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was known for his manner with brushes and shifting the role of time keeping from bass drum to the hi-hat cymbal.

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Jones kept with Basie for another decade, thought to have drummed his last titles with him on December 12 of 1947 in Los Angeles: 'Robbin's Nest' and 'Hey Pretty Baby', et al.

Jones would join the Basie Orchestra again at the Newport Jazz Festival in 1957 for such as 'Polka Dots and Moonbeams' and 'Lester Leaps In'.

He joined Walter Page's Blue Devils in the late twenties.

A double bassist, Page would be a major figure in Jones' career into the latter fifties, clearing much the same trail together while backing various enterprises like the Count Basie Orchestra.

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Other arrangers and composers, orchestral and not, can be found throughout these histories under the instruments they played.

Also important to jazz percussion were Latin musicians on instruments such as maracas, congas, bongos, tumbadoras and timbales. Examples below are a long distance from jazz, until one considers such as James Reese Europe who later transformed his military experience into ragtime and touched (though barely) the hems of early jazz.

He began his professional career in 1928 with Darnell Howard and was a member of the Chocolate Dandies.

Among his first recordings in 1928 was with the Creole Jazz Band.

Their initial session together is thought to have been on May 27, 1938, with Timme Rosenkrantz and his Barrelhouse Barons: 'A Wee Bit of Swing' and 'The Song Is Ended' along with two vocals by Inez Cavanaugh: 'Is This to Be My Souvenir? They backed vocalist, Chris Powell, in April of 1950 before the Bill Doggett Trio in 1951 to support Glenn's 'Tell Me Why', 'Sugar', et el.

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