A Birth of Jazz

Born Mary Elfrieda Scruggs in 1910 in Atlanta, Mary Lou Williams (aka First Lady of Jazz) married saxophonist John Williams in 1927. But she first made her debut recordings in January that year with the band in which John played, Jeanette James and the Synco Jazzers (Jeanette James was a vocalist.) Those tracks made for Paramount in Chicago were: 'Downhearted Mama', 'Midnight Stomp', 'The Bumps' and 'What's That Thing?' [Lord's]. Upon Jeanette vacating, John assumed leadership, Mary to attend sessions with that band from February to May. Williams next recorded with Andy Kirk's Twelve Clouds of Joy in Kansas City on November 7, 1929, titles like 'Mess-s-Stomp' and 'Cloudy' which she also arranged. John was also in on those titles, with whose Memphis Stompers she recorded 'Somepin' Slow and Low' and 'Lotta Sax Appeal' two days later, she also arranging those. Kirk' would be a huge figure in Williams' career, she contributing to countless titles in his band throughout the thirties. Her last recordings with Kirk are thought to have been on July 17, 1941, she again arranging titles like '47th Street Jive' and 'No Answer'. Another huge presence was clarinetist, Benny Goodman, she arranging her first title for his orchestra in Hollywood per a session on July 7, 1937, with Jess Stacy at piano: 'Roll 'Em', which she also composed. Williams would work for Goodman numerously in '41, '46, '48, '55 and, finally, a reunion on January 17, 1978, for 'Goodman's '40Th Anniversary Concert'. Williams was also known for her work with Mildred Bailey, first accompanying Bailey's Oxford Greys on March 16, 1939, for such as 'Barrelhouse Music' and 'Arkansas Blues'. She would join Bailey again in 1944 and '45 for numerous CBS Radio broadcasts of 'Music 'Til Midnight'. The first on November 24 of '44 wrought titles like 'Don't Fence Me In' and 'Roll 'Em'. Her last session with Bailey fell on February 9 of '45, also for 'Music 'Til Midnight', putting down such as 'Sleigh Ride in July' and 'Rockin' Chair'. Williams had long since made her first name recordings, those a couple piano solos in Chicago on April 24, 1930: 'Night Life' and 'Drag 'Em'. Her first session as a leader followed five years later in NYC on March 7 of 1936 with Booker Collins (bass) and Ben Thigpen (drums) for 'Corny Rhythm', 'Over Hand' and 'Isabelle'. 'Swingin' for Joy' and 'Clean Pickin' followed on the 11th. Of Williams' well above 200 sessions 87 of those were her own projects. Her last piano solos, issued as 'Solo Recital', were recorded at the Montreux Jazz Festival in Switzerland on July 16, 1978, such as 'Over the Rainbow' and 'Offertory Meditation'. Her final recordings are thought to have been on November 14 of 1979 for 'At Rick's Cafe Americain' with Milton Suggs (bass) and Drasheer Khalid (drums). She died on May 28, 1981. The two tracks below for year 1945 are from her album, 'Signs of the Zodiac'. The two tracks for 1964 are from the album, 'Mary Lou Williams'. References: 1, 2, 3, 4, 5, 6; Rutgers Exhibit; Rutgers Collections; Synopsis. Interview 1954. Sessionographies: DAHR, Lord's. Discos: 1, 2, 3. Chronological Classics 1927-1954: 1, 2, 3, 4, 5, 6. Further reading: 1, 2, 3.

Mary Lou Williams   1930

   Sophomore

Mary Lou Williams   1936

   Mary's Special

      Composition: Williams

   Overhand (New Froggy Bottom)

      Composition: Williams

Mary Lou Williams   1944

   Russian Lullaby

      Composition: Irving Berlin

Mary Lou Williams   1945

   Aquarius

      Composition: Williams

   Scorpio

      Composition: Williams

Mary Lou Williams   1964

   Dirge Blues

      Composition: Williams

   Miss D.D.

      Composition: Williams

Mary Lou Williams   1974

   Gloria

      Composition: Williams/Robert Ledogar

Mary Lou Williams   1976

   Ode to Saint Cecile

      Composition: Williams

    Album: 'Free Spirits' 

Nat King Cole was born in 1919 in Montgomery, Alabama. Removed by his family to Chicago when he was four, he and older brother, Eddie [1, 2], a bassist born in 1910, toured with Noble Sissle when Nat was fifteen [Wikipedia]. Nat made his first recordings on 28 July 1936 in Chicago with Eddie's Solid Swingers: 'Honey Hush'/'Thunder' (Decca 7210) and 'Bedtime'/'Stompin' at the Panama' (Decca 7215) [Lord]. Those also saw later issue in 1973 on the Cole compilation, 'From The Very Beginning', by MCA. The next year Nat formed the King Cole Trio with bassist, Wesley Prince, and guitarist, Oscar Moore. Lord's account of that trio begins with radio transcriptions in Los Angeles likely in October of '38 for such as 'Mutiny in the Nursery' (Standard X-76) and 'By the River Sainte Marie' (Standard Y-132). Those saw later issue in 1991 on the Cole compilation, 'The Complete Early Transcriptions Of The King Cole Trio: 1938-1941', by Vintage Jazz Classics. Numerous transcriptions followed to April 18 of 1940 when the trio was assisted by probable drummer, Lee Young, to lay out 'I Like to Riff'/'On the Sunny Side of the Street' (Ammor 108) and 'By the River Sainte Marie'/'Black Spider Stomp' (Ammor 109). Cole composed 'That Ain't Right w Irving Mills toward issue in 1941, also performed by Fats Waller and Ada Brown [1, 2] in the 20th Century Fox production of 'Stormy Weather'. Mills also wrote the lyrics for 'Straighten Up and Fly Right' which the King Cole Trio performed in the Republic release of 'Here Comes Elmer' in 1943. That got recorded for issue in 1944 on Capitol 154, Capitol a fledgling record company at the time. He released his first album on shellac that year titled 'The King Cole Trio' (Capitol A-8). That got issued again in 1950 on 33 rpm LP (Capitol H220). The majority of Cole's 225 sessions in Lord's are his own, others claiming his talents on occasion, such as several sessions in 1944 for Norman Granz' Jazz at the Philharmonic at the Philharmonic Auditorium in Los Angeles. Cole's most popular issues in the latter forties were '(I Love You) For Sentimental Reasons' in '46, 'Save the Bones for Henry Jones' w Johnny Mercer in '47 and 'Nature Boy' in '48. Cole issued his album, 'Nat King Cole at Piano' on 10" shellac in '49, on 10" vinyl in 1950. Early 1950 had witnessed his duet w Nellie Lutcher, 'For You My Love'. Come Cole's 'Mona Lisa' in May of 1950, his highest-selling release. Stan Kenton supported his issue of 'Orange Colored Sky' a few months later. Popular titles in the early fifties included 'Too Young' in '51 and couple backed by the orchestra of saxophonist, Billy May: 'Walkin' My Baby Back Home' in '52 and 'Can't I' in '53. Cole toured to Cuba in 1956. 'The Nat King Cole Show' debuted in November of 1956, which he pulled thirteen months later, unable to acquire sufficient sponsorship (he being black). 'Send for Me' was large the next year. A second tour to Cuba, then Venezuela, in 1958 resulted in a few albums in Spanish. In English Cole was a millionaire several times over by the time he released 'Ramblin' Rose' in 1962. He recorded his last album, 'L-O-V-E', in December 1964, that issued before his death of lung cancer (two packs a day) on February 15, 1965, in Santa Monica, CA. Cole was the father of vocalist, Natalie Cole (1950-2015) [1, 2, 3]. More Nat King Cole under Oscar Moore, at Modern Jazz Song and Birth of Rock & Roll. References encyclopedic: 1, 2, 3, 4; musical: 1, 2, 3, 4, 5. Sessions: DAHR 1936-41, Lord's Disco. Discographies: 1, 2, 3, 4. Compilations: 'Hit That Jive Jack' 1936-41 by GRP 1996: 1, 2; 'Riffin' 1936-44 by Verve 2010; 'Too Marvellous for Words' on LP 1975, on CD 1998; 'Love Is Here to Stay' by Capitol 1974; see also above. Charts at Music VF: 1, 2. Cole in film and television: 1, 2, 3. Archive. Other profiles: 1, 2, 3. Per 1936 below, tracks are by Eddie Cole and the Solid Swingers, Eddie the vocalist. Once more abundant on YouTube, titles below amount to but a footnote of the numerous recordings Cole made as fine pianist. He composed what titles not credited below.

Nat King Cole   1944

  B-Flat Blues

    Jazz at the Philharmonic

      Composition: Traditional

 What Is This Thing Called Love

      Composition: Cole Porter

Nat King Cole   1947

  How High the Moon

      Music: Morgan Lewis   1940

      Lyrics: Nancy Hamilton

      For the 1940 Broadway revue 'Two for the Show'

Nat King Cole   1957

  Tea for Two

Nat King Cole

Photo: William P. Gottlieb

Source: Circulo de Estudios

Born in Wichita, Kansas, in 1911, pianist, composer and band leader Stan Kenton started his career playing with dance bands in the thirties. He is thought to have first popped up on disc as a pianist in the Gus Arnheim Orchestra per a session on May 15, 1937, bearing such as 'The Image of You' and ''I'm Happy, Darling' (Brunswick 7900) with Ray Foster at vocals. Sessions with Arnheim ensued into summer before he joined the Vido Musso Orchestra in 1938, that followed by the Manny Strand Orchestra in '39 and '40. Sessions with Strand would eventually see release in 1999 as 'Night at Earl Carroll's'. Kenton's name would come to be a household word while working largely as an orchestra leader whose highly prolific recording career saw above 530 sessions, nearly all of them his own. Tom Lord's Discography shows his first session as a leader circa September of 1940 likely in Hollywood, those unissued titles: 'Reed Rapture' and 'Body and Soul'. November 1 has him arranging a string of the titles with only 'Etude for Saxophones' issued in 1955 on 'The Kenton Era' [EP E0X 569/LP WDX 569/ Capitol sessions]. Most popular over the years for 'Artistry in Rhythm', Lord has Kenton first recording that unissued on 1 November 1944 in Hollywood. He recorded it next per his first big affair as a bandleader in 1941 upon getting booked at the Rendezvous Ballroom in Balboa, California. He began broadcasting from there on July 25 of '41 for the Mutual Broadcasting System: 'Artistry in Rhythm' (composed by Kenton) and 'Reed Rapture' both saw issue on 'The Kenton Era' in 1955 (Capitol EP E0X 569/LP WDX 569). Another MBS broadcast ensued on September 1 before a Decca session on the 11th yielding 'Taboo'/'Adios' (Decca 4038), et al. Putting the Boom! to Kenton's career that year were numerous transcriptions for McGregor beginning on the 20th with such as 'Artistry in Rhythm' and 'Two Guitars' getting issued on MacGregor LP 201 in 1941 [Wikiwand]. Kenton ran a nonstop dead-ahead operation in the decades to come, including international tours. Vosbein has archived radio broadcasts transcribed from 1942 through 1958 plus '73. Working with a variety of female vocalists from 1941 onward, his partnership w Anita O'Day rung Billboard's bell at #4 in 1944 w 'And Her Tears Flowed Like Wine'. Come June Christy in 1945 w 'Tampico' at #2, they to issue several popular titles together in the next few years. Working w numerous arrangers and composers. Among them was Pete Rugolo [1, 2, 3, 4] whom Kenton acquired upon moving from swing toward progressive jazz [1, 2]. Rugolo's initial recorded arrangement for Kenton was 'Opus a Dollar Three Eighty' on 20 April 1944 in Hollywood for the AFRS (Armed Forces Radio Service) [see also Myers]. Another important arranger entered Kenton's sphere in 1950 in the figure of Bill Russo [1, 2, 3, 4, 5, 6, 7]. Russo contributed trombone to 'Salute' on 30 Jan that year at the Philharmonic Auditorium in Los Angeles, that later issued on CD per Lighthouse LAJ1003 [Lord]. August of 1950 saw Kenton recording 'Orange Colored Sky' w Nat King Cole, that popping Billboard's #5 button in September [TsorT]. Kenton acquired another important arranger in Bill Holman [1, 2, 3, 4] in 1952. Lord initially finds Kenton w Holman at tenor sax on 25 Feb of that year for 'Yes'/'Mambo Rhapsody' (Capitol 2020). Notable in '53 was a summer tour of Europe w Russo and Holman part of an all-star entourage including June Christy [*]. Russo and Holman both composed and arranged titles toward 'New Concepts of Artistry in Rhythm' recorded in September 1953 [Wikipedia]. Come the 1964 release of 'Kenton Showcase: The Music of Bill Russo'. Volbein has archived Kenton leading his orchestras at the Newport Jazz Festival from 1957 to 1978. As Kenton became something of a surveyor over American orchestral jazz he also evolved into the go-to guy who knew everyone and all that was happening among prominent artists, the man to see for musicians who needed something like a job [see also *]. Kenton directed his Mellophonium Orchestra from 1960-63 [1, 2]. Come his album, 'Kenton - Wagner' in 1964. Continuing as a big band leader into the seventies, Lord's disco has Kenton playing piano with his orchestra as late as 21 April 1978 at William Rainey Harper College. That was released posthumously as 'A Time for Love (The Final Chapter)' in 1980, as Kenton had passed away on August 25, 1979 [obit]. References encyclopedic: 1, 2, 3, 4; musical 1, 2, 3, 4, 5. Discographies: 1, 2, 3, 4. Compilations: 'The Kenton Era' 1940-53 by Capitol 1955, '1940 - 44' by Chronological Classics 1996, 'The Stan Kenton Story' 1941-47 by Proper 2006, 'Live Sessions 1942/1945' by Musidisc 1977 and Jazz Anthology 1991, 'Mellophonium Memoirs' 1961-64 by Tantara 2017: 1, 2. Video chronology 1942-78. Kenton in other visual media: 1, 2. Interviews: 1941-78, 1972-88. Awards. All titles per 1941 below were recorded in the summer of 1941 for MacGregor, eventually issued by 'The Uncollected' in 1978.

     Vocal: Red Dorris

      Composition: Edmund Anderson/Theodor Grouya

     Vocal: Earl Collier

      Composition: Earl Collier

     Vocal: Red Dorris

      Composition: Frank Killduff/Matt Dennis

Stan Kenton   1942

  Gambler's Blues

      Composition: Joe Primrose

  This Love of Mine

Stan Kenton   1945

  Tampico

Stan Kenton   1953

  Harlem Nocturne

      Composition: Earle Hagen

  Improvisation

      Arrangement: Bill Russo

       LP:  'New Concepts'

  Over the Rainbow

Stan Kenton   1954

  Bacante

      LP:  'Kenton Showcase: The Music of Bill Russo'

Stan Kenton   1956

  Carnival

      Composition: Gene Roland

      LP: 'Cuban Fire!'

  El Congo Valiente

      Composition: Johnny Richards

      LP: 'Cuban Fire!'

  Malibu Moonlight

      Composition: Johnny Richards

      LP: 'Cuban Fire!'

 The Peanut Vendor

  Polka Dots and Moonbeams

      Composition: Jimmy Van Heusen/Johnny Burke

      Arrangement: Bill Holman

  La Suertes De Los Tontos

      Composition: Johnny Richards

      LP: 'Cuban Fire!'

Stan Kenton   1972

  Live in London

    Concert

      Composition: Stephen Sondheim 1973

      For the musical 'A Little Night Music'

Born in London in 1919, blind pianist, George Shearing, likely first recorded in 1937 in association with Leonard Feather, a radio broadcast for the BBC which wasn't his only. No record is found, though, of transcriptions or issues thereof. Shearing began recording en force in 1938 with Vic Lewis and Carlo Krahmer, laying tracks with their ensembles into 1939 [Lord]. Sessions with Lewis, beginning with 'Ja-Da' and 'In de Ruff' in June of '38, are well-documented but releases per Lincon [sic] Rhythm Style and Day's Rhythm Style aren't. Shearing's first certain issue therefore doesn't arrive until his own session with his trio on March 2, 1939, for Decca 7102 ('How Come You Do Me Like You Do?'/'Stomp in F') and 7038 ('Blue Boogie'/'Squeezin' the Blues'). Shearing had earlier recorded a couple of unissued piano solos for Decca on January 19: 'Blue Boogie' and 'Nagasuckle Rose'. Shearing's initial sessions in U.S. to where he would soon immigrate were in February in 1947 with his Trio in NYC, the first to yield 'Cozy's Bop' (Savoy 689 '49), 'Sweet and Lovely' (Savoy 708 '49) and 'Bop's Your Uncle'/'Sophisticated Lady' (Savoy 718 '49). Later that year saw him arranging 'A Nightingale Sang in Berkeley Square' (Sherwin-Maschwitz) for Ted Heath. Lord has him the next month in London on 26 November of '48 for such as 'The Nearness of You' and 'Consternation'. Those were issued on EP in 1954 and '55 [45 Worlds] per Volumes 1 (Decca DFE 6030 issued South Africa) and 2 (Decca DFE 6030 issued UK) of 'The George Shearing Trio' 1, 2]. Those were also issued in the UK on Decca DFE 6031 [1, 2]. Later forming his Quintet, Lord traces that ensemble to January 31 of '49 in NYC for such as 'Cherokee' and 'Four Bars Short' (Discovery FS-21 and 45-107). Such as 'September in the Rain'/'Bop Look and Listen' (MGM K10426) followed on February 17. Later that year he arranged another tune for Heath, Tadd Dameron's 'Lady Bird'. Shearing composed his most famous title, 'Lullaby of Birdland', in honor of Charlie "Bird" Parker in 1952. Shearing became a citizen of the U.S. in 1955. Approaching 260 sessions during his career, Lord has Shearing leading 181 of them. Two of those were in June and July of 1960 w Nancy Wilson toward 'The Swingin's Mutual' getting issued in '61 [*]. 1966 or '67 found Shearing contributing piano to 'Cuckoo in the Clock' on 'The Airmen of Note & Friends'. The Airmen of Note were a US Air Force band in the tradition of Glenn Miller. Shearing's later career saw vocalist, Mel Tormé, on a handful of sessions between 1982 and 1990. Their first on April 16 of '82 at the Hotel Mark Hopkins in San Francisco wrought 'An Evening with George Shearing and Mel Torme' w Brian Torff at bass. On June 29 of 1982 they played Carnegie Hall w baritone saxman, Gerry Mulligan, and a full band toward 'The Classic Concert Live' eventually issued by Concord Jazz in 2005. Several more sessions leading to albums followed until their last on November of 1990 at the Paul Masson Mountain Winery in Saratoga, CA, to bear 'Mel & George 'Do' World War II'. Backing up to 1983, January of that year saw Shearing w bassist, Don Thompson, making private recordings toward 'At Home' issued posthumously in 2013 [*]. March and October saw them recording w Tormé toward 'Top Drawer' ('83) and 'An Evening at Charlie's' ('84). Another album of duets went down in January of '84 toward 'Live at the Cafe Carlyle' released by Concord Jazz in '84. The majority of Shearing's latter twenty years were spent working intermittently between the U.K. and the U.S. November of 1987 found him in Japan recording 'Dexterity'. Shearing co-authored his autobiography, 'Lullaby of Birdland', w Alyn Shipton published by Bloomsbury Academic in April 2004. Lord's disco tracks Shearing to as recently as 27 and 28 of October 2004 in New York for 'Like Fine Wine'. Shearing died on February 14 of 2011 [obit]. References encyclopedic: 1, 2, 3; musical: 1, 2, 3, 4, 5. Sessions: henrybebop (select), Lord (258 sessions). Discographies: 1, 2, 3, 4. Shearing in visual media. Awards. Interviews 1966-84. Further reading: Cerra, Feather, Myers.

George Shearing   1949

  Cotton Top

      Composition: Chuck Wayne

  Conception

      Composition: Shearing

  Lady Byrd

      Originally 'Lady Bird' aka 'Ladybird'

      Composition: Tadd Dameron   1939

  I'll Be Around

      Composition: Alec Wilder   1942

  Move

      Vibes: Don Elliott

      Guitar: Chuck Wayne

      Bass: John Levy

      Drums: Denzil Best

      Composition: Denzil Best

  September in the Rain

  Swedish Pastry

      Composition: Barney Kessel

George Shearing   1956

      LP: 'Velvet Carpet'

  Latin Escapade

        Album 

George Shearing   1961

  Let There Be Love

      Vocal: Nat King Cole

  The Nearness of You

George Shearing   1974

  Aquarius

      Composition: Galt MacDermot

      Concert 

      Album 

Born in Cleveland in 1917, composer, arranger and pianist Tadd Dameron is thought to have first appeared on disc via Harlan Leonard and his Rockets per a session on January 11, 1940, in Chicago, he a contributing arranger to unspecified titles. Lord's disco has him arranging 'Louisiana' for Count Basie on March 7, 1940, per a radio broadcast from the Southland Theater Restaurant in Boston. That would be included much later on 'Rock-A-Bye Basie: Live in '38 & '39' (VJC 1033) in 1991. He arranged 'Louisiana' again for Count Basie for Columbia on March 19 in NYC. A couple more interesting sessions were held with Harlan Leonard on on July 15 in Chicago and November 13 likewise. The first included Dameron's compositions, 'Rock and Ride' and '400 Swing'. He also arranged 'A la Bridges'. The second included his composition, 'Dameron Stomp'. Those were later released on 'Harlan Leonard and His Rockets 1940' in 1992 by Classics Records in France. Dameron would contribute to arrangements for Leonard once again circa 1943 for an AFRS 'Jubilee' broadcast from Hollywood. He began arranging for Jimmie Lunceford in latter '41, sticking with that operation in to summer of '43. December 5 of 1944 saw him arranging 'I Want to Talk About You' and 'Ill Wait and Pray' for Billy Eckstine with Sarah Vaughan on vocals for the latter. Dameron's career was largely that of an arranger and bandleader, periods in which he didn't record on piano. Lord's disco lists his first contribution on piano per a session for Vaughan on May 25, 1945: 'I'd Rather Have a Memory Than a Dream'. He doesn't show up on piano again until May 7, 1946, again for Vaughan. Vaughan sang Dameron's composition, 'If You Could See Me Now' on that date. He began recording on piano continuously in 1947 with Fats Navarro and his Thin Men, titles such as 'Fat Girl' and Eb Pob'. Later that year his first session as a leader arrived on which he contributed piano to 'I Think I'll Go Away' and 'Don't Mention Love to Me' with Kay Penton at vocals on both. His next name session soon ensued on September 27 with his sextet including Navarro. Titles for Blue Note would also be later issued on the LP, 'The Fabulous Fats Navarro Vol 1' in 1957, to include his composition, 'Our Delight'. A later session for Blue Note on September 13, 1948, with Navarro in Dameron's septet would also get issued on 'The Fabulous Fats Navarro Vol 2' in 1957, to include his composition, 'Lady Bird'. Dameron's composition, 'Hot House', first saw recording on September 29, 1947, at Carnegie Hall by Dizzy Gillespie and his Legendary Big Band. Dameron's first album as a leader was recorded October 28, 1947: 'The Dameron Band'. His composition and arrangement of 'Good Bait' was first recorded by Dizzy Gillespie on December 30 of '47 for Victor. He was a part of trumpeter, Clifford Brown's, circle to co-lead sessions in June of '53 that can be found on the 2009 CD 'Clifford Brown Lost Rehearsals 1953-56'. On June 11 of '57 they filled 'Clifford Brown Memorial' with Dameron's compositions such as 'Choose Now'. Other compositions by Dameron. Dameron tickled the keys from '47 through the fifties and into the early sixties before gradually focusing on only arranging and directing again. Lord's has his last recordings on piano in November and December of 1961, both unissued. The first was the piano solo suite, 'Improvisation 1-7', with 'Autumn in New York'. The second consisted of titles to be included on the LP by various artists, 'The Lost Sessions', in 1999. Dameron's last session as an arranger was for Chet Baker's quintet in May of 1964, putting together titles on the latter's confident 'The Most Important Jazz Album of 1964-65'. Dameron died relatively young at age 48 of cancer on March 8, 1965. A quarter century of recording had him contributing to above 120 sessions. Among those with whom he worked on multiple occasions were Georgie Auld, Milt Jackson, Miles Davis, Artie Shaw and Woody Herman, usually arranging with the exception of playing piano for Davis, who also backed Dameron for a couple sessions in '49, including titles to be included on 'Big Ten & Royal Roost Jam' per Beppo Records (503). References: 1, 2, 3, 4, 5. Discos: 1, 2, 3. Compositions. Compilations: 'The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron' 1947-48 by Bluenote 1995. Further reading: Dameron as a composer, YouTube chronology, 'Dameronia' by Paul Combs (U of Michigan Press 2012).

Tadd Dameron   1947

  The Chase

  Our Delight

Tadd Dameron   1948

  Good Bait

Tadd Dameron   1955

  A Study in Dameronia

Tadd Dameron   1957

  On a Misty Night

Tadd Dameron   1962

  You're a Joy

Tadd Dameron

Photo: William P. Gottlieb

Source: Keep Swinging

Thelonious Monk, composer, was born in 1917 in Rocky Mount, North Carolina. He began his piano career as a teenager touring with an evangelist. He first recordings were in 1941 for numerous sessions at Minton's Playhouse in NYC. As none of those sessions are dated we go by Tom Lord's expertise to hazard his first recordings with the Joe Guy Orchestra, titles like 'The Sheik of Araby', 'Mean to Me' and four renditions of 'Epistrophy' gone unissued. Monk is listed next with Don Byas, contributing to 'I Can't Give You Anything But Love' and 'Indiana' on 'Midnight at Minton's' issued that year. Next listed is Hot Lips Page for 'Sweet Georgia Brown'. Among others joining Monk at Minton's were guitarist, Charlie Christian, and trumpeter, Roy Eldridge. Nigh the whole of Monk's around 150 sessions were applied to his own catalogue. Monk was here to do his own thing as a composer and pianist, not hang out a shingle as a studio musician or board the train of some orchestra. Exceptions didn't happen randomly, but by Monk's particular criteria. Among them was saxophonist, Coleman Hawkins, with whom he first recorded on October 19, 1944, Monk joining Hawkins Quartet with Bass Robinson (bass) and Denzil Best (drums) to put out 'Recollections', 'Drifting on a Reed', et al. Hawkins would later join Monk's Septet on June 26, 1957, for 'Monk's Music' Another exception was Dizzy Gillespie whom Monk first joined at a performance at the Spotlight Club in NYC on June 18, 1946, for 'Live at the Spotlight'. The two reunited in 1950 in the Charlie Parker Orchestra for such as 'Bloomdido' and 'An Oscar for Treadwell'. Twenty some years later they would reunite in Europe in autumn of 1971 for sessions in Milan, Belgrade, Berlin and London which would find their way onto several Giants of Jazz LPs. Gillespie and Monk last reunited at the July 8, 1972, 'Newport Jazz Festival New York' as the Giants of Jazz, recording such as 'Blue 'n' Boogie' and 'I Can't Get Started'. Another exception was drummer, Art Blakey, who had joined Monk's Sextet on October 15, 1947, for Monk's first tracks as a leader such as 'Humph' and 'Evonce'. Blakey sided for Monk into 1948 and numerously from '51 to '58. The latter year saw the issue of their 'Art Blakey's Jazz Messengers with Thelonious Monk' recorded in May of '57. Blakey and monk reunited in a trio in London on June 28, 1971, with bassist, Al McKibbon, for titles like 'Chordially' and 'Trinkle Tinkle'. 1972 found them at the 'Newport Jazz Festival New York' per above, again at the Monterey Jazz Festival on October 16 for 'Art Blakey and the Giants of Jazz: Live at the 1972 Monterey Jazz Festival'. Drummer, Max Roach, also saw service siding Monk on several occasions in '52 and '56. Having already noted Charlie Parker above in 1950 with Gillespie, Monk had earlier been in Parker's Quintet on July 11 of '48 at the Onyx Club in NYC for titles like 'All the Things You Are' and 'Well You Needn't'. Another significant exception was saxophonist, Sonny Rollins, who had joined Monk's Quintet on November 13, 1953, for such as 'Let's Call This', 'Think of One' and 'Friday the 13th'. On October 25 of '54 Monk backed Rollins on 'I Want to Be Happy', 'The Way You Look Tonight' and 'More Than You Know'. Rollins backed Monk on 'Brilliant Corners' on October 9 of '56, after which Monk contributed to a few titles on Rollins' 'Sonny Rollins Vol 2' on April 15 of '57. Others Monk had had occasion to support during his career were Sarah Vaughan, Gigi Gryce and Clark Terry. As for Monk's own catalogue, he had recorded his first piano solos at the apartment of Timme Rosenkrantz in NYC on November 11, 1944. 'These Foolish Things' and his composition, ''Round Midnight', would be issued on a compilation of various sessions at Rosenkrantz' pad called 'Timme's Treasures' in 2015. Monk's first recordings as a band leader were for Blue Note Records in 1947 per above with Art Blakey, such as 'Humph' and 'Evonce'. 1954 and 1961 found him performing concerts in Europe. Monk's next to last concert tour and last studio recordings as a band leader were in 1971 per the Giants of Jazz European tour noted above with Gillespie. Aside from festivals already noted in 1972, Monk also returned to Europe for another Giants of Jazz performance in Switzerland on November 12 that year, recording such as 'Straight No Chaser' and 'Thelonious'. After another 'Newport Jazz Festival New York' on July 3, 1975, Monk began to drop away from the music business, not playing piano at all during the last six years of his life. Increasing mental illness is the general consensus as to his disappearance from the industry. But there seems no full consensus as to what his illness was. The 'New York Times' gives bipolar disorder. Howsoever, Monk died [1, 2] on February 17, 1982, buried in Hartsdale, New York. He was posthumously honored in 2006 with a Pulitzer Special Award. References: 1, 2, 3, 4. Compositions. Discographies: 1, 2, 3, 4. Compilations: 'Monk's Mood' 1947-1955 by Proper Records 2006. Sheet music. Official YouTube channel. In other visual media. Interviews: w Les Tomkins 1965; w Monk biographer, Robin Kelley, 2010: 1, 2. Further reading: Books: 'The Thelonious Monk Reader' edited by Rob van der Bliek, Oxford University Press, 2001; Monk's Music: Thelonious Monk and Jazz History' by Gabriel Solis, University of California Press, 2007; 'Thelonious Monk: The Life and Times of an American Original' by Robin Kelley, 2009; Magazines: 1, 2, 3, 4; Newspapers: Guardian; Other. Facebook tribute. Other profiles: 1, 2, 3. Per ''Round Midnight' below, Myers relates that Monk may have been written that as early as 1936. Cootie Williams recorded that in '44 a few years prior to Monk's own initial version in '47. Monk credited Williams as coauthor in exchange for a $300 loan.

Thelonious Monk   1941

Born Melvin Epstein in the Bronx in 1923, Mel Powell was both a great jazz pianist and a classical composer. Powell was working professionally by age 14 in New York City. At about age 16 (1939) he was playing with Bobby Hackett and arranging for Gene Krupa. He would later find himself in sessions with Krupa in '46 with Benny Goodman and '54 with Powell's All Stars at Carnegie Hall. It was 1941 when he changed his last name from Epstein to Powell. His earliest known recordings are thought to have been with Wingy Manone on March 19, 1941, for titles like 'Ochi Chornya' and 'Mama's Gone, Goodbye' with Manone at both trumpet and vocals. Come June 11 he was with the Benny Goodman Orchestra, recording such as 'Tuesday at Ten' and 'Soft as Spring', the latter with Helen Forrest at vocals. Powell hung with Goodman into 1942, his second Goodman period to arrive in 1945-47 with reunions in the fifties to as late as October 19, 1957, on the 'Perry Como TV Show' broadcast from NYC. The gap between Powell's first and second periods with Goodman were largely filled with service to Glenn Miller, he joining the latter's Army Air Force Band by virtue of having been drafted. That band's first recordings were a CBS radio broadcast on June 5 of '43 from Yale University in New Haven, Connecticut, such as 'I Sustain the Wings' and 'American Patrol'. Powell's final recordings with Miller were also Miller's last before his death on December 15, 1944, due to a plane with a failed engine returning from France to England over the English Channel. Those were 'Little Brown Jug' and 'Parachute Jump' on December 1 two weeks earlier for a 'Moonlight Serenade' broadcast from Bedford, England. His next association with the Glenn Miller Orchestra was its ghost band in Paris directed by Jerry Grey on .January 22 of 1945 for such as 'Here We Go Again' and ''I'll Be Seeing You'. It was Ray McKinley who directed the Glenn Miller All Stars three days later with Django Reinhardt on January 25 in Paris, putting down such as 'How High the Moon' and 'If Dreams Come True'. Powell performed with various formations of the Glenn Miller ghost operation until June 4, 1945, in Paris, broadcasting such as 'Song of the Volga Boatman' and 'Get Happy'. Powell had been released from military service by then, next to show up with Benny Goodman in NYC on August 29, 1945, to commence his second period with Goodman per 'Tiger Rag' and 'Shine'. That period would stretch to December 30, 1947, in Hollywood with both Goodman's Orchestra and Sextet for titles like 'Beyond the Sea' and 'The World Is Waiting'. Later reunions occurred per above in the fifties. Consequent to having joined Glenn Miller came an important associate in drummer/bandleader, Ray McKinley. McKinley had been present in Miller's Army Air Force Band on June 5 of '43 per above as well, having joined the Army. McKinley and Powell partnered in Millerr's band until the latter's death per above in '44, and afterword in Glenn Miller ghost enterprises. McKinley had earlier supported Powell during numerous recorded broadcasts with his Uptown Hall Gang from Co-Partners Hall in Bedford, England from July of '44 to February of '45. He would then join Powell in Paris on January 25 of '45 per above for a session with Django Reinhardt as the Glenn Miller All Stars resulting in 'How High the Moon', 'If Dreams Come True', 'Hallelujah' and 'Stompin' at the Savoy'. They then performed numerously at the Jazz Club Francais from January to May where Powell also recorded several piano solos on May 19: 'Hommage a Fats Waller', 'Hommage a DeBussey', 'Pour MMe Blanc' and 'Don't Blame Me'. He would join McKinley again for a couple sessions as an arranger in 1957, with the McKinley now directing the New Glenn Miller Orchestra. The first was 'In the Mood' for the 'Ed Sullivan Show' on May 19. The second was on May 20 and 21 for tracks that would get released on 'The New Glenn Miller Orchestra in Hi Fi' that year. 34 of Powell's 285 sessions were his own projects as a leader. His debut session as such had been on February 4, 1942, in NYC for such as 'Blue Skies' and  'Mood at Twilight'. That was a septet including Benny Goodman on clarinet as Shoeless John Jackson. He laid out his first piano solos while in the military on December 21, 1943, while in NYC with Glenn Miller's band: 'Jubilee', 'When a Woman Loves a Man' and two takes of 'Hallelujah'. After Powell's appearance on 'The Perry Como TV Show' with Goodman per above in 1957 he shifted from jazz to classical. As a classical composer Powell's early work had been in the neoclassical style, he eventually examining the atonal (or "non-tonal") and serial composing a la Arnold Schoenberg. It would be another thirty years before he recorded jazz again, that on the SS Norway in the Caribbean in '86 ('Avalon') and '87, the latter on October 21 to bear his final recordings per the album, 'The Return of Mel Powell'. In 1990 Powell acquired a Pulitzer Prize [1, 2] worth $3000 for 'Duplicates: A Concerto for Two Pianos and Orchestra' first performed at the Dorothy Chandler Pavilion on January 26, 1990, by Alan Feinberg and Robert Taub w the Los Angeles Philharmonic conducted by David Alan Miller. Powel died of liver cancer eight years later on April 24, 1998, in Sherman Oaks, California. References: 1, 2, 3, 4. Solography. Discographies: 1, 2, 3. Powell in visual media. Interviews: 1987, 1992. Collection at Yale.

Mel Powell   1941

  Caprice XXIV Paganini

      Composition: Niccolò Paganini   1817

      Arrangement: Skip Martin

  If I Had You

      Composition:

      James Campbell/Reginald Connelly/Ted Shapiro

  Oomph Fah Fah

      Composition: Ellis Larkins

Mel Powell   1942

  Blue Skies

      Composition: Irving Berlin

  When Did You Leave Heaven?

         For the 1936 film 'Sing, Baby, Sing'

Mel Powell   1945

  I Got Rhythm

Mel Powell   1948

      Film: 'A Song Is Born'

      Clarinet: Benny Goodman   Vibes: Lionel Hampton

      Composition: Fats Waller/Andy Razaf

Mel Powell   1954

  After You've Gone

  Lighthouse Blues

      LP: 'Jam Session at Carnegie Hall'

Mel Powell   1959

  Filigree Settings for String Quartet

      Composition: Mel Powell

Mel Powell   1987

  I Can't Get Started

      Composition: George Duke/Ira Gershwin

  Stomping at the Savoy

      Composition:

      Edgar Sampson/Chick Webb

      Benny Goodman/Andy Razaf

Mel Powell

Source: Barry Schrader

Sir Charles Thompson was born in Springfield, Ohio, in 1918 and played piano professionally since age ten. He is said to have been with Bennie Moten as early as age twelve in Colorado Springs. Gallagher commences his sessionography of Thompson in New York City on 23 Oct 1940 arranging 'Smooth Sailing' (Okeh 5900) for Horace Henderson [1, 2, 3]. He first recorded piano on December 19, 1940, with Lionel Hampton, such as 'Lost Love' (Victor 27278) and 'Fiddle Dee Dee' (Victor 27364). He stuck with Hampton for another year, 'Train Time' his last title with that orchestra at the Hotel Sherman on September 26, 1941. Present during that session were tenor saxophonists, Dexter Gordon and Illinois Jacquet. Gordon would support Thompson several years later on his first session as a leader on September 4, 1945, bearing such as 'Takin' Off' (Apollo 757) and 'The Street Beat' (Apollo 759). Alto player, Charlie Parker, was also in on that. Years later Thompson would contribute to Gordon's 'Landslide' on May 5, 1962. As for Jacquet, Thompson would later back a number of his projects, beginning with Jacquet's All Stars in Los Angeles in July of '45 for such as 'Flyin' Home' and 'Uptown Boogie'. Future sessions were held in '45, '47, '52, '62 and, finally, a reunion in Paris on March 27, 1978, for 'Midnight Slows Vol 8'. After Hampton Thompson picked up 'Sir" from tenor player, Lester Young, with whom he recorded 'The Great Lie' in NYC circa October of 1942 with Lester's younger brother, drummer, Lee Young, in Lee and Lester Young's Band. Come a session with Count Basie estimated in April of '44, with Thompson arranging 'Hey! Rube' (AFRS 'One Night Stand' broadcast #228). Thompson would arrange for Basie again for a session on November 2, 1946, that 'My, What a Fry' (AFRS 'One Night Stand' broadcast #1142). 1945 was a big year for Thompson, starting with saxophonist, Coleman Hawkins, on January 11 for such as 'Sportsman's Hop' and 'Bean Stalkin'. Numerous sessions followed that year. On August 16, 1954, Thompson would feature Hawkins on 'Sir Charles Thompson and His Band'. They reunited a decade later in autumn of 1964 for several sessions during a tour to Europe, their final at Wembley Town Hall in London on October 2 with trumpeter, Sweets Edison, for titles like 'Stoned' and 'Centerpiece'. Come Lucky Millinder on January 16 of '45 for an AFRS 'Jubilee' broadcast (#116) in Hollywood, to bear such as 'Bleep' and 'Caravan'. Thompson joined Millinder's orchestra again on February 26, 1946, for 'How Big Can You Get, little Man' and 'More More More', et al. Further Millinder projects ensued into 1946, Thompson last joining him in NYC on April 11, 1947, for 'You Can't Put Out a Fire' and 'The Spider and the Fly', et al. Come tenor saxophonist, Bull Moose Jackson, and his Buffalo Bearcats in August of '45 for such as 'Bull Moose Jackson Blues' and 'Honeydripper', et al. Jackson and Thompson hung together into 1946, supporting other bands when Thompson wasn't backing Jackson. Their last titles together are thought have been in December of 1947: 'All My Love Belongs to You' and 'I Can't Go On'. On September 4 of '45 veteran trumpeter, Buck Clayton, backed Thompson on his debut session as a leader per above with Dexter Gordon and Charlie Parker. Clayton would become a significant figure in Thompson's career, supporting him later on December 14 and 16, 1953, for tracks that would get issued in 1993 on 'Buck Clayton: The Complete CBS Jam Sessions'. August of 1955 found him with Clayton's orchestra for 'Cat Meets Chick: A Story In Jazz' featuring vocalists, Ada Moore and Jimmy Rushing. October saw Clayton's orchestra supporting Frankie Laine on 'Jazz Spectacular'. Thompson would be back with Clayton in 1960-61, 1963-64 and, finally, 1967 for a number of sessions during a tour to Europe to result in 'Jazz from a Swinging Era'. Those were followed by a last date on October 30, 1967, in Rushing's All Stars for 'Gee Baby, Ain't I Good to You' and 'Who Was It Sang That Song?'. Highlighting the fifties were titles in January of 1959 in Los Angeles for Earl Bostic's 'Plays Sweet Tunes of the Sentimental 40's' and 'Musical Pearls'. Highlighting the sixties were titles with Bobby Hackett circa 1965 in Cape Cod Massachusetts that would find issue on two volumes of 'Butterfly Airs', the first released in 1977. Lord's disco shows Thompson first recording in Japan in May of 1992, those sessions in Yokohama, the first with tenor saxophonist, Herbie Steward, for 'Magical L-I-V-E', the second with a trio of Dave Young on bass and Yukio Kimura on drums (both also present on the first). That came to 'Live In Yokohama'. Thompson visited Japan again in '93, '94 and '97 before moving there with his wife, Makiko, in 2002. His final sessions are thought to have been in Tokyo and Yokohama in 2011, the first on April 11 with Yoshimasa Kasai for 'Love Is Here to Stay' issued posthumously in 2012. Sessions later that year resulted in 'The Jazz Legend' issued in 2013. Thompson died in Tokyo on June 16, 2016 [obits: 1, 2, 3]. References: 1, 2, 3, 4, 5. Sessionographies: Gallagher w composers, multiple versions, personnel; Lord w issues. Discos: 1, 2, 3. Thompson in visual media.

Sir Charles Thompson   1940

  Altitude

  Open House

Sir Charles Thompson   1945

      Alto sax: Charlie Parker   Tenor sax: Dexter Gordon

      Trumpet: Buck Clayton

      Composition:

      Ted Shapiro/Reg Connelly/Jimmy Campbell

      Alto sax: Charlie Parker   Tenor sax: Dexter Gordon

      Trumpet: Buck Clayton

      Composition: Thompson

      Alto sax: Charlie Parker   Tenor sax: Dexter Gordon

      Trumpet: Buck Clayton

      Composition: Thompson

      Alto sax: Charlie Parker   Tenor sax: Dexter Gordon

      Trumpet: Buck Clayton

      Composition: Thompson

Sir Charles Thompson   1947

Sir Charles Thompson   1954

Sir Charles Thompson

Source: Notes on Jazz

Milt Buckner [1, 2] was born in 1915 in St. Louis, Missouri. He began his career with the Cotton Pickers before joining Cab Calloway's orchestra. Buttner has Buckner documented at piano on unissued acetates at an unknown location as early as 31 August of 1941 per several titles of which 'Twilght', 'Naivity' and 'Fantasy' were composed by himself. Buckner's first session on piano w Lionel Hampton and his orchestra was in December of '41 in NYC with Rubel Blakey at vocals: 'Just For You', 'Southern Echoes' (vocal by Hampton), 'My Wish' and 'Nola' with vocals out [Lord]. Hampton's band was Buckner's main wagon to 1952. During that time he appeared on 'Floor Show' in May of 1949 in a large ensemble with Sidney Bechet [IMDb]. Nigh ceaselessly touring w Hampton, his last of countless sessions with him in Lord were on August 3 of '52 in NYC backing Maxine Sullivan on 'I'll Remember April' and 'The Lady Is a Tramp'. Among other vocalists with whom Buckner worked while with Hampton was Dinah Washington to as late as 1946. Their earliest certain date in Lord was December 29 of '43 resulting in 'Evil Gal Blues', 'I Know How to Do It', 'Salty Papa Blues' and 'Homeward Bound'. Buckner would work with Hampton again in 1967 and the seventies, his last such occasions in Toulouse, France, on May 14 and 15, 1977, for 'Lionel Hampton and His Jazz Giants 77'. Another highly significant figure was saxophonist, Illinois Jacquet. Jacquet had attended a couple sessions with Hampton in '42. Buckner first recorded with Jacquet apart from Hampton per Jacquet's trio with Alan Dawson on drums at Lennie's on-the-Turnpike in West Peabody, MA, on March 15, 1966, toward 'Go Power!'. In 1968 Buckner issued 'Locked Hands'. Excepting 1970 when Buckner toured Europe with his own group, he stuck with Jacquet, recording numerously, to as late as the New Orleans Jazz Club in Scheveningen, Holland, on October 25, 1976, putting down such as 'I'll Remember April' and 'I Apologize'. Buckner's first session as a leader was at piano on October 28, 1946, with his Beale Street Gang that consisted of Stafford Pazzuza Simon (tenor sax), Curly Russell (bass) and Arthur Herbert (drums). That resulted in the Savoy titles: 'Tupelo Junction', 'Raisin' the Roof' and 'Lights Out' with 'Rockin' the Boogie' unissued. Buckner's Gang also issued as the Beale Street Boys (below), not to be confused w the Beale Street Boys. With around 250 sessions to his name, 70 of those were Buckner's. He played vibes and organ on his last session on July 4, 1977, in Paris with Andre Persiany (piano), Roland Lobligeois (bass) and Michael Silva (drums). He died 23 days later on the 27th back in Chicago. Sessions: Armin Büttner: 1, 2, 3; Tom Lord (leading 70 of 248). Discographies: 1, 2, 3. Archives: Crown Propeller, Internet Archive. Per below, Buckner plays piano on 'Milt's Boogie', vibraphone on 'Where or When' and organ on 'Limehouse Blues'.

Milt Buckner   1948

   Fat Stuff Boogie

Milt Buckner   1949

   Milt's Boogie

      Composition: Buckner

Milt Buckner   1976

   Where or When

      For the musical 'Babes in Arms'

Milt Buckner   1977

   Limehouse Blues

Milt Buckner

Source: All Music

Born in 1922 in Newport, Massachusetts, arranger, composer, band leader and pianist Ralph Burns [1, 2, 3] first found himself on record in 1942 as the arranger for 'Flo Flo' (Bluebird 11479) recorded by Sam Donahue [1, 2, 3] on November 12, 1941 [Lord]. His next title was also as an arranger, that in July of '42 for Charlie Barnet: 'Caravan'. October found him contributing to the arrangement of 'The Moose' with Turk van Lake for Barnet. Burns arranged for Barnet sessions to as late as December 1947. Lord's disco doesn't have him contributing piano until V-Disc sessions on October 28, 1943, with Red Norvo and his Overseas Spotlight Band putting down such as 'Seven Come Eleven', 'The Sergeant on Furlough' and 'Something for the Boys'. Come arranging and performing piano for Woody Herman in 1944, of whose First Herd he would be a member. His first titles with Herman on January 8 which he arranged were 'Noah', 'I've Got You Under My Skin' and 'I Get a Kick Out of You'. Herman's outfits were Burns' main locomotion for another fourteen years. The first performance of the first three movements of his composition, 'Summer Sequence' [1, 2], with Herman was at Carnegie Hall on March 25, 1946. It's first movement got transcribed on the 'Wildroot Radio Show' (#32) in Chicago on 17 May 1946. On Sep 9 [Cerra] or 19 [Lord] all three movements went down for Columbia to see issue on 38365 and 38367. The fourth movement of 'Summer Sequence', 'Early Autumn' [1, 2], went down in Hollywood on December 27, 1947 [Lord/Myers]. Burns' last session of his long stretch with Herman was in September of '58 in NYC to arrange 'Midnight Sun'. There would be reunions in '60, '63 and, finally, on November 20, 1976, with Herman's New Thundering Herd toward the LP, 'The 40th Anniversary Carnegie Hall Concert', to which Burns contributed piano on 'Wrap Your Troubles in Dreams'. Among Burns' more freguent partners through the years was saxophonist, Al Cohn. They first collaborated per Burns' arrangement of 'Barefoot Boyd' for Boyd Raeburn at Liederkranz Hall in NYC on January 17, 1945. Their careers would interweave numerously for nigh another thirty years, backing other operations including Herman's as well as each other. Burns would contribute to such as Cohn's 'Mr. Music' (December '54) and 'That Old Feeling' (May 6, 1955). Cohn would participate in such as Burns' 'Perpetual Motion' (February 4, 1955), 'Porgy and Bess in Modern Jazz' (September 23, 1958), 'Where There's Burns There's Fire' (1962) and 'Lenny' (1974). Their last session was per above with Herman's New Thundering Herd, Cohn contributing tenor sax to 'Four Brothers' and 'Cousins'. Another fifties highlight was the Sauter-Finegan Orchestra to which Burns contributed piano on several sessions from '52 to '55. Recording with that operation on March 2, 1953, was the Ray Charles Singers per 'Now That I'm In Love'. Burns released his album, 'Spring Sequence', on 78 rpm in 1955, on 33 in '56. Burns would arrange and conduct/direct a number of titles for Ray Charles in '59 and '60, bearing fruit on the albums 'Genius', 'The Genius Hits the Road' and 'Genius + Soul = Jazz'. He would arrange for Charles again in 1988 per the album, 'Just Between Us'. Other highlights in the early sixties were sessions with Judy Holliday ('61) and Oscar Brown Jr. (1961-62). With Burns' career approaching perhaps 370 sessions, very little of that can see illumination here. Apt to mention is Burns' first session as a leader per his own orchestra in Los Angeles on October 15, 1946, for two takes of 'Introspection', one of which would be issued in 1949 on the Granz album, 'The Jazz Scene'. August 7 of 1951 found Burns recording 'Free Forms', issued in '52. Titles from that session would also see release in 1956 on an album shared with Billie Holiday on Side A: 'Jazz Recital'. 1954 saw the issue of Burns' album, 'Winter Sequence', followed in '55 by 'Spring Sequence', 'Bijou' and 'Perpetual Motion'. During the sixties Burns arranged and orchestrated for Broadway musicals. His first work on a soundtrack appeared in 1971 for the Woody Allen production, 'Bananas'. Burns died on November 21, 2001, in Los Angeles of pneumonia and complications following a stroke. He was buried in Newton, Massachusetts. Discographies: 1, 2, 3. Orchestrations on Broadway. Compositions for film: 1, 2. Criticism. Other profiles: 1, 2. Per 1946 below, Wikipedia has Woody Herman contributing to the composition of Part 4 ('Early Autumn') of 'Summer Sequence' w lyrics by Johnny Mercer added in 1952.

      With Sam Donahue

     Arrangement: Ralph Burns

     Vocal: Frances Claire

     See Norman Granz:

     'The Jazz Scene' (Clef 4007): 1, 2, 3, 4

Ralph Burns   1955

Ralph Burns

Photo: William P. Gottlieb

Source: Wikiwand

 Strange Enchantment

      Originally unissued   This 2010

Gil Evans   1941

  Somebody Nobody Loves

      Piano: Claude Thornhill   Vocal: Lillian Lane

        Composition: Seymour Miller

Gil Evans   1942

  Buster's Last Stand

      Piano: Claude Thornhill

        Composition: Thornhill/Evans

  Moonlight Bay

      Piano: Claude Thornhill

        Composition: Thornhill/Evans

Gil Evans   1946

  Portrait of a Guinea Farm

      Piano: Claude Thornhill

      Composition: Claude Thornhill

Gil Evans   1947

  Anthropology

      Piano: Claude Thornhill

Gil Evans   1956

  'Round Midnight

      Piano: Red Garland   Trumpet: Miles Davis

      Album: 'Around About Midnight'

Gil Evans   1957

  Miles Ahead

      Album Side A

      Piano: Wynton Kelly   Trumpet: Miles Davis

  Miles Ahead

      Album Side B

      Piano: Wynton Kelly   Trumpet: Miles Davis

Gil Evans   1958

From the LP 'Gil Evans & Ten':

  Jambangle

      Composition: Evans

  Just One of Those Things

      Composition: Cole Porter

  Nobody's Heart

      Composition: Richard Rodgers/Lorenz Hart

  Remember

      Composition: Irving Berlin

Gil Evans   1961

  La Nevada

      Piano: Evans

      Album: 'Out of the Cool'

 Out of the Cool

      Album

Gil Evans   1962

From 'Into the Hot'

Gil Evans Orchestra

All arrangements: Evans

  Barry's Tune

      Guitar: Barry Galbraith

      Composition: John Carisi

  Bulbs

      Piano: Cedar Walton

      Composition: Cecil Taylor

Gil Evans   1964

  The Time of the Barracudas

      Composition: Miles Davis/Evans

      Album: 'The Individualism of Gil Evans'

Gil Evans   1966

  Once Upon a Summertime

      Vocal: Astrud Gilberto

      Composition:

      Michel Legrand/Eddie Barclay

      Eddy Marnay/Johnny Mercer

      Album: 'Look to the Rainbow'

Gil Evans   1972

  Day by Day

      Vocal: Kimiko Kasai

      Composition:

      Axel Stordahl/Paul Weston/Sammy Cahn

      Album: 'Satin Doll' 

Gil Evans   1974

  Angel

      Composition: Jimi Hendrix

      LP: 'Plays the Music of Jimi Hendrix'

  Crosstown Traffic

      Composition: Jimi Hendrix

      LP: 'Plays the Music of Jimi Hendrix'

  Thoroughbred

      Live in Perugia

      Composition: Billy Hart

      Album: 'Svengali' 

Gil Evans   1976

  Barcelona Jazz Festival

      Concert

  Thoroughbred

      Live in Warsaw

      Composition: Billy Hart

Gil Evans   1981

  Love Your Love

      Recorded: 1971

      Composition: Billy Harper

      Album: 'Where Flamingos Fly'

Gil Evans   1983

  Friday the 13th

      Filmed live in Lugano

      Composition: Thelonious Monk

 The Honey Man

  Stone Free

      Filmed live in Lugano

      Composition: Jimi Hendrix

Gil Evans   1984

  The Chicken

      Live in Tokyo   Bass: Jaco Pastorius

      Composition: Alfred James Ellis

 Soul Intro

Gil Evans   1986

  Bud and Bird

      Composition: Evans

      Album: 'Bud and Bird'

  Eleven

      Composition: Miles Davis/Evans

      Live in Milano

  Little Wing

      Composition: Jimi Hendrix

  Voodoo Chile

      Live in Milano

      Composition: Jimi Hendrix

Gil Evans   1987

  Little Wing

      Live with Sting

      Composition: Jimi Hendrix

Wally Rose   1942

  Black and White Rag

       Composition: George Botsford   1908

  Fidgity Feet

       Composition: Nick LaRocca/Larry Shields

  Irish Black Bottom

       Recorded '42

       Not issued until 1997:

       Merry Makers MMRC CD 16

       Composition: Percy Venable

  Maple Leaf Rag

       Recorded '42

       Not issued until 1997

       Merry Makers MMRC CD 16

       Composition: Scott Joplin   1899

  Temptation Rag

       Composition: Harry Lodge

Wally Rose   1953

       Vocal: Clancy Hayes   Trumpet: Bob Skobey

       Trombone: Buck Hayes

       Composition: George Mitchell/James Dempsey

Wally Rose   1995

  Grizzly Bear Rag

       Composition: George Botsford   1910

Wally Rose

Source: San Francisco Museum

Born in 1922 in Philadelphia, PA, composer Lou Stein is said to have worked with Buddy DeFranco as a teenager. At age 20 (1942) he began working on the road, notably with Ray McKinley. His initial recordings in Lord's sessionography were with McKinley's orchestra in June of 1942 in NYC: 'I'll Keep the Lovelight Burning', 'Who Wouldn't Love Toy?', et al. McKinley would be an important figure in Stein's career, they recording numerously that year, 1946-47, '51, 1953-54, '66 and, finally, May 25 and 26 of 1977 in NYC, McKinley contributing drums to tracks on Stein's 'Stompin' 'Em Down'. Stein's last session with McKinley in 1942 had been on July 16 in NYC for such as 'Big Boy' and 'Cheatin' On Me' with vocalist, Imogene Lynn. He then disappeared into the US military per World War II. He is said to have performed with Glenn Miller's Army Air Force Band while stationed Stateside. Lord's disco doesn't show Stein in another session until 1946, that with McKinley again in NYC on March 7 for such as 'We'll Gather Lilacs' and 'Have Ya Got Any Gum, Chum?'. Among Stein's numerous compositions was 'East of Suez', first recorded when he was with Charlie Ventura and His Combo in Chicago in August of 1947, that was live at  the Hotel Sherman with Buddy Stewart on vocals. A studio version was recorded the next month on the 11th, again with Ventura and Stewart. Another important figure in Stein's recording career arrived in the person of trumpeter, Yank Lawson, on May 22, 1950, they members of Bob Crosby's Orchestra for such as 'Semper Fidelis' and 'El Capitan'. Stein began working in Lawson's band in '51, contributing tracks that June to 'Lawson-Haggart Band Play Jelly Roll's Jazz'. Stein stuck with Lawson through numerous recordings to 1956, later joining him in 1958-60, '79 and a few occasions in the eighties, their last titles together in Atlanta on March 14, 1988, for Lawson's 'Something Old, Something New, Something Borrowed, Something Blue'. Stein's first session with the Sauter-Finegan Orchestra was on November 3, 1952, for titles like 'Nina Never Knew' and 'Love Is a Simple Thing'. Further sessions ensued in '52, later in 1958. Stein also joined the Percy Faith Orchestra in 1952 to support Sarah Vaughan on March 22 for such as 'It's All in the Mind' and 'I Confess'. He saw Vaughan again on January 5, 1953, for the likes of 'Linger a While' and 'A Blues Serenade'. Stein's first session as a leader was held on June 8, 1953, to result in 'Lou Stein at Large'. Among trombonists with whom Stein worked on occasion in the fifties was Bobby Byrne, the latter's All Star Alumni Orchestra of especial note, recording 'The Great Song Hits of the Glenn Miller Orchestra' ('66) in 1958 in NYC. With Stein appearing on about 230 sessions, 37 of those his own, we leap ahead to the significant figure that was violinist, Joe Venuti, they first recording together in Toronto, Ontario, in early 1969 for 'The Joe Venuti Quartet'. Stein backed Venuti numerously to as late as April of 1972 in Milan, Italy, for 'Jazz Me Blues'. Highlighting the latter seventies was the World's Greatest Jazz Band in Australia in December of 1979 with Yank Lawson and Bob Haggart (bass) leading titles like 'It's Delovely' and 'Caravan'. Stein would join the World's Greatest Jazz Band again in Ludwigsburg, Germany, in October of 1985 for tracks like 'Diane' and '42nd Street'. Lord's disco shows Stein's last titles recorded in Stamford, Connecticut, in 1995 for the album, 'Go Daddy!'. He died on December 11, 2002. References: 1, 2. Discographies: 1, 2, 3. Compilations: 'The Lou Stein Trio' 1954 and 1955 by Collectables 2002. Lou Stein tribute site.

Lou Stein   1946

  Hoodle-Addle

Lou Stein   1952

  Lover

  Stella by Starlight

Lou Stein   1956

  There'll Be Some Changes Made

      Lou Stein Trio

      Bass: Milt Hinton   Drums: Jimmy Crawford

Lou Stein

Source: Discogs

Born in Husum, Sweden, in 1919, pianist, Reinhold Svensson, is a more obscure figure in jazz as a Scandinavian musician. But he was an important figure in the development of swing jazz culture in Stockholm, a rather more remote region in Svensson's time than now. Scandinavian and Eastern European musicians trail rather behind the rest of Europe in jazz. Great Britain, for example, was producing jazz musicians in the second decade of the century and going strong in the twenties. France was host to big names such as swing musicians, Django Reinhardt and Stephane Grappelli, in the thirties. But distance and world events (: World War II) didn't hear Scandinavian or Eastern European musicians making a lot of a noise in the world of jazz until the sixties, some to found in Sixties International Jazz. Albeit Svensson was a swing musician he ventured into modern forms like bebop and cool as well. He occupies this page rather than Big Band Swing by virtue of emphasis on piano, his career spent performing largely w small ensembles. Svensson became blind of unknown causes some time after his birth. He graduated in organ in 1941 from the Royal College of Music in Stockholm. It was December that year that he first recorded to issue with the Sonora (Swing) label in Sweden, a couple piano solos: 'Ain't Misbehavin'' and 'Body And Soul'. Another discography shows those released for the Tono label in Denmark as well, as recordings by Sonora often were. 'Rosetta'/'Tea for Two' was issued in 1942 on Sonora 569, recorded September 8th. On November 11 Svensson set tracks with No Sisters(ville), also by Sonora: 'Jersey Bounce' and 'Blues in the Night' (Sonora 571). Those were with the ensemble of violinist, Hasse Kahn, of immediate importance to Svensson's career, laying tracks with Kahn on November 25 of 1943: 'At a Dixie Roadside Dinner' and 'A Nightingale Sang in Berkeley Square' (Sonora 620). Svensson would back Kahn on numerous occasions into the latter forties. On February 5, 1944, he recorded the organ solos, 'Jazz Me Blues'/'That's a Plenty' (Sonora 623). In 1945 he recorded 'Roses of Picardy' and 'Tango Illusion' with violinist, Ake Jelving, also Sonora. Svensson put down some tunes with his Trio on April 2, 1947. With himself at piano, Kalle Lohr on guitar and Roland Bengtsson on bass, they arrived to 'Begin the Beguine'/'Estrella' (Odeon D5303) and Yesterdays'/'Sinbad the Sailor' (Odeon D5286). Lohr was replaced by Georg Oddner on drums for 'What Is This Thing Called Love?' and 'I Can't Get Started' (Cupol 4089) gone down on 1 June in Stockholm. Svensson would record numerously as a leader of smaller ensembles into the latter fifties. The most important figure in his career was Putte Wickman whose sextet he joined in 1949, his initial tracks with Wickman: 'Liza' and 'Blue Skies' (Cupol 4089) on January 26. Svensson would stick with Wickman the remainder of his career, his last recordings to be with a Wickman sextet in 1960 ('Low Some' among four to find issue on Bonniers Folkbibliotek BFB 1035). Svensson also first recorded with alto saxophonist, Arne Domnérus and trumpeter, Gosta Torner, in 1949, that on 19 February toward 'Sweet Sue, Just You' and 'Exactly Like You' (Artist B3010). That was followed by his organ solos, '12th Street Rag' and 'Tiger Rag' (Sonora 7426) on March 8th. On May 24, of '49 Svensson's Kvartett recorded 'I'm Getting Sentimental Over You'/'Memories Of Paris' and 'I Surrender, Dear'/'There's a Small Hotel', again Sonora. Among the highlights of Svensson's career was his trip to France with Wickman, Domnérus and Torner in 1949 to record at the Paris Jazz Festival in May, 'Indiana' among them. Lord's sessionography has Svensson w Domnérus' Mystery Orchestra on 17 December 1949 toward 'I Want to Be Happy' (Cupol 4284). Another big figure entered Svensson's space in 1950, his first recordings with harmonica player, Toots Thielemans, on November 23 in the latter's Trio with Sven Stiberg at banjo: Jazz Me Blues' with 'Black Eyes'. More sessions with Thielemans followed to January of '51, then later in '59. By 1950 Svensson was among Sweden's main talents on keys, having accomplished Sonora's purpose, to spread swing jazz in Sweden. He and Wickman were an especially powerful combination. They were among the names who played at the Nalen nightclub with Wickman's house band, the Nalen being Stockholm's jazz hotbed where musicians from Europe and the United States inevitably performed on tour. Thus Svensson's reputation began to grow internationally, though less so with fans than musicians. By that time Stockholm was producing musicians who could well hold their own with those from the Continent, the U.K. and the U.S.. Svensson had also recorded as Ralph Bell in the early fifties. In the latter fifties he expanded into film and theatre. During that period he also issued numerous duets with boogie woogie pianist, Charlie Norman, as Ralph and Bert Berg (Metronome) as well as the Olson Brothers (Metronome and Musica). Svensson died on 23 November of 1968. References: 1, 2. Sessions: JDP; Lord. Discographies: 1, 2, 3, 4. Svensson in visual media. Per below, the list reflects Svensson's early career and varietal repertoire apart from Wickman, with the track in 1958 lending a taste of what Wickman had been doing at the Nalen.

Reinhold Svensson   1944

     Composition: Reginald King

     Composition:

     Sigmund Romberg/Oscar Hammerstein II

     For the 1928 operetta 'The New Moon'

Dodo Marmarosa   1943

  The Moose

Dodo Marmarosa   1944

  Skyliner

Dodo Marmarosa   1945

  D.B. Blues

Dodo Marmarosa   1946

  How High the Moon

  Moose the Mooche

  Ornithology

Dodo Marmarosa   1947

  Relaxin' at Camarillo

       Probably latter 1946 *

  Cosmo Street

       Aka 'Lover'

       Recorded Dec 1947

       Dodo Marmarosa Trio

       Bass: Harry Babasin   Drums: Jackie Mills

      Composition: Marmarosa

Victor Feldman   1958

  Minor Lament

Victor Feldman   1959

  Wonder Why

Victor Feldman   1961

  Lisa

Victor Feldman   1965

  Summer Love

Victor Feldman   1977

  Haunted Ballroom

Victor Feldman   1984

  With Your Love

Born in 1922 in Newark, New Jersey, bebop pianist Al Haig [1, 2] got his start as a professional musician in 1944 upon meeting Charlie Parker and Dizzy Gillespie. Before recording with them in '45 he ended up on vocalist, Dick Merrick's, 'Two Heavens' in May of '44, either added or as a member of the Jerry Wald Orchestra in NYC [Lord]. He got down to business with Gillespie on May 11, 1945, in the latter's All Star Quintet consisting of Parker (alto sax), Curly Russell (bass) and Sidney Catlett (drums). In addition to 'Salt Peanuts', 'Shaw 'Nuff' and 'Hot House' they backed Sarah Vaughan on 'Lover Man'. He, Gillespie and Russell then backed Parker as members of the latter's sextet and quintet on a couple sessions before a joint Gillespie/Parker engagement that would find release years later on CD as 'Town Hall, New York City, June 22, 1945' in 2005. A number of sessions with Gillespie followed until May 15, 1946, recording 'One Bass Hit' in addition to titles with vocalists, Gil Fuller and Alice Roberts. Haig would likewise support Parker projects into '46, then later join him from '48 to '51, followed by a couple sessions in '53. Haig's first tracks with Charlie Barnet's swing orchestra were on August 2, 1945 per Decca/World radio transcriptions in NYC, performing 'Xango' along with titles by vocalists, Phil Barton, Redd Evans and Fran Warren. Haig hung with Barnet to December at Casino Gardens, Ocean Park, CA, whence he joined Gillespie and Parker again in Hollywood the next January. A session November 23, 1946, with Red Rodney's Be Boppers saw him backing vocalists, Dave Lambert and Buddy Stewart on such as 'Perdido' and 'Gussie 'G''. He would support Lambert and Stewart again in '48 and '49. Haig took up big band swing again in April of '47 with the Jimmy Dorsey Orchestra in NYC, backing vocalists, Dee Parker and Bob Carroll on such as 'Who Knows'. Haig stuck with Dorsey to December, backing vocalist, Bill Lawrence, on titles like 'My Guitar' and 'Lilette'. Titles with Stan Getz commenced in October of '48 per the latter's quintet consisting of Jimmy Raney (guitar), Clyde Lombardi (bass) and Charlie Perry (drums), putting down such as 'Pardon My Bop' and 'Interlude in Bebop'. Haig backed Getz numerously to October 28 of 1951, for titles that would end up on 'At Storyville Vol 1 & 2' in 1990'. The month after his first session with Getz Haig conducted his first session as a leader, that in November of '48 in NYC with Wardell Gray (tenor sax), Jimmy Raney (guitar), Tommy Potter (bass) and Charlie Perry (drums). In addition to 'In a Pinch' and 'It's the Talk of the Town' he backed vocalist, Terry Swope, on 'Five Stars' and 'Sugar Hill Bop'. Those would end up on an album called 'Highlights in Modern Jazz' on an unknown date in the fifties. Haig's first occasion to record with Miles Davis was in Charlie Parker's All Stars at the Royal Roost in NYC on December 11 of '48, laying out such as 'Groovin' High' and 'Big Foot'. They would support Parker on a couple more sessions before recording tracks toward Davis' 'Birth of the Cool' ('57) on January 21, 1949. IMDb has Davis and Haig appearing four days earlier on the 17th on the 'Jazz Concert' television series per WPIX TV. Their last title together was 'Blues' (also titled 'Farewell Blues'), recorded live at the Paris Jazz Festival on May 15, 1949. Haig's Trio on January 27, 1950, with Tommy Potter (bass) and Roy Haynes (drums) resulted in titles like 'Liza' and 'Opus Caprice'. Nigh all of Haig's projects during his career were for smaller ensembles like quartets and trios. On August 4, 1952, trumpeter, Chet Baker, backed him at the Tradewinds in Inglewood, CA, for what would get released in 1985 as 'Live in Hollywood'. Haig is thought to have recorded his first album with his Trio consisting of Bill Crow (bass) and Lee Abrams (drums) on March 13, 1954, that issued on August 25 as 'Al Haig Trio' by Esoteric. Among the unhappiest periods in Haig's life arrived w the death of his third wife, Bonnie Gallagher, on 9 Oct 1968 of whom he was accused of strangling. Though videotape evidence found him acquitted such is questioned in 'Death of a Bebop Wife' by Grange "Lady Haig" Rutan (Cadence Jazz Books 2007) [1, 2]. He was in London to record 'Invitation' on 7 Jan 1974 Gilbert Bibi Rovere (bass) and Kenny Clarke (drums). 'Round About Midnight' went down sometime in '74 in Sweden w Niels-Henning Ørsted Pedersen (bass) and Ed Thigpen (drums). He was back in New York for 'Special Brew' on 27 November that year in a quartet w Jimmy Raney (guitar), Wilbur Little (bass) and Frank Gant (drums). Recording several albums thereafter, Haig attended perhaps 150 sessions during his career, 40 of those his own. His final tracks are thought to have been in London on May 27, 1982, for two volumes of 'Bebop Live'. He died of heart attack on November 16, 1982. Further reading: Walter Bishop Jr., Steven Cerra, Bill Crow. Sessions: JDP, Lord. Discographies: 1, 2, 3, 4.

Al Haig   1945

 Dizzy Atmosphere

      With Dizzy Gillespie

      Composition: Gillespie

 Hot House

      With Dizzy Gillespie

      Composition: Tadd Dameron

 A Night in Tunisia (Interlude)

      With Dizzy Gillespie

      Composition: Gillespie   1942

 Salt Peanuts

      With Dizzy Gillespie

      Composition: Gillespie

 That's Earl's Brother

      With Dizzy Gillespie

      Composition: Ray Brown

      Vibes: Milt Jackson

      Composition: Floyd Wilson

Al Haig   1954

  Autumn in New York

 The Moon Is Yellow

  Royal Garden Blues

  'S Wonderful

  Yardbird Suite

Al Haig   1972

  Body and Soul

      Album: 'Bebop Live Part 1'

Al Haig

Source: Jazz Wax

Born in 1924 in Harlem, bebop pianist, Bud Powell, first recorded with Cootie Williams in January 1944. That first of several sessions with Williams that year produced 'You Talk a Little Trash'/'Floogie Boo (Sweet Lorraine)' (Hit 8089) and 'I Don't Know (Now I Know)'/'Gotta Do Some War Work' (Hit 8090) [JDP, Lord]. His appearance on Thelonious Monk's ''Round Midnight', below, is the first recording of that tune. Powell's first session as a leader on January 10, 1947, was his Trio for Roost Records with Curly Russell (bass) and Max Roach (drums) yielding such as 'I'll Remember April' and 'Indiana'. Titles from that session would get included on the later album, 'Bud', in 1958. Regrettably, Powell had emotional conditions, likely increased by alcohol and anger from racial persecution, that saw his first electroshock treatment in 1948. He nevertheless continued as a remarkable composer and pianist throughout most his career of above 130 sessions, 100 of those his own projects. Among his numerous compositions were 'Tempus Fugit', 'Celia', 'Strictly Confidential' and 'Bouncing with Bud', all first recorded in 1949. Such as 'Oblivion' followed in Feb 1951 and 'Un Poco Loco' in May, the latter again Russell and Roach. Powell spread along the first version of his composition, 'Parisian Thoroughfare', in Feb 1951 during the same piano solo session as 'Oblivion'. Several versions ensued into 1953. Powell continued his career as could through treatment for schizophrenia and several hospitalizations until 1959 when he actually moved to Paris w one Altevia "Buttercup" Edwards [1, 2]. A couple albums went down in 1961 titled 'A Portrait of Thelonious' and 'A Tribute to Cannonball'. He recorded 'Bud Powell in Paris' in Feb 1963. Returning to the States in 1964 minus Edwards, Lord picks him up in New York again at the Birdland nightclub on 27 September that year. Numerous live sessions went down at the Birdland until Powell recorded 'The Return of Bud Powell' (Roulette R52115)' on 22 October 1964 in a trio w John Ore (bass) and J.C. Moses (drums). His last recordings were issued as 'Ups 'n Downs' in 1972. Lord's disco has his first session for that at Carnegie Hall on March 27, 1965, for Powell's piano solo, ''Round Midnight'. The remaining tracks followed in late '65 and early '66. Powell died on July 31, 1966, age 42, of tuberculosis exaggerated by alcoholism and malnutrition. His funeral was in Harlem. References: 1, 2, 3, 4, 5, 6. Chronologies: Pullman. Discographies: 1, 2, 3, 4, Lord. Transcriptions: Iverson: 1, 2, 3, 4; Scribd; Sun. Powell in visual media. Further reading: albums: Chronological Classics: 1945-1947, 1949-1950, 1951-1953, 1953-54; 'The Complete Bud Powell on Verve' (compilation 1949-56): 1, 2; 'Birdland 1953': 1, 2, 3; 'Paris Sessions' (compilation of Paris recordings 1957-64): 1, 2; 'Live in Lausanne 1962': 1, 2; 'Live at the Blue Note Café, Paris 1961': 1, 2, 3; 'Eternity' (compilation of Paris recordings 1961-64): 1, 2, 3, 4; books: 'Glass Enclosure' by Alan Groves and Alyn Shipton (Bayou Press 1993); 'Bouncing with Bud: All the Recordings of Bud Powell' by Carl Smith (Biddle 1997); 'Dance of the Infidels' by Francis Paudras (De Capo Press 1998): 1, 2; 'The Amazing Bud Powell' by Guthrie Ramsey (U of California Press 2013): 1, 2; 'Wail' by Peter Pullman: 1, 2, 3, 4; criticism: Cerra, Priestley, Pullman-Rentner; other profiles: 1, 2, 3, 4, 5. Tribute site. Per 1944 below all tracks are with Cootie Williams.

Bud Powell   1944

  Cherry Red Blues

      Composition: Big Joe Turner/Pete Johnson

   Echoes of Harlem

      Composition: Duke Ellington

   Floogie Boo

      Composition: Cootie Williams

   'Round Midnight

   Somebody's Gotta Go

     Vocal: Eddie Cleanhead Vinson

      Composition: William Weldon

   Tess's Torch Song

     Vocal: Pearl Bailey

      Composition: Harold Arlen/Ted Koehler

   You Talk a Little Trash

      Composition: Cootie Williams

Bud Powell   1949

   Bouncing with Bud

      Composition: Powell/Gil Fuller

   Celia

      Composition: Powell

   Cherokee

      Composition: Ray Noble

Bud Powell   1951

   The Last Time I Saw Paris

   A Night in Tunisia

      Composition: Dizzy Gillespie

   Oblivion

      Composition: Powell

   Ornithology

      Composition: Benny Harris/Charlie Parker

   Over the Rainbow

Bud Powell   1954

   Autumn in New York

      Composition: Vernon Duke   1934

Bud Powell   1957

   Confirmation

       Composition: Charlie Parker   1946

   She

   Yardbird Suite

      Composition: Charlie Parker   1946

Bud Powell   1958

   Comin' Up

      Composition: Powell

   When I Fall in Love

      Composition: Victor Young/Edward Heyman

Bud Powell   1959

   Blues in the Closet

Bud Powell   1960

   Tea for Two

Bud Powell   1962

   Anthropology

Bud Powell   1963

   B Flat Blues

      Composition: Powell

   Satin Doll

   Stairway to the Stars

      Tenor sax: Dexter Gordon

      Composition:

      Matty Malneck/Frank Signorelli/Mitchell Parish

Bud Powell

Source: Musical Value

Kerplunk . . . Born in 1921 in Greenville, North Carolina, Billy Taylor, (not to be confused with the earlier bassist) began his jazz career in New York City with the Ben Webster Quartet in 1944. He may have first recorded with the Eddie South Trio with, perhaps, bassist, Edgar Brown, in spring of 1944 [Lord]. That was at the Antler's Hotel, perhaps in NYC for unissued titles like 'Pardon Madame' and 'Hejre Kati'. 'Humoresque' would later find its way onto cassette per Fable. Sessions with South followed on June 14 ('Among My Souvenirs', 'Someday Sweetheart', et al) to perhaps October in Hollywood for an AFRS 'Jubilee' broadcast (#107) of 'Jersey Bounce'. Come the band of saxophonist, Walter Foots Thomas, on March 8 of 1945 for 'The Bottles' Empty' and 'For Lovers Only', et al. That was his fist recording session with saxophonist, Ben Webster, drummer, Cozy Cole, and trumpeter, Charlie Shavers. Taylor would see Webster again in NYC on January 23, 1953, with the Johnny Richards Orchestra for such as 'Hoot' and 'Poutin''. Webster would later appear for Taylor on 'The Subject Is Jazz' TV program in 1958, their final title together the next month on May 3 with Ben's Boys: 'Flying Home'. March 18 of 1945 saw Taylor backing Cole on such as 'Hallelujah' and 'Stompin' at the Savoy'. Shavers and Taylor would reunite on June 2, 1954 to support vocalist, Jackie Paris, for 'That Paris Mood'. Shavers and Taylor would see Cole again to support Billie Holiday for 'Stay With Me' on Valentine's Day 1955. Glub glub. Another of the bigger names that early came his way was that of tenor saxophonist, Don Byas, the latter present for the Cole session above on March 18 of '45. Byas and Taylor would back both Don Redman and Tyree Glenn in 1946. Their last sessions together were several in 1947 on a tour to Europe. Most of their titles went down in Paris, but their last session, with Glenn and Byas co-leading, was in Hilversum, Holland, on February 17, 1947, for such as 'Humoresque' and 'Always'. The day after Taylor's first session with Byas for Cole above, he recorded his first tracks as a leader on March 20, 1945. Those, with his Trio of Al Hall (bass) and Jimmy Crawford (drums), would eventually get released in 1991 on side B of an LP called 'Separate Keyboards' with Erroll Garner on side A. Included was his composition, 'Mad Monk'. He recorded his first piano solo, 'The Very Thought of You', in Paris on December 4, 1946, that during the same session with his trio consisting of Ted Sturgis (bass) and Buford Oliver (drums) to put down 'Stridin' Down Champs-Elysees'. His third date as a leader was about June of 1947 back in NYC for such as 'Well Taylored' and 'I Don't Ask Questions'. With perhaps 260 sessions to Taylor's name, 87 of those his own projects, the whole account of his rather spectacular career requires gladness that we drop inside a turtle's shell rather than as Wile E. Coyote [1, 2] as we fall away even deeper into these dark and eerie waters with only this dull flashlight to light our descent toward the early fifties when Dizzy Gillespie suddenly becomes a brief beacon in the historical murk. Taylor first joined Gillespie's Sextet on January 6, 1951, for live broadcasts from the Birdland: 'Congo Blues', 'Yesterdays', et al [Lord]. Several sessions were held with Gillespie at the Birdland until spring when they supported Charlie Parker for a VOA broadcast for such as 'Hot House' and 'Embraceable You'. Taylor joined Gillespie's Be Bop All Stars on March 27, 1965, for 'Charlie Parker Tenth Memorial Concert' at Carnegie Hall (Parker having died a decade earlier). Gillespie and Taylor would record 'Disorder at the Border, unissued, at the Newport Jazz Festival on July 4, 1966. Highlighting latter fifties was Taylor's album, 'Meets the Jazz Greats: Know Your Jazz' recorded in March of 1956. Those sessions featured a long list of all-star players from Gigi Gryce to Charlie Rouse. Following that was a triple take of 'Billie's Bounce' with the Metronome All Stars on June 18 of 1956. Glub glub. On March 14 of 1957 Taylor joined Lee Konitz and Warne Marsh for an NBC telecast of 'The Subject Is Jazz', performing titles like 'Godchild' and 'Lady Bird'. Taylor would became musical director of 'The Subject Is Jazz' in 1958, his band to record such as 'Blues in a Minor Key' (theme), 'For Dancers Only' and 'Sent for You Yesterday' on Program 5 ('Swing') and 6 ('The Blues'). Among highlights in the sixties was 'Right Here, Right Now!' gone down in Nov 1963 w Oliver Nelson's orchestra [*]. Come a concert with Duke Ellington and Earl Hines at the Civic Arena in Pittsburgh, PA, on June 20, 1965, for such as 'Sweet Lorraine', eventually getting issued on a CD by various in 2007 called 'The Jazz Piano'. The next that Taylor and Hines got packaged together included pianist, Dave Brubeck on April 29, 1969, at the East Room of the White House in Washington DC for a Duke Ellington Tribute, titles to go down like 'Take the 'A' Train' and 'I Got It Bad'. Taylor became musical director of the 'David Frost Show' in 1969. Such would affect an opportunity to string titles like 'Blueberry Hill' with jazz great, Louis Armstrong, on trumpet, on February 10, 1971, also with Tyree Glenn on trombone and Bing Crosby at vocals. We flounder ahead three decades to 2001 to witness the issue of 'Urban Griot', then 'Live at IAJE, New York' in 2002. Taylor's recording pace slowed into the new millennium. Lord's disco estimates a final title in 2010 per 'Consider Me Gone' on bassist, Christian McBride's, 'Conversations with Christian'. Performing nigh until his death, Taylor passed away of heart attack on December 28, 2010, with 23 honorary doctorates among numerous awards [obits:1, 2]. References: 1, 2, 3, 4, 5. Discographies: 1, 2, 3, 4. Compilations: Chronological Classics: 1945-1949, 1950-1952. Compositions: instrumental, orchestral, vocal. Taylor in visual media. Books published by Taylor. Interviews: Smithsonian Jazz 1993 (pdf), Marc Myers 2009, NAMM 2009. Official YouTube channel. Other profiles: 1, 2, 3 . . . Thud.

Billy Taylor   1945

  Alexander’s Ragtime Band

Billy Taylor   1952

  I Wish I Knew How It Would Feel to Be Free

      Composition: Irving Berlin

Billy Taylor   1958

 52nd Street Theme

 Night in Tunisia

Billy Taylor   1964

     Live performance 

Billy Taylor

Photo: Tom Marcello

Source: Wikipedia

Born in 1916 and raised in Los Angeles, versatile pianist Hadda Brooks made a reputation for herself as the Queen of Boogie Woogie [1, 2, 3, 4, 5, 6]. Boogie woogie was the southern equivalent of ragtime, developing out of the barrelhouses (bars) of eastern Texas in the Marshall vicinity. Brooks came to reputation despite that she issued relatively few recordings during her career, attending only twenty something sessions to result during her more than fifty years as a professional pianist. Brooks' first single, 'Swingin' the Boogie', was in 1945. She recorded fairly steadily into the fifties. She appeared on the 10" album, 'Modern Records Volume 7' in 1950. 1957 saw the issue of 'Femme Fatale', the same year she hosted 'The Hadda Brooks Show' on KCOP TV in Los Angeles. 'Hadda' was issued in 1971, upon which Brooks spent the seventies touring to Europe and moving to Australia. She wouldn't show up on record again until 'Queen of the Boogie' in 1984, recorded in Netherlands. In 1986 she played Perino's in Los Angeles, then other venues on the East and West Coast. 'Anytime, Anyplace, Anywhere' arrived in 1994. Brooks died in Los Angeles on November 21 of 2002. She is thought to have last recorded in 1996 for 'Time Was When'. Songwriting credits for Brooks' titles at 1, 2, 3, 4. Other Brooks.

Hadda Brooks   1945

   Blues In B Flat

       Composition: Hadda Brooks

   The Man I Love

       Composition: George Gershwin

   Society Boogie

       Composition: Hadda Brooks

   Swingin' the Boogie

       Composition: Hadda Brooks

Hadda Brooks   1948

   Out of the Blue

       Composition: Will Jason/Henry Nemo

Hadda Brooks   1950

   I Hadn't Anyone 'Til You

       Composition: Ray Noble 1938

Hadda Brooks   1953

   When I Leave the World

       Composition: Irving Berlin

Hadda Brooks   1957

   The Thrill Is Gone

       Music: Lew Brown

       Lyrics: Ray Henderson

Born in 1995 in Glasgow, Missouri, Wild Bill Davis [1, 2, 3] began his career with the Milton Larkin Orchestra in 1939 as a guitar player. He had switched to piano by the time he performed with Buster Bennett in Chicago, thought to have possibly first recorded on February 24, 1945, with the Buster Bennett Trio with Duke Brenner at bass and drums: 'Leap Frog Blues'/'Reefer Head Woman' (Columbia 36873) and 'Don't Worry 'Bout a Thing'/'Broken Down Man' (Columbia 37560), etc. [Lord]. He then joined Louis Jordan's Tympany Five early enough for an AFRS session bearing 'Banana Joe' and 'Nobody But Me' per V-Disc 513 in NYC on July 12, 1945. Davis kept with Jordan into 1947, reupping in 1950-51. Between those periods Davis recorded his first organ solos in 1949, two of four issued on Mercury 8136 as 'Yes, You Know I Love You' and 'Oobie Yoobie Boogie'. Davis' first album, 'Here's Wild Bill Davis', is thought to have been released in 1954 by Epic from sessions in NYC mostly for Okeh stretching from December 20, 1951 to January 8, 1953, to include the Four Lads. 'On The Loose' saw session on May 16, 1954. The 'Goldmine 3rd Edition Jazz Album Price Guide' has 'Sweet and Hot' issued in 1956, the white label worth $250, the blue label of unknown issue worth $30. Davis also appeared on Bobby Troup's 'Stars of Jazz' in Oct 1956. With at least 175 sessions to his name, more than fifty of those his own, Davis grooved a path too long to follow in this space. It would be apt, however, to mention at least one of the heavy weights Davis supported for a brief though significant period, that being Duke Ellington with whom he first recorded in October of 1950, Ellington contributing piano to Davis' organ on 'Things Ain't What They Used to Be'. Davis would join Ellington's orchestra 19 years later in time to record 'In Dolce Vita' and 'Spanish Flea' on September 2, 1969, in NYC. Davis would tour with Ellington to Eastern Europe, Scandinavia, Europe and Las Vegas before returning to NYC toward his last tracks with Ellington in June of 1971 yielding such as 'Toga' and 'Toga Brava Suite'. Also notable was Ellington veteran, alto saxophonist, Johnny Hodges, with whom Davis recorded nine albums from 'Blue Hodge' in 1961 to 'In Atlantic City' in 1966 [*]. From 1972 throughout the remainder of his career, with but a couple exceptions all of Davis' numerous sessions were held in Europe, largely Paris, as was his final with the Paris Barcelona Swing Connection in June of 1992 toward 'Wild Cat 1992'. Davis died on August 17, 1995 [obit]. Discographies: 1, 2, 3, 4, Lord. Further reading: the Hammond organ: 1, 2, 3, 4, 5; 'The Jazz Organ' by Geoff Alexander *; 'The Organ in Jazz' by Steven Cerra: 1, 2.

         Louis Jordan Tympany Five

      Composition: Campbell/Fleecie Moore

      Fleecie Moore: wife of Louis Jordan

Wild Bill Davis

Source: Discogs

Erroll Garner   1945

   Erroll's Bounce

      Composition: Garner   See Keyboard

Pianist, Hank Jones, was older brother to trumpeter, Thad Jones, and drummer, Elvin Jones [comparison]. Hank was playing professionally by age 13 in Michigan. Born in 1918 in Vicksburg, Mississippi, it was 1944 when he and saxophone player, Lucky Thompson, took off together for New York City. His first recordings are thought to have been for trumpeter, Hot Lips Page, on November 30, 1944, with Page on vocals as well for such as 'The Lady in Bed' and 'Gee Babe, Ain't I Good to You?' [Lord]. By spring of 1945 he was in the band of Andy Kirk, his first session with the latter thought per the AFRS 'Jubilee' (#133) broadcast in Hollywood bearing such as 'One O'Clock Jump' and 'Roll "Em'. Jones hung with Kirk for more than a year until December 2 of '46, backing Joe Williams on such as 'Now You Tell Me' and 'Louella'. Jones was one of the most prolific recording artists in jazz, his sessions numbering 1037 in Lord, right up there at alpine level with Jimmy Dorsey (1016) and Tommy Dorsey (1172). Among reasons for that was that he served as staff pianist to both the Savoy label and, later, CBS from '59 to '75. For fear of avalanche we better not root about too much and keep this account amputated to a few of Jones' important early associates. Preceding Jones' last titles with Kirk in 1946 he had joined Ray Brown's All Stars on November 28 for such as 'For Hecklers Only' and 'Smokey Hollow Jump'. Brown and Jones recorded together numerously into the fifties. Of note on 4 Sep of 1953 was a trio w guitarist, Johnny Smith, titles of which would see issue on 'Urbanity' [1, 2] in 1956 along w piano solos recorded by Jones in '47. Brown and Jones worked together from the latter fifties through the sixties, then occasions in the seventies and eighties until their last on April 6, 1994 at Carnegie Hall, recording 'Now's the Time' for the LP 'Carnegie Hall Salutes the Jazz Masters'. Present in Brown's All Stars above on November 28 was vibraphonist, Milt Jackson, who would also become a significant figure in Jones' career (: 'Opus de Jazz' 1956). Brown and Jones' next occasion to record together was in the Coleman Hawkins Orchestra in December of 1946, grooving such as 'Bean and the Boys'. They would pair numerously into '47, later in 1955-59, 1961-65 and finally the eighties, their last occasion in Paris with the Paris All-Stars on June 15 of 1989 for 'Homage to Charlie Parker'. As for Coleman Hawkins per above in December of '46, Hawkins, too, would be a major figure in Jones' career, they recording together numerously to 1950, 1956-58 and later in the sixties, their last occasion on April 15 of 1965 as members of Lionel Hampton's All Stars to put down Stardust', 'Midnight Blues' and 'As Long As We're Here'. Jones' first of nine dates with Norman Granz' Jazz at the Philharmonic was on May 24, 1947, at Carnegie Hall with Roy Eldridge on trumpet: 'Perdido', 'What Is This Thing Called Love' and 'Blues'. His last was in Paris with Lester Young at tenor sax on March 3, 1953, for such as 'These Foolish Things' and 'Blues in C'. Granz produced Jones' first album, 'Hank Jones' Piano' (Mercury MG 25022/ MG C-100), in 1950. Jones found himself a treasure chest in Ella Fitzgerald on December 23, 1947, backing her on such as 'I've Got a Feeling I'm Falling' and 'You Turned the Tables On Me'. Jones worked for Fitzgerald numerously to 1953, later in 1958-59 and, finally, a couple sessions on January 30 and 31 of 1962 in NYC for Verve, such as 'Broadway' from the first and 'Laughing On the Outside' from the letter. Other highlights along Jones' wake was an early trio in NYC w Wendell Marshall (bass) and Kenny Clarke (drums) on 4 August 1955 to result in the 1956 album, 'The Trio' (Savoy MG 12023). On 24 March of 1958 arrived a load of Joneses per the recording of 'Keepin' Up with the Joneses' [1, 2, 3] for release by MetroJazz, that including brothers Thad and Elvin w Eddie Jones (unrelated) on bass. Produced by Leonard Feather, that album included three compositions by Isham Jones (unrelated): 'It Had to Be You' (w Gus Kahn), 'On the Alamo' (w Gus Kahn) and 'There Is No Greater Love' (w Marty Symes). Come 19 May of 1962 when Hank backed Marilyn Monroe at Madison Square Garden singing 'Happy Birthday Mr. President' to John Kennedy (ten days before his actual birthday) [*]. (Monroe committed suicide via barbiturates not three months later on 5 August.) Moving toward Jones' latter career, 1979 saw his issue of duets with pianist, Tommy Flanagan, called 'Our Delights'. The same session date of 28 Jan 1978 also filled 'More Delights' for issue in 1985. They recorded 'I'm All Smiles' in West Germany on March 7 of 1983 for issue in '84. Come Jones' first 100 Gold Fingers [1, 2, 3] performance in Tokyo w nine other pianists on May 20 of 1990, an event in which he would participate for several years. Jones had been made an NEA Jazz Master in 1989 by the American National Endowment of the Arts [interview 2010]. Highlighting the nineties were gospel duets with bassist, Charlie Haden, in June of 1994 to see release on 'Steal Away' in '95. Continuing into the new millennium w small ensembles, Jones was awarded an honorary doctorate from Berklee College of Music in June of 2005 at the Umbria Jazz Festival in Perugia, Italy. More gospel duets w Haden arrived in Feb of 2010, issued posthumously in 2012 on 'Come Sunday'. He died in Bronx on 16 May 2010 on a Sunday [obits: 1, 2, 3]. References encyclopedic: 1, 2; musical: 3, 4, 5, 6, 7, 8. Sessions: JDP, Lord. Discographies: 1, 2, 3, 4, 5, 6. Jones in visual media. Reviews: 'Urbanity' (solo piano). Interviews: 1974 w Les Tomkins; 2004 (pdf) w Anthony Brown. Further reading: Whitney Balliett at the New Yorker; Steven Cerra at Jazz Profiles; Don Heckman at Jazz Times; Henry Rasmussen at ABC; Arnold Smith at Jazz; Durk Sutro at L.A. Times; WMOT Roots Radio. Other profiles: 1, 2, 3, 4.

Hank Jones   1946

 Bean and the Boys

Hank Jones   1950

 Ad Lib

Hank Jones   1958

 My One and Only Love

      See 1, 2, 3, 4, 5, 6

Born in Brooklyn in 1922, Duke Jordan's [1, 2] first recordings are thought to have been in January or February of 1945 in Chicago with the Floyd Horsecollar Williams Septet for the Chicago label (102): 'You Ain't Nothin', Baby' and 'How Ya Like That' with a couple others unissued [JDP, Lord]. With a good 180 sessions to his name in Lord's sessionography, 69 of those his own, we'll here address only the first several. Jordans' next session was with Roy Eldridge in September of '46, including 'Lover Come Back to Me' and 'Rockin' Chair'. His third was with Allen Eager's Be-Bop Boys o July 15, 1947 for 'All Right, All Frantic' and 'Donald Jay' among others. Beside Eager on tenor sax, others in that quartet were Terry Gibbs (vibraphone), Curly Russell (bass) and Max Roach (drums). It was with Charlie Parker whom Jordan joined in 1947 that he began to shine as a great pianist. His initial session with Parker was on October 27 for takes of 'Dexterity', 'Bongo Pop', et al. Jordan kept with Parker through numerous sessions to spring of 1949 at the Pershing Hotel Ballroom in Chicago, starting a long stream of titles with "A Night in Tunisia' and 'My Old Flame'. There would be a reunion on September 20, 1952, recording 'Ornithology' and '52nd Street Theme' at the Birdland in NYC. It was around that time that he met and married x to become Sheila Jordan [1, 2, 3, 4, 5, 6, 7]. They would divorce in 1962. After Jordan's earlier brief stretch with Parker he signed up with Stan Getz' Boppers for a session in May of '49 in NYC yielding 'Stan Getz Along', 'Stan's Mood', 'Slow' and 'Fast'. Jordan would join Getz' again at the Birdland on May 31 of 1952 for 'Don't Get Scared', 'Just You, Just Me', et al. This time Jordan kept with Getz' to March 8, 1953, at the High Hat in Boston. That with an earlier session at the Hi Hat on December 8 of '52 resulted in two volumes of 'Getz in Boston - Live at The Hi-Hat'. After Jordon's brief time with Getz he held his first session as a leader with his Trio consisting of Gene Ramey (bass) and Lee Abrams (drums) resulting in his first album, 'Duke Jordan Trio', released in '54. Come a session for Blue Note in New Jersey on 8 August 1960 toward 'Flight to Jordan' [1, 2] recorded w his quintet of Dizzy Reece (trumpet), Stanley Turrentine (tenor sax), Reggie Workman (bass) and Art Taylor (drums). Jordan plied his trade in the United States for nigh the next quarter century before became a resident of Copenhagen in 1978, His last titles in the States were two takes of 'Foxie Cakes' on July 11 of '78, one which would find its way onto 'Thinking of You'' completed October 29, 1979, in Copenhagen. Jordan's first session upon moving to Denmark was live in Oslo, Norway, on November 10, 1978, resulting in 'Flight to Norway'. Trumpeter, Chet Baker, visited for a session in Copenhagen, Denmark, on October 2, 1979, toward Baker's 'No Problem'. Jordan would host Baker on another trip to Europe in November of '83: Dates in Paris came to Baker's albums 'September Song' and 'Live at New Morning'. A date in Belgium witnessed such as 'Barbados' and 'But Not For Me' with Baker at vocals on the latter. A final date at George's Jazz Cafe in Holland (Netherlands) resulted in Baker's album, 'Star Eyes'. The majority of Jordan's recordings in the eighties and nineties will have been made in Europe, particularly Copenhagen, with the exception of numerous tours to Japan. His first trip there had been with his Trio consisting of Wilbur Little (bass) and Roy Haynes (drums) in 1976. Eight sessions were held there resulting in such as two volumes of 'Live In Japan', two volumes of 'Osaka Concert' and 'Flight to Japan'. Jordan would tour to Japan again in '82, '85, '87 and each year of 1989-91 and 1993-95. His last such occasion on December 11 came to titles like 'My One and Only' and 'Cherokee' with Tomonao Hara at trumpet. Lord's disco shows Jordan's final titles on July 4, 1997, at the Drop Inn in Copenhagen with Bent Jaedig (tenor sax), Jesper Lundgaard (bass) and Ed Thigpen (drums), bearing 'But Not For Me' 'My One and Only'. Jordon's later albums, 'Flight to Denmark' ('02) and 'Flight to Jordan' ('04) had each been recorded decades earlier, the former in '73 in Copenhagen, the latter in 1960 in Englewood Cliffs, NJ. Jordon died in Copenhagen on August 8, 2006. Discographies: 1, 2.

Duke Jordan

Source: Verve Music Group

Born in 1925 in Montreal, Quebec, Canadian piano virtuoso Oscar Peterson had immigrants from the West Indies for parents, his father working as a railroad porter. He began to play piano at about age five and studied classical. At age 14 [Wikipedia] he won $250 at a radio amateur contest which found him hosting his own fifteen-minute radio program at CKAC Radio in Montreal at age fifteen [1, 2, 3]. Lord has him recording transcriptions in Montreal in December of 1944 per the 'Bovril Show' (Bovril sold milk) bearing 'Flying Home' and 'If Could Be With You'. Those eventually saw issue in 1986 on 'Jazz and Hot Dance in Canada 1916-1949' by Harlequin HQ 2023 [Discogs]. April 30 of 1945 found him in Montreal with the Oscar Peterson Trio in session for Victor Canada. 'I Got Rhythm'/'Sheik of Araby' saw issue on Victor HMV 56 002 [SHS]. 'Louise'/'My Blue Heaven' saw issue on Victor HMV 56 003. Those also included on various compilations, Lord has an additional alt take of 'Louise' issued on obscure CDs per RCA/Bluebird 63900-2 and BMG/RCA 63990-2. Peterson first recorded in the United States at Carnegie Hall with bassist, Ray Brown, on September 18, 1949: 'Fine and Dandy', 'I Only Have Eyes for You' and 'Carnegie Blues'. With about 433 sessions to his name, well above half of those his own projects, Peterson's high-impact career can't see a lot of illumination in this small space. A few among his more important associates will need suffice. His closest musical comrade was Ray Brown who sided Peterson's ensembles throughout the fifties to 1965. The last session of that thirteen-year stretch was on December 6 of '65 with Louis Hayes on drums for 'Blues Etude'. They would reunite in Villingen, Germany, in July 1971 with Hayes and Milt Jackson for 'Reunion Blues'. That second period with Peterson stretched to 1978 with reunions in the early eighties and latter nineties. Brown's last of countless titles with Peterson arrived per the latter's Very Tall Band at the Blue Note in NYC in November 1998 toward 'Live at the Blue Note' and 'What's Up?'. Although Peterson's favored configurations were trios and quartets he occasionally supported big bands, one such being Count Basie's on July 6, 1952, for such as 'Cash Box' and 'Bootsie'. Other examples of Peterson in a big band setting were 'Swinging Brass!' recorded with the Russ Garcia Orchestra on November 9, 1959, and 'Bursting Out' with the All Star Band on June 14, 1962. On December 27, 1955, Peterson's Quartet of Herb Ellis (guitar), Ray Brown (bass) and Buddy Rich (drums) recorded (minus Basie) a string of Basie tunes toward 'Oscar Peterson Plays Count Basie'. Basie and Peterson would reunite on June 2, 1972, per Jazz at the Philharmonic at the Civic Auditorium in Santa Monica, CA, for such as 'In a Mellow Tone' and 'Loose Walk'. On December 2 of '74 Basie contributed piano to 'S & J Blues' on Peterson's album, 'Satch and Josh'. September 20 of '77 saw Basie contributing piano to Peterson's album, 'Satch and Josh . . . Again'. They would reunite again for a few sessions in February of '78 with John Heard (bass) and Louie Bellson (drums) toward the LPs 'Yes Sir, That's My Baby', 'Nightrider' and 'Count Basie Meets Oscar Peterson'. Performances with Jazz at the Philharmonic were generally highlights in any jazz career. The founder and impresario of the JATP, Norman Granz, would be Peterson's manager most of his career. Peterson joined his first JATP concert per above in 1952. Another ensued on September 13 that year at Carnegie Hall for such as 'Jam Session Blues' and 'The Trumpet Battle' (Roy Eldridge and Charlie Shavers). Peterson joined JATP again in May of '53 at Bushnell Memorial Auditorium in Hartford, CT, for such as 'Cotton Tail' and 'Air Mail Special'. Another JATP performance ensued on September 19 of '53 at Carnegie Hall for such as 'Cool Blues' and 'One O'Clock Jump'. November of '53 found Peterson with JATP in Tokyo at Yoyogi National Stadium for such as 'That Old Black Magic' and 'Perdido'. 1958 saw Granz producing 'Smooth Operator' [1, 2] for Dorothy Dandridge w Peterson's trio of Ellis, Brown and Alvin Stoller (drums). That didn't get issued, however, until 1999 by Verve. Peterson joined JATP again at the Civic Auditorium in Santa Monica per above on June 2 of 1972, later on October 17, 1983, at Yoyogi National Stadium in Tokyo, including the title, 'Flying Home', with Ella Fitzgerald. Another of Peterson's important associates was guitarist, Herb Ellis, who first recorded with Peterson in May of '53 per JATP above. They would record together numerously for the next five years, both backing other ensembles (like JATP) and Peterson's operation. Ellis first joined Peterson's Trio in Los Angeles on December 10, 1953, with Brown at bass, recording such as 'I Want to Be Happy' and 'Manhattan'. Among notable sessions consisting of Peterson, Brown and Ellis were those in 1955 and '56 to result in the Toni Harper [1, 2, 3, 4] album, 'Toni' [1, 2]. Lord has Peterson and Ellis last together at the Orpheum Theatre in Vancouver, BC, on August 8, 1958, again with Brown for such as 'Alone Together' and 'How About You'. They would reunite in '61, '65, '69, '72 and, finally, several times between 1990 and '94. Their last session together is thought to have been on October 1, 1996, at Town Hall in NYC with Niels-Henning Ørsted Pedersen (bass) and Lewis Nash (drums) for titles toward 'A Tribute to Oscar Peterson' ('67). Another of Peterson's more important associates was drummer, Ed Thigpen, who first joined Peterson's Trio in Paris on May 18, 1959, for 'A Jazz Portrait of Frank Sinatra' [1, 2], again with Brown. Thigpen sided Peterson to May 29, 1965, at Tivoli Gardens in Copenhagen, Denmark, for titles toward 'Eloquence', again with Brown. They reunited in November 1972 in Los Angeles with Brown to record 'Blues for Allan Felix' per the soundtrack to 'Play it again, Sam' ('72). Among the numberless highlights in Peterson's career were titles with saxophonist, Zoot Sims. Sims first recorded with Peterson per Lord in the summer of '67 at the Hollywood Bowl in Los Angeles toward the issue of 'The Greatest Jazz Concert in the World' in 1975. They would reunite that year on June 6 for Sims' 'Zoot Sims & The Gershwin Brothers'. Later that year in October in Europe Peterson, Niels-Henning Ørsted Pedersen (bass) and Louie Bellson (drums) would back Sims and Eddie Lockjaw Davis on 'The Tenor Giants'. They would reunite a last time in October of '83 per the JATP concert mentioned above in Tokyo. Peterson published his memoir, 'A Jazz Odyssey' [1, 2, 3], in 2002. Lord's Disco lists Peterson's final recordings with a quartet in Austria consisting of Ulf Wakenius (guitar), Niels-Henning Ørsted Pedersen (bass) and Martin Drew (drums) on November 21, 2003: 'A Night in Vienna'. He was, however, yet active and touring when he died of kidney failure on December 23, 2007 [1, 2, 3, 4, 5, 6]. Among notable issues of Peterson's piano solos is 'Solo' [1, 2] first issued in 2002, recorded in Lebanon and Netherlands thirty years earlier in 1972. References encyclopedic: 1, 2, 3, 4; musical 1, 2, 3, 4; archived: 1, 2. Sessions: JDP: 1, 2; Lord. Discographies: 1, 2, 3, 4. Compilations: 'I Got Rhythm' 1945-47 by Giants of Jazz 1999; 'The Oscar Peterson Collection' 1955/59 by Verve 1972. Notable compositions. Transcriptions. Peterson in visual media. Awards: 1, 2. Interviews: Les Tomkins 1962-76, Tom Wilmeth 1979. Further reading: Peterson and Herb Ellis. Facebook tribute site. Other profiles: *.

Oscar Peterson   1945

 Oscar's Boogie

        Composition: Peterson

Oscar Peterson   1958

  A Gal in Gallico

       Live performance with Herb Ellis & Ray Brown

Oscar Peterson   1961

  Moanin'

Skitch Henderson   1946

  Dreamland Rendezvous

        Composition:

         Ben Oakland/George Jessel//Wolfe Gilbert

  Five Minutes More

  Save Me a Dream

  Swan Lake

        Composition:

        Pyotr Ilyich Tchaikovsky   1876

Skitch Henderson   1947

  Army Air Corps

        Composition: Robert Crawford

  But None Like You

  Corabelle

  A Garden in the Rain

  Dream on a Summer Night

        Composition: Donald Kahn

  Would You Believe

Skitch Henderson   1965

From the LP 'Skitch...Tonight!':

  Curacao

        Composition: Henderson

  Night Life

  So What Else Is New

André Previn was a composer with a range from classical to jazz to popular. Born a Jew in Berlin, Germany, in 1929, he was brought to Los Angeles in 1939 by his parents. Six years later in 1945 he made first recordings as a composer, conductor and pianist at age sixteen. tug0jackson finds him transcribing 'I Surrender Dear' per the AFRS 'Jubilee' #126 radio broadcast on VE day May 8, 1945 (below). Lord's disco has him possibly putting down 'I Surrender Dear' per AFRS Jubilee #137 with his Trio of uncertain personnel as early as June 11, 1945, that issued years later in Australia by RST Records (JUBCD1010-2). Internet Archive prefers a date of 25 June w a bunch consisting of Effie Smith, Gary Moore, Joe Liggins and Jimmie Lunceford. Three titles recorded w John Simmons (bass) and Dave Barbour (guitar) on October 14 along with 'Something to Live For' (piano solo) from March 29 of '46 were issued on 'Previn at Sunset' (Black Lion BLP 30121 '72/ BLCD 760189 '93) in 1972. Those were 'Good Enough to Keep', 'Blue Skies' and 'Mulholland Drive' (alt). Two versions of 'California Clipper' and the first take of 'Mulholland Drive' were also variously issued in later years, all eventually on Black Lion. The next month on November 5 he was in the Willie Smith Six to put down two takes of 'I Never Knew You', three takes of 'All the Things You Are' and one 'I've Found a New Baby'. All saw eventual issue variously, 'I Never Knew You' w multiple new titles such as 'Glandular Activity' on 'Monarch All Star Jazz' (Monarch LP 202) in 1952. The others saw release on such as 'Jammin’ at Sunset Vol 1' (Black Lion BLP 30112) in '71 and 'Previn at Sunset' (Black Lion BLP 30121) [*]. Previn participated in a V-Disc session in Hollywood on May 29, 1946: 'I Cover the Waterfront', 'What Is This Thing Called Love', 'September In the Rain' and 'I've Found a New Baby'. 45worlds has 'I Cover the Waterfront' issued in September of '46 on 12" 78rpm V-Disc 681 shared with Edgar Hayes' 'Stardust' on side B. That looks like the first time Previn appeared on record, though as a V-Disc (Victory-Disc) it wasn't a commercial release [1, 2, 3, 4, 5, 6]. The V-Disc military operation was initiated in June of 1941 by Captain Howard Bronson to build troop morale prior to America's entrance into World War II per the Pearl Harbor attack in December that year. The program was run by Captain Robert Vincent hand in hand w transcribed AFRS (Armed Forces Radio Service) radio broadcasts until its termination in 1949. Though V-Discs weren't commercially sold they permitted artists a means of legal recording during the musicians strike of 1942-44. A session on May 31 of 1946 saw the issue of titles like 'That Old Blue Magic' later released on Previn at Sunset' (Black Lion BLP 30121 '72/  BLCD 760189 '93) in 1972. Among sessions not listed by Lord's disco, OAC (Online Archive of California) has Previn transcribing unknown tracks per a 'Ford Show' radio broadcast on July 28 of '46, fate unknown. On Nov 26 1946 it was Jimmy Durante and the Pied Pipers w Ann Marvin Miller and Frank Sinatra for a radio transcription of 'Hallelujah', that later issued in 1988 on 'Songs by Sinatra Starring Jimmy Durante Volume One' per P.J. International PJ 003. Honking Duck lends a date of 1 January for what Lord has undated for a Just Jazz Concert at the Civic Auditorium in Pasadena, CA, in 1947 yielding 'Indiana'/'Airmail Special' on Modern 20-651 and 'All the Things You Are'/'Lady Be Good' on Modern 20-652. A vendor at Popsike has those issued by Modern in 1949 on 'Gene Norman Presents Just Jazz Vol 3'. July 27 found him backing Peggy Lee and Woody Herman w the Dave Barbour Orchestra on tracks like 'The Lady from 29 Palms' and 'Cecilia'. Discogs has those five tracks released in 1993 on 'Peggy Lee Live 1947 & 1952' (Jazz Band EBCD2115-2). Come the Andre Previn Quartet on 20 October of 1947. Those and other tracks gone down on 3 November saw issue in 1947 on the shellac album of four 10" discs titled 'Previn at the Piano' (RCA Victor P 214). Six of eight tracks saw release in 1947 on the vinyl album of three 7" discs titled 'Previn at the Piano' (RCA Victor WP 214). Previn's quartet consisted of Al Viola (guitar), Charles Parnell (bass) and Jackie Mills (drums) w Lloyd Pratt replacing Parnell on 3 November date. Those appear to have been Previn's first commercial issues. Included on that were 'My Shining Hour'/'This Can't Be Love' issued on Victor 20-3041 in 1948 per Discogs and Victor 47-2765 in 1949 per 45Cat. 'Just One of Those Things'/'Mad About the Boy' saw release on RCA Victor 20-3042 in 1948 per 'Billboard' and Victor 47-2766 in 1949 per 45Cat. [See also 'Billboard' 1, 2 and Label Discographies per singles issues above.] Continuing w Victor in '49, among titles gone down that year were 'Bewitched, Bothered, and Bewildered'/'Anything Goes' with Bob Bain (guitar), Lloyd Pratt (double bass) and Ralph Collier (drums) issued in 1950 on Victor 20-3617. In the meantime the above discussion is absent of another major facet of Previn's career that was film. Going by IMDb, Previn supervised music in some uncredited capacity toward the premiere of 'Undercurrent' in Jan 1947, score for that by Herbert Stothart and Mario Castelnuovo-Tedesco [see also RYM]. Previn composed music uncredited toward the April 1947 premiere of 'It Happened in Brooklyn' followed by 'The Bride Goes Wild' and 'The Kissing Bandit'. He is credited as the conductor of an unidentified orchestra for 'Act of Violence' premiering in Feb 1949, score written by Bronislau Kaper. His filmography thereon was extensive as a composer, conductor and director. Among Previn's more frequent jazz partners were drummer, Shelly Manne, bassist, Red Mitchell and guitarist Barney Kessel. Manne first joined Previn per the latter's Trio with Buddy Clark at bass on June 24, 1953, for 'Andre Previn Plays Fats Waller'. They recorded severally in support of other bands until February 11 of '56 in Hollywood when Previn backed Manne toward 'Shelly Manne and His Friends'. Manne next supported Previn in March for Decca on such 'But Beautiful' and 'Moonlight Becomes You'. Manne and Previn stayed tight another four years, their last session of that seven-year stretch in support of Helen Humes in September 1960. A reunion on December 18, 1963, resulted in Previn's '4 to Go!'. Seventeen years later in May 1980 they joined Itzhak Perlman at Heinz Hall in Pittsburgh, PA, for 'It's a Different Kind of Blues' and 'It's a Breeze'. As for Red Mitchell, he and Previn recorded their first common titles for trombonist, Milt Bernhart, on March 8 of 1955. With Previn arranging, such affected 'Hillside', 'Looking for a Boy', et al. Mitchell next joined Previn in a quartet in Los Angeles on April 11 with Al Hendrickson (guitar) and Irv Cottler (drums) coming to such as 'Let's Get Away From It All' and 'It Happened in Sun Valley'. Mitchell remained a main hand throughout the fifties to as late as April 15, 1964, for Previn's 'My Fair Lady'. They would reunite 16 years later per above with Manne and Perlman in May 1980. Come Barney Kessel on October 6, 1955, they first recording together on that date supporting vocalist, Betty Bennett toward 'Nobody Else But Me'. Kessel and Previn wove a braid that saw them recording together numerously for another five years, both backing other operations and Previn appearing on projects by Kessel such as 'Music to Listen to Barney Kessel By' ('57) and 'Carmen' ('59). The last sessions of that stretch together appear to have been in September of 1960 supporting Helen Humes toward 'Songs I Like to Sing'. Lord's first mention of Previn conducting is his own orchestra on 1 April 1955 to back Ella Fitzgerald toward the album 'Sweet and Hot'. He he was pianist in Benny Goodman's operation to back Fitzgerald on 10 April 1959 for a television broadcast of 'Swing into Spring'. Previn and Fitzgerald later reunited in 1983 to record the album, 'Nice Work If You Can Get It', w bassist Niels-Henning Ørsted Pedersen. Lord's first mention of Previn as an arranger was for Goodman on 14 July 1958, 'The King and Me' to see issue on Playboy PB1958 in 1959 ['Billboard' Feb 1959]. 'Cherokee' and 'Macedonia Lullaby' eventually saw release on Music Masters CIJ60142Z. Lord has all three getting issued on 'Happy Session' Essential Jazz Classics EJC55472. Previn worked w Goodman numerously in smaller ensembles in '58. It was back to Goodman's big band on 10 April 1959 for a television broadcast of 'Swing into Spring' (above). Among others with whom Previn recorded jazz were Shorty Rogers ('54, '55), Georgie Auld ('54, '55), Pete Rugulo ('56, '57) and Buddy Bregman ('56). Previn was a contributing gear in the popularization of classical and jazz [1, 2] that had been ongoing since the first use of music in film in the latter twenties (: 'The Jazz Singer' '27, et al). In so doing he spent a major portion of his life in an orchestral atmosphere. Notable orchestras beyond his own with which Previn worked included the St. Louis Orchestra [1, 2] come 1962 [1, 2, 3] with which he released 'Sinfonia Da Requiem' in 1964 on Columbia Masterworks MS 6583 [Discogs]. 45Worlds has that issued in the UK on an unknown date per CBS Classics 61167. Come the Houston Symphony in 1966 [1, 2, 3]. Previn was appointed principal conductor of the London Symphony Orchestra in 1968 [1, 2, 3]. He became director of the Pittsburg Symphony Orchestra in 1976 [1, 2, 3]. He commenced his tour as principal conductor of the Royal Philharmonic Orchestra in 1985 [1, 2], the same year he began directing the Los Angeles Philharmonic [1, 2, 3, 4]. Highlighting the nineties was the publishing of his memoir 'No Minor Chords: My Days in Hollywood' by DoubleDay in 1991. Come 1995 he joined David Finck on double bass to back opera singer, Sylvia McNair, toward 'Come Rain or Come Shine: The Harold Arlen Songbook'. Moving into the new millennium, Norman Lebrecht writes in 2001 [1, 2] concerning Previn replacing Mariss Jansons as director of the Oslo Filharmonien [1, 2] the next summer of 2002. Previn remained active giving concerts until his death on 28 Feb 2019 [obits: 1, 2, 3, 4, 5]. Among Previn's classical compositions were a strong number of pieces for chamber, orchestra, piano and song [1, 2, 3]. Other credits at Discogs: composing/ arranging *, conducting/ directing *, instrumentals *, producing *, vocals (3) *; RYM. Discographies: 1, 2, 3, 4. References encyclopedic: 1, 2, 3, 4; musical: 1, 2, 3, 4. Awards. Criticism. Interviews: Bruce Duffie 2005, Emma Brockes 2008, Philip Clark 2019. Wives: Betty Bennett 1952-57: 1, 2, 3; Dory Langan 1959-69: 1, 2, 3; Mia Farrow 1970-79; Heather Sneddon 1982-99; Anne-Sophie Mutter 2002-06: 1, 2, 3. Further reading: 'The Jazz Years in California' by Steven Cerra, 'Maestro and Music' by Steven Cerra, Previn at age 75 by Stephen Moss; other profiles: 1, 2.

André Previn   1950

   September in the Rain

   This Heart of Mine

André Previn   1953

   Squeeze Me

   Stealin' Apples

   That's Where the South Begins

André Previn   1959

   Like Young

André Previn   1961

   I Let a Song Go Out of My Heart

André Previn   1962

   Close Your Eyes

     With Doris Day

      Composition: Bernice Petkere   1933

  The Faraway Part of Town

      Composition:

      Previn/Dory Langdon (Langan)

   Nobody's Heart

   Over the Rainbow

    Album

André Previn   1964

   The Rain in Spain

      Composition: Alan Jay Lerner/Frederick Loewe

   There Will Never Be Another You

      Composition: Harry Warren/Mack Gordon

André Previn   1985

   Rhapsody in Blue

André Previn

Source: 1001 in 1000 Days

Sun Ra   1946

  Dig This Boogie

  Drinkin' By Myself

  Lightning Struck the Poorhouse

Sun Ra   1956

  Supersonic Jazz

     Album

Sun Ra   1959

  Ancient Aiethopia

      Composition: Sun Ra

      From 'Jazz in Silhouette'

  Jazz in Silhouette

  Saturn

      Composition: Sun Ra

      From 'Jazz in Silhouette'

Sun Ra   1961

  Bassism

      Composition: Sun Ra

      LP: 'The Futuristic Sounds of Sun Ra'

Sun Ra   1962

Sun Ra   1976

  Jazz from an Unknown Planet

      LP: 'Cosmos'

Sun Ra   1987

  Jazz Jamboree in Warsaw

Sun Ra   1988

  Sound of Joy

      Composition: Sun Ra

Sun Ra Arkestra   2009

  Nancy Jazz Pulsations

Sun Ra  Arkestra   2014

  Live at the Jazzhouse in Copenhagen

  Love in Outer Space

      Composition: Sun Ra

Born in 1920 in La Grange, Illinois, John Lewis met drummer Kenny Clarke while serving in the Army, having joined in 1942 per World War II. Upon release from military service they met up again in New York City in 1945, whence Lewis began, and Clarke continued, his professional career with composer/trumpeter, Dizzy Gillespie. Lord initiates his account of Lewis per a track transcribed in June of '46 to support Sarah Vaughan with the Eddie Davis Quartet on 'Don't Blame Me', that for a 'Spotlight Club' radio broadcast probably on 52nd Street. Discogs has that issued w backing by Gillespie's band on 'Live at the "Spotlite '46' per Hi-Fly H-01. Lord's disco qualifies that it may be Thelonious Monk rather than Lewis at piano with which Discogs agrees per Uptown Recods. Relatively speaking, neither Davis nor Vaughan had much affect on Lewis' career. He would back Vaughan per Lord only once more in 1971. But the other members of that quartet, Clarke and bassist, Ray Brown, would partner numerously in years to come. Both were present at Lewis' next session with the Dizzy Gillespie Orchestra on July 9 of 1946 to put down such as 'One Bass Hit' and 'He Beeped When He Shoulda Bopped'. Brown and Lewis would find themselves contributing to multiple operations in addition to Gillespie's into 1947 and later in '51, '56 and '67, their last occasion in Los Angeles on October 4 and 5 in the John Lewis Trio with Connie Kay [1, 2, 3, 4] at drums for unissued titles like 'Someday My Prince Will Come' and 'Yesterday'. Clarke and Lewis traveled much the same rail into 1953 and would reunite in '56 in Paris for a few titles applied to Lewis' album, 'Afternoon In Paris'. Lewis would back Gillespie into 1948, later in '56, '61, '75 and '78, their last such occasion on June 12 with alto saxophonist, Lee Konitz, in Nice, France, for titles like 'Bernie's Tune' and 'Blue and Boogie'. At 340 sessions during his career, 77 of those his own as a leader, this space is too limited to cover even the major names significant to Lewis' career. One, however, would have to be included in any account of Lewis, that being Milt Jackson, who was a member of Gillespie's orchestra on November 10 of '46 for the title, 'Emanon'. Jackson and Lewis would continue with Gillespie until Lewis joined Jackson's All Stars in April of 1948 in Detroit for 'Bobbin' with Robin', 'Autumn Breeze', et al. Three sessions with Jackson from August 24 of '51 to April of '52 resulted in Jackson's 'The Quartet' released in 1956. Come a session with Jackson's Quintet on April 7 of '52 for Blue Note with titles like 'Lillie' and 'What's New?'. November 1 of '52 saw Jackson's Quartet with Charlie Parker at the Birdland in NYC for 'How High the Moon', 'Embraceable You' (George/Ira Gershwin) and '52nd Street Theme' (Thelonious Monk). Their next session was the debut of the Modern Jazz Quartet (MJQ) with Percy Heath (bass) and Kenny Clarke (drums) on December 22 of '52 (though the birth of the MJQ is not uncommonly given per Jackson's Quartet above in August of '51). Those December titles for Prestige would get applied to the 1954 album, 'MJQ'. Connie Kat replaced Clarke at drums in 1955. Jackson, Lewis, Heath and Conway would run the MJQ until they disbanded in 1974. Wikipedia has Jackson dropping out for causes amounting to too much touring. The MJQ reformed in the early eighties to record numerously to its last manifestation thought to be at the Montreaux Jazz Festival in Switzerland on July 16, 1993, 'Darn That Dream' going down on that date. A couple other prestigious names are apt to mention per Lewis' incipient career in the latter forties, those being Miles Davis and Charlie Parker, both with whom he first recorded on August 24, 1947 with Davis' All Stars consisting of Nelson Boyd (bass) and Max Roach (drums). Those titles were 'Milestones', 'Little Willie Leaps', 'Half Nelson' and 'Sippin' at Bell's'. Lewis contributed piano to numerous sessions with Davis to 1951 (arranging 'Birth of the Cool' in '49), again in '53 and '56. Their last session is thought to have been that year on November 12 for SWF TV in Freiburg, Germany, putting out 'How High the Moon' with Lester Young (tenor sax), Milt Jackson (vibes), Percy Heath (bass) and Connie Kay (drums). Lewis and Parker continued with Davis to 1948. On September 29 of '47 they had joined Gillespie for a recorded performance at Carnegie Hall resulting in such as 'A Night In Tunisia' and 'Groovin' High'. Come Charlie Parker's All Stars with Curly Russell (bass) and Max Roach (drums) for a Savoy session on September 18, 1948, resulting in 'Barbados', 'Ah-Leu-Cha' and 'Constellation'. A couple more sessions were held with Parker that year, followed by multiple from '51 to '54, their last occasion the latter year at Carnegie Hall on September 25 for 'The Song Is You', 'My Funny Valentine' and 'Cool Blues'. Before leaving the forties another horn player is apt mention in JJ Johnson. After a session with Illinois Jacquet on April 6 of '49 Lewis joined a Miles Davis nonet on the 22nd that included Lee Konitz, Gerry Mulligan and Johnson, recording such as 'Rouge' (arranged by Lewis) and 'Boplicity'. Lewis joined Johnson's Boppers the next month for a couple sessions. Their paths would interweave on multiple occasions to as late as 1956. One such was a Blue Note session on April 26, 1953 in Johnson's Sextet with trumpeter, Clifford Brown, recording such as 'Isle of Capri', 'Turnpike' and 'Get Happy'. Lewis would later join Brown's sextet on August 28 for 'Clifford Brown Memorial Album'. Johnson and Lewis' last sessions were per the Brass Ensemble of the Jazz and Classical Music Society in 1956, a project in which Miles Davis was also involved. Highlighting the early fifties was Lester Young whose Quartet Lewis joined about June of 1950 with Joe Shulman (bass) and Bill Clark (drums) to record such as 'Count Every Star' and 'Neenah'. In January of '51 he joined Young's Quartet with Gene Ramey (bass) and Papa Jo Jones (drums) for a couple broadcasts from the Birdland in NYC coming to such as 'Up 'n' Adam' and ''Indiana'. A session for Blue Star the same month on the 16th saw 'Thou Swell' and 'Undercover Girl Blues'. Other Birdland broadcasts and studio sessions ensued that year, further titles following in '52, '53 and, finally, their last, on September 25 of '54 at Carnegie Hall, as commented above, with Kenny Clarke and Percy Heath. Lewis' first sessions as a leader were on February 10, 1956, issued the next year on 'Grand Encounter: 2 Degrees East / 3 Degrees West'. Lewis' composition, 'Two Bass Hit', was recorded by pianist, Red Garland, in latter 1957. Other of Lewis' numerous compositions were 'Django' ('53) and 'Na Dubrovacki Način' ('76). Highlighting the early sixties was Lewis' direction of Orchestra U.S.A. for which he also composed and performed piano. Its initial session on January 12 of '63 wrought 'Three Feelings' which would go toward the U.S.A.'s debut album aptly titled, 'Debut'. 'Jazz Journey' followed in '64, 'Sonorities' in '65. Lewis gave his first concert in Japan in 1966 with the MJQ, titles recorded on March 14 in Tokyo that year finding their way onto 'Concert In Japan '66' issued ten years later in '76. Lewis would tour to Japan on several more occasions apart from the MJQ, his first such session there on January 25 to result in 'Statements and Sketches for Development' that year. 'Live in Tokyo', a string of piano solos, was recorded two days later on the 27th, released in 1978 with piano solos by Hank Jones on back. Lewis' last of several visits to Japan was for a gathering of eleven statured pianists, such as Hank Jones, delivering piano solos when not accompanied by drummer, Alan Dawson. Though more like 110 fingers, that concert was issued as '100 Gold Fingers: Piano Playhouse '93' in 2003. Lewis laid out 'Evolution I' at Tarrytown Music Hall in NY in January 1999. His final three sessions were in 2000 at Masonic Hall in NYC and Tarrytown Music Hall toward the 2001 release of 'Evolution II' [1, 2]. Lewis passed away of prostate cancer on March 29, 2001 [obit]. Among his numerous compositions were such as for the MJQ like 'Vendome' ('53), 'Django' ('56) and 'Trieste' ('62). References: educational: *; encyclopedic: 1, 2, 3; musical: 1, 2, 3, 4, 5. Discographies: 1, 2, 3, 4. Chronology of compositions. Reviews. Lewis in visual media. Further reading: 'Neoclassicim in Jazz' by Steven Cerra. References for MJQ: 1, 2, 3. Sessions: JDP, Lord. Discographies: 1, 2, 3, 4, 5. Compilations: 'The Modern Jazz Quartet: Lost Tapes: Germany 1956-1958': 1, 2, 3, 4, 5, 6, YouTube. MJQ in visual media. Criticism: Steven Cerra at JazzProfiles, Carla Marie Rupp at CUNY. Further reading: Eric Levin at People. Other profiles: 1, 2.

John Lewis   1946

  Emanon

John Lewis   1956

  Willow Weep for Me

John Lewis   1959

  Delaunay's Dilemma

      Composition: John Lewis

Born in 1919 in Chicago, blind pianist Lennie Tristano was a major shadow figure who did a little early bopping before clearing his own path in early free jazz improvisation [1, 2] and multi track overdubbing [Jago] while making his name as a teacher [1, 2, 3]. Tristano played his first professional gigs as a clarinetist at a brothel at age eleven. He was working on his master's degree in music in Chicago before traveling to New York City in '45 or '46. During his early career he also played saxophone. His first recordings per Lord were in June 1945 in Chicago with the Emmett Carls Sextet [see also JDP]. Those wouldn't see issue until 1962 as 'The Lost Session: Earl Swope Sextet Featuring Lennie Tristano'. (Swope had been on trombone.) 'My Ideal' with Chubby Jackson in NYC in 1946 went unissued, as well as a suite of piano solos to be included on 'The Lost Session'. It was with his Trio of Billy Bauer (guitar) and Clyde Lombardi (bass) on October 8 of '46 that he first recorded to issue, such as 'Out On a Limb' and 'I Can't Get Started'. Tristano and Bauer had been with bassist, Chubby Jackson's, Trio above for 'My Ideal'. The guitarist would remain an important element in Tristano's career throughout the forties, recording numerously to January 10, 1950, with the Metronome All Stars to put out 'Double Date' and 'No Figs', the latter arranged by Tristano. Among the more highly regarded of Tristano's early musical associates were trumpeter, Dizzy Gillespie, and saxman, Charlie Parker, both with whom he first recorded on September 20, 1947, for a 'Back to Bonds' radio broadcast in NYC, those later finding issue on the album, 'Lullaby In Rhythm Featuring Charlie Parker' in 1972. Tristano would join Gillespie again in '49 and '50 with the Metronome All Stars. He saw Parker again in '49 with the Metronome All Stars, once more in August of 1951 at Tristano's apartment in NYC with Kenny Clarke drumming a phone book. Those titles eventually released on CD were 'All of Me' and 'I Can't Believe That You Love Me'. Tristano had begun teaching improvisation in the early forties. His students would number above 1000 during his career. Among the more significant were sax players Lee Konitz (alto) and Warne Marsh (tenor) he to first record with both of them in 1949. Konitz and Tristano first partnered on January 11 for such as 'Tautology' by the Lee Konitz Quintet and 'Progression' by the Lennie Tristano Quintet. Those included Billy Bauer (guitar), Arnold Fishkin (bass) and Shelly Manne (drums) to see issue on Tristano's first name issue on 10" vinyl, that shared with Konitz on 'Lee Konitz Quintet|Lennie Tristano Quintet' issued per Discogs in 1951 on Prestige PRLP 101. Those also saw release on the 1955 LP compilation, 'Lee Konitz with Tristano, Marsh & Bauer' on Prestige 7004. Konitz recorded w Tristano to 1952, later in '55 and, finally, in 1964 on June 6 for the telecast, 'Look Up and Live', from the Half Note in NYC to perform 'Subconscious-Lee' (Konitz) and '317 East 37th Street' (Tristano). Marsh first joined Tristano per the latter's Sextet on March 4 of '49 w Bauer at guitar and Konitz on alto for 'Wow!'/'Cross Current' (Capitol 57-60003). Filling that sextet were Arnold Fishkin (bass) and Harold Granowsky (drums). March 14 saw 'Yesterdays with Konitz and Marsh out. Come May 1949 w Denzel Best replacing Granowsky at drums for 'Intuition' (Tristano/ (Capitol 6F-1224 '50) and 'Digression' (Tristano). 'Digression' first saw release on the EP Capitol EAP 1-491 in 1954 [*]. All the improvisations above eventually saw issue on 'Crosscurrents' in 1972 [see also the 1996 compilation, 'Intuition']. Marsh supported Tristano on several occasions to 1952, later in '58 and, finally, 1964 per 'Look Up and Live' above with Konitz. We back up to a session circa June of 1953 for example of overdubbing on 'Descent into the Maelstrom'. That eventually got issued in Japan in 1976 on East Wind ‎EW-8040 and in the States on Inner City IC 6002 in '78 on the 1952-66 compilation, 'Descent into the Maelstrom'. Tristano had issued his initial 33 rpm LP in 1956, 'Lennie Tristano', that containing overdubbed tracks like 'Turkish Mambo'. Tristano released his album of piano solos, 'The New Tristano', in 1962, that containing 'C Minor Complex' recorded the year before. Other piano solo releases include tracks recorded back in 1945 in Chicago to see later issue in 1979 on the compilation, 'Live at Birdland 1949' by Jazz Records on JR-1. Tristano toured to Europe in 1965 for 'Piano Summit' at the Berlin Philharmonic on October 30, he joining a few of the more spectacular names in piano on that: Earl Hines, Teddy Wilson, John Lewis, Bill Evans and Jaki Byard. Tristano held several sessions at various European venues before returning to the States to record 'Con Con' and 'Stretch' in 1966. Tristano would tire of traveling and performing concerts, delivering his last in the United States in 1968, thereafter privately teaching. Tristano was more the musical explorer and teacher than either businessman (didn't like marketing) or performer (attended only one festival: Newport 1954). His last recording is thought to have been with vocalist, Betty Scott, in January of '74: 'Like Someone In Love', that to be found on 'Betty Scott Sings with Lennie Tristano' in 2002, a collection of titles they recorded beginning in 1965. Tristano died of heart attack on November 18, 1978, at his home in Jamaica, New York. References: 1, 2, 3, 4, 5, 6. Discographies: 1, 2, 3, 4. Criticism: Ted Gioia, Robert Greenberg. Analysis: 'WOW' (original version recorded 4 March 1949 toward Capitol 57-60003 in 1949 and Jazz Records JR-9 in 1991). Interviews: Nat Hentoff 1956. Further reading: books: 'Lennie Tristano: His Life in Music' by Eunmi Shim (U of Michigan Press 2007); articles: Tristano w Charles Mingus by Ernest Horton, 'A Neglected Jazzman' by Robert Palmer, Tristano w Charlie Parker by Tom Reney, various. Synopses: 1, 2, 3, 4, 5. Per 1953 below, 'Descent into the Maelstrom' was inspired by Edgar Allan Poe's 1841 short story by the same title.

Lennie Tristano   1949

 Intuition

      Bass: Arnold Fishkin   Drums: Shelly Manne

      Guitar: Billy Bauer   Alto Sax: Lee Konitz

      Composition: Lee Konitz

Born in 1923 in Dallas, Red Garland had studied piano five years before his first big job in 1945 with Hot Lips Page. His earliest determinable recording session was with Eddie Lockjaw Davis in 1947: 'Ravin' at the Haven' [JDP]. On March 10, 1953, Garland supported Charlie Parker on titles that would much later be included on 'At Storyville' in 1985. It was upon joining the Miles Davis Quintet in 1955 that Garland began making a name for himself. His first titles with Davis were on June 7 toward 'The Musings of Miles'. Garland hung with Davis for another four years, last backing him per Lord on January 3, 1959, for a radio broadcast from the Birdland in NYC resulting in 'Bag's Groove and 'All of You'. That was w Davis' sextet consisting of Cannonball Adderley (alto sax) John Coltrane (tenor sax), Paul Chambers (bass) and Jimmy Cobb (drums). Coltrane and Garland would partner numerously,backing Davis, other operations and each other. Their initial recordings together per Lord had been with the Miles Davis Quintet on October 7, 1955, with Paul Chambers (bass) and Philly Joe Jones (drums), recording multiple takes of such as 'Two Bass Hit' and 'Ah-Leu-Cha'. Come November they appeared w Davis' quintet on Steve Allen's late night 'Tonight!' show [IMDb], also w Chambers and Jones. Among Coltrane projects that Garland supported were 'John Coltrane with the Red Garland Trio' in '57 and several in 1958 toward: 'Soultrane', 'Settin' the Pace', 'Black Pearls', 'Standard Coltrane' and 'The Believer'. Their last recordings together are thought to have been with Davis per above at the Birdland in '59. While Garland was with Davis and Coltrane he issued his first album as a group leader in 1956, 'A Garland of Red'. Others who borrowed Garland's talents were JJ Johnson, Kai Winding and Zoot Sims during a tour to Europe in 1958. Among multiple trio albums by Garland was 'Halleloo-Y'-All' going down on 15 July 1960 with Sam Jones (bass) and Art Taylor (drums). Both JDP and Lord show a gap between 1962 and 1971 when he did no recording, dropping away from the music industry during those years. His last session of 1960 on 9 October yielded the album, 'When There Are Gray Skies', that w his Trio filled w Wendell Marshall (bass) and Charlie Persip (drums). After nine years come 3 May 1971 for 'The Quota' w his Trio filled by Peck Morrison (bass) and Lennie McBrowne (drums). 'Auf Wiedersehen' went down the same month w Sam Jones (bass) and Roy Brooks (drums). During the seventies Garland returned to live in Dallas to care for his aging mother. He himself died of heart attack on April 23, 1984. His final recordings had been live at Keystone Korner in San Francisco in February of 1983: 'The Last Recording I: My Funny Valentine' and 'The Last Recording II: Autumn Leaves'. References: 1, 2, 3, 4. Discographies: 1, 2, 3, 4, 5. Compilations: 'Four Classic Albums' on Avid Jazz EMSC1280 issued in 2018 consisting of 'A Garland of Red' ('56), 'All Mornin' Long' ('57), 'Groovy' ('58) and 'All Kinds of Weather' ('59). Criticism: 'Red's Bells' by Ethan Iverson. Further reading: archives: 'Texas Monthly' 1977, 'The Village Voice' 1978; Jazz Profiles: Cerra, Garland w Charlie Parker: Myers. Per 1955 below, all tracks were recorded in 1955 with Miles Davis.

Red Garland   1947

  Ravin' at the Haven

Red Garland   1957

  Groovy

Hampton Hawes was born in Los Angeles in 1928. He found himself playing jazz with Dexter Gordon and Wardell Gray, to name a couple, while yet a teenager. Largely associated with bebop and West Coast jazz, Hawes was also yet a teenager when he first recorded with the Howard McGhee Quintet on March 1, 1947, at the Hi-De-Ho Club in Los Angeles, CA, titles like 'September In the Rain' and 'Rose Room' [JDP, Lord]. Hawes and McGhee tread the same turf in various capacities to July 6 when they recorded 'Bop After Hours Parts 1-7' at the Elk's Auditorium in Los Angeles. Hawes' second session was the day after his first at the same club, now for Charlie Parker who had had a spot in McGhee's Quintet the day before. It would appear by Lord's discography that Parker took over the house ensemble at the the Hi-De-Ho Club, McGhee now supporting. Parker's first session as leader at the the Hi-De-Ho yielded a long stream of titles commencing with 'Blues In F' and 'The Man I Love'. Hawes continued with McGhee and Parker at the Hi-De-Ho, recording numerously, to March 13 (still '47), which last session wrought a string of titles beginning with 'Groovin' High' and 'September In the Rain'. Titles like 'Dee Dee's Dance I' and 'Dee Dee's Dance II' had gone down the week before on March 7. Hawes contributed a few tracks to McGhee's 'California 'Boppin'' at McCormick General Hospital in Pasadena in June before the first of four sessions at the Elk's Auditorium in Los Angeles on July 6 for 'The Hunt Parts 1-8'. Sessions following wrought 'Bopera Parts 1-7' and 'Bopland 1-6' with 'Jeronimo 1-8'. The last session that day saw 'Bop After Hours Parts 1-7' mentioned above. Those taking part in one or more of those sessions at the Elk's with whom Hawes would have at least one more occasion to record in the future were Dexter Gordon, Sonny Criss, Wardell Gray, Barney Kessel, Roy Porter and Teddy Edwards. Highlighting the early fifties was Hawes' first session as a leader at the Haig Club in Los Angeles on September 22, 1951, with a trio consisting of Harper Crosby (bass) and Larance Marable (drums). Those titles would see issue in 1975 on side A of 'The East/West Controversy', the second side featuring Paul Chambers. In December of '52 he recorded titles that would be found on Side B of 'Piano: East/West' in '56, the first side featuring pianist, Freddie Redd (thought to be Redd's first issue). Also of note in the early fifties were performances recorded at the Lighthouse Cafe in Hermosa Beach, CA, with Howard Rumsey. His first such occasion was on August 31, 1952, with Shorty Rogers (trumpet), Milt Bernhart (trombone), Shelly Manne (drums) and Bob Cooper with Jimmy Giuffre on tenor sax to record such as 'Cherokee' and 'Dickie's Dream'. Hawes attended numerous sessions to June 21 of '53, that with with Maynard Ferguson on trumpet for 'What's New'. Rumsey's Lighthouse All Stars would play the same date (June 20 1955) at the Irvine Bowl in Laguna Beach, CA, as the Hampton Hawes Trio consisting of Red Mitchell (bass) and Shelly Manne (drums). Performances by both would see issue in 1956 on 'Lighthouse at Laguna'. It was Mitchell w an unknown drummer on 10 September for Bobby Troup's 'Stars of Jazz' television show. It was Mitchell w guitarist, Jim Hall, and drummer, Buzz Freeman, in sessions in Los Angeles in November 1956 for what would see issue in Japan in 1986 as 'All Night Session 1-3' [1, 2, 3]. Despite heroin addiction in the fifties (arrested Nov '58 on 30th birthday, pardoned '63: 1, 2), Hawes' recording career of thirty years came to above 130 sessions traced by Lord, more than fifty of those in a leading capacity. Hawes' last recordings in the fifties before being shuffled off to prison were on 24 and 25 November w Leroy Vinnegar (probably bass) and Stan Levey (drums) for his album of traditionals, 'The Sermon', issued in 1987, that also containing his own composition, 'Blues N/C'. Lord has Hawes' initial session after release from prison on 17 Feb of 1964 w Monk Montgomery (bass) and Steve Ellington (drums) for 'The Green Leaves of Summer', that followed by 'Here and Now' in May w Chuck Israels (bass) and Donald Bailey (drums). Hawes published his autobiography, 'Raise Up Off Me', in 1974 [1, 2]. Lord's disco shows last titles in Hollywood circa January of 1977 with John Heard (bass) and Earl Palmer (drums) for 'Love Is Here'. The prior track was the same title with vocalists, Noreen Jackson and Julie Osborne. Hawes died on May 22, 1977. Among notable compositions were 'Jackie' for Wardell Gray in '53, 'The Sermon' ('Everybody Likes Hampton Hawes' '56) and 'Duff' for Mitchell in '56. References: 1, 2, 3, 4, 5. Discographies: 1, 2, 3, 4. Compilations: 'Seven Classic Albums' on CD per Real Gone RGJCD408 in 2013 consisting of 'Hampton Hawes Trio' ('55), 'This Is Hampton Hawes' ('55), 'Everybody Likes Hampton Hawes' ('56), 'Curtis Fuller and Hampton Hawes with French Horns' ('57), 'Charles Mingus - Mingus Three' ('57), 'Four!' ('58) and 'For Real' ('58). Criticism: Ethan Iverson. Further reading: Hawes w Charlie Parker at Jazz Profiles, forum *.