hɪz sˈɛʃənz wɪð sˈɪdni bˈɛtʃɪt fɔːɹ blˈuː nˈoʊt ɑːɹ kəlˈɪʒənz ʌv tˈuː fjˈʊɹɹiəs dʒˈæz tˈælənts wˌɪtʃ æt ðə sˈeɪm tˈaɪm wɜːɹ ˈɑːdli sˌɪmpəθˈɛɾɪk, ænd pɹˈuːv hɪz ɐbˈɪləɾi tə plˈeɪ ɪn ˌɛni kˈaɪnd ʌv miːljˈuː; hɪz nˈuːmɚɹəs sˈaɪdz ɪnðə kəndən tɹɐdˈɪʃən ʃˈoʊ hˌɪm juːnˈaɪɾɪŋ wɪð pˈiː wˈiː ɹˈʌsəl ɪnðə sˈeɪm wˈeɪ.
His sessions with Sidney Bechet for Blue Note are collisions of two furious jazz talents which at the same time were oddly sympathetic, and prove his ability to play in any kind of milieu; his numerous sides in the Condon tradition show him uniting with (Pee Wee) Russell in the same way.