Arnold Ross will always be best-remembered for the brilliant chorus he took on the Jazz at the Philharmonic version of Lady Be Good that directly preceded Charlie Parker's classic solo in 1946. Ross has had a strangely episodic career, sounding at his best in swing-to-bop transitional settings. Early on, Ross played clarinet, saxophone, and violin before settling on piano. He worked for a time in South America, was in a cruise ship orchestra that traveled to the West Indies, and then in the U.S. played Hammond organ with Frank Dailey between 1938 and 1939. Back on piano, Ross had stints with Jack Jenney (1939), Vaughan Monroe (1940-1942), Glenn Miller's Army Air Force Band and, after his military stint ended, the very popular Harry James Orchestra (1944-1947). Ross, who recorded four numbers as a leader for EmArcy in 1946 (using a quintet that included Benny Carter), also appeared on records led by Harry Sweets Edison, Charlie Ventura, and Charlie Parker (1947). He settled in Los Angeles where he freelanced, worked in the studios, and toured as Lena Horne's accompanist in 1952, visiting Europe and recording that year as a leader for Vogue, Melodisc, and the Swedish Modern Music label. Ross worked on the Bob Crosby (1954-1956) and Spike Jones (1957-1958) television shows, appeared on some records as a sideman in the '50s, and led his own trio, but became a heroin addict for a time. In the '60s he kicked drugs at Synanon. Ross has largely been in obscurity ever since, working in an anonymous role as Nelson Riddle's pianist, leading a trio album for Jazz Chronicles (1976), and playing regularly with Conrad Janis' Beverly Hills Unlisted Dixieland Band, where his harmonic sophistication and lyrical interpretations of Bud Powell's style are well buried. ~ Scott Yanow, Rovi