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Jerry Hey
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Jerry Hey
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Jerry Hey (born 1950) is an American trumpeter, flugelhornist, arranger (horns and strings), orchestrator and session musician who has played on hundreds of commercial recordings,[1][2] including Michael Jackson's Thriller,[3] "Rock with You", "Don’t Stop ‘Til You Get Enough", "Workin’ Day and Night"[4] and the flugelhorn solo on Dan Fogelberg's hit "Longer". He has performed with artists such as George Benson, Nik Kershaw, Al Jarreau, Barbra Streisand, Donna Summer, Earth, Wind & Fire, Whitney Houston, Frank Sinatra, George Duke, Lionel Richie, Rufus and Chaka Khan, Natalie Cole, Aretha Franklin, Patti Austin, Toshiki Kadomatsu, and Yumi Matsutoya.[5][6][7]

He is known as the trumpeter and arranger for Seawind, whose other members have included Gary Grant, Larry Williams and Bill Reichenbach Jr.

Biography

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Jerry Hey was born in 1950 in Dixon, Illinois, to a family of musicians. His mother was a pianist and his father was a trombonist; two older brothers played trombone and tuba. After completing high school, Hey attended the National Music Camp for two summers. While in college, Hey studied under Bill Adam at Indiana University.[8][7]

Hey then relocated to Hawaii to become a member of the band Seawind.[9][7]

In 1976, Hey moved to Los Angeles with Seawind, which then recorded two albums for CTI Records under the direction of Harvey Mason.[9][6]

Gary Grant, who had already been in the city for a year when Hey arrived and was a well-known session player, invited Hey to join him on recording sessions, which helped to launch his career as a studio musician.[9][7]

Soon after arriving in LA, Quincy Jones got in touch with Hey to ask him to play and arrange for Jones's album I Heard That!!. Following that session, Hey and his associates were invited to perform on every one of Quincy's recordings.[9][7] Hey later worked as a musician and arranger with David Foster.[5][6][10]

Hey is the uncle of American keyboardist, songwriter, producer, arranger and musical director Henry Hey.

He composed and arranged the song "Jedi Rocks" for the 1997 Special Edition re-release of Return of the Jedi. He co-produced four songs on Lisa Stansfield's 2014 album Seven.

Hey has received 6 Grammy Awards and 11 nominations.[11]

Awards

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Grammy Awards

[edit]

Source:[12]

Discography

[edit]
With Earth, Wind & Fire

With Billy Crystal & Christopher Guest

  • "I Hate When That Happens" (A&M Records, 1985)

With The Brothers Johnson

With Luis Miguel

With Lalo Schifrin

With Aretha Franklin

With Elton John

With Olivia Newton-John

With Bob Seger

With Kenny Rogers

With Syreeta Wright

With Joe Cocker

With Cher

With Dionne Warwick

With Cheryl Lynn

With Celine Dion

With Jon Anderson

With Patti LaBelle

With Shelby Lynne

With Thelma Houston

With Selena

With Barry Manilow

With Taylor Dayne

With Patti Austin

With Michael Bolton

With Jeffrey Osborne

With Lisa Stansfield

With Anita Baker

With Stevie Nicks

With Christopher Cross

With Dan Fogelberg

With Tanya Tucker

With David Crosby

With Kenny Loggins

With Minnie Riperton

With Steve Cropper

  • Playin' My Thang (MCA, 1981)

With Brenda Russell

With Stephanie Mills

With Joni Mitchell

With Melissa Manchester

With Jim Messina

  • Messina (Warner Bros., 1981)

With Deniece Williams

  • Hot on the Trail (Columbia, 1986)
  • As Good as It Gets (Columbia, 1988)
  • Special Love (Sparrow, 1989)

With Teena Marie

With Peter Allen

  • Bi-Coastal (A&M, 1980)
  • Not The Boy Next Door (Arista, 1983)

With Beth Hart

With Donna Summer

With Paul Anka

  • The Music Man (United Artists, 1976)

With Chaka Khan

With Barry Mann

  • Barry Mann (Casablanca, 1980)

With Melanie C

With Sheena Easton

With John Mayer

With Dolly Parton

With Boz Scaggs

With Randy Crawford

  • Windsong (Warner Bros., 1982)

With Rickie Lee Jones

With Carole Bayer Sager

  • ...Too (Elektra, 1978)
  • Sometimes Late at Night (The Boardwalk Entertainment, 1981)

With Paul McCartney

With Michael McDonald

With Michael Jackson

With Desmond Child

With Betty Wright

  • Betty Wright (Epic, 1981)

With Roberta Flack

With Richard Marx

With Mika

With Philip Bailey

With Rod Stewart

With Randy Newman

With Natalie Cole

With B.B. King

With Peter Cetera

With Nicolette Larson

With Barbra Streisand

With Jennifer Warnes

With Rob Thomas

With Laura Branigan

With Jimmy Webb

With Al Jarreau

With Jennifer Holliday

With James Last Band

  • Seduction (Polydor, 1980)

With George Benson

With Livingston Taylor

With Neil Diamond

With Michael Franks

With Atkins

  • Atkins (also does the horn section on Keep Trying) (Warner Bros., 1982)

With Darren Kramer Organization

  • The Darren Kramer Organization (1998)

With Tom Petty and the Heartbreakers

With Miho Nakayama

With Pauline Wilson

  • Tribute (McClees Corp., 2001)

With The Square/T-SQUARE

With Dave Weckl/Dave Weckl Band

  • Master Plan (GRP, 1990)
  • Live (and very plugged in) (Stretch, 2003)

With David Foster

  • David Foster (Atlantic, 1986)
  • The Christmas Album (Interscope Records, 1995)

With Wilson Phillips

With TM Network

With KC and the Sunshine Band

With Pleasure

With Patrice Rushen

Soundtracks

[edit]

As sideman on soundtrack recordings[13][14][15]

References

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

Jerry Hey

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Jerry Hey (born 1950) is an American trumpeter, flugelhornist, horn and string arranger, orchestrator, and who has performed on and contributed to hundreds of commercial recordings across pop, , R&B, and film soundtracks. Renowned for his versatile horn arrangements and trumpet solos, Hey is particularly celebrated for his work on Michael Jackson's albums (1979) and Thriller (1982), including tracks like "Rock with You," "Don't Stop 'Til You Get Enough," "Workin' Day and Night," and the title track of Thriller. A six-time Grammy Award winner, he has collaborated extensively with artists such as , , , , , and , shaping the sound of late-20th-century popular music. Born in , to a family of musicians, Hey studied with member Charlie Geyer and later at under William Adam, honing his skills before launching a professional career in the . He first gained prominence as a member of the band , formed in , which released several albums on CTI, Horizon, and and blended fusion, pop, and R&B elements. Relocating to in the late , Hey became a staple of the city's session scene, working closely with producer on landmark projects and earning acclaim for his meticulous arrangements that enhanced vocal performances and instrumental tracks alike. Hey's film contributions include horn arrangements and performances for soundtracks such as (1983), for which he shared a Grammy Award for Best Album of Original Score Written for a Motion Picture or Television Special, as well as trilogy, (1994), (2006), and The Proposal (2009). Among his other Grammy wins are Best Instrumental Arrangement in 1981 for "Dinorah, Dinorah" by , Best Instrumental Arrangement Accompanying Vocalist(s) in 1982 for "Ai No Corrida" by , Best Pop Instrumental Performance in 1984 for "Being with You" by , and Best Instrumental Arrangement in 1991. With over five decades in the industry, Hey continues to produce and arrange music, maintaining his status as a pivotal figure in contemporary horn sections and studio .

Early Life and Education

Family Background

Jerry Hey was born in 1950 in , to a family deeply immersed in music. His mother was a , and his father was a trombonist influenced by jazz musicians such as , making music an integral part of the household environment. Hey's two older brothers, aged ten and eight years his senior, further reinforced this musical atmosphere; one played trombone, while the other played . From a young age, Hey was exposed to a rich array of music through family performances and access to instruments, which sparked his lifelong passion for the art form. At around eight years old, he first encountered via his father's record of Clifford Brown's , an experience that profoundly impacted him. By age eleven, his brothers introduced him to seminal albums, including Cannonball Adderley's works and John Coltrane's , fostering an early appreciation for and complex harmonies. Hey is the uncle of pianist, composer, and producer Henry Hey, who has credited the musical lineage of their family—including Jerry's influence—as a key factor in his own development. This familial foundation in music paved the way for Hey's subsequent formal training at .

Musical Training and Education

During high school, Hey took trumpet lessons from Chicago Symphony Orchestra member Charlie Geyer and attended the National Music Camp at Interlochen for two summers. Following high school, Hey attended , where he studied under the renowned pedagogue William "Bill" for two and a half years. , a emeritus at the , emphasized foundational skills in sound production and air acceleration, which became central to Hey's technical development. During his college years, Hey focused on classical technique alongside , balancing rigorous pedagogical exercises with creative exploration in settings. This dual emphasis honed his versatility, as Adam's mentorship encouraged not only precision in classical execution but also the improvisational freedom essential for contexts. Hey engaged in early performances and skill-building through collaborations with fellow students, including forming informal bands that allowed him to apply his growing technical and improvisational abilities in live settings. These experiences, rooted in Adam's guidance, equipped him with the proficiency needed to transition into professional and fusion environments.

Career

Early Career with Seawind

Jerry Hey, having refined his trumpet technique during studies at , moved to in the early 1970s, where he co-founded the jazz-fusion band . Originally formed in 1974 under the name , the group drew from 's vibrant music scene to blend , R&B, and elements. Key collaborators included saxophonists and Kim Hutchcroft, vocalist Pauline Wilson, keyboardist Bob Wilson, guitarist Bud Nuanez, and bassist Ken Wild, with Hey serving as lead trumpeter and arranger. The band also worked closely with trumpeter Gary Grant, who shared stages and sessions with Hey during this formative period in . Seeking expanded opportunities, relocated to in 1976 at the invitation of drummer , who had discovered the group and advocated for their signing to . This move marked a pivotal shift, allowing the ensemble to transition from local performances to professional studio work amid the bustling West Coast jazz-fusion scene. Hey's multifaceted role—encompassing performance, horn arrangements, and production input—became central to the band's evolving sound. The band's debut album, , arrived in 1976 on , showcasing their polished fusion style through tracks that highlighted Hey's intricate horn lines and the group's tight rhythmic interplay. A follow-up, Window of a Child, followed in 1977 on the same label, further solidifying their reputation with sophisticated arrangements that fused improvisational with accessible grooves. These early releases established Seawind's signature aesthetic, emphasizing Hey's brass leadership and the band's cohesive ensemble dynamic.

Major Collaborations and Productions

Jerry Hey's transition from his work with opened doors to high-profile collaborations in the pop, jazz, and R&B scenes, where he established himself as a premier horn arranger and session trumpeter. One of his most iconic contributions came on Michael Jackson's blockbuster album Thriller (1982), where Hey provided trumpet performances and horn arrangements for key tracks, including the horn arrangements on "Wanna Be Startin' Somethin'," "," and "." These arrangements, crafted under producer , helped define the album's dynamic sound and contributed to its status as one of the best-selling records of all time. Hey's long-term partnership with spanned multiple projects, beginning prominently with Earth, Wind & Fire's I Am (1979), where he arranged horns that amplified the group's signature fusion of funk, , and . This collaboration extended to Jones's own The Dude (1981), on which Hey not only played but also handled horn, , and arrangements, blending sophisticated with grooves on tracks featuring artists like and . In the late 1970s, Hey delivered a memorable solo on Dan Fogelberg's ballad from the album Phoenix (1979), adding a warm, lyrical texture that complemented the song's romantic introspection and helped it reach number one on the Hot 100. Throughout the and , Hey's production and arrangement work flourished with artists like , for whom he crafted horn sections on albums such as This Time (1980) and the self-titled Jarreau (1983), enhancing Jarreau's scat-infused jazz-pop with vibrant ensembles. He also collaborated extensively with producer , contributing trumpet and arrangements to projects including Foster's early production on Bill Champlin's solo album Runaway (1981), which marked a pivotal moment in Foster's rise. Similarly, Hey arranged horns for Barbra Streisand's (1985), infusing Broadway standards with lush, orchestral that supported her interpretive vocal style. In later years, Hey returned to production duties, co-producing several tracks on Lisa Stansfield's album Seven (2014), including "Can't Dance" and "So Be It," where his expertise helped blend soulful R&B with modern electronic elements. These collaborations underscore Hey's versatility and enduring influence across genres.

Film and Soundtrack Work

Jerry Hey's extensive collaborations with producer provided a crucial entry point into film and television scoring during the , leveraging his expertise in horn arrangements and trumpet performance to contribute to high-profile visual media projects. One of Hey's notable contributions to film soundtracks came through his horn arrangements on the 1985 score for The Color Purple, directed by Steven Spielberg, where he orchestrated brass sections for tracks including "Three on the Road (Celie's Blues)" and other instrumental pieces, enhancing the film's emotional depth under Jones's conduction. His work integrated seamlessly with the ensemble featuring musicians like Red Callender on bass and Marshall Royal on clarinet, blending jazz influences with cinematic storytelling. Hey also provided horn arrangements for the soundtracks of (1983), the trilogy (1985–1990), (1994), (2006), and The Proposal (2009). In 1997, Hey composed and arranged the upbeat cantina song "Jedi Rocks" for the Special Edition re-release of Star Wars: Episode VI - , replacing the original "Lapti Nek" to modernize the Max Rebo Band's performance in Jabba's palace scene. Recorded with contributions from , the track featured Hey's vibrant horn elements, capturing a funky, alien vibe that extended the scene's runtime and revitalized the franchise's musical palette. Hey also performed trumpet on various film and television soundtracks throughout the decade, including sessions for the Star Wars saga and the popular 1980s series CHiPs. On CHiPs Volume 3 (Season Four, 1980-81), he provided trumpet alongside Larry Hall, supporting Alan Silvestri's dynamic cues that underscored the show's high-speed action sequences. These performances exemplified Hey's versatility in blending brass with orchestral elements to heighten dramatic tension in visual media.

Awards and Recognition

Grammy Awards

Jerry Hey has earned six and eleven nominations throughout his career, with his achievements concentrated in categories recognizing excellence in arrangements, accompanying vocals, and original scores for visual media. These honors reflect his pivotal role in shaping horn and arrangements for major artists and productions during the and . His Grammy wins are as follows:
YearCategoryWorkDetails
1981Best Instrumental Arrangement"Dinorah, Dinorah"Shared with Quincy Jones; from George Benson's album Give Me the Night.
1982Best Instrumental Arrangement Accompanying Vocal(s)"Ai No Corrida"Shared with Quincy Jones; from Quincy Jones's album The Dude.
1983Best Instrumental Arrangement Accompanying Vocal(s)"Rosanna"Shared with David Paich and Jeff Porcaro; performed by Toto.
1984Best Arrangement, Instrumental and Vocals"Step by Step"Shared with Tom Canning, Jay Graydon, and Al Jarreau; from Al Jarreau's album Jarreau.
1984Best Album of Original Score Written for a Motion Picture or Television SpecialFlashdanceShared with Giorgio Moroder, Keith Forsey, Harold Faltermeyer, Michael Boddicker, Phil Ramone, Michael Sembello, Kim Carnes, Duane Hitchings, Craig Krampf, Ronald Magness, and Dennis Matkosky.
1991Best Arrangement on an Instrumental"Birdland"Shared with Quincy Jones, Rod Temperton, and Ian Prince; from Quincy Jones's album Back on the Block.
Among his nominations, notable examples include a 1995 nod in the Best Instrumental Arrangement Accompanying Vocal(s) category for "Ability to Swing" by , shared with Bob James, , and . In 2010, he was nominated for Best Instrumental Arrangement Accompanying Vocalist(s) for "," arranged with for Seal. These recognitions underscore Hey's enduring impact on , pop, and R&B arrangements, often in partnership with figures like .

Other Honors

Jerry Hey's contributions to trumpet performance and music arrangement have earned him notable recognition from professional guilds and educational institutions. The International Trumpet Guild featured Hey prominently in its journal through the article "Jerry Hey and Gary Grant: Legends of the Los Angeles Recording Studios" by Del Lyren and , celebrating his mastery of trumpet playing and innovative horn arranging across hundreds of influential recordings. As a distinguished alumnus of , Hey is honored in the university's official database of award honorees for his lifelong achievements in musical excellence. Within communities, Hey received acclaim through a dedicated 2016 profile interview with the Music Academy, where he was highlighted as a pivotal arranger and performer shaping pop and fusion horn sections over decades. Hey's extensive partnerships, particularly with producer , have been retrospectively acknowledged in industry discussions, underscoring his shared role in landmark projects that blend jazz, pop, and orchestral elements.

Discography

Seawind Albums

Jerry Hey served as the lead trumpeter and horn arranger for , the band, on their studio albums. Seawind released several albums blending fusion, pop, and R&B, featuring Hey's prominent work.
  • Seawind (1976, CTI Records)
  • Windows and Walls (1979, Columbia Records)
  • Holdin' On (1980, Columbia Records)
Seawind members, including Hey, also contributed horns to other artists' albums, such as the Brothers Johnson's Blam! (1978, ), where Seawind's horns, led by Hey on and , added dynamic layers to the funk-driven sound. Hey co-arranged the horns alongside , contributing to tracks like "Ain't We Funkin' Now" and the title track "Blam!," which highlighted his bright solos and ensemble precision. Seawind's involvement deepened with the Brothers Johnson's Light Up the Night (1980, ), an that achieved significant commercial success, topping the R&B chart and reaching number five on the pop chart. Hey's trumpet and horn arrangements shone on hits like "Stomp!" and "Free," where his leads provided infectious energy to the upbeat rhythms, helping propel the record's crossover appeal. In the Brothers Johnson's (1981, ), Hey continued as horn arranger and trumpeter, infusing fusion-oriented tracks with vocal harmonies and intricate brass lines. Standouts such as "The Real Thing" and "" benefited from Seawind's seamless integration of horns into the evolving sound. The final major release featuring Seawind's core lineup was the Brothers Johnson's Blast! (1982, A&M Records), which emphasized Hey's horn sections in a more polished, synth-infused production. Tracks like the title song "Blast" and "80's" showcased his arranging prowess, with prominent trumpet features that added punch to the album's energy. Following Seawind's initial breakup in the mid-1980s, compilations and live recordings preserved the band's legacy, often highlighting Hey's trumpet contributions. Notable releases include the 1990 compilation Seawind on CTI Records, which collected key tracks from their early albums, and the 1997 reunion live album Seawind '97, capturing performances from Japan with Hey on trumpet. These efforts kept the group's fusion sound alive for new audiences.

Production and Arrangement Credits

Jerry Hey has contributed horn arrangements and production to numerous albums by prominent artists, showcasing his expertise in crafting dynamic brass sections and overall sonic textures. One of his most notable works is the horn arrangements on Michael Jackson's landmark album Thriller (1982), where he provided the brass for three tracks: "Wanna Be Startin' Somethin'," "Baby Be Mine," and "Thriller." These arrangements, featuring layered trumpet and horn lines, added a funky, energetic dimension to Quincy Jones's production, contributing to the album's massive commercial success. In the 1980s, Hey collaborated extensively with vocalists and , handling vocal and instrumental productions as well as horn arrangements. For Austin's self-titled album Patti Austin (1984), he arranged the horns and played trumpet and , enhancing tracks with sophisticated jazz-inflected brass that complemented her R&B style. Similarly, on Benson's Give Me the Night (1980), Hey's horn arrangements on several songs, including the title track, earned a Grammy for Best Instrumental Arrangement, blending and elements under Quincy Jones's production. His work extended to Benson's 20/20 (1985), where he continued providing horn arrangements that supported the album's pop-jazz fusion. Hey also played a key role on Al Jarreau's Heaven and Earth (1992), contributing on the opening track "What You Do to Me," which helped define the album's contemporary sound amid its Grammy-winning production by and . Post-2000, Hey has remained active in contemporary , providing arrangements for projects like M. Sasaji & the L.A. Allstars' Birdland (2000), where he served as conductor and arranger, reinterpreting standards with a modern ensemble. He followed with similar contributions on their (2002), emphasizing his enduring influence in the through precise, vibrant horn sections. In these later works, Hey occasionally incorporated his performances to add personal flair to the arrangements.

Soundtrack Contributions

Jerry Hey's contributions to soundtracks encompass film scores, television specials, and related media, where he frequently provided horn arrangements, trumpet performances, and occasional compositions, often in collaboration with producer on cinematic projects. His work emphasized brass sections that added rhythmic and melodic depth to ensemble performances. A prominent example is his composition of "Jedi Rocks," the upbeat replacement track for the in the 1997 of Star Wars: Episode VI - Return of the Jedi, which he also arranged and which features his playing. This piece, performed by a studio ensemble including members of the horn section, replaced the original "Lapti Nek" and extended the scene's musical energy in the re-release. For the 1985 film The Color Purple, directed by Steven Spielberg, Hey acted as horn arranger and orchestrator on the original score led by Quincy Jones, contributing to the soundtrack's blend of orchestral and R&B elements across tracks like "Main Title" and "Celie Shaves Mr." His arrangements helped underscore the film's emotional narrative through layered brass textures. Hey supplied horn sections for 1980s specials, notably providing brass arrangements and trumpet for performances in Motown 25: Yesterday, Today, Forever (1983). Post-2000, Hey's credits extended to re-release media and ancillary soundtracks, such as and horn arrangements on compilations tied to film re-editions and adaptations drawing from classic scores, including contributions to soundtrack collections reissued in the 2010s.

References

  1. https://www.imdb.com/name/nm0382154/
  2. https://connselmer.com/artists/jerry-hey
  3. https://www.grammy.com/artists/jerry-hey/3877
  4. https://www.discogs.com/artist/194498-Seawind
  5. https://www.imdb.com/name/nm0382154/awards/
  6. https://www.grammy.com/awards/26th-annual-grammy-awards
  7. https://honorsandawards.iu.edu/awards/honoree/8395.html
  8. https://daily.redbullmusicacademy.com/2016/05/interview-jerry-hey/
  9. https://www.allaboutjazz.com/henry-hey-learning-from-the-stranger-things-henry-hey
  10. https://hip-bonemusic.com/blogs/bone2pick/jerry-hey
  11. https://www.anthonyplog.com/podcasts/jerry-hey
  12. https://mouthpieceonline.com/2018/03/19/trumpet-artist-profile-jerry-hey/
  13. https://www.trumpetguild.org/journal/category/21-jerry-hey-gary-grant?download=257:jerry-hey-gary-grant
  14. https://jazzrocksoul.com/artists/seawind/
  15. http://albumlinernotes.com/Thriller__1982_.html
  16. https://www.discogs.com/release/2795094-Michael-Jackson-Thriller
  17. https://www.discogs.com/release/1288438-Earth-Wind-Fire-%25E3%2582%25A2%25E3%2583%25BC%25E3%2582%25B9%25E3%2582%25A6%25E3%2582%25A3%25E3%2583%25B3%25E3%2583%2589%25E3%2583%2595%25E3%2582%25A1%25E3%2582%25A4%25E3%2582%25A2%25E3%2583%25BC-I-Am-%25E9%25BB%2599%25E7%25A4%25BA%25E9%258C%25B2
  18. https://www.discogs.com/release/320334-Quincy-Jones-The-Dude
  19. https://www.sessiondays.com/2018/09/1979-dan-fogelberg-longer-us2-uk59/
  20. https://www.discogs.com/release/5691725-Al-Jarreau-Jarreau
  21. https://www.barbra-archives.info/broadway-album-1985
  22. https://www.discogs.com/release/5658456-Lisa-Stansfield-Seven
  23. https://www.discogs.com/release/1559273-Quincy-Jones-The-Color-Purple-Original-Motion-Picture-Sound-Track
  24. https://www.discogs.com/release/1044586-John-Williams-4-Jerry-Hey-The-Max-Rebo-Band-Jedi-Rocks
  25. https://www.rodny.cz/?id=r3585823&lng=1
  26. https://grammy.com/artists/jerry-hey/3877
  27. https://grammy.com/awards/23rd-annual-grammy-awards
  28. https://grammy.com/awards/24th-annual-grammy-awards
  29. https://grammy.com/awards/25th-annual-grammy-awards
  30. https://www.imdb.com/event/ev0000301/1984/1/
  31. https://grammy.com/awards/26th-annual-grammy-awards
  32. https://grammy.com/awards/33rd-annual-grammy-awards
  33. https://grammy.com/awards/37th-annual-grammy-awards
  34. https://grammy.com/awards/52nd-annual-grammy-awards
  35. https://www.trumpetguild.org/resources/special-offerings/file/257-jerry-hey-gary-grant
  36. https://www.discogs.com/release/10616712-Brothers-Johnson-Blam
  37. https://www.onamrecords.com/artists/brothers-johnson/discography/united-states/a-m-records/sp-4714/blam
  38. https://www.officialcharts.com/artist/16345/brothers-johnson/
  39. https://seawindjazz.com/CDS.HTM
  40. https://www.discogs.com/release/5817337-Patti-Austin-Patti-Austin
  41. https://www.discogs.com/release/12424588-George-Benson-Give-Me-The-Night
  42. https://www.discogs.com/release/3131652-Al-Jarreau-Heaven-And-Earth
  43. https://www.discogs.com/master/1242809-M-Sasaji-LA-Allstars-Birdland
  44. https://starwars.fandom.com/wiki/Jedi_Rocks/Legends
  45. https://vgmdb.net/artist/18861
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