Henry Gould's #1 is Dolphy. Definitely a defensible choice. If I had left him off completely I would deserve to be called a big square, like Kasey has just called me on his blog, along with himself. (Speak for yourself Bro). I know what he means though. I'm sure I come off as very pedantic and professorial.

Number 5 is Lester Young. He invented cool with that behind the beat attack. Without him, no 1950s white saxophone players, from Desmond to Getz. He also stands right behind Parker and Miles Davis, for rhythmic suppleness and ethereal beauty. Check him out with the original Count Basie Band, with Billie Holiday and Teddy Wilson. The critics used to malign his later work, which is actually superb though somewhat uneven. He also invented (or at least perfected) his own unique slang. If a policeman was in the club, he would say "Bing Crosby is in the house." And his brother Bob too). Am I unhip if I put him behind Coleman Hawkins? It is highly debatable. Please debate me.

Hawkins is the greatest improviser of that pre-bop phase, and could still hold his own with the beboppers. He could play with Monk with no problem. What jazz critics call "vertical" improvisation: there was none better at it until Coltrane. What I most admire about Hawkins is that quality of supreme self-confidence. Perhaps lacking this quality myself it seems utterly miraculous to me.

Number 3 will be Ornette Coleman. # 2 will be Coltrane and # 1 Charlie Parker, of course.