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Al Haig
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Al Haig
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Key Information

Alan Warren Haig (July 19, 1922 – November 16, 1982)[1] was an American jazz pianist, best known as one of the pioneers of bebop.

Biography

[edit]

Haig was born in Newark, New Jersey, and raised in nearby Nutley.[2] In 1940, he majored in piano at Oberlin College.[3] He started performing with Dizzy Gillespie and Charlie Parker in 1945,[4] and performed and recorded under Gillespie from 1945 to 1946, as a member of Eddie Davis and His Beboppers in 1946 (also featuring Fats Navarro), and the Eddie Davis Quintet in 1947, under Parker from 1948 to 1950, and under Stan Getz from 1949 to 1951. The Gillespie quintet, which included Haig, recorded four 78 r.p.m. sides for Guild Records in May 1945 which are regarded as the first recordings to demonstrate all elements of the mature bebop style.[4] He was part of the nonet on the first session of Miles Davis' Birth of the Cool.

For much of the 1950s and 1960s, "Haig was all but a forgotten giant", in Brian Case's words; "Jazz pianism, ever more percussive in a crass simplification of [Bud] Powell's methods, had no room for the crystalline touch and swift, logical turnover of ideas. Haig got by with semi-cocktail piano in New York bars."[3] Although Haig is best remembered for playing bebop, he spent much of his career playing in non-jazz contexts. His work was the subject of a revival in the 1970s.

In 1969, Haig was acquitted of a murder charge. He had been accused of strangling his third wife, Bonnie, at their home in Clifton, New Jersey, on October 9, 1968. He had said in evidence that his wife had been drunk, and had died in a fall down a flight of stairs.[5] Grange Rutan, Haig's second wife, challenged Haig's account in her 2007 book, Death of a Bebop Wife.[6] Rutan's book is partly autobiographical, partly based on interviews with friends and family members. She describes Bonnie's story in detail, depicting an underside to Haig that included a history of serial domestic abuse. Rutan observed that several family members sounded alarm bells regarding Haig's violent personality that went unheeded. She quotes bassist Hal Gaylor, who was talking with Haig before a performance at the Edison Hotel lounge in the early seventies, when Haig admitted to him he had caused Bonnie's death.

In 1974, Haig was invited to tour Europe by Tony Williams, owner of Spotlite Records in the United Kingdom. At the end of a very successful tour he recorded the Invitation album for Spotlite with Bibi Rovère on bass and Kenny Clarke on drums. This kick-started his re-emergence and, over the next eight years, he built a strong following in Europe and toured several times, recording in the UK and France, and appearing elsewhere. He also recorded for several Japanese labels.

Haig died from a heart attack on November 16, 1982, and was survived by his wife Joanne and his sons Alan and Daniel.[7]

Discography

[edit]

As leader

[edit]
Year recorded Title Label Personnel/Notes
1952? Live in Hollywood Xanadu With Chet Baker (trumpet), Sonny Criss (alto sax), Jack Montrose (tenor sax); in concert
1954 Al Haig Trio Esoteric Trio, with Bill Crow (bass), Lee Abrams (drums)
1954 Al Haig Trio Period Trio, with Bill Crow (bass), Lee Abrams (drums)
1954? Al Haig Quartet Period Quartet, with Benny Weeks(guitar), Teddy Kotick(bass), Phil Brown(drums)
1965 Al Haig Today! Mint Trio, with Eddie De Haas (bass), Jim Kappes (drums)
1974 Invitation Spotlite Trio, with Gilbert Rovere (bass), Kenny Clarke (drums)
1974 Special Brew Spotlite Quartet, with Jimmy Raney (guitar), Wilbur Little (bass), Frank Gant (drums)
1975 Strings Attached Choice Quartet, with Jimmy Raney (guitar), Jamil Nasser (bass), Frank Gant (drums)
1975 Chelsea Bridge East Wind Trio, with Jamil Nasser (bass), Billy Higgins (drums)
1976 Piano Interpretation Sea Breeze Solo piano
1976 Piano Time Sea Breeze Solo piano
1976 Duke 'n' Bird East Wind Solo piano
1976 Interplay Sea Breeze Duo, with Jamil Nasser (bass)
1977? Serendipity Interplay
1977 I Love you Interplay Trio, with Jamil Nasser (bass), Jimmy Wormworth (drums)
1977 Manhattan Memories Sea Breeze Some tracks trio, with Jamil Nasser (bass), Jimmy Wormworth (drums); some tracks quartet, with Nasser (bass), Eddie Diehl (guitar), Frank Gant (drums)
1977 A Portrait of Bud Powell Interplay Trio, with Jamil Nasser (bass), Frank Gant (drums)
1977 Reminiscence, Ornithology Progressive Trio, with Jamil Nasser (bass), Frank Gant (drums)
1977? Parisian Thoroughfare Musica
1977? Al in Paris Musica
1978 Plays the Music of Jerome Kern Gitanes Some tracks duo, with Jamil Nasser (bass); some tracks solo; one track duo, with Helen Merrill
1978 Un Poco Loco Spotlite Trio, with Jamil Nasser (bass), Tony Mann (Anthony Arnold Pritchard) (drums)
1978 Expressly Ellington Spotlite Quartet, with Art Themen (tenor sax), Jamil Nasser (bass), Tony Mann (drums)
1980 Blue Manhattan Interplay Trio, with Reggie Johnson (bass), Frank Gant (drums)
1982 Bebop Live Spotlite With Art Themen (soprano sax, tenor sax), Peter King (alto sax), Kenny Baldock (bass), Allan Ganley (drums); in concert

As sideman

[edit]

With Chet Baker

With Miles Davis

With Miles Davis, Stan Getz and Lee Konitz

With Dizzy Gillespie

With Stan Getz

With Phil Woods

Main sources:[8][9]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Al Haig

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Alan Warren Haig (July 19, 1922 – November 16, 1982), known professionally as Al Haig, was an American pianist best known as one of the pioneers of . Born in , Haig studied piano at before moving to in the early 1940s. He quickly rose in the jazz scene, recording the first mature sessions with in February 1945 and becoming a key sideman for , including on Parker's debut recordings for in 1944–1945. Haig also participated in Miles Davis's sessions in 1949–1950 and collaborated with artists like and throughout his career. Haig led his own groups in the late and early but faced personal challenges, including and legal troubles; in 1969, he was acquitted of charges related to the death of his third wife. After a period of obscurity in the and 1960s, he experienced a career revival in the 1970s, touring and recording prolifically until his death. Haig died of a heart attack in at age 60. He was survived by his fourth wife, Joanne, and two sons, Alan and Daniel. His elegant, harmonically sophisticated style influenced later jazz pianists, though he remains somewhat underrecognized compared to contemporaries like .

Early Life and Education

Childhood in New Jersey

Al Haig was born Alan Warren Haig on July 19, 1922, in , to parents of Scottish descent who lived a modest life in the working-class urban environment. The family soon relocated to Nutley, a quiet residential suburb just north of Newark, where Haig spent his formative years in a stable household that emphasized education and self-reliance amid the economic challenges of the 1920s and 1930s. While specific details on non-musical pursuits are scarce, Haig's early interests reportedly included typical boyhood activities in suburban , such as outdoor play and school-related endeavors, reflecting the unassuming rhythm of middle-class family life during the era. Haig's initial exposure to music came through family influences and local media, with entering his awareness via records of pianists like and that played in the home or were accessible through neighborhood sharing. Around age nine, this sparked a keen interest in , leading him to begin studying the instrument formally while also experimenting by ear on a family upright piano. Self-taught elements marked his early practice sessions, as he mimicked swing-era recordings heard on the radio or at occasional live community events in Newark and Nutley, honing basic techniques without structured lessons initially. He also dabbled briefly with and during this period, but the piano quickly became his primary focus, laying the groundwork for his lifelong dedication to the keyboard. By his early teens, Haig's passion for had deepened through persistent home practice on the family's instrument, often late into the evenings, blending classical exercises with improvisational riffs inspired by radio broadcasts from stations. These formative experiences in Nutley not only nurtured his technical skills but also instilled a rhythmic sensibility drawn from the vibrant scene audible from afar, setting the stage for his later pursuit of formal training. In 1940, he enrolled at to major in , marking the transition from casual childhood exploration to structured musical education.

Formal Training and Initial Influences

In 1940, Al Haig enrolled at in as a piano major, where he pursued classical piano studies under formal academic guidance. His coursework emphasized traditional techniques and repertoire, providing a structured foundation in Western that contrasted with his emerging interest in . However, his education was interrupted by , during which he served in the U.S. Coast Guard and performed with military bands, gaining practical experience in ensemble playing amid the demands of wartime service. Haig's early jazz influences were rooted in the swing era, particularly the elegant and refined style of pianist , whose recordings he absorbed avidly as a teenager in . Wilson's light touch, harmonic sophistication, and rhythmic swing—exemplified in his trio work with —shaped Haig's initial approach to piano, blending classical precision with improvisational flair learned through phonograph records and exposure to local jazz scenes in the Newark area. This self-directed immersion bridged his formal training, fostering a versatile technique that prioritized clarity and swing over virtuosic flash. By 1944, following his military service, Haig relocated to , transitioning from classical aspirations to full immersion in the city's vibrant ecosystem. There, he secured initial gigs with small ensembles in clubs, including a stint as for tenor saxophonist , where he honed his skills in intimate settings that demanded responsive interplay and adaptability. These early performances on 52nd Street venues, such as , marked his entry into professional circles, building on his Oberlin-honed fundamentals and swing-era inspirations before larger opportunities arose.

Professional Career

Emergence in Bebop (1940s)

Haig's entry into the New York jazz scene marked a pivotal moment in his career, as he joined Dizzy Gillespie's in , performing at influential 52nd Street venues such as the Onyx Club. This association positioned Haig at the forefront of the emerging movement, where he provided harmonic support and solos alongside Gillespie, on occasion, and rhythm section players like Curley Russell and . His role in these performances helped solidify 's complex rhythms and improvisational style in live settings, contributing to the genre's rapid evolution during the mid-1940s. From 1945 to 1950, Haig's collaboration with became one of his most significant, encompassing numerous studio sessions and live appearances that captured 's maturation. A landmark example occurred on May 11, 1945, when Haig played piano on Parker's quintet recordings for Guild Records, including tracks like "Salt Peanuts" and "Hot House," widely regarded as the first fully realized sides due to their intricate harmonies and rapid tempos. These Guild sessions, featuring on , Russell on bass, and Sidney Catlett on drums, showcased Haig's precise comping and melodic improvisations, which complemented Parker's revolutionary lines. Haig continued working with Parker through the late 1940s, participating in quintets that performed at clubs like the Three Deuces and recorded for labels such as , further embedding him in 's foundational recordings. In 1948–1950, Haig contributed to Miles Davis's innovative nonet sessions for , known collectively as , where his piano work added subtle textural depth to the group's precursors. On January 21, 1949, Haig replaced on piano for tracks including "Budo," arranged by Lewis, providing elegant chord voicings that supported Davis's muted and the ensemble's arranged interplay among horns like Gerry Mulligan's baritone sax and Lee Konitz's . These sessions, held at WMGM Studios in New York, highlighted Haig's adaptability to the nonet's chamber-like sound, distinct from the hotter quintets. Additionally, Haig began leading his own groups in the late , with early quintet sides recorded in summer 1948 for Jade Records, such as "Haig 'N' Haig," featuring sidemen like on and Haig's original compositions that echoed 's harmonic sophistication.

Mid-Century Collaborations and Challenges (1950s–1960s)

In the 1950s, Al Haig solidified his role as a sought-after sideman in the evolving scene, contributing to recordings with several influential artists amid the transition from to . He provided elegant accompaniment on Stan Getz's Jazz at Storyville (1952), a live album capturing Getz's quintet in and highlighting Haig's light, swinging touch on standards like "." Similarly, Haig joined for the informal Inglewood Jam session in 1952, where his bebop-rooted phrasing supported Baker's emerging West Coast style alongside and others. By mid-decade, Haig collaborated with Phil Woods on The Young Bloods (1956, Prestige), co-led with trumpeter Donald Byrd, featuring Haig's fluid comping on Woods' originals such as "Once More," which blended energy with subtle harmonic sophistication. As a leader, Haig released notable albums that reflected his adaptation of bebop toward a more accessible, swing-influenced sound, appealing to broader audiences during a time when pure was waning. His Al Haig Trio (1954, Esoteric), recorded with bassist and drummer , included interpretations of standards like "Autumn in New York" and "," where Haig's precise, lyrical lines emphasized rhythmic drive over dense improvisation, earning praise for bridging and mainstream . This release, along with sporadic dates, demonstrated Haig's versatility but also underscored the challenges of maintaining visibility as tastes shifted toward cooler, more melodic expressions. Haig's career in the and was marked by significant personal and professional obstacles, including struggles with that affected his reliability and led to inconsistent bookings. According to his biography, these issues contributed to periods of obscurity, forcing Haig to supplement his income through extensive studio work in non- contexts, such as pop sessions and commercial recordings, as bebop's popularity declined and steady employment became scarce. Despite these hurdles, Haig's contributions during this era preserved his reputation as a foundational , influencing the language of subsequent generations even as his output grew more intermittent.

Revival and Later Recordings (1970s–1982)

After a period of relative obscurity in the United States during the , Al Haig experienced a significant career resurgence beginning in 1974, sparked by an invitation to tour from Tony Williams, owner of the UK's Spotlite Records. This tour marked a turning point, reintroducing Haig to international audiences and leading to renewed recording opportunities that highlighted his enduring mastery of piano. The tour culminated in the recording of Invitation on January 7, 1974, in , featuring Haig on with Gilbert "Bibi" Rovere and Kenny Clarke; the album's elegant interpretations of standards like "Round Midnight" and "I Should Care" captured Haig's refined touch and helped revive interest in his work. Building on this momentum, Haig recorded Special Brew later that year in with guitarist , Wilbur Little, and Frank Gant, emphasizing swinging arrangements of classics such as "." These sessions established Spotlite as a key label for Haig's late-period output, fostering a string of European engagements that sustained his activity through the decade. Haig's European presence expanded in the mid-1970s, including a 1975 trio recording in , featuring bassist Jamil Nasser and drummer , which, though recorded in the US, was rooted in his transatlantic revival—showcasing lyrical ballads and up-tempo romps. By 1977, he performed in alongside bassist Pierre Michelot and joined the Dexter Gordon Quartet for local dates, later documenting the collaboration on Al in Paris. That year also saw the release of solo efforts like Parisian Thoroughfare and trio dates such as Serendipity (with Nasser and drummer Jimmy Wormworth) and A Portrait of Bud Powell (with Nasser and Gant), where Haig paid homage to his bebop forebears through precise, introspective renditions. In his final years, Haig continued to prioritize standards during frequent European visits, including 1978 performances in and with various trios, captured on live releases like and . A 1980 New York trio session yielded Blue Manhattan, but Haig's focus remained abroad, culminating in a 1982 quintet appearance documented on Bebop Live, featuring vibrant takes on "" and "Scrapple from the Apple" that affirmed his vitality until his death later that year. Throughout this period, Haig's home practice of , including attendance at recitals, subtly enhanced the lyrical phrasing in his improvisations, adding a layer of classical elegance to his foundations.

Musical Style and Technique

Pianistic Approach and Innovations

Al Haig's pianistic approach was marked by a crystalline touch and logical, melodic phrasing that emphasized elegance and precision, setting it apart from the more percussive, horn-like attacks of contemporaries such as . This lean and delicate style allowed for swift idea development while maintaining a sense of structural coherence in . In contexts, Haig prioritized harmonic clarity and a buoyant swing feel, even at rapid tempos, providing a solid rhythmic foundation that supported ensemble interplay. His accompaniments and solos in sessions, including the 1945 performances at Billy Berg's in , exemplified this balance, where precise comping enhanced the harmonic tension and resolution central to early . Haig's formal training at infused his playing with classical elements, particularly precise articulation and controlled dynamics, which he seamlessly integrated into to achieve a refined, sound without sacrificing improvisational spontaneity. Haig's style evolved notably over time, transitioning from swing-influenced, rhythmically authoritative lines in his 1940s bebop work to more introspective and lyrically tender solos in his 1970s recordings during his career revival, showcasing a deepened and personal expressiveness.

Key Influences on His Playing

Al Haig's early development as a jazz was profoundly shaped by the , particularly through the influence of , whose light touch and elegant chord voicings from 1930s and 1940s recordings provided a foundation for Haig's refined approach to keyboard harmony. Wilson's style, characterized by symmetrical voicings and a delicate articulation, informed Haig's initial leanings toward a balanced, non-aggressive sound. As Haig transitioned into bebop, Bud Powell emerged as a pivotal influence, introducing him to the genre's heightened harmonic complexity and rapid execution, which Haig incorporated while maintaining a more subdued and controlled demeanor. Powell's innovative use of extended chords and fleet single-note lines, hallmarks of modern jazz piano, pushed Haig to expand beyond swing conventions, though he adapted these elements with a lighter, less frenetic touch. Haig's formal classical piano training at , where he majored in the instrument around 1940, further enriched his technique, drawing structural rigor from composers like Bach to underpin his improvisational frameworks. This education emphasized precision in phrasing and contrapuntal development, elements Haig integrated into solos for greater architectural coherence, as seen in his ballad interpretations that highlighted classical pedaling and control. Haig's rhythmic precision was honed through close peer interactions with and , beginning in 1945 when he joined their quintet for landmark sessions that demanded tight ensemble synchronization. These collaborations exposed Haig to bebop's demanding pulse and phrasing, refining his ability to lock in with horn lines during high-speed improvisations.

Personal Life and Challenges

Family and Relationships

Al Haig was married multiple times during his life. His second marriage was to Grange Rutan, known as Lady Haig, which lasted about two and a half years and ended in 1962 amid reports of physical and emotional strain in the relationship. His third marriage was to Bonnie Jean Maude Gallagher, who died in October 1968 at age 24, an event that drew legal scrutiny though Haig was later cleared of any wrongdoing. Haig's fourth and final marriage was to Joanne Thompson, whom he wed after his and who provided companionship during his later years. He fathered two sons, Alan and Daniel, from earlier relationships, and both survived him along with Joanne at the time of his in 1982. The relative stability of his marriage to Joanne coincided with Haig's personal recovery and supported his return to performing, including European tours in the 1970s. In his private life, Haig lived in a apartment with Joanne, where he often practiced at home as part of his daily routine, sometimes involving in the musical environment. His struggles with periodically strained dynamics, though these challenges were mitigated in his later years. Haig struggled with beginning in the , a common affliction among musicians with whom he closely associated, including ; this dependency contributed to ongoing personal turmoil and interruptions throughout the 1950s and 1960s. In a notable legal ordeal, Haig's third wife, Bonnie Haig, died on October 9, 1968, at their home in , under circumstances that led to his and charge of by strangulation the following year. Haig maintained that her death resulted from a fall down the stairs while intoxicated, and he was ultimately acquitted in 1969 after a highly publicized that imposed severe emotional strain, leaving him relieved yet scarred by the intense scrutiny and loss. However, the acquittal was later disputed by his second wife, Grange Rutan, in her 2007 memoir Death of a Bebop Wife, which alleged abuse and questioned the verdict. Following the , Haig pursued recovery from his , achieving in the early 1970s, which marked a turning point in stabilizing his personal life amid prior years of decline. In his later years, health issues mounted, culminating in his sudden death from a heart attack on November 16, 1982, at his home in at the age of 60.

Legacy and Recognition

Influence on Subsequent Jazz Pianists

As a pioneering bebop pianist, Al Haig significantly shaped the melodic and technical approaches of later jazz keyboardists, particularly through his emphasis on clarity and refined touch. , for instance, cited Haig among his key influences alongside figures like and , drawing from Haig's streamlined single-note lines and light, non-aggressive voicings to develop his own impressionistic style. Haig's playing, characterized by a spare right-hand melody supported by subtly voiced left-hand chords, offered a model of emotional restraint that contrasted with the era's more aggressive tendencies, inspiring Evans and others to prioritize lyrical precision over sheer velocity. Haig's non-percussive, controlled approach further extended its reach into and , where his participation in Miles Davis's sessions in 1949 exemplified a cooler, more introspective sound that influenced subsequent generations. Pianists such as and Tommy Flanagan adopted elements of Haig's elegant delivery and concise phrasing, blending bebop's harmonic complexity with a relaxed, understated touch that defined much of the aesthetic. This style, often described as lean and delicate, provided a bridge from bebop's intensity to the more spacious improvisations of , helping to establish a template for pianists seeking balance between innovation and accessibility. In jazz education, Haig's work is recognized for its logical improvisation structures, transforming bebop into a framework of articulated thinking that emphasized coherent harmonic navigation and rhythmic sensitivity. His solos, with their inventive yet concise lines and supportive comping—often positioned two octaves below the melody—served as pedagogical models for teaching modern , highlighting how could evolve into structured, personal expression. Specific tributes underscore Haig's empathetic role during the Charlie Parker era, with saxophonist praising him as "the best in the business" for his intuitive accompaniment that perfectly complemented soloists' ideas. Getz, who recorded extensively with Haig in the late and early , valued this Parker-era synergy, which exemplified Haig's ability to enhance ensemble dynamics without overpowering them.

Posthumous Tributes and Recordings

Following Al Haig's death from a heart attack on November 16, 1982, at age 60, his pioneering role in received immediate recognition in major media outlets. published an on November 17, 1982, describing him as "an early be-bop pianist" and noting his membership in the original Quintet, which helped establish the genre's rhythmic and harmonic innovations in the mid-1940s. Haig's recordings saw significant posthumous reissues, preserving his contributions to both early and later efforts. In the , CD compilations revived his 1940s Guild sessions, including tracks from Charlie Parker's quintet such as those on Philology's Bird's Eyes Vol. 2 (1990), which featured Haig's piano on 1949 Pershing Hotel performances like "I Cover the Waterfront," originally rooted in similar Guild-era collaborations. Similarly, 1950s live albums were reissued, with Xanadu's 1985 CD of Live in Hollywood compiling 1952 performances from Trade Winds in , featuring Haig with , , and others. Tributes in jazz publications underscored Haig's accompanimental finesse, particularly his work with Charlie Parker. British critic Max Harrison, in The Jazz Review (Vol. 3, No. 5, June 1960), lauded Haig as "the most sympathetic pianist to record with Parker," highlighting his vigilant sensitivity that enhanced Parker's improvisational flights without overpowering them—a view echoed in later retrospectives on bebop piano dynamics. Haig's legacy endures through inclusion in bebop anthologies honoring early modern pianists. His recordings appear in Columbia's I Remember Bebop (C2 35381, 1980) and They All Played (C2 38039, 1982), compiling seminal tracks like "" from 1949-1954 sessions, while later collections such as the Jazz: The Smithsonian Anthology (2008) feature his contributions to preserve the era's harmonic advancements. These anthologies, alongside festival programs at events like the that retrospectively celebrate pioneers, affirm Haig's foundational influence on the genre's piano tradition.

References

  1. https://www.allaboutjazz.com/news/al-haig-invitation/
  2. https://www.nytimes.com/1982/11/17/obituaries/al-haig-58-dead-early-pop-pianist.html
  3. https://www.worldradiohistory.com/Archive-All-Music/DownBeat/60s/65/Downbeat-1965-10-21.pdf
  4. https://www.allaboutjazz.com/musicians/al-haig/
  5. https://www.allaboutjazz.com/news/al-haig-march-13-1954/
  6. https://oberlinreview.org/wp-content/uploads/2024/05/page-12.pdf
  7. https://www.allaboutjazz.com/musicians/al-haig
  8. https://jazzprofiles.blogspot.com/2018/05/al-haig-1924-1982.html
  9. https://billmilkowski.substack.com/p/birthday-cheers-to-the-one-and-only
  10. https://www.jazzdisco.org/al-haig/discography/
  11. https://plosin.com/milesahead/BirdDisco.aspx?id=GroovinHigh
  12. https://www.milesdavis.com/albums/birth-of-the-cool/
  13. https://www.jazzdisco.org/al-haig/discography/#490121
  14. https://www.discogs.com/release/2296694-Stan-Getz-Quartet-Quintet-1950-1952
  15. https://www.philwoods.com/discography/item/244-the-young-bloods
  16. https://www.discogs.com/release/2606501-Al-Haig-Trio-And-Quintet
  17. https://www.allmusic.com/artist/al-haig-mn0000604469
  18. https://www.jazzikology.com/artists-al-haig
  19. https://www.jazzwax.com/p/al-haig-invitationhtml
  20. https://www.jazzdisco.org/al-haig/discography/#770923
  21. https://www.jazzdisco.org/al-haig/discography/#780828
  22. https://www.jazzdisco.org/al-haig/discography/#820527
  23. https://toddcoolman.substack.com/p/al-haig
  24. https://core.ac.uk/download/pdf/220126064.pdf
  25. https://jazztimes.com/blog/a-virtuosity-of-the-heart/
  26. https://www.allaboutjazz.com/news/al-haig-and-bud-powell/
  27. https://www.mosaicrecords.com/the-great-jazz-artists/jazz-pianists/
  28. https://www.jerryjazzmusician.com/great-encounters-23-when-dizzy-gillespie-and-charlie-parker-played-52nd-street/
  29. https://search.proquest.com/openview/89b17de63e1efa9015780184db6a5ee3/1?pq-origsite=gscholar&cbl=29456
  30. https://cadnor.com/products/death-of-a-bebop-wife-by-grange-lady-haig-rutan
  31. https://www.city-journal.org/article/when-heroin-hit-jazz
  32. https://www.discogs.com/artist/259078-Al-Haig
  33. https://www.nytimes.com/books/first/p/pettinger-evans.html
  34. https://www.udiscovermusic.com/stories/rediscover-birth-of-the-cool/
  35. https://ehsankhoshbakht.blogspot.com/2013/08/haig.html
  36. https://www.jazzstudiesonline.org/files/jso/resources/pdf/JREV3.5Full.pdf
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