Tone clusters have been employed by jazz artists in a variety of styles, since the very beginning of the form. Around the turn of the twentieth century, Storyville pianist Jelly Roll Morton began performing a ragtime adaptation of a French quadrille, introducing large chromatic tone clusters played by his left forearm. The growling effect led Morton to dub the piece his "Tiger Rag" (). In 1909, Scott Joplin's deliberately experimental "Wall Street Rag" included a section prominently featuring notated tone clusters. fourth of Artie Matthews's "Pastime Rags" (1913–20) features dissonant right-hand clusters. Thelonious Monk, in pieces such as "Bright Mississippi" (1962), "Introspection" (1946) and "Off Minor" (1947), uses clusters as dramatic figures within the central improvisation and to accent the tension at its conclusion. They are heard on Art Tatum's "Mr. Freddy Blues" (1950), undergirding the cross-rhythms. By 1953, Dave Brubeck was employing piano tone clusters and dissonance in a manner anticipating the style free jazz pioneer Cecil Taylor would soon develop. The approach of hard bop pianist Horace Silver is an even clearer antecedent to Taylor's use of clusters. During the same era, clusters appear as punctuation marks in the lead lines of Herbie Nichols. In "The Gig" (1955), described by Francis Davis as Nichols's masterpiece, "clashing notes and tone clusters depica pickup band at odds with itself about what to play." Recorded examples of Duke Ellington's piano cluster work include "Summertime" (1961) and "...And His Mother Called Him Bill" (1967) and [https://www.youtube.com/watch?v=Wpf5e2pecnI&list=PLyHn3f7-9IULMiUmc6vLeVHIrrDldflO8 "This One's for Blanton!", his tribute to a former bass player, recorded in 1972 with bassist Ray Brown. Bill Evans' interpretation of “Come Rain or Come Shine” from the album "Portrait in Jazz" (1960), opens with a striking 5-tone cluster.