87 Gleason's (Cleveland), 2 compared with “Smooth as the Wind,” Glow, Bernie, 105–106 153 “Gnid” (“Handy Andy”) (tune), 144, 147, Dameron plays at his benefit concert, 201 186 Gold, Milt, 106 date written, 11, 31, 54, 69, 195 Goldberg, Joe, 165, 172 melodic technique in, 194–195 Golden Gate Ballroom (New York City), 13 mentioned, 62 Golson, Benny played by Gillespie in Europe, 96 arrangements by, 134, 152 recordings of association with Coltrane and Dameron, by Gillespie, 48 143 by Husby, 203 in Bull Moose Jackson's band, 118–120 for V-Disc, 59 interviewed by Frost, 120–121 rehearsal of in Paris, 98 meets Gryce, 127 Rich's playing of, 60 mentioned, 199 submitted for copyright, 63 musical influences of, 93, 191 Goodman, Benny Auld becomes popular through work “Half Nelson” (tune), 69, 87 with Shaw and, 51 “Half-Step Down, Please” (arrangement and bebop band of, 89 tune), 81 Cleveland as important tour stop for, 1 Hall, Jim, 1 Dameron's work with, 89, 144 Hammer, Bob, 180 Musso rises to stardom through work Hammer, Tardo, 205 with, 12, 199 Hammerstein, Oscar II, 85 tour of the USSR by, 163, 165, 168–169 Hampton, Lionel, 27, 73, 129–130, 192 Goodrich, Andy, 36 “Handy Andy” (“Gnid”) (tune), 144, 147, Gordon, Dexter 201 Dameron records with, 107 Hanighen, Bernie, 161, 166, 170, 182, 201 Dameron's work with, 81, 191 “Happy Heart, The” (song), 186, 201 on Dameron's writing style, 193 Harburg, E.Y., 81 drug use by, 115 hard bop, 134, 145–146, 191 forms band with Dameron, 83 Harding, Buster, 1, 110 mentioned, 85, 199 Hardman, Bill, 1, 118 plays “Tadd's Delight,” 90 Harlem Cafe (Cleveland), 2 recalls visit with Dameron at West End Harlem Express (band), 53–54 Avenue apartment, 172 “Harlem Express” (title), 35 rights ownership of titles by, 181 Harris, Barry, 201 in Symphony Sid's Bop Concert lineup, 84 Harris, Bill, 147 tunes by, 78 Harris, Carrie (aunt), 5, 6 Gottlieb, William, 75–76 Harris, Eddie (cousin), 5 Gould, Morton, 112 Harris, Gene, 1 Grand Terrace (Chicago), 8 Harris, Opal (aunt), 3, 5, 6 Grauer, Bill, 181 Harris, Ruth Olga (mother), 2–3. See also Gray, Wardell, 85–86, 110 Dameron, Ruth Olga Great Migration, 2, 3–4 Harris, Silas Caesar (grandfather), 2–3 Green, Johnny, 90 Harris, Silas Jr. (uncle), 3, 5, 6, 28 Green, Urbie, 199 Harris, Sophie Tadley (grandmother), 2 Greenlee, Charles, 150 Harris, Tennie (aunt), 3, 5, 6 Greer, Anne, 60, 170 Hart, Clyde, 8, 41 Griffin, Johnny, 163, 165 Hart, Lorenz, 138 Grisom, Dan, 30 Hawkins, Coleman, 58, 81, 104, 111, 185 Groove Music (publisher), 157–158, 184 Hawkins, Erskine, 111 Gryce, Gigi, 93, 124, 129–130, 191 Hawthorn Avenue (Cleveland), 7 guitar, use of in large-ensemble jazz writing, Hayse, Carl, 150–151, 153 139 Haywood, Cedric, 110 Heard, Eugene “Fats,” 1 H Heath, Jimmy, 192, 205 Haddix, Chuck, 14 Heath, Moira, 100 Haggart, Bob, 91 Heath, Percy, 124, 199 Hagood, Kenny “Pancho,” 85, 87–88, 105 Heath, Ted, 81, 99–103, 106–113, 171 Haig, Al, 50, 95, Panel C Heatwave (Cleveland), 8 “Heaven's Doors Are Open Wide” Hot Record Society (HRS) (record label), 60– (arrangement and song), 91, 203 61 Hefti, Neal, 170 Hotel Almac (New York City), 184, Panel E Henderson, Fletcher, 6, 7, 8 Hotel Ambassador (Cleveland), 9 Henderson, Ray, 155 Hotel Chalfonte (New York City), 187 Henry, Ernie, 69–70, 77, 79 Hotel Du Sable Lounge (Chicago), 83 “Hepsations” (band and tour), 62, 79 Hotel Syracuse (New York), 89 “Hepster's Guide, The” (tune), 35 Houston, Tate, 163–164, 166 Herman, Woody, 53, 72, 147, 190, 204 “How about You” (arrangement), 189 heroin “How High the Moon” (arrangement), 63 Dameron's use of, 83, 114–117, 199–200 “How Strange” (arrangement), 81 arrests for possession of, 140–146, Howard University (Washington, DC), 120 148–149 HRS (Hot Record Society) (record label), 60– becomes more visible, 114–117 61 beginning of, 83 Hughes, Langston, 4 disappearance of at Paradise Club Husby, Per, 192, 203 raid, 129 incarcerated for second violation, I 149–156 “I Can Make You Love Me” (arrangement), Holiday's trial for possession of, 74 61–62, 119 “Hey Messy!” (song), 33–34, 35 “I Dream a Lot about You” (arrangement), “Hey Pam!” (arrangement), 178–179 29, 30–31 Heyman, Edward, 90 “I Get the Neck of the Chicken” (song), 75 Hill, Teddy, 37, 63 “I Let a Song Go Out of My Heart” Hines, Earl, 10–11, 39, 43, 51, 114 (arrangement), 10 Hite, Les, 58 “I Love You, Yes I Do” (arrangement), 118– Hodier, André, 96 119 Hoefer, George, 10, 169 “I Never Loved Anyone but You” Holder, T., 36 (arrangement), 119 Holiday, Billie, 74, 157, 185 “I Think I'll Go Away” (arrangement and Hollywood Cafe (Cleveland), 10 song), 77, 85, 87, 92, 201 “Honey” (arrangement), 51 “I Want to Talk about You” (arrangement), “Honey Hush” (tune), 159 44–45, 64 “Honeysuckle Rose” (song), 21, 23, 24 “I Was Doin' Alright” (arrangement), 139 hospital, Dameron's incarceration in, 149– “Ice Freezes Red” (tune), 75 156 “I'd Rather Have a Memory Than a Dream” “Hot House” (arrangement and tune) (arrangement), 52, 61 analysis of, 69 “” (arrangement), 176 BVC registers copyright for, 132 “If You Could See Me Now” (arrangement inclusion on potential Dameron's and song) “greatest hits” album, 142 analysis of, 175–176 melodic technique in, 194, 196 melodic technique in, 194–196 mentioned, 51, 70, 86 played at Dameron's benefit concert, recordings of, 49–50, 112 186 recordings of, 61–62, 166, 174–176 Jazz Singer, The (movie, Jolson), 6 use of arpeggios in, 108 Jazzland (record label), 170, 201 “I'll Be Home for Christmas” (arrangement), “Jeepers Creepers” (arrangement), 135 119 Jeffries, Alan, 64, 67 “I'm Losing My Mind Because of You” Jeter, James, 10 (arrangement), 29–30 Jeter-Pillars band, 10 “I'm Never Happy Any More” (song), 186, Jimmie Lunceford Orchestra, 1, 84 203–204 jingles, “Cream Oil Charlie,” 53 “I'm Putting All My Eggs in One Basket” Jobim, Antonio Carlos, 48 (arrangement), 138 : His Life and Music (book), 87 “In Depth” (tune), 189 “John's Delight” (arrangement and tune), “In the Land of Oo-Bla-Dee” (song), 73 91, 132 industrial plants, Dameron works in, 27–28, Johnson, Budd, 11, 39, 47, 53, 60, 191 132 Johnson, J.J., 87, 112, 115, 120, 199 Innovations In Modern Music Orchestra, Johnson, Mrs. William (aunt). See Harris, 109–110 Opal Interpol, investigates Chet Baker, 185 “Johnson Rag” (arrangement), 11 Irving-Prescott, Venus, 115–116 Jolson, Al, 6 “It Had to Be You” (arrangement), 29, 30, Jones, Betty, 101 53 Jones, Eloise Wood, 204 “I've Got You under My Skin” Jones, Hank, 75, 174, 186, 199 (arrangement), 128 Jones, Isham, 30, 31, 32 “I've Had a Hard Way to Go” (arrangement), Jones, Jimmy, 60 119 Jones, Max, 72, 101, 105 Jones, Philly Joe (friend) J Dameron inspired by percussion style of, Jack's (Cleveland), 2 166 Jackson, Benjamin Clarence “Bull Moose” death of, 205 (friend), 1, 10, 113, 118–120, 124, 143 helps form Dameronia band, 204–205 Jackson, Chubby, 73, 84 mentioned, 172, 199 Jackson, Jacktown, 131 plays for Bull Moose, 119 Jackson, Milt, 70, 153, 161–162, 174–177, plays on recordings 181 Dameronia, 124–126 Jacquet, Illinois, 66–67, 110, 190, 199 “490, The,” 177 Jaffe, Nat, 51–52 “Half Nelson,” 87 “Jahbero” (arrangement and tune), 85–86, “lost session,” 160 121 Magic Touch, The, 164, 168 James, Harry, 12, 190 Mating Call, 143 Javorsky, Ron, 15, 117 recalls Dameron writing without aid of , 66 instruments, 198 Jazz Gallery (New York City), 173 Jones, Quincy, 93, 129, 192 Jazz Masters of the 40s (book), 180 Jones, Shirley, 87, 170 Jazz Monthly (magazine), 156, 170 Jordan, Clifford, 186 Jazz News (magazine), 156, 171 Jordan, Duke, 38, 178, 199 Jordan, Louis, 64 Kuebler, Annie, 54 Jubilee (record label), 121 “Jumpin' in Society” (tune), 63–64 L “Just Friends” (arrangement), 111 “L'Adieu” (motif), 137–138 “Just Plain Talkin'” (arrangement and tune), “Lady Be Good” (song), 14 168, 182 “Lady Bird” (arrangement and tune) “Just You, Just Me” (arrangement), 59–60, analysis of, 68–69, 86–87 67 broadcast from the Apollo Theater, 68 connection between “” and, 163 K inspires Golson to write music, 120 Kahn, Gus, 30, 31, 32, 81 melodic technique in, 194–195 Kameron, Pete, 76 possible lyrics of, 100 Kansas City Call (newspaper), 14 recordings of, 85, 100, 203 Kansas City Rockets. See Rockets See also “Ladybyrd” Kay, Connie, 162 Lady Sings the Blues (book), 157 Kay, Monte, 76–77, 83–84, 88 “Ladybyrd” (arrangement), 192. See also “Kayepyn” (arrangement and tune), 125– “Lady Bird” 126, 164 Laine, Frankie, 186 “Keep Rockin'“ (arrangement and tune), 21, Lambert, Hendricks and Ross (vocalist 23–25 group), 172 Keepnews, Orrin, 38, 82, 114, 151–153, 170 “Lament for the Living” (arrangement and Kelly's Stable (New York City), 37, 76 tune), 158, 161 Kennedy, Charlie, 105–106 Lamond, Don, 47 Kennedy, Donald, 117 Lateef, Yusef, 76–77 Kenton Collection, 147 “Laura” (arrangement), 192 Kenton, Stan, 109, 147–148, 167, 190, 198 Lauren Garden (Newark, New Jersey), 43 Kern, Jerome, 85 Lawson, Harry, 36 “Kev” (arrangement and tune), 87 “Lazy Bird” (tune), 87, 163 Key, Florence, 140 “Le Coiffeur” (tune), 172 Kirk, Andy “Le Forêt” (motif), 137–138 Dameron's work for, 10, 26–27 Leavitt, Al, 203 Mary Lou Williams' role in band of, 14, Lee, Bill, 201 35–36 Lee, Peggy, 52 mentioned, 114 Lee, Perri, 178 popularity of in Kansas City, 13 Leonard, Harlan Kirk, Willis, 121 band's reputation in Southwest, 199 “Kitchenette across the Hall” (song), 87–88 copyright practices of, 16 KLON (radio station), 15 Dameron's work for, 39, 169–170, 190 Kluger, Irv, 106 meets and hires Dameron, 12–14 Knepper, Jimmy, 169 See also Rockets Kosloff, Ira, 182 “Les Cygnes” (motif), 137–138 Kotick, Teddy, 185 Levant, Oscar, 77 Kral, Roy, 73 Levey, Stan, 50–51, 114–115, 190–191 Krupa, Gene, 12, 199 Levy, Morris, 84 Lewis, John, 93 MacDonald, Ian, 82 Lewis, Mel, 47–48, 169 and his Afro-Cuban Orchestra, 83 Lewis, Sabby, 42 Magic Touch, The (album), 148, 153, 163– Lewis, Victor, 95, 99 172, 174, 178–179 “Lillie” (arrangement), 162 Magidson, Herb, 79 Lincoln, Abbey, 186 Magnolia Hotel (Cleveland), 10 Lincoln Hotel (New York City), 47 Maida Vale studio, 99–100 Lindsay's Sky Bar (Cleveland), 36 Mairants, Ivor, 97–101, 103–104 “Line-A-Jive” (arrangement and tune), 9 Majestic Hotel (Cleveland), 8, 46–47 Lion, Alfred, 73 Malamut, Jules, 121 Lipman, Joe, 169 Mandel, Johnny, 105–106 Liston, Melba, 180 Manning, Don, 110 Little Harlem (Cleveland), 8 “Manteca” (arrangement), 85 Loesser, Frank, 75 Margo (Dameron's girlfriend) Log Cabin Bar & Grille (Cleveland), 8 mentioned, 103–104, 111, 114 London , 102 pictured with Tadd, Panel F “Look, Stop and Listen” (arrangement and relationship between Tadd and, 98–99, tune), 147–148, 167–168, 198 113, 115–117, 197 Loop Lounge (Cleveland), 131 social scene for Tadd and during Europe and His Tympany Five, 64 trip, 101 Lovano, Joe, 1 speculation on marriage of Tadd and, Lovano, Tony “Big T,” 131 101 “Love for Sale” (arrangement), 128 Mariano, Charlie, 132–133 “Love Took the 7:10” (song), 87, 186, 201 marijuana, Dameron's use of, 115 Lovelle, Herbie, 171, 198 Markowitz, Marky, 47 “Lovely One in the Window” (song), 203 Marsh, Warne, 195 Lunceford, Jimmie Martin, Dean, 129 Dameron's work for, 11, 27, 29–37, 48, “Mary Lou” (arrangement and long-form) 53, 190 analysis of, 35–37 date orchestra is started by, 1 compared with “Good Bait,” 56 Determeyer researches life and work of, design of, 54 189 harmonic movement in, 78 hires Oliver, 9 improvisation as compositional element mentioned, 19, 182 in, 155 as musical influence on Dameron, 16 as “recent discovery,” 189 plays at the Palace, 7 structure of, 72 records “T'aint What You Do,” 17 Mason's Farm (Cleveland), 36 Lunceford Orchestra, 84 Mating Call (album), 141–145, 159, 201 Lush Life (New York City), 205 “Mating Call” (tune), 144 “Lyonia” (arrangement and long-form), 54, Max Roach/ Quartet, 131 100, 106–107, 169 Maxwell, Jimmy, 169 Lyon's Corner House (London), 101–102 Mayfair (London neighborhood), 101 Mayor of Harlem Ball (Cleveland), 121–122 M MCA (Music Corporation of America), 13, 26 McCarthy, Albert, 9 Minton's Playhouse (New York City), 38, 40, McGee, Andy, 128 131, 190 McGhee, Howard, 36, 124 Mitchell, Blue, 151–153, 155–156, 160, 174 McHugh, Jimmy, 46, 75, 81 , 124 McKay, Louis, 185 Monk, Thelonious Sphere McKibbon, Al, 60 as a key figure in formation of modern McKinney, Ray, 186 jazz, 190 McKinney's Cotton Pickers, 7 friendship with Dameron, 131, 172 McKusick, Hal, 47 harmonic scheme in “Well, You McLean, Jackie, 115, 147 Needn't,” 78 McPartland, Jimmy, 95 New Yorker reviews favorably, 84 McRae, Carmen, 138–140, 199 mentioned, 38 McShann, Jay, recalls working with private nature of, 197 Dameron, 14–15 “Round Midnight” Meade, Donald, 117, 189 arranged by Dameron, 174 “Mean to Me” (arrangement), 46, 52, 79 Dameron's treatment of, 175 Melody Maker (magazine) Hanighen creates lyric for, 170 on Dameron's European trip, 98–103 Monogram (publisher), 87 on Dameron's statuette award, 94 Monroe's Uptown House (New York City), on Davis-Dameron jazz ensemble, 105 38 editor in picture with Dameron, Panel F “Moo-See-Ka” (arrangement and tune), 31– on “Soulphony in Three Hearts” as a 32, 54, 87, 92 concept, 72 Moody, James Mengeon, Jean-Paul, 104 mentioned, 199 Mercer, Johnny, 135, 170 performances by, 95, 104, 131 Merritt, Jymie, 118–119, 128 recalls Dameron's rehearsals, 63, 98–99 Metronome (magazine), 7, 51, 73, 81, 145 recordings on, 104, 192 Mettome, Doug, 77 “Moon from the East” (arrangement and Meyer, Donald, 155 tune), 169, 182 Michelot, Pierre, 104 Mooney, Joe, 138 Midnight Concert (Carnegie Hall, New York “Moonlight in Vermont” (song), 128 City), 94 Moore, “Big Chief” Russell, 95 “Milano” (arrangement), 93 Moore, Brew, 112 “Miles” (arrangement), 92–93 Moore, Gerun, 82 Miles Davis Sextet, 112 Morgenstern, Dan, 85, 158, 180, 185–188, Miles Davis/ Quintet, 95–98 197 “Milés or Miles” (tune), 182 Most Important Jazz Album of 1964/65, The Miley, Bubber, 185 (album), 201 Miller, Glenn, 101 Moten, Benny, 13 Miller, Mitch, 111 Motien, Paul, 185 Millinder, Lucky, 10, 26–27, 77, 190 motion pictures, 6 “Milt's Delight” (tune), 162–163 movies, 6 Mingus, Charles, 22, 71, 145, 179–180 Mozart, Wolfgang, 145 “Minor Loup” (title), 162 Mulligan, Gerry “Jeru,” 89, 111, 148, 171 Mundy, Jimmy, 111, 139, 176, 191, 201 25, 39, 54, 70–72, 137, 192 music collections, 31–32, 147 “Nearness of You, The” (arrangement), 100, Music Corporation of America (MCA), 13, 26 108, 152, 155 Music Fare (magazine), 114, 148 “Never Been in Love” (song), 186, 203–204 Music Royalty Corporation, 183 New Era Music (publisher), compositions Musical Express (magazine), 102, Panel C written for, 33–35 musicals, 6 New Jazz Foundation, 76 Musicians and Entertainers Club New Musical Express (magazine), 129–130 (Cleveland), 8 “New Star Arranger” poll, 58, 81 Musicians Union, 8, 117 New York Times (newspaper), 200, 205 Musicraft (record label), 61, 63, 77, 152 New Yorker (magazine), 84–85 Musso, Vido, 12, 16, 19–21, 190, 199 Newark Arts High School (Newark, New “My Dream” (arrangement and song), 16 Jersey), 72–73 “My Heart for Two” (title), 35 Newman, Joe, 169 “My Kinda Love” (arrangement), 61–62 Newsom, Tommy, 169 Nichols, Anita, 128 N Nick's (New York City), 76 Nance, Ray, 58 “Night in Tunisia, A” (arrangement), 161 Narco. See Public Health Service Hospital “Night of Stars, This” (song), 148, 194 Narcotics Control Act of 1956. See Boggs- Noble, Joel, 128 Daniels Act Nocturne (New York City), 77 National Endowment of the Arts, 204 “Nostalgia” (arrangement), 80 National Museum of American History, “Nothin' for Nothin'“ (arrangement), 112, Driggs Collection, 31–32 139 Navarro, Fats Noto, Sam, 132–133 air-checks recorded with Dameron's “Now Herbert Fol, And” (title), 104 band and, 170 “Nowhere” (arrangement), 138 Dameron co-composes tune with, 75 numerology, 82 Dameron collaborates in bebop recordings for, 191 O Dameron questioned about recording Oberlin College, 7–8 with, 102 O'Brien, Hod, 203 death of, 116, 200 octet style, 89–90, 126 mentioned, 199 Oddo, John, 204 plays Dameron arrangements, 85–86, 91 O'Farrill, Chico, 89 plays in Dameron's first recordings as a “Oh! Lady Be Good” (song), 79 leader, 77 “Old Black Magic” (arrangement), 128 plays jams in New York City, 75 Oliver, Sy, 9, 11, 19, 151 receives top billing on Jazzland label “On a Misty Night” (arrangement and tune), recording, 201 143–144, 165–166, 177–178, 194–196 recording session for Savoy, 80–81 “One for the Book” (arrangement), 151 in Symphony Sid's Bop Concert lineup, “One Hundred Years from Today” 84–85 (arrangement), 60 “Nearness” (arrangement and long-form), “One I Love, The” (arrangement), 31–32, 33 Onyx Club (New York City), 39–40, 77, 79 202 “Oo-Ba-Ba-Le-Ba” (arrangement), 64 Parham, Charles “Truck,” 10, 38 “Ool-Ya-Koo” (arrangement), 73 Paris Jazz Festival, 95–97, Panel C “Oop Bop Sh' Bam” (arrangement), 73 Parker, Charlie “Bird” “Oop-Pop-A-Da” (arrangement), 73–74 as a key figure in formation of modern open bridges jazz, 190 “Bebop Carroll, A,” 79 appearances at the Loop Lounge, 131 “Chase, The,” 78 at Billy Berg's, 62 “Good Bait,” 48 in Billy Eckstine Orchestra, 43–44, 46 “Ice Freezes Red,” 75 Dameron jams privately with, 14, 190 “On a Misty Night,” 144 Dameron on quality of “Just Friends” by, “Our Delight,” 78 111 “Tadd Walk, The,” 79 Dameron plays piano for, 117–118 “Orange Colored Sky” (arrangement), 128 drug use by, 116 Orchid Club (New York City), 110 Kay introduces Symphony Sid to music Orent, Milt, 75–76 of, 76 “Our Delight” (arrangement and tune) Lateef plays with, 77 adapted for student bands, 164, 180 Malamut introduces to, 121 arrangement for Geraldo Orchestra, 98– meets Dameron, 14 100 mentioned, 199 compared to “San José,” 52 number of choruses played at gigs by, Dameron plans to record, 142 171 in Eckstine's thirty-minute featurette, 64 in Paris Jazz Festival, 95 Gillespie plays in Europe, 96 records “Hot House,” 132 inspires Golson to become songwriter, reintroduces Dameron and Davis, 88 120 at the Royal Roost Chicken Shack, 84 Mairants' comments about Gillespie's in Three Deuces engagement, 49–50 recording of, 97 works with Sarah Vaughan, 51–52 Raeburn band plays chart of, 47 Parker, Leo, 43, 62, 81 recordings of, 46, 63, 78, 164 parole violations, 149 as tone-setter for Eckstine band, 191 Paul, Billy, 121 “Out of Nowhere” (song), 80, 90, 174 Payne, Cecil, 63, 69-71, 105-106, 110, 120, Overton, Hall, 180 199 Oxley, Harold, 29, 37 “Peace” (arrangement), 152 Peake, Caesar (brother). See Dameron, P Caesar Page, Hot Lips, 95 Peake, Isaiah (father), 3, 4, 5 Paich, Marty, 171 Peake, Ruth Olga (mother), 3. See also Palace Theater (Cleveland), 7 Dameron, Ruth Olga Palisades Park Casino (New Jersey), 47 Peake, Tadley “Tadd” Ewing. See Dameron, Palmer, Robert (jazz critic), 205 Tadley “Tadd” Ewing “Pan-Dameronium” (arrangement and Pearl, Rea, 90 tune), 45, 70 Pearson, Duke, 186 Paradise (Atlantic City), 74, 127–130, 136, Peck, Nat, 104 Peiffer, Bernard, 95, Panel C Prince, Bob, 169 “Pensativa” (tune), 48 probation violations, 149 Penton, Kay, 77, 79, 81, 87, 91 Prohibition, 7 “Perdido” (song), 74 Proteau, Tony, 96, 104 Pershing Lounge (Chicago), 83 Prozorovsky, B.A., 81 Pettiford, Oscar, 39 Public Health Service Hospital, Dameron's Philharmonic Hall (New York City), 205 incarceration in, 149–156 Phillips, Flip, 51–52 Pullum, Steve, 128 “Philly J.J.” (arrangement and tune), 124– 125 Q Phipps, Art, Panel A Quebec, Ike, 73 photos of Dameron, Panels A-F Quincy Avenue (Cleveland), 3 Phyllis Wheatley House (Cleveland), 1 Quincy Theater (Cleveland), 6 pictures of Dameron, Panels A-F Pillars, Hayes, 10 R “Pinstriped Mind, A” (title), 159 Race, Steve, 96, 99, Panel C Pittsburgh Courier (newspaper), 93–94 “Rachmaninoff Jumps” (“Society Steps Pla-Mor Ball Room (Cleveland), 121–122 Out”) (arrangement and tune), 21–23 Plantation Club (St. Louis), 10 Rachmaninoff, Sergei, 22 “Poor Little Plaything” (arrangement), 41– radio, 6 42 “Rampage, The” (tune), 147 Porcino, Al, 51 Raeburn, Boyd, 43, 47, 51, 190–191 Porter, Cole, 134, 196 Raeburn, Bruce, 47 Porter, Lewis, 87, 163 Raksin, David, 192 Porter, Roy, 83 Ramey, Gene, 75, 77, 112, 114 Potter, Tommy, 95 Raney, Jimmy, 106 Powell, Bud, 47, 62, 119, 136, 164 Ravel, Maurice, 111, 123 Powell, Richie, 134 RCA Victor. See Victor Powell, Teddy, 31, 32, 34 Record Changer (magazine), 8 “Powell's Prances” (tune), 134 recording bans. See AFM recording ban Pozo, Chino, 85 Redman, Don Pratt, Maurice, 101 Dameron writes for, 58 “Prelude in C-Sharp Minor” (arrangement), forms big band, 64 22 mentioned, 7-8 Prestige (record label) performance of “For Europeans Only” Dameron's recordings for, 90, 118, 124, by, 67–68, 85 134–137, 142–145 receives warm receptions in Europe, 103 Dameron's signs royalties from to Regal Theater (Chicago), 44 Carpenter, 185 Reid, Irving Miles Davis' recordings for, 87, 145 works with Dameron, 18, 170, 182, 186 reissues sessions with Clifford Brown and writings by, 185–186, 201, 203 Dameron, 201 Rendezvous (Cleveland), 2 Preston, Denis, 98 Reynolds, Jack, 34, 170 Price, Jesse, 15, 27 Rhythm in a Riff (movie), 45, 64, 75 Rhythm Is Our Business (book), 56 “Romas” (tune), 144 Rich, Bernard “Buddy,” 45, 48, 58–59, 73, 's (London), 102 191 Roosevelt Hospital (New York City), 184, Richards, Johnny, 186 186–187, 200 Richardson, Deborra, 54 root motion Richardson, Jerome, 162–163, 166, 168, 192 chromatic “Ride My Blues Away” (arrangement), 15 “Dameron Stomp,” 21 Ridley, Larry, 204 “I'm Losing My Mind Because of You,” Rikers Island, 148, 198 30 Rip, 106 “Keep Rockin',” 24 Rivers, Sam, 150–151, 159–160, 198 “One I Love, The,” 32 , 170, 174, 181 “Rock and Ride,” 17–18 Roach, Max “Moo-See-Ka,” 55 appearances at the Loop Lounge, 131, whole-tone, 17 133 Rose, Denis, 115 Brooks' drumming style compared to, Rose Room (Cleveland), 8 151 Roseland (New York City), 12 finishes At Basin Street album, 134 Rosenbloom, Joseph, 150 on jazz musicians' involvement in Rosenkrantz, Timme, 64, 158 churches, 200 Ross, Annie, 104, 172 mentioned, 124 “Round Midnight” (arrangement), 170, in Miles Davis Sextet, 112 174–175 in Paris Jazz Festival, 95 Rouse, Charlie, 43, 77–80, 116, 199 performs at Dameron's benefit concert, Royal, Ernie, 163 186 Royal, Isaac, 110 plays Dameron arrangements, 87, 135– Royal Roost Chicken Shack (New York City), 136 83–94, 163, 170, 201, Panel D plays in house band at Monroe's Uptown Royal Tavern (Cleveland), 2 House, 38 royalties plays with Dizzy Gillespie, 39 Carpenter forces Dameron to sign over, records with Sarah Vaughan, 51 149, 184–185 version of “Flossie Lou” by, 135 Carpenter's withholding practices, 142 Robbins, Fred, 83 Rubin, Vanessa, 205 Robbins Music (publisher), 87 Ruff, Willie, 160 “Rock-a-Bye Basie” (arrangement), 63 Rugolo, Pete, 89 “Rock and Ride” (arrangement and tune), Russell, Curly 14, 16–19 in Gordon's band, 83 Rockets (band), Dameron's work with, 13– mentioned, 199 28, 38, 198. See also Leonard, Harlan in Miles Davis Sextet, 112 Rodgers, Richard, 138 at Narco, 150 Rodney, Red, 105–106 recording performances, 51, 79, 85 Rogers, Shorty, 93 at the Three Deuces, 50 Roland, Gene, 180 Russell, George, 63, 110 Rollins, Sonny, 106, 115, 135–136, 145 S Shearing, George, 100, 192 Sabby Lewis Orchestra, 42 Shepard, Ernie, 186 Salle Pleyel (Paris), 96–98 Shepherd, Curtis, 121 Sampson, Edgar, 74 Shepherd Market district (London), 101 “San José” (tune), 52, 189–190 Sherrill, Joya, 169 “Sando Latino” (arrangement), 162–163, Shihab, Sahib, 135–136 194 “Shorty George” (tune), 17 Sarah Vaughan and Her Octet, 51–52 shout lines, 49, 86–87, 153 “Saturday Night Swing Session” (radio Shu, Eddie, 77 broadcast), 75 Sickler, Don, 110, 118, 168, 204–205 Saturday Review (magazine), 170 “Sid's Delight” (“Webb's Delight”) Sauter, Eddie, 191 (arrangement and tune), 90 Savoy (record label), 79–81, 107, 145 Sigman, Carl, 61, 148 “Saxology” (arrangement), 151 “Silent Night” (song), 119 “Scene Is Clean, The” (tune), 134–136, 145, Silver, Horace, 93, 152, 155, 191, Panel F 194 Simmons, John, 135–136, 143, 199 Schlitten, Don, 171, 187–188 Simms, Sylvia, 84 Schlouch, Claude, 162 Simon, Charles, 74, Panel A Schneider, Maria, 192 Simon, Maurice, 110 Schuller, Gunther, 15 Simone, Nina, 195 Schuyler Hotel (New York City), 50 Sims, Zoot, 105–106, 169 Scott, Cecil, 60 Sinatra, Frank, 59, 129 Scott, “Little” Jimmy, 1, 8, 112 Sissle, Noble, 1, 58 Scott, Ronnie, 102, 111, 129–130 Sky Bar (Cleveland), 2, 113 Sears, Marion, 9, 16 “Slight Groove” (arrangement and tune), “See See Rider” (arrangement), 178 147 Segure, Roger, 121 “Slightly Flighty” (arrangement and tune), “September in the Rain” (song), 143 162–163 “Sermon on the Mount, The” (title), 182, “Slightly Groovy” (arrangement and tune), 186, 192–193 147 “Seventh Chord Affair, The” (tune), 34 Slyde, Jimmie, 128 Seventy-second Street (Cleveland), 6 “Small Crevice” (arrangement and tune), “Shades of Dameron” (tune), 120 147 Shavers, Charlie, 165 Smalls' Paradise (New York City), 75 Shaw, Artie Smith, Ben, 36 Auld becomes popular through work Smith, Bessie, 4–5 with Goodman and, 51 Smith, Bobbie, 121 Dameron writes arrangements for, 106– Smith, Buster, 16 114 Smith, Johnny “Hammond,” 1 Dameron scores “So Easy” for, 81 Smith, Mamie, 185 Dameron's notation on back of score for, Smith, Stuff, 8 105–106 Smith, William H. (trumpeter), 21, 24 mentioned, 1 Smith, William (pianist for Rockets), 14 Shaw, Billy, 43, 82 Smith, Willie “Face” (friend) arrangements and compositions “Mia” compared to Dameron's, 19 soprano saxophone, use in 1940s jazz, 60 begins arranging, 132 “Soulphony in Three Hearts” (arrangement confirms Dameron's working patterns in and long-form) Cleveland, 117 analysis of, 71–72 Dameron introduces to Monk, 131 compared with “Fontainebleau,” 137 on Dameron's ability to gather people to compared with “Lyonia,” 106–107 play, 38 Dameron's influences and techniques in, on Dameron's relationship with Maely, 192 183 mentioned, 25, 39, 54 involvement in Mayor of Harlem Ball, played by Dizzy Gillespie Orchestra, 88 121 rhythmic motifs in, 25 plays arrangements by Dameron, 30–31 “Soulphony” series, 135 recalls Dameron's relationship with “Soultrane” (tune), 143, 194, 196, 201 woman in Cleveland, 118 Spieler, Barney, 95, 97 recalls Dameron's retreat to Cleveland, Spotlite Club (New York City), 63–64 131–132 “Spring Swing” (tune), 122 relationship with Coltrane, 143 “Squirrel, The” (arrangement and tune) as significant jazz player from Cleveland, analysis of, 69–70 1 compared with “Symphonette,” 86 on Tadd's relationship with Caesar, 142 copyright deposit for, 81 tries to form small band with Dameron, Golson plays at Dameron's funeral, 200 132 inclusion on potential Dameron's Smith, Willie “The Lion,” 185 “greatest hits” album, 142 Smithsonian Institution, musical collections played at Dameron's benefit concert, and pieces at, 31–32, 54, 189 186 Smooth as the Wind (album), 152–153, 160, recordings of, 78 175 “St. Louis Blues” (arrangement), 111 “Smooth as the Wind” (arrangement and St. Paul's A.M.E. Zion Church (Cleveland), 2 tune), 151–156 Stan Kenton Orchestra, 167 “Snaky Feeling” (arrangement, Leonard), 15 Stan Kenton Orchestra score paper, 109 “So Easy” (arrangement and tune), 81, 100, “Stay Away” (arrangement), 110 106–108 “Stay On It” (arrangement and tune), 39, “Society Steps Out” (“Rachmaninoff 63–64 Jumps”) (arrangement and tune), 21– Steele, Mrs. John (aunt). See Harris, Tennie 23 “ (a.k.a. Junior's Arrival)” (tune), Socolow, Frank, 47, 106 134 Soldier Meyer's (New York City), 110, 112 Stevens, Lynne, 53 “Solid as a Rock” (arrangement), 111 Steward, Herbie, 106 “Sometimes I'm Happy” (song), 144 Stewart, Thomas, 49 sonata allegro form, “Frolic at Five,” 54 Stitt, Sonny, 144, 153, 174, 176–178 songs. See specific song titles “Stompin' at the Savoy” (arrangement), 74 Sonin, Ray, Panel F Stothart, Herbert, 81 Sopper, Mabel (wife). See Dameron, Mabel Strand Theater (New York City), 84 Strata East (record label), 201 “Take a Chance on Spring” (song), 203 Stravinsky, Igor, 72, 111, 123 “Take 'Um” (arrangement and tune), 21, 23 Strayhorn, Billy, 171 talkies, 6 strings, Dameron's orchestrations for, 61– Tatum, Art, 1, 116 62, 112, 152–153 tax evasion, Dameron charged with, 148 “Strollin'“ (arrangement), 152, 155 Taylor, Billy, 67, 184 “Sttisie” (tune), 176 Taylor, Myra, 11, 15–16, 21, 25 “Stuck Up” (title), 35 Teagraden, Jack, 75–76 Study in Dameronia, A (album), 124–127, telegram from Silver to Dameron, Panel F 145, 192, 204 “Temptation” (arrangement), 128 Stump and Stumpy (comedy team), 128 Tenor Madness (album), 145 Styles, Myron (friend), 5–6, 11, 110, 117, Terry, Clark, 122, 163, 166, 168, 199 142 “That's How It Goes” (song), 203 Sulieman, Idrees, 124 “That's Just the Way It Goes” (song), 181– Sunset Terrace Ballroom (Indianapolis), 83 182, 203 “Super Jet” (tune), 144 “That's the Way It Goes” (arrangement), Swagerty, Kellice, 128–129 203 “Sweet Georgia Brown” (arrangement and “Theme of No Repeat” (arrangement and song), 11, 70, 104 tune), 124, 126, 136 “Sweet Life” (arrangement), 182 “There Must Be You” (arrangement and “Swift as the Wind” (arrangement and song), 79–80 tune), 64, 165–166, 169, 180–182 Thielemans, Toots, 95 Swing Era, The (book), 15 Third Annual Midnight Concert (Carnegie Swing to Bop (book), 11 Hall, New York City), 94 “S'Wonderful” (song), 108 third-stream music, 156 Swope, Earl, 47 “Thirty Two Bar Leape” (title), 35 “Symphonette” (tune), 85–86 Thomas, Joe, 30 Symphony Sid (Sid Torin), 76, 84–86 Thompson, Lucky, 43, 84, 181 Symphony Sid's Bop Concert, 84–85, 88 3 Bips and a Bop (band), 73, Panel A Three Deuces (Chicago), 49–50, 83 T Three Flames (New York City), 84 Tadd (book), 82 Tia Juana's (Cleveland), 2 “Tadd Dameron—An Introduction” (article), Tin Pan Alley, 37 156 Tinney, Pee Wee, Panel A Tadd Dameron and His Orchestra, 77–80 Tizol, Juan, 74 Tadd Dameron Music, Inc., 162, 172, 181, (album), 153 204 Torin, Sid (Symphony Sid), 76, 84–85 “Tadd Is Back” (article), 170 Tower Theater (Kansas City), 44 “Tadd Walk, The” (tune), 79 Town Criers (band), 131 “Tadd's Delight” (tune), 90, 201 Town Hall (New York City), 76, 83 Tadmal Music Publishing Company, 181– Treadwell, George, 60 183, 185, 203 triptych, “Dial 'B' for Beauty” as, 126 “Tahiti” (tune), 162 Tristano, Lennie, 105, 111 “T'aint What You Do” (tune), 17 Troubadour (Club 18) (New York City), 78– 79 reissues Leonard recordings, 201 Tuba Band, 88 Rockets' recordings for, 13, 15–16, 21– Tucker, Bobby, 74 27 Tucker's Tea Room (Cleveland), 8 settlement in AFM strike, 41 Turf Club (Cleveland), 8 “Solid as a Rock” recording, 111 Turk, Roy, 46 Villa-Lobos, Heitor, 111 Twardzik, Dick, 200 Village Vanguard (New York City), 185 Vinson, Eddie, 47 U Vinterpalastset (Stockholm), 96 Ulanov, Barry, 7, 145 vocalizations, bop, 73 University of North Texas, Kenton Collection, 147 W U.S. Public Health Service Hospital, “Walkin'“ (tune), 201 Dameron's incarceration in, 149–156 “Wall of Fame,” Dameron inducted into, U.S. Treasury agents, entrapment by, 141 205 Wallington, George, 40, 84 V waltzes by Dameron, 148 V-Disc (record label), 52, 59, 77 Warren, Earle, 9, 41–42 Val Wilmer Collection, photographs of Warren, Harry, 135, 143 Dameron, Panels A-C, F. See also Washington, Dinah, 116 Wilmer, Val Washington, Kenny, 205 Valentine, Gerry, 43–44, 47 Washington, Ned, 155 Val's-in-the-Alley (Cleveland), 8, 116 Watkins, Julius, 160, 162–164 Van Gelder, Rudy, 134–135 Watkins, Ralph, 84 Van Heusen, Jimmy, 155 WDOK (radio station), 113 Van Lake, Turk, 169 “Webb's Delight” (“Sid's Delight”) Vaughan, Sarah (arrangement and tune), 90 in the Billy Eckstine Orchestra, 43, 46 Webster, Freddie (friend) collaborates with Dameron, 60–62 bands formed by, 8, 10 Dameron writes for, 51, 180 becomes friends with Dameron, 6–7 education of, 73 Dameron's work with, 11, 42, 62 “I Can Make You Love Me” recording by, death of, 116, 200 119 in Lunceford's band, 38 mentioned, 139, 152, 166, 193 mentioned, 199 records Dameron arrangements, 46, 51– plays at Cedar Gardens, 9 52 as significant jazz player from Cleveland, Vedegis, George, 142 1 Ventura, Charlie, 73, 100, 102, 108 “Weekend” (song), 186, 201–202 Vera, Billy, 139 Weinstock, Bob, 143 Verve (record label), 147 “Well, You Needn't” (tune), 78 Victor (record label) Wells, Dickie, 60 Dameron represented as arranger for, 81 “We're Through” (arrangement and song), Dizzy Gillespie's recordings for, 45 60–61 Jacquet session for, 110 Wess, Frank, 204 West End Avenue, Dameron's apartment 88 on, 170–173 Williams, Rudy, 74, Panel A West, Harold “Doc,” 192 Wilmer, Val, 4, 171–173, 179–180, 183, “What about You?” (song), 34 198. See also Val Wilmer Collection “What Ever Possessed Me” (arrangement), Wilson, Gerald 161, 170 arrangements by, 31, 121 “What Is This Thing Called Love” Dameron convinces Lunceford to hire, 11 (arrangement), 49, 134, 144, 196 on Dameron's travels to the West Coast, “What More Can a Woman Do” (song), 52 179 “Whatever Possess'd Me” (song), 201 mentions “How about You” and “Fine “What's New” (arrangement), 91–92, 119 and Dandy” to Determeyer, 189 Wheatley, Phyllis home, 1 recalls Dameron as staff arranger for Whitcup, Leonard, 31, 32, 34 Lunceford, 29 White, Charles, 34 work in film industry by, 153 White, Evelyn, 42 Wilson, John S., 170 White, Jerry, 76 Wilson, Rossiere “Shadow,” 43, 77, 105, White, Leroy “Snake,” 8, 16 135, 199 Whittle, Tommy, 108 Wilson, Teddy, 77, 169 whole-tone root motion, “Rock and Ride,” Winding, Kai, 90–91, 105–106, 199 17 Winfield, Barbara, 166–167 WHOM (radio station), 76 Winston, Muriel, 201 Whyte, Zack, 9–10 Woodland Avenue (Cleveland), 1, 2 Wilcox, Ed, 31, 32 Woodman, Britt, 163, 199, 204 Wilder, Joe, 163–165, 169 Woods, Phil, 169 Wildroot Cream Oil (radio show sponsor), Woodside Hotel (New York City), 13 53 Works Progress Administration, 8 Wilkins, Ernie, 174, 176 World War I, effects on population in William Morris Agency, 43 Cleveland, 2 Williams, Charles Melvin “Cootie,” 47, 190 World War II Williams, Jimmy, 7 big band business shrinks after, 66 Williams, Martin, 170, 176–177 modern jazz emerges after, 97, 190–191 Williams, Mary Lou U.S. enters, 27 arrangements by, 17, 72–73 “Worm, The” (arrangement), 151 Dameron composes “Mary Lou” for, 35– Wright, Lamar, 105 37 Wright, Leo, 162, 163 Dameron writes thank-you letter to, 187 Wrubel, Allie, 79 on Dameron's arrangement abilities, 14 hosts private party, 75–76 X meets Dameron, 14 Xanadu (record label), 201 mentioned, 19, 131 as mentor, 78 Y possesses “Rock and Ride” piano part, 14 Yacht Club (New York City), 43 recalls meeting Vaughn, 51 “Yard Dog Mazurka” (arrangement), 121 transcribes “Kitchenette across the Hall,” Ye Rhythm Club (Cleveland), 8 “You Do Something to Me” (arrangement), 31 “You Left Me All Alone” (arrangement), 66– 67 Young, Eugene “Snooky,” 11 Young, Lester, 42 Young, Trummy, 11, 31 “You're a Joy” (arrangement and song), 166–167, 170 “You're Not the Kind” (arrangement), 61– 62, 87, 193

Z “Zakat” (arrangement and tune) analysis of, 56, 58 compared with “We're Through,” 60 Dameron's writing style for, 31–32 date written, 31, 54 mentioned, 62, 87 as “recent discovery,” 189 Ziskind, George, 147–148, 157–158, 160 “Zodiac Suite” (long-form), 72 Zoul, W. J., 3