From Cole Davis's lessons
26 records Cole actually teaches from, with the bassist, the track he uses and what he says about the bass on it. Every quote is from his lessons.
- 26 records
- 16 bassists
- Checked October 8, 2026
This isn’t a greatest-albums list. Every record here is one Cole Davis actually teaches from: a bass line he transcribes, a solo he works out on upright, or a record he plays along with to show you something about time. Each card gives the track he uses and what he says about the bass on it, in his own words.
Cole is the New York bassist behind Better Bass Lessons. He studied upright at Juilliard, where he got to meet and work with Ron Carter.
The records run in the order they were recorded, from Jimmie Blanton in 1940 to Charlie Haden in 2007, with one folk record at the end. Labels, dates and who’s on bass were checked against Wikipedia and Discogs (sources at the bottom). On three of the records Cole doesn’t name a track, and the card says so instead of guessing.
How to listen like Cole
- Follow the bass player, not the soloist. “You have to follow the bass player,” Cole says, because the bass player is keeping independent time. Try it on Charlie Parker's Cheryl, below.
- Play along with records more than a metronome. “A metronome will help you get in the ballpark,” but feel comes from records. Even the most swinging ones speed up and slow down.
- Copy three sounds. Cole's rule: find three players whose sound you like more than anyone else's, listen to them all the time and copy them. “You have to sound like someone before you can sound like yourself.”
The 1940s: Blanton and Bird
Jack the Bear
Duke Ellington and His Famous Orchestra
- Bass
- Jimmie Blanton
- Track
- “Jack the Bear”
- Label
- Victor
- Record
- Victor 78 (26536), 1940. On CD: Never No Lament: The Blanton-Webster Band (Bluebird, 2003)
Cole says the talk about Blanton is usually about when he played what he played, and that what he played, and how, matters more. Listen for the pause he leaves between the E-flat and the A-flat, and for eighth notes that sit somewhere between straight and swung.
“He's playing a cross between straight eighths and swing eighths… Of course, it swings like crazy, but there's an element of straight eighths in there.”
Cole Davis, Jimmie Blanton: Jack the Bear lesson
Cheryl
Charlie Parker All-Stars
- Bass
- Tommy Potter
- Track
- “Cheryl”
- Label
- Savoy
- Record
- Savoy 78 (952), recorded May 8, 1947, with Miles Davis, Bud Powell and Max Roach
This is the record Cole uses to show why you don't follow the soloist. He has his students play along with a Charlie Parker record, and it throws them off almost every time. Parker sits so far behind the beat that the bass ends up way in front of him. When Miles takes his solo, the bass comes back to meet him.
“Bird played way, way, way behind the beat.”
“You have to follow the bass player, because the bass player is playing their independent time, which is different from Charlie Parker's time.”
Cole Davis, The Locked-In Bassist
The 1950s: Chambers, Heath, Crosby and Sam Jones
Bags' Groove
Miles Davis
- Bass
- Percy Heath
- Track
- “Bags' Groove”
- Label
- Prestige
- Record
- Prestige (PRLP 7109), released 1957. The title track was recorded December 24, 1954, with Milt Jackson, Thelonious Monk and Kenny Clarke
Cole calls Heath's two-feel on this F blues the greatest of all time. Heath doesn't hammer the root on beat one of every bar, because everyone on the bandstand knows it's an F blues. His four-bar phrases rhyme like lines of a lyric, and in the second chorus his rhythm starts to echo Kenny Clarke's ride cymbal.
The album opens with two takes of the tune. Cole doesn't say which one he transcribed.
“He's rhyming these bass lines like it's a lyric.”
“You don't need to beat them over the head with it.”
Cole Davis, Percy Heath: 2-Feel on Bags' Groove lesson
Chambers' Music
Paul Chambers, with John Coltrane, Kenny Drew and Philly Joe Jones
- Bass
- Paul Chambers
- Track
- “Dexterity”
- Label
- Jazz West
- Record
- Jazz West (JWLP 7), recorded March 1956, released 1956
Chambers's solo on Dexterity is Cole's favorite bass solo of all time, and it's the one he tells students to transcribe first. It's also the final lick in his Bebop for Bass course.
“This is actually what I recommend to my students to transcribe to really get into Paul Chambers. I spent a full two months on this solo when I was at Juilliard.”
Cole Davis, Bebop for Bass course
Cookin' with the Miles Davis Quintet
Miles Davis Quintet, with John Coltrane, Red Garland and Philly Joe Jones
- Bass
- Paul Chambers
- Track
- “Blues by Five”
- Label
- Prestige
- Record
- Prestige, recorded October 26, 1956, released 1957
Lick three in Cole's Bebop for Bass course comes from Chambers's solo on this blues. He starts on the third, adds half steps for tension, and resolves to the ninth of the B-flat 7.
“This lick appears on Blues by Five, which is a great solo from a great Miles recording.”
“The whole solo is brilliant. I highly recommend checking it out.”
Cole Davis, Bebop for Bass course
Bass on Top
Paul Chambers Quartet, with Kenny Burrell, Hank Jones and Art Taylor
- Bass
- Paul Chambers
- Track
- “Confessin'”
- Label
- Blue Note
- Record
- Blue Note (BLP 1569), recorded July 14, 1957, released 1957
Lick one of Bebop for Bass comes from Chambers's solo on this tune, and what Cole wants you to hear in it is the wrong notes.
“His brilliant solo on Confessin', which is one of my favorite solos of his.”
“Wrong notes are what make the right notes sound good.”
Cole Davis, Bebop for Bass course
Sonny Clark Trio
Sonny Clark, with Paul Chambers and Philly Joe Jones
- Bass
- Paul Chambers
- Track
- “Tadd's Delight”
- Label
- Blue Note
- Record
- Blue Note (BLP 1579), recorded October 13, 1957, released 1958
Lick six of Bebop for Bass, a longer phrase that starts on a G minor 7 arpeggio. Cole also sends you to the whole record for how Chambers locks up with Philly Joe Jones.
“It's with Philly Joe Jones on drums, who was probably his most formidable time partner. So they have a really great lockup. That whole record is really great and it's really worth checking out.”
Cole Davis, Bebop for Bass course
At the Pershing: But Not for Me
Ahmad Jamal Trio, with Vernel Fournier on drums
- Bass
- Israel Crosby
- Tracks
- “But Not for Me,” “Poinciana”
- Label
- Argo
- Record
- Argo (LP-628), recorded live January 16, 1958, at the Pershing Hotel, Chicago
If Cole had to pick one seminal bass line album, it's this one. On But Not for Me, Crosby takes a common opening lick and changes the order of the notes (one, six), and he puts cadences on beat four, not just on beat one. On Poinciana he plays counterpoint to Jamal's left hand instead of doubling it, and adds a new rhythm with each chorus.
“If I were to pick one album that is the seminal bass line album, it would be that one.”
“No bass player in 1958 would be able to do this without getting fired, except him.”
Cole Davis, The Genius of Israel Crosby lesson and Israel Crosby: Poinciana lesson
Israel Crosby hubPoinciana breakdownBut Not for Me transcriptionPoinciana transcription
Somethin' Else
Cannonball Adderley, with Miles Davis, Hank Jones and Art Blakey
- Bass
- Sam Jones
- Track
- “Autumn Leaves”
- Label
- Blue Note
- Record
- Blue Note (BLP 1595), recorded March 9, 1958, released 1958
In Cole's 7-Day Walking Bass Breakthrough, a passing-tone drill over the Autumn Leaves changes uses a plain one, three, five, flat five. Sam Jones plays that move constantly on this record, Cole says, and everybody on the date keeps it simple.
“[It's] so simple in fact that Sam Jones plays it constantly.”
“This simple bass line really gives instant movement to the tune.”
Cole Davis, The 7-Day Walking Bass Breakthrough
Kind of Blue
Miles Davis, with John Coltrane, Cannonball Adderley, Bill Evans, Wynton Kelly and Jimmy Cobb
- Bass
- Paul Chambers
- Tracks
- “So What,” “Freddie Freeloader”
- Label
- Columbia
- Record
- Columbia, recorded March 2 and April 22, 1959, released August 17, 1959
Cole calls So What a bass line you absolutely need to know. There's the melody Chambers states on bass, and there's his walking, which Cole calls the greatest Paul Chambers bass line. Count the wrong notes in the first four bars of the walking: Cole hears three. Freddie Freeloader goes the other way. It's mostly eighth notes and triplets, on an album known for its simplicity.
“People love wrong notes way more than you think, and Paul Chambers proved that.”
“This might be the busiest, most extreme B-flat blues bass line that I've ever heard in my life.”
Cole Davis, Ultimate Paul Chambers lesson and Freddie Freeloader lesson
So What breakdownFreddie Freeloader breakdownSo What transcriptionFreddie Freeloader transcription
Go deeper
Bebop for Bass: The Paul Chambers Approach
Twelve Paul Chambers licks, broken down note by note, for upright players who want their solos to sound like jazz.
The 1960s: Blackhawk to Speak No Evil
In Person Friday Night at the Blackhawk, San Francisco
Miles Davis Quintet, with Hank Mobley, Wynton Kelly and Jimmy Cobb
- Bass
- Paul Chambers
- Track
- “Bye Bye Blackbird”
- Label
- Columbia
- Record
- Columbia, recorded live April 21, 1961, released 1961 as Volume 1. The complete Friday sets came out on Columbia/Legacy in 2003
Cole's lesson on fixing your two-feel is built on Chambers playing this tune. Three things to hear: clean half notes with nothing extra in between, the big four (beat four at the end of every four-bar phrase), and note length. On this record the two-feel is a little longer, with the bass notes ringing under the ride cymbal.
“If you listen to that recording, the Live at the Blackhawk recording, the 2-feel is a little longer. It's not a short 2-feel like you would hear in earlier jazz.”
“The big four is the beat four at the end of a four bar phrase.”
Cole Davis, Bye Bye Blackbird 2-feel lesson
Inta Somethin'
Kenny Dorham and Jackie McLean, with Walter Bishop Jr. and Art Taylor
- Bass
- Leroy Vinnegar
- Track
- Not named in the lesson
- Label
- Pacific Jazz
- Record
- Pacific Jazz, recorded live November 13, 1961, at the Jazz Workshop, San Francisco, released 1962
When Cole wants an example of a bass player in complete control of the time, he skips the obvious Ray Brown record and puts this one on. Play along with Vinnegar, not the horns.
Cole plays the record in the lesson but doesn't name the track, so start with the whole album.
“I'm going to play one more record of a bass player who is taking complete and total control.”
Cole Davis, The Locked-In Bassist
We Get Requests
The Oscar Peterson Trio, with Ed Thigpen on drums
- Bass
- Ray Brown
- Track
- “Have You Met Miss Jones?”
- Label
- Verve
- Record
- Verve, recorded October and November 1964
Cole puts Brown's line next to a tempo tracker, and the number changes on every beat. He still calls it the most swinging. His point: work on feel by playing along with records more than with a metronome.
“Most of our favorite jazz recordings speed up and slow down, right?”
“Look, a metronome will help you get in the ballpark.”
Cole Davis, Have You Met Miss Jones lesson
A Love Supreme
John Coltrane, with McCoy Tyner and Elvin Jones
- Bass
- Jimmy Garrison
- Track
- “Part 2: Resolution”
- Label
- Impulse!
- Record
- Impulse!, recorded December 9, 1964, released January 1965
- Where
- The unaccompanied bass intro that opens the track.
Cole breaks down Garrison's open intro, and what makes it so tough is that it's all fourths. His fingering tip: bar with your second finger, not your first, so your hand has support on both sides.
“So the thing that makes this intro so crazy is that it's all fourths.”
“If you bar with the second finger you have support from both sides of your hand.”
Cole Davis, Jimmy Garrison: Resolution lesson
Speak No Evil
Wayne Shorter, with Freddie Hubbard, Herbie Hancock and Elvin Jones
- Bass
- Ron Carter
- Track
- Not named in the lesson
- Label
- Blue Note
- Record
- Blue Note, recorded December 24, 1964, released 1966
In a Monday Morning Warm Up about playing along with records, Cole plays along with the whole band, then again matching only Ron Carter. That's when he hears it: Elvin Jones sits way back, and Carter plays on the very front of the beat to make it swing.
Cole plays along with the record but doesn't name the track, so start with the whole album.
“Ron Carter plays on the very front of the beat in this particular recording.”
“It's not just the compositions, which are phenomenal. It's the feeling that this great rhythm section gets when they play together.”
Cole Davis, Monday Morning Warm Up
The 1970s: Ron Carter, Stanley Clarke, Jaco, Gomez, Buster Williams
Red Clay
Freddie Hubbard, with Joe Henderson, Herbie Hancock and Lenny White
- Bass
- Ron Carter
- Track
- “The Intrepid Fox”
- Label
- CTI
- Record
- CTI (CTI 6001), recorded January 27 to 29, 1970, released 1970
- Where
- Carter's opening bass line, at the top of the track.
Number one in Cole's series 10 Classic Bass Lines You Should Know. Carter builds the line in two-bar phrases, each one closed by a cadence from beat four to beat one: a half step, a whole step or five to one. The second phrase moves up an octave, so it echoes the first.
“This is organized in two-bar phrases.”
“I've taken a few lessons with Mr. Carter, and I know that this is exactly what he thinks about.”
Cole Davis, The Intrepid Fox lesson
Light as a Feather
Return to Forever, with Chick Corea, Joe Farrell, Flora Purim and Airto Moreira
- Bass
- Stanley Clarke
- Track
- “Spain”
- Label
- Polydor
- Record
- Polydor, recorded October 1972 in London, released January 1973
One of Cole's favorite albums, partly because Clarke plays upright on it. Cole's lesson gets the Spain melody under your fingers on upright: lean on the open G (the only open string in the tune), stretch a little, and don't use the same fingering twice in a row.
“It used upright bass when everyone else was using electric bass.”
“Avoid using the same fingering twice in a row.”
Cole Davis, Spain lesson
Jaco Pastorius
Jaco Pastorius, with Don Alias on congas on this track
- Bass
- Jaco Pastorius
- Track
- “Donna Lee”
- Label
- Epic
- Record
- Epic, recorded October 1975, released 1976
It's just electric bass and congas. Cole points out how simple it is for Jaco: he's riffing on the A-flat major scale with bebop phrasing, and you can take the lick through all 12 keys as an exercise.
“Perhaps the most important recording in the history of electric bass, definitely in the history of jazz electric bass.”
“He's literally just playing the A-flat major scale.”
Cole Davis, Donna Lee video lesson
Heavy Weather
Weather Report, with Joe Zawinul, Wayne Shorter, Alex Acuña and Manolo Badrena
- Bass
- Jaco Pastorius
- Tracks
- “Teen Town,” “Havona”
- Label
- Columbia
- Record
- Columbia, recorded 1976 to 1977, released March 1977
One of Cole's top three albums. He plays Teen Town on upright at the speed of the record by using open strings and starting every eighth-note line on the second finger of his right hand. (Jaco plays the drums on Teen Town, too.) Havona is the solo Cole transcribes from scratch on camera, singing each phrase before he plays it.
“Heavy Weather, which is one of the great, great albums of all time. Definitely in my top three.”
“I still can't believe someone improvised this.”
Cole Davis, Teen Town lesson and Havona lesson
Teen Town on uprightHavona in real timeTeen Town transcriptionHavona transcription
You Must Believe in Spring
Bill Evans Trio, with Eliot Zigmund on drums
- Bass
- Eddie Gomez
- Track
- “You Must Believe in Spring”
- Label
- Warner Bros.
- Record
- Warner Bros. (HS 3504), recorded August 1977, released 1981
The bass solo Cole considers the greatest ever played on upright. It starts as the melody and keeps coming back to it, and along the way it's full of thumb position, fourths and a key change to F minor that's tough to hear. As a college freshman, Cole got to spend time with Gomez and talk to him about this solo.
“What I consider to be the greatest upright bass solo of all time.”
“So that's actually just the melody.”
Cole Davis, You Must Believe in Spring lesson
A Lazy Afternoon
Shirley Horn Trio, with Billy Hart on drums
- Bass
- Buster Williams
- Track
- “I'm Old Fashioned”
- Label
- SteepleChase
- Record
- SteepleChase (SCS 1111), recorded July 9, 1978, released 1979
Cole's example of a bass player way behind the beat who's still in charge of the time. He's clear that it isn't a choice Williams makes: that's how he feels the time.
“[Buster Williams] plays so far behind the beat, and he plays so relaxed, but he's still taking charge and still taking responsibility for the music.”
“That's how he naturally feels the time.”
Cole Davis, The Locked-In Bassist
From 1987 on: Charlie Haden
Michael Brecker
Michael Brecker, with Pat Metheny, Kenny Kirkland and Jack DeJohnette
- Bass
- Charlie Haden
- Track
- “Nothing Personal”
- Label
- Impulse!
- Record
- Impulse!, 1987
Brecker's first album as a leader, and Cole's first example of how far Haden's walking is from a typical jazz line. The tune is a double blues. Haden stays in the low register, so you have to listen for him, and he repeats notes for bars at a time.
“I tell my students not to repeat notes in their bass lines. He's repeating notes all the time.”
“He's just playing a feeling.”
Cole Davis, Charlie Haden: Three Bass Lines lesson
Charlie Haden / Jim Hall
Charlie Haden and Jim Hall, duo
- Bass
- Charlie Haden
- Track
- “Turnaround”
- Label
- Impulse!
- Record
- Impulse!, recorded live July 2, 1990, at the Montreal International Jazz Festival, released 2014
Haden's line on this Ornette Coleman tune opens Cole's lesson on getting a great sound. Cole got his own sound by imitating Haden, and he plays with two fingers, the way Haden did most of the time.
“For me, I got my sound from imitating [Charlie Haden].”
“Most of the time, he played with two fingers like this. So that's where I got that from.”
Cole Davis, The Sound of Charlie Haden lesson
Wanton Spirit
Kenny Barron, with Roy Haynes on drums
- Bass
- Charlie Haden
- Track
- “One Finger Snap”
- Label
- Verve
- Record
- Verve, recorded February 1994, released 1994
Herbie Hancock's tune, on one of Cole's favorite jazz albums. Next to Ron Carter's line on the original, Haden's is so plain that Cole says he'd push a student who played it to find something hipper. From Haden, it works.
“This bass line is insanely simple when you compare it to, say, Ron Carter's bass line on the original.”
“It sounds like there's literally nothing hipper.”
Cole Davis, Charlie Haden: Three Bass Lines lesson
Jasmine
Keith Jarrett and Charlie Haden, duo
- Bass
- Charlie Haden
- Track
- Not named in the lesson
- Label
- ECM
- Record
- ECM (ECM 2165), recorded March 2007, released 2010
A duo with Keith Jarrett, and Haden plays four whole notes for the first four bars. Cole's point is phrasing: four whole notes can be boring or beautiful, depending on how you play them.
Cole plays an excerpt and breaks down the first four bars, but doesn't name the track, so start with the whole album.
“That's not even a two-feel. That's more like a one-feel.”
“It's what you play, and also how you play it.”
Cole Davis, Charlie Haden: Three Bass Lines lesson
One more, off the jazz shelf
Five Leaves Left
Nick Drake
- Bass
- Danny Thompson
- Track
- “Man in a Shed”
- Label
- Island
- Record
- Island, released July 3, 1969
Cole's case for upright bass outside jazz. Thompson's line has the triplets of a Ray Brown line, but the feel is half swung, half straight.
“It sounds like something that Ray Brown might play with all the triplets.”
“It's half swung, half straight, but it is not swinging.”
Cole Davis, Folk on Upright lesson
The playlist, in order
Every track above, in the order it appears. Search them on your streaming service, or start at the top and play along with the bass player.
Records every jazz bassist should know
- Jack the Bear / Duke Ellington and His Famous Orchestra
- Cheryl / Charlie Parker All-Stars
- Bags' Groove / Miles Davis
- Dexterity / Paul Chambers
- Blues by Five / Miles Davis Quintet
- Confessin' / Paul Chambers Quartet
- Tadd's Delight / Sonny Clark
- But Not for Me / Ahmad Jamal Trio
- Poinciana / Ahmad Jamal Trio
- Autumn Leaves / Cannonball Adderley
- So What / Miles Davis
- Freddie Freeloader / Miles Davis
- Bye Bye Blackbird / Miles Davis Quintet
- Inta Somethin' / Kenny Dorham and Jackie McLean (whole album)
- Have You Met Miss Jones? / The Oscar Peterson Trio
- A Love Supreme, Part 2: Resolution / John Coltrane
- Speak No Evil / Wayne Shorter (whole album)
- The Intrepid Fox / Freddie Hubbard
- Spain / Return to Forever
- Donna Lee / Jaco Pastorius
- Teen Town / Weather Report
- Havona / Weather Report
- You Must Believe in Spring / Bill Evans Trio
- I'm Old Fashioned / Shirley Horn Trio
- Nothing Personal / Michael Brecker
- Turnaround / Charlie Haden and Jim Hall
- One Finger Snap / Kenny Barron
- Jasmine / Keith Jarrett and Charlie Haden (whole album)
- Man in a Shed / Nick Drake
Cole doesn't name a track on Inta Somethin', Speak No Evil or Jasmine. Play the whole record.
FAQ
What are the essential jazz bass records to start with?
Start with the ones Cole names as the best of their kind: Ahmad Jamal's At the Pershing, which he'd pick as the seminal bass line album, for Israel Crosby; Miles Davis's Bags' Groove, for Percy Heath's two-feel, which he calls the greatest of all time; Bill Evans's You Must Believe in Spring, for the Eddie Gomez solo he considers the greatest on upright; and Kind of Blue, for Paul Chambers on So What.
Which Paul Chambers solo should I transcribe first?
Dexterity, from Chambers' Music (Jazz West, 1956). It's Cole's favorite bass solo of all time and the one he recommends students transcribe to get into Chambers. He spent two months on it at Juilliard.
What album is Israel Crosby's But Not for Me on?
Ahmad Jamal's At the Pershing: But Not for Me (Argo), recorded live at the Pershing Hotel in Chicago on January 16, 1958, with Vernel Fournier on drums. Poinciana is on the same record.
Should I play along with records or practice with a metronome?
Both, but Cole puts the weight on records. A metronome gets you in the ballpark. Feel comes from playing along with records, and even the most swinging ones speed up and slow down, like Ray Brown's Have You Met Miss Jones on We Get Requests.
Who should I follow when I play along with a jazz record?
The bass player. Cole has students play along with Charlie Parker's Cheryl, and following Parker throws them off because he plays way behind the beat. The bass player is keeping independent time, so that's who you lock in with.
Is there upright bass on Return to Forever's Light as a Feather?
Yes. Stanley Clarke plays double bass on Light as a Feather (Polydor, 1973), and Cole teaches the melody of Spain from it on upright.
Sources
Cole’s words come from these lessons, courses and videos:
- Jimmie Blanton: Jack the Bear lesson
- The Locked-In Bassist clip 'The Reason You Can't Lock In With Your Favorite Records'
- Percy Heath: 2-Feel on Bags' Groove lesson
- Bebop for Bass course
- The Genius of Israel Crosby lesson
- Israel Crosby: Poinciana lesson
- The 7-Day Walking Bass Breakthrough
- Ultimate Paul Chambers lesson
- Freddie Freeloader lesson
- Bye Bye Blackbird 2-feel lesson
- The Locked-In Bassist clip '2 Underrated Bass Records You Need to Hear'
- Have You Met Miss Jones lesson
- Jimmy Garrison: Resolution lesson
- Monday Morning Warm Up
- The Intrepid Fox lesson
- Spain lesson
- 'The GREATEST Bass Break Ever Played'
- Teen Town lesson
- Havona lesson
- You Must Believe in Spring lesson
- Charlie Haden: Three Bass Lines lesson
- The Sound of Charlie Haden lesson
- Folk on Upright lesson
Record facts (label, dates, track lists and who’s on bass) were checked on October 8, 2026 against:
- Jack the Bear (Duke Ellington and His Famous Orchestra): Discogs · Wikipedia
- Cheryl (Charlie Parker All-Stars): Discogs · Discogs · Wikipedia
- Bags' Groove (Miles Davis): Wikipedia
- Chambers' Music (Paul Chambers): Wikipedia · Discogs
- Cookin' with the Miles Davis Quintet (Miles Davis Quintet): Wikipedia
- Bass on Top (Paul Chambers Quartet): Wikipedia
- Sonny Clark Trio (Sonny Clark): Wikipedia
- At the Pershing: But Not for Me (Ahmad Jamal Trio): Wikipedia
- Somethin' Else (Cannonball Adderley): Wikipedia
- Kind of Blue (Miles Davis): Wikipedia
- In Person Friday Night at the Blackhawk, San Francisco (Miles Davis Quintet): Discogs · Wikipedia
- Inta Somethin' (Kenny Dorham and Jackie McLean): Wikipedia · Discogs
- We Get Requests (The Oscar Peterson Trio): Wikipedia · Discogs
- A Love Supreme (John Coltrane): Wikipedia
- Speak No Evil (Wayne Shorter): Wikipedia
- Red Clay (Freddie Hubbard): Wikipedia · Discogs
- Light as a Feather (Return to Forever): Wikipedia · Discogs
- Jaco Pastorius (Jaco Pastorius): Wikipedia
- Heavy Weather (Weather Report): Wikipedia
- You Must Believe in Spring (Bill Evans Trio): Wikipedia · Discogs
- A Lazy Afternoon (Shirley Horn Trio): Wikipedia
- Michael Brecker (Michael Brecker): Wikipedia · Discogs
- Charlie Haden / Jim Hall (Charlie Haden and Jim Hall): Wikipedia · Discogs
- Wanton Spirit (Kenny Barron): Wikipedia · Discogs
- Jasmine (Keith Jarrett and Charlie Haden): Wikipedia · Discogs
- Five Leaves Left (Nick Drake): Wikipedia