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Mike Longo
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Michael Josef Longo (March 19, 1937 – March 22, 2020) was an American jazz pianist, composer, and author.

Early life

[edit]

Longo was born in Cincinnati, Ohio to parents who had a musical background. His father played bass, his mother played organ at church, and his music training began at a young age. Mike recalled seeing Sugar Chile Robinson playing boogie woogie piano: "The first time I saw him, man, he knocked me out. I must have been three or four years old. He played after the Count Basie show, so I went home and started picking out boogie woogie bass lines."[1] His parents took him for formal lessons at the Cincinnati Conservatory of Music at four. He moved to Fort Lauderdale, Florida soon after. At the age of 12, he won a local talent contest.[citation needed]

Career

[edit]

Longo's career began in his father's band, but later Cannonball Adderley helped him get gigs of his own. Their working relationship pre-dated Adderley's emergence as a band leader. Adderley approached the teenaged Longo because he needed a pianist at his church. At this time the town was largely segregated, so the white Longo playing at a black church was unusual. When this led to recordings with Adderley in the mid-1950s, Longo was too young to go to clubs with him. Longo played at Porky's, which was later portrayed in the movie.[1] He would go on to receive his Bachelor of Music degree from Western Kentucky University.[citation needed]

Dizzy Gillespie heard Longo at the Metropole. "I was playing downstairs with Red Allen, and Dizzy was playing upstairs with his band. So every time he wanted to go outside for a break, he had to come down the stairs and pass us on the way out. There was a joint across the street called the Copper Rail, which was a soul food restaurant and a bar where the musicians from the Metropole would all hang out. Soon I learned Dizzy mentioned me in an interview in International Musician, the musician union's magazine, when he was asked about any promising young musicians he'd heard."[1] Longo was a fan of Oscar Peterson from a young age and he studied with the pianist from 1961 to 1962. "In terms of technique, touch, I was playing with locked wrists and too much arm technique. The main thing I got from Peterson was how to play piano and how to be a jazz pianist- textures, voicings, touch, time, conception, tone on the instrument."[1]

In the 1960s, Longo began to lead the Mike Longo Trio, which would remain active for the next 42 years. Gillespie was playing at the Metropole again and Longo, depressed after divorcing his first wife, had just gained a gig at Embers West playing with Roy Eldridge. Eldridge brought Gillespie to see Longo playing with Paul Chambers. Gillespie hired Longo the next day.[1] Longo became musical director for the Dizzy Gillespie Quintet and later Gillespie chose him to be the pianist for the Dizzy Gillespie All-Star Band. From 1966 onward, his music career would be linked to Gillespie. In 1993, Longo was with Gillespie on the night he died and later delivered a eulogy at his funeral.[citation needed]

Longo performed at weekly jazz sessions held at the Baháʼí center in honor of Gillespie,[2] a tradition he helped start.[3] Like Gillespie, he was a member of the Baháʼí Faith.[4] Longo also taught a master class[5] to upcoming jazz musicians including Adam Rafferty.[1] Longo's big band, the New York State of the Art Jazz Ensemble, would play at the center intermittently and provide upcoming musicians a chance to learn on stage and the audience receives a jazz experience at reasonable cost.[5] A big part of Mike Longo's mission was to re-establish the apprenticeship relationship in teaching jazz. He said "I know jazz education is an important thing and I know that the field means well, but there seems to be a trend in that field to teach jazz where people are actually copying off recordings instead of actually learning to play jazz. The apprenticeship aspect of jazz has always been the way it has evolved."[6]

Awards and honors

[edit]

Mike Longo received a scholarship from the Ft. Lauderdale Symphony Orchestra in 1955, a Downbeat Hall of Fame Scholarship in 1959, and a National Endowment for the Arts Grant in 1972. He was inducted into Western Kentucky University's Wall of Fame in 2002.[7]

Death

[edit]

Longo died in Manhattan on March 22, 2020, three days after his 83rd birthday, from complications of COVID-19.[8][9] He was survived by his wife of 32 years, Dorothy Longo.[9]

Discography

[edit]

As leader/co-leader

[edit]
Year recorded Title Label Personnel/Notes
1962? A Jazz Portrait of Funny Girl Clamike Trio, with Herman Wright (bass), Roy Brooks (drums)[10]
1972 The Awakening Mainstream
1972 Matrix Mainstream
1974 Funkia Groove Merchant
1974 900 Shares of the Blues Groove Merchant
1976 Talk with the Spirits Pablo Septet, with Virgil Jones (trumpet), Harold Vick (tenor sax), George Davis (guitar), Bob Cranshaw (bass), Mickey Roker (drums), Dizzy Gillespie (congas, vocals)[11]
1977 Jazzberry Patch JPB
1978 New York '78 Consolidated Artists With big band; released 1990s[12]
1981 Solo Recital Consolidated Artists[10]
1990 The Earth Is But One Country Consolidated Artists[10]
1993 First Impressions Consolidated Artists
1997 I Miss You John Consolidated Artists[10]
1998 Dawn of a New Day Consolidated Artists[10]
2000 Explosion Consolidated Artists With the New York State of the Art Jazz Ensemble[10]
2001 Still Swingin' Consolidated Artists Trio, with Ben Brown (bass), Ray Mosca (drums)[13]
2001 Aftermath Consolidated Artists With big band[10]
2002 Live: The Detroit International Jazz Festival Consolidated Artists Trio, with Santi Debriano (bass), Ray Mosca (drums); in concert[14]
2004 Oasis Consolidated Artists With big band[10]
2007 Float Like a Butterfly Consolidated Artists Trio, with Paul West (bass), Jimmy Wormworth (drums)[10]
2009 Sting Like a Bee Consolidated Artists Trio, with Bob Cranshaw (bass), Lewis Nash (drums)[10]
2011 To My Surprise Consolidated Artists Six tracks trio, with Bob Cranshaw (bass), Lewis Nash (drums); six tracks quintet, with Lance Bryant (tenor sax), Jimmy Owens (trumpet) added[15]
2012 A Celebration of Diz and Miles Consolidated Artists Trio, with Paul West (bass), Ray Mosca (drums); in concert[10][16]
2013 Celebrates Oscar Peterson Consolidated Artists Trio, with Paul West (bass), Ray Mosca (drums); in concert[16]
2017 Only Time Will Tell Consolidated Artists Trio, with Paul West (bass), Lewis Nash (drums)[10]

As sideman

[edit]

With Dizzy Gillespie

With Lee Konitz

References

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

Mike Longo

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Mike Longo (March 19, 1937 – March 22, 2020) was an American jazz pianist, composer, arranger, bandleader, and educator whose career spanned nearly seven decades, most notably as the musical director for trumpeter Dizzy Gillespie's quintet and big band from the late 1960s until Gillespie's death in 1993. Born in Cincinnati, Ohio, into a musical family, Longo began playing piano at age four and turned professional at 15, performing with his father's dance band in Fort Lauderdale, Florida, and later gigging with Cannonball Adderley during high school. Longo pursued formal training, earning a in music from in 1959 and studying classical piano at the Cincinnati Conservatory of Music before spending six months at Oscar Peterson's Advanced School of Contemporary Music in in 1961. He collaborated early on with luminaries such as and Hal McIntyre, and after moving to in 1960, he quickly established himself in the scene, working with Henry "Red" Allen and , while turning down offers to join ensembles led by and . His breakthrough came in 1966 when Gillespie hired him as pianist and musical director, a role in which Longo arranged music, conducted the band, and contributed to landmark recordings and tours until the mid-1970s, with intermittent collaborations thereafter; he also worked extensively with saxophonist James Moody for over four decades. As a leader, Longo founded the 18-piece New York State of the Art Jazz Ensemble in 1998, releasing acclaimed albums on his own Consolidated Artists Productions (CAP) label, which he established in 1981 after starting the company as a publishing house in 1970. He composed works like the jazz suite A World of Gillespie (1980), performed by the Detroit Symphony Orchestra, and led various small groups, including a trio and a funky sextet. A dedicated educator, Longo authored ten books and produced four instructional DVDs on and rhythmic principles, teaching hundreds of students in and emphasizing unity and equality through music, themes reflected in his posthumously published The Rhythm of Unity (2023). Married to Dorothy Longo for 32 years, he continued performing until shortly before his death from at in at age 83.

Early life and education

Childhood and family background

Michael Josef Longo was born on March 19, 1937, in , , to Italian-American parents. His family had a strong musical heritage, with his father working as a in local amateur scenes and his mother serving as an organist and pianist at church; his sister also tap-danced. This environment provided Longo with early exposure to music, including classical influences through family involvement and attendance at performances by the . At age four, after being inspired by seeing with the Count Basie band, he began formal classical piano lessons at the Cincinnati Conservatory of Music, reflecting the household's emphasis on musical education. The family relocated to , at age 9, prompted by his father's produce business opportunities.

Early musical development

Longo began playing the piano at the age of three in his hometown of , Ohio, where he initially picked out melodies heard on the radio using the family instrument. At four, he enrolled in formal lessons at the Cincinnati Conservatory of Music, focusing on classical techniques under a structured curriculum. Following his family's relocation to , when he was still young, Longo continued practicing, gradually incorporating elements he had begun imitating independently from radio broadcasts and early recordings. His introduction to jazz came through self-directed exploration, drawing inspiration from radio performances and phonograph records of virtuosic pianists like and , whose technical prowess and improvisational flair shaped his budding style. A pivotal moment occurred in ninth grade when Longo attended a concert featuring Peterson, igniting a deep admiration that influenced his approach to harmonic complexity and swing. His family's musical inclinations, particularly his father's role as a , offered early exposure to playing and local scenes, fostering Longo's practical skills without formal jazz instruction at this stage. At age 15, Longo achieved his professional debut, performing with his father's club date band in the area, marking his entry into paid engagements. He soon expanded into the regional circuit, taking on early gigs in the and Fort Lauderdale vicinity with local bands, including tours along Florida's east coast "," where he honed his adaptability in high-energy, audience-driven settings.

Formal studies and key mentors

Longo pursued formal classical training after high school, earning a from the Fort Lauderdale in 1955 that supported his studies at , where he graduated in 1959 with a degree. This foundation in classical technique, honed through rigorous academic coursework, provided him with a strong technical base before transitioning to . In 1960, Longo relocated to New York City to seek advanced training in the vibrant jazz scene, where he immersed himself in the city's musical opportunities. Building on his early gigs in Florida as a foundation for this pursuit, he aimed to refine his skills amid professional influences. A pivotal mentorship came through private lessons with Oscar Peterson, whom Longo studied under for six months in 1961 at Peterson's Advanced School of Contemporary Music in Toronto. These intensive sessions, held four to five times weekly, focused on jazz piano technique, including touch, phrasing, and improvisation, with Longo crediting Peterson for teaching him "how to be a jazz pianist" by mastering subtleties of swing and harmonic sophistication. Longo also attended the Lenox School of Jazz during the summers of 1959 and 1960, an innovative program emphasizing modern jazz education under faculty like . There, he engaged with leading figures in the genre, including interactions with , whose earlier encouragement in had already sparked Longo's interest in ; at Lenox, Adderley's guidance further shaped Longo's approach to ensemble playing and phrasing.

Professional career

Initial gigs and sideman roles

Upon arriving in in 1960, Mike Longo quickly established himself as a sought-after accompanist for prominent vocalists, marking his entry into the professional scene. He toured as the pianist for Nancy Wilson, providing support during her performances and contributing to her sophisticated jazz-pop repertoire. This role extended to other esteemed singers, including Gloria Lynne, Joe Williams, Jimmy Witherspoon, and , with whom he worked steadily from 1961 to 1965, honing his skills in live settings across the Northeast. These engagements showcased Longo's versatility and solid rhythmic foundation, influenced by his six months studying at Oscar Peterson's Advanced School of Contemporary Music in in 1961, which emphasized precise technique and swing dynamics. Longo's sideman work also included intermission performances and house band duties at key New York venues, building his local reputation through consistent club appearances. At the Embers nightclub, he served as the intermission pianist, occasionally joining sets with visiting artists, while his own trio played residencies at spots like Basin Street East, The Hickory House, and Top of the Sixes. In 1965, he led the house band at Embers West, collaborating with a rotating cast of jazz luminaries in informal jam sessions that highlighted his improvisational prowess and ability to complement diverse styles. These Northeast club dates and small ensemble tours, often featuring his trio, allowed Longo to network within the tight-knit jazz community and refine his ensemble playing before transitioning to more prominent roles. His early contributions extended to recordings that underscored his growing profile as a featured . On Dizzy Gillespie's 1971 album Portrait of Jenny, Longo delivered a standout solo on the title track, contributing to the album's nomination for Best Jazz Performance by a Group at the and demonstrating his melodic sensitivity amid the ensemble. Such appearances solidified his reputation for reliable, inventive support work in both live and studio contexts during the mid-1960s.

Collaboration with Dizzy Gillespie

In 1966, Mike Longo joined 's quintet as the pianist following a performance where Gillespie heard him playing with trumpeter , marking the beginning of a pivotal five-year collaboration. Longo quickly expanded his role beyond , becoming the band's musical director by 1967, a position that encompassed a wide range of creative and logistical duties essential to the group's sound and operations. This tenure elevated Longo's profile in the jazz world, providing him with intensive immersion in traditions under one of the genre's architects. Longo's responsibilities included transcribing solos to preserve and adapt Gillespie's improvisational ideas, composing original charts and arrangements to refresh the band's repertoire, and leading rehearsals to ensure tight ensemble cohesion during their demanding schedule. These tasks not only supported Gillespie's visionary leadership but also honed Longo's skills as an arranger, allowing him to contribute materially that blended complexity with emerging influences. For instance, he penned the tune "Ding-a-Ling," which the band performed during a 1968 concert in . From 1966 to 1971, Longo toured internationally with Gillespie, performing across and in venues that showcased the quintet's dynamic energy to diverse audiences. These tours, characterized by non-stop travel and high-stakes shows, solidified the band's reputation and exposed Longo to global jazz scenes, influencing his later compositional approach. A highlight of this period was the 1967 live album Swing Low, Sweet Cadillac on , recorded at the Memory Lane club in , where Longo not only played piano but also contributed original compositions that added fresh layers to Gillespie's eclectic program of standards and Latin-infused tracks. The recording captured the quintet's vitality, with Longo's rhythmic support and melodic inventions complementing Gillespie and saxophonist James Moody.

Solo leadership and ensembles

Following his tenure with Dizzy Gillespie, Mike Longo launched his career as a bandleader with the 1972 album The Awakening on Mainstream Records, featuring a septet that included James Moody on alto saxophone and flute, Virgil Jones on trumpet, Curtis Fuller on trombone, Ron Carter on bass, Mickey Roker on drums, and Gillespie himself contributing congas. The record showcased Longo's emerging compositional voice through originals like the title track "The Awakening," which blended hard bop structures with electric piano-driven grooves and subtle fusion influences, signaling his evolution toward more experimental textures while retaining bebop swing. That same year, he released Matrix on the same label, further exploring small-group dynamics with a similar lineup, emphasizing intricate arrangements and improvisational freedom honed during his Gillespie years. In the 1970s, Longo formed various trios and sextets that toured clubs and festivals, often incorporating fusion and elements into frameworks, as heard on albums like Funkia (1974, Groove Merchant) and 900 Shares of the Blues (1975, Groove Merchant), the latter featuring on , on , George Davis on guitar, on bass, and on drums. These ensembles highlighted Longo's work in rhythmic, groove-oriented settings, with tracks like "Ocean of His Might" demonstrating his ability to fuse modal explorations and electric instrumentation for a vibrant, sound. His 1976 release Talk with the Spirits continued this trajectory in a quintet format with Harold Vick on , Virgil Jones on , Bob Cranshaw on bass, and on drums, where extended originals such as the title piece underscored his maturing style of spiritual jazz-inflected improvisation. Over the course of his career, Longo recorded more than 18 albums as a leader, spanning labels like Consolidated Artists Productions, with later works such as Solo Recital (1981) returning to intimate trio settings that emphasized unaccompanied and subtle ensemble interplay. His original compositions, including "The Awakening" and "The Proclamation," played a pivotal role in his stylistic development, bridging his foundations with broader fusions and serving as vehicles for his ensembles' collective expression.

Big band direction

In 1998, Mike Longo founded the New York State of the Art Jazz Ensemble, an 18-piece comprising some of New York's premier musicians. The ensemble specialized in Longo's arrangements of standards alongside his original compositions, blending traditions with expansive orchestral textures suited to the large-format instrumentation. These works emphasized contrapuntal lines, rhythmic propulsion, and melodic sophistication, drawing on Longo's experience as a and arranger to create dynamic charts that highlighted the band's virtuosity. The band debuted at New York's Birdland on June 23, 1999, marking a significant milestone in Longo's leadership of large ensembles. Subsequent performances included appearances at the Jersey Jazz Festival in 1998 and 1999, as well as regular engagements at the John Birks Gillespie Auditorium in , where the group delivered high-energy sets through the . These live shows showcased the ensemble's ability to interpret complex arrangements with precision and swing, often featuring guest artists and extending Longo's compositional reach into symphonic contexts. The New York State of the Art Jazz Ensemble gained international acclaim, notably being voted the #1 big band of the year in the Brazilian Jazz Poll around the turn of the millennium. This recognition underscored the band's global appeal and Longo's skill in crafting universally resonant jazz for large groups. Key recordings from this period include Explosion (2000, CAP Records), which spent 18 weeks on the Gavin airplay charts and highlighted explosive big band energy; Aftermath (2001, CAP Records), which topped the Brazilian Jazz Poll's list of the year's top 10 CDs; and Oasis (2004, CAP Records), peaking at #7 on the JazzWeek national chart. These albums captured the essence of Longo's big band direction, prioritizing innovative orchestration over rote revivalism while maintaining a commitment to jazz's improvisational core.

Teaching and contributions to jazz education

Mentorship and educational programs

Mike Longo served as a leading jazz educator in , renowned for his hands-on mentorship of emerging musicians who advanced to professional careers in the genre, teaching hundreds of students through private lessons and workshops. Among his notable students were guitarist Adam Rafferty, with whom he recorded albums like First Impressions (1997) and Blood, Sweat & Bebop (1999), and pianist John Austria, both of whom credited Longo's guidance in mastering fundamentals such as phrasing, rhythmic feel, and ensemble interplay. His teaching approach emphasized practical bandstand application over rote imitation, drawing from decades of professional experience to instill a deep understanding of 's rhythmic essence. Longo developed and led structured master classes and workshops focused on and rhythmic concepts, often held at universities and cultural centers to cultivate the next generation of jazz artists. These programs, which highlighted and groove inspired by his collaborations with , were interactive sessions designed to bridge theoretical knowledge with performative skill, and several were documented for broader educational dissemination. Through annual workshops and ongoing initiatives, he prioritized the traditional model, arguing it was vital for maintaining 's improvisational vitality amid shifting educational landscapes.

Publications and instructional media

Mike Longo authored a series of instructional books focused on techniques and improvisation, drawing from his experiences as a performer and educator. Notable titles include How To Sight Read And Other Syncopated Type Rhythms, which provides exercises for mastering complex rhythms essential to jazz phrasing, and The Technique for Creating Harmonic Melody for the Improviser, a step-by-step guide to developing melodic lines over chord changes. Other works encompass Developing the Left Hand for , emphasizing independent left-hand patterns, and Pedal Techniques for , exploring applications in improvisational contexts. Longo's contributions to jazz theory appear in his texts on chord voicings and scales, including Voicing and Voice Leading for the Contemporary Jazz Pianist, which details harmonic textures and transitions for modern jazz settings, and The Complete Jazz Scale Book with Fingerings in Twelve Keys, covering scales and modes with practical fingerings for pianists. These publications prioritize functional harmony and scalar applications derived from bebop traditions, aiding musicians in building sophisticated improvisations without relying on rote memorization. From 1993 to 1998, Longo hosted the program Jazz Perspectives in , a five-year series where he demonstrated concepts, interviewed musicians, and offered pedagogical insights to broaden public understanding of the genre. In addition to print media, Longo produced instructional videos, such as the DVD series The Rhythmic Nature of , which elucidates Dizzy Gillespie's rhythmic philosophies through demonstrations and exercises tailored for practitioners. These resources, distributed via his educational platforms, emphasize rhythmic precision and creative expression in performance.

Awards and honors

Jazz polls and nominations

Throughout his career, Mike Longo garnered recognition in prominent jazz polls and received notable nominations for his pianistic and leadership contributions. In the 2004 Brazilian Jazz Poll, he achieved the #2 ranking as Pianist of the Year and #2 as Composer of the Year, while his State of the Art Big Band was voted #1 Band of the Year. The album Portrait of Jenny by , featuring Longo on piano, was nominated in the Best Jazz Performance - Instrumental category at the in 1972. In 2006, Longo was honored with the Italian American Jazz Award for his enduring contributions to the genre. In the 2012 South American Jazz Poll, Longo placed 1st in the piano category for his album A Celebration of Diz and Miles. His 2007 album Still Swingin' with the Mike Longo Trio was voted #1 in the Jazz Station Awards.

Grants and special recognitions

In the mid-1950s, Longo received a scholarship from the Fort Lauderdale Symphony Orchestra to support his early classical piano studies in Florida. He also received the Downbeat Hall of Fame Scholarship in 1959. During the 1970s, he was awarded a grant from the in 1972 to fund composition projects, reflecting recognition of his emerging role as a and educator. Longo was endorsed as a Steinway Artist by , a distinction that acknowledged his pianistic excellence and accompanied his performances over several decades. In 2002, Longo was inducted into the Wall of Fame. In honor of his longtime collaboration with , a fellow Bahá'í, Longo initiated and led the weekly Jazz Tuesdays series starting in 2004 at the John Birks Gillespie Auditorium in the Bahá'í Center, where sessions paid tribute to Gillespie's legacy through live performances.

Later years and death

Ongoing performances and projects

In the 2010s, Mike Longo maintained active leadership of the New York State of the Art Jazz Ensemble, performing regularly with the at key New York venues and recording live sessions that captured their evolving sound. The ensemble's appearances included multiple sets at and its sister venue Mezzrow, such as duo performances with bassist Paul West in 2015, 2016, 2017, 2018, and 2019, showcasing Longo's work alongside intimate improvisations. Additionally, the trio featuring Longo on , Paul West on bass, and Ray Mosca on drums performed at Rockefeller University's Peggy Rockefeller Concerts on April 4, 2013, presenting a program of standards and originals in the university's historic setting. Longo also released notable albums during this period, including the live recording Live From New York! (2013) with the New York State of the Art Jazz Ensemble, which highlighted the band's dynamic arrangements and featured vocalist Ira Hawkins on select tracks, and Step On It (2014), a trio effort emphasizing rhythmic drive and melodic exploration. These releases underscored his commitment to both big band traditions and smaller ensemble formats, building on his earlier Gillespie collaborations. A significant ongoing project was Longo's role in the weekly Jazz Tuesdays sessions at the John Birks Gillespie Auditorium in the Bahá'í Center, a series he co-founded with his wife Dorothy in the early and hosted for over 16 years. These events, held in honor of —a fellow Bahá'í and Longo's longtime mentor—featured the State of the Art and guest artists, fostering a space for performance and education until Longo's passing. Performances there, such as the band's rendition of "My Favorite Things" in July 2018, exemplified the sustained vitality of this initiative.

Illness and passing

In the final months of his life, Mike Longo continued performing and leading ensembles despite underlying health issues, but his condition deteriorated rapidly in early 2020 amid the emerging . He was admitted to in on March 17, 2020, after testing positive for the virus, which compromised his health given pre-existing medical conditions. Longo passed away on March 22, 2020, at the age of 83, becoming one of the first prominent American jazz musicians to die from complications. His wife of 32 years, Dorothy Longo, who had also tested positive for the virus and was in self-quarantine, announced his death and confirmed the cause in statements to media outlets. The community mourned Longo's loss with widespread tributes highlighting his enduring influence as a performer, educator, and Gillespie collaborator. Colleagues from institutions like , where Longo had taught, joined musicians such as saxophonist Bob Magnuson, who recalled, "For 25 years he allowed me into his wonderful world… Nobody knew Dizzy’s stuff the way Longo did," and guitarist Adam Rafferty, who described him as "my beloved guru and second father… a beacon of truth and light." Matthew Snyder, a former student and colleague, praised Longo's musical depth: "He was simultaneously very earthy and also had the highest possible level of harmony and melodicism and complexity in his musical conception." Following his death, Longo's memoir The Rhythm of Unity: A Jazz Musician's Lifelong Journey Beyond Black and White, co-completed by Dorothy Longo, was published on March 22, 2023, exploring themes of music, , and racial unity. No public details emerged regarding arrangements or formal memorials at the time, though the outpouring of remembrances underscored Longo's lasting impact on education and performance.

Discography

As leader or co-leader

Mike Longo recorded more than 19 albums as a leader or co-leader over the course of his career, beginning with his debut in the early 1960s and continuing through the 2010s on his own Consolidated Artists Productions (CAP) label. While serving as musical director for Dizzy Gillespie's groups from 1966 to 1975, Longo contributed to shared tracks on several Gillespie recordings prior to 1971, though no full co-led albums emerged from their collaboration during that period. His leadership discography reflects influences from the Gillespie era, blending bebop foundations with funk, fusion, and big band elements across small groups, trios, and his New York State of the Art Jazz Ensemble. The following table catalogs his primary releases as leader or co-leader, compiled chronologically from discography databases; notable reissues under his name include digital and CD editions of early 1970s titles like The Awakening (reissued 2006 on Reel To Real Records) and Matrix (reissued 2012 on Groove Merchant), as well as multiple CAP catalog updates through 2018, such as expanded editions of Oasis (2005 reissue) and Float Like a Butterfly (2008 reissue).
YearTitleLabelNotes
1962A Jazz Portrait of Funny GirlClamike RecordsLeader; trio with Herman Wright (bass) and Roy Brooks (drums)
1972The AwakeningMainstream RecordsLeader; electric piano-focused jazz-funk
1972MatrixMainstream RecordsLeader; features original compositions
1974FunkiaGroove MerchantLeader; funky sextet session
1975900 Shares of the BluesGroove MerchantLeader; blues-infused jazz
1976Talk with the SpiritsPablo RecordsLeader; spiritual jazz explorations
1981Solo RecitalConsolidated Artists Productions (CAP)Leader; solo piano
1990The Earth Is But One CountryCAPLeader; thematic suite
1993First ImpressionsCAPCo-leader with Adam Rafferty; guitar-piano trio
1997I Miss You JohnCAPLeader; tribute to Dizzy Gillespie
1998Dawn of a New DayCAPLeader; post-bop trio
2000ExplosionCAPLeader with New York State of the Art Jazz Ensemble; big band
2001AftermathCAPLeader with New York State of the Art Jazz Ensemble; big band arrangements
2004OasisCAPLeader with New York State of the Art Jazz Ensemble; includes originals and standards
2007Float Like a ButterflyCAPLeader; trio with Paul West (bass) and Jimmy Wormworth (drums)
2009Sting Like a BeeCAPLeader; trio with Bob Cranshaw (bass) and Lewis Nash (drums)
2011To My SurpriseCAPLeader; small group
2012A Celebration of Diz and MilesCAPLeader; live trio tribute to Dizzy Gillespie and Miles Davis, with Paul West and Ray Mosca
2013Live from New York!CAPLeader with New York State of the Art Jazz Ensemble; live big band
2014Step On ItCAPLeader; energetic trio session
2017Only Time Will TellCAPLeader; trio with Paul West and Lewis Nash

As sideman

Longo contributed as a to more than 50 albums over the course of his career, often providing rhythmic foundation and solos in support of prominent leaders. Longo's earliest notable recording credits came in the 1960s, showcasing his emerging style in and small group settings. Longo's most extensive sideman work occurred with trumpeter , beginning in 1966 and spanning multiple albums where he handled duties, including intricate solos that complemented Gillespie's improvisations. Key examples include the live recording Swing Low, Sweet Cadillac (Impulse!, 1967), featuring Longo's prominent piano features on tracks like the title cut; The Dizzy Gillespie Reunion Big Band (MPS, 1968); The Real Thing (Perception, 1969); and Portrait of Jenny (Somethin' Else, 1971). He delivered piano solos on several Grammy-nominated Gillespie releases during this period, highlighting his role in blending traditional swing with modern harmonic explorations. In his later years, Longo continued sideman contributions through ensemble appearances, such as with the Trio, where he performed and recorded in institutional settings focused on education and performance.

References

  1. https://www.wbgo.org/music/2020-03-23/mike-longo-prominent-jazz-pianist-known-for-his-tenure-with-dizzy-gillespie-dies-at-83
  2. https://www.steinway.com/artists/mike-longo
  3. https://www.nytimes.com/2020/03/28/arts/music/mike-longo-dead-coronavirus.html
  4. https://mikelongojazz.com/biography/
  5. https://jazztimes.com/features/tributes-and-obituaries/mike-longo-1937-2020/
  6. https://www.allaboutjazz.com/musicians/mike-longo
  7. https://downbeat.com/news/detail/jazz-world-mourns-pianist-mike-longo
  8. https://mikelongojazz.com/2019/05/28/all-about-jazz-magazine-interview-with-mike-longo/
  9. https://mikelongojazz.com/bio/
  10. https://www.allaboutjazz.com/musicians/mike-longo/
  11. https://jazzbeat.wordpress.com/newsroom/mike-longo-bio/
  12. https://www.wku.edu/music/walloffame/index.php?memberid=5513
  13. https://www.rockefeller.edu/events-and-lectures/23470-mike-longo-jazz-trio/
  14. https://www.steinway.com/music-and-artists/featured/steinway-artist-mike-longo
  15. https://www.star-revue.com/mike-longo-march-19-1931-march-22-2020/
  16. https://www.worldradiohistory.com/Archive-All-Music/DownBeat/70s/71/Downbeat-1971-12-23.pdf
  17. https://jazztimes.com/features/profiles/mike-longo-keeping-the-bebop-faith/
  18. https://www.downbeat.com/digitaledition/2015/DB1501/_art/DB1501a.pdf
  19. https://fromthevaults-boppinbob.blogspot.com/2021/03/mike-longo-born-19-march-1939.html
  20. https://arstash.com/longtime-dizzy-gillespie-pianist-mike-longo-stretches-more-boundaries/
  21. https://www.discogs.com/release/1273877-Mike-Longo-The-Awakening
  22. https://www.dustygroove.com/item/17495/Mike-Longo:Awakening
  23. https://www.discogs.com/master/811237-Mike-Longo-Matrix
  24. https://www.discogs.com/release/1152517-Michael-Longo-900-Shares-Of-The-Blues
  25. https://www.discogs.com/master/487229-Mike-Longo-Talk-With-The-Spirits
  26. https://www.allmusic.com/album/the-awakening-mw0000859024
  27. https://jazztimes.com/reviews/albums/mike-longo-and-new-york-state-of-the-art-jazz-ensemble-explosion/
  28. https://mikelongojazz.com/the-rhythmic-nature-of-jazz/
  29. https://jazzbeat.com/product/the-technique-for-creating-harmonic-melody-for-the-jazz-improviser/
  30. https://www.goodreads.com/author/list/727918.Michael_Longo
  31. https://jazzbeat.com/?product_cat=mike-longo-instruction
  32. https://jazzbeat.com/product/voicing-and-voice-leading-for-the-contemporary-jazz-pianist/
  33. https://mikelongojazz.com/the-complete-jazz-scale-book-with-fingerings-in-twelve-keys/
  34. https://www.bookpleasures.com/websitepublisher/articles/9851/1/In-Conversation-With-Dorothy-Longo-Author-of-The-Rhythm-of-Unity-/Page1.html
  35. https://www.grammy.com/awards/14th-annual-grammy-awards
  36. https://jazzbeat.com/about-mike-longo/
  37. https://jazztimes.com/archives/bahai-center-honors-diz/
  38. https://www.smallslive.com/artists/787-mike-longo/
  39. https://www.rockefeller.edu/peggy/previous-concerts/
  40. https://www.rockefeller.edu/peggy/uploads/www.rockefeller.edu/sites/127/2018/03/PeggyProgram040413.pdf
  41. https://jazzbeat.com/project/mike-longo/
  42. https://mikelongojazz.com/category/performances/
  43. https://www.allaboutjazz.com/news/mike-and-dorothy-longos-co-written-the-rhythm-of-unity-a-story-of-a-search-for-musical-spiritual-and-racial-enlightenment-due-may-9-from-redwood-publishing/
  44. https://jazzjournal.co.uk/2020/04/12/obituary-mike-longo/
  45. https://www.discogs.com/artist/135931-Michael-Longo
  46. https://www.allmusic.com/artist/mike-longo-mn0000895453/discography
  47. https://www.jazzdisco.org/dizzy-gillespie/discography/
  48. https://mikelongojazz.com/2020/02/06/one-of-the-earliest-albums-i-recorded-with-dizzy/
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