D

DAFFODIL. A record label and company founded in 1973 by Blossom Dearie, it remains active today. See also RECORD LABEL.

DAMERON, TADLEY EWING “TADD” (1917–1965). A pianist, composer, and arranger, Tadd Dameron played in a few territory bands before he landed with Harlan Leonard in 1939, for whose band he penned “Dameron Stomp” and “A La Bridges.” He then went on to write for Jimmie Lunceford, Coleman Hawkins, Count Basie, Billy Eckstine, and Sarah Vaughan, among others, in addition to sitting in on sessions with Dizzy Gillespie and Charlie Parker. From 1945 to 1947, he wrote arrangements for Gillespie’s big band, and in 1948 he led his own group with Fats Navarro and appeared with Miles Davis. During the early 1950s he worked with Clifford Brown but was sidelined by problems with drugs, which would eventually result in his arrest in 1958. After his release from jail, Dameron continued to write for artists including Sonny Stitt, Blue Mitchell, Milt Jackson, and Benny Goodman. Many of Dameron’s compositions are considered jazz standards, including “Good Bait,” “Our Delight,” and “Hot House.” See also DAMERONIA.

DAMERONIA. A group formed in 1982 and led by Philly Joe Jones that was dedicated to the music of Tadd Dameron. After Jones’ death in 1985, the group was led by Don Sickler.

DANCE BAND. The name for bands whose repertoire was primarily dance music; many were active from the late 1910s through the 1940s.

DANIELS, EDDIE (1941– ). Originally a tenor and alto saxophone player, Eddie Daniels has since become one of the premiere jazz clarinet players in the world. After performing at the Newport Jazz Festival in 1957, Daniels graduated from Brooklyn College in 1963 and Juilliard in 1966. During his time at the Juilliard School of Music, Daniels was a founding member of the Thad Jones–Mel Lewis Orchestra, a group with which he would perform for the next six years. During the 1970s, Daniels played with Freddie Hubbard, Sonny Rollins, Don Patterson, and others, in addition to recording under his own name. In 1984 his album Breakthrough for clarinet and orchestra was a successful foray into Third Stream music, and in the 1990s Daniels resumed playing tenor saxophone and led his own quartet.

DANISH RADIO BIG BAND. A Danish big band founded in 1964. Led by artists including Ray Pitts, Palle Mikkelborg, and by Thad Jones from 1977 to 1978, the band has had several international conductors, including Stan Kenton, Frank Foster, Oliver Nelson, Dizzy Gillespie, Bob Brookmeyer, and Maria Schneider, among others.

DANISH RADIO JAZZ GROUP. A Danish big band founded in 1961, starting as a nine-piece ensemble, it was led by Erik Moseholm, Ray Pitts, and Palle Mikkelborg, among others. The group disbanded in 1986.

DANKWORTH, JOHN (1927–2010). After switching from the violin to the clarinet to play jazz in a local jazz band, John Dankworth switched to the alto saxophone after being strongly influenced by Charlie Parker. Dankworth worked on several transatlantic ocean liners in the late 1940s in order to hear jazz in New York, and he became a fixture of the London Bebop scene. At the end of 1949 he formed the Johnny Dankworth Seven and three years later founded his own big band, performing his own arrangements and compositions. His band achieved success on the Pop charts with singer Cleo Laine (whom he later married) and contained many notable British jazz musicians including Kenny Wheeler, Don Rendell, Danny Moss, and Dudley Moore. In the 1960s, Dankworth continued to lead small groups and big bands, and in 1971 he became the musical director for Laine. During the 1980s he led a touring quintet and worked as a guest conductor with several pops orchestras. In 1974, Dankworth was awarded the CBE (commander, Order of the British Empire), and in 2006 he was knighted. See also ENGLAND.

DARK CLOUDS OF JOY. The name of two separate Kansas City jazz bands both founded by Terrence Holder, one in 1926 and one in 1929.

DAUNTLESS RECORDS. A record label established in the 1960s. Artists included Steve Kuhn and Toshiko Akiyoshi.

DAVERN, KENNY (1935–2006). Starting his professional career at the age of 16, by 1954 Kenny Davern was playing clarinet with Jack Teagarden and Phil Napoleon. In the 1960s, Davern led his own groups, played with the Dukes of Dixieland (1962–1963), and also played with Ruby Braff, among others. In 1974 he switched from clarinet to soprano saxophone and founded the group Soprano Summit with Bob Wilber. That collaboration would last until 1979, and in the early 1980s he founded the Blue Three and switched back to clarinet. Throughout the 1990s, Davern toured and recorded, even reuniting with Wilber in a group named Soprano Reunion.

DAVIS, ARTHUR (1934–2007). Starting first on the piano and then the tuba (for which he won a national competition), Art Davis switched to the bass in 1951. He performed with Max Roach and Dizzy Gillespie and then had several stints with John Coltrane, including recordings in 1961 and 1965. During the early 1960s, Davis played with numerous musicians, including Booker Little, Freddie Hubbard, Clark Terry, Oliver Nelson, Ornette Coleman, Art Blakey, Erroll Garner, Clifford Jordan, McCoy Tyner, Count Basie, Lena Horne, and countless others. He spent the mid-1960s as a member of several television orchestras, and from 1971 to 1973 he taught at Manhattan Community College before playing with Thelonious Monk for a short while. Thereafter, Davis began work on a career in psychology, getting his B.A. from Hunter College in 1973, his M.A. in music in psychology from New York University in 1976, and a Ph.D. in clinical psychology from New York University in 1981. He continued to play music while pursuing his career as a psychologist, participating in many small groups and duos. During the 1990s, Davis played in a quartet with Herbie Hancock, Marvin “Smitty” Smith, and Ravi Coltrane. His book The Arthur Davis Method for Double Bass (1975) is a popular instructional double bass text.

DAVIS, EDDIE “LOCKJAW” (1922–1986). A self-taught tenor saxophonist, Eddie Davis got his start working in the big bands of Cootie Williams and Lucky Millinder; after four months with Louis Armstrong in 1945, Davis joined the band of Andy Kirk, and it was from a title of one of the recordings with that band that Davis garnered the nickname “Lockjaw.” During 1947–1952, Davis directed jam sessions at Minton’s Playhouse in New York, and in 1952 Davis began working with Count Basie, a relationship that would extend through the 1970s. During the mid to late 1970s, Davis co-led a group with Harry “Sweets” Edison.

DAVIS, MILES DEWEY (1926–1991). Perhaps the most iconic figure in jazz history, Miles Davis’ journey to musical greatness began when his father gave him a trumpet at the age of 13. By 1944, Davis moved to New York to study music at Juilliard. His studies were short-lived, and by the end of 1945 he was playing regularly with Charlie Parker. By the end of the 1940s, Davis had played with Dizzy Gillespie, Benny Carter, Coleman Hawkins, Max Roach, and many other notable musicians.

In 1949, Davis began what would be a lifelong obsession with musical innovation and change when he and Gil Evans collaborated to record the tracks that would later be released as the landmark album Birth of the Cool and spearhead the Cool Jazz style. Davis’ burgeoning heroin addiction slowed his career considerably in the early 1950s, but a performance in 1955 at the Newport Jazz Festival revived sufficient interest in Davis for him to form his own quintet with Red Garland, Paul Chambers, Philly Joe Jones, and John Coltrane. Adding Cannonball Adderley to the group, Davis recorded Milestones in 1958, and his sextet of Bill Evans, Jimmy Cobb, Adderley, Coltrane, and Chambers recorded the album Kind of Blue in 1959 and introduced Modal Jazz. Kind of Blue is Davis’ best-selling album and is widely regarded as one of the greatest jazz albums ever recorded.

From 1957 to 1960, he continued collaborating with Evans and recorded yet more landmark albums—Miles Ahead, Porgy and Bess, and Sketches of Spain. Davis formed a second quintet in 1963 with Herbie Hancock, Ron Carter, Tony Williams, and a succession of tenor players including Hank Mobley and George Coleman before Wayne Shorter got the job in 1964. This group recorded several more landmark jazz albums including E.S.P. and Miles Smiles, but by 1968 Davis’ attention turned to Rock and Jazz Fusion. His albums In a Silent Way and Bitches Brew were some of the first forays in this genre, which Davis would continue to explore until his retirement in 1975 after a series of personal problems. His health declined due to complications from sickle cell anemia and casual drug use, but in 1981 he returned to music with several new groups and made inroads in Funk and Pop music. Two months after a performance of Gil Evans’ old arrangements at the Montreux Jazz Festival in 1991, Davis died due to complications from a stroke.

Davis’ skills in developing talent were unparalleled, and a complete list of his sidemen would include many of the best jazz musicians of the last half of the 20th century. In addition to the above-mentioned names, Davis’ sidemen included Wynton Kelly, Chick Corea, Jack DeJohnette, Dave Holland, John McLaughlin, John Scofield, Dave Liebman, Branford Marsalis, and many, many others. Davis’ restless nature meant that he was at the forefront of every innovation in jazz since the 1940s, starting with Bebop, Cool Jazz, Modal Jazz, dabbling in the Avant-Garde, Fusion, and even Pop. His influence on jazz is immeasurable and is not likely to diminish.

DAVIS, RICHARD (1930– ). A Classical and jazz bassist, Richard Davis started in Chicago playing with Ahmad Jamal (1953–1954) and then moved to New York while playing with pianist Don Shirley (1954–1956). He toured extensively with Sarah Vaughan (1957–1963), and during this time he also joined the Eric Dolphy–Booker Little Quintet. Throughout the 1960s he would perform with a variety of other jazz artists, including Stan Getz, Joe Henderson, Kenny Dorham, Frank Foster, Earl Hines, and Eddie Daniels, and he was a founding member of the Thad Jones–Mel Lewis Orchestra, with whom he performed from 1966 to 1972. Davis left New York in 1977 to teach at the University of Wisconsin and settled permanently in Madison, Wisconsin. He has continued to tour with various musicians including Jon Faddis, McCoy Tyner, Cecil Bridgewater, and others throughout the 1980s and 1990s.

DAVIS, WILLIAM STRETHEN “WILD BILL” (1918–1995). Originally an arranger and a guitarist, Wild Bill Davis played and arranged for Milt Larkin, Earl Hines, and Louis Jordan from the late 1930s through the 1940s. After playing the piano with Jordan, Davis started playing the Hammond organ first as a soloist and then as a leader of his own group. His most successful arrangement was “April in Paris,” which he arranged for Count Basie in 1955. During the 1960s, Davis worked with Johnny Hodges and Ella Fitzgerald, and in 1969 he joined Duke Ellington, also serving as arranger. In the 1970s he worked with various groups including Lionel Hampton, and in the 1980s he continued to tour Europe and the United States, performing into the 1990s.

DAVISON, “WILD” BILL (1906–1989). A cornet player, Wild Bill Davison worked with various local bands in Chicago before a tragic traffic accident in 1931. As a result of the traffic accident, Frank Teschemacher, a fellow Chicago musician, was killed, and Davis moved to Milwaukee. He would stay in Milwaukee until 1940, when he moved to New York after his career gained momentum through the release of a few recordings. While in New York, Davis recorded under his own name and played with Eddie Condon starting in 1945; he would continue to play with Condon intermittently until the 1960s. Also in the 1940s, Davison recorded with Sidney Bechet. In 1960, Davison moved to the western coast of the United States and appeared at various jazz festivals, including the annual Colorado Jazz Party, and he would continue to tour and perform either solo or with various groups until a few weeks before his death.

DAWSON, ALAN (1929–1996). A drummer, Alan Dawson played with a few local bands before joining Lionel Hampton’s band and touring Europe in 1953. Dawson returned to Boston and played with pianist Sabby Lewis (with whom he had played before), and in 1957 he got a job teaching at the Berklee School of Music, where he would teach until 1975. Among some of his more noteworthy students are Tony Williams, Clifford Jarvis, Harvey Mason, and Joe LaBarbera. During this time he stayed in Boston and performed locally and also for jazz musicians passing through, including Roy Eldridge, Phil Woods, Coleman Hawkins, and Sonny Stitt, among others. During the 1960s he performed and recorded with Jaki Byard and Booker Ervin, a collaboration that resulted in several well-received albums. In 1968, Dawson joined the Dave Brubeck Quartet and performed with them until 1976. He also performed annually at the Colorado Jazz Party beginning in the 1960s and into the 1980s. Dawson continued to teach privately after leaving Berklee and was still recording into the mid-1990s.

DE ANDRADE, DJALMA (1923–1987). A guitar player also known by the name Bola Sete, Djalma De Andrade moved from Brazil to the United States in 1959. De Andrade was discovered by Dizzy Gillespie and recorded with him in 1962, then worked with Vince Guaraldi from 1963 to 1966 before forming his own Brazilian group.

DEARIE, MARGRETE BLOSSOM (1924–2009). A singer, Dearie Blossom got her start when she moved to New York in the mid-1940s and joined the Blue Reys, a vocal group within Woody Herman’s band. She moved to Paris and formed her own vocal group, the Blue Stars; their French version of “Lullaby of Birdland” was a hit in the United States. The Blue Stars would later go on to become two other groups, the Double Six of Paris and the Swingle Singers. Blossom moved back to the United States in 1956 and led her own trio in which she also played piano, and in 1973 she founded Daffodil Records, a record label that released many of her albums. See also EUROPE.

DECCA. A British record label that began issuing recordings in 1929 but dates as far back as 1914. The label made Classical releases in England until an American branch was opened in New York in 1924. The American branch issued records by artists including Louis Armstrong, Count Basie, Woody Herman, and Lionel Hampton. The label was active through various parent companies until 1999; during that time it released many Classical, Pop, and Rock albums.

DECZI, LADISLAV (1938– ). A Slovakian trumpet player, Ladislav Deczi played with several groups in Europe throughout the 1950s and 1960s, including as the leader of Jazz Cellula. He left Czechoslovakia in 1985 and moved to New York after a brief time in Germany; in New York he and his son founded another Jazz Cellula and recorded.

DEDRICK, LYLE “RUSTY” (1918–2009). A trumpet player, Rusty Dedrick started working with Dick Stabile in 1938 and then joined Red Norvo. Dedrick left Norvo in 1941 and performed and recorded with Claude Thornhill through 1942 and again from 1946 to 1947, in addition to arranging works for the group. During the 1950s and 1960s, Dedrick freelanced in New York including a stint with Lionel Hampton in 1970 and 1971. In 1971 he became a faculty member at the Manhattan School of Music, where he would eventually assume the position of director of jazz studies. From 1984 to 1985, he was editor-in-chief of Kendor Music.

DEFUNKT. A Fusion group formed in 1978 by trombone player Joseph Bowie.

DEJOHNETTE, JACK (1942– ). A drum set player, Jack DeJohnette performed first with John Coltrane in the early 1960s, and after some time in the Association for the Advancement of Creative Musicians, he moved to New York in 1966 to replace Elvin Jones in Coltrane’s group. After Coltrane, DeJohnette played with many other musicians, including the Charles Lloyd Quartet, Thelonious Monk, Freddie Hubbard, Keith Jarrett, Chick Corea, Stan Getz, and Bill Evans, and he also recorded under his own name. In 1969, DeJohnette joined Miles Davis for his album Bitches Brew, and joined the group permanently from 1970 to 1972. In 1971 he formed his own band, Compost, and during the rest of the 1970s he recorded prominently on the ECM label with Kenny Wheeler, John Abercrombie, and others. He also recorded with his own various groups, including Gateway, Directions, New Directions, and Special Edition. In the 1980s, DeJohnette played with Jarrett’s Standards Trio, and in the 1990s he recorded with Herbie Hancock, Michael Brecker, Pat Metheny, and others.

DELMARK. A record label and company established in 1953 in St. Louis and first called Delmar. The label was moved to Chicago in 1958 and changed to Delmark. The label issued Traditional Jazz by George Lewis, Earl Hines, and others, and also had a series of more modern jazz by artists including Sonny Stitt, Sun Ra, and Anthony Braxton, among others.

DELTA. A record label that issued four recordings by Kid Rena in the 1940s.

DE LUXE. A record label and company established in 1944. Artists include Benny Carter and Billy Eckstine. See also RECORD LABEL.

DERBY. A record label established in 1948 in New York; one of the earliest labels to issue 45 rpm singles. Early releases were mostly race records, but by 1953 the catalog was mainly Pop music.

DERBY (MUTE). A type of mute that resembles a felt hat, it is used by trumpet players to quiet the sound of the instrument for effect. See also MUTE.

DEUTSCHE GRAMMOPHON. A record label and company established in 1898 in Hanover. Important in the early technology of record production, the company continues to exist today and is the largest and most successful Classical record company in the world. See also RECORD LABEL.

DE VILLERS, MICHEL (1926–1992). A French alto and baritone saxophonist, Michel De Villers started playing jazz with a quartet in 1943. From 1946 to 1947 he played and recorded with Django Reinhardt. During the 1950s he played with mostly French bands but a few visiting American musicians including Buck Clayton and Bill Coleman. He has continued to tour and perform in Europe. See also ALTO SAXOPHONE; BARITONE SAXOPHONE; EUROPE; SAXOPHONE.

DE VRIES, LOUIS (1905–1935). A Dutch trumpet player who was active in bands in the Netherlands in the 1920s and 1930s. Louis Armstrong considered him the best trumpet player in Europe.

DE WEILLE, BENNY (1915–1977). A German clarinet player, he recorded with several bands in Europe in the late 1930s and early 1940s. In 1940 he formed the Bar Trio and imitated Benny Goodman; the group is regarded as the best example of German Swing music. See also EUROPE.

DIAL. A record label and company founded in 1946 in Hollywood, it featured many Bop musicians including Charlie Parker, Dizzy Gillespie, and Dexter Gordon, among others. The company also had recordings in older styles by artists including Sidney Bechet, Roy Eldridge, and Earl Hines. See also RECORD LABEL.

DICKENSON, VIC(TOR) (1906–1984). A trombone player who was self-taught, Victor Dickenson played in territory bands before working with Blanche Calloway, Claude Hopkins, Benny Carter, and Count Basie in the 1930s and into 1941. He recorded with Sidney Bechet in the early 1940s and spent three years as a member of Eddie Haywood’s group (1943–1946). During the 1950s he worked with Bobby Hackett and Ruby Braff, during the 1960s he worked regularly with Eddie Condon, and during the 1970s with the World’s Greatest Jazz Band. Dickenson continued to be active as a player up until his death.

DI MEOLA, AL (1954– ). A guitarist originally inspired by the Beatles, Al Di Meola started playing at the age of nine, and by 1971 he was attending the Berklee College of Music. Di Meola left Berklee briefly to join Barry Miles, returned in 1974, and then joined Chick Corea in the group Return to Forever. He played with Return to Forever until they broke up and then went on tours with John McLaughlin and Paco DeLucia in the early 1980s. In 1985 he formed the Al Di Meola Project, and in 1995 he formed Rite of Strings with Stanley Clarke and Jean-Luc Ponty. He has continued to record in various settings throughout the 1990s and 2000s.

DIP. Dropping and raising the pitch of a note quickly after the attack, notated by a U symbol above or below the note. This is also referred to as a bend.

DIRECT-TO-DISC RECORDING. A technique used during the 1970s where recordings were made directly to discs instead of first to an intermediary medium.

DIRTY DOZEN BRASS BAND. Formed in 1975 in the style of a New Orleans marching band. Containing two trumpets, a tenor saxophone, a soprano saxophone, a trombone, a sousaphone, a snare drum, and two bass drummers, the group achieved international popularity playing a mix of Rhythm and Blues (R&B), modern jazz, and traditional New Orleans street music. Throughout the years the band has performed with many artists including Dizzy Gillespie, Branford Marsalis, Dr. John, and David Bowie, among others.

DISCOGRAPHY. A list of recordings, arranged either by content, individuals or ensembles, or record label.

DISCOVERY. A record label and company formed in 1948 in New York. Artists include Red Norvo, Art Pepper, Dizzy Gillespie, Cedar Walton, and others.

DIVA. An all-female big band formed in New York in 1993. Notable members include Ingrid Jensen, Virginia Mayhew, and Carol Chaikin. The group is led by drummer Sherri Maricle.

DIXIELAND (JAZZ). A term synonymous with Early Jazz or Traditional Jazz styles. The name is derived in part from the Original Dixieland Jazz Band. See also EARLY JAZZ.

DIXIELAND THUMPERS. A studio group that recorded in 1927, the same members also made up the Chicago Footwarmers.

DIXIE STOMPERS. A Traditional Jazz group founded in Belgium, it recorded between 1944 and 1958. The group is regarded as the best Belgian Traditional Jazz ensemble.

DIXIE SYNCOPATORS. A group formed by Joe “King” Oliver in Chicago in 1925.

DIXON, BILL (1925–2010). A trumpet player, he worked in various capacities as a trumpet player and arranger in the late 1940s through the 1950s. In 1961–1963 he led Free Jazz groups with Archie Shepp, and in 1964 he helped organize the “October Revolution in Jazz” featuring contributions from Avant-Garde musicians including Sun Ra, John Tchicai, Rowell Rudd, and others. Later that year Dixon helped to organize the Jazz Composers Guild, a short-lived organization that counted Sun Ra, Shepp, Tchicai, and Cecil Taylor among its founding members. Since then, Dixon has collaborated with dancer Judith Dunn (1965–1983), played with the group Sound Unity (1991), and toured Europe and the United States. Beginning in 1968 he also taught at Bennington College.

DODDS, JOHNNY (1892–1940). One of the best clarinet players in the early New Orleans style, Johnny Dodds started playing at age 17 and was mostly self-taught. From 1912 to 1918 he played with Kid Ory, toured with Fate Marable from 1918 to 1919, and then in 1920 he moved to Chicago to join King Oliver. After leaving Oliver’s band in 1923, he played with Freddy Keppard and a year later took over the band as leader. He directed the band for six years and worked in Chicago with his brother, Baby Dodds, in addition to appearing on recordings with Louis Armstrong’s Hot Five and Hot Seven and on recordings with Jelly Roll Morton. Dodds suffered a heart attack in 1939 and died the following year.

DODDS, WARREN “BABY” (1898–1959). A drummer, Baby Dodds is considered to be the exemplar of the New Orleans Early Jazz style. His first gigs were with Bunk Johnson, Willie Hightower, Papa Celestin, and then three years (1918–1821) with Fate Marable. He joined King Oliver in 1922 and moved to Chicago in 1923 where he would remain for approximately 20 years. During this time he recorded with Louis Armstrong and Jelly Roll Morton in addition to playing in groups with his brother, clarinetist Johnny Dodds. During the 1940s he played with Jimmie Noone, Bunk Johnson again, Sidney Bechet, and Mezz Mezzrow. Among his more famous pupils were Gene Krupa and Dave Tough.

DODGION, JERRY (1932– ). An alto saxophonist, tenor saxophonist, and flute player, Jerry Dodgion started his career playing with Gerald Wilson from 1953 to 1955. He then toured with Red Norvo from 1958 to 1961 and played in several of Benny Goodman’s groups. From 1961 to 1967 he played regularly with Oliver Nelson’s big bands, and in 1965 he was an original member of the Thad Jones–Mel Lewis Orchestra, with whom he played through 1979. He also played with Duke Pearson, Count Basie, and others. In the 1980s he played with Astrud Gilberto and Dizzy Gillespie’s big band, and in 1991 he was an original member of the Carnegie Hall Jazz Band. He has also played with the American Jazz Orchestra and the Lincoln Center Jazz Orchestra. In the mid-1990s he led his own group comprised of five saxophones, and a rhythm section named Jerry Dodgion’s New York Saxophones. He is currently leading his own group named “The Joy of Sax.”

DOIT. A glissando, rising from the end of a note to an indeterminate pitch.

DOLPHY, ERIC (1928–1964). A saxophonist, bass clarinetist, and flutist, Eric Dolphy started playing with Roy Porter from 1948 to 1950. In the early 1950s, Dolphy was in the military, in 1958 he joined Chico Hamilton, and from 1959 to 1960 he played with Charles Mingus. During the early 1960s, Dolphy played with many different artists, including John Coltrane, John Lewis, and Booker Little in a group he led, in addition to continuing to play with Mingus. Eric Dolphy died of a heart attack caused by diabetes in 1964.

DOMINO. A record label launched in 1924 and active into the early 1930s.

DONALDSON, LOU (1926– ). Originally starting on clarinet at the age of 15, Lou Donaldson later switched to the alto saxophone and in 1952 made his first records with Milt Jackson and Thelonious Monk. He also led several small groups from 1952 to 1953 with such notable sidemen as Blue Mitchell, Clifford Brown, Horace Silver, Art Blakey, and Philly Joe Jones. In 1954 he performed with a group that directly preceded Blakey’s Jazz Messengers on the Blue Note album A Night at Birdland. Donaldson has led his own groups ever since, venturing into the Soul Jazz and Jazz Funk styles.

DORHAM, McKINLEY HOWARD “KENNY” (1924–1972). A trumpet player, Kenny Dorham (originally named Kinny but eventually known as Kenny) received his first trumpet as a gift from his sister in 1939. He worked first with Milt Larkin’s big band before a brief stint in the army. In 1944 he moved to New York and was a participant in the jam sessions at Milton’s Playhouse; he also played in Dizzy Gillespie’s Bebop big bands and in the band of Billy Eckstine. In 1947, Dorham played with Lionel Hampton, and in 1948 he replaced Miles Davis in Charlie Parker’s quintet. He was a founding member of Art Blakey’s Jazz Messengers in 1954, and in 1956 he led his own group known as the Jazz Prophets. He left that group to join Max Roach after the unfortunate death of Clifford Brown, and he would play with Roach from 1956 to 1958. In 1962, Dorham led a quintet with Joe Henderson and in 1967 co-led a big band with Henderson that was later revived by Henderson in the 1990s. One of his most famous compositions, “Blue Bossa,” is now considered a jazz standard.

DOROUGH, BOB (1923– ). A songwriter, singer, and pianist, some of Dorough’s earliest work was as an accompanist to boxer Sugar Ray Robinson in New York while Robinson was working as an entertainer. He spent some time in Paris in the mid-1950s and after returning to the United States in the late 1950s worked with various groups, the most notable of which was the Miles Davis sextet in 1962. From 1972 to 1996 he wrote the music for the PBS television program Schoolhouse Rock, and he has continued to tour and lead groups. Among his more famous compositions is the jazz standard “Devil May Care.”

DORSEY, JIMMY (1904–1957). A clarinetist and alto saxophonist, Jimmy Dorsey started on the trumpet before switching to reeds in 1915. In 1924 he played with the California Ramblers, and from 1925 to 1934 he freelanced and recorded with Paul Whiteman, Frankie Trumbauer, Red Nichols, and Bix Beiderbecke. In 1934 he and his brother, Tommy Dorsey, founded the Dorsey Brothers Orchestra and would play together until 1935 when an argument on the bandstand resulted in Tommy leaving the group to form his own. From then on, Jimmy led the orchestra himself, and in the early 1940s he had several hits with vocalists Helen O’Connell and Bob Eberly. Dorsey would continue to lead various bands until in 1953 when he and his brother re-formed the Dorsey Brothers Orchestra. The Dorsey brothers performed together until Tommy died in 1956; Jimmy followed shortly thereafter. See also BANDLEADER; BIG BAND.

DORSEY, TOMMY (1905–1956). A trombone player and bandleader, Tommy Dorsey started on the trumpet before switching to the trombone. From 1926 to 1934, Dorsey played in bands led by Paul Whiteman and Jean Goldkette, many times with his brother, saxophonist Jimmy Dorsey. In 1934 he and his brother formed the Dorsey Brothers Orchestra, which would last until 1935, when the brothers broke up and went their separate ways. Tommy Dorsey took over a band led by Joe Haymes. Dorsey’s orchestra employed many excellent instrumentalists and arrangers, including Sy Oliver, Buddy Rich, Gene Krupa, and Charlie Shavers, and notable singers including Dick Haymes and Frank Sinatra. The band had a string of hits throughout the 1940s, including “I’m Getting Sentimental Over You,” “Marie,” and “Song of India,” but fell upon hard times as the Swing era drew to a close in the early 1950s. Tommy reunited with his brother Jimmy in 1953 to re-form the Dorsey Brothers Orchestra, a group he would co-lead until he choked to death in his sleep in 1956. See also BANDLEADER; BIG BAND; CLAMBAKE SEVEN.

DOUBLE BASS. See BASS.

DOUBLE MUTE. A mute, similar in appearance to two straight mutes, where one sits within the other. Also known as a clear-tone, solo-tone, or mega mute.

DOUBLE SIX (OF PARIS). A sextet formed in 1959, it got its name from the practice of overlapping two separate recordings, making the group sound as if it contained 12 members. The group recorded music by Quincy Jones and later Dizzy Gillespie before disbanding in 1966.

DOUBLE-TIME (I). A record label and company founded by Jamey Aebersold in Indiana in 1995. Artists include Dave Liebman, Rufus Reid, Bobby Shew, Kenny Werner, and many others.

DOUBLE-TIME (II). The practice of playing twice as fast as a previously established tempo. A soloist can also play double-time by playing rhythmically twice as fast as the accompaniment.

DOWNBEAT. In jazz, the downbeat is most commonly referred to as the first beat in the measure, or it can also refer to the strong beats in a measure.

DOWNBEAT MAGAZINE. One of the foremost journals in jazz, the magazine was formed in 1934 by Albert Lipschultz and is still popular today. It is well known for record reviews, interviews, annual artist polls, and industry updates.

DRAG (or DRAGGING). Playing behind the beat, unintentionally or intentionally for musical effect. It can also refer to a rudiment of percussion technique.

DREAMLAND CAFÉ. A nightclub in Chicago, it was also known as the Dreamland Ballroom in the 1910s and early 1920s. Performers included Freddie Keppard, Cab Calloway, Louis Armstrong, and many others.

DREAMS. One of the early Jazz-Rock bands, Dreams recorded two albums for Columbia in the early 1970s. The group included, at various times, such musicians as Billy Cobham, Michael Brecker and Randy Brecker, and John Abercrombie.

DREW, KENNY (1928–1993). A pianist, Kenny Drew began playing at the age of five. He made his first recording in 1949 with Howard McGhee. In the early 1950s, he worked with Sonny Stitt, Lester Young, Charlie Parker, Coleman Hawkins, Miles Davis, Sonny Rollins, Art Blakey, Dexter Gordon, and Clifford Brown, among others. In the late 1950s, Drew continued to play with some of the biggest names in jazz, including Dinah Washington, Buddy Rich, John Coltrane (on his album Blue Train), Art Farmer, Chet Baker, and many more. In 1961, Drew moved to Paris, and in 1964 he moved to Copenhagen, Denmark. He recorded extensively for SteepleChase, formed a successful duo with Niels-Henning Ørsted Pedersen, and continued to play actively until his death in 1993.

D’RIVERA, PAQUITO (1948– ). A saxophonist, clarinetist, and bandleader, Paquito D’Rivera was studying at the conservatory in Havana when he met Chucho Valdés. D’Rivera and Valdés would go on to form the Cuban group Irakere and were signed by Columbia Records in 1979. In 1980, D’Rivera defected to the United States during a tour of Spain and immediately moved to New York, where he played with Dizzy Gillespie, McCoy Tyner, and others, and formed his own group. He recorded with artists including Tito Puente and Lionel Hampton, and he was a founding member of Dizzy Gillespie’s United Nations Orchestra in 1988, a group he led during much of the 1990s. In 1996, D’Rivera was awarded a Grammy for his album Portraits of Cuba, and he continues to perform and record. See also ORQUESTA CUBANA DE MÚSICA MODERNA.

DROP. A glissando downward from the end of a note.

DRUMS. See DRUM SET.

DRUM SET. The name for the central percussion instrument in jazz, usually a kit that contains a minimum of a bass drum, snare drum, suspended (ride) cymbal, crash cymbal, and hi-hat cymbal. The basic layout of the drum set was standardized in the 1940s during the Bebop era but can be varied by individual drummers according to their preference. Famous jazz drummers include Gene Krupa, Art Blakey, Philly Joe Jones, Tony Williams, Max Roach, and many others. See also ANTOLINI, CHARLY; BELLSON, LOUIE; DODDS, BABY; ERSKINE, PETER; FOSTER, AL; HAMILTON, JEFF; JONES, ELVIN; JONES, HAROLD; KRUPA, GENE; MANNE, SHELLY; MOSES, BOB; MUHAMMAD, IDRIS; PERSIP, CHARLIE; RICH, BUDDY; WASHINGTON, KENNY.

DUKE, GEORGE (1946– ). A keyboardist and record producer, George Duke accompanied musicians including Dizzy Gillespie and Kenny Dorham from 1965 to 1967 as pianist at the Half Note. In the late 1960s he also worked with Don Ellis, Gerald Wilson, and Bobby Hutcherson before he joined Jean-Luc Ponty and began playing electric piano. He played with Cannonball Adderley from 1971 to 1972 around stints with Frank Zappa in 1970 and 1973 to 1975. In 1975 he also co-led a group with Billy Cobham and formed a Funk band with Stanley Clarke named the Clarke-Duke Project, and in the late 1970s he began working as a record producer. Since then he has played mostly Rhythm and Blues (R&B) and produced Pop projects.

DUKES OF DIXIELAND. A group formed by trumpet player Frank Assunto and his brother, trombonist Fred Assunto, in 1949. From 1958 to 1960 the group recorded a few albums with Louis Armstrong and in the early 1960s had a few other successful albums. After Frank died in 1974, the band underwent several leadership changes, and a version of the band continued to play into the 1990s.

DUNBAR, TED (1937–1998). A guitarist, Ted Dunbar began subbing for Wes Montgomery in 1962–1963 while working as a pharmacist across the street from an Indiana club where Montgomery played. In the early 1960s in Dallas, Dunbar worked with musicians including David “Fathead” Newman, Red Garland, and others before moving to New York in 1966 with Billy Harper. During the 1970s, Dunbar played with many notable musicians including Gil Evans, Tony Williams, McCoy Tyner, Sonny Rollins, Ron Carter, Roy Haynes, and many others. In 1972, Dunbar became a faculty member at Livingston College, Rutgers, where guitarist Kevin Eubanks would eventually number among his students. He resumed recording in 1989 and was the author of several books on jazz harmony and guitar.

DUTCH SWING COLLEGE (DSC). A Dutch group formed in 1945 and active into the 1990s. The group has performed with many visiting American jazz musicians and recorded with notable musicians including Sidney Bechet and Teddy Wilson.

DUTREY, HONORÉ (1894–1935). A trombonist, Honoré Dutrey worked with many New Orleans bands before joining the U.S. Navy in 1917. During his time in service, Dutrey suffered carbide poisoning, which damaged his lungs. He was eventually able to resume playing, and in the early 1920s he worked with King Oliver in Chicago. In the mid-1920s he led his own band and played with Louis Armstrong and Johnny Dodds and retired at the end of the 1920s.

DUVIVIER, GEORGE (1920–1985). Originally a Classical violinist, George Duvivier switched to the string bass sometime around 1937. By 1940 he was working with Coleman Hawkins, and in 1944 he became the arranger for Jimmie Lunceford and later for Sy Oliver. In the 1950s he played with Lena Horne, Louie Bellson, and Bud Powell, among others, in addition to doing studio work. During the 1960s, Duvivier continued to play with Powell and also appeared with Shelly Manne, Eric Dolphy, Benny Goodman, and Ben Webster. Throughout the 1970s and the 1980s Duvivier made appearances at the Colorado Jazz Party and worked with Benny Carter, Hank Jones and Warren Vaché.