Hubbry Logo
Mundell LoweMundell LoweMain
Open search
Mundell Lowe
Community hub
Mundell Lowe
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Mundell Lowe
Mundell Lowe
Mundell Lowe
View on Wikipedia
from Wikipedia

Key Information

James Mundell Lowe (April 21, 1922 – December 2, 2017) was an American jazz guitarist who worked often in radio, television, and film, and as a session musician.

He produced film and TV scores in the 1970s, such as the Billy Jack soundtrack and music for Starsky and Hutch, and worked with André Previn's Trio in the 1990s.

Early life, family and education

[edit]

The son of a Baptist minister, Lowe grew up on a farm in Shady Grove, Smith County, Mississippi (near Laurel).

He started playing guitar when he was eight years old, with his father and sister acting as his first teachers.

Career

[edit]

When he was thirteen years old, he began running away from home to play in bands.[1][2][3] Occasionally his father would find him, bring him home, and warn him about the dangers of whiskey. At sixteen, Lowe worked in Nashville on the Grand Ole Opry radio program.[1][4] He was a member of the Jan Savitt orchestra before serving in the military during World War II.[2]

At basic training, he became friends with John Hammond, who organized weekend jam sessions. He performed in an Army dance band while in Guadalcanal. After his discharge, he called Hammond, looking for work, and Hammond sent him to Ray McKinley.[1] He spent two years with McKinley's big band in New York City.[2] He joined the Benny Goodman orchestra, then worked intermittently for the next few years at Café Society and other clubs in New York.[1]

In 1950, he was hired by NBC as a staff musician.[2] He and Ed Shaughnessy were members of the Today Show band for over ten years. Lowe acted in an episode of the Armstrong Circle Theatre television show that included Walter Matthau and live music by Doc Severinsen.[1]

On the weekends he played jazz, sometimes getting permission from NBC to leave for six-month periods. In the jazz world he played with Jimmy Dorsey and Tommy Dorsey, Bill Evans, Billie Holiday, Red Norvo, Charles Mingus, Charlie Parker, Sauter-Finegan Orchestra, and Lester Young. He composed and arranged for NBC.[1][2] He was responsible for introducing pianist Bill Evans to record producer Orrin Keepnews, resulting in Evans's first recordings as a leader.[5]

In 1965 he moved to Los Angeles and worked for NBC as a staff guitarist, composer, and arranger.[6] He wrote music for the TV shows Hawaii Five-O, Starsky & Hutch, and The Wild Wild West, and the movies Satan in High Heels (1962), A Time for Killing (1967), Billy Jack (1971), Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) (1972), Sidewinder 1 (1977) and Tarantulas: The Deadly Cargo (1977).[4] He recorded with Carmen McRae and Sarah Vaughan. During the 1980s, he worked with André Previn, Tete Montoliu, and the Great Guitars.[2] He was a teacher at the Guitar Institute of Technology and the Grove School of Music. For several years, he was music director of the Monterey Jazz Festival.[6]

During his career, he worked with Benny Carter, Miles Davis, Ella Fitzgerald, Johnny Hodges, Rahsaan Roland Kirk, Lee Konitz, Peggy Lee, Fats Navarro, Shirley Scott, Dinah Washington, and Ben Webster.[4] In the later decades of his life he collaborated often with flautist Holly Hoffmann. At the age of 93, he released the album Poor Butterfly.

Lowe was married to singer Betty Bennett, his third wife, for 42 years. In his last years, the couple lived in San Diego. He died on December 2, 2017, at the age of 95.[6]

Discography

[edit]

As leader

[edit]

As sideman

[edit]

With Steve Allen

  • ...and All That Jazz (Dot, 1959)
  • Steve Allen at the Roundtable (Roulette, 1959)

With Tony Bennett

With Ruby Braff

  • Holiday in Braff (Bethlehem, 1955)
  • Easy Now (RCA Victor, 1959)
  • You're Getting to Be a Habit with Me (Stere-o-Craft, 1959)

With Benny Carter

  • Live and Well in Japan! (Pablo, 1978)
  • Elegy in Blue (MusicMasters, 1994)

With Chris Connor

  • Chris Connor Sings the George Gershwin Almanac of Song (Atlantic, 1957)
  • I Miss You So (Atlantic, 1957)
  • Chris Craft (Atlantic, 1958)
  • Witchcraft (Atlantic, 1959)
  • At the Village Gate (FM, 1963)

With Carmen McRae

With André Previn

With Sammy Davis Jr.

  • Mood to Be Wooed (Decca, 1958)
  • Try a Little Tenderness (Decca, 1965)

With Don Elliott

With Morgana King

  • With a Taste of Honey (Mainstream, 1964)
  • A Taste of Honey (Mainstream, 1971)

With Charlie Parker

  • "Bird" Is Free (Charlie Parker Records, 1961)
  • Parker Plus Strings (Charlie Parker Records, 1983)

With Felicia Sanders

  • That Certain Feeling (Decca, 1958)
  • I Wish You Love (Time, 1960)
  • Felicia Sanders (Time, 1964)

With Tony Scott

  • Both Sides of Tony Scott (RCA Victor, 1956)
  • The Touch of Tony Scott (RCA Victor, 1956)
  • Gypsy (Fresh Sound, 1987)

With Jack Sheldon

  • Singular (Beez, 1980)
  • Playin' It Straight (M&K, 1981)

With Creed Taylor

  • Shock Music in Hi-Fi (ABC-Paramount, 1958)
  • Ping Pang Pong the Swinging Ball (ABC-Paramount, 1960)

With Sarah Vaughan

With Patty Weaver

  • Feelings (SE, 1976)
  • Patty Weaver Sings "As Time Goes By" (SE, 1976)

With others

References

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

Mundell Lowe

View on Grokipedia
from Grokipedia
Mundell Lowe (April 21, 1922 – December 2, 2017) was an American guitarist, composer, and arranger renowned for pioneering the role of the guitar as a solo instrument in and modern , with a powerful yet relaxed playing style that emphasized musical ideas over technical flash. Born in , he began his professional career as a teenager, becoming a prolific session musician and collaborator with jazz legends including , , , , , , and , while also contributing to radio, television, and film soundtracks over a seven-decade span. Lowe's early influences included the blues and the innovative electric guitar work of , whose he briefly owned and studied extensively as a collector. By age 16, he was performing as a with the and later joined as a staff guitarist, providing music for the Today show and other broadcasts. His compositional skills led to scoring duties for and starting in 1965, including films like Billy Jack and television series such as and Hawaii Five-O. In the 1980s, Lowe served as music director for the , fostering emerging talent and maintaining his active performance schedule into his later years. Settling in in 1989, he continued recording and touring into his 90s, including collaborations with guitarist Jaime Valle, and released his final album Poor Butterfly in 2015. Lowe's legacy endures through his economical phrasing—"few notes, many stories"—and his role in elevating from rhythm accompaniment to a melodic frontline voice, as reflected in his collaborations and educational influence.

Early life

Family and upbringing

Mundell Lowe was born on April 21, 1922, in , a city in south-central Mississippi's region. He grew up on a farm in nearby Shady Grove, Smith County, into a musical family headed by his father, a Baptist minister. His father played a pivotal role in Lowe's early musical development, teaching him to play the guitar starting at the age of six and leading the family band known as the Shady Grove Ramblers, which performed authentic . This familial involvement immersed Lowe in Southern music traditions, including and styles prevalent in the region during the , where the family lived on a and music served as both recreation and a means of coping with economic hardship. Family musical activities centered around these informal gatherings and performances, fostering Lowe's initial passion for the instrument amid the rhythms of rural life, though he later expressed fatigue with what he called "bad country music." By age 13, driven by a desire to escape farm labor and seek professional opportunities, Lowe left home to pursue music in Nashville and New Orleans, marking the end of his sheltered upbringing and the beginning of his independent path.

Musical education and influences

Mundell Lowe began his musical journey with initial lessons from his father, a Baptist minister who taught him the basics of guitar playing and music notation starting at age six, enabling him to perform simple pieces shortly thereafter. His family's involvement in local music, including his father's participation in the Shady Grove , provided early encouragement and exposure to country styles in their rural home. Lowe's development largely became self-taught as he progressed, acquiring his first six-string guitar around age ten and immersing himself in by ear, often switching from to guitar around age 14 while observing and imitating recordings due to the scarcity of local instructors. A pivotal influence was Charlie Christian's style, which Lowe first encountered around 1939–1940 through jukebox recordings of tunes like "Sheik of Araby" and "Rose Room" in , inspiring him to emulate Christian's single-note lines and integration. His foundational skills grew through exposure to jazz via radio broadcasts and Southern local scenes, including Nashville's country-jazz fusion groups and New Orleans' clubs during his teenage years. Lowe adopted early elements by observing contemporaries like , whose melodic, restrained phrasing shaped his approach to lyrical guitar lines and harmonic subtlety.

Professional career

Early professional work

Mundell Lowe began his professional career at the age of 13 in 1935, leaving home in to perform in New Orleans clubs on , where he immersed himself in the vibrant Dixieland scene at venues that catered to both locals and tourists. These initial engagements, though brief due to his father's intervention to bring him home, provided Lowe with his first taste of paid performance and exposure to diverse musical styles beyond his rural upbringing. In the late 1930s, Lowe headed to Nashville for more stable regional work, joining the band at age 17 in 1939 for a six-month stint that included performances on the Grand Ole Opry radio broadcast. This role marked his entry into broadcast media, allowing him to reach a wider audience through live radio appearances that blended country swing with emerging elements. Lowe's contributions as a in these regional ensembles honed his adaptability, as he navigated both structured band settings and impromptu club sessions across the South. Lowe relocated to in 1940 following high school graduation, joining the Jan Savitt orchestra and gaining entry into the city's burgeoning ecosystem through touring and studio opportunities. This move positioned him amid influential musicians and venues, where he began taking sideman roles in smaller combos at clubs like those on 52nd Street, focusing on rhythm sections that supported vocalists and horn players in intimate settings. These early New York experiences, prior to larger ensemble commitments, emphasized Lowe's growing reputation for reliable, melodic guitar support in informal gatherings.

Big band and bebop periods

In the early 1940s, Mundell Lowe joined Raymond Scott's band, contributing to the ensemble's innovative radio broadcasts and recordings that blended swing with emerging modern elements. This period marked Lowe's entry into high-profile work, where his guitar provided rhythmic support and occasional solos in a setting known for its quirky, experimental arrangements. From 1944 to 1946, Lowe served as the guitarist in Red Norvo's quintet, a progressive swing-to-bebop ensemble that featured sophisticated harmonies and interplay between and guitar. During this tenure, the group toured extensively and recorded sessions that highlighted Lowe's clean, melodic phrasing, helping to elevate the electric guitar's role beyond mere accompaniment in contexts. Lowe's departure in 1946 led him to recommend as his replacement, further cementing his influence in the evolving scene. Transitioning into the late 1940s bebop era, Lowe bridged swing and modern through collaborations with pioneers on New York's 52nd Street, including live performances and recordings with , where his guitar complemented Young's in small-group settings that emphasized and . He also worked extensively with , providing sensitive accompaniment to her vocals in club dates and studio sessions that captured the emotional depth of postwar . Notable among these were encounters with , including a pivotal 1949 performance of "" and other tracks where Lowe's precise, relaxed lines supported Parker's innovations. These experiences, documented in early sessions and commercial releases, showcased Lowe's adaptation to 's fast tempos and chromaticism while retaining a swing-era lyricism.

Studio, radio, and television contributions

In the and , Mundell Lowe established himself as a prolific , contributing guitar to numerous recordings for major labels, including RCA Victor, where he appeared as a on 's albums Both Sides of Tony Scott and The Touch of Tony Scott in 1956. His work extended to collaborations with prominent vocalists, providing subtle, supportive accompaniment that blended phrasing with commercial polish; notable examples include sessions with on her 1961 Mercury album , where Lowe's comping techniques supported the singer's intimate delivery across ten tracks. He also recorded with , , and , often adapting his bebop-honed precision to suit pop and easy-listening contexts. Lowe's radio and television involvement began in earnest after joining as a staff and arranger in 1950, where he spent 17 years contributing to broadcasts and live-on-air performances. He played in the studio band for The Today Show for over a decade, alongside drummer and bassist , providing musical underscoring for the morning program hosted by . Additionally, Lowe served as musical director for the show and composed arrangements for 's special events department starting in 1960. In film and television scoring, Lowe demonstrated his versatility by transitioning from session playing to composition and arrangement in the mid-1960s. He created scores for and productions, including scores for the sitcom (1963–1972), the Western (also known as The Long Ride Home), 1967, starring , (1965–1969), and Hawaii Five-O (1968–1980). His collaborations during this era included arranging for , such as the preserved chart for "It's a Good Day" from her Capitol sessions, and session work supporting on recordings that highlighted Lowe's elegant, understated guitar lines. These contributions underscored Lowe's ability to infuse sensibilities into broader commercial and pop media, bridging improvisational flair with structured scoring demands.

Later years and collaborations

In the 1960s, Lowe expanded his session work to include pop and rock artists, notably contributing guitar to the ' recording of "Let It Be Me" in December 1959, alongside musicians like Howard Collins and Barry Galbraith. This period marked a shift toward versatile studio contributions, building on his earlier media experience. In 1965, he relocated to to serve as a and for NBC's News & Special Events Department, immersing himself in the scene. There, he focused on local performances and recordings, including collaborations with André Previn's trio in the , which highlighted his elegant, understated style in intimate settings. During the 1970s and 1980s, Lowe's career emphasized and , instructing at the Grove School of Music in Studio City and the Guitar Institute of Technology in , where he influenced emerging guitarists through workshops on and . He also served as musical director for the from 1981 to 1987, curating lineups and performing with West Coast ensembles that blended with contemporary influences. In a notable crossover project, Lowe accompanied soprano on her 1992 jazz album Kiri Sidetracks: The Jazz Album, alongside Previn on piano and Ray Brown on bass, adapting his precise phrasing to support her vocal interpretations of standards like "The Second Time Around." As health challenges mounted in the 2000s, including , , , and , Lowe reduced extensive touring but remained active in regional performances, often partnering with flautist Holly Hofmann on duo recordings and live sets that showcased his lyrical touch. In the early , he contributed to Hofmann's albums, such as the 2015 release Poor Butterfly, recorded at age 93, emphasizing melodic interplay over virtuosic display. His final public appearances included a 95th birthday concert in April 2017 at Dizzy's in and a Thanksgiving weekend gig with Hofmann shortly before his death in December 2017.

Musical style and technique

Key influences

Mundell Lowe's guitar playing was profoundly shaped by , the pioneering guitarist who introduced electric amplification to the instrument and developed a horn-like single-note phrasing that elevated the guitar from role to lead voice. Lowe, who began playing guitar as a teenager, explicitly cited Christian's work with as a defining sound that guided his early efforts to master on the . As a self-described disciple of the school, Lowe adopted this amplified approach, allowing for clearer projection and dynamic expression in ensemble settings, which became central to his smooth, melodic style. He further demonstrated this influence by transcribing Christian's solos for educational purposes, underscoring how Christian's blues-inflected phrasing informed Lowe's own rhythmic and tonal sensibilities throughout his career. Django Reinhardt also influenced Lowe through exposure to his recordings, which broadened his appreciation for the guitar's expressive potential in as a young player. Lowe participated in tributes to , performing on "Waltz for Wes." These influences collectively facilitated Lowe's evolution from the energetic , where he cut his teeth in big bands, to the more restrained of the 1950s and beyond. Christian's amplified, forward-leaning phrasing provided a bridge from swing's rhythmic drive, while Reinhardt's flair and Montgomery's melodic economy allowed Lowe to temper intensity with subtlety, resulting in a signature aesthetic marked by poised elegance and emotional depth.

Signature approach and innovations

Mundell Lowe's signature guitar style was characterized by a relaxed, melodic approach rooted in , emphasizing impeccable timing and an economy of notes that prioritized musicality over virtuosic display. He favored single-note lines inspired by the , delivering phrases with unerring taste and clarity rather than florid runs or excessive fingerwork. This method allowed him to create rich, textured solos that served the ensemble, blending subtle dynamics with a powerful yet understated tone. Lowe advanced the guitar's role in bebop accompaniment and solos, adapting to the genre's rapid tempos through practical experience rather than rote practice, which enabled him to navigate complex chord progressions with fluid phrasing. His harmonic sophistication shone in advanced voicings and improvisational choices, often harmonizing melodies directly to enhance emotional depth without overcomplicating the . These techniques influenced modern jazz guitarists by demonstrating how subtle phrasing could elevate ensemble interplay and solo expression, as seen in his mentorship of figures like and his impact on players such as Jaime Valle. Lowe's equipment preferences further defined his sound, particularly his use of archtop guitars like the modified fitted with an ES-150 pickup, which produced a warm, rounded tone ideal for his lyrical style. He employed to achieve a fuller bottom end in , freeing the upper strings for melodic work while providing solid root and fifth support. Additionally, Lowe innovated by collaborating on a feedback-free hollowbody design, addressing technical challenges in amplified settings and contributing to the evolution of guitar tone in live performances.

Personal life and legacy

Family and relationships

Mundell Lowe was married three times, with his first marriage producing a son, Adam Lowe. His second marriage resulted in three daughters: Debbie Lowe, Jessica Lowe-Wilson, and Shari Lowe. These early family relationships formed a supportive backdrop for his nomadic career as a touring and studio , allowing him to balance frequent travel and professional commitments across the and beyond during the mid-20th century. In 1975, Lowe married jazz singer Betty Bennett, his third wife, a union marked by shared musical passions that often intertwined their personal and professional lives. Through Bennett's prior marriage to conductor , Lowe gained two stepdaughters, Alicia Previn and Claudia Previn Stasny. In later years, Lowe and Bennett settled in a two-story home in the Tierrasanta neighborhood of , , where they cultivated a serene domestic life together, accompanied by pets including their 12-year-old , Bernie.

Awards, death, and lasting impact

In 1998, Mundell Lowe was inducted into the Mississippi Musicians Hall of Fame, recognizing his contributions as a from . In 1999, he received an honorary Doctorate of Arts from . In 2008, he received the Lifetime Achievement Award from the San Diego Music Awards for his enduring impact on the local and broader music scene. Lowe died on December 2, 2017, at his home in , , at the age of 95. His death followed complications from a broken hip sustained six weeks earlier, compounded by a history of cancer and other health issues, leading to hospice care in his final weeks. His widow, Betty Bennett, died on April 7, 2020. Lowe's legacy endures as a versatile who bridged swing, , and modern eras through decades of recordings, radio, television, and film work with icons like , , and . His elegant, horn-like phrasing on the influenced subsequent generations of players, including through collaborations in groups like The Great Guitars alongside peers such as and . Following his death, tributes highlighted his role in documenting , with musicians like Lloyd Wells crediting Lowe for early career opportunities and shared performances that preserved the genre's evolution.

Discography

As leader

Mundell Lowe's recordings as a leader spanned several decades, emphasizing aesthetics through small-group settings like quartets and quintets, where his clean, melodic guitar lines took center stage alongside understated swing rhythms and sophisticated arrangements. His debut effort, The Mundell Lowe Quintet (RCA Victor, 1954), featured collaborations with vibraphonist Teddy Charles, with bass by Kenny O'Brien, delivering standards such as "I'll Remember April" in a relaxed, post-bebop style that highlighted Lowe's lyrical phrasing. In the mid-1950s, Lowe explored quartet formats on The Mundell Lowe Quartet (Riverside, 1956), with pianist contributing organ and for textured interpretations of tunes like "Will You Still Be Mine?" and Bach-inspired pieces, earning praise for its inventive yet accessible approach. Similarly, Guitar Moods (Riverside, 1956) showcased Lowe's guitar in intimate settings with reed players Al Klink and Phil Bodner, focusing on ballads such as "" to evoke a moody, introspective atmosphere typical of the era's West Coast influences. Lowe's interpretive projects included Porgy & Bess (RCA Camden, 1959), where he led an all-star ensemble featuring tenor saxophonist and trumpeter in jazz renditions of George Gershwin's opera highlights like "Summertime" and "I Got Plenty o' Nuttin'." The album blended orchestral swells with cool jazz improvisation, receiving acclaim for its elegant fusion of Broadway material and instrumental sophistication, though issued on a budget label reflecting limited commercial reach. A notable soundtrack venture, Blues for a Stripper (Charlie Parker, 1962), presented Lowe as composer and bandleader for the film of the same name, incorporating blues-inflected themes like the title track alongside larger ensemble charts with musicians including trombonist Urbie Green. Critics appreciated its hip, noir-tinged jazz grooves, which captured the film's seedy vibe while demonstrating Lowe's arranging versatility, though it remained a niche release. Later in his career, Lowe returned to leader duties with trio-oriented works amid his studio commitments. California Guitar (Revelation, 1974) featured pianist or , bassist Monty Budwig, and drummer Donald Bailey, offering straightforward standards that underscored Lowe's enduring melodic touch. His self-produced Guitar Player (Revelation, 1976) further highlighted bebop-rooted guitar work with bassist Monty Budwig and drummer Nick Ceroli on selections like "Satin Doll," drawing comparisons to for its fluid technique, and was valued for its rarity as a focused showcase of Lowe's mature style despite modest distribution. In his later years, Lowe continued releasing leader albums into the and 2000s, including The Return of the Great Guitars (1996), Jazz at the (1997), and Second Time Around (1998), often in collaboration with other guitarists and reflecting his ongoing style. Overall, Lowe's leader discography prioritized artistic expression in quartets over commercial hits, with many releases on independent or subsidiary labels like Riverside and , fostering a dedicated following among enthusiasts for their refined, guitar-centric sound.

As sideman

Mundell Lowe's career as a sideman spanned decades, encompassing over 100 recording sessions across jazz, pop, and crossover genres, where his elegant guitar work provided subtle yet essential support to leading artists. In the late 1940s and early 1950s, Lowe contributed to pivotal jazz sessions in New York, backing iconic figures during the bebop and swing eras. He played guitar on Billie Holiday's Decca recordings, including the 1948 session with Bobby Tucker's trio for tracks such as "Girls Were Made to Take Care of Boys" (Decca 24651), and the 1949 date featuring George Duvivier on bass and Shadow Wilson on drums, capturing Holiday's emotive vocals in a small-group setting. With Charlie Parker, Lowe appeared on live recordings like the 1952 Rockland Palace Ballroom concert, contributing rhythm guitar to Parker's alto saxophone improvisations on standards including "What Is This Thing Called Love?," and on live takes such as "Cool Blues," alongside Walter Bishop Jr., Teddy Kotick, and Max Roach. His collaborations with Lester Young included club performances and recordings in the late 1940s, where Lowe's clean phrasing complemented Young's tenor saxophone on swing-inflected dates, as heard in sessions blending pre-bebop and cool jazz elements. During the 1950s, Lowe bridged and through studio work with vocalists and ensembles, often in orchestral or small-combo formats. He provided guitar on Frank Sinatra's Columbia sessions from 1950 to 1952, including dates arranged by , supporting Sinatra's phrasing on ballads and uptempo numbers amid string and big-band backings. With , Lowe's contributions extended into crossover territory, though prominent in the 1950s broadcasts and early sessions; by the late 1960s, he arranged and conducted tracks on her Capitol album Is That All There Is? (1969), including "Me and My Shadow" and the title song. Lowe also guested on recordings in the mid-1950s, delivering acoustic and parts during their label era, enhancing the duo's harmonious and country-infused sound on hits and B-sides. In his later years on the West Coast, following his relocation to California in the 1960s, Lowe continued as a versatile sideman for jazz and classical crossover projects. He joined André Previn on piano, Ray Brown on bass, and soprano Kiri Te Kanawa for the 1992 album Kiri Sidetracks: The Jazz Album (Philips), where his understated guitar accompanied Te Kanawa's interpretations of standards like "The Second Time Around" and "It's Easy to Remember," blending operatic poise with jazz swing. Amid West Coast studio demands, Lowe supported local artists in film scores and jazz dates, maintaining his role in over 50 additional sessions through the 1980s and 1990s, often prioritizing rhythmic precision over solos.

References

  1. https://www.namm.org/library/oral-history/mundell-lowe
  2. https://www.vintageguitar.com/33360/mundell-lowe/
  3. https://jazztimes.com/archives/mundell-lowe-man-of-few-notes-many-stories/
  4. https://www.allaboutjazz.com/album/poor-butterfly-mundell-lowe
  5. https://www.mswritersandmusicians.com/mississippi-musicians/mundell-lowe
  6. https://www.researchgate.net/publication/362550576_Mundell_Lowe%27s_Accompaniment_Style_on_the_Electric_Guitar
  7. https://www.allaboutjazz.com/musicians/mundell-lowe
  8. https://www.washingtonpost.com/local/obituaries/mundell-lowe-versatile-and-elegant-jazz-guitarist-dies-at-95/2017/12/15/d3aa55fc-e105-11e7-89e8-edec16379010_story.html
  9. https://www.jazzdisco.org/mundell-lowe/discography/
  10. https://www.academia.edu/42379421/AN_ANALYSIS_OF_MUNDELL_LOWES_ACCOMPANIMENT_TECHNIQUES_ON_THE_SARAH_VAUGHAN_ALBUM_AFTER_HOURS_
  11. https://www.spaceagepop.com/lowe.htm
  12. https://www.sandiegouniontribune.com/2016/03/19/qa-guitar-great-mundell-lowe-on-jazz/
  13. https://peggyleediscography.com/p/capitolee1a.php
  14. https://www.heraldscotland.com/opinion/15701842.obituary---mundell-lowe-guitarist-worked-sinatra-kiri-te-kanawa/
  15. https://www.discogs.com/release/3776583-Everly-Brothers-Classic-Everly-Brothers
  16. https://www.latimes.com/local/obituaries/la-me-ln-mundell-lowe-obit-20171202-story.html
  17. https://www.jazzmusicarchives.com/artist/mundell-lowe
  18. https://www.discogs.com/release/6359872-Kiri-Te-Kanawa-Andre-Previn-Ray-Brown-Mundell-Lowe-Kiri-Sidetracks-The-Jazz-Album
  19. https://www.allaboutjazz.com/news/mundell-lowe-1922-2017/
  20. https://archive.org/download/cd_the-return-of-the-great-guitars_charlie-byrd-herb-ellis-mundell-lowe/cd_the-return-of-the-great-guitars_charlie-byrd-herb-ellis-mundell-lowe.pdf
  21. https://www.telegraph.co.uk/obituaries/2017/12/07/mundell-lowe-jazz-guitarist-composer-obituary/
  22. https://www.sandiegouniontribune.com/2020/04/13/a-fond-farewell-to-jazz-and-big-band-singer-betty-bennett-lowe/
  23. https://www.sandiegouniontribune.com/entertainment/music/sdut-mundell-lowe-interview-2016mar19-htmlstory.html
  24. https://grammymuseumms.org/wp-content/uploads/2025/03/MS-Hall-of-Fame-4036d659f9.pdf
  25. https://millsaps.edu/academics/major-resources/founders-medals-honorary-degrees/
  26. https://www.sandiegomusicawards.com/lifetime-achievement-awards/
  27. https://jazztimes.com/features/tributes-and-obituaries/lloyd-wells-remembers-mundell-lowe/
  28. https://www.discogs.com/master/709358-The-Mundell-Lowe-Quintet-The-Mundell-Lowe-Quintet
  29. https://www.allmusic.com/album/porgy-bess-mw0000869481
  30. https://www.discogs.com/master/781557-Mundell-Lowe-And-His-All-Stars-Porgy-Bess
  31. https://www.allmusic.com/album/blues-for-a-stripper-mw0000350724
  32. https://www.discogs.com/master/762477-Mundell-Lowe-Blues-For-A-Stripper
  33. https://www.allmusic.com/album/california-guitar-mw0000724267
  34. https://www.discogs.com/master/1306047-Mundell-Lowe-California-Guitar
  35. https://www.allmusic.com/album/guitar-player-mw0000917409
  36. https://www.discogs.com/release/4572574-Mundell-Lowe-Guitar-Player
  37. https://www.discogs.com/artist/258462-Mundell-Lowe
  38. https://adp.library.ucsb.edu/index.php/talent/refer/155116
  39. https://www.billieholidaysongs.com/recording-sessions/1948-sessions/
  40. https://www.plosin.com/milesahead/BirdSessions.aspx?s=520926
  41. https://open.spotify.com/track/2u8czQIfz47i4GQATuLRqx
  42. https://jazzdiscography.com/Artists/Sinatra/columbia3.php
  43. https://peggyleediscography.com/p/capitolee2c.php
Add your contribution
Related Hubs
User Avatar
No comments yet.