"Rejoicing" is an album by the guitarist Pat Metheny that was released in 1984 by ECM. It features the guitarist in a trio with Charlie Haden on bass and Billy Higgins on drums, both of whom played and recorded with Ornette Coleman in the late 1950s and early 1960s. In addition to his own compositions, Metheny plays three compositions by Coleman, and Horace Silver's Lonely Woman (not to be confused with the Coleman composition of the same title, which Metheny does not play on the album).

Live at the Hilcrest Club 1958 (originally released in 1970 by America Records as The Fabulous Paul Bley Quintet) is a live album by pianist Paul Bley, saxophonist Ornette Coleman, trumpeter Don Cherry, drummer Billy Higgins and bassist Charlie Haden recorded in California in 1958 and released on the Inner City label in 1976. The album was the first live recording of Ornette Coleman, made shortly after he recorded his first album, Something Else!!!! and featuring the group (without Bley) that would soon record the Atlantic albums The Shape of Jazz to Come (1959) and Change of the Century (1960).

Billy Higgins (October 11, 1936 – May 3, 2001) was an American jazz drummer. He played mainly free jazz and hard bop.
Higgins was born in Los Angeles, California, United States.

In 1979 Art Pepper was recorded at two sessions that yielded two fine albums, So In Love and the New York Album. There was more first-rate material recorded in those two sessions than would fit on two LPs so difficult choices had to be made as to what material not to include on the albums released at the time. Those choices were not necessarily made on the basis of the quality of the performances but with respect to such considerations as length and congruence of repertoire within an album.

Joe Henderson is the essence of jazz. He embodies all the elements that came together in his generation: the virtuosity of hard bop and the avantgarde. He can be harmonically abstract and yet keep to the roots. On 1980's "Mirror, Mirror", Henderson has gathered a truly all-star group. This album isn't about a soloist and his sidemen: all the musicians are on an equal footing, everyone has their space to play.

"The Rumproller" is an album by jazz trumpeter Lee Morgan released on the Blue Note label. It was recorded mainly on April 21, 1965 and features performances by Morgan with Joe Henderson, Ronnie Mathews, Victor Sproles, and Billy Higgins.

"Cornbread" is Lee Morgan’s masterpiece. The session features five of his most memorable hits including the ballad “Ceora”, “Cornbread”, “Our Man Higgins”, “Ill Wind” and “Most Like Lee”. The legendary trumpeter is joined by a stellar cast of musicians including Herbie Hancock, Billy Higgins, Larry Ridley, Jackie McLean and Hank Mobley. Reaching #7 on Billboard’s Top Jazz Albums, "Cornbread" is vital for any music lover’s collection.

Miles Davis had publicly called him a madman. Leonard Bernstein found him, for his part, completely awesome. Few were those that didn’t have a definitive opinion on Ornette Coleman. Some kind of outlaw who preferred playing his own compositions rather than jazz classics, the American saxophonist also developed harmolodics, a theory uniting harmonics and melody. This box of ten discs compiles one of the most important era in the career of his author. Between 1959 and 1961, he released six studio albums for the Atlantic label. Six albums that are present here and spiced up with alternative takes and various bonuses, all of this of course impeccably remastered by John Webber. Albums included: The Shape Of Jazz To Come (1959), Change Of The Century (1959), This Is Our Music (1960), Free Jazz: A Collective Improvisation (1960), Ornette! (1961) and Ornette On Tenor (1961), and the compilations The Art Of Improvisers (1970), Twins (1971), To Whom Who Keeps A Record (1975) and The Ornette Coleman Legacy (1993).

"The Gigolo" has no weak moments, featuring jazz aficionados Wayne Shorter, Harold Mabern, Bob Cranshaw and Billy Higgins. Produced by Alfred Lion. Recorded June 25 & July 1, 1965 at Van Gelder Studio in Englewood Cliffs, NJ.

Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes.

The debut by alto saxophonist Ornette Coleman revolutionized the jazz world and quickly earned a reputation as one of the most important and controversial recordings of the era. Credited as a crucial work of early "free jazz", the album featured a lineup of then up-and-coming jazz stars: trumpeter Don Cherry, pianist Walter Norris, bassist Don Payne, and drummer Billy Higgins.

1959's landscape-shifting "The Shape of Jazz to Come" is true to its title. Switching from tenor to alto sax, Coleman creates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. Ranked by Rolling Stone in the top 250 Greatest Albums of All Time, the Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.

Celebrated jazz trumpeter Lee Morgan paved the way for the popularity of ‘60s soul-jazz with the release of his definitive classic The Sidewinder. The title track and one of Morgan’s signature tunes exemplified the soul-jazz genre, later becoming a jazz standard. Recorded in 1963 at Rudy Van Gelder’s studio, the highly successful album would chart on both the Billboard 200 and Billboard’s Top R&B albums. Its provocative phrasing and innovative technique mesmerized audiences. The album includes the hard-bop tracks “Gary’s Notebook”, “Hocus-Pocus” and “Boy, What a Night”. An absolute essential.

So In Love is an album by saxophonist Art Pepper recorded in 1979 and originally released on the Artists House label. The AllMusic review by Scott Yanow noted: "Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations".

Dippin' is an album by jazz saxophonist Hank Mobley released on the Blue Note label in 1966. It is the second of nine Blue Note sessions to feature Mobley alongside Lee Morgan during the trumpeter's second stint with the label. It is also the second of nine consecutive Hank Mobley recording sessions to feature Billy Higgins.