Discographical Data Sources

  • The personal recording collections of Noal Cohen and Michael Fitzgerald
  • The recording collection of the Institute of Jazz Studies

  • Bruyninckx, Walter & Truffandier, D. 85 Years of Recorded Jazz, 2004 CD-ROM
  • Lord, Tom. The Jazz Discography (online version)
  • Raben, Erik. Jazz Records 1942-80: A Discography
  • Swedish Jazz Discography
  • Danish Jazz Discography

  • Cuscuna, Michael & Ruppli, Michel. The Blue Note Label, Greenwood Press, 2001
  • Dugelay, Gerald & Hallqvist, Kenneth. The Gerry Mulligan Discography, 2011
  • Feather, Leonard & Gitler, Ira. The Biographical Encyclopedia of Jazz, Oxford University Press, 1999
  • Neely, Tim. Goldmine Jazz Album Price Guide, Krause Publications, 2000
  • The Prestige Book: Discography of All Series, Jazz Critique Magazine, Special Edition (Japanese), 1996, vol. 3
  • Ruppli, Michel. Atlantic Records: A Discography, Greenwood Press, 1979 (The Atlantic Label: Golden Years (1947-2005), Names & Numbers, 2010, CD-ROM)
  • Ruppli, Michel & Daniels, Bill. The ABC Paramount/Impulse Labels, Names & Numbers, 2006, CD-ROM
  • Ruppli, Michel, Daniels, Bill & Novitsky, Ed. The Capitol Label Discography, Names & Numbers, 2005, CD-ROM
  • Ruppli, Michel. The Decca Labels: A Discography, Greenwood Press, 1996
  • Ruppli, Michel. The King Labels, Greenwood Press, 1985
  • Ruppli, Michel & Novitsky, Ed. The Mercury Labels: A Discography, Greenwood Press, 1993
  • Ruppli, Michel & Novitsky, Ed. The MGM Labels: A Discography, Greenwood Press, 1998
  • Ruppli, Michel & Porter, Bob. The Prestige Label: A Discography, Greenwood Press, 1980
  • Ruppli, Michel & Porter, Bob. The Savoy Label: A Discography, Greenwood Press, 1980
  • Ruppli, Michel & Porter, Bob. The Clef/Verve Labels: A Discography, Greenwood Press, 1986

  • AllMusic Guide
  • Discogs
  • Both Sides Now LP Discographies
  • U.S. Copyright Office
  • Songview Search

Every effort has been made to insure accuracy when using the above sources and many others. No single source is considered unimpeachable and crosschecking is always employed. I have often contacted musicians, agents, record companies, record collectors and other historians and archivists in order to secure crucial information. However, despite my best efforts, in certain instances, a definitive description of a recording session has remained elusive because crucial data could not be found. For example, some recordings are so rare that I was unable to locate individuals or archives in possession of the items. Such cases are annotated. One of the advantages of online publishing is that feedback and subsequent corrections and additions are facile. I strongly encourage you to contact me if you see anything in any of my discographies that appears incorrect or incomplete. Your input will be acknowledged.