IN: Sources differ on the precise year of Crazy Horse's birth, but most agree he was born between 1840 and 1845. According to a close friend, he and Crazy Horse "were both born in the same year at the same season of the year," which census records and other interviews place in 1842. Encouraging Bear, an Oglala medicine man and spiritual adviser to the Oglala war leader, reported that Crazy Horse was born "in the year in which the band to which he belonged, the Oglala, stole One Hundred Horses, and in the fall of the year," a reference to the annual Lakota calendar or winter count. Among the Oglala winter counts, the stealing of 100 horses is noted by Cloud Shield, and possibly by American Horse and Red Horse owner, as equivalent to the year 1840-41.

Most sources question whether Crazy Horse was ever photographed. Dr. McGillycuddy doubted any photograph of the war leader had been taken. In 1908, Walter Camp wrote to the agent for the Pine Ridge Reservation inquiring about a portrait. "I have never seen a photo of Crazy Horse," Agent Brennan replied, "nor am I able to find any one among our Sioux here who remembers having seen a picture of him. Crazy Horse had left the hostiles but a short time before he was killed and it's more than likely he never had a picture taken of himself." In 1956, a small tintype portrait purportedly of Crazy Horse was published by J. W. Vaughn in his book With Crook at the Rosebud. The photograph had belonged to the family of the scout Baptiste "Little Bat" Garnier. Two decades later, the portrait was published with further details about how the photograph was produced at Fort Robinson, though the editor of the book "remained unconvinced of the authenticity of the photograph." In the late 1990s the original tintype was on exhibit at the Custer Battlefield Museum in Garryowen, Montana. The museum says that it is the only authentic portrait of Crazy Horse. Historians continue to dispute the identification. Experts argue that the tintype was taken a decade or two after 1877. The evidence includes the individual's attire, the length of the hair pipe breastplate and the ascot tie), which closely resembles the attire of Buffalo Bill's Wild West Indian performers active from 1883 to the early 1900s. Other experts point out that the gradient lighting in the photo indicates a skylight studio portrait, common in larger cities. In addition, no other photograph with the same painted backdrop has been found. Several photographers passed through Fort Robinson and the Red Cloud Agency in 1877--including James H. Hamilton, Charles Howard, David Rodocker and possibly Daniel S. Mitchell--but none used the backdrop that appears in the tintype. After the death of Crazy Horse, Private Charles Howard produced at least two images of the famed war leader's alleged scaffold grave, located near Camp Sheridan, Nebraska.
QUESTION: Can you tell me more about the photograph controversy?
IN: Timmons was born in Philadelphia, Pennsylvania, the son of a minister. He had a sister, Eleanor. Both of his parents, and several aunts and uncles, played the piano. From an early age Timmons studied music with an uncle, Robert Habershaw, who also taught McCoy Tyner.

Timmons moved to New York in 1954. He played with Kenny Dorham in 1956, making his recording debut with the trumpeter in a live set in May of that year. He went on to play and record with Chet Baker in 1956-57 (bassist Scott LaFaro was part of this band for a time), Sonny Stitt in 1957, and Maynard Ferguson in 1957-58. He also recorded as a sideman with hornmen Curtis Fuller, Hank Mobley, and Lee Morgan, all for Blue Note Records in 1957. Timmons became best known as a member of Art Blakey's band the Jazz Messengers, which he was first part of from July 1958 to September 1959, including for a tour of Europe. He was recruited for the Messengers by saxophonist Benny Golson, who said that "He was inventive, [...] He could play bebop and he could play funky - he could play a lot of things, and I thought it was the element that Art needed. He hadn't had anybody quite like Bobby, who could go here or go there, rather than walking in a single corridor." By late 1958 Timmons was sharing bandmate Morgan's East Sixth Street apartment and the pair had bought a piano, allowing Timmons to practice and Morgan to work on composing. From around the time he joined Blakey, Timmons, along with some of his fellow band members, was a heroin user. After leaving Blakey, Timmons joined Cannonball Adderley's band, in October 1959. Timmons was also known as a composer during this period: The Encyclopedia of Jazz states that his compositions "Moanin'" (from the 1958 album of the same title), "This Here", and "Dat Dere" "helped generate the gospel-tinged 'soul jazz' style of [the] late '50s and early '60s." The first was written when Timmons was first with Blakey; the others were composed when he was with Adderley. "This Here" (sometimes "Dis Here") was a surprise commercial success for Adderley: recorded in concert in 1959, it was released as part of The Cannonball Adderley Quintet in San Francisco album while the band was still on tour, and they discovered its popularity only when they arrived back in New York and found crowds outside the Village Gate, where they were due to play. Timmons was reported to be dissatisfied with the money he had received from "This Here", and was enticed in February 1960 into leaving Adderley and returning to Blakey's band by the offer of more pay. Timmons then appeared on further well-known albums with the drummer, including A Night in Tunisia, The Freedom Rider and The Witch Doctor. His own recording debut as sole leader was This Here Is Bobby Timmons in 1960, which contained his first versions of his best-known compositions. In the same year, he played on recordings led by Nat Adderley, Arnett Cobb, and Johnny Griffin, among others; on the first of these, Work Song, Timmons did not appear on all of the tracks, because he had been drinking heavily.
QUESTION:
Did he play with anyone else?