October 25, 2026 marks the centennial of Jimmy Heath, the great saxophonist, composer, and arranger (a true “triple threat,” as implied by one of the album titles below). While small in stature, he was huge in musical authority, all the more so when one considers the strength and courage required to get clean in the 1950s after addiction and prison time robbed him of some of his prime years. With older brother Percy (bass) and younger brother Albert, a.k.a. “Tootie” (drums), he was part of a truly extraordinary family legacy, extended further by the contributions of James Mtume, his son.

Here are some of my favorites from his catalogue, presented in chronological order, and all of them representing full-on-Jimmy (which is to say he is both the composer and a featured soloist on all of these):

1 ) “C.T.A.” from Miles Davis Vol. 2 by Miles Davis (1953)

While there are fun musical examples of Jimmy’s fluent bebop soloing dating back to the 1940s, “C.T.A.” to my ear is where we get our first full glimpse of his multifaceted authority. This challenging reinterpretation of rhythm changes (the chord progression from Gershwin’s “I Got Rhythm”) has become an indispensable jazz standard and this first recording features compelling solos from Jimmy, Miles, and trombonist J.J. Johnson atop the driving beat of Percy and drummer Art Blakey.

2 ) “Waverley St” from Blue Soul by Blue Mitchell(1959)

This clever, hard swinging tune (and its slick sextet arrangement) is one of two Jimmy Heath originals on this album by trumpeter Blue Mitchell, which happens to have been Jimmy’s first post-incarceration record date. It rightly portends his powerful and enduring return and features grooving solos by Jimmy and Blue as well as trombonist Curtis Fuller and pianist Wynton Kelly.

3 ) “Old Fashioned Fun” from Really Big! (1960)

While not quite a big band, the larger ensemble on this record provides a perfect vehicle to display the intricacy of Jimmy’s composing and arranging. Nat Adderley on cornet and Cedar Walton on piano join Jimmy as soloists on this relaxed, bluesy performance that manages to be soulful top to bottom. This record is also noteworthy as the first of Jimmy’s albums to feature both Percy and Tootie in the rhythm section.

4 ) “Gemini” from Triple Threat (1962)

Perhaps better known for the Cannonball Adderley version, this edgy yet soulful tune is perhaps my favorite among all the waltzes in Jimmy’s repertoire. He makes the most of the textural possibilities in sharing a horn section alongside Freddie Hubbard on trumpet and Julius Watkins on French horn.

5 ) “All Members” from Live at the Village Gate by Milt Jackson(1963)

Jimmy’s musical relationship with vibraphonist Milt Jackson was as deep as it was longstanding. This blues tune features brilliant work from both as well as featured spots for pianist Hank Jones (himself the eldest of debatably the only trio of jazz siblings to rival the Heaths in importance) and Tootie on drums.  

6 ) “Gingerbread Boy” from On the Trail  (1964)

This blues tune is likely the most popular and commonly played of Jimmy’s compositions, certainly the first one I learned. While it’s particularly well known for the edgy deconstruction that Miles Davis’s Quintet came up with a couple years after this, the original version of the tune is gnarly in its own way, thanks to the hard-driving work of the band, particularly the soloists, Jimmy, Wynton Kelly, and guitarist Kenny Burrell.

7 ) “For Minors Only” from Picture of Heath (1975)

The 1970s are not generally viewed as a crowning moment for straight-ahead acoustic jazz, yet there were some folks keeping that flame with great aplomb. Jimmy was hardly a purist, but hearing him work out on some uptempo, bebop-infused swing alongside Barry Harris, Sam Jones, Billy Higgins is downright revelatory here both independent of chronology and in a sense because of it.

8 ) “Life in the City” from Brotherly Love by the Heath Brothers (1982)

In a “blindfold test” one could surmise this to be another noteworthy Philadelpha saxophonist, Grover Washington Jr., upon hearing the relaxed funk and electric piano with Jimmy’s relaxed, bluesy phrasing. But of course the roots of funk and jazz are hardly incompatible, and this feels totally organic. In addition to the brothers (represented here from one of the numerous fabulous records released under their group moniker) there are solos by two of their most longstanding collaborators, pianist Stanley Cowell (here on Rhodes) and guitarist Tony Purrone.  

9 ) “Heritage Hum” from Turn Up the Heath (2006)

Jimmy’s big band work is always a fascinating encapsulation of his mind as a composer and arranger, and this record is no different. The attention to detail in the writing and arranging of this Latin jazz composition is matched by the quiet intensity of the groove and the masterful solos by Jimmy on tenor as well as Terell Stafford on trumpet and Slide Hampton on trombone.

10 ) “Inside Your Heart” from Love Letter (2019)

I have always had a soft spot for Jimmy’s soprano playing, especially on ballads, since hearing him perform his tune “Ellington’s Strayhorn” on a now out of print Milt Jackson record (The Harem) and this gorgeously lyrical, patient performance from the ballads album he recorded at the very end of his time on this plane shows him in thoroughly undiminished form.