recorded with many of the great jazz artists, back in the day. Some of his earliest recordings can
be heard on The Ballad Artistry of
Milt Jackson and Bill
Evans’s Finest Hour.
In 1964, he
was in the studio with Tony Bennett, laying down tracks for Who Can I Turn To, which was
subsequently released on CD in 1995.
He then joined the string section on Herbie
Mann’s mid-‘60s release, Impressions
of the Middle East. In the
late ‘60s, he recorded on a pair of David Newman albums, Bigger and Better and The Many Facets of David Newman. He rounded out the decade with Tony
Bennett on Something, Roberta
Flack on Chapter Two, and Phil
Woods on Round Trip.
In 1970, he
changed direction on Bill Evans’ From
Left to Right. He eased
from jazz to R&B effortlessly on Stanley Turrentine’s
Salt Song and Grover Washington, Jr.’s Inner
City Blues, released in 1971.
In 1973, he came Full Circle
with Leon Thomas and joined T-Bone Walker in the recording studio for
tracks that would eventually appear on Very
Rare – T-Bone Walker.
He even worked on Broadway as a violinist in the production of Ulysses in Nighttown,
which enjoyed a modest run of about three months in 1974.
It did not
slow his recording career, however, which included The Baddest Turrentine,
Leon Redbone’s On the Track,
David Sanborn’s Taking Off,
and The New Phil Woods Album. In 1976, he was a cog in The Mean Machine of Jimmy
McGriff. His late-‘70s
recordings include Deodato’s Knights of Fantasy, Ralph
Frank Sinatra’s Trilogy,
and Art Webb’s Mr. Flute. In 1980, he got Naughty with Chaka Khan, offered nocturnal string support on
Earl Klugh’s Late Night Guitar, and even performed on the soundtrack of Fame.
A couple of his
latter-day recordings include Esther Phillips’ From a Whisper to a Scream and Luther Vandross’s
Forever, For Always, For Love.
Frank Sinatra recordings
That's What God Looks Like To Me (Stan Irvin/Lan
49233 (XNY2101S) (US 45)
Theme from "New York, New York" (Fred Ebb/John Kander)
RPS49233 (XNY 2103 S) (US 45)