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PABLO. Founded by jazz producer Norman Granz in 1973, Pablo Records was a very successful record label with two additional divisions: Pablo Live and Pablo Today. Granz lined up musicians with whom he had previously worked during his association with the Verve label. Included among these artists were Oscar Peterson and Ella Fitzgerald. The Pablo Live label distributed many albums recorded at the Montreux International Jazz Festival. Pablo Records was successful into the 1980s and was active in reissuing albums from companies previously affiliated with Granz. Pablo was purchased by Fantasy records in the late 1980s and was reprinted as part of the Original Jazz Classics series.

PACIFIC. A record label started in Los Angeles, Pacific Jazz became an important label for recording and preserving the beginnings of the West Coast Jazz style. The founder of Pacific Jazz, Richard Bock, did an exceptional job at locating talent and was the first to record solo albums for artists like Chet Baker, Jim Hall, Art Pepper, Joe Pass, and Wes Montgomery. Bock expanded the label to include world music in 1958, but this was not as successful as his previous jazz ventures. As jazz became less popular, Bock sold the label to Liberty Records in 1965. The label was passed from Liberty to Electrical and Musical Industries (EMI) to Capitol and eventually ended up in the hands of Blue Note Records in the 1990s. Many of the albums were reissued through Blue Note. See also RECORD LABEL.

PAGE, ORAN THADDEUS “HOT LIPS” (1908–1954). Page tried several instruments before deciding on the trumpet at the age of 12. During his late teenage years, Page began performing with bands in his native Texas before catching on with touring acts booked through the Theater Owners Booking Association. His first big break took place when he was hired for Walter Page’s Blue Devils, although prior bands he played with featured famous singers Bessie Smith and Ma Rainey. In 1930, Page began performing with a big band led by Bennie Moten in Kansas City for three years until he left to join a band led by Moten’s pianist, Count Basie. Page’s time with Basie lasted about a year before he returned to Kansas City to resume playing with Moten’s group. Page left Moten again in 1936 to pursue what was to be an unsuccessful solo career.

Artie Shaw hired Page to perform as a trumpet soloist and singer for his big band in 1941, but the relationship lasted only a few months due in part to the racial bias Shaw experienced for hiring an African-American musician. Eddie Condon, Page’s next employer, experienced a similar bias when he recruited Page for his band. For the remainder of his career, Page would never remain with one band or group for very long. He maintained a solo career working as a guest soloist with groups in Europe in addition to working with American groups led by Don Redman and Pearl Bailey. Page’s style was credited as being highly bluesy and is considered to be one of the leading voices for the development of the Rhythm and Blues style.

PAGE, WALTER SYLVESTER (1900–1957). Born in Missouri, Page was considered to be a vital contributor to the bass during the Swing era, further developing the walking bass style that was taking place during that era. Page performed mostly in Kansas City for his whole musical career. He played with Bennie Moten during the early 1920s until he started his own band, the Blue Devils. The Blue Devils and Moten’s band were competitors in the Kansas City area, and oftentimes Moten would lure players from the Blue Devils to join his band. Eventually both bands folded, and Page was asked to serve as bassist for Count Basie’s big band, becoming one of the members of what was to be known as the “All American Rhythm Section,” along with guitarist Freddie Green, drummer Jo Jones, and Basie. Page remained with Basie for the remainder of his career and until his death in 1957. See also JONES-SMITH INC.

PAICH, MARTY (1925–1995). Beginning his jazz career as a pianist, Paich enlisted in the military at the age of 18 and became a staff arranger for the Air Force Band. After being released in 1946, Paich went on to continue studying arranging at the Los Angeles Conservatory of Music and Arts. Paich’s career would be a combination of playing piano, composing, and arranging music, music that was often at the forefront of the West Coast Jazz scene. Throughout the 1950s, Paich wrote for groups led by Shelly Manne, Shorty Rogers, Peggy Lee, Mel Tormé, and most notably for Art Pepper on the album Modern Jazz Classics (1959, Original Jazz Classics). Paich recorded several albums under his own name, some of them featuring his arrangements such as the album I Get a Boot Out of You (1959, Warner Bros.) and others featuring his piano playing such as Marty Paich Trio (1957, V.S.O.P.).

Paich arranged for many singers throughout the 1960s and 1970s, including recording dates for Ella Fitzgerald, Sammy Davis Jr., Sarah Vaughan, and Ray Charles. Often Paich also served as conductor for these dates, and he developed a sterling reputation as a top jazz conductor. Paich eventually began to move away from jazz dates and wrote music for movies and television.

PALO ALTO. Based in the California city with the same name, Palo Alto Records began in 1981 and existed for four years before the record label shut down. Created to make new recordings of San Francisco area musicians, Palo Alto made several successful records during its short existence. San Francisco–based jazz historian Herb Wong was an influential member of the company and helped determine which artists should be recorded.

PALOMAR BALLROOM. A famous venue in Los Angeles that was home to many local bands in addition to being a popular venue for touring acts. It was also the site of the Benny Goodman Orchestra’s hugely successful appearance with his band in 1938. The Palomar was destroyed by a fire in late 1939.

PANACHORD. A British-based record label that issued albums similar to the U.S.-based Melotone. Panachord was founded in 1931 and was used primarily for distribution rather than recording. Recordings from Decca, Brunswick, and the American Record Company were distributed by Panachord during its existence. A subsidiary of Panachord in Denmark released albums recorded by Dutch Decca, many of which were jazz recordings of American artists who had relocated to Europe. Panachord was discontinued in 1939.

PARADOX. A record label founded in New York that was in existence for four years, from 1948 to 1952. The majority of Paradox’s recordings were of Traditional Jazz artists and were acquired by the Chimes Music Shop label and eventually the Jazztone label to be presented as reissues.

PARAMOUNT. A Wisconsin-based record label that served as the primary distributor for New York Recording Laboratories. Paramount began releasing race records during a 10-year period from 1922 to 1932 before the company closed its doors after collaborating with the American Record Corporation and Plaza. Artists who had records on Paramount include Blind Lemon Jefferson, Ma Rainey, King Oliver, Fletcher Henderson, and the Original Memphis Five.

PARAMOUNTORKESTERN. A highly influential Traditional Jazz group from Sweden that was formed in 1926. Swedish violinist Folke Andersson founded the group and helped them make approximately 100 records before breaking up in 1930.

PARAPHERNALIA. A jazz quintet founded in Great Britain by baritone saxophonist Barbara Thompson, made up of violinist Billy Thompson, pianist Peter Lerner, bassist Dave Ball, and drummer Jon Hiseman. See also ENGLAND.

PARIS, JACKIE (1926–2004). Paris got his start performing as a dancer and a singer as a teenager in New York before his jazz career took a brief hiatus due to a stint in the military during World War II. Paris’s career took off after his return from the army in 1946, and during the next 10 years he toured and recorded with many of the leading jazz artists of the time including Charlie Parker and Lionel Hampton. His career as a jazz sideman was never truly fulfilled, and often he was booked as a lounge singer in resorts instead of in jazz clubs. Despite continuing to record with other mainstream jazz artists such as Charles Mingus and Donald Byrd in the 1950s and 1960s, Paris’ career was mostly of the crooner variety, and the majority of his recordings were ballads.

PARKER, CHARLIE “BIRD” (1920–1955). One of the most influential jazz musicians of all time, alto saxophonist Parker became a seminal figure in the creation and history of Bebop. Born in Kansas City, Parker took up the alto saxophone at the age of 11 and began playing locally, absorbing much from the touring musicians who originated in the city, including Count Basie. Bandleader Jay McShann hired Parker in the late 1930s for a brief period, and after a tour to New York, Parker decided to relocate there. During the early part of the 1940s, Parker played in impromptu jam sessions that included future stars Dizzy Gillespie and Thelonious Monk.

Recording was banned in 1942 for two years due to complications with the musicians union, which prohibited the early days of Bebop from being recorded. However, shortly after the ban was lifted, Gillespie and Parker became very active in recording. Throughout the next few years, Parker would dominate the jazz scene, leading many different quintets through the 1940s and early 1950s. Parker’s playing was incredibly fast and creative, a perfect match for the Bebop style.

Many of Parker’s groups included future jazz stars including Max Roach, Miles Davis, Kenny Dorham, Bud Powell, and Chet Baker. Parker dealt with extreme addiction problems that resulted in him taking several breaks from playing as well as a stint in prison. Parker died at the age of 35 from a variety of symptoms, the majority of which were tied to his heroin addiction. Parker’s influence was enormous, and most saxophonists (especially alto saxophonists) who followed were largely indebted to his style. See also IMPROVISATION; MINTON’S PLAYHOUSE.

PARKER, LEO (1925–1962). Initially an alto saxophonist, Parker was already a consummate performer, recording with Coleman Hawkins at the age of 19. In order to maintain a steady gig with vocalist Billy Eckstine, he switched to baritone saxophone. This change of instrument proved vital to Parker’s career, and he became one of the leading voices on the instrument. Throughout the 1940s, he played with Bebop disciples Charlie Parker and Dizzy Gillespie in addition to being a regular performer with groups led by Illinois Jacquet. Before Parker died, he was signed by Blue Note and released several records for the label including Let Me Tell You ’bout It (1961, Blue Note) and Rollin’ with Leo (1961, Blue Note). See also SAXOPHONE.

PARLOPHONE. A British record label that primarily reissued or released albums recorded on the Lindstrom and OKeh labels beginning in the 1920s. Parlophone presented several series of recordings in 1929 and 1932 that were specifically for jazz called the New Rhythm Style Series. After 1934, Parlophone also used records from the American Record Company and Brunswick. Electrical and Musical Industries (EMI) records acquired the company in 1931 and began distribution of Parlophone Records in other countries including Eastern Europe and Australia. Parlaphone was used until the 1960s to distribute albums recorded on other labels until jazz was deemed to be no longer profitable. See also ENGLAND.

PASS, JOE (1929–1994). Pass was a standout guitarist while still in high school after beginning a professional career at the age of 13. After being offered several jobs, he dropped out of school to pursue work as a professional musician but wasn’t ready to handle the 1940s jazz scene. Pass succumbed to heroin addiction for almost a decade, and his inability to stay clean resulted in him bouncing between prisons and rehabilitation centers. His flawless technique and approach to improvisation were not lost during this period, and in the early 1960s, after managing to break his addiction, he was signed to the Blue Note label, recording both The Complete “Catch Me” Sessions (1963, Blue Note) and Joy Spring (1964, Blue Note).

Pass became very popular for the duration of the 1960s and 1970s, both as a sideman and leader. Accompanying artists like Sarah Vaughan and Ella Fitzgerald in addition to becoming a steady performer in Oscar Peterson’s groups, Pass became one of the most influential guitarists of his time. Pass, like his protégé Stanley Jordan, was a prodigious finger picker and was able to maximize his ability to perform as a soloist with no accompaniment. The record label Pablo signed Pass and released records that were considered to be some of the most important jazz guitar albums ever made, including Virtuoso, Volume 1 (1973, Pablo) and We’ll Be Together Again (1983, Pablo). Pass’ record output from 1975 to 1990 included over 20 live concert albums in solo, duet, quartet, and quintet settings. Pass continued to tour until he died. His legacy lives on with his many recordings and a wealth of instructional materials that cover his famous technique and his advanced improvisational material.

PASSPORT. A German jazz quartet that was one the first European groups to catch on to the Fusion and Jazz Rock phase that had transpired in the United States. Passport was founded by Klaus Doldinger in 1970, although it did not formally go by the name “Passport” until a year later. The group had success during the 1970s playing in Germany and also touring overseas. Passport went through a style transformation in the 1980s that focused more on Pop styles than improvisation.

PASTORIUS, JACO (1951–1987). Born in Norristown, Pennsylvania, Pastorius made his mark on the modern music scene through the fretless electric bass. In the early 1970s, Pastorius received his first break when he was hired to be the bass player with Fusion supergroup Weather Report. Using the group as a launching pad to display his highly developed bass technique, Pastorius was hired by several other major musical artists including vocalist Joni Mitchell, Rock group Blood, Sweat and Tears, and Jazz Fusion guitarist Pat Metheny. Pastorius also recorded a self-titled album Jaco Pastorius (1975, Epic) that received wide acclaim.

Pastorius continued to freelance into the 1980s while also starting his own band, Word Of Mouth, which recorded the self-titled album Word Of Mouth (1981, Warner Bros.). A variety of problems, including drug addiction, set Pastorius back during the middle portion of the decade and led to his early death. Beaten outside of a nightclub in Fort Lauderdale, Florida, Pastorius never recovered from the head wounds he suffered.

PAYNE, BENJAMIN “BENNIE” (1907–1986). Payne was a pianist and vocalist who began his career in his native city of Philadelphia at the age of 19. After receiving tutelage from the great pianist Fats Waller, Payne toured and played with various musical revues across the United States and Europe. In 1931, Payne was hired by Cab Calloway, a musical relationship that would last over a decade. Payne was included on many of Calloway’s recordings and movie appearances. After completing some military service, Payne did little work as a sideman and instead focused on becoming a leader of his own group. Payne relocated to the Los Angeles area in the 1950s where he continued his own groups in addition to continuing work as a pianist and musical director for revues and cabaret shows.

PAYNE, CECIL McKENZIE (1922–2007). Payne’s musical career took its first big steps at the age of 21 when he enlisted in the military. Payne played clarinet with military bands but was quick to change back to the saxophone upon his discharge in 1946. Early in his career, Payne played both alto and baritone saxophones and was hired to do both by many of jazz’s leading artists. J. J. Johnson hired him to record on alto, while his baritone saxophone playing was featured in groups led by Clarence Briggs, Dizzy Gillespie, and James Moody. In the 1950s, Payne primarily freelanced but also toured with several groups including tenor saxophonist Illinois Jacquet. He recorded his first two albums as a leader, Patterns (1956, Savoy) and Night at the Five Spot (1957, Signal), during this decade. In addition to his work as a saxophonist, Payne assisted his father in running the family’s real estate business.

Payne continued to be a very active sideman throughout the 1960s and performed with Kenny Drew, Machito, Lionel Hampton, Randy Weston, Woody Herman, and Count Basie. The next decade was a defining one for Payne as he began to lead more of his own groups, recording two albums for the Muse label in addition to touring with Benny Carter and fellow baritone saxophonist Nick Brignola. During the 1980s, Payne was a featured member of many tribute groups including Dameronia, a reunion big band led by Illinois Jacquet and Dizzy Gillespie. Payne shared his vast experience with the next generation of jazz musicians by starting the group Bebop Generation in the 1990s that featured veteran, established musicians, as well as up-and-coming ones, such as Eric Alexander and Joe Farnsworth. Payne would continue to be a leader and sideman over the course of the next two decades until his death.

PAYNE, PERCIVAL “SONNY” (1926–1979). Beginning his career at the age of 18 working as a drum set player with musicians such as Hot Lips Page and Earl Bostic, Payne’s popularity quickly caught on in his hometown of New York City. Throughout the 1940s he would record and tour with many groups including those led by Erskine Hawkins, Earl Bostic, and Tiny Grimes. Payne’s defining moment came in 1955 when he was hired to fill in for Gus Johnson in Count Basie’s big band. He would perform with Basie’s group off and on for the next two decades and would also appear on many of Basie’s most popular albums, including April in Paris (1956, Verve) and Atomic Mr. Basie (1957, Roulette). Despite a brief sabbatical to perform with Frank Sinatra in the mid-1960s, Payne served as Basie’s primary drummer until he took over the drum chair in Harry James’ big band. Before his death, Payne had one more go-round with Basie’s band before finishing his career with James.

PAZ. An English Fusion group founded by vibraphonist Dick Crouch in 1972. Paz made use of electronic instruments as well as a broad use of eclectic percussion. Albums recorded by the group Paz include Look Inside (1983, Paladin) and Dancing in the Park (1997, Turret).

PEACOCK, GARY (1935– ). Peacock began as a pianist in various elementary and secondary schools that he attended while his family moved across the northwestern United States. At the age of 19, he joined the army and performed in various military bands until an accident caused the band’s bass player to lose the ability to walk. Peacock began studying the bass and made it his instrument of choice. After being discharged, Peacock moved to Los Angeles and was hired by musicians Bud Shank, Art Pepper, Dexter Gordon, and Harold Land. After moving to New York in 1962, Peacock’s popularity soared, and he was highly in demand by many of the cutting-edge Free Jazz musicians including Paul Motian, Albert Ayler, Don Cherry, and Archie Shepp.

Peacock suffered from several health problems in the mid-1960s that caused him to play significantly less than he had previously. Until 1977, Peacock played sparingly and used the time to study Eastern religion and biology. The year 1977 was important for Peacock as he recorded his first two solo albums on ECM, Tales of Another (1977, ECM) and December Poems (1977, ECM). Tales of Another was a significant album in that it marked the first recording of what would become the Keith Jarrett trio, featuring pianist Jarrett and drummer Jack DeJohnette. This trio would begin to tour steadily from 1983 throughout the next several decades, recording many times on the ECM label under Jarrett’s name. Peacock continues to freelance with former bandmates Motian and Paul Bley in addition to teaching and offering workshops on meditation.

PEACOCK’S PROGRESSIVE JAZZ. A division of the Houston-based Peacock record label dedicated to recording jazz albums. Peacock’s Progressive Jazz was not a success and was only in existence from 1958 to 1959. Betty Carter and Sonny Criss recorded the only two albums to be released on the label.

PEPPER, HUR EDWARD “ART” (1925–1982). Born in California, Pepper’s professional alto saxophone career began in the early 1950s when he was hired by bandleader Stan Kenton. After spending several years on tour, Pepper left the band to begin a solo career that resulted in many acclaimed records toward the end of the 1950s. These recordings featured sidemen including Gerry Mulligan, Paul Chambers, and Red Garland. Dealing with drug addiction, Pepper faced both the legal and the health problems that commonly follow, and several years of his career involved little to no music. In the late 1960s, Pepper experimented with playing the tenor saxophone before being hired to play alto again with Buddy Rich. Pepper regained a lot of his popularity toward the end of the 1970s, working in self-led groups until his death in 1982.

PERFECT. A division of the American Pathe record label. Perfect was established to sell similar records to what was being released on American Pathe, but for a cheaper cost. American Pathe was purchased by the American Record Corporation, and Perfect was converted into a dime-store label until it was discontinued in 1938.

PERKINS, BILL (1924–2003). After moving to Santa Barbara from Chile, Perkins took up the clarinet and piano while still a teenager. He soon switched to tenor saxophone and began studying the instrument seriously after a military stint during World War II. His career took off in the late 1940s when he was hired by several Los Angeles area bands including groups led by Jerry Wald and Woody Herman. He was highly influenced by Lester Young and was one of the leading voices in West Coast Jazz. In 1953, Perkins began an on-and-off-again working relationship with Stan Kenton and remained an important soloist for the group until 1959. He expanded his skill set to include composition, arranging, and working as a recording engineer. During the 1960s he served in all of these capacities, both with his own groups and other projects with which he was involved.

In 1968, Perkins was hired by Doc Severinsen to play baritone saxophone in the NBC Tonight Show band. Perkins would be affiliated with the band until Doc Severinsen’s band was replaced in 1992. During this period, he would regularly freelance with many small groups in California including groups led by Shorty Rogers, Frank Strazzeri, James Clay, and Bud Shank. Perkins died in 2003 due to complications with cancer. See also BIG BAND.

PERSIP, CHARLIE “CHARLI” (1929– ). Persip grew up in New Jersey where he learned to play the drum set. At the age of 24, Persip was given an opportunity to play with Tadd Dameron, which very quickly gained him recognition that resulted in a touring and recording opportunity with Dizzy Gillespie. Persip was Gillespie’s drummer for five years and was featured on several recordings including the Gillespie classic Sonny Side Up (1957, Verve). Persip started his own solo career in the late 1950s, recording Charli Persip and the Jazz Statesmen (1960, WEA), which featured a young Freddie Hubbard.

Throughout the 1960s, Persip continued to lead his own groups while also playing with groups led by Gil Evans, Gene Ammons, and Don Ellis. Persip was an important member of the group that started the Jazzmobile in New York. He played well in many styles. In the late 1960s, he toured with singer Billy Eckstine, and in the 1970s he played with Free Jazz pioneers Archie Shepp and Rahsaan Roland Kirk. Persip continued to freelance throughout the 1980s and 1990s and also became more involved in education when he was hired as a faculty member for the Jazz and Contemporary Music Program at the New School in New York City.

PETERSON, OSCAR (1925–2007). A very influential jazz musician, Canadian-born Oscar Peterson was a prodigious pianist as a youth, winning many competitions. He was influenced by many of the Stride and Swing pianists and worked professionally in Canada before being recruited to participate in Jazz at the Philharmonic (JATP) groups in the late 1940s. For most of the 1950s, Peterson combined working with JATP and leading his own trios, which received great acclaim. Peterson’s groups during this time frequently used guitar in the place of drums, although toward the end of the 1950s, Peterson returned to using a drummer, most frequently Ed Thigpen.

Peterson continued to lead trios in the 1960s and 1970s while also appearing on other recordings as a sideman. During this time, Peterson recorded with many jazz legends including Joe Pass, Dizzy Gillespie, Clark Terry, and Sam Jones. Peterson is often credited with having an especially strong and functional left hand, the mark of a great pianist. He worked steadily in the 1980s but was halted after suffering a stroke in the early 1990s. While Peterson resumed his career afterwards, the stroke caused some physical damage, and Peterson’s flashy and strong technique was never the same. Peterson remained active performing and touring until his death in 2007.

PETIT, BUDDY (1895–1931). Petit (born Joseph Crawford) was a Louisiana native who made a career both as a bandleader and cornet player in the New Orleans area. Petit started the Young Olympians and was also Freddie Keppard’s replacement in the Young Olympia Band. Despite touring with many leading jazz musicians of the 1910s and 1920s, like Jelly Roll Morton and Sidney Bechet, no recordings exist of Petit. Passing away at an early age, the mystery about Petit’s musical ability and technique has added to his legacy.

PETRUCCIANI, MICHEL (1962–1999). Born into a family of jazz musicians, Petrucciani decided to take up piano at the age of four instead of guitar or drums like the others in his family. Petrucciani grew up in France, and his career blossomed at a young age; he was featured in concerts with Kenny Clarke and Clark Terry before turning 18. Petrucciani’s popularity grew, and he toured with Lee Konitz and Charles Lloyd before his own solo career took off. Throughout the 1980s, Petrucciani led a trio that included Jean-Francois Jenny-Clark, Aldo Romano, Palle Danielson, Eliot Zigmund, Andy McKee, and Gary Peacock. Petrucciani was included as a sideman in a group featuring Jim Hall and Wayne Shorter at the Montreux Jazz Festival.

In the 1990s, Petrucciani relocated to New York and continued to record. Several of Petrucciani’s most popular albums include Power of Three (1986, Blue Note) and Pianism (1985, Blue Note). Petrucciani suffered from osteogenesis imperfecta, which contributed (along with a serious bout of pneumonia) to his early passing.

PETTIFORD, OSCAR (1922–1960). Pettiford was born into a very successful musical family where he learned to play many instruments until he settled on the double bass. At the age of 20, Pettiford was hired by Charlie Barnet. Pettiford stayed with Barnet for one year during which the group visited New York. Pettiford decided to permanently relocate there. Clubs such as Minton’s Playhouse and the Onyx Club became major hot spots for the emerging jazz scene, and Pettiford worked quickly to start playing in both venues with artists like Thelonious Monk, Budd Johnson, Dizzy Gillespie, Roy Eldridge, and Lester Young. Pettiford became Coleman Hawkins’ bass player of choice and was called to tour with Hawkins on the West Coast. From the mid-1940s to the beginning of the next decade, Pettiford continued to work with a who’s who of emerging and established musicians, including Duke Ellington, J. C. Heard, George Shearing, Fats Navarro, Dexter Gordon, and Bud Powell.

After suffering a serious arm injury, Pettiford spent time learning the cello, which he pioneered as a jazz instrument. After spending a year to recover from his broken arm, Pettiford regained his original form and picked up touring with the finest jazz musicians. During the 1950s, Pettiford recorded and toured with Horace Silver, Kenny Clarke, Phineas Newborn, Charlie Shavers, and Cannonball Adderley. Pettiford garnered several record deals during this time and recorded many classic albums for the Bethlehem label that include Another One (1955, Bethlehem) and Oscar Pettiford Modern Quintet (1954, Bethlehem).

Pettiford was one of the first jazz musicians to permanently relocate to Europe, moving to Copenhagen in 1959. He served as bassist for the Stan Getz quartet that played at the Jazzhus Montmartre club until his unfortunate early death as a result of complications from fracturing his skull in a car crash. Pettiford’s legacy will be always be strong as he was one of the first bassists to be embraced during the Bebop era and provided a style to be copied by bass players for years to come. See also EUROPE.

PHASE SHIFTER. An effects controller that alters the sound produced on an instrument (typically electric guitar) and applies it over the original sound. Another effects device, the flanger, is very similar.

PHILLIPS, FLIP (1915–2001). Highly influenced by a recording of Frankie Trumbauer, Phillips (born Phillip Edward Filipelli) fell in love with jazz and the saxophone at the age of 11. Phillips’ professional career began at the age of 19 playing clarinet, with his first big break coming when he was hired for a short stint with Benny Goodman in 1942. After touring with Woody Herman for a time, Phillips played with Jazz at the Philharmonic for almost 11 years, finishing in 1957. Phillips maintained a period of retirement in Florida for almost 12 years until being hired again by Herman. The majority of his playing during the next decade would consist of numerous performances with Herman’s Thundering Herd. Many of Phillips’ best solo recordings came out during this time and include Flipenstein (1981, Progressive) and The Claw: Live at the Floating Jazz Festival (1986, Chiaroscuro). Phillips continued to play well into his seventies and celebrated his 80th birthday with a performance in 1995.

PHOENIX JAZZ. Established in New Jersey, Phoenix Jazz Records was founded by Bob Porter in 1972 with the intention of reissuing important jazz recordings that had been disregarded by smaller labels. Porter acquired little-known albums of music by Bud Powell, Dizzy Gillespie, Coleman Hawkins, Billie Holiday, and Charlie Parker and rereleased them on the Phoenix Jazz Label. Phoenix Jazz Records stopped distribution in the 1990s. See also RECORD LABEL.

PIANO (I). A marking in music to designate that the volume of the passage or piece is to be played softly.

PIANO (II). An instrument that was developed after the harpsichord around 1698 that sounds by pressing keys that are attached to small hammers or mallets that strike keys hidden inside the body of the instrument. Originally known as the pianoforte, the piano is typically made up of 88 keys that are arranged in a set order of white and black keys. The piano comes in many different sizes, with the grand piano being the largest and the upright piano being the smallest and most compact. The setup for the piano is also the inspiration for the electronic keyboards that were developed in the 20th century.

The piano has played a pivotal role in jazz and has a strong lineage dating back to the early 1900s and the development of Ragtime—a precursor to jazz. The Ragtime piano style evolved into the Boogie-Woogie and Stride styles, which paved the way for modern pianists. Important pianists in jazz include Scott Joplin, Jelly Roll Morton, James P. Johnson, Art Tatum, Bud Powell, Oscar Peterson, Bill Evans, McCoy Tyner, Herbie Hancock, Chick Corea, and Brad Mehldau. See also ELECTRIC PIANO; ELIAS, ELIANE; JARRETT, KEITH; JORDAN, DUKE; PIERCE, NATHANIEL; TATUM, ART; TRISTANO, LENNIE; WALLER, FATS.

PIANO(LA) ROLL. An invention of the early 1900s that allowed pianists to record what they were playing onto paper rolls by making perforations. These rolls could then be played back through the piano without requiring a pianist. See also JOHNSON, JAMES P(RICE); QRS; WALLER, FATS.

PICCOLO. Generally referring to a small member of the flute family that sounds higher than a normal flute, the term piccolo can also be used to describe any such instrument that sounds higher than the normal instrument would (e.g., piccolo trumpet).

PICKUP GROUP. A set of musicians who have not played together much and are often assembled for only one or two performances. Pickup groups are common for artists who travel by themselves from city to city and need to assemble a band for a particular performance or set of gigs. Louis Armstrong in particular used many pickup groups during the 1930s and 1940s while he was touring without a band.

PIERCE, NATHANIEL (1925–1992). Pianist Nat Pierce moved to Boston in the 1940s to study at the New England Conservatory while also playing in many of the local jam sessions. Pierce was hired frequently both as a pianist and an arranger for many groups during the 1950s including Woody Herman, Count Basie, Ella Fitzgerald, Paul Quinichette, Phil Woods, Bob Brookmeyer, Pee Wee Russell, and Quincy Jones. The television program The Sound of Jazz, which featured jazz legends like Coleman Hawkins and Lester Young, was solely arranged by Pierce. Pierce would spend much of the 1970s working with vocalists and settled for serving as an accompanist and musical director for singers Carmen McRae and Anita O’Day, in addition to recording frequently as a sideman for the Concord label. See also PIANO.

PLAZA MUSIC COMPANY. A record label founded in 1922 that created several labels including Banner, Regal, Domino, Oriole, Conqueror, Jewel, and Homestead. Plaza was bought along with Cameo and Pathe by the American Record Corporation in 1929.

PLOP. A form of ornamentation using a gliss or lip bend to attack the beginning of a note. The plop is the opposite of a fall, in which a gliss or lip bend would be used at the end of a note.

PLUNGER. A standard or slightly smaller toilet plunger that is used as a mute for brass instruments. The plunger allows the performer to bend the pitch of a note by slowly opening or closing the gap between the plunger and the bell of the instrument, and can be used to perform abstract sounds not usually achieved by the instrument. Some big band passages call for brass sections to use plungers to create a wide dynamic and unique sound shape. Clark Terry, Al Grey, Bubber Miley, and “Tricky” Sam Nanton are all considered experts at using the plunger in improvisational settings.

POCKET CORNET. A smaller version of a cornet that reduces the size by more compactly wrapping the tubing around a smaller bell than is traditionally associated with the cornet. Don Cherry is the most notable performer to use the pocket cornet. See also POCKET TRUMPET.

POCKET TRUMPET. Slang for pocket cornet. Both instruments are identical in their manufacturing. The pocket cornet is made of the same amount of tubing as the traditional trumpet, but the tubing is wrapped in such a way as to make the instruments half the size of an ordinary trumpet (or cornet). See also CHERRY, DON.

POLISH JAZZ SOCIETY. A jazz society that evolved in Poland from the Federation of Polish Jazz Clubs and the Polish Jazz Federation, the Polish Jazz Society is a prominent body in Polish music. Founded and led by Jan Byrczek in 1967, the group has produced many concerts, publishes a Polish jazz journal, and has started a piano competition. The Polish Jazz Society helped pave the way for other major jazz organizations in terms of developing structure as well as presenting events.

POLLACK, BEN (1903–1971). Pollack had a brief career as a drummer in Chicago until he gained recognition as a bandleader toward the middle part of the 1920s. Pollack led bands from 1928 to the 1940s until he decided to explore other business ventures, leaving the music profession. His bands were often successful, and many future jazz stars including Benny Goodman, Jack Teagarden, and Glenn Miller were participants in his groups.

PONOMAREV, VALERY (1943– ). Inspired by Clifford Brown, Ponomarev fell in love with jazz while living as a youth in Russia. After several professional touring experiences, Ponomarev decided to relocate to the United States at the age of 30. He toured for several years with Art Blakey beginning in 1977 and was granted U.S. citizenship two years later. After his apprenticeship, Ponomarev primarily freelanced while also recording several albums under his own name. Ponomarev was a featured soloist with Lee Konitz, Frank Foster, and Pepper Adams and has played in many Hard Bop groups including ones led by Hard Bop pioneers Junior Cook and Benny Golson.

POPULAR SONG FORM. The name given to songs that have a common form or chord progression. Many of these songs would be the basis for jazz standards during the 1940s and 1950s. The song form could range from being basic such as a song with an AABA form (two of the same sections repeated [AA], a new section [B], and finally a repeat once again of the first section [A]). In some cases a popular song form could be even more specific, such as the use of George Gershwin’s harmonic progression to “I’ve Got Rhythm,” which is the basis for hundreds of jazz compositions.

PORCINO, AL (1925– ). Born in New York, Porcino began his professional career as a trumpet player at the age of 18 by playing in many of the top bands that were touring during the 1940s, including those led by Tommy Dorsey, Louis Prima, and Gene Krupa. Porcino maintained an on-and-off-again relationship with the bands led by Woody Herman and Stan Kenton and worked with both bands frequently. After relocating to Los Angeles in the later part of the 1950s, Porcino formed his own group, the Jazz Wave Orchestra, while continuing to freelance with big bands.

Porcino continued to be a first-call trumpeter for any touring band, and in the 1960s he toured and recorded with both the Buddy Rich Big Band and the Thad Jones–Mel Lewis Orchestra. After a stint with Mel Tormé in the early 1970s, Porcino relocated to Germany where he once again led a big band. Porcino all but abandoned freelancing in 1980 and instead focused on his own band and accompanying guest artists who traveled to Germany.

PORI INTERNATIONAL JAZZ FESTIVAL. A jazz festival founded in Pori, Finland. The festival has grown in stature since beginning in 1966 and matured from a three-day festival to a 10-day festival by the year 2000. Major artists like Benny Goodman, Freddie Hubbard, and the Dirty Dozen Brass Band have made appearances at the festival throughout the years. The festival has now been in existence for 47 years and has become popular among jazz and Pop music enthusiasts.

PORTENA JAZZ BAND. Founded by Argentinian pianist Ignacio Romero, the Portena Jazz Band was a 10-piece ensemble that toured Europe and Russia in addition to playing in its native Argentina. The group was a highly influential group in Argentina and is considered to be one of the nation’s finest Early and Traditional Jazz bands. The band continues to perform and record.

POTTER, CHARLES “TOMMY” (1918–1988). Potter, along with Oscar Pettiford, was one of the front-runners of bass during the Bebop era. After apprenticeships with Trummy Young and Billy Eckstine, Potter was hired by Charlie Parker during the late 1940s and was a part of many of Parker’s famous Dial and Savoy recording sessions. During the 1950s and 1960s, Potter worked with many of the leading jazz musicians including performances and recordings with Bud Powell, Max Roach, Stan Getz, Dizzy Reece, Al Cohn, and Harry “Sweets” Edison. Potter never had much of a solo career but continued to freelance throughout the remainder of his life.

POWELL, BADEN (1937–2000). Powell began a prolific career as a guitar player at an early age, touring with many of Brazil’s famous singers in addition to starting a solo career. Originally from Rio de Janeiro, Powell dropped out of school to tour Brazil and was recorded on broadcasts for Brazil’s Radio Nacional. He was heard playing at the Bar Plaza in Rio by leading Brazilian artists such as Antônio Carlos Jobim and quickly became associated with the Bossa Nova movement. Powell also developed a reputation as a composer, which was further heightened during his collaborations with the poet Vinicius de Moraes. De Moraes wrote lyrics for many of Powell’s compositions including “Canto de Ossanha,” “Canto do Xango,” and “Tristeza e Solidao.”

Powell was also very interested in music from Northeast Brazil that included the use of African and Brazilian folklore. This fusion of styles became known as Afro-Samba. De Moraes and Baden split in the early 1960s, and Powell moved to France to pursue new opportunities. In addition to being a Bossa Nova icon in France, Powell also became a prominent studio musician. In 1966, he recorded his first album as a leader, Tristeza on Guitar, and was recorded on the soundtrack to the French film A Man and a Woman. Throughout the remainder of the 1960s and into the 1970s, Powell freelanced and toured with many musicians including Stan Getz and Stéphane Grappelli. In 1984, he moved to Germany for five years until returning home to Rio de Janeiro in 1989, where he remained until his death. During the last years of his life, Powell continued to tour and record and solidified his reputation as one of Brazil’s finest and most influential guitarists.

POWELL, EARL RUDOLPH “BUD” (1924–1966). Originally from New York, Powell would develop into one of Bebop’s finest musicians. During the 1930s, Powell studied Classical piano in addition to learning the solos of popular Stride pianists. Powell began to work into the music scene in the 1940s, most notably working with Cootie Williams.

Powell’s career took off in the latter half of the 1940s, when he performed with several significant Bebop figures, including Dexter Gordon, J. J. Johnson, and Sonny Stitt. Influenced by Charlie Parker, Bud Powell is credited with being the first pianist to fully embrace the Bebop language. Powell suffered from mental illness, which led to his placement in a mental facility in the late 1940s. He battled mental illness for many years and was institutionalized again at times during the 1950s. Musicians had enormous respect for Powell, and he frequently led groups in the 1950s in addition to serving as a sideman with artists including Cannonball Adderley and Art Blakey. Toward the end of the decade, Powell relocated to France where he would work for much of the remainder of his career. Powell died after contracting tuberculosis. See also POWELL, RICHIE.

POWELL, RICHIE (1931–1956). A native of New York and brother of established jazz icon Bud Powell, Richie Powell studied music both in college and with pianist Mary Lou Williams. Powell’s big break came when he was invited to join the Clifford Brown–Max Roach Quintet, a highly influential supergroup of the early 1950s. Powell was involved in the same fatal automobile accident that resulted in the death of Clifford Brown.

POZO, CHANO (1915–1948). A Cuban immigrant, Pozo was a singer and percussionist rooted in the Afro-Cuban tradition. In collaboration with Dizzy Gillespie, Pozo was an important early voice toward the fusing of Afro-Cuban and jazz styles. Unfortunately, Pozo was murdered in Harlem before he could make the most of his pairing with Gillespie.

PRACTICE MUTE. A mute designed to block the majority of sound coming out of the instrument so that a player can practice quietly. Most practice mutes emit very little sound from the instrument.

PRESERVATION HALL. A historic venue in New Orleans that was home to many brass bands. It was founded by Larry Borenstein in 1961 as a performance space to accompany his previously established art studio. It now serves to protect and honor New Orleans Jazz. See also PRESERVATION HALL JAZZ BAND.

PRESERVATION HALL JAZZ BAND. A jazz band established in New Orleans in 1963. The Preservation Hall Jazz Band has had fluctuating personnel that included trombonist George Lewis, trumpeter De De Pierce, pianist Billy Pierce, and drummer Alonzo Stewart. Despite constant personnel changes, The Preservation Hall Jazz Band remains active and has toured throughout the 1980s, 1990s, and 2000s. See also DRUM SET; EARLY JAZZ; PIANO; PRESERVATION HALL.

PRESS ROLL. A type of drum rudiment in which each of the drumsticks roll simultaneously. See also DRUM SET.

PRESTIGE. A record label founded on the idea of recording ambitious music of the top musicians of the day, Prestige recorded many albums that are now considered to be classics. Included in their catalog are recordings by Miles Davis, John Coltrane, and Sonny Rollins. Toward the end of the 1950s, Prestige decided to change the direction of their recordings and limited the number of artists who recorded on the label. In the early 1970s, Fantasy Records purchased the rights to all Prestige recordings and has since reissued many of these classic recordings.

PREVIN, ANDRE (1929– ). After his family immigrated from Germany to the United States, Previn was encouraged to study the piano. As a teenager, Previn found work playing jazz gigs and also began taking work as an arranger. During the 1950s, Previn recorded frequently including the albums Jazz: King Size (1958, Original Jazz Classics) and Double Play! (1957, Original Jazz Classics). Previn’s interest in jazz and composition lessened during the next few years, and he found himself more interested in Classical music and conducting. He garnered great reviews as a conductor and was hired by the London Symphony in addition to serving as a guest conductor for other American orchestras. Previn recorded some jazz dates during the 1980s and 1990s and toured, most often in a trio setting.

PRICE, SAMMY (1908–1992). Price was born in Texas and played piano with many of the touring bands from Texas during the late 1920s and early 1930s. He worked as both an accompanist and arranger for many vocalists, and after relocating to New York, he began playing a steady set of solo piano gigs. Throughout his career, he bounced between several different music genres including Rhythm and Blues (R&B) and Gospel. Price recorded several albums including Barrelhouse and Blues (1969, Black Lion) and Paradise Valley Duets (1988, Parkwood).

PRIESTER, JULIAN (1935– ). Priester learned trombone as a teenager and began his professional career playing with Rhythm and Blues (R&B) bands in the 1950s. In 1956, he was hired by Lionel Hampton, later by Dinah Washington, and eventually by Max Roach after Priester moved to New York. Priester’s association with Roach introduced him to many up-and-coming musicians including Booker Little and Eric Dolphy. Priester recorded frequently during the 1960s and was on albums led by Freddie Hubbard, Blue Mitchell, and Stanley Turrentine. Priester eventually moved away from New York and spent a brief time in San Francisco before settling in the Seattle area. He joined the faculty of the Cornish College of the Arts where he continues to teach. Priester did record several label albums under his own name including Keep Swinging (1960, Original Jazz Classics) and Polorization (1977, ECM).

PRIMA, LOUIS (1911–1978). Raised in New Orleans, Prima studied singing and trumpet. He lived in New Orleans for many years before relocating to New York in 1935. Prima led both small and big bands and made homes in Chicago and Los Angeles over the next several decades. Prima was known for his raspy voice and was very popular among mainstream listeners. Prima’s popularity as a singer landed him a role in the Walt Disney movie The Jungle Book. In 1975, Prima suffered from a brain tumor that led to his death. See also BANDLEADER.

PRIME TIME. Group formed by Ornette Coleman in the 1970s, Prime Time was Coleman’s response to Fusion and used electronic instruments. Dancing in Your Head (1975, A&M) was one of the group’s few recordings.

PRINCE OF DARKNESS. A nickname given to Miles Davis that is also the name of one of his compositions.

PROCOPE, RUSSELL (1908–1981). Originally from New York, Procope took up the clarinet and saxophone during the late 1910s and began his professional career playing with Jelly Roll Morton a decade later. Procope performed with many of the top bands of the 1930s including those of Fletcher Henderson, Benny Carter, and Chick Webb. After a stint in the military during World War II, Procope joined Duke Ellington’s orchestra and remained a member of the group until the 1970s. Procope did some freelancing and recorded a solo album, The Persuasive Sax of Russell Procope (1956, Dot), while serving as a sideman to Ellington. After Ellington’s death, Procope continued to freelance in New York until his death in 1981.

PROGRESSIVE. Founded by Gus Statiras, Progressive was a record label that had limited success in releasing jazz albums in the 1950s. Saxophonist Al Cohn and pianist George Wallington both had several albums recorded and released on the label, but the majority of the other recordings made on the label were eventually issued on Savoy. A Japanese company, Baybridge, purchased some of the recordings and issued them during the 1970s.

PROGRESSIVE JAZZ. A term used in the 1950s referring to the desire of big band leaders to perform more advanced, dissonant, and complex music. Progressive Jazz featured less improvisation than all other forms of big band writing of this era. Stan Kenton’s orchestra was at the forefront of the Progressive Jazz movement. Arrangers Bob Graettinger and Pete Rugolo, along with Kenton, were proponents of Progressive Jazz.

PULLEN, DON (1941–1995). Pullen, like many jazz musicians, was raised in a family of musicians and took up the piano at the age of eight. He was accepted at Johnson C. Smith University to study medicine. In 1963, Pullen gave up medicine and dedicated himself to jazz full time. Pullen performed with leading Free Jazz artists including Muhal Richard Abrams and Milfred Graves, in addition to performing regularly as an organist with more mainstream styles of music.

In the 1970s, Pullen’s style caught on with many of jazz’s leading voices, and he performed with Art Blakey, Charles Mingus, Sam Rivers, and David Murray at different junctures. Pullen’s solo career also took off at this time, and he began to record solo albums, including Capricorn (1975, Black Saint) and Healing Force (1976, Black Saint). Toward the end of 1979, Pullen formed a quartet with George Adams that developed a huge following, especially in Europe. The group recorded several albums including The Sixth Sense (1985, Black Saint) and his debut album for the Blue Note label, Breakthrough (1986, Blue Note). The drummer for the group, Dannie Richmond, died in 1988, and the group disbanded shortly thereafter. Pullen freelanced with artists including John Scofield and Maceo Parker until he died in 1995.

PUNK JAZZ. A term used to describe the hybrid style of combining jazz improvisation and harmonic styling with the rhythms, grooves, and form structures associated with Punk music found in England and New York. Jazz artists that have been associated with Punk Jazz include John Zorn.

PURIM, FLORA (1942– ). Purim began her professional career as a singer in Sao Paulo with her future husband, Airto Moreira. After moving several times, Purim relocated to New York where she was quickly hired by musicians, including Stan Getz and Gil Evans, who were interested in exploring Brazilian music. Along with Airto, Purim was a founding member of Chick Corea’s group Return to Forever, a group she participated in during the early 1970s. Purim began a solo career shortly after leaving Corea’s group that included a brief period of touring without her husband. Despite extensive touring during the 1990s and 2000s, Purim recorded very little after 1987. Humble People (1985, Concord) and Butterfly Dreams (1973, Original Jazz Classics) highlight her solo albums.

PURITAN. A record label formed in 1920 that issued albums recorded by several companies including the Bridgeport Die & Machine Company (BD&M). The label distributed albums depending on where the original material was recorded and was divided when BD&M broke away and created the Puretone label. Puritan was abandoned in 1927 when the remaining companies began to use other labels.