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Tadd Dameron
r adley Ewing
Dameron was an
important , but
under-recognized ,
contributor to the bebop
the Cleveland musician.
With his book about to go
to press, MacDonald asked
me for help in checking
out the rumor about
revolution of the 1940s. Dameron being adopted.
The Cleveland native was I called Cleveland City
not a national celebrity but Hall's Bureau of Vital
is still highly respected by Statistics and tracked
jazz musicians as a down the birth certificates
composer and arranger of both Caesar and Tadd
who spanned the eras of Dameron. When I went to
swing and bop. Perhaps City Hall and got copies of
more than anyone else, he the documents, I
added form to the discovered some surprises
emerging new style ofjazz - some information that
that was being pioneered had never been reported
by Dizzy Gillespie and before.
Charlie Parker. According to the birth
Dameron biographer certificates, Caesar was
Ian MacDonald wrote that born at 9:45 p.m., March 4,
Dameron was ''the main 1914, at 2177 East 30th
man when it came to Courtesy Riverside Records
Street in Cleveland. The
translating the language of Tadd Dameron official birth certificate
bop from small combo to says Caesar was the son of
a bigger band setting." 21- year-old Isaiah Peake, a porter, who had come to
Dameron arranged for most of the important big Cleveland from Tennessee, and his 20-year-old wife, Ruth
bands ofhis era, was instrumental in the introduction of Harris Peake, who was born in Mississippi.
such all-time jazz greats as Clifford Brown and John Tadd' s birth certificate said he was born at 11 :15 a.m.,
Coltrane, and composed such jazz standards as "If You February 21 , 1917, at City Hospital (later Metro).
Could See Me Now," "Good Bait" and "Hot House." According to Tadd' s birth certificate, his parents were
But the Cleveland native' s career was cut short by also Isaiah and Ruth Peake. By 1917, the couple had
drugs and health problems and he never achieved great moved to 4500 Central Avenue.
fame outside of the jazz world. The discovery of the birth certificates in Cleveland ' s
Bureau of Vital Statistics proved that Tadd and Caesar
Dameron' s fam i Iy were brothers, both the sons of Isaiah and Ruth Peake.
Dameron was born in Cleveland in 1917, but, like While Tadd never talked about it during his lifetime,
many aspects of his life, there was a great deal of his widow and biographer MacDonald believed that Ruth
confusion surrounding details of his birth and family. and Isaiah Peake split up sometime after Tadd was born
MacDonald was completing his biography of and she married a man named Adolphus Dameron. He
Dameron when he suddenly heard a rumor from a was a chef and had a restaurant in Cleveland called
normally reliable source that Tadd and his brother, Dameron' s Hut. With or without a formal adoption,
Caesar, were not really brothers. The source told Ruth ' s sons, Caesar and Tadd, apparently took her new
MacDonald that Tadd had been adopted. This was a husband' s surname.
fairly important bit of information for a writer who was Tadd' s widow gave MacDonald a copy of a letter
about to publish a biography. MacDonald called Tadd' s Ruth had written to President Franklin Roosevelt during
widow, Mia, who said she did not believe that Tadd had War IT in an attempt to get "Caesar Dameron" excused
been adopted, but she did say she was always amazed at from military service. That letter was signed, "Ruth
how different Tadd and Caesar were physically and in Harris Dameron."
just about every other respect. While all this may seem to be little more than an
Mia had given MacDonald a copy ofthe first edition academic exercise, it does assume some historical
of my Cleveland Jazz History book. MacDonald and I importance when you attempt to pinpoint the earliest
had been corresponding and sharing information about musical influences of one of the most important jazz
106 Cleveland Jazz History
_--- _...
In a 1952 interview, ' Gee whiz, with kids
---_
CII'RTIl'lCATS 01" BIRTH
....._-
Tadd said he was born
into a musical family.
He told interviewer
--__---- .....
.... . !US
like that, who stay in
and study! You don't
expect to hear anything
Harry Frost, that good! '"
"Everybody in my At Central High
family played music. School, Dameron
My mother played ironically failed his
piano. My father music exams. But he
played piano and sang. became friendly with a
My brother plays alto. young trumpeter named
My cousins and my Freddie Webster. Tadd
aunts, they all play."
He added, "My mother
_,.,~-......_~0It_
.......
later said he and
Webster, who was the
taught me piano, but
she did not read."
~.} "" c , l.>:~ft,.=ty+ same age, ''were raised
together." They both
-~--~~'IIIIJ_... _---
.....
. .- .....- ' ........... "..t
While it is clear that were fascinated with the
Dameron considered his - - - - -,- - ;:ZsiijiJ :::J1:~~ music being played in
-'?M.
mother his first musical the 1930s by the big
influence, we do not Tadd Dameron's birth certificate bands, particularly the
know who he was Jimmie Lunceford
talking about when he said, "My father played piano and Orchestra. They often went to the Palace Theatre
sang." Was it Isaiah Peake or Adolphus Dameron? downtown to hear the bands including Duke Ellington.
There was another mystery uncovered in the discovery While still at Central, Webster began making a name
of-the birth certificates. On Tadd's certificate, there is a for himself playing gigs around Cleveland. After high
notation that he was the third living child of Isaiah and school, he formed his own 14-piece band which toured
Ruth Peake. Tadd's widow said she never heard about Northern Ohio in 1938 and 1939. WebsterpersuadedTadd
another sibling. She said that during many detailed to play piano in his band and Dameron later said Webster
conversations with Tadd's mother, she never mentioned was the person responsible for starting him on a career in
any children other than Tadd and Caesar. jazz. Dameron also later claimed he had taught Webster
how to breathe when he was playing the trumpet.
Dameron's early life
Caesar Dameron, three years older than Tadd, was Oberlin College?
apparently the person who got Tadd interested in jazz. At one point in his youth, Dameron later told friends
Tadd later said he spent a great deal of time listening to that he had originally hoped to become a doctor. There
his older brother' s records. In the 1952 interview, Tadd were published accounts that he went to Oberlin College as
said, "I was listening to Fletcher Henderson, Duke a pre-med student but dropped out after seeing a man with
Ellington and the Casa Lorna band that was playing his arm severed. According to the story, Dameron said,
unique arrangements at the time." "There is enough ugliness in the world; I'm interested in
Tadd attended old Central High School on East 55th beauty."
Street, a school with a rich musical tradition and where While Dameron was, no doubt, more interested in
many future outstanding jazz musicians learned the beauty than ugliness, biographer MacDonald wrote, "The
mechanics of the art. famous and much perpetuated' severed arm' story appears
Veteran Cleveland jazz musician Andy Anderson to be pure fantasy." After his death, Dameron's widow all
told me he first heard Tadd play piano in the 1930s but admitted the story was apoctyphal. MacDonald and
when Caesar brought his kid brother to the Columbus Caesar Dameron's wife, Dorothy, made "extensive
Nightclub at East 46th and Carnegie and asked if the inquiries" at Oberlin, but could find no record ofTadd ever
teenager could sit in with the Snake White Band. attending any classes there.
Anderson said he was amazed when Tadd started The stories about enrolling at Oberlin and seeing a man
playing. "He's got ten fmgers and all of them went with a severed arm may have been Dameron's way of
down just like this (on the piano keys) and all of them trying to justify his decision to give up his hopes of
were on different notes," said Anderson. "He had been becoming a doctor and turning to jazz.
Tadd Dameron 107
With Billy Eckstine had that sort of concept similar to Billy Strayhorn for
In 1944, after selling arrangements to Georgie Auld beautiful, melancholy type of ballads. 1 was fascinated
and Earl Hines, including "Sweet Georgia Brown," by his chords. Tadd's writing was more melodic than
Dameron became an arranger for what is considered the exciting, sort of mellow swing."
first bebop big band, a band led by singer and valve But not everybody believed Dameron' s bebop
trombonist Billy Eckstine. wntmg for Gillespie was
The Eckstine Orchestra solely his own. Saxophonist
featured both Gillespie and Budd Johnson, in Ira Gitler's
Parker. The band played book Swing to Bop, claimed
Gillespie's "Night in Tunisia" Gillespie taught Dameron
and Jerry Valentine's everything he knew about
"Second Balcony Jump." modern arranging. "He
Dameron contributed new would have Tadd write and
arrangements of his Tadd would say, 'Hey, Dizzy,
compositions, "Cool Breeze" is this the way it goes?'
and "Lady Bird," as well as Dizzy would say, 'No, no!
some lush backgrounds for Move over there (at the
Eckstine's vocals. piano). That's the way 1 want
By September of 1944, the the changes to go, like
Eckstine Orchestra included that! ... ,,, According to
Gillespie, saxophonists Gene Johnson, "Tadd put it down
Ammons and Dexter Gordon, on paper, but Diz was really
drummer Art Blakey, and a writing it."
young singer named Sarah Dameron said in a 1952
Vaughan. interview, "I got on Count
One time when the band Basie's band and that's when
was playing in St. Louis, I started writing my own
trumpeter Buddy Anderson style." He was adapting some
got sick and the musicians' of Gillespie's and Parker' s
union sent a 16-year-old to ideas in his arrangements.
take his place. Young Miles Among Dameron's early
Tadd Dameron
Davis subbed with the charts for Basie were "Good
Eckstine band for two weeks. Bait," the song he had written
By the end of 1944, Dameron, Gillespie and Parker in the 1930s, and "Poor Little Plaything."
had all left the Eckstine Orchestra, but Dameron and Tadd also did arrangements for Boyd Raeburn and
Gillespie remained in contact with each other. Tadd Woody Hennan. His originals for Raeburn included
showed Dizzy his small group arrangement of "Good "Boydstown" and "In-Choirs." Dameron also arranged
Bait." Dizzy liked it and recorded it in January of 1945 for a Hennan radio program sponsored by Wildroot
with a sextet that included trombonist Trummy Young, Cream Oil. One of Tadd's least-known compositions
tenor saxophonist Don Byas, pianist Clyde Hart, bassist was a commercial jingle, "You Better Get Wildroot
Oscar Pettiford and drummer Shelly Manne. Cream Oil, Charlie." Nat Cole later sang the jingle
when he did a radio program for the same sponsor.
Arranging for Gillespie Pianist Mary Lou Williams recalled that Dameron,
In 1945, Gillespie and Parker recorded Dameron's ''Hot "though very young, had ideas even then that were 'way
House" (based on chord changes from Cole Porter' s "What ahead of his time."
Is This Thing Called Love?") and "Our Delight." Dameron, in a self-depreciating statement, once said,
From 1945 to 1947, Dameron composed and "I became an arranger only because there was no other
arranged a number of pieces for Gillespie's big band way to get my music played."
including "Good Bait," "Stay On It" and "Cool Breeze."
Tadd took the long phrases, powerful upbeat rhythms, Played with Bill de Arango
and unusual chord changes of the bebop that Diz and In May of 1945, Tadd formed an octet in New York
Parker were pioneering in small groups, and used them to back singer Sarah Vaughan on his arrangement of "I' d
for the first time in his big band arrangements. Jimmy Rather Have a Memory Than a Dream." The group
Heath, a member of the band, said, "I found that Tadd included Gillespie, Parker, Flip Phillips, Curly Russell,
Tadd Dameron 109
Max Roach, Dameron and a young guitarist from In the mid-1940s, Dameron also arranged for Buddy
Cleveland, Bill de Arango. Rich and Boyd Raeburn. Frankie Socolow, who played
De Arango had known Caesar Dameron in Cleveland with the Raeburn Orchestra at the time, said many of
but had never met Tadd. The Cleveland guitarist told Dameron's arrangements for Raeburn "were great."
biographer MacDonald, "When Dizzy made the In 1947, Dameron was honored by Esquire magazine
introductions, he just said, 'This is Tadd. ' 1 had no idea as "The Best New Jazz Arranger."
he was Caesar's brother." Jimmy Heath remembered, "Tadd was always soft
spoken except when he was showing his new
"If You Could See Me Now" arrangements off. Then he would always sing them in
When Gillespie took this very high pitched, falsetto voice."
the old tune But he was beginning to have some doubts about
"Whispering" and some aspects of bebop. With its major practitioners
changed the chords to becoming almost cultural freaks - wearing goatees,
create "Groovin' High," berets and dark glasses - and being ridiculed by many,
Dameron took Dameron was afraid the new form of music was not
Gillespie' s improvised reaching the general public and was being regarded by
cadenza on "Groovin' many as little more than a passing fad of the post-war
High" and created a period. Hoping to reach a wider audience and separate
ballad called "If You himself somewhat from the exclusionary aspects of
Could See Me Now." bebop, he joined a group called Three Bips and a Bop
Sarah Vaughan
in the 1940s Dameron fIrst recorded which performed vocal and commercial versions of
the song in May of bebop tunes. Babs Gonzales said, "I formed the Bips
1946 with Sarah Vaughan and his old boyhood friend because I felt bebop needed a vocal bridge to the people.
from Cleveland, Freddie Webster. "If You Could See The fIre was there, but it wasn 't reaching the people."
Me Now" became the fIrst ballad to emerge from bop
and a classic vehicle for Vaughan. It was Dameron's With Fats Navarro at the Royal Roost
best known composition. As bop was slowly being more accepted by the
Tadd became a close friend of pianist Mary Lou general public, Dameron organized a sextet with Charlie
Williams who had spent a great deal oftime in Cleveland. Rouse, Wardell Gray, Allen Eager, Kenny Clarke and an
She recalled that whenever Tadd was out of ideas and amazing young trumpet player named Fats Navarro.
inspiration, he visited her apartment in New York City. Many at the time (1947) considered Navarro a much
Others also gathered there, including Gillespie, Bud better trumpeter than either Gillespie or Miles Davis.
Powell and Thelonious Monk. Williams became virtually A native ofKey West, Florida, Navarro was 24 years
the musical den mother for the young bopsters. She later old when he began playing with Dameron. At the age
recalled, "Most of the musicians were my friends and of 20, he had toured with Andy Kirk's band and then
they often visited my apartment to write or play their replaced Gillespie in the historic Billy Eckstine
ideas. I loved them. I had so much love for them." Orchestra. Davis, in his autobiography, said that during
the early days at Minton's, "'Fat Girl' would be blowing
away everybody that came through the door." Miles
called Fats "Fat Girl" and Fats called Miles "Millie."
With Navarro in his group, Dameron recorded for
Blue Note Records and played regularly at the Royal
Roost, a new jazz club at Broadway and 48th Street in
New York City. Jazz fans and fellow musicians began
to recognize Dameron and his music. Navarro worked
regularly with Dameron for three years and quickly
became one of Gillespie' s few rivals on trumpet. He
didn't playas many high notes as Gillespie, but he did
produce some stunning solos with surprising harmonic
twists and colorful melodic elaborations.
Unfortunately, by late 1948, Navarro "was a total
William Gottlieb, Library of Congress
Dameron playing cards with Mary Lou Williams
junkie," according to Davis. "In January of 1949, 'Fat
and Dizzy Gillespie at Williams' New York City Girl' was too sick to play," wrote Davis in his
apartment in August of 1947 autobiography, "so I took over for him." Dameron said
110 Cleveland Jazz History
Goes to Europe
In 1949, Dameron spent some time in Europe. He co
led a quintet with Miles Davis at the Paris Jazz Fair.
After the fair, Dameron stayed in Europe for awhile and
remembered, "We had to go to Lyon (France). While we
were on the train, the way it was moving gave me a little
pattern and I made a tune, 'Lyonia. '" He arranged the
song and others for Ted Heath's big band in England.
Tadd was playing with me, Tadd and Tony Lovano, Joey recovered, but "Tadd continued to use heroin until his
Lovano' s dad. The band was called 'Jack' s Town imprisonment in 1958."
Criers.' We played at the Red Carpet as well as the In 1947, Freddie Webster, Dameron' s boyhood friend
Congo Lounge." At times when Dameron was not from Cleveland who had played on Tadd ' s recording of
available, Ace Carter played piano with Jacktown' s "If You Could See Me Now" less than a year earlier,
group. Carter later played piano with the Count Basie died of a drug overdose at the age of 30.
Orchestra. Despite Webster' s death, Davis, in his
In 1956, Dameron wrote for the Max Roach-Clifford autobiography, recalled that in 1949 there was a lot of
Brown Quintet, arranged for Carmen McRae and dope around the music scene and a lot ofmusicians were
recorded two albums with young saxophonist John deep into drugs, especially heroin. He said he and Tadd
Coltrane. One, entitled Mating Call, was recorded plus Dexter Gordon, Art Blakey, J.J. Johnson, Sonny
November 30, 1956 and included six Dameron Rollins and Jackie McLean all started to get heavily into
compositions - "Mating Call," "Gnid," "Soultrane," heroin around the same time. Ken Burns, in his TV
"On a Misty Night," "Romas" and "Super Jet." It was series Jazz, listed other jazz musicians who were hooked
one of Coltrane' s early recordings and the liner notes by on narcotics: Chet Baker, Gerry Mulligan, Art Pepper,
Andrew White said the album was a good example of Max Roach, Sonny Stitt, Stan Getz and eight of the 16
Coltrane' s "post-bebop lyricism." members of Woody Herman's band. Trumpeter Fats
It was also Dameron ' s last recording until 1961. Navarro, who played with Dameron's group in the late
1940s, died mainly of drug abuse in 1950.
Dameron's drug problems Dameron apparently recognized his problem and
When Dameron made several attempts to kick the habit - usually by
recorded with coming home to Cleveland. After Navarro's death,
Coltrane, both were Dameron came home where, according to MacDonald,
apparently heavy "he hoped the ' temptations' would be less than in New
users of cocaine. York." While in Cleveland, Tadd played at his brother' s
According to the Twelve Counts club on Cedar Avenue.
Harvard Medical After Miles was arrested in September of 1950 for
School Family possession ofheroin, Tadd again left New York and took
Health Guide , a job touring with fellow Central High School alumnus
cocaine is a Bull Moose Jackson and his rhythm-and-blues band.
stimulant that But Dameron apparently did not kick the habit.
. . . . . .~ accelerates physical In 1953, when Tadd took his jazz group to Atlantic
and mental states City for the summer, MacDonald wrote that Dameron' s
but has such "addiction was severe." Tadd later admitted he had to
possible long-term use effects as causing lung damage, be on his toes in order to keep one step ahead of the
heart attacks and strokes. police. He sometimes told other addicted band members
Dameron's use of drugs apparently went back to his to take the night off if he felt there was a chance of a
early days on the road. Gary Giddens, in his book, Bird, bust. He even "fired" Clifford Brown several times
wrote that when Dameron first met Charlie Parker in the because he didn 't want the ultra-clean Brownie to be
late 193 Os, when they were with the Harlan Leonard "caught up in any unpleasantness." After several
band, "One ofthe reasons for the two musicians' instant months ofthis, bameron disbanded his group and again
friendship was that Tadd could do all sorts oftricks with returned to Cleveland for two years.
pharmaceuticals and had a big appetite for getting high." In the mid-1950s, drummer Philly Joe Jones later
Dameron biographer MacDonald wrote that Tadd was said Dameron "was very stand-offish and many players
into hard drugs in the 1940s and several musicians couldn 't get close to him because he was using heroin."
including John Collins and Joe Wilder kept their distance In April of 1956, Dameron was arrested in New York
because of his use of drugs. MacDonald quoted Wilder City on several narcotics charges including intent to sell
as saying, "I kept away so it wouldn't happen to me." illegal drugs. In court he was sentenced to three-to-five
Record producer Orrin Keepnews was quoted saying years in prison, but the sentence was suspended and he
Tadd was what he called "one of a small group of was placed on probation.
charming, well-dressed junkies." Less than two years later, in January of 1958,
According to MacDonald, both Tadd and Miles Davis Dameron was arrested again and charged with, among
''were leading members ofthe Harlem drug scene." The other things, dealing drugs. A month later, he was
biographer wrote that Davis took a self-cure and sentenced to prison.
Tadd Dameron 113
Dameron recorded four sides in December of 1961 at the funeral of Tadd Dameron, March 11, 1965
In addition to his widow Mia, other members of Jones led a repertory group called Dameronia which
Tadd' s family from Cleveland went to New York for recorded many of the Clevelander' s compositions and
the funeral service. They included his mother Ruth and arrangements. Another band, Continuum, led in the
his brother Caesar. There were among about 150 people 1980s by Jimmy Heath and Slide Hampton, recorded an
in the church. Among the others were Babs Gonzales, album called Mad About Tadd for the Palo Alto label.
Yusef Lateef, Danny Quebec, Randy Weston, fellow In 1999, native Cleveland saxophonist Joe Lovano,
Clevelander Bill Hardman, Roy Haynes, Rudi Blesh, whose father had played with Dameron in Cleveland,
Larry Ridley, Walter Bishop, Ray Bryant, Sonny recorded a compact disc, 52nd Street Themes, which
Nevins, Dan Morgenstern, Luis McKay, Barry Harris included five of Dameron' s songs, arranged by fellow
and Marcel Daniels. Clevelander Willie Smith. Lovano, a three-time Jazz
Dameron' s mother, Ruth, died five years later (in Artist of the Year, said he learned how to play his horn
1970) at the age of76. by listening to Dameron ' s music.
Assessments of Dameron Most people are amazed to learn that during his
How important was career Dameron composed almost 200 songs. Several
Tadd Dameron to jazz? became jazz standards. Others have been forgotten.
Dizzy Gillespie, in
his memoirs, wrote,
"Dameron became the Tadd Dameron Discography
(Recordings on which Dameron was a performer or the arranger)
leading bebop arranger." 7/15/40 Harlan Leonard's Rockets: Rock and Ride, 400
Pianist and composer Swing , My Dream , A La Bridges
Horace Silver, who grew 11/13/40 Harlan Leonard's Rockets: Dameron Stomp,
Society Steps Out, Keep Rockin,' Take 'Em, Dig It
up during the bebop era, 12123/41 Jimmie Lunceford Orch: I'm Losing My Mind,
said that Duke Ellington Because of You
"was and still is the main 4/14/42 Lunceford Orch: It Had to Be You
7/14142 Lunceford Orch: I Dream A Lot About You
man. Then come 3/29/44 Sabby Lewis Orch: Embraceable You
Thelonious Monk and 4/18/44 Earle Warren Orch: Poor Little Plaything
Tadd Dameron." 9/5144 Billy Eckstine Orch: I Want to Talk About You , I'll
Wait and Pray .
Native . Cleveland 1/9/45 Dizzy Gillespie Sextet: Good Bait
musicologist Andrew 211145 Billy Eckstine Orch: Airmail Special, I Want to
Homzy said, "Ifone were to accept that Ellington was to Talk About You, Mean to Me, Don't Blame Me
5111/45 Dizzy Gillespie Quintet: Hot House
jazz what Bach was to classical music, then Mingus 5/24145 George Auld Orch: Honey, Stompin' at the Savoy
might be jazz' Beethoven, Monk its Chopin, and 5/25145 Sarah Vaughan Octet with Bill de Arango: I'd
Rather Have a Memory Than a Dream
Dameron its Schubert. As for Schubert, singable 10/16145 George Auld Orch: Airmail Special
melodies and concern for beauty were among the most 10/23/45 George Auld Orch: Just You , Just Me
notable traits of Tadd Dameron." 12124145 Buddy Rich Orch: Cool Breeze
317/46 Billy Eckstine Orch: Cool Breeze
Philly Joe Jones said, "Tadd was a genius. Many 3/21/46 Dickie Wells' Big Seven: We're Through
people don 't realize that Dameron had an enonnous 3/28/46 Buddy Rich Orch: Just You , Just Me, Cool Breeze
impact on musicians. All the cats who make their living 4/30/46 George Auld Orch: One Hundred Years From
Today; Just You, Just Me
writing for TV and Hollywood owe a great deal to him. 517146 Tadd Dameron Orch. with Sarah Vaughan: If You
They all came from Dameron." Could See Me Now, I Could Make You Love Me,
Benny Golson said, ''None ofhis music ever sounded My Kinda Love, You 're Not The Kind
61?146 Billy Eckstine Orch: I Want To Talk About You,
artificial, arbitrary, or manufactured. It always had Our Delight
depth and personality - his personality. It touched not 6/10/46 Dizzy Gillespie Orch: Our Delight
only our minds, but our hearts as well. This is what' s 6/18/46 Dizzy Gillespie Orch: Our Delight
7/6146 Dizzy Gillespie .O rch: Cool Breeze
really important." 7/31/46 Count Basie Orch: Stay On It
9/15146 Don Redman Orch: For Europeans Only
Tributes 1",47 Illinois Jacquet Orch: For Europeans Only, You
Left Me All Alone
In the 1970s, pianist Barry Harris, who was first 1/9/47 Fats Navarro group: Fat Girl, Ice Freezes Red, Eb
exposed to Dameron' s music as a high school student, Pob, Goin' to Minton's
recorded an entire album of Dameron songs. Harris 1/22147 Dizzy Gillespie Orch: Lady Bird
1/24147 Babs Gonsalez group: Lop Pow, Oop-Pop-a-Da,
said, "I like Tadd' s harmony, the easy way he has with Stompin' at the Savoy, Pay Oem Dues
melodies. It' s an easy blend of rhythm and harmony." 4111/47 Buddy Rich Orch: Just You, Just Me
Almost 20 years after Dameron' s death, Ph illy Joe (continued -)
Tadd Dameron 115