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Key Information

Keith Moore "Red" Mitchell (September 20, 1927 – November 8, 1992)[1] was an American jazz double-bassist, composer, lyricist, and poet.

Biography

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Mitchell was born in New York City. [1] His younger brother, Whitey Mitchell, also became a jazz bassist.[1]

Mitchell was raised in New Jersey by a father who was an engineer and loved music, and a mother who loved poetry. His first instruments were piano, alto saxophone, and clarinet. Although Cornell University awarded him an engineering scholarship, by 1947 he was in the U.S. Army playing bass. The next year, he was in a jazz trio in New York City.

Mitchell performed and/or recorded with Mundell Lowe, Chubby Jackson, Charlie Ventura, Woody Herman, Red Norvo, Gerry Mulligan, and, after joining the West Coast jazz scene in the early 1950s, with André Previn, Shelly Manne, Hampton Hawes, Billie Holiday, Stan Seltzer, Ornette Coleman, and others such as Mahalia Jackson.[1] He also worked as a bassist in television and film studios around Los Angeles, occasionally appearing on screen. Mitchell also appeared in documentaries about Tal Farlow and Zoot Sims.

Saxophonist Harold Land and Mitchell founded and co-led a quintet in the early 1960s.[2]

Mitchell moved to Stockholm in 1968.[3] He won Sweden's Grammis Award in 1986 and again in 1991, for his recorded performances as a pianist, bassist, and vocalist, and for his compositions and poetic song lyrics.

During this period, Mitchell performed and/or recorded with Clark Terry, Lee Konitz, Herb Ellis, Jim Hall, Joe Pass, Kenny Barron, Hank Jones, Ben Webster, Bill Mays, Warne Marsh, Jimmy Rowles, Phil Woods, Roger Kellaway, Putte Wickman and others. He frequently collaborated in duos, most notably with pianist Kellaway after the mid-1980s.

The Swedish government awarded Mitchell the Illis quorum in 1992.[4]

Returning to the United States in early 1992, Mitchell settled in Oregon,[2] where he died of a stroke at age 65 on November 8, 1992.[5]

A collection of his poetry was published posthumously. His widow is preparing a biography.[as of?]

Technique and playing style

[edit]

Mitchell used standard tuning during the 1950s and for the first half of the 1960s, and produced sound similar to his professional jazz bass peers.[6] However, "in 1966 he switched to cello tuning on his bass (C-G-D-A, an octave below the cello, instead of the standard E-A-D-G). At the same time, he began adjusting the tone controls of his amplifier to create a soft, unfocused sound in the lowest notes and to emphasize the upper harmonics in higher notes. The result was an airy tone quality that sounded gentle, not muscular. This airy tone and his frequent habit of strumming the strings with his right thumb contributed greatly to his unusual style."[6]

Discography

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As leader/co-leader

[edit]

As sideman

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With Mose Allison

With Gene Ammons

With Frankie Avalon

  • ...And Now About Mr. Avalon (Chancellor, 1961)

With Chet Baker

With Louis Bellson

With Paul Bley

With Pat Boone

With Bob Brookmeyer

With Red Callender

With Ornette Coleman

With Buddy Collette

With Tony Crombie

  • Rockin' with the Rockets – 1958 (Columbia (UK:33S1108) (10") - (Red Morris, Jimmy Currie, Ashley Kozak, Clyde Ray (vocals)

With Bobby Darin

With Maynard Ferguson

With Tommy Flanagan

With The Four Freshmen

With Jimmy Giuffre

With Jim Hall

  • Jazz Guitar (Pacific Jazz, 1957)
  • Good Friday Blues (Pacific Jazz, 1960) as The Modest Jazz Trio

With Herbie Harper

  • Five Brothers (Tampa, 1955)

With Hampton Hawes

With Paul Horn

With Billie Holiday

With Stan Kenton

With Barney Kessel

With Karin Krog

With Johnny Mandel

With Shelly Manne

With Warne Marsh

With Gil Mellé

With Jack Montrose

With Gerry Mulligan

With Bill Perkins and Richie Kamuca

With André Previn

With Della Reese

With Shorty Rogers

With Dick Rosmini

With Pete Rugolo

With George Russell

With Joe Sample

  • Fancy Dance (Sonet, 1969)

With Bud Shank

With Zoot Sims

  • In a Sentimental Mood (Sonet, 1985)

With Frank Sinatra

With Pierre Strom

  • Rallarvisor (YTF Records, 1973)

With Clark Terry

  • Out of Nowhere (Bingow, 1978)
  • Brahms Lullabye (Bingow, 1978)
  • Funk Dumplin's (Matrix, 1978)

With Cal Tjader

With Mel Tormé

With Ben Webster

With Magni Wentzel

  • New York Nights (Gemini, 1992)

References

[edit]
[edit]
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Red Mitchell

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from Grokipedia
Keith Moore "Red" Mitchell (September 20, 1927 – November 8, 1992) was an American jazz double-bassist, composer, lyricist, and poet renowned for his melodic and versatile playing style. Born in New York City and raised in New Jersey by an engineer father who loved music and a mother passionate about poetry, Mitchell began musical training with piano lessons at age nine, followed by alto saxophone and clarinet. After briefly attending Cornell University on an engineering scholarship, he switched to double bass while serving in the U.S. Army in Germany in 1947, marking the start of his professional jazz career. Mitchell's early career in the late 1940s and 1950s saw him perform and record with prominent figures including Jackie Paris, , Chubby Jackson, Charlie Ventura, Woody Herman's orchestra, Red Norvo's trio, and Gerry Mulligan's quartet, establishing him as a sought-after on the East and West Coasts. Relocating to in 1954, he contributed to the scene, collaborating with , , and , while also working as a studio musician for and appearing in films like . In the early 1960s, he co-led a quintet with tenor saxophonist , releasing influential albums on , and innovated by tuning his bass in fifths starting in 1966 to expand its melodic range. Seeking greater artistic freedom amid the challenges of studio work, Mitchell moved to , , in 1968, where he immersed himself in the European scene, leading groups, teaching, and accompanying American expatriates like , Phil Woods, Jim Hall, and . During this period, he won Swedish in 1986 and 1991, composed over 120 songs, and formed a prolific duo with Roger Kellaway, resulting in eight albums between 1987 and 1992. One of the most recorded bassists in history, Mitchell returned to the periodically for performances before settling in shortly before his death from a in Salem at age 65; his legacy includes a memorial fund and posthumous publications of his poetry.

Early Life and Education

Family and Childhood

Keith Moore Mitchell, known professionally as Red Mitchell, was born on September 20, 1927, in . He was raised in in a nurturing household shaped by his parents' diverse passions. His father, William Douglas Mitchell, was a meticulous electrical engineer and executive who deeply appreciated and enjoyed explaining the mechanics of everyday objects, fostering in young Keith a about how things functioned. His mother, meanwhile, instilled a love for and , contributing to the creative environment of their home. From an early age, Mitchell exhibited a dual fascination with music and mechanics, reflecting his father's influence on technical inquiry and problem-solving. This blend of artistic and analytical interests would later inform his multifaceted career, though his childhood years were marked by a supportive family dynamic that encouraged exploration. Mitchell shared a close sibling bond with his younger brother, Whitey Mitchell (born Gordon), who similarly pursued a professional path as a , performing with notable ensembles and even collaborating with Red on recordings.

Initial Musical Training

During his adolescence in Bayonne, New Jersey, Keith Moore "Red" Mitchell experimented with several instruments, beginning with piano lessons that lasted nine years and focusing on classical music. Influenced by his father's love of music, which created a supportive household environment, Mitchell later took up the alto saxophone and clarinet for approximately four years each, playing them during his time at Cornell University on an engineering scholarship in 1945–1946. These early experiences on wind instruments laid a foundation in music reading and ensemble playing, though Mitchell later described himself as a "bad" clarinet player. Mitchell's pivotal shift to the occurred during his U.S. Army service starting in 1947, where he initially played in a stationed in that performed exclusively. Due to the band's need for a , he acquired a bass by trading fifteen cartons of cigarettes and began learning the instrument on the spot, marking his transition from wind to string instruments. Largely self-taught during this military period, Mitchell grasped the fundamentals of bass playing through practical necessity in the army ensemble, developing basic technique without formal instruction at the outset. Upon returning to after his discharge in 1947, Mitchell pursued informal bass lessons, including a three-month course at the with principal bassist Frederick Zimmermann, though he received a modest grade of C. He supplemented this with dedicated practice amid the local jazz scenes in and nearby New York venues like 52nd Street and , honing his foundational technique through jam sessions and immersion in the evolving postwar community before securing his first steady professional gig in 1948.

Career

United States Period

Following his discharge from the U.S. Army in 1948, where he had switched from piano to while serving in , Red Mitchell began his professional career with a steady gig in a trio on 52nd Street. He quickly built experience through engagements with local ensembles, including work with singer Jackie Paris in 1947–1948 and recordings alongside and Chubby Jackson's big band in 1949. These early performances in the New York area established Mitchell as a reliable in the evolving postwar scene. In 1949, Mitchell joined Woody Herman's orchestra, touring extensively and contributing to the band's dynamic arrangements during a pivotal period for . His tenure with Herman, which lasted until 1951, honed his ensemble playing and exposed him to innovative orchestration, including contributions from composers like . By 1952, Mitchell had transitioned to smaller groups, notably the Red Norvo Trio, where his fluid bass lines complemented the vibraphonist's cool, understated style during tours and recordings. Mitchell's involvement with Gerry Mulligan's Quartet in the mid-1950s marked a key phase in his alignment with the movement. Joining in 1954, he provided rhythmic drive and melodic support in the pianoless ensemble, participating in sessions that captured the quartet's signature interplay, such as live performances in alongside Bob Brookmeyer and Frank Isola. This work exemplified the aesthetic, emphasizing space and interaction, and solidified Mitchell's reputation on the West Coast after relocating to . Throughout the 1950s and 1960s, Mitchell collaborated with leading vocalists and instrumentalists, including on studio dates where he substituted on bass for her orchestra sessions, and in quartet settings that highlighted his supportive yet inventive role. He backed artists like and , contributing to the era's chamber-like recordings, and in the early 1960s co-led a quintet with tenor saxophonist , releasing albums such as Hear Ye! (1961) on . He also appeared on Ornette Coleman's Tomorrow Is the Question! (1959), collaborated with on (1959), and worked as a studio musician for , including on the film I Want to Live! (1958). His versatility extended to film scoring, prompting him around 1966 to experiment with alternative bass tuning—shifting to fifths (C-G-D-A, an octave below standard)—initially tested in U.S. performances to access lower notes demanded by composers like . This innovation, while challenging traditional walking bass lines, reflected his commitment to expanding the instrument's expressive range before his relocation to in 1968.

European Period

In 1968, Red Mitchell relocated permanently to , , motivated by a desire to escape the commercial pressures of the American music industry and pursue a more dedicated lifestyle. This move, influenced by his prior international reputation from U.S. collaborations, allowed him to immerse himself in a supportive environment for and artistic expression. He settled into a stable life in the city, where he resided for over two decades until the early , gradually integrating into Sweden's vibrant scene through regular performances and community involvement. In , Mitchell formed several European ensembles, leveraging his skills as a , , and vocalist to contribute to Scandinavian circles. His multi-instrumental approach flourished in this setting, leading to recordings and live appearances that highlighted his versatility; for these efforts, he received Swedish in 1986 and 1991, recognizing his performances across instruments and vocal work. The creative freedom of the European scene enabled him to expand beyond into roles, often blending American influences with local talent. Throughout the 1970s and 1980s, Mitchell's residencies and festival appearances fostered key collaborations with American expatriates including , Phil Woods, Jim Hall, and , as well as European-based artists, such as duo projects with (I Concentrate on You, 1976) and (To Duke and Basie, 1986). He also formed a prolific duo with , resulting in eight albums between 1987 and 1992. The supportive atmosphere in also inspired Mitchell's growth as a and , where he crafted 122 original songs characterized by poetic depth and humor. This period marked a shift toward more personal expression, with his lyrics often drawing from everyday observations, further cementing his role in the local community through teaching and ongoing performances until the early .

Final Years and Death

After more than two decades residing in Europe, Keith "Red" Mitchell returned to the United States in early 1992 with his wife, Diane, and settled in Salem, Oregon. In his final months, Mitchell participated in limited performances in the Pacific Northwest, including a series of weekly jazz presentations titled "Jazz in the Banquet Room" at The Colonial House Restaurant in Salem. These shows, held on Thursdays, Fridays, and Saturdays from early August through August 28, 1992, featured Mitchell on bass alongside tenor saxophonist Spike Robinson and pianist Randy Cannon, running from 7:00 p.m. to 10:00 p.m. with no minimum charge and $10 advance tickets. Earlier that year, he also performed in duo settings on the West Coast, such as with pianist Roger Kellaway at the Jazz Bakery in Los Angeles in May 1992. Mitchell died suddenly on November 8, 1992, at age 65, from a heart attack followed by a massive while hospitalized in Salem. He was survived by his wife, Diane; three sons (one biological and two stepsons from Diane's previous marriage); brother , a and in ; mother Grace Mitchell; and two grandchildren. News of his death prompted immediate notifications to family members and swift tributes from jazz peers, with obituaries in major publications like and lauding his innovative bass playing and enduring contributions to the genre.

Playing Style and Technique

Technical Innovations

In 1966, during the latter part of his career, Red Mitchell transitioned from the standard bass tuning of fourths (E-A-D-G) to fifths (C-G-D-A), akin to tuning but an octave lower, to accommodate the demands of scoring that required access to a low C note. This shift, learned in just nine days while serving as principal bassist for the , enabled greater facility in the higher register by expanding the note range per hand position and facilitating smoother shifts through increased use of open strings. The change also allowed for lighter string tension, reducing the physical strain associated with while maintaining projection. Mitchell's adoption of this tuning produced a distinctive airy tone quality, characterized by enhanced common between open strings that resonated more freely with the instrument's top plate, resulting in a gentle rather than muscular sound. Complementing this, he frequently employed a thumb strumming technique with his right hand for , which provided rhythmic propulsion and contributed to the overall lightness of his , often with minimal in amplified settings using pickups like Fishman or Barcus-Berry. This approach minimized finger fatigue during extended solos and walking lines, allowing sustained performance in live contexts. Mitchell implemented these innovations early in live performances, both in studio orchestras and ensembles, setting a precedent for gear and technique choices among subsequent bassists seeking expanded range and tonal subtlety. His fifths tuning, in particular, opened new possibilities for intonation and upper-register exploration, influencing modern players to experiment with alternative configurations for melodic and harmonic flexibility.

Stylistic Characteristics

Red Mitchell's approach to jazz bass playing emphasized melodic walking lines that provided subtle harmonic support, allowing him to prioritize seamless integration over extended virtuosic solos. His bass lines often flowed with a lyrical quality, weaving through chord progressions in a manner that reinforced the group's rhythmic and harmonic foundation without drawing undue attention to the instrument itself. This supportive role was particularly evident in small settings, where Mitchell's phrasing contributed to a cohesive blend, enabling other musicians to shine while maintaining a propulsive undercurrent. Mitchell's tone production was characterized by a gentle, resonant quality that evoked classical string influences, setting it apart from the more aggressive, driving styles prevalent in bass playing. By minimizing bow and favoring techniques, he achieved an airy resonance that lent a sense of warmth and space to performances, contrasting the muscular punch of contemporaries like Ray Brown. This tonal approach, enabled in part by his adoption of fifths tuning, allowed for a broader palette while preserving a refined, non-intrusive presence in the mix. In the and scenes of the 1950s, Mitchell's playing added essential spatial breathing room to quartets and quintets, enhancing the laid-back, introspective aesthetic of the era through his light touch and precise intonation. Collaborations with figures like and highlighted how his bass work created airy dynamics, fostering improvisation that felt expansive rather than dense. Mitchell demonstrated remarkable versatility by adapting his style across multiple instrumental roles, including and occasional vocals, to suit diverse compositional demands within ensembles. Whether providing foundational support on bass or contributing melodic ideas on , he tailored his phrasing and dynamics to the music's needs, embodying a holistic musicianship that transcended traditional bass duties.

Discography

As Leader or Co-Leader

Red Mitchell's recordings as leader or co-leader number over 20 across his career, often emphasizing his original compositions, improvisational freedom, and integration of poetic lyrics with structures. In the 1950s, his debut leadership effort, Presenting Red Mitchell (also released as Red Mitchell Quartet, Contemporary, 1957), featured the quartet of James Clay on , Lorraine Geller on , and on drums, showcasing Mitchell's original tunes like "The Propitiation" alongside inventive arrangements that highlighted the bassist's walking lines and rhythmic drive. A notable co-lead from the same era was Happy Minors (Bethlehem, 1955) with Bob Brookmeyer and , where Mitchell provided bass foundations for standards and originals, blending sensibilities with lyrical interplay. These early works established Mitchell's creative direction, prioritizing ensemble cohesion and spontaneous exploration over solo dominance. In the early 1960s, he co-led a quintet with , releasing albums like Hear Ye!!!! Hear Ye!!!! (1962, Atlantic) that featured original material and strong rhythmic interplay. During his European period after relocating to in 1968, Mitchell's leadership albums increasingly incorporated vocal elements, piano performances, and poetry-inspired themes, reflecting his multifaceted artistry as , , and . The solo-oriented (Caprice, 1979), recorded at his home studio, presented Mitchell's original songs with introspective lyrics drawn from personal reflections, accompanied by sparse bass and occasional vocals, underscoring themes of self-discovery through . Similarly, Home Suite (Dragon, 1985) featured Mitchell on and vocals in a suite-like format, earning him the Swedish Award in 1986 for best album, with its poetic narratives and minimalist structures exemplifying his later experimental approach. Co-lead projects from this time, such as Big Two with Warne (Storyville, 1980), focused on unaccompanied duo , allowing Mitchell's bass to engage in melodic dialogues that extended 's boundaries. In the 1980s and early 1990s, Mitchell's Stockholm-based releases further explored vocal and piano-centric formats, often with local Swedish musicians. A Declaration of Interdependence (, 1988), a trio session with piano and drums, won the Swedish Grammis in 1991 and highlighted interconnected improvisations rooted in Mitchell's compositional themes of unity and rhythm. Another late co-lead, Finally: Live in Stockholm with (Pablo, 1992), captured duo bass-guitar explorations of standards, emphasizing Mitchell's role in guiding spontaneous, poetry-infused interpretations until his death later that year. Throughout these works, Mitchell's leadership consistently wove original material with free-form elements, influencing jazz's evolution toward more personal, lyrical expression.

As Sideman

Red Mitchell's career as a encompassed over 200 recording sessions across more than four decades, as documented in Tom Lord's The Jazz Discography, showcasing his versatility from swing to and beyond. His early contributions in the were pivotal in scenes, where he provided rhythmic drive and melodic interplay on labels like Contemporary Records. For instance, Mitchell anchored the bass on ' The Hampton Hawes Trio (1955, Contemporary), highlighting his intuitive support for the pianist's lines, contributing to the album's fresh, energetic sound. In the same era, Mitchell joined efforts, notably with 's orchestra on sessions from 1949–1956, including tracks on The Complete Capitol Recordings of Woody Herman (1950s, Capitol), where his walking bass lines underpinned Herman's and the band's dynamic brass sections in pieces like "Early Autumn." Small group work flourished too; his with on Songs for Distingué Lovers (1957, ) captured a sophisticated small ensemble vibe, with Mitchell's warm tone supporting Holiday's emotive phrasing on tracks like "Mood Indigo," alongside Ben Webster's and ' piano. These 1950s outings, often on Contemporary and , established Mitchell as a sought-after for both big bands and intimate quartets, totaling dozens of credits by decade's end. He also appeared on and André Previn's (1955, RCA Victor), blending classical influences with . The 1960s saw Mitchell expand into mainstream jazz and pop-jazz crossovers, with over 50 sideman appearances that year alone per discographical records. Other notable sessions included those with in earlier quartets, such as the Concert Jazz Band recordings. These recordings, spanning , , and Capitol, reflected Mitchell's adaptability amid the era's evolving landscape, often serving as a rhythmic anchor for horn-led ensembles. Relocating to in 1968, Mitchell immersed himself in the continental scene, particularly in , where he became a fixture on local and international sessions from the 1970s through the 1990s, amassing over 100 credits in this period. With , he co-led the duo album I Concentrate on You: A Tribute to (1974, SteepleChase), providing intricate bass patterns that dialogued with Konitz's on Porter standards like "Just One of Those Things," recorded in . Collaborations with included Funk Dumplin's (1979, ), where Mitchell's bass grooves fueled Terry's in funky, tracks, and the duo effort To and Basie (1986, Enja), honoring Ellington and Basie with intimate homages such as "Take the 'A' Train." Among Swedish artists, Mitchell backed pianist Bengt Hallberg on live recordings like Live at Cervantes (1973, ), contributing swinging bass to Hallberg's elegant interpretations of standards including "." He also supported Jan Johansson on Blaus (1994, ), delivering duo performances that blended Swedish folk elements with on originals like "Tap Water." Labels like SteepleChase, Enja, and dominated these European efforts, underscoring Mitchell's role in bridging American expatriate styles with Nordic innovations until his final recordings in the early 1990s.

Legacy

Awards and Honors

During his European career, Red Mitchell garnered formal recognition for his multifaceted contributions to , particularly through prestigious Swedish awards that underscored his role in elevating the local scene. In 1986, Mitchell won the Swedish Award for his recorded performances as a , , vocalist, , and . He received the honor again in 1991 for the jazz album A Declaration of Independence, highlighting his multi-instrumental prowess and innovative songwriting. In 1992, shortly before returning to the , Mitchell was awarded the Illis quorum meruit in the eighth degree by the Swedish government, its highest civilian honor for outstanding service to , in acknowledgment of his profound influence on Swedish jazz. These accolades reflect Mitchell's expatriate impact, as his relocation to in 1968 fostered deep integration with Scandinavian musicians and audiences, enriching the region's jazz tradition.

Influence on Jazz

Red Mitchell's pioneering adoption of cello tuning—adjusting his to fifths (C-G-D-A) starting in 1966—expanded the instrument's harmonic possibilities and intonation clarity, inspiring subsequent generations of bassists. This approach, which facilitated smoother scalar passages and chordal voicings akin to those on or , directly influenced players like Eddie Gomez, who cited Mitchell among his formative bass influences. Similarly, Mitchell's extended residence in from the onward profoundly shaped the Scandinavian scene, where he mentored and collaborated with local musicians, encouraging a generation of bassists to integrate his unobtrusive yet supportive style into their own work. In the realm of , Mitchell's tenure with Gerry Mulligan's piano-less quartet in the early 1950s exemplified a subtle bass role that prioritized ensemble cohesion over virtuosic display, walking lines that provided harmonic foundation while allowing space for improvisational dialogue among horns. This unobtrusive approach redefined bass contributions in small-group settings, influencing modern quartets where the instrument serves as a rhythmic anchor and textural enhancer rather than a dominant solo voice, as noted in jazz histories for its lasting impact on . Beyond performance, Mitchell's posthumous poetry collections, published in the , bridged jazz's improvisational lyricism with literary expression, offering insights into his creative process and enriching the genre's through verse that echoed the spontaneity of his bass lines. His overall legacy as a "profoundly important" figure in evolution has been affirmed in peer tributes. A Red Mitchell Memorial Fund was established after his to complete unfinished projects and promote his mastery of the acoustic bass, including scholarships such as one awarded to bassist Larry Holloway in 1997.

References

  1. https://www.redmitchell.com/biography.html
  2. https://www.allaboutjazz.com/musicians/red-mitchell/
  3. https://www.bluenote.com/artist/red-mitchell/
  4. https://www.nytimes.com/1992/11/11/obituaries/keith-red-mitchell-jazz-bassist-65.html
  5. https://redmitchell.com/pdfs/Red_Mitchell_Poetry_Book.pdf
  6. https://www.allaboutjazz.com/news/noted-jazz-bassist-and-award-winning-comedy-writer-gordon-whitey-mitchell-passes-away-on-feb-17th/
  7. https://jazzprofiles.blogspot.com/2022/10/part-2-return-of-red-mitchell-gene-lees.html
  8. https://jazzprofiles.blogspot.com/2022/10/nat-hentoff-presenting-red-mitchell.html
  9. https://www.allaboutjazz.com/musicians/red-mitchell
  10. https://www.freshsoundrecords.com/13034-red-mitchell-albums
  11. https://www.bluenote.com/artist/red-mitchell
  12. https://www.pointofdeparture.org/archives/PoD-84/PoD84Shipton.html
  13. https://www.redmitchell.com/pdfs/Red_Mitchell_Discography_Musician.pdf
  14. https://www.imdb.com/title/tt0051758/fullcredits/
  15. https://yorkspace.library.yorku.ca/items/3dbf27db-09f2-4ac4-b9d9-ab77d9842947
  16. https://static1.squarespace.com/static/594594e7db29d652c272b3d2/t/5a3956afc830251dbb81de55/1513707212753/Stephen%2BBright%2B-%2BRed%2BMitchell%2BTuning%2Bin%2BFifths%2Band%2Bthe%2BWalking%2BBass%2BLine.pdf
  17. https://www.discogs.com/release/2436055-Lee-Konitz-Red-Mitchell-I-Concentrate-On-You-A-Tribute-To-Cole-Porter
  18. https://www.discogs.com/release/4174197-Clark-Terry-Red-Mitchell-To-Duke-And-Basie
  19. https://www.discogs.com/artist/256168-Red-Mitchell
  20. https://www.latimes.com/archives/la-xpm-1992-11-10-mn-84-story.html
  21. https://statesmanjournal.newspapers.com/newspage/201742199/
  22. https://joelquarrington.com/tuning-in-fifths-and-the-walking-bass-line
  23. https://academic.oup.com/book/2103/chapter/142039890
  24. https://www.stereophile.com/content/remembering-jim-hall-jim-hallred-mitchell-artistshare-project
  25. https://www.kontrabassblog.de/wp-content/uploads/2017/12/Presenting-Red-Mitchell.pdf
  26. https://www.allmusic.com/album/presenting-red-mitchell-mw0000080163
  27. https://www.discogs.com/release/2572794-Red-Mitchell-What-I-Am
  28. https://www.allmusic.com/album/hear-ye-hear-ye-mw0000199429
  29. https://www.allmusic.com/album/home-suite-mw0000201409
  30. https://www.allaboutjazz.com/musicians/discography/red-mitchell
  31. https://www.flc.se/artists/redmitchell.html
  32. https://musicbrainz.org/release/e2408cff-2f79-4b82-835e-e779bb8107a9
  33. https://www.allmusic.com/album/i-concentrate-on-you-mw0000181407
  34. https://www.discogs.com/release/25214257-Bengt-HallbergRed-Mitchell-Duo-Live-At-Cervantes
  35. https://www.discogs.com/release/8433776-Jan-Johansson-9-Red-Mitchell-Blaus
  36. https://grammis.se/blog/jazz-1991/
  37. https://www.regeringen.se/contentassets/61bab671f59a46af81cb11ee99e0d0eb/regeringens-beloningsmedaljer-och-regeringens-utmarkelse-professors-namn
  38. https://tedpanken.wordpress.com/2016/10/04/for-eddie-gomez-72nd-birthday-a-jazziz-feature-from-2012/
  39. https://www.garciamusic.com/educator/iaje.journal/jej.article.archive/jazz.europe.html
  40. https://jazzprofiles.blogspot.com/2019/10/the-gerry-mulligan-quartet-19521953.html
  41. https://thejazztome.info/glossary/red-mitchell/
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