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The number was among those played by Los Angeles artists such as Clifford Brown (trumpet), Max Roach (drums) and Harold Land (tenor sax) as part of the "hardening" of Jazz bop.
Aton was soon working Hollywood clubs with small combos and then joined 'the Jerry Gray Orchestra, with whom he made his first commercial recording. There followed a steady stream of work in Hollywood clubs with a variety of Jazz stars including The Conley Grraves Trio, The Page Cavanagh Trio, Calvin Jackson and Harold Land.
Her career began in the late 1950s while working with names like Dexter Gordon, Teddy Edwards, Harold Land, Don Cherry, Charlie Haden and Charles Lloyd, but in 1969 it began to "take off" as she became the first woman in Art Blakey's Jazz Messengers.
Backing up different musicians one week to the next, he worked with artists such as Randy Brecker, Bob Berg, Hank Crawford, Art Farmer, Curtis Fuller, Tom Harrell, Eddie Harris, Harold Land and Blue Mitchell, Dave Liebman, Bob Mintzer, Gary Peacock, and Sonny Stitt.
From 1956-1965 he was back in the U.S., working with Dexter Gordon, Harold Land, Stan Kenton, Woody Herman, Maynard Ferguson, Buddy Rich, Benny Goodman, Gerry Mulligan, Dan Terry, Max Roach and Charles Mingus, among others.