William “Bill” Green, a distinguished reedman (saxophones, clarinets, and flutes), was born in Kansas City on February 28, 1925. He began playing alto saxophone at the age of ten and clarinet at twelve. After serving in the military until 1946, he launched his professional career at Small’s club in his hometown.

In 1947 he moved to Los Angeles and enrolled at the Los Angeles Conservatory of Music and Arts, where he expanded his mastery to nearly all varieties of saxophone, clarinet, and flute. He graduated in 1952 with a master’s degree and remained at the Conservatory as a flute and reed instructor until 1964. In addition, he gave jazz workshops and seminars at universities across the country. His private studio on La Brea Avenue in Los Angeles became both a training ground and a meeting place for several generations of musicians.

As “Bill Green,” he also performed as a sideman in R&B and jazz groups on Central Avenue. In 1948, together with his close friend and fellow reedman Buddy Collette, he started the celebrated Sunday jazz sessions at the Crystal Tea Room, which became a creative space for young musicians such as Eric Dolphy, Sonny Criss, Walter Benton, and Frank Morgan.

Alongside Collette, Green played an important role in challenging racial segregation in Hollywood, helping to open opportunities for Black and white musicians to perform together in jazz, studio orchestras, and symphony orchestras—settings that provided better pay and more consistent work. Both were members of the Southeast Symphony, the first interracial community orchestra in Los Angeles, conducted by Percy McDavid. Other members included pianist Ernie Freeman, trombonist Britt Woodman, and trumpeter Vernon Smith. This initiative was one of several that contributed to the gradual breakdown of the Jim Crow system.

During the 1950s, Green developed a prolific career in Hollywood, becoming a regular presence in film, television, and commercial recording sessions. He appeared on jazz albums with the Gerald Wilson Orchestra, Max Albright, Buddy Collette, Fred Katz, Carmen McRae, Bob Florence, Benny Carter, and Chico Hamilton. From 1959 to 1962 he played in Louis Bellson’s big band, and he worked extensively as a section player with leaders such as Quincy Jones, Henry Mancini, and Buddy Rich. He also accompanied top vocalists including Frank Sinatra, Tony Bennett, Nat King Cole, Nancy Wilson, and Dionne Warwick.

In the 1960s, Green’s jazz group became a fixture at Marty’s, a club located on Los Angeles’ Black South Side. It was during this period that he recorded his first and only album as a leader, 'Shades of Green' (Everest Records). The album featured his regular rhythm section Art Hillery Jr. (organ) and Tony Bazley (drums)—along with trombonist Tricky Lofton. The program consisted entirely of Green’s originals, showcasing him on flute, alto and tenor saxophones, and piccolo. Highlights included the fast-swinging Arrowhead, the blues inspired The Blues, and Paz, which echoed the Parker–Gillespie collaborations of the 1940s.

Although 'Shades of Green' was his only album as a leader, Green continued to enjoy an active and versatile career. In 1966 he worked with Oliver Nelson, in the 1970s he played with the Bill Berry and the L.A. Band as well as the San Francisco All-Star Band, and in the 1980s he joined the Capp–Pierce Juggernaut Orchestra, performing on soprano, alto, and baritone saxophones. Throughout the 1990s he made occasional jazz appearances with groups featuring Bobby Bryant, Herman Riley, George Bohanon, and John Collins.

William (Bill) Green died in Los Angeles on July 29, 1996. Though little known outside the Los Angeles scene, he was highly respected by fellow musicians both as a jazz improviser and as a remarkably versatile studio player, remembered for his technical mastery, stylistic flexibility, and quiet but lasting impact on American music.

—Jordi Pujol (From the inside liner notes of FSRCD 1083)