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Ralph Sharon

Ralph Sharon (September 17, 1923 – March 31, 2015) was a British-American , arranger, bandleader, and musical director best known for his collaboration with singer spanning more than four decades, during which he introduced Bennett to the song "I Left My Heart in ", which became the singer's signature tune and revitalized his career. Born in , , to an English mother and a Latvian-born father, Sharon became interested in as a young man after hearing recordings by virtuoso pianists and . He served in the Royal Air Force during and launched his professional career in 1946, performing with British bandleader Ted Heath and Frank Weir's orchestra before leading his own sextet in the late 1940s. In 1953, Sharon emigrated to , where he became a naturalized U.S. citizen and established himself in the jazz scene by playing at venues like and collaborating with prominent musicians including Count Basie, , Kenny Clarke, and . Sharon began working with in 1957 as his pianist and arranger, contributing to the 1957 album and serving as Bennett's musical director until his retirement in 2002. He played a key role in encouraging Bennett to embrace a jazz-influenced style and famously presented him with the for "I Left My Heart in " in 1961 while they were on tour, leading to its recording and Bennett's subsequent commercial breakthrough, including two in 1963. Over the years, Sharon accompanied Bennett on dozens of recordings—such as Tony Sings for Two (1961)—and international tours, and he later helped orchestrate Bennett's 1990s comeback with the 1992 album Perfectly Frank, which won a Grammy for Best Traditional Pop Vocal Performance. Beyond his partnership with Bennett, Sharon recorded approximately 30 solo albums, including Around the World in in the , and collaborated extensively with other vocalists such as , , Chris Connor, , Nancy Wilson, and in the 1970s. He also appeared on about two dozen albums with instrumentalists like and contributed to the broader community through his arrangements and performances. In 2002, after retiring as Bennett's musical director, Sharon relocated to , where he continued to perform locally in the area until shortly before his death from natural causes at his home in on March 31, 2015.

Early Life

Family Background and Childhood

Ralph Sharon was born on September 17, 1923, in in the to an American-born mother and a Latvian-born father. His mother, a professional and , had previously performed in theaters, providing live for silent films before emigrating to following her marriage. The family resided in a working-class immigrant household amid the economic challenges of post-World War I , where the 's vibrant, diverse community shaped Sharon's early surroundings. Growing up in this modest environment, Sharon experienced his mother's musical influence firsthand, as she often played at home. Despite this exposure, he initially showed reluctance toward formal piano lessons, which his mother insisted upon during his childhood; he later recalled despising the practice and resisting it vigorously. Details of his formal schooling remain limited, but Sharon left education early to work in a factory, reflecting the era's opportunities for young people in working-class families. During , he served in the Royal Air Force. This early period fostered a budding, self-directed curiosity about music, ignited by witnessing his mother's performances and the sounds of the city around him, laying the groundwork for his later passion despite the initial aversion.

Musical Training and Early Influences

Ralph Sharon received his initial instruction from his American-born mother, a professional who had performed in theaters and later served as an accompanying silent films. Beginning lessons at age six, Sharon developed basic technique under her guidance but resisted the classical exercises she emphasized, preferring instead to improvise freely on the instrument. This early exposure, combined with family encouragement toward music, laid a reluctant foundation for his skills, though he showed little enthusiasm until his teenage years. Sharon's passion for music ignited in his early teens through self-directed listening to imported American jazz records, particularly those featuring pianists Fats Waller and Art Tatum, whose virtuosic improvisations profoundly shaped his interest in jazz phrasing and harmonic exploration. Lacking formal conservatory training, he honed his abilities through practical immersion in London's vibrant 1930s and 1940s jazz scene, playing informal gigs with local bands in areas like Bethnal Green and absorbing influences via radio broadcasts and club performances at venues such as the Feldman Club and Club Eleven. His professional entry came in 1946 at age 23, when he joined Ted Heath's orchestra as a , marking his debut in a major ensemble. Soon after, he transitioned to Frank Weir's orchestra, further embedding himself in the UK's circuit. These early roles exposed him to the era's big-band energy while he delved into emerging styles through imported recordings of artists like and , blending American innovations with local traditions to refine his improvisational approach.

Professional Career

Beginnings in the

Ralph Sharon turned professional in 1946 at the age of 23, making his debut as a pianist with the renowned Ted Heath Orchestra, one of Britain's leading big bands during the postwar . His tenure with Heath, which extended through the late , including a key period from 1948 to 1951, involved performing high-energy swing arrangements across the UK, establishing him as a versatile young talent in the ensemble. Following this, Sharon joined Frank Weir's orchestra in the late , where he contributed to jazz-inflected performances that blended dance band traditions with emerging modern styles. These engagements, alongside collaborations with figures like and , marked his integration into the professional jazz circuit. Sharon actively participated in London's postwar jazz revival, a vibrant scene fueled by returning servicemen and enthusiasm for American influences despite logistical barriers. He performed at key venues such as the Feldman Swing Club (later known as the ) on , including a notable 1945 jam session that previewed his professional prowess alongside Scott, Feldman, and others, and continued into the late 1940s at clubs like Club Eleven. Through his band affiliations, Sharon contributed to , which helped disseminate to a wider audience amid the era's limited recording opportunities. This period saw him immersed in the and modern movements, adapting to the city's underground clubs that served as crucibles for British innovation. Sharon's first recordings as a came in 1949–1952, solidifying his reputation as a reliable and inventive pianist. In November 1949, he led a trio for Esquire Records in , capturing tracks like "How High the Moon" and "Zanzibar," which showcased his light, swinging touch influenced by . He also appeared on sessions with the All-Stars in 1951–1952, contributing to compilation efforts that documented the UK's elite, and recorded with his in 1950 for tracks later compiled on Bop-In’ Britain Vol. 1, featuring players like Jimmy Skidmore and Feldman. These efforts highlighted his ability to navigate small-group within the broader landscape. During his time with big bands like Heath's, Sharon began honing his arranging skills, crafting charts that drew from American masters while incorporating hints of the emerging via imported . His arrangements emphasized rhythmic drive and harmonic subtlety, tailored for the era's ensembles and reflecting a bridge between traditional dance band formats and modern sensibilities. The postwar years posed significant challenges for jazz musicians, including economic that constrained club resources and operations until 1949, as well as the Musicians' Union ban on American performers (in place until 1955), which restricted direct exposure to innovators like . These limitations, coupled with police scrutiny of jazz venues for perceived moral lapses, forced Sharon and his peers to rely on smuggled and adaptive techniques, fostering a resilient, self-reliant playing style amid scarce opportunities.

Move to the United States and Early American Work

In 1953, at the age of 30, Ralph Sharon emigrated from to , motivated by his deep immersion in and a desire to experience its origins firsthand. Upon arrival, he roomed with clarinetist , who facilitated connections within the local music community. Sharon became a naturalized U.S. citizen five years later, in 1958. Sharon's early years in involved integrating into the bustling environment through recordings and performances. His debut U.S. album, Autumn Leaves and Spring Fever, was released in 1953 on London Records, showcasing his work alongside standards and originals. In 1955, he led the Ralph Sharon All-Star Sextet on Easy Jazz (London LL 1488), a session featuring tenor saxophonist J.R. Monterose, vibraphonist Teddy Charles, guitarist Joe Puma, bassist , and drummer Kenny Clarke, highlighting his ability to coordinate ensemble improvisation in a vein. By 1956, Sharon had formed and recorded with the Ralph Sharon Trio on Bethlehem Records (BCP 41), further establishing his leadership in small-group settings. He also performed at iconic venues such as and contributed as a on sessions with jazz luminaries including Kenny Clarke and bassist , often on two dozen albums blending energy with rhythmic precision. Exposure to New York's dynamic scene profoundly shaped Sharon's style, as he absorbed bebop's harmonic complexity and cool jazz's understated lyricism, refining his improvisational fluency and rhythmic adaptability. These experiences, including collaborations with figures like on his 1957 album Around the World in Jazz (Rama RLP 1001), featuring , solidified his transition from circles to American innovation.

Long-Term Collaboration with Tony Bennett

Ralph Sharon first joined as his pianist in , auditioning successfully for the role and contributing to live performances and recordings from the outset. Their collaboration began with the album , released that same year, where Sharon served as arranger and pianist, incorporating jazz elements with guest musicians such as and . By 1958, Sharon had ascended to the position of musical director, shaping Bennett's repertoire and stage presentations over the ensuing decades. The partnership endured for more than 50 years, encompassing extensive international tours, television appearances, and numerous studio recordings, though it included a hiatus from 1965 to 1981 during which Bennett pursued other musical directions. Sharon's influence was pivotal in steering Bennett toward a jazz-oriented style in the late 1950s and 1960s, arranging pieces for trio formats that emphasized improvisational freedom and encouraging Bennett's phrasing to align more closely with jazz scat and swing traditions. This shift broadened Bennett's appeal among jazz audiences and earned endorsements from figures like Dizzy Gillespie and Miles Davis. A landmark moment came in 1961 when Sharon rediscovered the sheet music for "I Left My Heart in San Francisco" while preparing for a tour; he convinced Bennett to include it in their set, leading to its debut performance that December at the Fairmont Hotel in San Francisco. The subsequent 1962 recording peaked at No. 7 on the Billboard Adult Contemporary chart and won two Grammy Awards: Record of the Year and Best Solo Vocal Performance, Male. Following their reunion in 1981, Sharon and Bennett refocused on jazz-inflected pop standards, producing albums such as The Art of Excellence in 1986, which featured the Ralph Sharon Trio and marked Bennett's return to with critically acclaimed interpretations of classics like "How Do You Keep the Music Playing?" The duo's collaboration reached a commercial pinnacle with the 1994 live album , recorded with the Ralph Sharon Trio and guest artists including and ; the stripped-down performance revitalized Bennett's career among younger audiences and secured for and Best Traditional Pop Vocal Album. Sharon's steady presence as and director underpinned these successes, providing a foundation of rhythmic subtlety and harmonic depth that allowed Bennett's vocal improvisations to flourish across their enduring alliance.

Solo Projects and Additional Collaborations

In the mid-1950s, Ralph Sharon formed the Ralph Sharon Trio, which became a platform for his explorations during a period when he was establishing himself in City's jazz scene. The trio's self-titled debut album, The Ralph Sharon Trio, released in 1956 on Bethlehem Records, featured Sharon on piano alongside bassist and drummer Osie Johnson, delivering understated interpretations of standards like "Don't Be That Way" and "Give Me the Simple Life." This recording highlighted Sharon's elegant touch and rhythmic precision, drawing from his British roots while adapting to American influences. Throughout the late 1950s and early 1960s, the trio continued performing and recording sporadically, allowing Sharon to balance these endeavors with emerging opportunities. Sharon's early independent work extended to notable collaborations with jazz luminaries, including bassist Charles Mingus and drummer Jo Jones. In 1955, he led the Ralph Sharon All-Star Sextet for the album Easy Jazz on , featuring Mingus on bass, Kenny Clarke on drums, and Teddy Charles on vibes, where Sharon's arrangements blended energy with accessible melodies on tracks such as "Blue Loop" and "No Left Turn." He also recorded with Jo Jones on sessions that captured the drummer's swinging pulse, contributing to over two dozen albums as a with these and other figures like Milt Hinton during the decade. These projects underscored Sharon's versatility as a capable of supporting innovative ensembles beyond mainstream pop contexts. As a sideman in the 1950s, Sharon accompanied vocalists and instrumentalists who shaped his reputation in both jazz and cabaret circles. He provided piano support for singer Rosemary Clooney on live performances and recordings, enhancing her interpretive style with subtle harmonic fills. Similarly, he backed vocalist Lorez Alexandria on her 1957-1959 King Records sessions, including tracks like "I'm Beginning to See the Light" with the Ralph Sharon Trio/Quartet, where his accompaniment added a layer of sophisticated swing to her gospel-inflected phrasing. Instrumentally, Sharon collaborated with vibraphonist Eddie Costa and cellist Oscar Pettiford on the 1957 Rama release Around the World in Jazz, a global-themed album that showcased his ability to integrate diverse rhythmic elements in a sextet setting. Sharon's solo output gained renewed momentum in the and through a series of songbook albums on DRG Records, focusing on American standards arranged for trio or quartet formats. The Songbook (1997) featured intimate trio renditions of classics like "That's Amore" and "," emphasizing Warren's melodic craftsmanship with bassist Phil Flanigan and drummer Joe LaBarbera. This was followed by the Frank Songbook (1999), where Sharon's quartet explored songs such as "" and "Moments Like This," blending nostalgia with . Later, The Music of & (2012) paid homage to and through medleys and solos like "Fascinating " and "I Got ," reuniting Sharon with longtime associates for a reflective take on Broadway's golden age. These releases demonstrated his enduring commitment to preserving the amid his ongoing duties with . Throughout his long-term association with Bennett, which began in , Sharon maintained a balance between collaborative obligations and personal pursuits, occasionally stepping away for independent engagements. In the 1970s, he took a hiatus from Bennett to pursue solo gigs and work with artists like and , performing in venues and touring to hone his trio sound. This period of autonomy refreshed his approach, allowing space for jazz-focused projects before reuniting with Bennett in the . Such independence influenced the jazz-inflected elegance that permeated his Bennett collaborations, as noted in reflections on their partnership. In his later years, Sharon's legacy continued through posthumous releases, including the 2022 album Bluz For Suz on Chameleon Archive, a collection of trio performances featuring blues-tinged standards like the title track and "Angel Eyes," recorded in the but issued after his 2015 death. This project, with bassist Paul West and drummer Joe Ascione, encapsulated Sharon's lifelong affinity for lyrical .

Musical Contributions

Piano Technique and Style

Ralph Sharon's style was characterized by an elegant and understated approach that blended melodic tunefulness with subtle jazz , often prioritizing the integrity of the song over virtuosic display. Influenced early on by the harmonic complexity of and the rhythmic swing of , Sharon developed a playing manner that emphasized light, supportive chord voicings and introspective touch, drawing parallels to the melodic accessibility of and the blocked-chord innovations of . In his accompaniment work, Sharon adhered to a philosophy of restraint, viewing the role as musically equal to and focusing on enhancing vocalists through "hand-in-glove" support rather than overpowering them. He favored subtle fills and runs that complemented phrasing, as exemplified in his long-term trio settings with , bass, and drums, where walking bass lines and brushed percussion created intimate, atmospheric environments. This "less is more" ethos allowed for elegant accents that maintained song fidelity, evident in live performances and recordings like his trio's interpretations of American standards. Sharon's style evolved from the bebop-infused energy of his British recordings, where he led sextets in accessible modern jazz, to a more minimalist approach in the and beyond, emphasizing introspective standards in formats that highlighted subtle and harmonic depth. This progression reflected his adaptation from leading ensembles to masterful accompaniment, always centering on beat, feel, and audience connection without flashy solos.

Arrangements and Innovations

Ralph Sharon's arrangements for emphasized intimate trio settings, particularly evident in albums like the 1964 When Lights Are Low (e.g., "The Rules of the Road") and the 1966 A Time for Love (e.g., "I'll Only Miss Her When I Think of Her"), where he adapted standards with rich harmonies and subtle rhythmic underpinnings that highlighted Bennett's vocal phrasing. These trio adaptations, featuring Sharon on alongside Hal Gaylor and Billy Exiner, stripped away orchestral excess to focus on conversational interplay between voice and instruments, a hallmark of Sharon's approach to vocal . A pivotal moment in Sharon's arranging career came with his discovery and adaptation of "I Left My Heart in " in 1961. While packing for a tour, Sharon unearthed for the overlooked 1954 song by George Cory and Douglass Cross from his files, where it had been stored after being given to him by the composers; he immediately recognized its potential and convinced a reluctant Bennett to include it in their set. Sharon crafted a simplified introduction and counter-melody—drawing inspiration from the syncopated style of "The Wedding of the Painted Doll"—transforming the tune into a poignant that propelled it to international acclaim upon its 1962 release. In his solo work, Sharon blended standards with personal interpretive riffs, as seen in albums like the 1999 Frank Loesser Songbook, where he reimagined pieces such as "Moments Like This" (music by ) and "On a Slow Boat to " through his trio's lens, incorporating improvised harmonic extensions and rhythmic variations that infused the originals with a contemporary sensibility. These variants showcased Sharon's compositional flair in revoicing melodies to emphasize emotional depth, often using block chords and walking bass lines to evoke a narrative flow. Sharon extensively utilized unamplified backing for vocalists starting in the late 1950s, integrating his group seamlessly with Bennett's phrasing to create a fusion of pop standards and improvisational , as heard in early collaborations like the 1957 album . This approach, which prioritized acoustic intimacy and spontaneous interaction over amplified production, influenced subsequent vocal- pairings, including Bennett's later work with pianist in the 1970s, by establishing a template for support that allowed singers to explore inflections freely. During the 1990s, Sharon's solo output included a series of songbook albums on the DRG label, where he reinterpreted the catalogs of great American composers with modern jazz voicings. Notable examples are The Magic of (1992), featuring inventive takes on "Blue Skies" and "Always" with extended harmonies and trio swing, and Swings the Songbook (1994), which applied similar techniques to songs like "It's Magic." Extending into the early 2000s, The Magic of (2000) continued this tradition, updating classics such as "Night and Day" and "I've Got You Under My Skin" through chromatic substitutions and rhythmic displacements that bridged roots with postwar evolution.

Later Life and Legacy

Retirement and Personal Interests

After decades as Tony Bennett's musical director and pianist, Ralph Sharon entered semi-retirement in 2002, scaling back from the rigorous touring schedule that had defined much of his career. He continued to perform occasional gigs and recordings in the years following, maintaining his connection to through local appearances near his new home, though his activity diminished as his health declined. That same year, Sharon relocated from Sherman Oaks, California—where he had lived for 40 years—to , seeking a quieter pace of life. In , he settled into a low-profile existence, prioritizing time with his family over the demands of the music industry. The grueling nature of constant road work had long strained his personal life; earlier, his wife had urged him to take a break from touring around the time their son married, allowing for a period of recharge. Sharon was married to Linda Noone Sharon for 41 years and was the father of a son, , as well as a grandfather to two. The family emphasized privacy throughout his later years, with no public scandals or notable personal anecdotes emerging from his private life.

Death and Posthumous Recognition

Ralph Sharon died on March 31, 2015, at the age of 91 in , from natural causes related to advanced age. His passing was confirmed by his son, Sharon, and marked the end of a career that spanned over six decades in . Following his death, tributes from the jazz world underscored Sharon's profound impact. Tony Bennett, with whom Sharon had collaborated for nearly 50 years, publicly remembered him as a "true artist" who lived to play and always sought the best musicians to perform alongside. Obituaries in and JazzTimes emphasized Sharon's essential role in Bennett's success, crediting him with discovering the for "I Left My Heart in " in 1961 and shaping the singer's jazz-oriented approach. Sharon received no individual awards during his lifetime, but he shared in multiple Grammy victories as Bennett's musical director and arranger, including the 1994 and Best Traditional Pop Vocal Album for . His legacy endures indirectly through Bennett's inductions into institutions like the and Hall of Fame, where Sharon's arrangements and accompaniments are integral to the honored work. In 2022, the album Bluz For Suz—featuring 1956 recordings by the Ralph Sharon Trio—was posthumously reissued by Chameleon Archive Editions, highlighting his early trio innovations as a lasting tribute. Sharon's piano style continues to influence modern jazz pianists, especially in techniques for vocal that blend subtle support with improvisational flair, as evidenced by artists like Randy Halberstadt who have cited him alongside figures such as . The widespread availability of his recordings, from solo trio sessions to Bennett collaborations, sustains the influence of his arrangements on interpretations of the standards.

Discography

Solo Albums

Ralph Sharon released approximately 30 albums as a leader, primarily featuring intimate trio formats that highlighted his elegant piano interpretations of standards. His solo discography spans from the early through posthumous releases, emphasizing relaxed and sophisticated arrangements in small ensemble settings. Sharon's earliest solo efforts emerged in the early 1950s, capturing his cool jazz sensibilities with the Ralph Sharon Trio. The 1952 album Autumn Leaves and Spring Fever, issued on Decca in the UK and London in the US, featured piano trio performances of light standards like "One Morning in May" and "It Might as Well Be Spring," showcasing his fluid phrasing and understated accompaniment. In 1955, under the banner of the Ralph Sharon All-Star Sextet, he led Easy Jazz on London Records, blending larger ensemble textures with accessible jazz treatments of popular tunes. By 1956, The Ralph Sharon Trio on Bethlehem Records presented a core trio lineup with tracks such as "Don't Be That Way" and "Give Me the Simple Life," establishing his preference for trio dynamics that prioritized melodic clarity over virtuosic display. The late 1950s brought further trio explorations, including the 1958 release 2:38 A.M. on , a nocturnal collection of standards evoking late-night introspection through Sharon's warm, lyrical work. He also released Around the World in Jazz in 1957 on , featuring international-themed standards with a sextet including on . During the 1960s, Sharon's output included trio albums reflecting his ongoing commitment to interpretations of and material, such as Modern Innovations on Country & Western Themes (1963, Ovation Records), adapting country tunes to settings. In the 1990s and , Sharon focused on thematic songbook tributes, often with trio or quartet support, celebrating composers from the with 10-12 tracks per . The 1997 Plays the Harry Warren Songbook on DRG Records featured selections like "That's Amore" and "September in the Rain," arranged to highlight Warren's melodic gifts through Sharon's precise, swinging piano. This was followed in 1999 by Plays Frank Loesser Songbook on DRG, including "Baby, It's Cold Outside" and "Moments Like This," where Sharon's quartet infused Loesser's witty lyrics with jazz-inflected elegance. Entering the , The Magic of Jerome Kern (2001, Horatio Nelson Records) offered 18 tracks such as "The Song Is You" and "Long Ago and Far Away," emphasizing Kern's romanticism in trio format. Similarly, The Magic of Cole Porter (2001, Horatio Nelson) captured Porter's sophistication with tunes like "Night and Day," maintaining Sharon's signature balance of intimacy and swing. His final pre-retirement songbook effort, The Music of Gershwin & Rodgers (2012, Chiaroscuro Records), compiled 41 tracks across Gershwin and Rodgers standards, including "Fascinating Rhythm" and "The Lady Is a Tramp," underscoring his lifelong affinity for these composers in extended trio performances. A posthumous release, Bluz For Suz (2022, Archive Editions), drew from 1950s trio sessions to present a blues-jazz collection with tracks like the title cut and "You Stepped Out of a Dream," offering a fresh perspective on Sharon's early blues-tinged improvisations.

As Sideman

Ralph Sharon's early recording career in the during the late 1940s and early was marked by his role as a in prominent big bands and orchestras. He made his professional debut with the Ted Heath Orchestra in 1946, contributing piano to various sessions that captured the band's swing-era sound, including tracks on the Ted Heath And His Music – The Beginning from recordings between 1949 and 1951. Following this, Sharon joined Frank Weir's orchestra around 1949, where he provided piano accompaniment on light jazz and orchestral sessions, often alongside emerging talents like on accordion. These appearances established Sharon's reputation as a versatile accompanist in the scene. After emigrating to the in 1953, Sharon expanded his work in City's vibrant community during the and , collaborating with leading instrumentalists on and other labels. Notable examples include his piano contributions to the 1955 session featuring on bass and Kenny Clarke on drums, released as Easy Jazz under an all-star sextet banner but highlighting Sharon's supportive role in the ensemble. He also appeared on Mr. & Mrs. Jazz (1956, Bethlehem Records) with on bass, on drums, and Eddie Costa on vibes, delivering elegant piano lines in a trio-plus-vibes format. Additional jazz dates included work with , as on tracks from international-themed sessions, and Eddie Costa's quartet recordings in the mid-1950s, where Sharon's subtle phrasing complemented the vibraphonist's modern explorations. Sharon's sideman credits extended prominently to vocalists, blending jazz improvisation with pop and standards accompaniment. In 1957, he led the piano trio backing on her debut album This Is Lorez (King Records), including the track "I Didn't Know What Time It Was," where his trio provided intimate, swinging support to her delivery. During the 1960s and 1970s, he arranged and played piano for on standards albums, contributing to her warm interpretations of material. A significant portion of Sharon's sideman legacy stems from his long association with , appearing on over 50 albums as pianist and arranger from 1957 until Bennett's retirement. Key examples include (1957, ), where Sharon's trio framed Bennett's jazz-inflected vocals; (1963, ), featuring his arrangements on pop standards; (1987, ), a tribute to with Sharon's piano duets; and (1992, ), honoring with sophisticated trio backing. These collaborations showcased Sharon's ability to elevate vocal performances through tasteful and occasional arrangements. Overall, Sharon amassed approximately 100 sessions across , pop, and vocal projects, primarily as pianist and arranger, spanning his UK and US careers.

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    1. Baby, It's Cold Outside. Ralph Sharon. 04:28 · 2. Moments Like This. Ralph Sharon. 03:45 · 3. Can't Get Out Of This Mood. Ralph Sharon. 04:48 · 4. This Time The ...Missing: original | Show results with:original
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    Ralph Sharon - Autumn Leaves and Spring Fever (Vinyl)
    14-day returnsBuy Autumn Leaves and Spring Fever (Vinyl) by Ralph Sharon on Blue Sounds Store. Released by Jazz Vinyl.
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    2:38 A.M. - Ralph Sharon | Album - AllMusic
    2:38 A.M. by Ralph Sharon released in 1958. Find album reviews, track lists, credits, awards and more at AllMusic.
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    Ralph Sharon discography - Rate Your Music
    Ralph Sharon discography and songs: Music profile for Ralph Sharon, born 17 September 1923. Genres: Cool Jazz. Albums include Steppin' Out, When Lights Are ...<|separator|>
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    Plays Harry Warren Songbook - Ralph Sharon | A... | AllMusic
    Rating 6.5/10 (2) Plays Harry Warren Songbook by Ralph Sharon released in 1997. Find album reviews, track lists, credits, awards and more at AllMusic.
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    Plays Frank Loesser Songbook - Ralph Sharon - AllMusic
    Rating 7/10 (2) Plays Frank Loesser Songbook by Ralph Sharon released in 1999. Find album reviews, track lists, credits, awards and more at AllMusic.
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    The Magic of Jerome Kern - Ralph Sharon | Album - AllMusic
    The Magic of Jerome Kern by Ralph Sharon released in 2001. Find album reviews, track lists, credits, awards and more at AllMusic.
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    The Music of Gershwin & Rodgers - Album by Ralph Sharon | Spotify
    The Music of Gershwin & Rodgers. Ralph Sharon. 201241 songs, about 2 hr. Fascinating Rhythm · Ralph Sharon · Lady Is a Tramp · Ralph Sharon · Rhapsody in Blue.
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    Bluz for Suz - YouTube
    Apr 13, 2022 · Provided to YouTube by The state51 Conspiracy Bluz for Suz · Ralph Sharon Bluz For Suz ℗ 2022 Chameleon Archive Ed Released on: 2022-04-12 ...
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    Lorez Alexandria - On King 1957-1959 Plus Her 1954-1956 Blue ...
    Four songs have her backed by the Ralph Sharon Trio/Quartet while the arrangers of the larger bands include Johnny Richards, Russ Garcia and Frank Hunter, none ...
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    Ralph Sharon
    ### Summary of Albums by Ralph Sharon (Primary Artist/Leader, Solo or Trio)