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Ed Thigpen
Ed Thigpen
Ed Thigpen
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Key Information

Edmund Leonard Thigpen (December 28, 1930 – January 13, 2010)[1] was an American jazz drummer, best known for his work with the Oscar Peterson trio from 1959 to 1965. Thigpen also performed with the Billy Taylor trio from 1956 to 1959.

Biography

[edit]

Born in Chicago, Thigpen was raised in Los Angeles, and attended Thomas Jefferson High School, where Art Farmer, Dexter Gordon, and Chico Hamilton also attended. After majoring in sociology at Los Angeles City College, Thigpen returned to East St. Louis for one year to pursue music while living with his father who had been playing with Andy Kirk's Clouds of Joy.[2] His father, Ben Thigpen, was a drummer who played with Andy Kirk for sixteen years during the 1930s and 1940s.

Thigpen first worked professionally in New York City with the Cootie Williams orchestra from 1951 to 1952 at the Savoy Ballroom. During this time he played with musicians such as Dinah Washington, Gil Mellé, Oscar Pettiford, Eddie Vinson, Paul Quinichette, Ernie Wilkins, Charlie Rouse, Lennie Tristano, Jutta Hipp, Johnny Hodges, Dorothy Ashby, Bud Powell, and Billy Taylor.

In 1959, he replaced guitarist Herb Ellis in the Oscar Peterson Trio in Toronto, Ontario, Canada. In 1961, he recorded in Los Angeles, featuring on the Teddy Edwards–Howard McGhee Quintet album entitled Together Again!!!! for the Contemporary label with Phineas Newborn Jr. and Ray Brown. After leaving Peterson, Thigpen recorded the album Out of the Storm as a leader for Verve in 1966. He then went on to tour with Ella Fitzgerald from 1967 to 1972.[3]

In 1972, Thigpen moved to Copenhagen, joining several other American jazz musicians who had settled in that city over the previous two decades.[4] There he worked with fellow American expatriates, including Kenny Drew, Ernie Wilkins, Thad Jones, as well as leading Danish jazz musicians such as Svend Asmussen, Mads Vinding, Alex Riel, and Niels-Henning Ørsted Pedersen. He also played with a variety of other leading musicians of the time, such as Clark Terry, Eddie "Lockjaw" Davis, Milt Jackson, and Monty Alexander.

Thigpen died peacefully after a brief period in Hvidovre Hospital in Copenhagen on January 13, 2010.[1] He had been hospitalized for heart and lung problems and was also suffering from Parkinson's disease. He is buried at Vestre Kirkegård.

Awards and recognition

[edit]

Thigpen was inducted into the Percussive Arts Society Hall of Fame in 2002.[5]

Discography

[edit]

As leader

[edit]
  • Out of the Storm (Verve, 1966)
  • Action-Re-Action (Sonet, 1974)
  • Explosive Drums (Black & Blue, 1974)
  • Young Men and Olds (Timeless, 1990)
  • Easy Flight (Stunt, 1990)
  • Mr. Taste (Justin Time Records, 1992)
  • It's Entertainment (Stunt, 1998)
  • Element of Swing (Stunt, 2002)
  • #1 (Stunt, 2004)

As sideman

[edit]

References

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

Ed Thigpen

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Edmund Leonard Thigpen (December 28, 1930 – January 13, 2010) was an American jazz drummer best known for his tenure with the Oscar Peterson Trio from 1959 to 1966, where his elegant brushwork and subtle rhythmic support earned him the nickname "Mr. Taste." Born in Chicago to jazz drummer Ben Thigpen, who played with Andy Kirk's Clouds of Joy, Thigpen moved to Los Angeles as a child after his parents separated and grew up immersed in music, studying piano, singing in church choirs, and playing drums in his high school band at Jefferson High School. After briefly attending Los Angeles City College and serving in the U.S. Army band during the Korean War, he launched his professional career in the early 1950s, recording with artists such as Dinah Washington, Johnny Hodges, and Bud Powell while developing a signature style influenced by Jo Jones, emphasizing musicality, clarity on the ride cymbal, and innovative brush techniques over sheer volume. Joining the Oscar Peterson Trio marked his breakthrough, contributing to over 50 albums that showcased his ability to provide a sparkling, supportive pulse beneath Peterson's virtuosic piano and Ray Brown's bass; he later toured and recorded with Ella Fitzgerald from 1966 to 1972. In 1972, Thigpen relocated to Copenhagen, Denmark, where he became a prominent figure in the European jazz scene, collaborating with musicians like Toots Thielemans and Johnny Griffin, leading his own groups, and releasing albums such as Mr. Taste. He also dedicated himself to education, teaching at conservatories, conducting international clinics, authoring instructional books like The Sound of Brushes and Rhythm Analysis and Basic Coordination for Drums, and earning induction into the Percussive Arts Society Hall of Fame in 2002. Thigpen passed away in Copenhagen from complications of Parkinson's disease, leaving a legacy as a masterful colorist and percussionist whose refined approach influenced generations of drummers.

Early Life

Childhood and Family

Edmund Leonard Thigpen was born on December 28, 1930, in Chicago, Illinois, to Ben Thigpen, a prominent jazz drummer known for his long tenure with Andy Kirk's Clouds of Joy orchestra during the swing era, and his wife Mary. As an infant, Thigpen moved with his parents to St. Louis, Missouri, where his father was based, but following his parents' separation around 1935, he relocated with his mother to Los Angeles, California, at the age of five, where he spent the early part of his childhood. In , Thigpen received musical encouragement from his mother until her death around 1942 when he was 12, including piano lessons, church choir singing, and tap dancing classes. After her death, he was placed with another family that showed little interest in his musical aspirations and discouraged them. Although he initially struggled with the focus required for and soon shifted his attention elsewhere, this early exposure to and laid the groundwork for his musical development. His father's career as a provided a profound influence, as Ben Thigpen's swing-era style and professional experiences introduced young Ed to the nuances of percussion, fostering an early appreciation for the instrument despite the physical distance after the family separation. Thigpen's first hands-on experiences with drumming began around age 13 during junior high school, where he participated in drum contests and rhythm groups as part of his grade school orchestra activities. By high school at in , he had joined the school's acclaimed swing band, led by instructor Samuel Browne, performing alongside future luminaries such as , , and , which further honed his skills through regular ensemble playing and local performances. This period marked the solidification of his passion for drums, blending familial musical heritage with peer-driven opportunities in the vibrant scene despite challenges in his home environment.

Education

Thigpen attended Thomas Jefferson High School in , where he played drums in the school's swing band under instructor Samuel Browne. During this period, he focused primarily on drums, practicing on standard kits to build technical skills in rhythm and coordination. After graduating in 1949, Thigpen briefly enrolled at as a major, but he soon left after a year to pursue music. This decision was influenced by his musical heritage, as his father, Ben Thigpen, was a veteran drummer with Andy Kirk's Clouds of Joy orchestra. In 1950, Thigpen moved to East to live with his father for a year, receiving informal mentorship that emphasized swing rhythms and styles central to traditions. This hands-on guidance honed his sense of phrasing and ensemble playing, laying the groundwork for his professional development without formal institutional enrollment beyond high school and his short college stint.

Career Beginnings

Early Professional Work

Thigpen began his professional career in at the age of 18, performing with local R&B and combos, including his first gig with saxophonist Buddy Collette at dances held at the and . He soon joined the Jackson Brothers show band, gaining initial experience in varied ensemble settings that blended influences with emerging elements. In 1951, Thigpen joined ' orchestra at Harlem's , touring across America for about a year and a half until 1952. This role exposed him to trumpet-led swing arrangements and the demands of road performance, where he refined his ability to support dynamic big-band ensembles while adapting to the group's high-energy style. From 1953 to 1955, Thigpen served in the U.S. Army during the , initially as a drum instructor at , , before joining the Eighth Army band in Korea. His military experience emphasized strict discipline, sight-reading proficiency, and precise ensemble playing in formal band settings. After his discharge in 1955, Thigpen joined singer , touring with her band and contributing to recordings such as "Short John." That same year, he also recorded as a with tenor saxophonist on tracks from The Happy Blues, highlighting his emerging brushwork and rhythmic subtlety.

Move to New York

In late 1955 or early 1956, following his work with , Thigpen relocated to , driven by the desire for greater professional opportunities in the heart of the world, where the scene offered exposure and collaboration unavailable in regional markets. This move marked a pivotal shift, allowing him to immerse himself in the city's dynamic environment after earlier experiences on the West Coast and in the military. Upon arrival, Thigpen quickly auditioned and joined pianist Billy Taylor's trio alongside bassist Earl May, serving as the drummer from 1956 to 1959 and performing steady engagements at renowned venues like Birdland. These gigs honed his brushwork and timekeeping, emphasizing subtle, supportive rhythms that complemented Taylor's melodic style in the and contexts of the era. Through performances at Birdland, he gained visibility among New York's jazz elite, transitioning from occasional roles to a more consistent platform. Thigpen actively networked in Harlem's Savoy Ballroom and Greenwich Village clubs, forging connections that led to substitute appearances with leading drummers such as and during their absences. This period also saw his first significant New York recordings, including Taylor's The New Billy Taylor Trio (1957, ABC-Paramount), where his adaptive playing—marked by precise cymbal work and dynamic restraint—supported the trio's interpretations of standards like "'Round Midnight" and "." The album, recorded in October and December 1957, highlighted Thigpen's ability to blend seamlessly with Taylor's and May's bass, establishing his reputation for elegant, unobtrusive accompaniment. Adapting to New York's intense, competitive jazz landscape proved challenging, as Thigpen navigated cutthroat auditions and the hustle of urban life by sharing apartments with fellow musicians to manage costs and build camaraderie. This communal living fostered a supportive network amid the city's fast-paced demands, enabling him to focus on gigs and rehearsals while absorbing influences from the diverse club scene.

Major Collaborations

Oscar Peterson Trio

In 1959, while performing with the Trio, Ed Thigpen received an offer from to join his group, urged by Taylor to accept for career advancement; Peterson, persuaded by bassist Ray Brown to replace guitarist with a , recruited Thigpen after salary negotiations, marking a shift to a piano-bass-drums format. Thigpen's role in the trio alongside Peterson on and Ray Brown on bass emphasized subtle, supportive swing that enhanced the group's cohesion, earning him the nickname "Mr. Taste" for his elegant phrasing and dynamic control; he favored brushes on ballads for a soft, texture with snares off and sticks on up-tempo selections, relying on work while minimizing heavy and snare accents to maintain melodic flow. His solos featured melodic lines with masterful —quiet articulations between main beats—providing tasteful color without overpowering the ensemble. During their tenure from 1959 to 1965, the trio undertook extensive tours across and , including performances at major festivals and a notable 1960 concert at Amsterdam's Concertgebouw, solidifying their international reputation through high-energy, precise interplay. They recorded approximately 50 albums for , capturing their virtuosic chemistry on releases like the live The Trio (1961) from Chicago's London House and the studio album Night Train (1963), which highlighted Thigpen's brush work and supportive pulse on standards and . Thigpen innovated his approach within the trio by refining cymbal techniques and phrasing methods to complement Peterson's rapid tempos and improvisational lines, simulating big-band swing on a small-ensemble scale while prioritizing timekeeping and musical dialogue. He departed the group in 1965 after six prolific years, having elevated the trio to one of jazz's most admired ensembles.

Ella Fitzgerald

Following a brief collaboration with from December 1965 to 1966 and subsequent studio work, Ed Thigpen rejoined her backing group in late 1968 as drummer, forming a core trio with pianist Tommy Flanagan and bassist Frank de la Rosa. This ensemble provided sensitive support for Fitzgerald's performances during a period when she was exploring innovative interpretations of both standards and contemporary material. Thigpen's recruitment highlighted his reputation for precision and adaptability, allowing him to transition seamlessly from instrumental trio work to accompanying one of jazz's premier vocalists. Thigpen's drumming emphasized light, elegant brushwork that complemented Fitzgerald's and phrasing, creating an intimate yet dynamic backdrop for her expressive delivery. This approach is particularly evident on the 1969 live album , recorded at the Fairmont Hotel in , where his subtle rhythms underpin her adventurous takes on songs like "" and the title track, blending jazz improvisation with rock influences. His style of understated , often using brushes for a soft, swinging pulse, ensured the focus remained on Fitzgerald's voice while maintaining ensemble cohesion. During his four years with Fitzgerald, Thigpen participated in extensive international tours across the , , and , showcasing her music to diverse audiences amid the evolving landscape of the late and early . A notable highlight was the group's performance at the 1970 , where Thigpen's steady, responsive playing supported Fitzgerald's commanding set in front of thousands. These tours often involved large ensembles for arrangements, requiring Thigpen to balance intricate charts with spontaneous vocal cues. One of the key challenges Thigpen faced was adapting his rhythms to Fitzgerald's unpredictable phrasing and improvisational freedom, especially within the larger ensemble settings of her peak interpretive years, when she frequently altered tempos and structures mid-performance. This demanded acute listening and flexibility, as drummers in vocal-led groups had to prioritize the singer's timing over rigid swing patterns. Thigpen departed from Fitzgerald's group in September 1972 to pursue personal relocation plans to , concluding a fruitful that spanned over 200 performances. Fitzgerald held lasting praise for his "tasteful" support, crediting his elegant touch as essential to her stage comfort and musical flow during that era.

Other Roles

Thigpen's freelance work in the and encompassed a wide range of styles, from to , demonstrating his adaptability across small groups and jam sessions. In the mid-, he recorded with trumpeter on the album Three Trumpets (1957, Prestige), joining Donald Byrd and Idrees Sulieman on trumpet, Hod O'Brien on , and Addison Farmer on bass, where his crisp, supportive drumming anchored the ensemble's energetic horn lines. Similarly, Thigpen appeared on saxophonist Gene Ammons's Angel Eyes (1960, Prestige), contributing drums to tracks like "The Breeze and I" and "Love Letters," providing subtle brushwork and swing that complemented Ammons's soulful tone. During the mid-1960s, Thigpen collaborated with pianist Jaki Byard on sessions that highlighted post-bop exploration, including work with trumpeter Clark Terry on various projects, such as live performances and recordings that emphasized Terry's buoyant, bebop-inflected style, though Thigpen's contributions often focused on maintaining a light, interactive groove in quintet settings. These gigs underscored Thigpen's role in bridging hard bop's drive with emerging post-bop nuances. Thigpen's one-off recordings in the 1960s further illustrated his versatility, including sessions with vocalist Billy Eckstine on standards-driven dates that evoked big band swing, singer Carmen McRae on intimate vocal-jazz tracks showcasing his brush technique, and harmonica player Toots Thielemans in cool jazz contexts that highlighted melodic interplay. His drumming on Mal Waldron's Mal/2 (1957, Prestige) with Idrees Sulieman captured early free-form tendencies. Overall, Thigpen appeared as a sideman on over 100 albums during this era, many non-Peterson/Fitzgerald entries emphasizing his economical yet expressive style. A family connection to his father, Ben Thigpen—a pioneering drummer with Andy Kirk's Clouds of Joy and others—influenced Ed's occasional involvement in tracks, where he echoed Ben's emphasis on precise, ensemble-oriented playing in larger formats like Ernie Wilkins's arrangements or similar 1960s projects.

Later Career

Relocation to Europe

In 1972, after concluding a five-year tenure touring with , Ed Thigpen decided to relocate to , , primarily motivated by his marriage to Danish native Ingelise Nielsen and her difficulty adjusting to the fast-paced American lifestyle following a brief stay in the United States. Thigpen explained that the move allowed for a calmer existence away from the pressures of the U.S. scene, where constant touring and urban intensity had defined his career; their daughter Denise was born around this time, further solidifying his commitment to the city rather than maintaining a transatlantic commute. While race played some role in his decision amid broader social tensions in America, Thigpen emphasized personal factors, stating, "In my case, it was the love of a woman." Upon arrival, Thigpen secured Danish residency and integrated into the established expat jazz community in Copenhagen, a hub for American musicians seeking respite from domestic challenges and drawn to the appreciative European audiences for improvisational jazz. He settled into family life with Nielsen, contrasting the relentless "hustle" of New York and Los Angeles by prioritizing stability for his growing household, which soon included son Michel; this shift marked a deliberate reduction in high-intensity global touring to focus on localized opportunities and personal well-being. Initial adjustments involved immersing in Danish culture, including learning enough of the language to handle practical matters like paying bills, while establishing a home base that supported his reduced travel schedule. Thigpen's early post-relocation activities centered on local performances, such as gigs at iconic venues like , where he bridged American swing and styles with Scandinavian talents, including live recordings in 1973 that showcased his adaptability in the Nordic scene. These engagements helped him rebuild professionally amid the financial strain of the move.

Teaching and European Projects

Following his relocation to Copenhagen in 1972, Ed Thigpen established a prominent role as an educator in the Danish community, teaching at the Rhythmic Music Conservatory and other conservatories and colleges in while conducting workshops and clinics throughout . He emphasized fundamentals of drumset playing, including jazz percussion, , and techniques, drawing on his experience to mentor emerging musicians. Thigpen's instructional approach highlighted "tasteful" drumming, focusing on subtlety, phrasing, and supportive rather than flashy displays, a he shared in numerous master classes across and beyond. Thigpen's European collaborations integrated him deeply into the local jazz scene, particularly with Danish and expatriate artists. He worked extensively with pianist on the 1975 album Morning (SteepleChase), alongside bassist Mads Vinding, showcasing his precise brushwork in a trio setting that blended and modal explorations. Similarly, he partnered with violinist Svend Asmussen and bassist on the 1978 album Prize/Winners (Matrix). These partnerships extended to festival appearances, including performances at the in the 1970s and 1980s, often with international lineups that highlighted his sideman versatility. As a leader and co-leader, Thigpen released Action-Re-Action in 1974 on Sonet Records, featuring his band in fusion-leaning tracks that reflected his evolving European influences. In the 1990s, he contributed to larger ensembles, notably with the Ernie Wilkins , appearing on albums like the 1980 Ernie Wilkins and the Almost Big Band (Storyville) and the 1987 live On the Roll (SteepleChase). Thigpen also participated in Scandinavian performances evoking his Trio era, including ensemble tributes in Danish venues that celebrated Peterson's repertoire through trio and quartet formats. These endeavors sustained his career into the , underscoring his enduring impact on European education and performance.

Musical Style and Legacy

Drumming Techniques

Ed Thigpen earned his nickname "Mr. Taste" through a refined drumming style characterized by subtlety, precision, and an unwavering focus on musical support rather than dominance. Influenced by pioneers like , Thigpen emphasized swing as the "epitome of swing," delivering an articulate pulse that enhanced ensemble dynamics without overpowering soloists. His approach prioritized reacting to the music's flow, ensuring every stroke contributed to the overall texture. Thigpen's mastery of brushes exemplified his light-touch , producing whispering, ethereal strokes ideal for ballads and intimate settings. In his instructional book The Sound of Brushes, he detailed techniques for creating soft, sweeping patterns that evoke a whisper, often with the snare wires off to blend seamlessly into the ensemble's sound. This method, demonstrated in Trio recordings like "Night Train," allowed brushes to simulate a big band's brass section while maintaining delicacy and swing. On and , Thigpen excelled in precision, incorporating subtle and varied swing feels to underpin fast tempos without intrusion. During his tenure with the Oscar Peterson Trio, he refined a technique that provided independent colors and accents, mimicking orchestral depth, while his phrasing delivered clean, swinging beats that supported . This cymbal work, honed for clarity and touch sensitivity, ensured the drums remained an empathetic foundation rather than a lead voice. Thigpen's adaptive versatility shone in his seamless transitions from the powerful, section-driven demands of drumming with to the nuanced intimacy of small-group settings with . He adjusted dynamics and phrasing to suit the context, shifting from robust ensemble propulsion to delicate, reactive in trios. His philosophical approach, encapsulated in the "less is more" , stressed listening over leading—reacting to melodies and avoiding unnecessary fills to preserve musical space. This mindset, which he imparted through clinics in , underscored his belief that true taste lies in enhancement through restraint.

Awards and Influence

In 2002, Thigpen was inducted into the Percussive Arts Society's Hall of Fame in recognition of his lifetime contributions to percussion, particularly his innovative use of brushes and rhythmic subtlety. That same year, he received the International Association for Jazz Education (IAJE) Humanitarian Award for his extensive educational outreach, including clinics and workshops that promoted accessibility across . Additionally, at the Danish Music Awards organized by the International Federation of the Phonographic Industry (IFPI), Thigpen was honored with an honorary prize for his advocacy in advancing performance and . Thigpen's influence extended through his mentorship of emerging drummers and his authoritative instructional materials, which emphasized brush techniques that blended harmonic texture with precise timekeeping. His book The Sound of Brushes (2000) remains a foundational text for modern players seeking to master subtle percussion artistry, inspiring generations to prioritize tasteful accompaniment over virtuosic display. In , where he resided from 1972 onward, Thigpen's underrecognized teaching impact—through faculty positions at Danish conservatories and international clinics—fostered a deeper appreciation for American traditions among local musicians, bridging cultural divides in percussion . A posthumous CD and DVD release, Live at Tivoli / Master of Time in 2011, further preserved his live performances and legacy. Thigpen passed away on January 13, 2010, in , , at age 79, due to complications from heart and lung issues exacerbated by , which he had battled for several years. He is buried at Vestre Kirkegård cemetery in . His posthumous legacy endures in the refined brushwork of contemporary drummers and the ongoing vitality of European pedagogy he helped cultivate.

Discography

As Leader

Thigpen recorded approximately 12 albums as a leader over his career, providing a platform for his artistic direction and exploration of jazz drumming's rhythmic and textural possibilities, often drawing on collaborations with musicians from his sideman eras while incorporating fresh ensembles. These releases emphasized his control over arrangements, from straight-ahead swing to more adventurous fusions, and some sessions from his European period remained unissued until after his death. His leader work, though less prolific than his sideman contributions, highlighted a mature evolution in style, prioritizing ensemble dynamics and subtle brushwork. Out of the Storm (1966, Verve Records) served as Thigpen's debut as a bandleader, featuring a mix of hard bop originals and standards performed by an all-star lineup including trumpeter Clark Terry, pianist Herbie Hancock, guitarist Kenny Burrell, and bassist Ron Carter—players connected through shared jazz circles with Thigpen's prior Peterson Trio experience. The album's swinging yet modern arrangements, such as the moody modal title track, allowed Thigpen to assert creative leadership in crafting spacious, lively post-bop ensembles that balanced accessibility with innovation. Following his move to , Action-Re-Action (1974, Records) reflected Thigpen's integration into the European scene, featuring Danish and Scandinavian musicians like trumpeter Palle Mikkelborg, saxophonist Lennart Åberg, Kjell Öhman, and Mads Vinding in multi-part compositions that fused swing precision with fusion elements and experimental textures. The demonstrated Thigpen's creative control in a post-relocation context, using vibes alongside drums to create layered, rhythmic dialogues that bridged traditional with contemporary . Resource (1974, Sonet Records) featured collaborations with violinist Svend Asmussen, organist Kjell Öhman, and bassist Mads Vinding, showcasing Thigpen's versatility on drums and vibes in a swing-oriented session that highlighted his European connections shortly after relocating to Copenhagen. In the 1990s, Thigpen released Easy Flight (1990, Stunt Records) with pianist Johnny O'Neal, guitarist Tony Purrone, and bassist Marlene Rosenberg, emphasizing interactive swing in a quartet setting with standards and originals that demonstrated his mentoring role with younger musicians. Mr. Taste (1991, Justin Time Records) paired Thigpen with guitarist Tony Purrone and Mads Vinding, offering a trio exploration of standards that underscored his nickname through elegant brushwork and rhythmic subtlety. It's Entertainment! (1998, Stunt Records) featured Carsten Dahl and Jesper Bodilsen in a trio format, delivering lively interpretations of standards with Thigpen's refined pulse driving the ensemble's swing. Thigpen's late-career effort Element of Swing (2002, Stunt Records) captured his refined style in a brush-heavy exploration of standards and originals, performed live with saxophonist , Carsten Dahl, and Jesper Bodilsen, reflecting a mature synthesis of swing elegance and subtle rhythmic nuance honed over decades. The 's emphasis on texture and ensemble intimacy affirmed Thigpen's enduring leadership in preserving jazz's swinging core while adapting to contemporary contexts.

As Sideman

Thigpen began his professional career as a sideman in New York City, joining the Cootie Williams Orchestra at the Savoy Ballroom from 1951 to 1952, where he contributed to several recording sessions that showcased the band's swing-era style blended with emerging bebop influences. These early experiences provided Thigpen with foundational ensemble playing skills before his military service interrupted his momentum. In the late 1950s, Thigpen aligned with pianist Billy Taylor's trio, appearing on notable albums such as My Fair Lady Loves Jazz (1957), which featured arrangements of tunes from the Broadway musical My Fair Lady conducted by Quincy Jones, highlighting Thigpen's crisp, supportive drumming alongside Taylor's elegant piano and Earl May's bass. This period marked Thigpen's entry into more prominent jazz circles, with additional Taylor recordings like The New Billy Taylor Trio (1957) and The Billy Taylor Touch (1957) demonstrating his ability to drive mid-tempo grooves with subtlety. From 1959 to 1966, Thigpen served as the drummer for the Oscar Peterson Trio alongside bassist Ray Brown, contributing to roughly 50 albums that captured the group's virtuosic swing and dynamic interplay during extensive touring and studio work. Key releases include Night Train (1963), known for its high-energy renditions of standards like the title track, and We Get Requests (1964), which showcased popular requests such as "The "C" Jam Blues" with Thigpen's precise brushwork and rim shots enhancing the trio's telepathic precision. Other highlights from this era encompass The Sound of the Trio (1961), a live recording from Chicago's London House emphasizing Thigpen's role in maintaining rhythmic momentum on tracks like "Tricrotism," and Something Warm (1961), where his understated pulse supported Peterson's lyrical explorations. Following his tenure with Peterson, Thigpen toured and recorded with vocalist from 1966 to 1972, providing steady, unobtrusive support on her sophisticated interpretations of the . Notable albums include (1969) captured at , underscoring Thigpen's adaptability in both trio and settings with Tommy Flanagan on piano. Thigpen's sideman contributions extended to diverse artists across decades, amassing over 200 credits in total. In the mid-1960s, he appeared on Jaki Byard's Freedom Together (1966), where his drumming complemented Byard's eclectic piano on civil rights-inspired themes like "Tillie Butterball." Later, during his European residency, Thigpen collaborated with pianist on (1975), a session reflecting the jazz scene in with Drew's blues-inflected playing. In the 1980s, he worked with violinist Svend Asmussen on albums like Prize Winners (1978, Matrix Records) and Svend Asmussen and Friends (1989, recorded as At Slukafter), blending Scandinavian folk elements with standards and featuring Thigpen's elegant timekeeping alongside on bass. His later catalog includes unheralded 1990s Danish compilations and reissues, such as contributions to European anthologies that revisited his trio-era sound.

References

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  41. https://www.allmusic.com/album/my-fair-lady-loves-jazz-mw0000110614
  42. https://www.jazzdisco.org/oscar-peterson/discography/
  43. https://www.allmusic.com/album/the-sound-of-the-trio-mw0000672397
  44. https://www.mps-music.com/releases/sunshine-of-your-love/
  45. https://www.jazzdisco.org/fantasy-records/catalog-ojc-1800-series/
  46. https://www.discogs.com/artist/254400-Ed-Thigpen
  47. https://rateyourmusic.com/artist/ed-thigpen/credits/
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