Group & Last Name Index to Full History:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Tracks are listed in chronological order by year, then alphabetically.
Listings do not reflect proper order by month or day: later oft precedes earlier.
Find on Page = F3. Not on this page? See history tree below.
Featured on this page loosely in order of first recording if not record release (as possible).
Names are alphabetical, not chronological, per year:
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Caveats in the employment of this page: 1. It descends in chronological
order by the year the artist or band is first found on a commercial record
issue (ideally) by year only, alphabetical thereat. One musician above
another doesn't necessarily translate to earlier issue unless the year
changed. 2. Though release dates are the aim with links to YouTube, some are
recording dates and may not be everywhere clearly distinguished. 3. Reissues
are used to represent originals without much discussion. |
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| One might think of the history of
jazz a little like the ka-boom of string-theory cosmology (or one such version):
in the beginning was the big bounce of small bands (Ka . . . call Buddy Bolden
the elusive string), next the inflation of full swing orchestras (Boom . . .
Hi!-de-ho!), then the jazz universe as we know it, of solo stars in small clusters
of all variety. This page concerns the birth of modern jazz via its major instrument,
the horn, excluding saxophone, which can be found at
Modern Jazz 4. Covered are those bands and musicians
releasing their first recordings before 1960. Sessions data this page per
Lord's Disco.
A good source for lyrics for this period in jazz is
Lyrics Playground.
Ditto songwriting credits at
Cafe Songbook,
Jazz Standards,
Songfacts and
Second Hand Songs.
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Born Charles Ellsworth Russell in 1906 in Maplewood, Missouri, clarinetist Pee Wee Russell began working professionally in 1922, touring river boats and tent shows. He that year joined Herbert Berger's orchestra in Juarez, Mexico, with which he traveled to Hollywood and New York City, the band meanwhile making St. Louis home. 'Pee Wee Speaks: A Discography of Pee Wee Russell' by Robert Hilbert and David Niven has him making his first recordings in 1922 in NYC. DAHR has those sessions in December w Berger's St. Louis Club Orchestra to result in titles like 'Lady of the Evening' (Okeh 4745), 'Trot Along'/'Fuzzy Wuzzy Bird' (Okeh 4753) and 'Eleanor' (Okeh 4755) [*]. Russell stuck w Berger for a couple years before heading to Chicago in 1925 where he played with such as Bix Beiderbecke and Frank Trumbauer. In 1926 he joined Jean Goldkette's orchestra. Russell first recorded with cornetist, Red Nichols, on April 2, 1927. Those tracks ('The Doll Dance' and 'Delirium') were released under the imaginary leadership of Carl Fenton. "Carl Fenton" had originally been the pseudonym of Brunswick musical director, Gus Haenschen, in 1919. But Brunswick began attaching "Carl Fenton" to records with which Haenschen had nothing to do (including the above) when it needed the name of a bandleader. Ruby Greenberg, violinist and musical director for Gennett Records, bought the rights to use "Carl Fenton" on recordings from '27 to '30. "Carl Fenton" was used on records as late as 1937 by, it is thought, Red Nichols as a joke. Be as may, Russell would next record with Nichols in August of '27, Nichols having formed his Five Pennies by that time. Russell released his first issues as a leader in 1938 with his Rhythmakers. With Max Kaminsky on trumpet, 'Dinah' was among those eight tracks. In 1952 Russell issued the album, 'Clarinet Strut'. Russell had been no slouch. Together with his own recordings he contributed to countless tunes by a host of the Who's Who of jazz during his career, several among them being Coleman Hawkins, Miff Mole, Jack Teagarden, Billy Banks (vocalist), Eddie Condon, Bobby Hackett, Louis Prima, Teddy Wilson, Bud Freeman, Wild Bill Davison, Muggsy Spanier, the Stuyvesant Stompers (George Wetting: drums), Max Kaminsky, Ruby Braff and Buck Clayton. Russell's last gig was President Nixon's inaugural ball in 1969, three weeks before his death in Alexandria, Virginia, on 15 Feb that year. References encyclopedic: 1, 2, 3; musical 1, 2, 3; Geni. Sessions: 1, 2, Lords. Catalogues: 1, 2, 3. Further reading: HMR Project; Jazz Profiles. Titles below are Russell's later career. Earlier recordings at Pee Wee Russell in Early Jazz. Pee Wee Russell 1952 I've Got the World on a String Music: Harold Arlen Lyrics: Ted Koehler Album: 'Clarinet Strut' Pee Wee Russell 1957 Filmed live Pee Wee Russell 1958 Composition: Lew Brown/Sammy Fain Trumpet: Buck Clayton Composition: Nat Pierce/Pee Wee Russell Pee Wee Russell 1960 Composition: Pee Wee Russell Composition: Ray Noble Album: 'Swinging With Pee Wee' Pee Wee Russell 1961 Music: Sigmund Romberg 1928 Lyrics: Oscar Hammerstein II For the Broadway show 'The New Moon' Music: Milton Ager/Red Nichols/Frank Crum Lyrics: Jack Yellen Pee Wee Russell 1963 Composition: Richard Whiting Filmed live Pee Wee Russell 1966 Trumpet: Henry Red Allen Composition: Thelonious Monk Pee Wee Russell 1968 Filmed live
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Pee Wee Russell Source: Britannica
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Wild Bill Davison Source: Second Hand Songs |
Born in 1906 in Defiance, Ohio, cornet player Wild Bill Davison [1, 2, 3] is thought to have first recorded in 1924 in Cincinnati, OH, with the Chubb-Steinberg Orchestra on April 10: 'Walking Talking Dolly', 'From One Till Two', 'Blue Evening Blues' and 'Horsey! Keep Your Tail Up' [Lord's]. Titles like 'Because They All Love You' and 'Mandy Make Up Your Mind' followed in '25. The most significant figure in Davison's career was guitarist, Eddie Condon, who first saw studio with Davison per the latter's Commodores on November 27, 1943, tracks such as 'That's a Plenty' and 'Muskrat Ramble'. Condon and Davison were nigh inseparable partners to at late as 1972. Upon Condon's death on August 4, 1973, followed by Ben Webster's on September 20, Davison participated in three titles during their posthumous July 5, 1974, Carnegie Hall tribute concert: 'Avalon', 'Keepin' Out of Mischief Now' and ''Lady Be Good'. Sidney Bechet was another important figure, they first recording together in Condon's outfit on January 20, 1945, per a radio broadcast in NYC yielding such as 'Jazz Me Blues' and 'At Sundown'. They would work together for another five years, they last recording together on April 27, 1950, for a Bechet session yielding such as 'Jelly Roll Blues' and 'Hindustan'. Lord's discography has Davison's first session as a leader on February 12, 1940: 'I Surrender Dear' and 'On a Blues Kick'. Davison's first releases in his own name are thought to have been such as 'Clarinet Marmalade' and 'Baby Won't You Please Come Home' in 1944 for Commodore. Among his more frequently recorded tunes was 'Monday Date', first rendered on January 22, 1945. It would get rendered again in Vienna for his 1958 album, 'Wild Bill Davison Und Die Tremble Kids'. He died on November 14, 1989, in Santa Barbara, CA. His last recordings had been on May 15 in Wales that year, such as 'Lady Be Good', Squeeze Me' and 'Hindustan'. Sessions: DAHR, Lord's. Discos: 1, 2, 3. Other profiles: 1, 2 Wild Bill Davison 1924 Chubb-Steinberg Orchestra Composition: Vic Berton/Art Kahn Chubb-Steinberg Orchestra Composition: Walter Hirsch/Bert Kaplan Wild Bill Davison 1925 Chubb-Steinberg Orchestra Composition: Arthur Johnston/George Meyer Grant Clarke/Roy Turk Wild Bill Davison 1932 Saxophone: Sidney Bechet Composition: Jack Palmer/Spencer Williams 1926 Wild Bill Davison 1944 With the All Star Stompers Composition: Larry Shields/Henry Ragas 1918 Wild Bill Davison 1945 Saxophone: Sidney Bechet Composition: Shelton Brooks 1917 Wild Bill Davison 1963 CBS Jazz Documentary With Eddie Condon and Helen Ward Music: Richard Whiting 1916 Lyrics: Ray Egan Wild Bill Davison 1984 Composition: Isham Jones/Gus Kahn 1922 Music: Eubie Blake 1930 Lyrics: Andy Razaf Wild Bill Davison 1985 Live performance Composition: Richard Rodgers 1928
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| Born in 1905 in Nashville, trumpeter
Doc Cheatham
began his recording career in 1926 as a saxophone accompanist to blues singer
Ma Rainey: 'Down in the Basement'
(Paramount 12395),
'Sissy Blues' (Paramount 12384) and 'Broken Soul Blues' (Paramount 12384). Having attended at least 230
sessions, we step ahead several years to the swing era with
Cab Calloway in 1932, for whom
Cheatham
played trumpet on December 7 that year: 'Dinah', 'Angeline', etc..
Cheatham's last tracks with Calloway
were seven years later on October 17, 1939 ('Chili Con Conga', 'Tarzan of
Harlem', etc.) when he was replaced by
Dizzy Gillespie. They would
reunite in 1990 per Milt Hinton on 'Good Time Charlie'. Cheatham's last
titles with Calloway in 1937 were
also his only with
Gillespie until 1992,
participating in 'To Diz with Love'. Cheatham seems to have recorded with
swing master,
Benny Goodman, only once, that
on October 16, 1934, with two takes of 'Stars'. He would later contribute to
a couple sessions in 1966, first as a member of
Goodman's quintet for a radio
broadcast for WNEW from the Rainbow Grill in NYC ('Indiana', 'Cheerful
Little Earful', etc.), then as a member of
Goodman's sextet with young
Herbie Hancock: 'Avalon',
Embraceable You', etc.. After World War II Cheatham concentrated on Latin
bands in New York City. Among highlights of Cheatham's career in the fifties
was his initial session as a leader in Paris on January 31, 1950, yielding
such as 'Solitude' and 'Since I Fell for You' with vocalist,
Eartha Kitt. Duets with pianist,
Sammy Price, were recorded in
1958 in Paris: 'Lady Be Good', 'The Man I Love', etc.. Cheatham would see
Price again in 1988 for 'Doc Cheatham and Sammy Price in New Orleans with
Lars Edegran's Jazz Band'. The first of numerous sessions with trombonist,
Wilbur de Paris, arrived on April 2, 1955, putting down such as 'Mardi Gras
Rag' and 'Milenberg Joys'. Their last recordings were on November 17, 1960,
per such as 'Over and Over Again' and 'Careless Love'. Cheatham formed his
own band in 1960, running that for the next five years in NYC. Also
highlighting the sixties were sessions with alto saxophonist, Capt. John
Handy, in 1966 in NYC. Fast forwarding three decades, Cheatham recorded with
the Swiss Dixie Stompers in Switzerland in 1995. He died on June 2, 1997, in Washington D.C.
[obits: 1,
2].
His final recordings had been in September of '96 in New Orleans per the
album, 'Doc Cheatham & Nicholas Payton'. His memoir, 'I Guess I'll Get the
Papers and Go Home' [1,
2,
3], were written with assistance by Alyn Shipton and
published posthumously the next year by Continuum. References: 1,
2,
3,
4.
Sessions: JDP, Lord.
Discos: 1,
2.
NAMM interview 1995.
Other profiles: 1,
2,
3. Doc Cheatham 1926 With Ma Rainey Composition: Tiny Parham Doc Cheatham 1939 With Cab Calloway Music: Rube Bloom Lyrics: Ted Koehler Doc Cheatham 1950 Composition: Piano: Jack Dieval Bass: Emmanuel Soudieux Composition: Cheatham Composition: George Gershwin Doc Cheatham 1968 Piano: Ricardo Ray Composition: Ray/Bobby Cruz Doc Cheatham 1980 Composition: Louis Armstrong Album: 'Black Beauty' Piano: Sammy Price Doc Cheatham 1983 Music: Philip Braham Lyrics: Douglas Furber Doc Cheatham 1987 Saxophone: Arnett Cobb Trombone: Al Grey Music: Hoagy Carmichael 1938 Lyrics: Ned Washington Doc Cheatham 1996 Duet with Nicholas Payton Composition: Irving Berlin 1932 Duet with Nicholas Payton Music: Hoagy Carmichael 1927 Lyrics: Mitchell Parish 1929
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Doc Cheatham Source: Jazz Trumpet Transcriptions
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Born in 1915 in Columbus, Ohio, then raised in Louisville, Kentucky, Harry Sweets Edison began playing professionally in 1933 in Cleveland with the Jeter-Pillars Orchestra. He first recorded on March 24, 1933, with Alphonse Trent: 'Clementine' and 'I've Found a New Baby', the last with Anderson Lacy at vocals (Champ 16587). Edison then joined the Mills Blue Rhythm Band run by Lucky Millinder, recording as 'Blue Rhythm Fantasy'/'Jungle Madness' (Variety 503) and 'Prelude to a Stomp'/'Rhythm Man' (Variety 546), et al, on February 11 of 1937. A couple more sessions ensued with the Blue Rhythm Band that year until moving onward to the Count Basie Orchestra. Edison's first tracks with Basie [Lord] were on February 16, 1938: 'Sent for You Yesterday' (Decca 1880), 'Every Tub' (Decca 1728), etc.. Edison composed 'H & J' for recording by Basie on 10 April 1941 (Okeh 6365). Ten years later Basie swung out Edison's 'Beaver Junction' on 10 April 1951 (Edison out). They co-wrote 'Jive at Five' for recording by Martial Solal in May of 1956. Basie was one of the more important figures throughout Edison's career, Edison supporting Basie [per Lord] to 1950, then '53 to '59, '64 to '66, '76, '79 and as late 1981 per Basie's 'Warm Breeze'. Edison would appear at the Kool Jazz Festival Salute to Count Basie at Carnegie Hall on June 30, 1984, to record 'Rompin' at the Reno', 'Kansas City Blues' and 'Cherry Blossom'. (Basie had died April 26, 1984.) While he was with Basie an important vocalist arrived per Billie Holiday and Her Orchestra on December 13, 1939, recording such as 'Night and Day' and 'The Man I Love' (Vocalion/ Okeh 5377). Several sessions with Holiday followed in the fifties from '54 to as late as March 11, 1959, with the Ray Ellis Orchestra: ''Deed I do', 'All of You', etc.. An important drummer, Buddy Rich, entered Edison's sphere via Basie on September 25, 1944, Rich attending an AFRS 'Jubilee' (#98) radio broadcast from Los Angeles: 'One O'Clock Jump', 'Rhythm Man', etc.. Edison and Rich would be found together on multiple projects in the fifties, both supporting other bands and Edison backing Rich. The first such occasion for the latter was on August 21, 1953, in Los Angeles: 'Let's Fall In Love'/'Me and My Jaguar' (Clef 89094) and 'Just Blues'. In 1955 they issued the album, 'Buddy and Sweets'. Their last recordings together were with Basie again on December 19, 1966: "Ceaseless Blues', 'Macy', etc.. Another important drummer was Louie Bellson whom Edison first backed in July of 1953 for Bellson's 'Skin Deep'. Numerous sessions followed in '57, '63 to '74, '83 and as late as 1999, both of them contributing to vocalist, Steve Tyrell's, 'A New Standard'. An important reed player, tenor saxophonist, Ben Webster, came along in 1953, Edison first backing Webster on December 8 that year for such as two takes of 'That's All' (Norgran 103, Norgran EPN16), 'Pennies From Heaven' (Norgran 115), etc.. They would record on multiple occasions, Webster contributing to Edison's 'Sweets' ('56) and 'Gee Baby Ain't I Good to You' ('57). Their album, 'Ben and Sweets', appeared in 1962. They put down tracks together as late as a concert on May 22, 1973, in Denmark with trumpeter, Arrivid Meyer: 'I Can't Get Started', 'Mess a Stomp, etc.. Another important personality was vocalist, Frank Sinatra, via Nelson Riddle, recording 'You Forgot All the Words' (Capitol 3552), 'Love Is Here to Stay' (Capitol W653) and 'Weep They Will' (Capitol 3290) on October 17, 1955, in Los Angeles. Numerous sessions were held with Sinatra, with Basie from '64 to '66, to as late as October 5, 1970, at Royal Festival Hall in London: 'Pennies From Heaven'. Another important vocalist was Ella Fitzgerald, arriving via the Buddy Bregman Orchestra on January 25, 1956: 'Stay There' and 'Too Young for the Blues', etc.. Multiple sessions with Fitzgerald would occur through the years to as late as her album, 'All That Jazz', recorded in March of 1989. Among the highlights of Edison's career was his first session as a leader on September 26, 1941: 'Hold the Phone'. His first of five dates with Norman Granz' Jazz at the Philharmonic was September 16, 1950, at Carnegie Hall, bearing 'Lady Be Good', 'Indiana', etc.. His last titles with the JATP were on October 17, 1983, in Tokyo, numerous tracks from 'Sunday' to 'Flyin Home', the last with Fitzgerald on vocals. It was 1952 that Edison had migrated from the East Coast to California where he worked as studio musician, also playing in television orchestras. Come 18 September 1958 he and tenor saxophonist, Jimmy Forrest, recorded 'The Swinger'. Joining them on that were Jimmy Jones (piano), Freddie Green (guitar), Joe Benjamin (bass) and Charlie Persip (drums). Touring Europe and Japan during his latter career, Edison died in Columbus, Ohio, on June 27, 1999 [obits: 1, 2,]. His final tracks are thought to have been with Bellson per above for vocalist, Steve Tyrell's, 'A New Standard', in '99. References: 1, 2, 3, 4. Sessions: J-Disc; Lord (604 sessions, 34 as leader). Discos:1, 2, 3, 4. Edison in visual media. Interviews: Barbara Gardner 1965, Les Tomkins 1970, Bob Watt 1977, Ed Berger 1993 (pdf). Further reading: NPR; Riverwalk. Other profiles: 1, 2, 3. Sweets Edison 1941 Film: 'Dance of the Gremlins' With Count Basie Composition: Count Basie/Eddie Durham Sweets Edison 1944 Film medley Vocal: Billie Holiday Sweets Edison 1955 From 'Buddy and Sweets' Piano: Jimmy Rowles Guitar: Barney Kessel Bass: John Simmons Drums: Buddy Rich Composition: Buddy Rich Composition: Sy Oliver/Trummy Young Composition: Gershwin Brothers Composition: Charlie Parker You're Getting to Be a Habit with Me Composition: Harry Warren/Al Dubin Composition: Edison Sweets Edison 1956 Recorded 1 Nov 1955 Album: 'Pres & Sweets' Issued Norgran MGN-1043 Tenor sax: Lester Young Piano: Oscar Peterson Guitar: Herb Ellis Bass: Ray Brown Buddy Rich Music: Arthur Johnston 1936 Lyrics: Johnny Burke Sweets Edison 1962 Saxophone: Ben Webster Composition: Ben Webster Note: 'Better Go' issued on two albums in 1962: 'Ben & Sweets' by CBS [Wikipedia] and 'Wanted to Do One Together' by Columbia [Discogs]. Sweets Edison 1964 Filmed live Saxophone: Coleman Hawkins Composition: Edison/Bill Tennyson Filmed live Composition: Ann Ronell Sweets Edison 1983 Filmed live Composition: Isham Jones/Marty Symes Sweets Edison 1992 Filmed live Drums: Louie Bellson Sweets Edison 1994 With the Ben Peplowski Quintet Music: Victor Young 1932 Lyrics: Ned Washington/Bing Crosby
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Sweets Edison Source: Postales de Jazz
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| Born in 1909 in Louisville, Kentucky,
trumpet player Jonah Jones
began his career playing on riverboats, until 1928 when he joined the Horace
Henderson Orchestra. In 1932 he joined violinist
Stuff Smith's Onyx Club Boys, both
he and Smith recording for the first
time in 1936 for Vocalion. Their first track on January 17, 'With All My
Heart', went unissued. Their next session on February 11 saw releases of
such as 'I'se a Muggin'' (Vocalion 3169) and 'I Hope Gabriel Likes My Music'
(Vocalion 3170). In the forties
Jones worked with Benny Carter,
Fletcher Henderson and
Cab Calloway. Jones began leading
his own band in the fifties, his quartet winning the 1960 Grammy Award for Best
Jazz Instrumental Album ('I Dig Chicks'). He also jammed with the King Of Thailand,
an amateur saxophone player, in 1960 at
Benny Goodman's residence. In 1961 he
played for Prince Ranier and Princess Grace in Monaco. 1972 found him collaborating
with pianist Earl Hines. In 1999 Jonah
was inducted into the Big Band and Jazz Hall of Fame, he passing away the next
next year in New York City on 29 April [obit].
References: 1,
2,
3,
4.
Sessions: Lord;
solography.
Discos: Discogs,
RYM.
Compilations: Chronological Classics #972
'1936-45'.
NAMM interviews: 1995,
1996.
YouTube
Top Tracks.
Jonah Jones 1936 Here Comes the Man with the Jive Vocals: Stuff Smith Violin: Stuff Smith Composition: Smith Vocals: Jonah Jones Violin: Stuff Smith Composition: Smith Jonah Jones 1945 Jonah Jones 1954 Composition: See Wikipedia With Sidney Bechet Music: Fats Waller 1925 Lyrics credited: Clarence Williams Lyrics more likely: Andy Razaf Jonah Jones 1955 Album: 'After Hour Jazz' Alto Sax: Pete Brown Trombone: Vic Dickenson Piano: Sammy Price Bass: Milt Hinton Drums: Cozy Cole Jonah Jones 1957 Album Piano: George Rhodes Bass: John Browne Drums: Harold Austin Including vocals by Jones Jonah Jones 1958 Composition: Jones/Major S.A. Watts Album: 'Jumpin' with Jonah' Composition: Irving Caesar Julius Brammer Leonello Casucci Album: 'Jumpin' with Jonah' Vocal: Jonah Jones Composition: Jule Styne/Sammy Cahn Album: 'Swingin' at the Cinema' Jonah Jones 1978 When the Saints Go Marching In Filmed live in Nice Vocal: Carrie Smith Composition: Anonymous Black spiritual
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Jonah Jones Source: Jazz Wax
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Buddy Morrow Source: Kterrl
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Born in 1919 in New Haven, Connecticut,
trombonist Buddy
Morrow is thought to have first entered the recording
studio in 1936 for Vocalion Records while a student at the Juilliard School.
Recording as a session player with Sharkey Bonano's Sharks Of Rhythm, David
Winstein and others, between October of 1936 and January of 1937. Morrow appeared
on the following tracks: 'Mudhole Blues' (with Sharkey
Bonano), 'Swing In Swing Out' (with David Winstein), 'I'm Satisfied With My
Gal' (with Sharkey Bonano), 'High Society', 'Mr. Brown Goes to Town' (with David
Winstein), 'Was It Clean?' (with Sharkey Bonano), 'Blowing Off Steam' (with
David Winstein), 'Big Boy Blue', 'Old Fashioned Swing', 'Swing Like a Rusty
Gate' (with David Winstein), and 'Swingin' On The Swanee Shore'. Morrow next
played briefly in the bands of Eddie Duchin and Vincent Lopez before signing
up with the more major operation of
Artie Shaw in time to sit in on such
as 'Love and Learn' and 'Moonface' with vocals by Peg LaCentra on November
30, 1936. Morrow's last session with
Shaw was per the branding of
Shaw's
orchestra as the Rhythm Makers on February 19, 1937, for Thesaurus
transcriptions (RCA for commercial, not retail, distribution to such as
radio stations). Those are available per 'The Complete Rhythm Makers
Sessions 1937-1938 Vol. 1' released in 2003. Morrow's career exceeding sixty
years was, if not prolific, full enough with above 150 sessions, perhaps
twenty of those his own. Though Morrow didn't emphasize recording so much as
his peers, that portion of his career was yet too full to follow very closely
here. Among those requiring mention are the
Dorseys. After supporting
vocalist, Dick Robertson, on July 21, 1937, Morrow first recorded with Tommy Dorsey's
orchestra on October 4 that year, unissued titles: 'Getting Some Fun
Out of Life' and 'In a Mission By the Sea'. His first titles with
Dorsey to see release were per a CBS Radio tribute to Irving Berlin on
August 3, 1938: 'Marie' and 'Now It Can Be Told'. Morrow stuck with
Tommy until January of '39 until the latter combined his orchestra with
Jimmy's on the 18th for 'Honeysuckle Rose' for NBC Radio. Morrow would fill
a spot in Tommy's band on a few
tracks later in '49: 'Puddlewump', et al. The combination of the
Dorsey
orchestras was the first that Morrow recorded with
Jimmy, he to join
Jimmy's
band for a number of sessions in 1945, his first for an AFRS (Armed Forces
Radio Service) broadcast
of 'One Night Stand 635' from Ocean Park, CA, on July 19, such as 'Java
Junction' and 'It's Only a Paper Moon. His last titles with
Jimmy were on
December 26, another AFRS radio broadcast, 'One Night Stand 850', now from
Newark, NJ: 'Opus 1', 'Don't You Remember', et al. In the meanwhile, between
Tommy and
Jimmy's orchestras Morrow performed with
Paul Whiteman's operation,
recording per
Whiteman's Bouncing Brass on April 6, 1939, such as 'Heat
Wave' and 'Home Again Blues'. His first tracks with the Bob Crosby Orchestra were in Los
Angeles on September 4, 1941, such as 'A Gay Ranchero' (vocal by Liz
Tilton) and 'Something New' (vocal by
Bob Crosby). His last recordings with
Crosby were on June 10, 1942, a transcription session for Standard in Los
Angeles: 'Soft Jive', 'Yank's Lament', etc.. There would be a reunion on
April 4, 1967, with Crosby's Bobcats, putting out such as 'Ja-Da' and
'Washington and Lee Swing'. Morrow had also supported
Bob's brother,
Bing Crosby, on a few
occasions in '42, the first for the soundtrack to 'Holiday Inn'. After his
run with the Crosbys Morrow joined the U.S. Navy per World War II. Stationed
on Staten Island, he played trombone with a Navy band. He was in the Navy on
October 5, 1944, when he recorded tracks with the
Red McKenzie Orchestra in
NYC, such as 'Sweet Lorraine' and 'It's the Talk of the Town'. Just when he
left the Navy is uncertain, but he next recorded with Yank Lawson on
February 12, 1945, for V-Disc. V-Disc was a U.S. military label established
to the purpose of entertaining troops, but military membership was hardly
requisite. Another session with Lawson occurred before Morrow joined
Jimmy Dorsey's orchestra per
above. Occasion arose for Morrow to lead
Dorsey's band while the latter was
ill. In 1947 Morrow formed
his own orchestra. His initial session as leader in NYC on February 18,
1952, for RCA Victor went unissued: 'The Beat o' My Heart', 'Water Boy' and
'East Side Drive'. His next on April 12 in Hollywood yielded 'Vereda
Tropical' and 'Night Train'. Also during the sixties Morrow was a member of the 'Tonight Show'
band. In 1977 he began leading the
Tommy Dorsey ghost orchestra (Tommy
had died on November 26, 1956, his brother, Jimmy,
the following year on June 12.) Morrow's final appearance with that band was in September 2010,
dying three days later on the 27th [obits: 1,
2].
Among titles composed by Morrow were 'Heap Big Beat' and 'Memphis Drag' in
1953. References: 1,
2.
Sessions: DAHR, Lord.
Dscos: 1,
2,
3. Further
reading: Morrow w the
Tommy Dorsey ghost orchestra: Leslie Dreyfous.
Other profiles:
1,
2,
3.
Buddy Morrow 1937 With Artie Shaw Composition: Cliff Burwell/Mitchell Parish Buddy Morrow 1951 Composition: Wilfrid Thomas Buddy Morrow 1952 Composition: Jimmy Forest 1951 Buddy Morrow 1953 Composition: Morrow Vocal: Shaye Cogan Composition: Sylvia Fine Buddy Morrow 1954 Composition: Pat Ballard 1954 Buddy Morrow 1955 Composition: Red Prysock Buddy Morrow 1958 Music: Victor Young 1928 Lyrics: Will Harris Buddy Morrow 1960 Composition: Bernard Herrmann Album: 'Double Impact' Buddy Morrow 1963 Composition: Buddy Morrow 1988 Live Music: Juan Tizol/Duke Ellington Lyrics: Irving Mills
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Dizzy Gillespie Source: Rate Your Music
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Born John Birks Gillespie in 1917 in Cheraw, South Carolina, trumpeter Dizzy Gillespie was to bebop what Miles Davis was to cool jazz. Born the youngest of nine children, Gillespie had begun playing piano at age four. He was well into trombone and trumpet by age twelve. He was later a student at the Laurinburg Institute on scholarship. Gillespie's first professional position was in 1935 with the Frank Fairfax Orchestra. He next joined Eddy Hayes' outfit, before replacing Roy Eldridge in Teddy Hill's orchestra. His first recorded solo, 'King Porter Stomp' (Bluebird B6988 w 'San Antone' flip side), was with Teddy Hill's band on 17 May 1937 in New York City [Lord]. That initial session also saw 'Blue Rhythm Fantasy' (Bluebird B6989) w 'I'm Happy, Darling, Dancing with You' sung by Bill Dillard flip side. Hill and Gillespie also supported Dillard on 'Yours and Mine'/'I'm Feelin' Like a Million' (Bluebird B7013). In 1939 Gillespie replaced Doc Cheatham in Cab Calloway's orchestra. Unfortunately Calloway and Gillespie didn't get along. Gillespie had a sense of humor that Calloway found irritating, the two eventually going to fisticuffs, Gillespie pulling a switchblade on Calloway, who had punched him during an argument that had exploded over someone tossing a spitball [1, 2]. Gillespie managed a couple superficial wonds before they were pulled apart to continue the concert. Gillespie found more peaceful work about that time composing big band music for such as Woody Herman and Jimmy Dorsey. He held his first sessions as a leader at Minton's Playhouse [1, 2] in NYC in May of 1941, recording 'Star Dust' twice and 'Kerouac'. In 1942 he worked with Ella Fitzgerald, then Earl Hines. He then joined Billy Eckstine's orchestra until 1945. Gillespie had begun pulling away from the big band sound while with Hines, starting to compose for small combos, and what would soon come to be called bebop. 'A Night In Tunisia', composed in 1942, is among the earliest examples of such. Other of bebop's preeminent early masters were Coleman Hawkins and Charlie Parker. The term, "bebop" is said to have arisen as a result of Gillespie's scat singing: when fans didn't know the name of a song they would ask for "bebop," which the press picked up. Also called "rebop," the term was common by 1945, Gillespie's collaborations with Charlie Parker ensuring that. After that period of work with Parker, Gillespie went on to form both smaller combos and larger orchestras. He also often performed with Norman Granz' Jazz at the Philharmonic, seventeen dates from January 28, 1946, at the Philharmonic Auditorium in Los Angeles to November 26, 1966, at Royal Festival Hall in London. In 1947 Gillespie began experimenting with the Afro-Cuban beat. He composed, for example, 'Manteca' with Cuban percussionist, Chano Pozo, in 1947. It was 1954 when Gillespie began playing trumpet with an upturned bell, his first manufactured for him that year by Martin. It's said that Gillespie had tested such a trumpet in 1937 and liked the tone. Another account has a couple of dancers crashing into it while it rested on a trumpet stand on stage, at Snookie's in Manhattan in January 1953. Gillespie put his trashed trumpet to his mouth, and liked what it blew. (Christie's auction house sold Gillespie's first bent Martin for $63,000 in 1995.) In 1956 Gillespie toured the Middle East, then appeared at the Newport Jazz Festival the following year. That was recorded, as well as nine more appearances at Newport in 1957, 1959-60, 1963-68 and 1972. 'Down Beat' magazine inducted Gillespie into its Jazz Hall of Fame in 1960. Circa 1970 Gillespie began to involve himself with the Bahá'í Faith. In 1979 he published his autobiography, 'To Be or Not to Bop'. During the eighties Gillespie led the United Nations Orchestra. In 1989 he is proposed to have given 300 performances in 27 countries, appeared on three television specials, performed with two symphonies and recorded four albums. One busy musician. France also made him Commandeur de l’Ordre des Arts et des Lettres in 1989, in addition to receiving a Grammy Lifetime Achievement Award. The following year Gillespie received the Kennedy Center Honors Award, as well as the Duke Ellington Award given by the ASCAP (American Society of Composers, Authors, and Publishers). He was awarded the Polar Music Prize by Sweden in 1993, the year he died of pancreatic cancer on January 6. With a highly prolific number of sessions during his career at 533, nigh half of those his own, Gillespie had performed at Carnegie Hall 32 times and been distinguished with fourteen honorary doctorates. His last recording on trumpet is thought to have been 'Toreador' on January 31, 1992, per Steve Turre's album, 'Sanctified Shells'. References encyclopedic: 1, 2, 3, 4; musical: 1, 2, 3; synopsis. Compositions. Solography. Discographies: 1, 2, 3, 4; albums: *; w Charlie Parker: *. Compilations: Chronological Classics: '1945-1946', '1947-1949', '1949-1950'; The Complete RCA Victor Recordings' 1947-49 by Bluebird 1995; 'Bird and Diz' 1950 by Clef 1956; 'Dizzy's Diamonds' 1950-64 by Verve 1992. See also 'Bebop Story' (Part 4/5) in the 'Encyclopedia of Jazz' (complete). Gillespie in visual media. Interviews: Studs Terkel 1961, WTMJ TV 1972, Les Tomkins 1973, 'One on One' 1982, Elaine Grand 1983, Peter Jacques 1985, Arthur Dawkins 1986. Documentaries: SME 1990. Current legacy bands. Further reading: Gillespie and the Baha’i faith; BBL; JazzProfiles; JazzTimes; JazzWax; books: 'The Birth of Bebop: A Social and Musical History' by Scott DeVeaux (U of California Press 1999), 'Groovin' High: The Life of Dizzy Gillespie' by Alyn Shipton (Oxford University Press 2001); criticism: 'The Immortal Joker' by Gene Lees: Music Box: 1, 2, 3; Jazz Profiles: 1, 2, 3. Other profiles: 1, 2, 3, 4, 5, 6, 7, 8. More Gillespie under Charlie Parker and Milt Jackson. All titles below were composed by Gillespie except as noted. Per 'A Night in Tunisia', Frank Paparelli was credited as co-author in exchange for transcriptions done for Gillespie. Dizzy Gillespie 1937 With Teddy Hill Composition: Ferdinand (Jelly Roll) Morton Dizzy Gillespie 1945 With Dexter Gordon Composition: Gillespie/Frank Paparelli With Charlie Parker With Charlie Parker Composition: Tadd Dameron/Count Basie Composition: George Duke/Ira Gershwin Recorded January 9 Composition: Gillespie/Kenny Clarke Recorded May 11 Composition: Gillespie/Kenny Clarke With Charlie Parker Composition: Charlie Parker/Gillespie Dizzy Gillespie 1946 He Beeped When He Should Have Bopped Live Filmed live Composition: Dizzy Gillespie/Gil Fuller Dizzy Gillespie 1947 With Charlie Parker Film In production 1946 Dizzy Gillespie 1949 Live at Carnegie Hall Saxophone: Charlie Parker Composition: Gillespie Note: Gillespie credited 'Night in Tunisia' to Frank Paparelli in exchange for transcription work. Dizzy Gillespie 1950 With Charlie Parker Composition: Charlie Parker Composition: Gillespie/Buster Harding With Charlie Parker Composition: Charlie Parker With Charlie Parker Composition: Charlie Parker/Benny Harris With Charlie Parker Composition: Charlie Parker Dizzy Gillespie Sextet Composition: Bert Kalmar/Harry Ruby Dizzy Gillespie 1957 Featuring Lee Morgan Music: Benny Golson Lyrics: Leonard Feather Dizzy Gillespie 1958 Filmed live Tenor sax: Sonny Stitt Composition: Benny Golson Filmed live Drums: Kenny Clarke Composition: Isham Jones/Gus Kahn 1922 Dizzy Gillespie 1960 Live Composition: Lalo Schifrin Dizzy Gillespie 1966 Newport Jazz Festival Homage to Woody Herman Dizzy Gillespie 1975 Live on 'Soundstage' Dizzy Gillespie 1976 With Benny Carter Composition: Billy Bird/Teddy McRae/Henri Woode LP: 'Carter, Gillespie, Inc.'
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Gillespie's Trademark Bent Trumpet 1988 Source: Wikiwand
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Bobby Hackett Source: Rhode Island Music Hall
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Born in Providence, Rhode Island, in 1915, trumpeter Bobby Hackett acquired his big break in the late thirties when he was hired to play in the Vic Schoen Orchestra, recording 'Why Talk About Love?' and 'Just a Simple Melody' (Decca 1496) with the Andrews Sisters in NYC on October 18, 1937. His first recordings are traced in Lord to vocalist, Dick Robertson, on March, 24, 1937, those for ''Little Old Lady'/'Too Marvelous for Words' (Decca 1209) and 'My Little Buckaroo'/'September in the Rain'' (Decca 1215). Hackett backed Robertson's band into 1939. With above 450 sessions to his name, 157 of those as a leader, Hackett's career can't be covered to a lot detail here beyond fleeting mention of a few of his important partners, such as guitarist, Eddie Condon, whose Windy City Seven Hackett joined to record such as two takes each of 'Love Is Just Around the Corner and 'Ja-da' on January 17, 1938. One take of each was issued on Commodore 500. The next month Condon supported Hackett in his first session as a leader, putting down such as 'You, You and Especially You' (Vocalion 4142) with vocalist, Lola Bard. Condon and Hackett were nigh the left and right rail of the same track for more than a decade, both supporting each other's projects and those of others to 1950. They would reunite in '55, later in the sixties and lastly on July, 1974, for a tribute to Ben Webster at Carnegie Hall: 'Avalon', 'Lady Be Good', 'Don't Blame Me', etc.. Similarly, and much in association with Condon, was trombonist, Jack Teagarden, with whom Hackett would perform memorable duets. Theirs was likewise a continuous companionship for more than a decade, Hackett's first tracks with Teagarden per above with Condon's Windy City Seven. Teagarden sided for Hackett on numerous occasions. They last recorded together for Teagarden's operation at the Hollywood Bowl on July 26, 1963. It is also be apt to mention the orchestra that early put Hackett's career into high gear and with which he began to distinguish himself, that being Glenn Miller's orchestra, which he joined in time for a number of 'Chesterfield Show' broadcasts from Eastwood Gardens in Detroit, MI, in July of 1941, resulting in such as 'Ida' and 'Measure for Measure'. Hackett's time with Miller was highly productive though relatively short-lived, he last to sit in Miller's band on September 24, 1942, for another 'Chesterfield Show' before Miller folded up shop, joined the military per World War II and didn't came back. Another trombonist Hackett would join on multiple occasions was Vic Dickenson. They first recorded together on October 22, 1945, backing Peggy Lee with the Jubilee Allstars on 'You Was Right, Baby'. They would see further sessions, Dickenson often backing Hackett, in 1951-52, '55, '63 and 1969-74. Their last session was live in '74 at the Carnegie concert per above with Eddie Condon in tribute to Ben Webster. In 1953 Hackett was asked to play on Jackie Gleason's first mood music album: 'Music for Lovers Only'. 'My Funny Valentine', below, is from that record. Hackett played on the next ten Gleason albums as well. (Note of interest: Jackie Gleason was an extraordinary television comedian: 'The Honeymooners', 'The Jackie Gleason Show'. But he was merely a front man to all the beautiful mood music that was produced in his name. Gleason himself played no instruments, nor composed nor arranged any music.) Hackett passed away in Chatham, Massachusetts, on 7 June 1976. References encyclopedic: 1, 2; musical: 1, 2, 3, 4, 5. Sessions: Lord; solography. Discos: 1, 2, 3. Compilations: 'The Complete Capitol Bobby Hackett Solo Sessions' 1953-59 by Mosaic Records 2001: 1, 2, 3; 'Complete Fifties Studio Recordings' of Hackett & Jack Teagarden 1955/57 by Phoenix: 1, 2; 'Complete Recordings' of Hackett and Zoot Sims 1967/74 by Lone Hill Jazz 2009. Hackett in visual media. Discussion. Further reading: Hackett w Louis Armstrong by Riccardi; w Tony Bennett by Myers; w Capitol by Myers. Other profiles: 1, 2, 3. Per 1970 below Hackett performs with trombonist, Vic Dickenson. Bobby Hackett 1937 'You Are Beautiful to Me' With Vic Schoen and the Andrews Sisters Music: Sholom Secunda 1932 Lyrics: Jacob Jacobs For the Yiddish comedy musical: 'I Would If I Could' With Dick Robertson Composition: Charlie Tobias/Ned Washington Bobby Hackett 1940 Music: Johnny Green 1930 Lyrics: Edward Heyman/Robert Sour/Frank Eyton Bobby Hackett 1951 Live Composition: Lil Hardin Armstrong/Don Raye Bobby Hackett 1953 Filmed live Music: Johnny Green 1930 Lyrics: Edward Heyman/Robert Sour/Frank Eyton Filmed live Music: George Gershwin 1930 Lyrics: Ira Gershwin For the musical 'Girl Crazy' Sung by Ginger Rogers Filmed live Music: Fred Fisher 1913 Lyrics: Alfred Bryan For the 1913 'Ziegfeld Follies' Bobby Hackett 1962 Filmed live Composition: Urbie Green Filmed live Composition: Horace Gerlach/Louis Armstrong When the Saints Go Marching In Filmed live Composition: See Wikipedia Bobby Hackett 1963 Composition: Henry Mancini Bobby Hackett 1968 Composition: Harry Revel/Mack Gordon Music: Richard Rodgers 1937 Lyrics: Lorenz Hart For the musical 'Babes in Arms' Bobby Hackett 1970 Filmed live at the Newport Jazz Festival Composition: Boyd Atkins First issue: Louis Armstrong 1926 Live at the Roosevelt Grill Composition: Maceo Pinkard Live at the Roosevelt Grill Composition: André Previn
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Born in 1920 in New York City, trumpeter Charlie Shavers was only 16 when he joined the John Kirby Sextet in 1936. He performed with Tiny Bradshaw and Lucky Millinder when he was a teenager, first recording with latter at age seventeen per the Mills Blue Rhythm Band in NYC on February 11, 1937: 'Blue Rhythm Fantasy' (Variety 503), 'Prelude to a Stomp' (Variety 546), etc.. Future sessions with the MBRB followed, also recording that year with Billy Kyle, Maxine Sullivan, Midge Williams and Jimmie Noone. With 621 sessions in Lord's disco, 35 his own, during his relatively brief career of only 25 years, Shavers' was a highly dedicated musician whose path can't plumbed to full depth here. Apt to early mention is bassist, John Kirby, with whom he first recorded on January 21, 1938, they members of Johnny Dodds' Chicago Boys for 'Wild Man Blues' (Decca 2111), 'Melancholy' (Decca 1676), etc.. Kirby and Shavers traveled nigh left and right foot from one session to the next for nearly another seven years, they backing other bands when Shavers wasn't supporting Kirby. Their last recordings together were radio transcriptions for Associated on August 18, 1944, for titles like 'Desert Night' and 'B Flat Special'. Five years after Kirby's death ('52) in 1957 Shavers would lead the Original John Kirby Orchestra for 'Flow Gently, Sweet Rhythm'. Another frequent compatriot was veteran clarinetist, Buster Bailey, first recording together on February 18, 1938, for 'Planter's Punch' and 'Sloe Jam Fizz' (Vocalion 4089). Like Kirby, Bailey and Shavers used much the same map for more than six years, also last recording together in 1944 per the August Associated transcriptions mentioned above. Not a few of Shavers' heavy number of sessions were with Billie Holiday, their first with her orchestra on May 11, 1938, for double takes of 'You Go to My Head' (Vocalion 4126), 'If I Were You' (Vocalion 4151), et al. Shavers continued with Holiday into '39, later sessions following in '44, again numerously in the fifties between '52 and '58, their last on July 17, 1958 for a WNTA television broadcast of 'Art Ford's Jazz Party', performing such as 'Basin Street Blues' and 'C Jam Blues'. Another vocalist whom Shavers supported numerously was Mildred Bailey whom he first backed for Red Norvo on September 29, 1938, on 'St. Louis Blues' and 'Have You Forgotten So Soon?". He saw more of Bailey with her orchestra in '39, later to join her in 1944-45 for not a few sessions. Among others with whom Shavers held sessions in '38 were Trixie Smith, Leola B Wilson, Tina Mayberry, Jack Sneed, Bea Foote and Lionel Hampton. Shavers began 1939 with the Artie Shaw Orchestra on the 23rd, working in some capacity as an arranger, though head arranger on titles like 'Carioca' was Jerry Grey. Shavers arranged or played both clarinet or trumpet for Shaw on numerous occasions into June, they to reunite on January 25, 1951, for titles like 'Beautiful Madness' and 'Chapel of the Roses' (Decca 27475) with Sy Oliver arranging and vocalist, Don Cherry (not to be confused with Don Cherry). Another swing band with which Shavers recorded was Benny Goodman's, that initial occasion on June 12, 1944, per 'All the Cats Join In'. On July 31 he was a member of Goodman's V-Disc All-Star Band for an NBC radio broadcast of such as 'Let's Dance and 'After You've Gone'. He would join Goodman again in July, 1954, for titles at Basin Street East in NYC like 'Avalon' and 'Don't Be That Way'. The orchestra, however, which would be Shavers' main vehicle for more than a decade was Tommy Dorsey's. Shavers' first recorded with Dorsey when the latter was a guest performer for Mildred Bailey during a CBS broadcast of 'Music 'Til Midnight' on January 5, 1945. The next month he was in Dorsey's orchestra on the 23rd for Victor to record 'After Hour Stuff' (Victor 20-3061) and 'That's It' (Victor 20-1710). Seasoning Dorsey's operation for more than ten years, Shavers was present in March of '45 for recordings by Jimmy and Tommy's combined orchestras, the first for an AFRS radio broadcast at La Guardia Air Field in New York on the 12th yielding 'Saturday Night', the second on the same date at Liederkrantz Hall in NYC toward V-Disc 451 bearing 'Brotherly Jump' and 'More Than You Know'. Shavers last sat in Dorsey's orchestra on November 25, 1956, for a CBS radio broadcast from the Cafe Rouge, Hotel Statler, in NYC for 'Harlem Express', 'Don't Worry 'Bout Me', etc.. By that time Shavers was familiar spice in the jazz realm while yet in the prime of his career. He had lead his first session on April 22, 1944, for Keynote, recording 'Mountain Air' (K1304), 'Curry in a Hurry' (K1305), 'Star Dust' (K1305) and 'Rosetta' (K1304). Among signs of arrival to elite status among his peers were several sessions with Norman Granz' Jazz at the Philharmonic in the early fifties. He first recorded with JATP at Carnegie Hall on September 13, 1952, such as 'Jam Session Blues' and 'The Trumpet Battle' (Roy Eldridge also on trumpet). He would follow JATP to Europe to record in Lausanne, Switzerland, in '53, later that year in Tokyo. Shavers released his first LP, 'Horn O Plenty' the next year. Among other highlights of his career at his prime was vocalist, Carmen McRae, he first supporting her on June 18, 1957, for her album, 'Mad About the Man'. Further sessions followed that year, he last backing her on March 5 of '58 with the Jack Pleis Orchestra for such as 'Invitation' and 'Free and Easy'. Shavers' final recordings were made on February 28, 1971, in Lyngby, Denmark, with trumpeter, Arnvid Meyer: 'Hi Ya' and 'Stardust'. He died later that year on July 8 in New York City of throat cancer, only fifty years old. References: Wikipedia, All Music. Sessions; DAHR (w composing credits); Evensmo (solography); J-Disc; Lord. Discos: 1, 2, 3, 4. Compilations: 'Charlie Shavers & Ray Bryant Quartet: Complete Recordings' [*] Vol 1-3: 1, 2, 3. Shavers in visual media. 1970 interview w Les Tomkins. Tracks below for 1955 are from his second album, 'The Most Intimate'. Charlie Shavers 1938 With the Mills Blue Rhythm Band Composition: Chappie Willett Charlie Shavers 1938 With Bea Foote Composition: Porter Grainger With Midge Williams Composition: Harry Revel/Mack Gordon With Midge Williams Music: Roger Segure Lyrics: Langston Hughes Charlie Shavers 1939 With the John Kirby Sextet Composition: Clarence Williams Spencer Williams Note: The above may be one of numerous titles which Clarence didn't actually author, his name often added in exchange for publishing.ont> Charlie Shavers 1944 Music: Hoagy Carmichael 1927 Lyrics: Mitchell Parish 1929 Charlie Shavers 1945 Piano: Teddy Wilson Vibes: Red Norvo Music: Harrington Gibbs/Leo Wood Lyrics: Joe Gray Charlie Shavers 1946 With Tommy Dorsey Composition: Sy Oliver Charlie Shavers 1947 Charlie Shavers Quintet Composition: Neil Moret/Richard Whiting Vibes: Red Norvo Composition: 1930: Gershwin Brothers Charlie Shavers Quintet Music: Neil Moret 1929 Lyrics: Richard Whiting Film John Kirby Sextet Charlie Shavers 1952 With Roy Eldridge Composition: Shavers Charlie Shavers 1955 From 'The Most Intimate' Music: Harold Arlen 1934 Lyrics: Ted Koehler Note: 'Ill Wind' was first performed in 1934 by Adelaide Hall at the last of several shows created by the Arlen-Koehler team since 1930 at the Cotton Club in Harlem [1, 2]. Music: Harold Arlen 1933 Lyrics: Ted Koehler Music: Harold Arlen 1933 Lyrics: Ted Koehler Charlie Shavers 1956 Composition: Gershwin Brothers Charlie Shavers 1958 Live Tenor Sax: Coleman Hawkins Tenor Sax: Lester Young Clarinet: Pee Wee Russell Trombone: JC Higginbotham Piano: Willie Smith Guitar: Dickie Thompson Bass: Vinnie Burke Vibes: Harry Sheppard Drums: Sonny Greer Music: Lester Young Lyrics: King Pleasure Charlie Shavers 1960 Composition: Irving Berlin 1911 Charlie Shavers 1961 Composition: Johnny Green/Edward Heyman Charlie Shavers 1970 Composition: Duke Ellington Music: 1925: Ben Bernie/Maceo Pinkard Lyrics: Kenneth Casey
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Charlie Shavers Source: Last FM
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Gerald Wilson Source: Afro Centric News
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Born in 1918 in Shelby, Mississippi,
Gerald Wilson
began his career as an arranger, composer and bandleader playing trumpet at
the Plantation Club in Detroit in 1936. He toured with Chick Carter until joining
Jimmie Lunceford's orchestra in
1939, replacing Sy Oliver. Wilson's first recordings were with
Lunceford on August 2 that
year for such as 'Who Did You Meet Last Night?'(Vocalion/ Okeh 5116), 'You Let Me
Down' (Vocalion/ Okeh 5033), 'Sassin' the Boss' (Vocalion/ Okeh 5116) and 'I Want the Waiter (With the Water)'
(Vocalion/ Okeh 5033). The first compositions
by Wilson that saw recording were with Lunceford: 'Hi Spook' and
'Yard Dog Mazurka' (Decca 4032) on August 26, 1941. Wilson would serve as first trumpeter
and arranger for
Lunceford to July 12, 1943, in
Hollywood for an AFRS 'Jubilee' (#33) broadcast of such as 'Hallelujah' (Cicala
8016) and
'Yesterdays' (Cicala 8006). Vocalist, Ada Brown, joined on 'Hip Hip Hooray'. Wilson would
spend '43 and '44 in the military, playing in a U.S. Navy band while
stationed at the Great Lakes Naval Training Center just north of Chicago. If
not while yet in the Service, then upon release, Wilson held several
sessions with
Cab Calloway in NYC in August and September of '44, then
headed for Los Angeles to form his own orchestra which first session was
held May 6, 1945: 'Moonrise', 'Too of the Hill', 'Synthetic Joe' and 'Puerto
Rican Breakdown' (Excelsior 122-125). To highlight some of the big names w
whom Wilson performed makes it requisite to announce
Dizzy Gillespie's arrival on
December 29, 1948, for a session for which Wilson arranged 'Guarachi Guaro' (Victor 20-3370). Wilson arranged 'Tally Ho' (Capitol 839) for another
Gillespie session on November
21, 1949. His first of four sessions in '49 with
Count Basie had been on April 11,
bearing double takes of 'Brand New Doll' (Victor 20-3449), 'Cheek to Cheek'
(Victor 20-3449), 'Just an Old
Manuscript' (Victor LPM 1112) and 'Katy' (unissued). Wilson added
Duke Ellington to his resume on
April 26, 1954, in San Francisco, recording such as 'All Day Long' (Capitol
3049) and
'Bunny Hop Mambo' (Capitol 2875). Wilson kept with
Ellington into 1955, his last session in
that orchestra on June 11 in Portland at the Jantzen Beach Ballroom for
'Discontented Blues', 'Once In a Blue Mood', et al. He would reunite with
Ellington briefly in 1959. Wilson had by that time supported
Jimmy Witherspoon on May 8, 1958, toward the LP, 'Singin' the Blues'. Multiple
sessions occurred until their last four years later on May 23, 1962, for
Witherspoon's 'Roots'. Wilson had first recorded with
Ray Charles that year,
Charles
joining Wilson's orchestra to support vocalist, Little Jimmy Scott, on such
as 'They Say It's Wonderful' and 'Why Try to Change Me Now?' toward the
album, 'Falling In Love Is Wonderful' (Tangerine TRC 1501). Wilson would
arrange a few titles on occasion for
Charles to 1964. They last recorded
together in 1965 to support
Percy Mayfield on 'The Hunt Is On' and 'Life Is
Suicide' released on 'My Jug and I' (Tangerine TRC 1505). In 1963 Wilson contributed arrangements to
Bobby Darin's 'You're The Reason
I'm Living'. Ditto Nancy Wilson,
the first such occasion 'Yesterday's Love Songs . . . Today's Blues'
recorded in October of 1963. On March 30, 1964, he directed
Wilson's 'How Glad Am I'. During the seventies Wilson
hosted his own radio show for KBCA in Los Angeles. He taught on the faculties
of California State University, the University of California and Cal Arts.
Wilson was named an NEA Jazz Master in 1990 [1,
2]. Among
his more more well-regarded compositions was 'Theme from Monterey' (1998).
Lord's disco has Wilson's last recordings in 2011 in NYC toward 'Legacy'. Wilson died in Los Angeles in September of 2014,
finally stricken with pneumonia at age 96 [obit]. His son, Anthony, has played guitar with pianist and
vocalist, Diane Krall, since 2001 References: 1,
2. Sessions:
J-Disc (w comps by Wilson); Lord (leading 54 of 225). Discos:
1,
2,
3,
4;
Gerald Wilson Orchestra: *.
Compilations: 'The Complete Pacific Jazz Recordings of Gerald Wilson & His
Orchestra" 1961-69 by
Mosaic
2000. Interviews: NAMM 2004;
Molly Murphy 2006;
Anthony Brown 2010
(pdf);
Marc Myers 2011;
Jason Crane 2011: 1,
2;
Jo Reed 2014.
Further reading: Jazz Profiles,
JazzTimes.
Other profiles: 1,
2.
Gerald Wilson 1940 With the Jimmy Lunceford Orchestra: Recorded 2 August 1939 Vocalion/Okeh 5116 Composition: Dick Robertson Ira Schuster Paul Cunningham Recorded 2 August 1939 Vocalion/Okeh 5116 Composition: Chick Adams George MacKinnon Larry Wagner Recorded 14 Dec 1939 Vocalion/Okeh 5326 Composition: Lunceford Gerald Wilson 1941 With the Jimmy Lunceford Orchestra Recorded 26 Aug 1941 Decca 4032 Composition: Gerald Wilson Composition: Gerald Wilson/Roger Segure Gerald Wilson 1950 Composition: Gershwin Brothers Published 1937 Gerald Wilson 1962 From 'Moment of Truth': Composition: Miles Davis Composition: Gerald Wilson Gerald Wilson 1965 Filmed live Composition: Miles Davis Gerald Wilson 1967 Composition: Gerald Wilson Gerald Wilson 1968 Composition: Gerald Wilson From 'California Soul' Gerald Wilson 1969 From 'Eternal Equinox': Composition: John Coltrane Composition: Gerald Wilson Composition: Gerald Wilson Gerald Wilson 2011 Composition: Gerald Wilson CD: 'Legacy'
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 Pete Candoli Source: Peoples |
Born in 1923, trumpeter
Pete Candoli
was elder brother to trumpeter,
Conte Candoli, by four years. At
age 13 he joined the American Federation of Musicians. He was hired by the
Sunny Dunham band in 1940 with which he made his first recordings on July
23, 1941, such as 'The Nickel Serenade' and 'Memories of You'. Per YouTube
titles below it would appear Candoli also appeared in a film as early as
1941: 'Las Vegas Nights'. Pete was
slightly less prolific than his brother, but with at least 560 sessions to
his name, only some 12 of those his own, he, like his brother, was a regular
sea of jazz history. So grab a bucket and start bailing 'cause now
we're sinking: After a couple sessions each with Ray McKinley and
Will Bradley in '42 Candoli signed on with
Tommy Dorsey Raleigh-Kool radio
broadcast in Hollywood on February 10, 1943. In 1944 he joined the Teddy
Powell band but doesn't seem to have recorded with him. More significantly,
he hooked up with
Woody Herman in time to record an 'Old Gold Show'
rehearsal in NYC on August 2, 1944, titles like 'Flyin' Home' and 'It Must
Be Jelly'. Sessions with
Herman were numerous into '46. They would reunite
in '51, '55, '57, '76 and '81. In '96 Candoli performed in the
Woody Herman
ghost orchestra, recording 'A Tribute to the Legacy of
Woody Herman'. Candoli recorded 'Look Out' with the Metronome All-Star Band in
January 1946, sharing trumpet with several others. Another important name
came along on November 16, 1945,
Shorty Rogers first recording with
Herman's
band on that date, four takes of 'Wild Root'.
Rogers and Candoli would
record countless titles together, much in association with
Conte, to as late as February
10, 1959. They would reunite again in 1991 per 'Stan Kenton – 50th
Anniversary Celebration - Back to Balboa'.
Tex Beneke came along from
'47 to '49, though of considerably greater influence to Candoli's career was
Henry Mancini, one of
Beneke's arrangers with whom he first worked in '47. Candoli
found himself recording with
Mancini on numerous occasions to as late as
February 1966 for
Mancini's LP, 'Mancini '67'. Gold walked into his life per
Ella Fitzgerald in Los Angeles on November 26, 1951, to record such as 'Baby
Doll' and 'What Does It Take?'. Nine dates later a Verve session was held
with
Fitzgerald on August 28,
1956, yielding such as 'Ten Cents a Dance' and 'I Wish I Were In Love
Again'. Another important associate, particularly in association with
Conte,
was
Stan Kenton.
Conte attended Pete's first session with
Kenton in
Hollywood on January 21, 1952: 'Soliloquy', 'Lazy Daisy' and 'Tenderly'.
Pete sat in
Kenton's band for numerous sessions to as late as 1964. Also of
major importance was arranger/director, Billy May, first sitting in
May's
orchestra on May 26, 1954, for such as 'Hernando's Hideaway' and 'Anything
Can Happen'. Candoli backed May's projects numerously to as late as 1967
with May arranging and conducting for
Nancy Wilson's 'Just For Now'. From
'69 to '70 he contributed to May's huge project, 'The Swing Era 1930-1936'.
They would reunite per 1990 upon May arranging Frank Stallone's 'Close Your
Eyes'. From '57 to '59 Candoli worked with the orchestra of trumpeter, Ray
Anthony. Other highlights during the fifties had been the
Nelson Riddle Orchestra in
'52 for Capitol (sharing trumpet with Vito Mangano below) and Peggy
Lee's 'Black Coffee' in '53 on which Candoli appeared as Cootie
Chesterfield ('Black Coffee'). Briefly afterward that year Candoli held his
first session as a leader, bearing 'Hey Bellboy', 'Anybody Hurt?' and 'By
the Waters of the Minnetonka'. Come
Bing Crosby in '56, his first session with both Gus Bivona
and Skip Martin on March 18, 1957, for the former's 'Music For Swingers',
and 'More Peter Gunn' with the Soundstage All Stars in 1959. The next year
Candoli
held sessions with
Nat King Cole,
Dean Martin and
Nancy Wilson, working with the last later in the sixties
as well. We give this
abbreviated account of recordings final punctuation per Johnny Williams from '59 to '61.
Among curiosities was Candoli's 1957
appearance on 'The Adventures of Ozzie and Harriet' television show as the
character, Tommy Jackson, that segment titled, 'Ricky, the Drummer'. He had
earlier appearanced on television in October of '56 on
the 'Rosemary Clooney Show'. Candoli was inducted into The
International Jazz Hall of Fame in 1997 and the Big Band Hall of Fame in
2003. He died January 2008 [obits: 1,
2]. His final recordings are thought to have been in
2002 for
Keely Smith's 'Keely Swings Basie-Style ... With Strings'. References: Pete Candoli: 1,
2,
3;
Candoli Brothers
(Brothers Candoli). Bands membership.
Discos: Pete Candoli: 1,
2,
3, Lord;
Candoli Brothers: Discogs: 1,
2,
3,
4;
RYM.
IMDb.
Facebook tribute page. Further reading:
Pete Candoli;
Candoli Brothers;
JP.
Facebook tribute.
Collections. Pete is joined by his brother,
Conte, on the bottom two tracks below
in '83 and '90. Pete Candoli 1941 With Sonny Dunham Composition: Charles Abbott With Sonny Dunham Composition: Eubie Blake/Andy Razaf Film: 'Las Vegas Nights' With Tommy Dorsey Composition: Rimsky-Korsakov 1896 Opera: 'Sadko' Original jazz arrangement: Tommy Dorsey 1937 Pete Candoli 1943 Film: 'Girl Crazy' With Tommy Dorsey Composition: Gershwin Brothers 1924 Pete Candoli 1946 Metronome All Star Band Composition: Sy Oliver Pete Candoli 1952 With Nat King Cole Composition: Sy Oliver Pete Candoli 1953 Vocal: Gloria Wood Composition: Pete Candoli/Tom Mack As Cootie Chesterfield Vocal: Peggy Lee Composition: Sonny Burke/Paul Francis Webster Vocal: Gloria Wood Composition: Pete Candoli/Tom Mack Pete Candoli 1954 Vocal: Marilyn Maxwell Composition: Ross/Ross/Davenport Pete Candoli 1958 Composition: Jerry Livingstone/Mack David Pete Candoli 1959 Vocal: Gloria Wood Composition: Henry Mancini Pete Candoli 1961 Composition: Ann Ronell 1932 Pete Candoli 1983 Television performance With Conte Candoli Composition: Henry Mancini Pete Candoli 1990 Filmed live with Conte Candoli
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George Lewis
[1,
2,
3,
4;
not]
didn't pursue progressive jazz, he did keep the earlier New Orleans sound
alive during the modern era until his death in 1968. Born in 1900 in New
Orleans, Lewis had begun playing clarinet professionally at age seventeen.
When the Great Depression arrived he had to take a job as a stevedore. Lewis
had earlier recorded 'Climax Rag' on September 23, 1925, with the Imperial Serenaders
but that went unissued. Like
Bunk Johnson, Lewis played professionally
in New Orleans for a couple decades before arriving to recording at
Grunewald's Music Store in New Orleans on 11 June 1942, those also
Johnson's first recordings:
'Moose Rag', 'Yes Lord I'm Crippled', et al w
Johnson's Original
Superior Band. It was
Johnson's Jazz Band on 2
Oct for titles like 'Big Chief Battle Axe' and 'Dusty Rag', et al. It was
Johnson's Jazz Band. Lewis conducted his initial session as a leader at
the home of Edgar Mosley in New Orleans on May 15, 1943, such as 'Just a
Closer Walk with Thee' and 'Don't Go 'Way Nobody'. Being nearly crushed by a heavy container while working
the docks in 1944 was in a manner propitious, enabling him by twists and turns
to give his full attention to music. Lewis was vested with leadership of
Bunk Johnson's band upon
Johnson's retirement in 1946. He began touring nationally
in 1950. He issued the first of eight LPs during his lifetime in 1951 per
'American Music' on American Music 639 [Discogs]. In 1961 Lewis played at the grand opening of New Orleans' Preservation
Hall [1,
2] built to promote New Orleans jazz culture. Performing regularly at
Preservation Hall thereafter, he released his eighth album, there recorded,
in 1963: 'Jazz at Preservation Hall 4' (Atlantic 1411). Lewis also took his
band on international tours of Europe and Japan before his death on New
Year's Eve of 1968. Sessions: DAHR (w songwriting credits), Lord (leading 141 of 211).
Discos: 1,
2,
3,
4.
Further reading: Michael Redmann.
Biblio: 'George Lewis: A Jazzman from New Orleans' by Tom Bethell (U of California Press 1977). Synopses:
1,
2.
George Lewis 1942 Trumpet: Bunk Johnson Composition: William Tyers Recorded 11 June '42 Issued 1942 [45Worlds]: Jazz Man 8 George Lewis 1944 With Kid Shots Madison Trumpet: Madison Recorded 5 Aug '44 Baby Won't You Please Come Home Composition: Charles Warfield Credited: Clarence Williams See * Issued 1973 [Discogs]: 'American Music by George Lewis | Kid Shots' Dan VC 7017 When You And I Were Young Maggie Composition: 1864 See * Issues: American Music 549: unidentified American Music 645: 1950 [RYM] George Lewis 1945 Recorded 19 Dec '45 Issued Oct 1949 [45Worlds]: HMV B.9820 Trumpet: Bunk Johnson Composition: Porter Steele/Walter Melrose George Lewis 1950 Composition: Lewis Recorded 5 June '50 Issued 1955 [Discogs]: Good Time Jazz EPG 1182 George Lewis 1955 Composition: See * Recorded 8 April '55 Issued 1955 [Discogs]: 'George Lewis and his New Orleans Stompers Vol 3' Blue Note BLP 7027 George Lewis 1959 Filmed live in Germany Music: Arthur Gibbs 1922 Lyrics: Joe Grey/Leo Wood George Lewis 1962 Television performance Composition: George Bennard 1912 Published 1915 Television performance Composition: Juventino Rosas
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George Lewis Source: Discogs
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Born in 1918 in Tulsa, Oklahoma, Howard McGhee, trumpet player, first recorded with Andy Kirk & His Twelve Clouds of Joy on July 14, 1942: 'Hey Lawdy Mama', 'Boogie Woogie Cocktail, 'Ride On, Ride' and 'McGhee Special'. Vocals on 'Mama' and 'Ride' were by June Richmond. McGhee would last record with Kirk at the Apollo in NYC on June 7, 1944, for 'Paradise Alley'. In the meantime McGhee had also worked as an arranger for the orchestra of Charlie Barnet, the latter recording 'Strollin' on October 21, 1943. McGhee continued arranging on occasion for Barnet into 1946. With a full career of about 180 sessions, 44 of those his own, this small space will little trace his full path. McGhee first recorded with both tenor saxophonist, Teddy Edwards, and double bassist, Charles Mingus, in 1945, supporting Pearl Traylor on 'Lonesome Gal. He next fell in with Mingus per Billie Holiday for a Jazz at the Philharmonic (JATP) performance at Philharmonic Auditorium in Los Angeles on February 12, 1945: 'Body and Soul' and 'Strange Fruit'. In September of '45 Edwards and Mingus contributed to McGhee's first session as a leader in Hollywood, yielding 'Deep Meditation'. Also that ensemble were Vernon Biddle (piano), Stanley Morgan (guitar) and Monk McFay (drums). Edwards would back McGhee into '47 ('California Boppin''), later co-leading 'Together Again!' in '61. They would reunite in 1979 in Venice, CA, for 'Wise In Time'. McGhee and Mingus found themselves backing Wilbert Baranco a couple of times in '46, then drifted apart until July 7, 1974, at Radio City Music Hall in NYC, McGhee backing Mingus on such as 'All the Things You Are'. Another JATP concert in Los Angeles on January 28, 1946, saw McGhee first recording with bop saxophonist, Charlie Parker, such as 'Blues for Norman' and 'I Can't Get Started'. The next day Parker backed McGhee on 'Be-Bop', 'Trumpet at Tempo' and 'Thermo-Dynamics' in Hollywood. McGhee hung with Parker into 1947, siding numerous sessions before they drifted apart, reuniting on May 19, 1950, at the Renaissance Ballroom in NYC with Machito: 'Mambo', 'Lament for the Congo' and 'Reminiscing at Twilight'. Their last session together was April 12, 1951, at Christy's in Boston, McGhee supporting Parker on 'Scrapple From the Apple', 'Lullaby in Rhythm' and 'Happy Bird Blues'. McGhee had first joined Machito per 'Cubop City' in November of '48, attending several sessions into 1950. It was October 2 of '55 when 'The Return of Howard McGhee' w assistance from Sahib Shihab (sax), Duke Jordan (piano), Percy Heath (bass) and Philly Joe Jones (drums). Released that year by Bethlehem, it saw reissue in 2014 by Pure Pleasure. McGhee commenced the sixties in January of 1960 backing vocalist, Sascha Burland, followed that with tracks for Eddie Jefferson in March, then issued two albums that year: 'Dusty Blue' and 'The Connection'. He was back with Jefferson again in January of '61. McGhee began teaching music in the seventies in Manhattan. He died on July 17, 1987, in New York City. References: 1, 2 (w composers). Sessions: DAHR (w comps by McGhee), J-DISC, Lord (leading 44 of 180). Discos: 1, 2, 3, 4. Compilations: 'McGhee Special' 1942-46 by Topaz 1997; 'Complete Savoy & Dial Masters: Leader Sessions' 1946-48 by Definitive 1999; 'Maggie: The Savoy Sessions' 1948-52 by Monaural 1995; Chronological Classics: #1058 '1948', #1089 '1946-1948', #1125 '1945-1946' and #1294 '1949-1952'. Internet Archive. Other profiles: 1, 2, 3, 4. Howard McGhee 1942 With Andy Kirk Composition: McGhee Howard McGhee 1945 Saxophone: Coleman Hawkins Composition: Hawkins Chubby Jackson Sextet Composition: Jackson Saxophone: Coleman Hawkins Composition: Hawkins Saxophone: Coleman Hawkins Composition: Gershwin Brothers Saxophone: Coleman Hawkins Music: Hoagy Carmichael 1927 Lyrics: Mitchell Parish 1929 Howard McGhee 1946 Saxophone: Charlie Parker Composition: Dizzy Gillespie Howard McGhee 1947 Album with Charlie Parker Live performance Composition: Dizzy Gillespie 1945 Composition: Benny Harris/Charlie Parker Howard McGhee 1948 Composition: McGhee Howard McGhee 1960 LP: 'Music from the Connection' All comps by Freddie Redd Howard McGhee 1961 From 'Dusty Blue' Recorded 13 June 1960 Composition: McGhee Music: Richard Rodgers Lyrics: Oscar Hammerstein II From 'Together Again!!!!' Recorded 15 & 17 May 1961 Sax: Teddy Edwards Piano: Phineas Newborn Jr. Bass: Ray Brown Drums: Ed Thigpen Composition: Johnny Burke/Erroll Garner Composition: Nacio Herb Brown/Gus Kahn From 'Maggie's Back in Town!!' Recorded 126 June 1961 Composition: McGhee Howard McGhee 1962 With the Blazers Composition: Paul Winley Howard McGhee 1966 Piano: Junior Mance Composition: Freeman Lee LP: 'The Sharp Edge' Recorded 8 Dec 1961 NYC Howard McGhee 1973 Filmed live Music: Jimmy Davis 1941 Lyrics: Ram Ramirez/James Sherman
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Howard McGhee Photo: William P. Gottlieb Source: Jazz Wax
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Born in 1922 in New Orleans, trumpeter Joe Newman began his professional career in 1941 with vibraphonist Lionel Hampton, then Count Basie. Lord's discography finds Newman's first recording with Hampton on September 24, 1941, at the Hotel Sherman in Chicago: 'Train Time'. Newman remained with Hampton only a couple more sessions into early '42 before signing up with Count Basie. While with Hampton, however, Newman first laid tracks in NYC with Illinois Jacquet on December 24, 1941: 'Just For You', 'Southern Echoes', etc.. Newman and Jacquet ran much the same rail through Hampton and Basie, Newman also backing Jacquet, until July 7, 1957, at the Newport Jazz Festival in Rhode Island, they supporting Basie on such as 'Polka Dots and Moonbeams' and Lester Leaps In'. Newman and Jacquet would reunite in the sixties and seventies. Newman's first recordings with the Count Basie Orchestra were per a V-Disc session on November 23, 1943, in NYC yielding 'Yeah Man', 'Rhythm Man', 'Queen Mary III' and 'Let's Make Hay'. Basie was Newman's major choo choo for another twenty years, Newman contributing to countless Basie recordings until September of '64, backing Sammy Davis Jr. on 'Our Shining Hour'. Another important figure was organist, Jimmy Smith, whom Newman first supported as a member of the Oliver Nelson Orchestra on March 26, 1962: 'In a Mellow Tone' and 'Step Right Up'. Several sessions resulting in several Smith albums preceded 'The Dynamic Duo' by Smith and Wes Montgomery on September 21. 1966, after which numerous sessions in various capacities followed to their last in October of '73, supporting Illinois Jacquet on 'Birthday Party Vol. 2'. Highlighting Newman's career in the forties was a session with Benny Carterr on January 7, 1946, resulting in two takes of 'Diga Diga Doo', 'Who's Sorry Now?' and 'Some of These Days'. Drummer, JC Heard, was in on that, with whom he would soon perform titles with both Timmie Rogers and Etta Jones before Newman backed Heard in May of '48 on such as 'Ollopa' and 'This Is It'. The two would reunite in Chicago on March 6, 1958 to record Heard's 'This Is Me'. Highlighting the fifties was the issue of Newman's first album, 'Joe Newman and His Band' in 1954, others to follow in rapid succession. In 1961 Newman became a founder of Jazz Interactions, formed to promote jazz in New York City and schools in the metro area. He backed Bob Brookmeyer on November 6, 1961, for 'Gloomy Sunday and Other Bright Moments'. Among arrangers on that project was Gary McFarland with whom he would work again, particularly as to 'Tijuana Jazz' on December 3, 1965, and 'Profiles' on February 6, 1966. Newman's was as busy a career thereafter as before, he finishing a highly prolific career of more than 660 sessions, 44 of them his own, until disabled by stroke in 1991. His last recorded performance is thought to have been in Tokyo at Kan-i Hoken Hall on November 11, 1990, for Frank Wess' 'Entre Nous'. Newman passed away on Independence Day, 1992 [obit]. References: 1, 2. Discos: 1, 2, 3, 4, 5, Lord (leading 44 of 666 sessions). Compilations: 'The Complete Joe Newman RCA-Victor Recordings (1955-1956): The Basie Days' by RCA 1994; 'Eight Classic Albums' 1955-62 by Real Gone 2013. Reviews: 1, 2. Les Tomkins interview 1977. Joe Newman 1942 With Lionel Hampton Composition: Robert Sax Crowder/Lionel Hampton Joe Newman 1954 Composition: Frank Foster/Newman/Ernie Wilkins Composition: Harry Link Holt Marvell Jack Strachey Joe Newman 1956 Album Recorded 3 & 4 Oct 1955 Webster Hall NYC Album Recorded 8 & 13 July 1956 Webster Hall NYC Joe Newman 1957 Album Recorded 10 April 1957 NYC Tenor sax: Zoot Sims Piano: Adriano Acea Piano: Adriano Acea Bass: Oscar Pettiford Drums: Osie Johnson Joe Newman 1960 ('Blues in Hoss Flat') Filmed live in Milan With Count Basie Composition: Frank Foster Composition: Newman Album: 'Jive at Five' Tenor sax: Frank Wess Piano: Tommy Flanagan Bass: Eddie Jones Drums: Oliver Jackson Joe Newman 1961 From 'Good 'n' Groovy' Recoded 17 March 1960 Tenor sax: Frank Foster Piano: Tommy Flanagan Bass: Eddie Jones Drums: Bill English Comps below by Newman
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Joe Newman Photo: Terry Cryer Source: Keep Swinging
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Kai Winding Source: Media Club
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Born in 1922 in New York City, trombonist, Kai Winding, made his first recordings on March 10, 1942, in NYC with the Sonny Dunham Orchestra: ''Sweet Talk', 'Heavenly Hideaway', ''You're Blase' and 'Deliver Me to Tennessee'. He next recorded with the Curtis Bay Coast Guard Training Station Dance Band in NYC in March of '44: 'My Heart Isn't In It', 'Annie Laurie', etc.. A year passed before his next vinyl with the Manor All Stars in May of '45: 'Mervil Falls In', 'Never Go There', et al. Winding's was a flush career at more than 360 sessions, 90 of those his own, so we'll limit this account to a few of the high cards he played during his earlier career. The first was Benny Goodman, whose orchestra Winding joined in time for a session on November 20 of '45 yielding a couple takes each of 'Give Me the Simple Life', 'Fascinating Rhythm' and 'I Wish I Could Tell You'. Winding didn't stick with Goodman long, leaving in early '46, but that served as a thoroughly wet baptism into the jazz industry as Winding followed Goodman to the West Coast, last to sit in Goodman's band for an AFRS radio broadcast of 'One Night Stand' (#856) from Culver City (Los Angeles), CA, on January 27, 1946: 'Let's Dance', 'Moonlight on the Ganges', etc.. There would be a reunion years later at the Schaeffer Music Festival in Central Park, NYC, on June 26, 1969, for 'St. Louis Blues'. About a month after Winding's initial session with Goodman arrived his first as a leader on December 14, 1945, that with his Cats while yet in NYC for 'Sweet Miss', 'Loaded', 'Grab Your Axe, Max' and 'Always'. Half a year later Stan Kenton took him on in Hollywood in time for the June 4, 1946, recording of 'Rika Jika Jack' and 'Artistry in Boogie', etc.. Winding kept with Kenton nigh a year, last recording with his orchestra on April 1, 1947, in Hollywood for Capitol transcriptions of such as 'Artistry in Harlem Swing' and 'Please Be Kind'. With Kenton his meal ticket for a brief but busy time, Winding began to notably bloom as a musician about that period. In June of '47 in NYC he was one of tenor saxophonist, Coleman Hawkins', All Stars to record 'Bean-a-re-bop', 'Isn't It Romantic?', 'The Way You Look Tonight' and 'Phantomesque'. Hawkinsn's other All Stars were Miles Davis (trumpet), Howard Johnson (alto sax), Hank Jones (piano), Curly Russell (bass) and Max Roach (drums). Winding and Davis would cross paths on multiple occasions in '49 and '51, including twice with the Metronome All Stars and Davis' 'Birth of the Cool' on January 21, 1949. More significant to Winding's career, however, was trombonist, JJ Johnson, appearing with Winding on his first of four sessions with the Metronome All Stars including Davis, Dizzy Gillespie and Fats Navarro on trumpet. That session on January 3, 1949, yielded 'Overtime' and Victory Ball'. Gillespie would join Winding on his second occasion with the Metronome All Stars on January 10, 1950, for 'Double Date' and 'No Figs'. As for Johnson, he and Winding would spend the next twenty years weaving much the same chord, backing other operations, each other, and performing trombone duets into 1969. They formed the Jay & Kai Quintet in 1954. Examples of their work include their album, 'Jay and Kai', recorded on dates between Nov '55 and Jan '57 toward release in 1957. April of 1956 saw tracks toward 'Jay and Kai + 6' issued that year. That featured both of them on trombonium. Moving ahead another decade, in February of 1968 they recorded Winding's 'Israel'. Johnson's 'Betwixt and Between' went down in October and November. Come sessions for 'Stonebone' in Sep of 1969 [review]. Johnson and Winding would reunite in September of '82 at the Aurex Jazz Festival in Japan. Joining them on such as 'The Snapper', 'I Want a Little Girl' and 'Listen to the Dawn' were Clark Terry (trumpet), Dexter Gordon (tenor sax), Tommy Flanagan (piano), Kenny Burrell (guitar), Richard Davis (bass) and Roy Haynes (drums). Highlights in the fifties included another major band per Quincy Jones, first recording with Jones' outfit to back King Pleasure on December 7, 1954, per such as 'Don't Get Scared' and 'I'm Gone'. Winding would join visit Jones' operation on multiple occasions, including a couple sessions with Dinah Washington in '61, to as late as June of '69 for Jones' 'Walking in Space'. Vocalists highlighting the fifties included Chris Connor ('53, '55) and Sarah Vaughan ('55, '64, '67). Highlighting the sixties was Winding's issue in 1964 of something of an unusual album, 'Modern Country', with folk-pop vocalists, the Anita Kerr Singers. He was also musical director for the Playboy Club in New York City in the sixties. Highlighting the seventies was a tour to Europe in latter '71 with Dizzy Gillespie (trumpet), Sonny Stitt (alto sax), Thelonious Monk (piano), Al McKibbon (bass) and Art Blakey (drums), resulting in 'The Giants of Jazz' issued in '72. Winding recorded more titles with Gillespie in '72 with Billy Eckstine, then at the Newport Jazz Festival. He and Gillespie would tour Europe again in '78. Also significant in the seventies was the beginning of a ten-year romance in 1973 with painter, Eschwan Winding [1, 2, 3] in Phoenix, AZ. They had actually met years earlier in Chicago in 1959. This time they would marry as of 1977. Their relationship produced a son, Jai Wnding [1, 2]. Lord's discography traces Winding to as late as 1986 in Rotterdam, Netherlands, contributing to 'I Thought About You' and 'Robbins' Nest' on 'Mat Mathews and Friends'. Winding died on March 6 of 1983 of a brain tumor in New York City. References: 1, 2, 3. Sessions: Lord, Payne. Discos: 1, 2, 3, 4. Compositions. Winding in visual media. Kai's trombones. Method (Pivot System). Interviews: Les Tompkins 1980, various. Discussion. Further reading: Winding w JJ Johnson: 1, 2. Kai Winding 1942 With Sonny Dunham (trumpet) Vocal: Ray Kellogg Composition: Jules Loman/Lou Ricca Kai Winding 1945 Recorded December 1945 Tenor sax: Stan Getz Trumpet: Shorty Rogers Piano: Shorty Allen Bass: Robert Shevak Drums: Shelly Manne Composition: Winding With Benny Goodman Composition: Goodman/Buck Clayton/Count Basie Kai Winding 1954 From 'Jay and Kai' With JJ Johnson Compositions: JJ Johnson Kai Winding 1962 Composition: Henry Mancini Kai Winding 1963 Album: 'Soul Surfin'' Guitar: Kenny Burrell Composition: Ben Tucker/Bob Dorough Album: 'Soul Surfin'' Guitar: Kenny Burrell Composition: Claus Ogerman Composition: Joe Meek From the film 'Mondo Cane' Composition: Riz Ortolani/Nino Oliviero Album: 'Soul Surfin'' Guitar: Kenny Burrell Composition: Brian Carman/Bob Spickard Composition: Norman Meade (Jerry Ragovoy) Kai Winding 1971 Live performance Composition: Jimmy Davis Roger Ramirez Jimmy Sherman Kai Winding 1982 Filmed live at the Newport Jazz Festival Duet with JJ Johnson Composition: Cole Porter
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Buddy DeFranco Source: Jazz Wax
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Born Boniface Ferdinand Leonard DeFranco in Camden, New Jersey, in 1923, Buddy DeFranco, a largely swing and bebop clarinetist, first recorded with Charlie Barnet on October 21, 1943, resulting in such as 'Strollin'' and 'The Moose' for Decca. Another session with Barnet was held in February of '44 before DeFranco signed on with Tommy Dorsey until 1948. He is featured on 'Opus One' below. De Franco recorded 'Mr. Clarinet' in '53 for release '57. His first session as a leader had been April 23, 1949, bearing such as 'A Bird In Igor's Yard' and 'This Time the Dream's On Me'. Having begun begun playing clarinet for Benny Goodman in 1941, in 1957 he recorded the album, 'Plays Benny Goodman'. With above 240 sessions to his name DeFranco was too prolific to represent more than a caricature here. While DeFranco was with Dorsey per above he recorded his first title with the Metronome All-Stars (per 'Metronome' magazine) January 15, 1946: 'Look Out'. His last of several sessions with that revolving outfit, several with Dizzy Gillespie, was on January 10, 1950, with Gillespie, bearing 'Double Date' and 'No Figs'. It was with the Metronome All-Stars that Dizzy Gillespie first bopped into a studio with DeFranco, per December 21, 1947 to record a couple takes of 'Leap Here'. They would find themselves in multiple sessions together, including Gillespie's band, to as late as February 10, 1955, in Berlin per Norman Granz' Jazz at the Philharmonic (JAPT), yielding such as 'Mop Mop' and 'Billie's Bounce'. It was also with the Metronome All-Stars that that DeFranco first recorded with Charlie Parker, the latter one of the crew on February 3, 1949, for takes of 'Overtime' and 'Victory Ball'. DeFranco would record one other title, 'Ornithology', with Parker on March 25, 1952. Another of the big name presented itself via Count Basie in 1950, DeFranco hiring on in time to knock out such as 'Neal's Deal' and 'Bluebeard Blues' on May 16 with Basie's octet. DeFranco hammered with Basie through that year, then again in 1953 per JAPT in Hollywood for such as 'Apple Jam' and 'Lady Be Good'. Come direction of the Glenn Miller ghost band from 1966 to 1974. His first tracks running that operation, the New Glenn Miller Orchestra, are thought to have been on April 9 of '66 in NYC: 'A Taste of Honey', 'What now My Love', etc.. Last titles per Lord's discography were live on April 18, 1970, at Royal Festival Hall in London: 'Magic Moments' and 'String of Pearls', among others. Lord's has DeFranco recording his first titles as a leader in NYC on 23 April '49, his Orchestra performing 'A Bird in Igor's Yard' and 'This Time the Dream's on Me'. 'The Boy Next Door' went unissued until 2005 on '1949-'52 Studio Performances' HEP CD 77. The latter titles saw issue in 1972 on 'Crosscurrents' Capitol M-11060. Come his Sextet in NYC on 24 April of '49 w vibraphonist, Teddy Charles, for titles like 'Bud's Invention' (Capitol F15839) issued in 1950 [45Cat] and 'Extrovert' (Capitol 57-747) advertised in a Nov 1949 issue of 'Billboard' magazine, et al. It was his orchestra again in NYC on 19 Feb 1951 toward such as 'Dancing on the Ceiling' and 'Out of Nowhere' (MGM K10946). A few more recording dates followed through '51 until what Lord lists as his first with pianist, Kenny Drew, on 27 Feb of '52 in NYC toward the LP, 'The King of the Clarinet' (MGM E177) joined by Jimmy Raney (guitar), Teddy Kotick (bass) and Art Taylor(drums). The second session for that went down in San Francisco on 23 July with Drew, Curley Russell at bass and Art Blakey on drums. Among the above thirty albums as a leader or co-leader that DeFranco released was 'Blues Bag' (Vee Jay 2506) on which he played bass clarinet on 1 and 3 Dec of '64. The title track composed by himself, he was joined by trumpeters, Lee Morgan and Freddie Hill, Curtis Fuller (trombone), Victor Feldman (piano/ vibes), Victor Sproles (bass) and Blakey again on drums. Other of notable partners included vibraphonist, Terry Gibbs, with whom he issued 'Terry Gibbs/Buddy De Franco Jazz Party-First Time Together' in 1981. They followed that in '84 w 'Now's the Time' and '88 w 'Holiday for Swing'. DeFranco was named a Jazz Master by the NEA in 2006 before what are thought to have been his last recordings in NYC on 11 and 12 Dec 2006 per 'Charlie Cat 2' issued the next year. De Franco died December 24, 2014 [obit]. References: 1, 2, 3, 4. Sessions: JDP; Lord (leading 78 of 239). Discos: 1, 2, 3, 4, 5. IMDb. Authorship: instruction: 'Hand in Hand with Hanon' (Hal Leonard 1998). Interviews: Les Tomkins 1970-97, Steve Voce 1981, NAMM 2004, Molly Murphy 2007, Molly Murphy 2008 (pdf). Further reading: Marc Myers, Molly Murphy. Biblio: 'A Life in the Golden Age of Jazz' by Fabrice Zammarchi and Sylvie Mas (Parkside 2003): 1, 2. Synopses: 1, 2. Buddy DeFranco 1943 With Charlie Barnet Composition: Howard McGhee Buddy DeFranco 1944 Tommy Dorsey Orchestra Music: Sy Oliver 1943 Lyrics: Sid Garris Buddy DeFranco 1949 Recorded 24 Aug 1949 Composition: DeFranco Buddy DeFranco 1954 Recorded 20 April 1953 Norgran EP-N-5 Piano: Kenny Drew Bass: Milt Hinton Drums: Art Blakey Composition: Einar Aaron Swan LP: 'Jazz Tones' 1956 Norgran MGN 1068 Buddy DeFranco 1954 Piano: Sonny Clark Composition: Gershwin Brothers Buddy DeFranco 1983 Filmed live 1 Sep Aurex Jazz Fest Music: Jerome Kern 1933 Lyrics: Otto Harbach For the musical 'Roberta' Buddy DeFranco 1991 Live w Terry Gibbs Vibraphone: Terry Gibbs Piano: Larry Novak Guitar: Herb Ellis Bass: Milton Hinton Drums: Butch Miles Music: Turner Layton 1918 Lyrics: Henry Creamer Composition: 1941 Benny Goodman James Mundy Charlie Christian (Avalon, California) Composition: 1920 Al Jolson Buddy DeSylva Vincent Rose Music: Johnny Green 1930 Lyrics: Edward Heyman Robert Sour Frank Eyton Composition: 1938 Benny Goodman/Edgar Sampson Music: Eubie Blake 1930 Lyrics: Andy Razaf Composition: Charlie Christian/Benny Goodman Buddy DeFranco 2007 Composition: DeFranco Album: 'Charlie Cat 2'
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Jay Jay Johnson Source: Jazz Wax
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Born in 1924 in Indianapolis, trombonist JJ Johnson began his professional career in 1941 with Clarence Love. In 1942 he moved on to the band of pianist, Snookum Russell, then Benny Carter, the latter with whom he made his first recordings on December 18, 1942, and AFRS 'Jubilee' (#4) radio broadcast from Los Angeles. Albeit AFRS broadcasts were usually transcribed (grooved for commercial use on what came to be called acetates), Lord's discography makes no mention of that. A number of future radio sessions were held with Carter until vinyl definitely happened for Capitol Records in San Francisco on October 25, 1943. Johnson recorded his first solo, 'Love For Sale', on that date with Carter's orchestra, albeit only twelve bars long. Johnson hung with Carter into '46. Examples of titles released in 1944 with Carter are 'I Can't Escape From You', 'I Can't Get Started' and 'I Surrender, Dear'. Carter and Johnson would reunite in 1960 for a Norman Granz' Jazz at the Philharmonic (JAPT) concert in Stockholm, Sweden. With 377 sessions addressed by Lord, the latter commences his account of Johnson with the JAPT while he was with Carter, that at the Philharmonic Auditorium in Los Angeles on July 2, 1944, performing 'Lester Leaps In', 'Tea For Two', et al. Also in on that were Illinois Jacquet and Jack McVea on tenor sax, Nat King Cole (piano), Les Paul (guitar), Johnny Miller (bass) and Lee Young (drums). Jacquet and Johnson would see numerous sessions together to '47, again with Ella Fitzgerald in '57, and finally in July of '66 for ''What's New!!! Sonny Stitt Plays the Varitone'. It is requisite to mention Count Basie per Johnson's early career, with whom he first plunged on May 14, 1945, for a V-Disc session in NYC: 'High Tide', 'Sent For You Yesterday', etc.. Johnson took a rush tour into swing with Basie until July 31, 1946, for Columbia and CBS: 'Hob Nail Boogie', 'Mutton Leg', et al. Also requisite to mention due his stature is Dizzy Gillespie, his first tracks with the latter per a JAPT performance at Carnegie Hall on June 17, 1946. Johnson would have a few more occasions to record with Gillespie in the sixties, their last recordings some years later in August of 1980 in Rochester, NY, toward Gillespie's 'The Symphony Sessions'. Another name meet to mention for stature is Miles Davis, Johnson first recording with Davis per the Charlie Parker Sextet on December 17, 1947, putting down such as 'Drifting on a Reed' and 'Quasimodo'. Davis was one of Johnson's more important partners for several years to 1954, later in '56 and the early sixties. Another horn player important to Johnson's early career was alto saxophonist, Sonny Stitt. They first laid tracks together as members of Russell Jacquet's All Stars in Detroit in May of '48: 'Scamparoo', 'Suede Jacquet', etc.. Stitt and Johnson would find themselves sharing numerous sessions, both backing other ensembles and Johnson, to as late as October 24, 1957, at the Shrine Auditorium in Los Angeles to support Ella Fitzgerald on 'Stompin' at the Savoy' and 'Lady Be Good'. They would reunite in '64 and '66. Another important horn player was trombonist, Kai Winding. They first got mixed together with Gillespie and Davis per the Metronome Allstars for a Victor session on January 3, 1949: 'Overtime', 'Victory Ball', et al. Johnson and Winding were tight associates for a decade to come, collaborating with other ensembles, backing Johnson or as co-leaders. Their last session in NYC in 1960 was for Johnson with Bill Evans (piano), Tony Williams (bass) and Art Taylor (drums), recording such as 'Alone Together' and 'Just for a Thrill'. They would reunite a couple times in '64 with both Lalo Schifrin and Quincy Jones. Another name due for its stature is Stan Getz, Johnson first recording with Getz in the Miles Davis Sextet for the WNYC Jazz Festival broadcast in NYC on February 18, 1950, titles such as 'Conception' and 'Ray's Idea'. Getz and Johnson would find themselves working together numerously to 1960, including per JAPT. They would reunite in 1988 to lead a quintet at the Chicago Jazz Festival on August 31, recording such as 'Billie's Bounce' and 'Yesterdays'. Another significant figure was double bassist, Oscar Pettiford, with whom he first laid tracks as members of Budd Johnson's All Stars in NYC in September of 1951: 'Groovin' at the Birdland', 'It's the Talk of the Town', et al. Johnson and Pettiford nigh traveled the same rail, supporting other ensembles, until their last session together for Lee Konitz in Berlin on September 29, 1958. Among the highlights of Johnson's career was his first session as a leader on June 26, 1946, resulting in ''Mad Be Bop. Among the first four albums Johnson released in 1949 was 'J. J. Johnson with Sonny Stitt'. On January 17, 1952, he laid tracks in Guam with trumpeter, Howard McGhee's, Korean All Stars: 'How High the Moon', 'Body and Soul', etc.. That was per a tour of military camps in Korea and Japan during the Korean War. He and McGhee would join forces again in the mid sixties. March and April of 1963 saw Johnson addressing Broadway tunes toward 'J.J's Broadway', prefacing 'Broadway Express' gone down in Dec of 1965 w Mundell Lowe arranging and conducting. In 1970 Johnson moved to California to compose for films and television [IMDb]. In 1994 he participated in 'Carnegie Hall Salutes the Jazz Masters' with the Carnegie Hall Jazz Band. He was voted into 'Down Beat' magazine's Jazz Hall of Fame in 1995. Johnson recorded and toured busily during his latter years, recording 'Heroes' in October 1996, about the time he began to experiment with composition via computer at his home. Johnson was also named a Jazz Master by the NEA in 1996. He performed his final concert at William Patterson College on 10 November 1996. That was issued on DVD in 2005 per Jamey Aebersold Jazz JA JJD2. Lord's discography traces Johnson to as late as 1997 for 'The Christmas Song' with pianist, Marian McPartland. Later becoming ill, perhaps with prostate cancer, Johnson took his own life with a gun on February 4, 2001 [obits: 1, 2]. References encyclopedic: 1, 2; musical: 1, 2, 3, 4, 5, 6, 7. Discos: AllMusic, Discogs, Lord, RYM, Wikipedia. Compositions: J-Disc; 'Lament': 1, 2. Transcriptions: w audio: 1, 2, 3, 4; 'The J.J. Johnson Collection' (23 titles transcribed by Johnson - Hal Leonard 1996); 'J.J. Johnson Solos' by John Leisenring & Hunt Butler (Johnson's favorite thirteen - Jamey Aebersold 2010). Books on method authored by Johnson: 'Exercises and Etudes for the Jazz Instrumentalist: Bass Clef' (Hal Leonard 2002), 'Exercises and Etudes for the Jazz Instrumentalist: Treble Clef' Edition (Hal Leonard 2002). Reviews. Interviews: 1994 w Lida & David Baker (pdf), 1995 w Bob Bernotas. Biblio: 'The Musical World of J.J. Johnson' by Joshua Berrett & Louis Bourgois (Scarecrow Press 1999). Further reading: bop sessions Dec 1947 by Christopher Smith; Steve Turre. Other profiles: 1, 2. JJ Johnson 1943 With Benny Carter Composition: Cole Porter 1930 For the musical 'The New Yorkers' JJ Johnson 1944 With Benny Carter Composition: Vernon Duke/Ira Gershwin JJ Johnson 1946 With Benny Carter Composition: Gordon Clifford/Harry Barris JJ Johnson 1947 With Charlie Parker & Miles Davis Composition: Parker JJ Johnson 1949 Composition: John Lewis JJ Johnson 1950 Album Miles Davis Sextet Saxophone: Stan Getz Recorded 9 March 1950 Trumpet: Miles Davis Composition: Miles Davis Note: 'Deception' was recorded 9 March 1950. It first saw issue on Davis' 1954 album, 'Classics in Jazz' (Capitol H-459). It found its way onto Davis' 'Birth of the Cool' in 1957. Trumpet: Miles Davis Music: George Gershwin Lyrics: Ira Gershwin Note: 'Embraceable You' was recorded 30 June 1950. Discogs has it issued in 1995 on 'The Last Bebop Session' (Jazz Music Yesterday ME 6401) and 'Birdland Jam Session' (RLR Records 88644) in 2009. JJ Johnson 1951 Live at the Birdland with Miles Davis Composition: Miles Davis Note: 'Down' was recorded in 1951. Not issued until 2004 by Blue Note on the Davis album, 'Birdland 1951'. JJ Johnson 1952 Trumpet: Miles Davis Composition: Oscar Pettiford Credited to Davis Note: The above is one of several takes on 9 May of 1952. Trumpet: Miles Davis Composition: Miles Davis Note: Lord's disco list two of multiple takes of 'Donna' on 9 May 1952 in NYC. The above is thought to be the eighth take issued in 1956 on Blue Note 1597. Take seven was issued per 45Cat and Discogs in 1957 on Blue Note 1633. JJ Johnson 1953 Trumpet: Miles Davis Composition: JJ Johnson Note: 'Kelo' went down thrice on 20 April 1953 in NYC. The above is the third take issued on 78rpm Blue Note 1620. Trumpet: Miles Davis Composition: Jimmy Heath Note: Lord's disco list two of multiple takes of 'C.T.A' on 20 April 1953 in NYC. The above is thought to be take 15 issued on 78rpm Blue Note 1620. Take 14 saw issue on Blue Note BLP 1501. Trumpet: Miles Davis Composition: Gil Fuller/Dizzy Gillespie Note: Lord lists 'I Waited for You' above as take 16 on 20 April 1953 in NYC. Lord has that issued Blue Note 1619. Trumpet: Miles Davis Composition: Bud Powell Note: Lord's disco lists two of multiple takes of 'Tempus Fugit' on 20 April 1953 in NYC. The above is thought to be take 16 issued on Blue Note 1619. JJ Johnson 1954 With Kai Winding Composition: JJ Johnson With Kai Winding Composition: JJ Johnson JJ Johnson 1957 Saxophone: Stan Getz Music: Richard Rodgers 1940 Lyrics: Lorenz Hart For the musical 'Higher and Higher' JJ Johnson 1958 Composition: Miles Davis Album: 'J.J. in Person!' JJ Johnson 1959 Music: Frederick Loewe 1947 Lyrics: Alan Jay Lerner Album: 'Really Livin'' JJ Johnson 1968 With Kai Winding Composition: John Carisi Album: 'Israel' JJ Johnson 1982 Television broadcast With Kai Winding Composition: Cole Porter JJ Johnson 1993 Live performance Composition: Kenny Dorham Live performance Music: Richard Rodgers 1940 Lyrics: Lorenz Hart For the musical 'Higher and Higher' JJ Johnson 1995 With Kai Winding Composition: Dizzy Gillespie Note: Gillespie credited 'Night in Tunisia' to Frank Paparelli in exchange for transcription work.
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| Born in Mishawaka, Indiana, in 1927
Conte Candoli
was younger brother by four years of trumpeter,
Pete Candoli. He is thought to have played with
Woody Herman's First Herd
in 1944 before graduating from high school, after which he joined the band
the next year. Candoli first recorded with
Herman on August 2, 1944, at an
'Old Gold Show' rehearsal in NYC. A couple of those tracks got issued by
V-Disc: 'Flyin' Home' and 'It Must Be Jelly'. More 'Old Gold Show'
rehearsals and radio broadcasts followed until a V-Disc session on September
10, 1944, at Liederkranz Hall, NYC, netted 'There Are No Wings On a
Foxhole', 'Apple Honey' and 'Time Waits For No One'. Another session at the Liederkranz
on August 22, 1945, bore V-Discs titles such as 'Ah, Your Father's Mustache'
and 'Lover Man'. Candoli's last of numerous sessions with
Herman was on September 22 for
'Gee It's Good to Hold You' and 'Your Father's Mustache'. Candoli would see
Herman again in 1950, '59 and
'76, the last per 'The 40Th Anniversary Carnegie Hall Concert'. With well
above 600 sessions to his name and only some 23 of those his own, Candoli
supported the quantum of jazz. His brother,
Pete, was present during
his first session with
Herman and would be a constant companion throughout his career. Their last session together wouldn't arrive
until 2001 for
Keely Smith's 'Keely Sings Sinatra'. Other than his brother the most significant figure in Conte's career was
Stan Kenton,
with whose orchestra he first laid tracks per an AFRS (Armed Forces Radio
Service) broadcast from Hollywood on June 12, 1948, such as 'Artistry Jumps'
and 'Elegy for Alto'.
Kenton's orchestra was Candoli's bread
and butter to 1955, issuing countless titles. They would reunite in '65 and
'71. In '93 he participated in the
Stan Kenton Tribute Band (Kenton having
died in '79) per 'Double Feature Vol. 4'. It was via
Kenton that Candoli first recorded with
other important longtime associates. One was drummer,
Shelly Manne, with whom his
first session with
Kenton also featured
June Christy on vocals per a radio
broadcast in Philadelphia, PA, titles like 'I'll Remember April' and 'Don't
Want That Man Around'. With
Kenton and otherwise,
Manne attended numerous
sessions with Candoli to 1967. They had appeared together on the 'Jim Backus
Show' in Dec 1960 with Art Farmer
and
Gerry Mulligan. After '67 later
dates w
Manne arrived in '69, '72 and '78, the last in
December that year per 'The Manne We Love'. Another important compatriot
through the years was flugal horn and trumpet player,
Shorty Rogers, also first
recording with Candoli per
Kenton and
Christy above. Their last of numerous
sessions with
Kenton and otherwise was for
Bud Shank's 'A Spoonful of Jazz' in Los
Angeles in 1967. They would reunite in multiple sessions in '91 and '92,
their last tracks together with
Bud Shank in West Hollywood in January
for 'Eight Brothers'.
Shank himself was as significant to
Candoli's career as
Kenton, they first recording together
per
Kenton in Atlantic City, NJ, during a
radio broadcast with Jay Johnson at vocals, titles like 'Prelude to a Kiss'
and 'Lullaby In Rhythm'. They recorded numberless titles together with
Kenton and otherwise throughout
Candoli's career to as late as August 2001 for
Shank's 'On the Trail'. Also large was
arranger/conductor/director, Manny Albam, who showed up as an arranger for
Kenton at a concert at Bailey Hall at Cornell University in Ithaca, New
York, on October 14, 1951, titles like 'Artistry In Rhythm' and 'Spirals'.
Candoli would work for Albam to as late as January of 1961, Albam
contributing to arrangements on 'Main Stem' for Terry Gibbs.
Another highly significant figure was upright bassist,
Howard Rumsey, per the Lighthouse All-Stars.
Candoli's first titles with that group were in Los Angeles on December 3,
1954: 'Who's Sleepy', 'Mad at the World' and 'Sad Sack'. Candoli played with
the All-Stars to 1958, again in '61 and 1989, the last at the Hermosa Beach
Civic Auditorium (CA) on February 12 for
Rumsey's 'Jazz Invention'. Another
significant figure was drummer,
Louie Bellson, per January
1962, they backing
Pearl Bailey on titles like 'Just You,
Just Me' and 'That Certain Feeling'. Candoli backed
Bellson that same month on
'Big Band Jazz at the Summit'. Candoli would be found on numerous
Bellson albums to as late as
'The Art of the Chart' in October 1997. Another important ensemble to which
Candoli belonged was Supersax. His first of numerous sessions with that
ensemble was in Los Angeles in 1973 per 'Supersax Plays Bird'. His last
tracks with the group were in 1988 per 'Stone Bird'. Among the highlights of
Candoli's early years was his first session as a leader with a sextet
consisting of Bob Wynn (alto sax), Ira Sullivan (tenor sax), Gene Esposito
(piano), Chubby Jackson (bass) and Tony Pappa (drums). Of four titles two
were issued by Chance: 'Flamingo' and 'Mambo Junior'. The next month he was
in Stockholm, Sweden, with
Kenton where he recorded with
Lars Gullin on baritone sax: 'Dedicated
to Lee' and 'Late Date'. Other members of that septet were
Frank Rosolino (trombone),
Lee Konitz (alto sax),
Zoot Sims (tenor sax), Don Bagley (bass)
and
Stan Levey (drums). Candoli
released his first album, 'Sincerely, Conte', in 1954. Highlights during the
sixties include Dizzy
Gillespie's 'The New Continent' in '62 and a concert with
Gillespie's Neophonic Orchestra
in 1965 yielding such as 'Jambo' and 'Things Are Here'. He was able to join
Henry Mancini's
orchestra in February 1963 to contribute to 'Uniquely Mancini'. He put down
tracks with the Airmen of Note per the United States Air Force in 1966-67.
Highlighting the eighties were tracks for the 1981 album, 'Swing', issued by
Planet, and his first couple sessions with Doc Severinsen in 1986 yielding
two volumes of 'The Tonight Show Band'. He would also participate in
Severinsen's 'Once More . . . with Feeling' in '91 and 'Swingin' the Blues'
in '99. Others of note with whom Candoli bumped shoulders on occasion were
saxman,
Gerry Mulligan, and
trombonist, Carl Fontana. Candoli was a member of the Johnny Carson 'Tonight
Show' band, regularly between 1972 and 1992, after which he toured with
another of Carson's musicians, trumpeter, Doc Severinsen, mentioned above.
Candoli was inducted into the International Jazz Hall of Fame in 1997. He
died of cancer in Palm Desert, California, in 2001
[obit]. His final recording may
have been 'Winter Wonderland' in latter 2001 with Pete Christlieb (tenor
sax), Pete Jolly (piano), Jim DeJulio (bass) and Larance Marable (drums).
That would be found on the album, 'Jazz Yule Love'. References: Conte
Candoli: 1,
2,
3;
Candoli Brothers
(Brothers Candoli). Bands membership.
Discos: Conte Candoli: 1,
2,
3, Lord;
Candoli Brothers: Discogs: 1,
2,
3,
4;
RYM.
Transcriptions.
IMDb. Further reading:
Conte Candoli;
Conte w Bill Holman;
Candoli Brothers;
JP.
Collections.
Conte performs with his brother,
Pete, in the track for 1983 below. Conte Candoli 1944 Issue date unknown With Woody Herman Composition: Phil Moore Conte Candoli 1945 With Woody Herman Composition: Woody Herman Vocal: Woody Herman Composition: David Raksin 1944 For the film 'Laura' Conte Candoli 1947 With Chubby Jackson Composition: Conte Candoli Conte Candoli 1950 With Woody Herman Composition: Reginald Connelly Lewis Llda Ted Shapiro Conte Candoli 1955 From 'West Coast Wailers' Recorded August 1955 Tenor Sax: Bill Holman Piano: Lou Levy Bass: Leroy Vinnegar Drums: Lawrence Marable Composition: Bill Holman Composition: Pete Candoli Conte Candoli 1956 Composition: Charles Tobias Lew Brown Stept Note: 'Comes Love' above was recorded 11 June of 1956, not issued until 1984 on the album by carious, 'Rhythm + 1' (Epic LN 3297/ LSP 15597). An earlier version had gone down on 17 Aug of 1955 toward inclusion on 'West Coast Wailers' issued 1955. Conte Candoli 1957 Composition: Ted Grouya/Edmund Anderson Album: 'Conte Candoli Quartet' Trumpet duet with Lee Morgan Composition: Bob Cooper Album: 'Double or Nothin'' Composition: Redd Evans/Dave Mann Album: 'Conte Candoli Quartet' Conte Candoli 1960 From 'Little Band Big Jazz' Recorded 3 Feb 1960 Tenor Sax: Buddy Collette Piano: Vince Guaraldi Bass: Leroy Vinnegar Drums: Stan Levey Composition: Conte Candoli/Vince Guaraldi Composition: Conte Candoli Composition: Conte Candoli Conte Candoli 1983 With Pete Candoli & Henry Mancini Composition: Henry Mancini
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 Conte Candoli Source: Jazz Wax |
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Rolf Ericson Source: Discogs
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Born in Sweden in 1922, trumpeter
Rolf Ericson
began studying his instrument at age eight. Beginning his professional career
in 1938, Ericson is thought to have made his debut recordings on December
27, 1941, with the Owe Kjells Orkester, a broadcast yielding 'Jump Jack
Jump' though not issued until years later on CD. Ditto titles with the
Dagges All Stars ('I'm On My Way From You' in '42) and Lulle Ellboj '44.
'Jitterbug' was recorded for a soundtrack in '44 with Seymour Osterwall, but
no record released. Not 'til September 25, 1944, is a session for the Sonora
label held in Stockholm with Kenneth Fagerlund, that to bear 'The Last Jump'
and 'I'll Never Smile Again'. sessions followed with Uffe Baadh, Lulle
Ellboj and Charlie Norman before
Alice Babs and the Expressens
Orkester came along per a radio broadcast from Oslo, Norway, on August
31, 1945, to record 'Truckin'', 'Undecided' and 'At the Darktown Strutter's
Ball'. Ericson would see
Babs again in '47, '51 and '69, that last occasion
with Duke
Ellington in Stockholm, Sweden, recording such as 'Almighty God'
and 'Heaven'. Other Swedes with whom Ericson laid tracks during his career were Kjeld
Bonfils ('45), trumpeter, Bengt-Arne Wallin ('52, 62, 70) and bassist,
Sture Nordin ('69, 71, '75, '78, '84). He was married to German vocalist,
Evelyn Ericson, but any recordings with her are unknown. Ericson recorded for
German bandleader, Erwin Lehn, at the Heidelberg Jazz Festival in '72 ('Roto
Rooter'), also appearing on Lehn's 'Color of Jazz' issued in 1974. Of
greater emphasis here were American musicians who held Ericson in high
regard both on his multiple trips to the United States and as host to
Americans touring Europe and Scandinavia. His first sojourn to the
United States was from 1947 to 1950, during which time he played with
Benny Goodman and recorded with
Charlie Barnet,
Maynard Ferguson,
Gerry Mulligan (with the orchestras
of Elliot Lawrence and
Stan Kenton) and
Woody Herman. In 1950 he toured Scandinavia
per the Swedish All Stars with Charlie Parker. He
was back in the States to lay tracks with band of Charlie Spivak in December
of '52 and January of '53. Others with whom he recorded between '53 and '56
were Chet Baker, Miles
Davis, Howard Rumsey's Lighthouse Allstars,
Jack Costanzo and
Les Brown. In 1956 he toured Sweden with
Cecil Payne (baritone
sax),
Duke Pearson (piano), John Simmons (bass) and
Art Taylor (drums). Three
sessions in May and June in Stockholm resulted in 'Rolf Ericson and His All
American Stars' [*] released on EmArcy MG-36106 in '58. Back
in the States, Ericson laid tracks with Harry
James in '56 with drummer, Buddy Rich, in the band. He would see
Rich again for the latter's 'Blues Caravan'
in 1961.
Stan Kenton took him on in 1959-60. He also recorded with vocalist,
Chris Connor, in '60 and '61. 1963 witnessed a tour of Sweden with Duke
Ellington. He would record with
Ellington again on November 26, 1969, in
Manchester, England, and once again in Malmo, Sweden on October 25, 1973.
Another with whom he recorded often in the States from '63 to '66 was
trumpeter, Rod Levitt, and his orchestra. Ericson also had occasion to play
with
Charles Mingus, though no recordings are known. Ericson moved to Berlin
in '71, commuting
back and forth between Europe and the States until eventually moving to Los
Angeles in the latter eighties. He returned to Stockholm in the early
nineties when his wife, Evelyn, who had been on tour in Europe, was refused
readmission to the States. There must have been complications of some
nature, since only not being an American citizen wouldn't have kept her out.
Highlights of Ericson's career include his first session as a leader on
September 19, 1950, in Stockholm, running the orchestra of pianist, Reinhold Svenssons: 'Miles Away', 'Conversation', 'Perdido' and 'How High the Moon'.
From 1965 to 1971 he ramrodded the band, Radiojazzgruppen. That operation
first recorded on November 9, 1965, in Stockholm: 'Astral Blues',
'Per-Anders drom', 'Du gladjerika skona' and 'T.EX.III'. That orchestra's
last date was in May of 1971 to record 'Du Gladjerika Skona', also in
Stockholm. Another highlight was his recording of 'Explosive!' with the
Festival Big Band in 1971 in Hilversum, Holland. Ericson died in Stockholm
on June 16 of
1997. His last recordings are thought to have been November 11-14 of 1996
for arranger, Kjell Samuelson's, 'See the World/Swing'n Dance'. References:
1,
2.
Discos: 1,
2,
3,
4, Lord (leading 32 of 289 sessions).
IMDb.
IA. Rolf Ericson 1942 Not issued until 1995 With the Dagges All Stars Rolf Ericson 1944 Not issued until 2005 With Seymour Osterwall Rolf Ericson 1945 With Kjeld Bonfils Music: Ben Bernie/Maceo Pinkard 1925 Lyrics: Kenneth Casey Rolf Ericson 1950 With Woody Herman Composition: Ted Shapiro Rolf Ericson 1956 Composition: Duke Jordan With bassist, Tommy Potter: Recorded 30 July '56 Music: Gene de Paul 1942 Lyrics: Patricia Johnston/Don Raye For the comedy 'Ride 'Em Cowboy' Recorded 10 Sep '56 Recorded 30 July '56 Composition: Dizzy Gillespie Note: Gillespie credited 'Night in Tunisia' to Frank Paparelli in exchange for transcription work. Rolf Ericson 1958 Music: Harold Arlen 1941 Lyrics: Johnny Mercer For the film 'Blues in the Night' LP: 'Rolf Ericson and His All American Stars' Recorded 1956 Stockholm Rolf Ericson 1959 Rolf Ericson 1962 Filmed live Composition: Miles Davis Rolf Ericson 1964 Filmed live with Duke Ellington: Composition: Ellington 1942 I Let a Song Go Out of My Heart Music: Ellington 1938 Lyrics: Irving Mills/Henry Nemo/John Redmond Composition: 1931: Ellington/Harry Carney/Irving Mills Composition: Ellington 1933 Rolf Ericson 1989 Piano: Lex Jasper Music: Victor Young 1949 Lyrics: Ned Washington For the film 'My Foolish Heart'
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Herbie Fields Photo: William P. Gottlieb Source: Wikimedia Commons |
Born in Asbury Park, New Jersey, in 1919, Herbie Fields, band leader and clarinetist (also sax), left Julliard in 1938. His first recordings were with Hot Lips Page in NYC in 1940 at the apartment of Jerry Newman who had an acetate recording machine. Those tracks were released much later in 1973 as 'After Hours In Harlem'. Fields' next session with Art Tatum on November 11 was likewise not issued until later in 1972 as 'God Is In The House'. Ditto tracks laid with Roy Eldridge on the 19th, not issued until 1982 as 'At Jerry Newman's'. Fields recorded on occasion in 1941 with Tab Smith, Page and Eldridge, but his wagon didn't arrive to town until April 5, 1944, with Woody Herman, recording transcriptions for World: 'As Long As I Live', 'Perdido', etc.. Transcription discs were 16" (sometimes) lacquer-coated aluminum platters sold commercially to radio stations. Fields would record with Herman again on January 24, 1945, 'Northwest Passage', et al, with tenor saxophonist, Don Byas. Fields was found on record shop vinyl per his first session as a leader on April 14, 1944, Signature issuing 'You Can Depend On Me' and 'These Foolish Things' (90004). A month or so later he replaced Earl Bostic in Lionel Hampton's outfit, recording such as 'Loose Wig' and 'Caldonia Boogie'. Fields stuck with Hampton into '45, the same year his band supported vocalist, Rubberlegs Williams, on April 24 with Miles Davis blowing trumpet on his debut titles: 'That's the Stuff You Gotta Watch', 'Pointless Mama Blues', 'Deep Sea Blues' and 'Bring It On Home'. Later that year Fields recorded 'The Romp' on August 25 with Ben Webster and Don Byas that later released in 1976 on 'Ben and The Boys'. Duke Ellington contributed piano to that. In '46 Ellington would arrange 'Metronome All Out' for the Metronome All Stars on January 15. Among who sided Fields' ensembles was pianist Bill Evans, though he wouldn't appear to have laid any tracks with Evans. Hampton contributed piano to titles by Fields' Hot Five on May 4 of '45 ('O.K. Sarge' et al) and Fields' Hot Seven on the 30th ('Just Relaxin'' et al). Frank Rosolino participated in 'Live at the Flame Club' in November of 1949 in St. Paul, Minnesota. Fields had owned The Rancher restaurant in North Miami where he often performed until his death in 1958, overdosing on sleeping pills at the age of only 39. Considering the schedules musicians keep one can see how an accidental overdose might occur, but Fields' death was apparently a suicide, he leaving a message for his wife reading in part: "I have completed my mission in life". He had only recently issued the album, 'Fields in Clover'. References: 1, 2, 3. Sessions: DAHR (by reed type); Lord (leading 20 of 54). Discos: 1, 2, 3, 4. Internet Archive. Further reading: Greg Poppleton. Per 1941 below, Fields plays clarinet rather than sax in Smith's band, though one wouldn't know he was present. Per 1945 below, 'Rubberlegs Williams with Herbie Fields' is a compilation by the YouTube site, Milestones: A Miles Davis Archive. Herbie Fields 1941 With Tab Smith: Music: Johnny Green 1930 Lyrics: Edward Heyman Robert Sour/Frank Eyton Frank Eyton On the Sunny Side of the Street Composition: credited: Jimmy McHugh/Dorothy Fields Possibly Fats Waller Herbie Fields 1945 Rubberlegs Williams with Herbie Fields Miles Davis' debut titles Herbie Fields 1946 With Lionel Hampton Composition: Fields/Hampton There's Nothin' the Matter with Me Vocal: Marianne Dunne Composition: Charles Newman/Walter Samuels Herbie Fields 1947 Composition: Fields Herbie Fields 1951 Rhythm Rhapsodies: Composition: Fields Music: Morgan Lewis 1940 Lyrics: Nancy Hamilton Composition: Harlan Thompson/Harry Archer Herbie Fields 1953 Composition: Fields
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Born in 1923 in Key West, bop trumpeter Fats Navarro first recorded with Andy Kirk in November of '43 per an AFRS 'Jubilee' (#43) broadcast from NYC, titles like 'Wednesday Night Hop'. Stuart Varden's sessionography lists another group of titles in Nov 1943. Transcribed tracks (E.T.s used for radio distribution) from both accounts saw issue later in 2002 on 'Fats Navarro Volume 1 (1943-1946)' by Masters of Jazz (MJCD 143). A session on December 3 of 1943 resulted in the shellac issue 'Fare Thee Well Honey' and 'Babe, Don't You Tell Me No Lie' (Decca 4449). Navarro continued with Kirk into 1945, a last session on January 3, 1946 in NYC resulting in such as 'Doggin' Man Blues' (Decca 48073). Navarro traded Kirk's operation for Billy Eckstine's in early '45, first joining Eckstine for an AFRS Jubilee broadcast of 'Club Plantation' in Los Angeles that year for what would end up on 'Together'. Navarro hung with Eckstine for a year, he last sitting in Eckstine's band in March of '46 for 'Love Is the Thing', 'Without a Song', etc. Among the more important figures during Navarro's career was pianist, Tadd Dameron. They were with Eckstine in March of '46 for a National session yielding such as 'Love Is the Thing' and 'Without a Song'. The next several years would see them constant companions either siding other ensembles or backing each other's projects. Their final titles together were recorded as members of Miles Davis' Birdland All Stars at the Birdland in NYC on June 30, 1950, yielding such as 'Max Is Making Wax' and 'Wee'. To go by Lord, Navarro's first session w both Kenny Clarke (drums) and Bud Powell (piano) was w the former's 52nd Street Boys on 5 September 1946 in NYC toward 'Epistrophy'/'Oop Bop Sh'Bam' (Swing SW 224) and '52nd Street Theme'/'Rue Chaptal (Royal Roost)' (Swing SW 244). The next day Clarke and Powell supported Navarro on such as 'Boppin' a Riff', two of three takes eventually issued in 1955 on 'Fats: Bud-Klook-Sonny-Kinney' (Savoy MG-12011) along w one of three takes of 'Fat Boy'. Clarke and Navarro supported Dameron on 28 Oct of '47 in NYC for titles like 'A Bebop Carol' released by Savoy. They were part of another Dameron's gang (Curley Russell again) on 29 Aug 1948 for a broadcast from the Royal Roost in NYC for titles like 'The Squirrel' eventually issued variously by Beppo, Sneaker, Jazzland, et al. Clarke, Navarro and Russell supported Dameron through a couple more sessions in '48 before titles w the Howard McGhee-Fats Navarro Boptet on 11 Oct of '48 toward such as 'The Skunk' and 'Boperation' issued variously by Blue Note. On 18 Jan 1949 Clarke, Navarro and Russell were part of Dameron's Big Ten toward 'Sid's Delight' and 'Casbah', the latter w vocalist, Rae Pearl (10" shellac Capitol 57-60006). As for Powell, Navarro was a member of his Modernists for a session in NYC on 8 Aug of '49 w Sonny Rollins (tenor sax), Tommy Potter (bass) and Roy Haynes (drums) toward titles like multiple takes of 'Bouncing with Bud' and 'Wail' variously issued by Blue Note. They got together again on 30 June 1950 for private recordings at the Birdland nightclub as members of the Charlie Parker Quintet along w Curly Russell (bass) and Art Blakey (drums), titles eventually issued variously by Ozone, Grotto, Charlie Parker Records, Meexa Discox, et al. Parker (alto sax) was another significant figure in Navarro's brief career. They had shared their first session together per Lord on November 8, 1947, as one of the All Star Metronome Jazzmen of Barry Ulanov per a radio broadcast of 'Bands For Bonds' in NYC, such as '52nd Street Theme' and 'Donna Lee'. They next recorded together on January 3, 1949, for Victor as members of the Metronome All Stars: 'Overtime' and 'Victory Ball'. Also in on that were Davis and Dizzy Gillespie. They thereafter ran much the same circle, Navarro to back Parker when they weren't supporting other ensembles. Their final recordings together were Navarro's last as well, those per a private jam at the Birdland on June 30, 1950, resulting in 'Embraceable You', 'Cool Blues' and '52nd Street Theme'. With a recording career not seven years long Navarro appeared at 54 sessions, four of those his own. His first as a leader had been September 6, 1946, resulting in titles like 'Fat Boy Part 1 & 2', 'Everything's Cool' and 'Webb City Part 1 & 2'. Other highlights to a career showing major promise before much chance to bloom include Lionel Hampton at the Howard Theatre in Washington D.C. on May 1, 1948, broadcasting 'Hot House', 'Adam Blew His Hat' and 'Goldwyn Stomp'. Benny Goodman came knocking later that year on September 9, Navarro to join his septet for a rendition of 'Stealin' Apples'. Navarro's final session with Parker at the Birdland per above was one week before his death of tuberculosis on July 6 of 1950, only twenty-six years old. References: 1, 2, 3, 4, 5. Chronology. Synopses: 1, 2. Sessions: JDP, Lord, Varden. Catalogs: 1, 2, 3. Compositions. Transcriptions: 1, 2. Analysis: 'Our Delight' at Jazzomat; improvisational style 1949-50 by Russell Zimmer. Further reading: Steven Cerra. Biblio: 'Infatuation: The Music and Life of Theodore Fats Navarro' by Leif Bo Petersen w Theo Rehak (Scarecrow Press 2009). Other profiles: 1, 2. Fats Navarro 1944 With the Andy Kirk Orchestra Composition: Mary Lou Williams Fats Navarro 1947 Recorded 1947 w Tadd Dameron Piano: Tadd Dameron Composition: Navarro Composition: Leo Parker/Navarro Composition: Navarro Composition: Navarro Composition: Dameron Fats Navarro 1948 Recorded 1948 w Tadd Dameron Piano: Tadd Dameron Composition: Count Basie/Dameron Composition: Gershwin Brothers Composition: Dameron End Dameron Benny Goodman Septet Music: Fats Waller Lyrics: Andy Razaf Fats Navarro 1949 Live performance Carnegie Hall Piano: Hank Jones Music: Jule Styne 1946 Lyrics: Sammy Cahn
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Fats Navarro Photo: William P. Gottlieb Source: Talking Trumpet
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Red Rodney Source: Jazz Network
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Born Robert Roland Chudnick in 1927
in Philadelphia, bop trumpeter
Red Rodney received his first trumpet at
age thirteen as a bar mitzvah gift from his great aunt. He began playing professionally
at age fifteen, upon running away from home to Atlantic City, in a house band
that warmed the crowd before the big band performance. From there he worked
in a number of orchestras, including those of Jerry Wald,
Les Brown and Tony Pastor. Rodney had
moved to the West Coast where his first vinyl occurred per the
Jimmy Dorsey Orchestra in
Hollywood on June 7, 1944, recording such as 'It's a Crying Shame' and 'An
Hour Never Passes' with vocalist, Gladys Tell. Numerous sessions followed
with
Dorsey into July. June 21, 1945, found Rodney with CBS radio bandleader, Elliot Lawrence,
at the Time Town Ballroom in St. Louis, MO, for titles like 'Lawrence Leaps'
and 'The Song Is For You'. Rodney joined Gene Krupa's
outfit in time for his first of numerous sessions that year with the same on
January 17 at the Hollywood Palladium, broadcasting 'Bolero at the Savoy'
and 'King Porter Stomp'. Tenor saxophonist,
Charlie Ventura, was present on
that, as like other Krupa
sessions. Rodney would back
Ventura on the latter's projects in
March and May of '46 and December of '49. Rodney's first session as a leader
was with his Be-Boppers on November 23, 1946, backing vocalists, Dave
Lambert and Buddy Stewart. His Be-Boppers on that included Al Haig
(piano) Curly Russell (bass) and
Stan Levey (drims) with Neal
Hefti arranging for such as 'A Cent and a Half' and 'Gussie 'G''. His next
session with his Be-Boppers on January 29, 1947, consisting of
Allen Eager (tenor sax),
Serge Chaloff (baritone sax), Al Haig
(piano), Chubby Jackson (bass) and Tiny Kahn (drums). Kahn,
Gerry Mulligan
and
Al Cohn contributed arrangements on 'All God's Chillun Got Rhythm',
Elevation', 'Fine and Dandy' and 'The Goof and I'. Rodney would record with
Chaloff, Jackson and Kahn on two
or three more occasions. Come Georgie Auld on March 15, 1947, for a WNEW
'Saturday Night Swing Session' broadcasting 'Perdido', 'Red Cross' and 'The
Goof and I' among others. That was followed on November 6 by tracks for
Columbia with Claude Thornhill,
resulting in such as 'Lover Man' and 'Polka Dots and Moonbeams'.
Benny Goodman, came knocking
from June 26, 1948, into July. Later that year Rodney was with
Woody Herman's Second Herd on November 11 for a CBS radio broadcast from
the Royal Roost in NYC yielding such as 'Yucca' and 'Keen and Peachy'.
Rodney stuck with
Herman into '49, there a reunion ten years later on August
1 of '59 for 'Lament for Linda', 'Summer Nights' and 'The Magpie'. Rodney
had also first recorded with saxophonist, Charlie
Parker, in November of '49, a private session at the Pershing Ballroom
in Chicago, putting down such as 'Perdido' and 'Allen's Alley'. Replacing Miles
Davis, multiple sessions with
Parker followed until August 8, 1951, in
NYC with Parker's quintet, grooving 'Blues for Alice', 'Si Si', 'Swedish
Schnapps', 'Back Home Blues' and 'Lover Man'. He later supported
multi-instrumentalist, Ira Sullivan, in '55, '57 and 1980-82. (Flugelhorn
duets from the latter period are indexed below.) Rodney's wasn't the name
that was
Dizzy Gillespie's, not because he wasn't a heavyweight trumpeter, but
because heroin addiction wrought another path. His last session with
Herman
on August 1, 1959, per above, was also the last of his career until 1970 in
Chicago for a Parker memorial concert. Rodney had met
Gillespie in Philadelphia at the Downbeat Club,
Gillespie introducing him in '49 to
Charlie Parker, about the time Rodney started using heroin. By the
latter fifties it was starting to own him, he running five small-time bands
in 1958 to play bar mitzvahs and
weddings. That was good money, but not the music he had the stuff to make
but for heroin, which soon began needing more money than leading local bands
could supply. In 1960 Rodney managed to steal $10,000 from
the Atomic Energy Commission by impersonating an Army officer. Things came
to further strain in 1963 when his father died and he was involved in an auto
accident that killed his wife and daughter upon the former running their car
off the highway in Nevada. In 1964 Rodney found himself in prison for
twenty-seven months where, however, he earned a bachelor's degree while
purging his weakness. Upon release from prison he began to study law, but
was prevented from taking the bar exam three years later because he was a
felon. He otherwise began playing again in Las Vegas casinos, backing such as Sammy Davis Jr.,
Elvis Presley and Barbra Streisand.
In 1972 he began performing at Donte’s jazz club in Los Angeles, getting
back in alignment with his musical direction. He suffered a stroke the
same year, but released 'Bird Lives' in 1973, also appearing at the Newport
Jazz Festival in Rhode Island that year. In 1974 he toured Europe. In 1975
Rodney was jailed in Kentucky for drug possession, but brushed that off with
the release of the album, 'Yard's Pad', the next year. In 1980 he formed a
quartet with Ira Sullivan, per above, with whom he performed for the next five years. In 1990
Rodney was elected into 'Down Beat' magazine's Hall of Fame. Rodney and Gillespie finally got
together for recordings in NYC on March 12, 1991, with another trumpeter,
Yank Lawson, to back
Teresa Brewer on 'Hello Dolly', 'I've Got the World on
a String' and 'St. Louis Blues'. A session at the Blue Note in NYC in early
'92 wrought 'To Diz With Love'. That same year Rodney toured England with
Rolling Stones drummer, Charlie Watts.
Rodney held his final sessions in May of '92 toward the album, 'Then and
Now'. He was
diagnosed with lung cancer in 1993, giving his last performance at the
Charlie Parker Jazz Festival in
NYC that summer. He died on May 27, of 1994
[obits: 1,
2].
References encyclopedic: 1,
2;
musical: 1,
2,
3.
Discographies: 1,
2,
3.
Further reading: 'Jazz Master and Mentor' by Cerra.
Other profiles *.
Per 1946 below, Red Rodney's Be-Boppers consisted of
Dave Lambert, Buddy Stewart,
Al Haig, Curley Russell and
Stan Levey.
On the session date of 29 Jan 1947 his Be-Boppers consisted of
Allen Eager,
Serge Chaloff,
Haig, Chubby Jackson and Tiny Kahn. Red Rodney 1944 With Jimmy Dorsey Vocal: Gladys Tell Debut track to issue in Lord Composition: Sam H. Stept/Bob Russell Red Rodney 1946 With the Be-Boppers Vocals: Dave Lambert & Buddy Stewart Composition: Dave Lambert With the Be-Boppers Vocals: Dave Lambert & Buddy Stewart Composition: The Be-Boppers Red Rodney 1947 With the Be-Boppers Recorded 29 January 1947 Issued 1948 on Mercury 1065 Composition: Gerry Mulligan With the Be-Boppers Recorded 29 January 1947 Issued 1948 on Mercury 1065 Music: Kay Swift Lyrics: James Paul Warburg With the Be-Boppers Recorded 29 January 1947 Not issued until 1955: 'Advance Guard of the '40s' EmArcy MG-36016 Composition: Al Cohn With Claude Thornhill Alto saxophone: Lee Konitz Tuba: Bill Barber Composition: Charlie Parker 1946 Red Rodney 1949 I've Got My Love to Keep Me Warm Composition: Irving Berlin 1937 For the musical film 'On the Avenue' With Charlie Parker Composition: Benny Harris/Charlie Parker Red Rodney 1951 With Charlie Parker Composition: Charlie Parker Red Rodney 1952 Composition: Jimmy Golden/Red Rodney/Morton Perry Red Rodney 1956 Recorded 1955 Issued on 'Modern Music from Chicago' Fantasy 3-208 Composition: Red Rodney/Norman Simmons Red Rodney 1957 From the LP '1957': Composition: Red Rodney Composition: Victor Young/Ned Washington Composition: Bickley Reichner/Irvin Graham Red Rodney 1959 From the LP 'Red Rodney Returns': Composition: Victor Schertzinger/Johnny Mercer Composition: Duke Jordan Composition: Ray Brown/Gil Fuller/Dizzy Gillespie Red Rodney 1976 Composition: George Young Album: 'The Red Tornado' Piano: Bengt Hallberg Bass: Red Mitchell Drums: Ed Thigpen Composition: R. Chudnick (Red Rodney) Album: 'Yard's Pad' Red Rodney 1979 Composition: Richie Cole Album: 'Home Free' Recorded 19 Dec 1977 Red Rodney 1982 From 'Spirit Within' Recorded Sep 1981 Flugelhorn et al: Ira Sullivan Piano: Garry Dial Bass: Jay Anderson Drums: Steve Bagby Composition: Jeff Meyer Composition: Ira Sullivan Composition: Garry Dial Red Rodney 1983 Live in Newcastle Music: Henry Mancini 1962 Lyrics: Johnny Mercer For the eponymous film Red Rodney 1984 Tenor sax: Charlie Rouse Piano: Albert Dailey Bass: Cecil McBee Drums: Kenny Washington Composition: Jimmy Van Heusen/Eddie DeLange Arrangement: Don Sickler Album: 'Social Call' Red Rodney 1989 Concert Drums: Roy Haynes Red Rodney 1993 Live performance Bass: Dario Rosciglione Drums: Gegè Munari Piano: Andrea Beneventano Sax: Massimo Urbani Composition: Charlie Parker
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Miles Davis Source: L'Intermede
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Born Miles Dewey Davis III in 1926 in Alton, Illinois, trumpeter Miles Davis, master of cool jazz, was voted all time greatest jazz musician in 2015 by BBC Music Jazz and Jazz FM, followed by Louis Armstrong and Duke Ellington [1, 2]. Having a dentist for a father, Davis began to play trumpet at about eleven years old. He had a band as a student at East St. Louis High School which played professional gigs at the local Elks Club in 1943. He was married at age seventeen with a child on the way before graduating from high school to attend the Julliard School of Music in 1944. He dropped out to play professionally with Coleman Hawkins and Eddie Lockjaw Davis. He made his first recordings with the Herbie Fields Band and vocalist, Rubberlegs Williams, on April 24 of 1945 for the Savoy label: 'That's the Stuff You Gotta Watch', 'Pointless Mama Blues', 'Deep Sea Blues' and 'Bring It On Home'. He next recorded with Charlie Parker on November 26 the same year: 'Billie's Bounce', 'Now's the Time' and 'Thriving On a Riff'. Davis toured w Billy Eckstine in '46 followed by Dizzy Gillespie the next year. His association with arranger and composer, Gil Evans, began in 1948, with whom he collaborated in the recording of the album, 'Birth of the Cool', released in 1957. After recording 'Birth of the Cool' Davis toured Paris (1949). He joined Eckstine again in 1950, now w Billie Holiday. Beginning to use heroin, he was soon arrested, yet quickly acquitted. Davis' work from 1950 to 1953 was a heroin dream while experimenting with hard bop. Hard bop differs from bebop in being both less radical and slower in tempo. Sessions recorded in 1951 saw issue on the albums 'Blue Period' ('53), 'Miles Davis and Horns' ('56), 'The New Sounds' ('51), 'Dig' ('56) and 'Conception' ('56). He recorded 'Young Man with a Horn' on 9 May of '52, that containing tracks like 'Dear Old Stockholm' and 'How Deep Is the Ocean'. By 1954 Davis' heroin addiction had begun to threaten his career, such that he quit cold turkey in January by locking himself into a room or guesthouse at his father's home in St. Louis where he had moved the prior year. He then performed in the Midwest, largely Detroit, where access to the drug was less readily available to him. Figuring himself safe from temptation, Davis headed back to NYC in 1955, playing at the Newport Jazz Festival that year as well. He then put together one of his more highly esteemed ensembles, the Miles Davis Quintet of 1955-56 with John Coltrane on tenor sax, Paul Chambers on bass, Philly Joe Jones on drums and Red Garland at piano. With that combo Davis recorded four albums of material in two days of sessions in 1956: 'Relaxin', 'Steamin', 'Workin' and "Cookin'. That band dissolved in 1957, as Davis began working with Gil Evans again, resulting in the 1957 release of the album, 'Miles Ahead'. 'Miles Ahead' is a good example of "third Stream" jazz, that is, fusion of classical with jazz improvisation. Davis returned to Paris in 1957. Back in NYC in 1958, Davis restructured his earlier quintet into a sextet for the release of the album, 'Milestones', in April of 1958 (another good example of third stream jazz). Davis and Evans also saw the release of 'Porgy and Bess' (a reworking of George Gershwin's 1935 opera by the same name) in 1958. Davis worked with Evans into the sixties, the album, 'Quiet Nights', their last collaboration together, issued in 1962. In August of 1959 Davis issued the album, 'Kind of Blue' [1, 2, 3], a good example (together with 'Milestones') of modal jazz, that is, harmonic structure employing musical modes (scales) rather than chord progressions. Featuring Bill Evans at piano, 'Kind of Blue' went gold in 1993, platinum in 1997. It was unanimously voted a national treasure in 2009 by the U.S. House of Representatives and remains the highest selling jazz album of all time. Also contributing to 'Kind of Blue' were Cannonball Adderley (alto sax), John Coltrane (tenor sax), Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb on drums. Davis' album, 'Sketches of Spain', followed in July of 1960, that to reach gold in 1993 as well. While working at the Birdland in NYC in 1959 Davis had been attacked by police upon escorting a woman to a cab. As he was playing a gig at the club, he didn't move on down the street as he was told, resulting in a beating, a trip to the hospital for stitches to his head, charges of disorderly conduct and third-degree assault, and the suspension of his cabaret card, necessary to play jazz in New York City clubs. Davis was later acquitted, to tour Europe with Coltrane in 1960. Upon his return to the States Davis' band endured some shuffling of personnel, most notably the addition of Wayne Shorter in 1964, largely replacing Gil Evans as Davis' arranger and composer. With Shorter, Davis built another quintet, his final acoustic group before going electric, employing Ron Carter on bass, Tony Williams on drums and Herbie Hancock at piano. That ensemble's first album release was 'E.S.P'. in 1965, later issuing several more albums described as "freebop", that is, bop structured modally rather than by chord. Davis went electric in 1969, also expanding the size of his band. In tandem he would begin to open concerts for rock groups as well. His first electric release was the album, 'In a Silent Way', recorded on 18 Feb 1969. That was followed by the first recordings of the "Lost Quintet" [1, 2] in Europe in July, that consisting of Wayne Shorter (sax), Chick Corea (keyboards), Dave Holland (bass) and Jack DeJohnette (drums). They toured to Europe again in November where they were recorded once again, those performances to see later issue in 2007 in Japan on 'Chaos Theory: Lost Quintet Last Stage' per Hannibal 003 [Discogs]. Come 'Live in Europe 1969: The Bootleg Series Vol 2' in 2013 [1, 2, 3, 4, 5, 6, 7]. Between those tours Davis laid out 'Bitches Brew' [1, 2, 3] in August of '69 in New York for release in 1970. That went gold in 1976, platinum in 2003 [RIAA]. Sessions in Feb and June of 1970 witnessed 'Live-Evil' in '71. In the meantime 'The Complete Jack Johnson Sessions' [1, 2, 3] went down in April of '70 for later release in 2003. November 3 and 7 of 1971 saw live recordings in Belgrade, Yugoslavia (now Serbia), that saw later release on 'Another Bitches Brew' (Jazz Door JD 1284/85) in Germany in 1995. Come the studio recording of 'On the Corner [1, 2] in 1972. A couple more albums followed in the midst of touring, after which an appearance at the Newport Jazz Festival in 1975 Davis took a rest for several years until the recording begun in '79 of 'The Man with the Horn' released in 1981. Reemerging that year with two more performances at the Newport Jazz Festival, Davis expanded his repertoire yet again with the soul-oriented album, 'Decoy' in 1984, the same year he began to study painting w Jo Gelbard [1, 2], she to remain his partner until his death [paintings by Davis and Gelbard: 1, 2]. Davis also composed a number of soundtracks in the eighties: 'Street Smart', 'Siesta', 'The Hot Spot' (with John Lee Hooker) and 'Dingo'. Simon & Schuster published 'Miles: The Autobiography' [*] in 1989, written w assistance from Quincy Troupe. Giving his final concert at the Hollywood Bowl on 25 August 1991, Davis died the next month on 28 September 1991 in Santa Monica, California, from a combination of stroke, pneumonia and respiratory failure. His album, 'Miles & Quincy Live at Montreux' (Quincy Jones), had been released the month before in August. His last album was released posthumously in 1992, the hip-hop oriented 'Doo-Bop'. References encyclopedic 1, 2, 3, 4; musical: 1, 2, 3, 4, 5; news agencies: 1, 2; timeline. Sessions: JDP; Lord; Losin: main, multiple versions, universal sessions query; Music Graffiti. Discographies: 1, 2, 3, 4, 5. Compilations: 'Miles Davis & John Coltrane: 'The Complete Columbia Album Collection' 73X CD Set 1949-89 by CAC 2009; The Complete Columbia Recordings 1955-1961' 6X CD 2000: 1, 2. Notable compositions. Transcriptions: 1, 2. Album reviews. Davis in visual media. Awards. Facebook tribute. Twitter tribute. Les Tomkins interview 1969. Further reading: archives: 'Ebony' Jan 1961; articles: The Columbia Legacy Bootleg Series: Michael Agovino; 'Blowing Up a Storm': Sholto Byrnes; Davis and heroin: Cinch Review; Davis w John Coltrane: Jazz Profiles; Jazzwise; Davis w Bill Evans: Ashley Kahn; books: 'Miles Davis: The Definitive Biography' by Ian Carr (Hachette Books 2009); 'Love Story in Blue' by Jo Gelbard (AuthorHouse 2012); 'Miles Davis, Miles Smiles and the Invention of Post Bop' by Jeremy Yudkin (Indiana U Press 2008); other profiles: 1, 2. See also the contemporary Miles Electric Band. More Miles Davis under Jimmy Forrest in Modern Sax, JJ Johnson and Red Garland. Per 1945 below, 'Rubberlegs Williams with Herbie Fields' is a compilation by the YouTube site, Milestones: A Miles Davis Archive. Miles Davis 1945 Alto sax: Charlie Parker Piano: Dizzy Gillespie Bass: Curley Russell Drums: Max Roach Composition: Charlie Parker Alto sax: Charlie Parker Piano: Dizzy Gillespie Bass: Curley Russell Drums: Max Roach Composition: Charlie Parker Rubberlegs Williams with Herbie Fields Davis' debut titles Miles Davis 1947 Alto sax: Lee Konitz Composition: Miles Davis Saxophone: Charlie Parker Drums: Max Roach Composition: Miles Davis Saxophone: Charlie Parker Drums: Max Roach Composition: Miles Davis Miles Davis 1949 Live at WPIX Radio Music: Johnny Green 1930 Lyrics: Edward Heyman Robert Sour Frank Eyton Live at WPIX Radio Composition: Kay Swift Miles Davis Nonet Composition: Denzil Best LP: 'Birth of the Cool' Live at WPIX Radio Composition: Tadd Dameron Miles Davis 1956 Saxophone: John Coltrane Composition: Thelonious Monk 1944 Miles Davis 1957 Album Album Side A Album Side B Miles Davis 1959 Filmed live at the Robert Herridge Theater Composition: Miles Davis Album: 'Kind of Blue' Composition: Miles Davis Miles Davis 1964 Filmed live in Milan Miles Davis 1970 Composition: Miles Davis Album: 'Bitches Brew' Composition: Miles Davis Filmed live Composition: Miles Davis Album: 'Bitches Brew' Composition: Joe Zawinul Album: 'Bitches Brew' Composition: Miles Davis Album: 'Bitches Brew' Filmed live in Stuttgart Featuring Benny Rietveld Miles Davis 1971 From the LP 'Live-Evil': Composition: Miles Davis Composition: Miles Davis/Joe Zawinul respectively Composition: Miles Davis Composition: Hermeto Pascoal Composition: Miles Davis Composition: Miles Davis Filmed live in Oslo, Norway: Composition: Miles Davis Miles Davis 1984 Composition: Robert Irving III Album: 'Decoy' Miles Davis 1992 Composition: Miles Davis/Easy Mo Bee Album: 'Doo-Bop'
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Kenny Dorham Source: Big Band Sheet Music
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Born in 1924 in Fairfield, Texas, bop trumpeter Kenny Dorham is thought to have first recorded with the Frank Humphries Orchestra in NYC in autumn of 1945: 'After You've Gone' and 'Lonesome Road, concerning which no timely issue date can be hazarded. Ditto 'Time and Time Again' with Humphries and vocalist, Della Simpson (Della Griffin). Dorham was with Billy Eckstine on January 3, 1946, for 'I Only Have Eyes for You, 'You're My Everything', et al. The Mercer Ellington Orchestra followed on May 17: 'Metronome All-Out' and 'Pass Me By', etc.. Jazzdisco has Dorham on a number of tracks with Dizzy Gillespie from possibly May to July of '46 at The Spotlite Lounge in Washington DC. Dorham is also listed on tracks on July 9 per Gillespie's 'Groovin' High'. On August 23 Dorham recorded with alto saxophonist, Sonny Stitt, and pianist, Bud Powell. The following month he attended a couple sessions on the 5th and 6th on which he, Stitt and Powell were joined by drummer, Kenny Clarke, and trumpeter, Fats Navarro, variously credited to Sonny Stitt's quintet, the Be Bop Boys, and Kenny Clarke's 52nd Street Boys. One of those tracks was 'Epistrophy'. At this point we need but daub some names on the canvas here, Dorham's 166 sessions too prolific to detail. Returning to January 3, 1946, per Eckstine above, Art Blakey contributied drums to that session, apt to mention since Blakey would become one of the important figures in Dorham's career for the next decade. On December 22, 1947, Dorham was one of Blakey's Messengers (not yet Jazz Messengers) to lay tracks, a couple of which would be found on Blakey's album, 'New Sounds'. Multiple sessions would occur through the next several years, they either backing each other or other ensembles together. On January 22, 1955 Blakey supported Dorham on 'Afro/Cuban'. On November 23 Dorham supported Blakey on 'The Jazz Messengers at the Cafe Bohemia'. On June 20, 1947, he recorded such as 'Hamp's Got a Duke' and 'Mam'selle' with Lionel Hampton per a radio broadcast from Culver City (Los Angeles), CA. Another name for dropping was Charlie Parker's, Dorham one of Parker's All Stars during a WMCA radio broadcast from the Royal Roost in NYC on December 25, 1948, to record such as 'Half Nelson' and '52nd Street Theme'. Also in that quintet were Al Haig (piano), Tommy Potter (bass) and Max Roach (drums). Dorham made his first marks with pianist, Thelonious Monk, in latter 1950 for vocalist, Frankie Passions: 'Especially to You' and 'Nobody Knows, Nobody Cares'. He next supported Monk on May 30, 1952, titles like 'Skippy' and 'Hornin' In'. Another important drummer, Max Roach, entered Dorham's circle via Parker above, Roach attending the session for WMCA Radio on December 25, 1948. They would record numerously together over the next decade or so, both backing other operations and each other. On May 21, 1957, Roach backed Dorham on 'Jazz Contrasts'. Their last session was November 1, 1960, Dorham supporting Roach on 'Oh Yeah, Oh Yeah', both composed by and featuring Dorham. Another important associate was pianist, Cedar Walton, he first backing Dorham on July 7, 1958, for 'This Is the Moment'. They would back each other on multiple occasions until their last session together for Howard McGhee at the Newport Jazz Festival on July 4, 1966. Other highlights of Dorham's career include his first session as a leader on October 21, 1953: 'Chicago Blues' and 'Lonesome Lover Blues'. His debut album, 'Kenny Dorham Quintet', occurred on December 15, 1953, for the Debut label owned by Charles Mingus and Max Roach. In 1956 Dorham briefly led, and recorded with, the Jazz Prophets, issuing two volumes with that group. Dorham began teaching at the Lenox School of Jazz in Massachusetts in 1958. In 1959 he composed soundtracks for a couple of French films. It was 15 Jan 1961 when he spread along tracks for 'Whistle Stop' with a gang of Hank Mobley (tenor sax), Kenny Drew (piano), Paul Chambers (double bass) and Philly Joe Jones (drums). During the sixties tenor sax man, Joe Henderson, appeared on three of Dorham's albums: 'The Flamboyan, Queens, NY, 1963', 'Una Mas' and 'Trompeta Toccata'. Dorham died of kidney disease on 5 December 1972, only 48 years of age. His final recordings had been for the Charlie Parker memorial concert at the North Park Hotel in Chicago on August 16, 1970: Just Friends' and 'Summertime'. References: 1, 2, 3, 4. Sessions: JDP; Lord. Discos: 1, 2, 3, 4. Transcriptions: 1, 2. Audio chronology: Gordon Vernick. Further reading: JazzAdvice; Jazz Profiles: 1, 2; Marc Myers; Dave Oliphant. Other profiles: 1, 2, 3. More Kenny Dorham under Cedar Walton. Kenny Dorham 1946 Credited to Sonny Stitt and his Be Bop Boys Composition: Sonny Stitt Credited to Kenny Clark and his 52nd Street Boys Composition: Kenny Clarke Credited to Sonny Stitt and his Be Bop Boys Composition: Earl Powell Kenny Dorham 1949 Saxophone: Charlie Parker Composition: Charlie Parker Kenny Dorham 1952 Piano: Thelonious Monk Drums: Art Blakey Composition: Thelonious Monk Piano: Thelonious Monk Drums: Art Blakey Composition: Thelonious Monk Kenny Dorham 1953 Composition: Jimmy Van Heusen/Eddie DeLange Composition: Osie Johnson Kenny Dorham 1955 Composition: Dorham Kenny Dorham 1957 Composition: Dorham Album: ''Round About Midnight at the Cafe Bohemia' Recorded 31 May 1956 Kenny Dorham 1957 Album Album: 'Jazz Contrasts' Note: 'Falling in Love with Love' was composed by Richard Rodgers with text by Lorenz Hart for the 1938 musical 'The Boys from Syracuse'. Composition: Sammy Fain/Irving Kahal LP: '2 Horns 2 Rhythm' Alto sax: Ernie Henry Music: Gene de Paul 1942 Lyrics: Patricia Johnston/Don Raye For the comedy 'Ride 'Em Cowboy' Album: 'Jazz Contrasts' Composition: Dorham Sam Coslow Arthur Johnston LP: '2 Horns 2 Rhythm' Alto sax: Ernie Henry Composition: Sam Coslow/Arthur Johnston Album: 'Jazz Contrasts' Kenny Dorham 1958 Composition: Jimmy McHugh/Harold Adamson LP: 'This Is the Moment!' Kenny Dorham 1960 Drums: Max Roach Composition: Dorham Kenny Dorham 1961 Saxophone: Hank Mobley LP: 'Whistle Stop' All compositions: Dorham Kenny Dorham 1964 Live Composition: Thelonious Monk Recorded NYC 21 August 1964 LP: 'Jazz at P.S. 175' 1964 Harlem Youth Unlimited HYU 1001 Kenny Dorham 1966 Filmed live Composition: Coleman Hawkins
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Born in 1926 in Kansas City, Missouri, Melba Liston began her career as an arranger, composer and trombonist in 1943 with trumpeter, Gerald Wilson. She first recorded with Wilson on May 6 of 1945 for the Excelsior label, those titles: 'Moonrise', 'Top of the Hill', 'Synthetic Joe' and 'Puerto Rican Breakdown'. Liston continued with Wilson into 1947, recording at least forty tracks such as 'Yenta', 'Come Sunday', 'Love Me a Long, Long Time' and 'I Don't Know What Time It Is' along the way. Liston also recorded with Dexter Gordon in 1947. A date with Count Basie during tour on April 11, 1949, in Los Angeles, was her first recording with Clark Terry, he to later become a major figure in Liston's career for several years from '56 to '63 and later in '66, that last occasion to support Jimmy Smith and Wes Montgomery on 'Jimmy & Wes - The Dynamic Duo'. Sessions with Dizzy Gillespie from '55 to '57 found Liston blooming. Her first recording date with Gillespie in Los Angeles in November 8, 1955, yielded such as 'Oasis' and 'Flamingo'. She left Gillespie after a session in NYC on September 8, 1957, yielding such as 'Joogie Boogie' and 'I Remember Clifford'. They would record once again with the Quincy Jones Orchestra on December 20, 1964, bearing 'I Had a Ball', 'Almost' and 'Addie's At It Again'. Speaking of whom had been a major rail in Liston's career: Liston had first recorded with Jones as a member of the Dizzy Gillespie Orchestra in NYC on June 6, 1956, she arranging 'Stella by Starlight', 'My Reverie' and 'Annie's Dance'. She would join Jones' orchestra again from 1959 to '64 per above with Gillespie. During her period with Jones she would also support vibraphonist, Milt Jackson ('Big Bags' '62), also a member of Jones' orchestra. It would be apt to drop another big name for its stature here, being drummer, Art Blakey, Liston first falling in with Blakey's Jazz Messengers on April 2, 1957, for two takes each of 'A Night at Tony's' and 'Social Call'. A few more sessions with Blakey followed in '64 and '66, their last occasion a few tracks on May 27 for Blakey's 'Hold On I'm Coming'. Liston had joined Billie Holiday in 1949 but didn't record with her. Said to have disliked doing road, Liston then absented herself from the music business. picking it up again a few years later, she began by organizing her own orchestra to support vocalist, Mel Walker, in Los Angeles in 1953 on such as 'Unlucky Man' and 'My Baby'. Having met pianist, Randy Weston, via Gillespie's organization in 1958, she began collaborating with him as an arranger the same year. Weston became a major figure along Liston's path, she working largely as an arranger on ten of his albums from 'Little Miles' gone down in Oct of 1958 to 'Khepera' in 1998, the latter preceded by 'Volcano Blues' in '93 and 'Eerth Birth' in '95 toward release in 1997. It had also been 1958 when Liston formed her own quintet, to become a septet for her only album as a leader, 'Melba Liston and Her Bones', recorded in December that year [*] a couple months after her initial tracks w Weston. Along w Ray Bryant at piano and Kenny Burrell at guitar, Liston had gathered together six other trombone players to variously accompany her on the album: Jimmy Cleveland, Bennie Green, Al Grey, Benny Powell, Frank Rehak and Slide Hampton. Double bass was supplied by Jamil Nasser and George Tucker, drums by Frankie Dunlop & Charlie Persip. Having worked largely in association w the Riverside record label [1, 2, 3, 4, 5, 6], Liston arranged Milt Jackson's album, 'For Someone I Love', in 1963. Liston began arranging for Calvin Scott in 1971, then moved to Jamaica to teach at the Jamaica School of Music. While in Jamaica she arranged for the 1975 film, 'Smile Orange'. In 1979 Liston returned to the States, but was convinced to stop performing (though not arranging) upon a stroke in 1985, leaving her partially paralyzed. In 1987 Liston was named a Jazz Master by the National Endowment for the Arts. Her last recordings are thought to have been with Weston in Montreal, Canada, on July 4, 1995, per Weston's 'Earth Birth'. After multiple strokes, she died on April 23, 1999, in Los Angeles [obits: 1, 2]. Among the many who graced Liston's career of 142 sessions [Lord] were Johnny Griffin (1957-58), Ray Charles ('59), Billy Eckstine ('61, '65) and Jimmy Smith (' 63, '66). References: 1, 2, 3, 4, 5, 6. Sessions: J-Disc (w comps by Liston); Lord. Discos: 1, 2, 3, 4. IA. IMDb. Interviews: Steven Isoardi 1992; Clora Bryant 1996 (pdf). Further reading: BMRJ; Ebony. Biblio: 'Little Melba and Her Big Trombone' by Katheryn Russell-Brown (Lee & Low Books 2014). Facebook tribute page. Other profiles: 1, 2, 3, 4, 5, 6, 7, 8, 9. Melba Liston 1945 Live performance All American Girl Band Melba Liston 1946 With Gerald Wilson Composition: Count Basie Arrangement: Bob Zurke Melba Liston 1959 From 'And Her Bones' Metrojazz 1013 1959 Recorded 22 & 24 Dec 1958 Composition: Liston Composition: Leonard Feather Composition: Liston From 'And Her Bones' Reissue 2006 Fresh Sound FSR-CD 408 Recorded June 1956 Comps by Liston Melba Liston 1960 Live performance w Quincy Jones Composition: Larry Clinton
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Melba Liston Photo: Institute Of Jazz Studies/Rutgers University Source: Persons Info
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Born in 1924 in Barrington, Massachusetts, Shorty Rogers, flugelhorn and trumpet, was a West Coast jazz master who began his professional career in the band of Will Bradley. His first recordings are thought to have been with Cozy Cole on February 2, 1945, for the Keynote label in NYC: 'Lover Come Back To Me', 'Smiles', 'All of Me' and 'They Didn't Believe Me'. His next session was with Red Norvo, per a Town Hall concert in NYC on June 9: 'One, Two, Three, Jump', 'In a Mellow Tone', et al. Roger's third session was with Woody Herman on November 16, recording three takes of 'Wild Root' for Columbia. Herman's operation would be Rogers main locomotive for six years to June 4, 1951, he last recording with Herman in Hollywood for MGM: 'Cuban Holiday', 'The Glory of Love', etc.. On December 14, 1945, Rogers was one of Kai Winding's Cats to scratch 'Sweet Miss', 'Loaded', et al. Drummer, Shelly Manne, was in on that, one of the more significant figures in Roger's career. Manne and Rogers ran nigh the same rail for the next two decades, backing Herman, Stan Kenton and other bands. A number of their sessions through the years included Manne backing Roger's projects. They recorded frequently together until '63, again in '66, finally on September 2, 1983, that live at the Aurex Jazz Festival in Japan. Another important figure moved in on May 31, 1946, for an AFRS 'Wild Root' (#32) broadcast with Herman. Contributing to such as 'Crazy Rhythm' and 'Strange Love' was bassist, Joe Mondragon, with whom Rogers kept a tight professional relationship supporting Herman and other bands for the next sixteen years. Mondragon also sided for Rogers, their last such occasion on December, 1962, in Los Angeles for such as 'I'm Gonna Go Fishin'' and 'Be As Children'. Another longtime companion emerged in latter 1947 in the person of Jimmy Giuffre, the latter working as an arranger for Herman, later to contribute sax. Giuffre and Rogers would leave much the same trail into 1960 backing Giuffre, then other bands. Giuffre would also appear on numerous of Rogers' name recordings. They would reunite in 1983 per the Aurex Jazz Festival with Manne mentioned above. While with Herman, Rogers added another major name to his resume, that Stan Kenton on November 6, 1948, broadcasting from The Click in Philadelphia, PA, such as 'Machito' and 'I'll Remember April'. Kenton's orchestra was another of Rogers' main machines for several years. He performed with both Herman and Kenton from '48 to '51, continuing with the latter to May 15 of '55, sitting in on 'Freddy' in Los Angeles. By that time another major figure in Rogers' career had surfaced in alto saxophonist, Bud Shank, the latter one of Boots Brown's (Rogers) Blockbusters on February 3, 1953, for titles like 'Hip Boots' and 'Blue Fairy Boogie'. Shank and Rogers were nigh as left and right hand for another ten years, Shank supporting Rogers on numerous projects. Shank contributed reeds to Rogers' big band album, 'Chances Are It Swings' [1, 2], in Dec of 1958. After Vic Lewis' 'Bossa Nova at Home and Away' on January 18, 1963, they drifted apart to reunite in '67, '69, 1983-85 (: 'Re-Entry' [1, 2] gone down in May of '83; the Aurex Jazz Festival on 4 Sep '83) and 1991-92. Their last sessions together were reconfigurations of the Lighthouse All-Stars resulting in 'America the Beautiful' (August '91) and 'Eight Brothers' (January '92). We need back up a few decades to cover highlights during Rogers' earlier career. Among those were a couple sessions with Benny Carter in January of 1946 resulting in such as 'Diga Diga Doo' and 'Rose Room'. Rogers' first session as a leader was October 8, 1951, with his Giants consisting of John Graas (flugelhorn), Gene Englund (tuba), Art Pepper (alto sax), Jimmy Giuffre (tenor sax), Hampton Hawes (piano), Don Bagley (bass) and Shelly Manne (drums). That would result in his debut album, 'Modern Sounds'. He recorded his next LP, 'Popo', at the Lighthouse in Hermosa Beach on December 27, 1951, that ensemble consisting of Art Pepper (alto sax), Frank Patchen (piano), Howard Rumsey (bass) and Shelly Manne (drums). On September 27, 1952, he recorded what would be issued as 'Live at the Rendezvous Ballroom' in Balboa Beach, California. That group included Bob Enevoldsen, Joe Mondragon, Les Thompson, Larance Marable, Chet Baker, Gerry Mulligan, Wardell Gray, Art Pepper and Hampton Hawes with June Christy at vocals. The early sixties saw Rogers performing less, arranging more, he also beginning to write scores for film and television. In the twenty years between '63 ('Gospel Mission') and May of '83 ('Re-Entry') he worked largely as an arranger for other bands but performed very little himself. He had contributed flugelhorn to 'Born Again' per the Bath Jazz Festival in England on October 23, 1982, leading the National Youth Jazz Orchestra. Rogers' last titles are thought to have been with saxophonist, Bill Perkins, in Phoenix, AZ, in June of '93, issued in '94 per 'Live at the Royal Palms Inn Vol 5'. Rogers died in Van Nuys, California, on November 7, 1994. References: 1, 2. Discos: 1, 2, 3, 4, 5, Lord (leading 82 of 471 sessions). Compilations: 'Short Stops' 1953-54 issued in 1987 on RCA 5917-2-RB/ barcode 7863-55917-2 [Discogs] which All Music has released in 1990. IMDb. Compositions. Interviews w Les Tomkins 1983/84. Further reading: Marc Myers on Rogers w Bud Shank in 1954 *; John Tynan on Rogers and West Coast jazz in 1959 *. Other profiles: 1, 2. Shorty Rogers 1945 Vibes: Red Norvo Composition: Norvo Shorty Rogers 1951 Composition: Rogers Composition: Rogers Composition: Charlie Parker Shorty Rogers 1953 From 'Shorty Rogers and His Giants' Recorded January in Hollywood Comps below by Rogers From 'Cool and Crazy' Recorded Mar & Apr in Hollywood All comps by Rogers Shorty Rogers 1955 Recorded 14 Sep 1954 Piano: André Previn Composition: André Previn LP: 'Collaboration' Shorty Rogers 1955 Composition: Bennie & Buster Moten Shorty Rogers 1959 Music:: Harold Arlen 1939 Lyrics: Yip Harburg 'The Wizard of Oz and Other Harold Arlen Songs' Composition: Robert Allen/Al Stillman 'Chances Are It Swings' Shorty Rogers 1962 Filmed live Piano: Lou Levy Bass: Gary Peacock Drums: Larry Bunker Composition: Rogers Shorty Rogers 1983 With the West Coast Giants Filmed live at the Aurex Jazz Festival (Japan) Composition: Rogers
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Shorty Rogers Source: Something Else
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Toots Thielemans Source: Enciclopedia del Jazz |
It is thought Toots Thielemans,
guitarist and harmonica player born in Belgium
in 1922, first recorded in March of 1943 in Brussels, those titles with the
Het Trio unissued: Les Yeux Noirs', Solitude', etc.. He played guitar on
those with Gilbert DeLange on drums. His next recordings are thought to have
been with the Robert De Kers Orchestra in early 1946, those for Animated
Cartoons which Lord's disco links to the Belgian film, 'Modern Moods'.
February 8 of 1946 found Thielemans in the band of Rud Wharton for titles
like 'Don't Fence Me In' and 'Amor, Amor'. Theielemans was a prolific
recording career of some 470 sessions, nigh a couple hundred of those his
own. We'll not attempt to squeeze that into this pill box, and mention but a
very few of its more significant events. Among the first would be his debut
recording on harmonica rather than guitar. Thielemans was host to not a few
American jazz musicians who toured to Europe during his career. Benny
Goodman was the first visiting American with whom Thielemans recorded, that
on harmonica for BBC Radio in London on July 16, 1949, with the
Benny Goodman Quintet for 'After You've Gone'. Thielemans would see
Zoot Sims,
more of
Goodman and Leonard Feather as well before moving to the United
States in 1951 (citizenship in '57). His last recordings in Europe had been
in October in Brussels that year for 'High School Cadets March', 'Michigan'
and 'Birds and Bees'. His first in the States was a trio with
Dick Hyman
(organ) and Harry Reser (banjo) in NYC on June 12 of 1952 for 'The Jazz Me
Blues', 'Smoke Rings', et al. His next session would be one of his more
important in that it was for pianist, George Shearing,
who would become a major figure in Thieleman's career. That was at the
Birdland on December 6 of '52 for such as 'Pick Yourself Up' and 'Tenderly',
et al. Thielemans spent the next seven years in countless sessions with
Shearing to October, 1959, for
Shearing's 'Satin Brass'. Among highlights in the early sixties was a
trip to Europe in June 1962 to perform at the Ruhr Festival in Germany with
Hans Koller and
Rolf Ericson, et al, that to be
found on 'Jazz Workshop - Ruhr Festival 1962'. Another important figure in
Thielemans career was bandleader,
Quincy Jones. Thielemans
contributed harmonica, guitar and whistling to
Jones' 'Explores the Music of
Henry Mancini' on February 5 of 1964. He was with
Jones again on May 21 of 1966 to
support Peggy
Lee's 'Happy Feet', 'The Shining Sea' and 'Stay With Me'. Albums with
Jones followed from 1969 to
1972, 'Mellow Madness' in '75, 'The Dude' in 81 and 'Live at Budokan' in '85
in Tokyo. Thielemans contributed to numerous soundtracks during his career
from 'The Pawnbroker' in 1964 to 'French Kiss' in 1995. He also worked in
television, such as the theme to 'Sesame Street' in 1969 ('Can You Tell Me
How to Get to Sesame Street?' Joe Raposo). He appeared on
Billy Eckstine's last album
in 1984: 'I Am a Singer'. Thielemans was made an NEA Jazz
Master in 2009. He recorded as late as '90 Years' in 2011, also contributing
to 'Grégoire Maret' that year. Thielemans died [1,
2] on August, 22, 2016. Among
the host of others on whose recordings Thielemans can be found are Bill
Ramsey, JJ Johnson, Dannie Richmond,
Sylvia Vrethammar, Monica Zetterlund, Pat Metheny and
Shirley Horn.
References: 1,
2,
3,
4,
5,
6,
7. Sessionographies:
1, Lord's Disco.
Discographies: 1,
2,
3.
Interviews:
Les Tomkins 1978,
NAMM
2005, DownBeat 2006,
Anthony Brown 2011
(pdf).
Compilations: 'Blues Pour Filter', 2000; 'Hard to Say Goodbye', 2000;
'The Best Of', 2012.
Thielemans on guitar. Toots Thielemans 1950 Composition: Tom Delaney Toots Thielemans 1951 Composition: Thielemans Toots Thielemans 1958 Composition: 1930: Maceo Pinkard/Doris Tauber/William Tracey Toots Thielemans 1959 Piano: Ray Bryant Music: Erroll Garner 1954 Lyrics: Johnny Burke Toots Thielemans 1970 Guitar: Mads Vinding Toots Thielemans 1972 Composition: Quincy Jones Toots Thielemans 1975 What Are You Doing The Rest of Your Life Music: Michel Legrand 1969 Lyrics: Alan & Marilyn Bergman For the film 'The Happy Ending' Toots Thielemans 1979 Piano: Bill Evans Music: Johnny Green 1930 Lyrics: Edward Heyman/Robert Sour/Frank Eyton Piano: Bill Evans Music: Henry Mancini 1962 Lyrics: Johnny Mercer Piano: Bill Evans Composition: Gianni Bedori/Bill Evans Toots Thielemans 1992 With Pat Metheny Composition: Pat Metheny Toots Thielemans 1998 Composition: Sonny Rollins 1956 Toots Thielemans 2000 Composition: Thielemans Toots Thielemans 2009 Filmed live Composition: Thielemans Composition: Bill Evans 1962 Toots Thielemans 2012 Composition: John Barry 1969 Music: Charlie Chaplin 1936 For the film 'Modern Times' Lyrics: 1954: John Turner/Geoffrey Parsons
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 Putte Wickman Source: Roger Lindqvist |
Born in 1924 in Fulin, Sweden, clarinetist,
Putte Wickman,
was raised in Borlänge. At about age fifteen his mother gave him a clarinet
for Christmas, he first exposed to jazz at that time upon attending high
school in Stockholm. He was playing professionally at age twenty and would
become the house bandleader at the Nalen nightclub in Stockholm, the hotspot
of jazz culture in Sweden. He would begin his recording career in 1945 while
at the Nalen, he first grooving records for the Sonora label on February 14,
1945, with a group called the Expressens Elitorkester on a 10' 78 titled
'Jam Session' bearing 'Express Blues' and 'Jam Session'. The Expressens
Elitorkester was per the 'Expressen' newspaper founded in 1944. Lord's
discography has that group, with Gosta Torner on trumpet, recording the same
titles again on March 28, yet with the same session and release number
(640). From '47 to '49 Wickman recorded sparingly with such as the Simon
Brehm Orkester, Bob Laine with the Gosta Torner Sextet, the Estrads
Solistorkester and the Thore Jederby Sextett. Wickman also performed at the
Nalen with blind pianist,
Reinhold Svensson, who first
backed Wickman on the latter's first session as a leader on January 26,
1949, running a sextet for 'Liza' and 'Blue Skies'.
Svensson and Wickman would
partner frequently to 1953, backing each other and other outfits. One
example of such was Svensson's quartet
on May 24 of 1949
for releases of 'I'm Getting Sentimental Over You'/'Memories of Paris' and
'I Surrender, Dear'/'There's a Small Hotel'. Other members of that quartet
were Roland Bengtsson (bass) and Georg Oddner (drums).
Svensson and Wickman would
reunite in '56, recording together numerously into 1959. Returning to 1949,
a session with
accordion player, Lill-Arne Söderberg, in October yielded 'Be-bop Accordeon'
b/w 'Twilight Time'. Wickman then surfaced on a couple of titles recorded in January
of 1950 with popular vocalist, Gustav Winkler: 'Have I Told You Lately That
I Love You'/'Play a Simple Melody'. In February and May of 1950 he and
Svensson recorded several tracks
with vibraphonist, Ulf Linde, notably 'Dinah'/'Once In a While' and 'On the
Alamo'/'Always'. He was with
Svensson again for 'Rain On the
Roof'/'Moonlight Saving Time' in 1951, those per Leonard Feather and the
Swinging Swedes. In October of '51 Wickman's orchestra (the Specialorkester)
recorded
Lars Gullin's 'First Walk' at the Nalen,
an aircheck for Swedish Radio. Wickman
quit the Nalen in 1955 to form his own band. He first visited the U.S. in
1959, appearing at Carnegie Hall in New York City. During the sixties he
played clubs in Stockholm as a bandleader. During that decade his first
album with Brazilian musician,
Sivuca, appeared in 1966: 'Putte
Wickman Meets Sivuca'. During the seventies he toured solo internationally.
Among Wickman's numerous awards was the Illis Quorum in 1994, the highest
medal one can receive in Sweden for contributions to Swedish culture.
Wickman died on Valentine's Day, 2006
[obit].
His final recordings are thought to
have been in January of 2005 for the LP, 'An Intimate Salute to Frankie'.
References: 1,
2,
3.
Discos: 1,
2,
3,
Lord.
Discussion. Putte Wickman 1948 Gosta Torner Sextet Piano: Bob Laine Composition: Bob Laine Putte Wickman 1949 Lill-Arne Söderberg Quintet Piano: Lulle Kristoffersen Accordion: Lill-Arne Söderberg Bass: Bengt Wittström Drums: Gunnar Järild Composition: Söderberg/Kristoffersen Putte Wickman 1951 Vocal: Gustav Winckler Composition: Scott Wiseman Vocal: Gustav Winckler Composition: Irving Berlin Putte Wickman 1958 Softly as in a Morning Sunrise Music: Sigmund Romberg Lyrics: Oscar Hammerstein II Putte Wickman 1969 Televised with Sivuca Putte Wickman 1984 Composition: Janne Schaffer Album: 'Desire' Piano/flute: Björn Lindh Guitar: Janne Schaffer Bass: Teddy Walter Drums: Magnus Person Putte Wickman 1988 Bass: Red Mitchell Music: Henry Mancini Lyrics: Johnny Mercer Film premiere: 26 December 1962 LP: 'The Very Thought of You' Bass/piano: Red Mitchell Putte Wickman 1993 Filmed live Guitar: Johan Norberg Composition: Billy Strayhorn Putte Wickman 1997 Filmed live Putte Wickman 1998 Album Putte Wickman 2000 Vocal: Lisa Nilsson Composition: Irving Gordon Putte Wickman 2005 From 'An Intimate Salute to Frankie' Piano: Jan Lundgren LP: 'An Intimate Salute to Frankie' Composition: Cole Porter Composition: Michael Edwards/Bud Green
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Jimmy Giuffre Source: Cisco Houston |
Born in 1921 in Dallas, Jimmy Giuffre could well be entered in Modern Jazz Saxophone, beginning his recording career as a tenor and alto saxophonist. But as that page is bloated w saxophone players it is opportune that Giuffre was also a master with clarinet, apt for listing on this page if but for that alone. Giuffre had graduated from college in Texas w a music degree and been in the US Air Force for four years since 1942, playing in an Air Force band, before beginning his professional career. Opting for Los Angeles after the service, he studied at UCLA a little before beginning studies in free counterpoint w Dr. Wesley LaViolette, an association that would last another decade or so. Hired by Boyd Raeburn in 1946 [Jazz Profiles], by process unknown he ended up recording w Jimmy Dorsey in NYC the same year [Frohne]. Neither DAHR nor Lord show Giuffre in Jimmy's orchestra on the titles that Frohne lists Giuffre's presence as "probable" rather than "not sure" in 1946, among them: 'One More Kiss' (Decca 18905) on 20 August in NYC along with 'The Whole World Is Singing My Song' (Decca 18917), and 'Make Me Know It' (Decca 18923) the next day on the 21st. Those were issued in 1946 per Billboard, Discogs and RateYourMusic. Though verification of Frohne's educated guess is unfound, the possibility that Giuffre recorded to issue in '46 w Dorsey is reflected in the menu above. Lord doesn't commence w Giuffre until April of 1947 with Jimmy's orchestra, tracks like 'Angela Mia' (MGM 10306) with Bob Carroll on vocals and 'At Sundown' (MGM 10306) with Dee Parker at vocals. Frohne adds other titles in April (now not qualified by "probably") like 'A Sunday Kind of Love' (MGM 10023) with Dee Parker at vocals and 'Ballerina' (MGM 10023) with Bob Carroll on vocals. Discrepancies between Frohne and Lord begin in April, such as Lord having 'Ballerina' (MGM 10023) sessioned in June. That said, this account follows Lord's trail henceforth while suggesting closer comparative study of Frohne, linked below, due that Lord is known to have gaps that more specific discographies sometimes fill. Giuffre hung with Dorsey into September that year ('47), meanwhile putting down tracks with Boyd Raeburn that August. His first of a number of sessions through the years with Red Norvo also arrived in 1947, as well as a couple titles with Jesse Price before the first of a number of sessions through the years with Woody Herman, that in Hollywood on October 19 of '47 for 'If Anybody Can Steal My Baby' and 'I Told Ya I Love Ya, Now Get Out' (Columbia 38047). December 27 of 1947 saw the first of Herman's countless recordings of the Giuffre composition, 'Four Brothers' (Columbia 38034). Giuffre included a rendition of that along w other comps on his debut LP, 'Jimmy Giuffre', issued in 1955. His second album, 'Tangents of Jazz', went down in June of '55 for issue in '56 w Ralph Pena (bass), Artie Anton (drums) and Jack Sheldon (trumpet). All titles on that were composed by Giuffre excepting 'This Is My Beloved' by Vernon Duke. One of Giuffre's more important compatriots for decades to come was in on the 19 October 1947 session above, that Shorty Rogers with whom Giuffre would partner on numberless occasions, both backing other bands and each other. Rogers would side Giuffre's first and third albums, the latter being 'The Jimmy Giuffre Clarinet' in 1956. Giuffre would be among Rogers' Giants for 'Wizard of Oz' in '59. Their last recordings together wouldn't arrive until the Aurex Jazz Festival in Japan in 1983. Backing up to 1948, Giuffre arranged AFRS 'One Night Stand' broadcasts from the Palladium in Hollywood for Buddy Rich that July. On Oct 28 he performed tenor sax on Rich's rendition of his arrangement, 'Four Brothers' (V-Disc 899). Giuffre joined Howard Rumsey's second group of Lighthouse All-Stars in 1952. His first two sessions as a leader in Feb and April of 1954, added to a session in January 1955, resulted in his debut album that year: 'Jimmy Giuffre'. The more famous of his compositions on that, 'Four Brothers', was in reference to Stan Getz, Zoot Sims, Herbie Steward and Serge Chaloff when they were with Woody Herman, a tune that both Giuffre and Herman recorded often. He formed his first trio with bassist, Ralph Peña, and guitarist, Jim Hall, to record 'The Jimmy Giuffre 3' on December 3, 1956, that to include his composition, 'The Train And The River'. Giuffre and Hall went back to September of '55 when they were two of Jack Millman's All Stars to record 'Shades of Things to Come'. Hall would stick with Giuffre until the recording of 'In Person' at the Five Spot in NYC in August 1960. The two would support pianist, John Lewis, the next month, then last lay tracks together in May of '63 for vibraphonist, Teddy Charles. Giuffre's first opportunity to record with pianist, Bill Evans, was on March 25, 1958 for Hal McKusick's 'Cross-Section Saxes'. They joined each other on a couple sessions in '59 with Lee Konitz, and finally for Evans' 'Living Time' in May of '72. In Feb of '59 Giuffre contributed tenor sax to 'Sonny Stitt Plays Jimmy Giuffre Arrangements'. In 1961 Giuffre formed a free jazz trio with bassist, Steve Swallow, and pianist, Paul Bley, that released on the album, 'Fusion'. They held a couple recorded sessions in Germany later that year and put down more tracks into 1962. They would reunite as late as 16 and 17 Dec 1989 for 'The Life of a Trio: Saturday' and 'The Life of a Trio: Sunday', both issued the next year. Lord has them together again in 1992 for an April session in NYC and a December session in Marseilles, France. Come '93 for their last session in May in Milan, Italy, that resulting in 'Conversations With a Goose'. Swallow will have exchanged double bass for bass guitar. During the seventies Giuffre had run a trio with bassist Kiyoshi Tokunaga and drummer Randy Kaye. Their first session in December of '72 in Sea Cliff, NY, arrived to 'Music for People, Birds, Butterfields & Mosquitoes'. Their next and last was for 'River Chant' on April 25, 1975. Giuffre began teaching music at New York University in the seventies. He also taught at the New England Conservatory of Music in Boston in the nineties. With a perhaps 300 sessions to his name, 63 his own, Giuffre died of pneumonia in Pittsfield, Massachusetts, on April 24, 2008 [obits: 1, 2, 3]. References encyclopedic: 1, 2, 3; musical: 1, 2. Compositions. Sessions: DAHR w composing credits; Frohne; JDP; Lord. Discos: 1, 2, 3, 4, 5, 6. Compilations: 'The Complete 1947-1953 Small Group Sessions' by Blue Moon 2001; 'Jimmy Giuffre Trio with Paul Bley & Steve Swallow: Carla' 1961 by Giants of Jazz 1996; 'New York Concerts: The Jimmy Giuffre 3 & 4' 1965 by Elemental Music 2014: 1, 2, 3, 4, 5, 6, 7, 8, 9. Giuffre in visual media. 2003 interview w Rex Butters. Further reading: Paul Bley; Nate Chinen; Arthur Dansby; Jim Hall; Jimmy Giuffre 3 and improvisation; 'The Quiet Man': 1, 2. Internet Archive. Other profiles: 1, 2. Giuffre plays both clarinet and sax on examples below. Several are live performances. Jimmy Giuffre 1947 I Told Ya I Love Ya, Now Get Out With Woody Herman Vocal: Walter Yoder Composition: Walter Yoder Herb Ellis/John Frigo/Lou Carter Jimmy Giuffre 1952 With the Lighthouse All-Stars Composition: Jimmy Giuffre With the Lighthouse All-Stars Composition: Shorty Rogers Jimmy Giuffre 1957 Filmed live Composition: Jimmy Giuffre Jimmy Giuffre 1959 Composition: Jimmy Giuffre Filmed live Composition: Jimmy Giuffre Jimmy Giuffre 1961 Album: 'Fusion' Bass: Steve Swallow Piano: Paul Bley Composition: Carla Bley Album: 'Fusion' Bass: Steve Swallow Piano: Paul Bley Composition: Carla Bley Jimmy Giuffre 1963 From the LP 'Freefall' All compositions: Jimmy Giuffre
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Bennie Green Source: PTA Blues
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Born in 1923 in Chicago, trombonist Bennie Green (not to be confused with Benny Green, the sax player, or much later pianist) is thought to have begun his professional career in 1941 in the orchestra of Earl Hines. Drafted into the Army in 1943, he returned to Hines upon discharge in 1946. Green is sometimes listed on recordings with Hines from '44 into '45 (with three other trombonists). Lord's discography has him recording AFRS transcriptions (sold for commercial use) as early as October of '44, such as 'Boogie Woogie St. Louis Blues' and 'Fatha's Idea'. But as Green was in the Army during those years that isn't possible. The closest to clarifying that discrepancy that we've found is wardellgray.org, which would appear to have Green making his debut recordings with Hines in July of 1946 for ARC (American Recording Artists): 'I Ain't Gonna Give Nobody None Of My Jelly Roll', 'Oh My Achin' Back' and 'Let's Get Started'. Howsoever, Green was definitely with Charlie Ventura on tracks per October 18 of '46 ('Cant's Help Lovin' Dat Man', et al), after which he was definitely with Hines into early '48. In May of 1948 Green recorded four tracks with JC Heard for Apollo Records: 'Ollopa', 'This Is It', 'Sugar Hips' and 'Coastin' With J.C.'. He also put down a few tracks with Dave Lambert that May before continuing with Ventura with whom he last recorded in December of '49 ('Take the 'A' Train', et al). On December 2, 1948, Green found himself backing vocalist, Babs Gonzales, as 6 Bips and a Bop for such as 'A Lesson In Bopology' and 'Loop-plu-e-du'. Green would support Gonzales on multiple occasions, their last on November 23, 1958, for 'Minor Revelation'. One of those sessions with Gonzales on January 20, 1949, included JJ Johnson on trombone and Sonny Rollins on tenor sax for 'Capitolizing' and 'Professor Bop'. Green would see Johnson again in '53 and '58, the last in December with The Trombones, Inc. with Johnson arranging 'Soft Winds' and 'Dues Blues'. Green would record with Rollins again on January 17, 1951, with the Miles Davis Sextet: 'Morpheus', 'Down', et al. Green had recorded with Davis on two prior occasions, the first at Carnegie Hall on December 24, 1949 ('Move', et al), the next with Sarah Vaughan on May 18, 1950 in NYC. Among Green's debut titles as a leader was 'Pennies From Heaven' on April 10, 1950. Those were for the Parkway label which then folded before issues were made. His next titles on August 13 were issued as EPs by Jubilee: 'La Vie en Rose', 'Our Very Own, 'Lowland Shuffle' and 'Blues Is Green'. Titles for Jubilee in June of '51 went unissued before recording tracks on October 5 that year which would find their way onto a compilation of various artists titled 'Early Bones'. Having become a session player after the folding of Ventura's band, pianist, Gene Ammons, was the first to knock on Green's door on April 26, 1950, for such as 'Chabootie' and 'Gravy'. Ammons would later contribute to Green's 'Soul Stirrin' on April 28, 1958, and 'The Swingin'est' on November 12, 1958. After Ammons Green backed Sarah Vaughan during a couple sessions in May of 1950 with Miles Davis. The first on the 18th yielded such as 'Ain't Misbehavin'' and 'Goodnight My Love'. The second on the 19th resulted in such as 'Mean to Me'' and 'East of the Sun'. Green's would be a full career, attending above a hundred sessions during the next couple decades, about a quarter of those his own. Green recorded a number of tunes with Count Basie on May 6 of 1951 for the WNEW radio show, 'Make Believe Ballroom', in NYC, such as 'Cheek to Cheek' and 'Every Tub'. On September 18, 1953, he joined JJ Johnson and Kai Winding at the Putnam Central Club in Brooklyn to record both volumes of the album, 'Trombone Rapport' released by Debut. 1956 found them issuing 'Trombone by Three' on Prestige. On April 27-28, 1960, Green participated in Dizzy Gillespie's 'A Portrait of Duke Ellington'. He would join Ellington's orchestra in 1968-69, after which he moved to Las Vegas. His final performance is thought to have been at the 1972 Newport Jazz Festival, ('Bags' Groove' and 'Night in Tunisia), dying five years later of cancer on March 23, 1977, in San Diego. References: 1, 2. Sessions: DAHR; Lord (leading 24 of 103). Discos: 1, 2, 3, 4, 5. Transcriptions: 'Been Walkin'. Further reading: Gordon Jack; LJC; Tad Richards 1, 2; David Wilken. Bennie Green 1948 With JC Heard Composition: Heard Bennie Green 1949 With Charlie Ventura Composition: Roy Kral With Charlie Ventura Composition: Boots Mussulli/Ventura Live Trumpet: Miles Davis Composition: Denzil Best Bennie Green 1951 Trumpet: Miles Davis Composition: Davis Trumpet: Miles Davis Music: John Schonberger 1920 Lyrics: Malvin Schonberger Bennie Green 1958 Album: 'Back on the Scene' Recorded 23 March 1958 Tenor sax: Charlie Rouse Piano: Joe Knight Bass: George Tucker Drums: Louis Hayes Composition: Melba Liston Composition: John Klenner/Sam Lewis Composition: Melba Liston Album: 'Soul Stirrin' Recorded 28 April 1958 Composition: Green With Babs Gonzales Composition: Gonzales End 'Soul Stirrin' Recorded 23 Nov 1958 Composition: Harold Ousley Bennie Green 1960 Composition: Harold Ousley Album: 'Bennie Green' Bennie Green 1964 Album Tenor sax: Sonny Stitt
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 Al Grey Source: BBC |
BBorn in Aldie, Virginia in 1925,
trombonist, Al Grey,
was raised in Pottstown, Pennsylvania. He began playing trombone while
serving in the US Navy during World War II. Upon release from active duty
Grey joined
Benny Carter's outfit with which he first recorded
on December 12, 1945, tracks like 'Cuttin' Time', 'Forever Blue', et al.
January 6 of '46 saw such as 'Jump Call' and 'Patience and Fortitude' along
with 'Lonesome Morning' with vocalist, Lee Richardson. Gray hung with
Carter
into 1948. His session on August 23, 1946, was with
Carter's Chocolate
Dandies with
Buck Clayton on trumpet, yielding 'Sweet Georgia Brown', 'Out
Of My Way', 'What'll It Be' and 'Cadillac Slim'. Grey would partner with
Carter again in 1959-60 supporting
Count Basie. They would reunite
in Malmo, Sweden, with Roy
Eldridge on trumpet on November 7, 1972, for 'Jim
Dog Blues', 'The Nearness of You' and 'Undecided'. They would back
Basie
again in 1976-77, before their final reunion on June 13, 1989, at La Villette in Paris, for a tribute to
Charlie Parker featuring
Jay McShann
which saw release as 'Paris All-Star Blues'. With above 350 sessions to his
name, 40 of those his own, Grey's career requires some compression to stuff
into this little box. A good place to start is Grey's first major orchestra,
that of Lionel
Hampton with which he first recorded per a couple radio broadcasts from Little Rock, Arkansas, in
October of 1948, yielding 'Dues In Blues'. 'Jay Bird', 'Beulah's Boogie',
'Calling Dr. Mancuso' and 'Re-Bop'. Grey stayed with
Hampton to 1952, would
join him again at the Newport Jazz Festival in 1967, yet again in Nice,
France, in 1982 and lastly in 1995 in NYC and Los Angeles. It was with
Hampton on May 21, 1951, that he first recorded with trumpeter,
Quincy Jones, who arranged titles on that date: 'Hannah Hannah', 'Shalom Shalom',
and two parts of 'Eli Eli'. Grey and
Quincy Jones worked sessions for
Hampton
into '52. They later found themselves partners with
Count Basie in 1958-59,
would work together a few times in the sixties, recorded
Jones's 'Gula Matari'
in 1970, and finally supported
Joe Williams at the Monterey Jazz Festival on
September 17, 1977,
Jones arranging. It would be well to drop another big
name here, that of Dizzy
Gillespie with whom Grey experienced several sessions in 1956-57. Grey appeared on three albums by
Gillespie, the first, 'Dizzy in Greece', issued in 1957. They would
reunite twenty some years later to back
Teresa Brewer at Carnegie Hall on
April 5, 1978. Considerably more significant in Grey's career was
Count Basie, joining the latter's
orchestra in time for 'Atomic Basie' on October 21, 1957.
Basie's operation
was Grey's main rope to 1966. Grey would appear on nigh
twenty albums with Basie during
that period. The first was 'Basie Plays Hefti' in 1958. The last was nine
years later, 'Basie's Beat', in 1967. Grey would return in 1970-72 and
1975-77, their last session for
Joe Williams at the Monterey Jazz Festival
per above. Among the countless highlights of Grey's career
was his first session as a leader in Houston in 1953, yielding 'Trombone
Interlude', 'Bid Chief', 'Walkin' One' and 'Over and Under'. A couple more
sessions followed that year and the next. In 1959 he issued his debut album, 'The Last
of the Big
Plungers'. Some 25
more would ensue over the next four decades, including 'Struttin' and
Shoutin' in 1976. Grey's last LP was issued in 1998: 'Echoes of New Orleans'.
Other highlights include a couple of sessions with
Ella Fitzgerald in 1952 with
the Sy Oliver Orchestra, resulting in such as 'A Guy Is a Guy' and 'Angel
Eyes'. Grey would see more of
Fitzgerald in the seventies and eighties.
Another trombonist with whom he frequently worked was Melba Liston.
Their first such occasion was for a CBS radio broadcast from the Birdland in
NYC with Dizzy
Gillespie, recording titles that would find their way onto
'Live in Hi-Fi from Birdland'. More sessions with
Gillespie followed before
one with the Ernie Wilkins Orchestra on September 6, 1957: 'Blue Jeans', 'Ain't
Cha Glad?', et al. On December 20, 1958, Grey participated in
Liston's
'Melba Liston and Her Bones'. June 23, 1959, saw them in the
Quincy Jones Orchestra backing
Ray Charles on 'Let the Good Times Roll', 'Alexander's Ragtime Band', et al.
They would bump shoulders again in May of '73 for pianist,
Randy Weston's,
'Tanjah'. Another highlight was the recording of 'Snap Your Fingers' at the
Birdland on January 31, 1962 with Green's All Stars consisting of
Donald Byrd (trumpet), Billy
Mitchell (tenor sax),
Bobby Hutcherson (vibes),
Herbie Hancock (piano),
Herman Wright (bass) and Eddie Williams (drums). Grey and
Hancock would
later sit in for
Quincy Jones' 'Gula Matari' in March of 1970. Another big
deal was touring with Frank Sinatra
in '65 and backing his operation at the Sands Hotel in Las Vegas in '66. Grey died of
diabetes on March 24, 2000 [obit].
References: 1,
2,
3.
Sessions: J-Disc; Lord (leading 40 of 354).
Discos: 1,
2,
3,
4,
5,
6.
Transcriptions.
Collections: OCA;
U of Idaho.
Further reading: Bob Bernotas;
NPR;
Bret Primack.
Al Grey 1948 With Benny Carter Composition: Count Basie 1937 Al Grey 1962 From 'The Al Grey-Billy Mitchell Sextet': Composition: Grey Composition: Bronisław Kaper/Ned Washington Al Grey 1964 Album Recorded 17 Dec 1963 Chicago Piano: John Young Guitar: Leo Blevins Bass: Ike Isaacs Drums: Phil Thomas Al Grey 1970 With Oscar Peterson Al Grey 1977 Nice, France Recorded 1 July '77 Issued 2002: Tenor sax: Arnett Cobb Composition: Grey Composition: Bronisław Kaper/Ned Washington End 'Ain't That Funk for You' Montreux, Switzerland July 14: Jazz fest setlist July 15: Studio recording: Live recording: Jazz fest setlist Studio recording: 15 July Album: 'Basie Jam: Montreux '77' Note: 'Bookie Blues' was composed by the band along w Grey consisting of Count Basie (piano), Zoot Sims (tenor sax), Benny Carter (alto sax), Roy Eldridge (trumpet), Vic Dickenson (trombone), Ray Brown (bass) and Jimmie Smith (drums). Filmed live with Count Basie Al Grey 1978 ('Jumpin' the Blues') ('The Jumpin' Blues') Live with Jimmy Forrest Composition: Jay McShann Al Grey 1982 Live with Jimmy Forrest Composition: Gershwin Brothers/DuBose Heyward Al Grey 1984 From Buddy Tate's 'Just Jazz': Composition: Nat King Cole Composition: Eddie Durham/Edgar Battle Al Grey 1990 Music: Duke Ellington/Barney Bigard Lyrics: Irving Mills Album: 'Live at the Floating Jazz Festival'
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 Tony Scott Source: All Music |
Born in 1921 in Morristown, New Jersey, clarinetist, Tony Scott,
is thought to have made his debut performance in 1939 with
Ben Webster at Minton's Playhouse in
Harlem. He would record with Webster several years later on a few occasions. He attended Juilliard from 1940 to 1942, after which he served in
the Army. Upon release from duty Scott found employment at the Apollo
Theater with
Lucky Millinder. He would
record a few tracks with
Millinder later in '49. Scott's
earliest known recordings were for Buddy Rich
in December 1945 on titles that would later be released in 1979 as 'A Young
Man and His Drums'. Scott was a major talent with perhaps 180 sessions to
his name, half of those his own. We'll thus abandon the notion of pursuing
his long history, and mention but a few vocalists out of the vast number of
musicians with whom he recorded.
Sarah Vaughan came along on March 6,
1946, to contribute 'All Too Soon' to Scott's initial session as a leader,
that with his Down Beat Club Septet in NYC, also recording the
instrumentals, 'You're Only Happy When I'm Blue' and 'Ten Lessons With
Timothy'.
Ben Webster and Dizzy
Gillespie also
participated, the latter as B. Bopstein. Scott would later support
Vaughan
in a couple sessions in 1950.
Babs Gonzales popped up in
August of '47 for titles to support like 'Roy's Groove' and 'Phipps' Dream'.
Also in on that were Bobby Tucker (piano), Arthur Phipps (bass) and
Roy Haynes (drums). Scott recorded with
Billie Holiday on multiple
occasions, the first on December 10,
1952, at the Apollo Theater, appearing on a radio broadcast with the Buster
Harding Orchestra for renditions of 'Mop Mop', 'Tenderly' and 'My Man'.
Dizzy
Gillespie and
Charlie Parker took part in that. Scott would record
with
Holiday again in 1955-56, the first in '55 for 'Stay with Me', their
last at Carnegie Hall on November 10, 1956.
Scott's debut album is thought to have been the 10 inch, 'Music After
Midnight', issued in 1953. In 1955 he appeared on
Carmen McRae's album, 'Carmen McRea',
recorded December the previous year. Scott released his album, 'Fling', in 1955. During
the early sixties he toured Asia, leading to the release of 'Music for
Zen Meditation' in 1964. 1970 saw the issue of 'Homage to Lord Krishna',
after which Scott based himself in Italy where he shuffled about in poverty
for some years, first living in Sicily from where his parents had immigrated
to the United States. Recording w Romano Mussolini and Franco Cerri in the
seventies, then Mat Mathews in the eighties, Scott also released several
more albums ('Manteca', 'Meditation', 'Boomerang' and 'Lush Life') before
the arrival of 'The Old Lion Roars' in 1996. Scott's memoir, 'Bird, Lady and
Me', was published in 2002. Among the greater pairings in
jazz occurred in 2003 at the Iridium Club [1,
2] in NYC when Scott performed
with clarinetist,
Buddy DeFranco, also of Italian heritage [1,
2,
3].
Scott died on March 28, 2007 [obits:
1,
2,
3],
having released above fifteen albums as a leader. His final recordings had been
made in Milan, Italy, in February of 2006, released in April
a couple weeks after his death in '07 on a CD called 'A Jazz Life'. References: 1,
2,
3,
4,
5,
6,
7.
Sessions: DAHR; Lord (leading 94 of 181).
Discos: 1,
2,
3.
Compilations: 'Music After Midnight: Complete Brunswick Sessions' 1953 by
Fresh Sound 2015;
'Lost Tapes: Germany 1957 | Asia 1962' by JazzHaus 2014: 1,
2.
Discussion:
1,
2.
Further reading: Airos/Prestia;
Graham Reid (Scott and Zen).
Other profiles:
1,
2.
Tony Scott 1946 Tenor sax: Ben Webster Vocal: Sarah Vaughan Music: Duke Ellington 1940 Lyrics: Carl Sigman Tony Scott 1952 Vocal: Billie Holiday Music: Walter Gross 1946 Lyrics: Jack Lawrence Tony Scott 1953 Album recorded 5 Feb '53 NYC Tony Scott 1955 Composition: Gershwin Brothers Tony Scott 1957 Composition: Scott Composition: Chuck Darwin/Paulette Girard Piano: Bill Evans Composition: Scott Recorded 16 Nov '57 NYC Issued 1991: 'A Day in New York' Tony Scott 1960 Album: 'My Kind of Jazz' Baritone sax: Sahib Shihab Trumpet: Clark Terry Trombone: Jimmy Knepper Piano: Bill Evans Bass: Milt Hinton Drums: Dave Bailey Composition: Scott Tony Scott 1963 Composition: Scott Tony Scott 1964 From 'Music for Zen Meditation' Composition: Scott Hōzan Yamamoto/Shinichi Yuize The Murmuring Sound of the Mountain Stream Composition: Scott/Yuize Tony Scott 1967 ('The Beautiful Sound of the Flute') Composition: Scott Tony Scott 1978 Album Tony Scott 1994 Filmed live Drums: Giulio Capiozzo Composition: Dizzy Gillespie Note: Gillespie credited 'Night in Tunisia' to Frank Paparelli in exchange for transcription work. Tony Scott 2007 Music: Juan Tizol/Duke Ellington Lyrics: Irving Mills Album: 'A Jazz Life' Composition: Dizzy Gillespie Album: 'A Jazz Life'
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Donald Byrd Source: Flea Market Funk
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Born in 1932 in Detroit, Donald Byrd, cornetist and trumpeter largely associated with bebop, worked with Lionel Hampton as a teenager. He also made his first recordings at age fifteen, as Sahib Byrd, with the Robert Barnes Sextette: 'Black Eyed Peas' and 'Bobbin' At Barbee's'. (Neither of those are at YouTube but they can be heard at the Crown Propeller Blog.) Upon graduating from high school Byrd joined the Air Force. He took his bachelor's from Wayne State University and his master's from the Manhattan School of Music. While at Manhattan he replaced Clifford Brown in Art Blakey's Jazz Messengers. He is thought to have next recorded on June 28 of 1955 with the Kenny Clarke Septet (including Cannonball and Nat Adderley), several tracks for Savoy including 'With Apologies to Oscar' and 'Bohemia After Dark'. On August 12 that year he recorded a number of tracks with the Oscar Pettiford Octet for Bethlehem Records. He would lay tracks with Pettiford into 1958. Their last such occasion was in Paris on October 29, Pettiford backing Byrd for 'Donald Byrd Plays 'Au Chat''. 1955 was a big year for Byrd, as he released his first album, 'Byrd Jazz', that year, also grooving vinyl with Yusef Lateef (Transition label), George Wallington (Progressive label), Jackie McLean (Ad Lib ADL), Hank Jones (Savoy) and Ernie Wilkins ('Top Brass Featuring Five Trumpets'). He backed Wallington on three more albums in '56 and '57 for a total of five. His last of several sessions backing McLean was on February 11, 1963, for 'Vertigo'. He last recorded with Jones in 1958, they supporting Jim Timmens on 'Here's How-Dee-Do' per the album, 'Jazz Festival in Hi-Fi'. Young Herbie Hancock is thought to have first recorded with Byrd per the Pepper Adams-Donald Byrd Quintet on March 2, 1961, titles such as 'Curro's' and 'Bird House', to be found on the album, 'Out of This World'. Adams and Byrd went back to the Johnny Griffin Sextet in 1958. They would back each other on several occasions to as late as May 15, 1970, for Byrd's 'Electric Byrd'. Byrd and Griffin supported Thelonious Monk on 'Blues Five Spot' on February 25, 1958, and would record together again in Germany in 1964. As for Hancock, he hung with Byrd into 1965. It was a gang consisting of Adams, Hancock, Butch Warren (bass) and Billy Higgins (drums) that recorded Byrd's hard bop LP, 'Royal Flush', on 21 Sep 1961. Byrd supporting Hancock on the latter's album, 'My Point of View', in 1963. Their last session together was to back Wes Montgomery on 'Goin' Out of My Head'. Among Byrd's more frequent partners was pianist, Duke Pearson, who first backed Byrd on October 4, 1959, to record Byrd's 'Fuego'. Pearson usually supported Byrd though they recorded Pearson's 'Wahoo!' on November 21, 1964. Their last session on December 4, 1970, wrought 'Perpetual Love', 'Elmina', 'The Loud Minority' and 'My Love Waits'. Byrd transitioned from bop to jazz fusion in 1969 with the release of the LP, 'Fancy Free'. Byrd continued with fusion during the seventies, then took his doctorate in music education from Columbia University in 1982, he thereafter teaching at various educational institutions. Byrd released his final album, 'Touchstone', in 2000. He passed away on 4 Feb of 2013 in Dover, Delaware [obits: 1, 2, 3, 4]. References: 1, 2, 3, 4. Sessions: JDP, Lord. Discos: 1, 2, 3, 4. Reviews: 1, 2. Analysis: improvisational style compared with Clifford Brown and Freddie Hubbard: James Moore. Facebook tribute. Other profiles: 1, 2. More Donald Byrd under Duke Pearson. Donald Byrd 1947 Robert Barnes Sextet Compositions: Robert Barnes Donald Byrd 1955 From 'Bohemia After Dark' Kenny Clarke Septet Saxophone: Cannonball Adderley Cornet: Nat Adderley Drums: Kenny Clarke Et al Composition: Oscar Pettiford Composition: Cannonball & Nat Composition: Cannonball & Nat Composition: Cannonball & NatEnd 'Bohemia After Dark' Composition: Irving Caesar/Joseph Meyer Roger Wolfe Kahn With Yusef Lateef Composition: Dizzy Gillespie/Charlie Parker Donald Byrd 1956 From 'Byrd's Word' Recorded 29 Sep 1955 Tenor sax: Frank Foster Piano: Hank Jones Bass: Paul Chambers Drums: Kenny Clarke Composition: Byrd Composition: Byrd Composition: Gershwin Brothers Composition: Gene de Paul/Don Raye Composition: Frank Foster End 'Byrd's Word' From 'The Jazz Messengers' Recorded April/May 1956 Tenor sax: Hank Mobley Piano: Horace Silver Bass: Doug Watkins Drums: Art Blakey Donald Byrd 1959 From 'Off to the Races' Alto sax: Jackie McLean Baritone sax: Pepper Adams Piano: Wynton Kelly Bass: Sam Jones Drums: Art Taylor Composition: Sonny Rollins Composition: Byrd Composition: Einar Aaron Swan Donald Byrd 1959 Composition: Tom Adair/Matt Dennis Composition: Byrd Album: 'Byrd in Hand' Tenor sax: Charlie Rouse Baritone sax: Pepper Adams Piano: Walter Davis Jr. Bass: Sam Jones Drums: Art Taylor Donald Byrd 1960 Composition: Mal Waldron Album by various: 'The Soul of Jazz Percussion' 'The Third World' above a 2000 reissue See also Melting Pot Donald Byrd 1961 Pepper Adams Quintet Baritone sax: Pepper Adams Piano: Herbie Hancock Recorded 2 March 1961 Composition: Johnny Mercer Not issued until 1988: 'Out of This World Vol 2' Composition: Ray Rasch/Dotty Wayne Album: 'Out of This World' (Vol 1) Donald Byrd 1969 Album: 'Fancy Free'
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Urbie Green Source: Discogs
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Born in Mobile, Alabama in 1926,
trombonist Urbie Green
began playing professionally at age fifteen upon the death of his father. His
debut band was that of Bill Lagman's. Green also played with Tommy Reynolds,
Jan Savitt and Frankie Carle before his big break with
Gene Krupa arrived in 1947 in
Hollywood, also recording for the first time with
Krupa on July 19,
resulting in such as 'I'll Never Make the Same Mistake Again' and 'Fun and
Fancy Free' with vocalist, Buddy Hughes. With sessions well exceeding 630,
43 his own, Green is one of the most prolific jazz musicians (by random comparison
with others who emphasized recording: Tommy Dorsey 1,153,
Jack Teagarden 507,
JJ Johnson 355). Just so, this brief
account can't but come up looking like a slice of Swiss cheese with not a
little missing. Green would continue with
Krupa off and on, yet numerously,
into the latter fifties, their last sessions in 1961 in NYC. Another band of
emphasis was Woody Herman's. Green
joined Herman in time to record such as 'Lonesome Gal' with vocalist, Dolly
Houston, on January 9, 1951. He would become a member of Herman's Third Herd,
as well as New Third, recording 'Woody Herman and the New Third Herd' on May
30, 1952: 'Blues In Advance', 'Jump In Line', 'Terresita' and 'Stompin'
At The Savoy'. Green remained with
Herman into '53. They backed saxophonist,
Buck Clayton, on a couple sessions
together
in '54, to reunite five years later on October 3, 1959, at the Monterey Jazz Festival.
Another important early band was Clayton's,
Green joining that outfit in time for 'Moten Swing' and 'Sentimental
Journey' on December 14, 1953. Clayton and Green would see numerous
sessions together throughout the fifties, either backing other bands,
especially Benny Goodman's, or
Green supporting Clayton. Their last session together was with
Goodman
per the television broadcast of 'Swing into Spring' from NYC on April 10,
1959, yielding such as 'Let's Dance' and 'Air Mail Special' with a couple
medleys. They would reunite in March of '74, Green backing
Clayton on such as 'Boss Blues'
and 'Case Closed'. With Green's career largely concentrated on big bands often
employing say, four trumpeters, among those with whom Green often got
saddled was Clark
Terry. Green first joined Terry
per the latter's septet on June 2, 1954, putting down tracks that would find
their way onto 'Hot Versus Cool - A Battle of Jazz'. December 21, of 1956
found them backing
Dinah Washington with the
Quincy Jones Orchestra. They
found themselves together numerously from '59 to '67, either backing
Jones
or other bands. On April 29, 1969 they both contributed to a tribute to Duke
Ellington at the White House in Washington DC that would be made available
in 2002 per 'Duke Ellington – 1969 All-Star White House Tribute'. Green
last backed Terry on July 7, 1974,
at Radio City Music Hall in NYC: 'Walkin'', 'Just Friends', etc.. Another
important horn player was trombonist,
JJ Johnson, with whom Green first
recorded in the
Quincy Jones Orchestra alongside trombonists, Jimmy
Cleveland and Kai Winding, on February 25, 1955, for 'Grasshopper'. That
would be found on 'The Giants Of Jazz' in 1963 (along with
Johnson's
'Fatback'). Green and
Johnson recorded frequently together to as late as
1969, both backing other operations or Green supporting
Johnson. In 1968
Johnson appeared on both volumes of Green's '21 Trombones'. Green's first
tracks with Benny Goodman
was a live performance at Basin Street West in NYC in March of 1955, with
Goodman's octet: 'Don't Be That Way', 'Rose Room', etc.. Green contributed
to a shotgun blast of recordings made by
Goodman
that year ('55) and would perform with
Goodman again in 1957-60, '67, '69 and
'75. That last occasion was on November 14 for 'Slipped Disc' and 'Limehouse
Blues'. Limehouse, incidentally, is a district in east London. Composed by
Douglas Furber (lyrics) and Philip Braham (music), the standard was first
made popular in 1922 by
Gertrude Lawrence. Punctuating his career in swing,
Green was with Goodman
on August of '55 to
record the soundtrack to 'The Benny Goodman Story' arranged by
Count Basie. Green would see
Basie again in January of '63 to
record 'This Time by Basie'. After recording 'The Benny
Goodman Story' Green ran
Goodman's band for a three-month tour. A more longtime important associate was
pianist,
Dick Hyman, they putting down tracks together for the first time
With Woody Herman on November 14, 1955, in NYC with
Rosemary Clooney at
vocals, such as 'It's Bad For Me' and 'Goodbye'. They put down numberless
titles together over the next forty years, either supporting other
operations or
Hyman siding Green. Their last session
together didn't arrive until May
1994 for
Hyman's 'From the Age of Swing'. Another trumpeter with whom Green
frequently recorded was Doc Severinsen. Their first such occasion was with
the Benny Goodman
Orchestra on December 12, 1955: 'Don't Be That Way' and
'King Porter Stomp'. They would attend numberless sessions together over the
coming decade, either supporting other operations or Severinsen siding Green. In
1964 Green backed Severinsen on 'The Big Band's Back In Town'. Rounding out
Green's career in swing was
Tex Beneke on February 24, 1956: 'Lisbon Antigua', 'Montat,
'Lullaby of Birdland' and 'No, Not Much'. Green would join
Beneke on a few
more occasions in the latter fifties, their last together on
September 26, 1960, resulting in such as 'Ballad of the Alamo' and 'Here's
to the Ladies'. In November of 1960 Green took a step away from swing with Dizzy
Gillespie to contribute to 'Gillespiana'. On May 22, 1961, he recorded
Gillespie's 'Perceptions'. Among countless others to sprinkle Green's career
were
Charlie Parker ('51 with
Herman),
Maynard Ferguson ('58, '64),
Jimmy McPartland ('60,
'67), Enoch Light and the Light Brigade ('62, '70),
Jimmy Smith
(1962-64), Astrud Gilberto ('64, '67, '77),
Pee Wee Russell ('67),
Eddie Daniels ('74, 1977-80) and Delaware Water Gap ('80). Other highlights
in Green's career include his first session as a leader on December 27,
1953, to result in ''New Faces - New Sounds'. That brought some notoriety
when 'Down Beat' magazine selected him as Critics New Star in 1954. Among
highlights in the sixties were opportunities to fill trombone on numerous
dates in the band of
Count Basie in 1963, including w
Ella Fitzgerald in July
for seventeen tracks like 'Shiny Stockings' to get variously issued by
Verve. Urbie directed the Tommy
Dorsey ghost band in 1966 and '67. Sometime in the seventies Green moved
to a farm in Pennsylvania, beginning to slow his pace in the eighties after
recording 'Just Friends' in Atlanta in October of 1981. Highlighting the
nineties was 'Sea Jam Blues' recorded live
aboard ship on the SS Norway in the Caribbean Sea in May and June of 1995
[Lord] w Urbie's son, Jesse Green
[1,
2], on piano w Chris Potter (sax), Paul Rostock (bass) and Glenn Davis
(drums). Jesse had recorded 'Lift Off' in 1992 (minus Urbie). Urbie had
also been elected into the Alabama Jazz Hall of Fame in '95. Having released about
thirty name albums, most prior to the eighties, Green performed annually at the COTA
Festival in Delaware Water Gap, Pennsylvania, until his death on 31 Dec
2018 [obit]. Two marriages had produced four children. Compilations containing multiple albums have been issued variously.
References: 1,
2,
3,
4
(alt). Discographies + Lord:
1,
2,
3,
4,
5,
6.
Green in visual media.
JazzWax reviews: 1,
2,
3.
Facebook tribute page.
Other profiles: 1,
2,
3,
4,
5. Urbie Green 1951 I'll Never Make the Same Mistake Again With Gene Krupa Vocal: Buddy Hughes Possibly Green's first recording Composition: Ben Oakland Herbert Magidson Milton Berle Urbie Green 1951 Composition: Al Cohn Composition: Tiny Kahn Note: Above titles by the Woody Herman Orchestra. Trombones: Jerry Dorn, Green and Fred Woods. Radio broadcast from the Municipal Arena, Kansas City, MO, on 22 July 1951. Issued on 'Bird Flies with the Herd' (France Mainman BFWHCB617) date unknown. Also released in Russia on Alamac QSR 2442 in 1972 and in Japan on Sound Hills 8017/34 in 2006, Urbie Green 1954 Music: George Shearing 1952 Lyrics: B.Y. Forster (George David Weiss) Urbie Green 1955 Composition: Green Album: 'Blues and Other Shades of Green' Urbie Green 1956 Duet with Kai Winding Album: 'Jay & Kai + 6' Urbie Green 1959 Recorded 1959 Issued 2013 Urbie Green 1961 LP: 'Persuasive Trombone of Urbie Green' Composition: Harry Warren/Mack Gordon Composition: Clarence Gaskill Leo Robin Russ Columbo Urbie Green 1964 Vocal: Astrud Gilberto Composition: Bart Howard Urbie Green 1968 Composition: Jimmy McHugh/Dorothy Fields Urbie Green 1970 Album with Antonio Carlos Jobim Urbie Green 1973 From 'Bein' Green': Composition: Dick Hyman/Green Composition: Dick Hyman/Green Urbie Green 1975 Live at the Village Jazz Lounge Composition: Hoagy Carmichael/Mitchell Parish Urbie Green 1977 Album Composition: Bruce Fisher/Billy Preston Album: 'Senor Blues' Urbie Green 1982 Music: Joseph Kosma Lyrics French: Jacques Prévert Lyrics English: Johnny Mercer
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Clark Terry Source: Notes on the Road
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Born in 1920 in St. Louis, Missouri, not only did trumpeter Clark Terry release his first album in 1955, he produced three of them. The example below, 'Swahili', is from his album by the same name. Terry played professionally in the St. Louis area until joining the U.S. Navy in 1942. Upon leaving the Navy in 1945 Terry found employment with Lionel Hampton and George Hudson. Terry is thought to have first recorded with his brief-lived Section Eights band in a V-Disc session in February of 1947, those tracks: 'Phalanges' (V-Disc 783), 'Sleep' (V-Disc 783), 'Flat 5 On the Avenue' ((unissued), 'Billie's Bounce' (V-Disc 805), 'Terry's Tune' (unissued) and 'On the Sunny Side of the Street'. On April 29 the same year Terry laid a few tracks with the Eddie Vinson Orchestra for the Merc and Bleu labels, sharing trumpet with Volley Bastine and John Hunt on 'Luxury Tax Blues', 'Railroad Porter’s Blues' and 'Gonna Send You Back Where I Got You From'. Terry began arranging upon joining Charlie Barnet, recording about fifty tracks with Barnet from September 20 through December 7 of 1947. His first session with Count Basie occurred on September 11, 1948: 'X-1', 'Futile Frustration', 'Am I Asking Too Much', 'Evil Gal Blues', 'Good Bait', 'Moon Nocturne', 'Paradise Squat', 'I Want to Cry', 'Blue Skies' and 'The King'. Terry exchanged Basie for Duke Ellington in 1951, with whom he worked until 1959. Between 1960 and 1972 he was a staff musician for NBC, including 'The Tonight Show'. On June 14, 1962, Terry participated in pianist, Oscar Peterson's, 'Bursting Out'. He first laid tracks with JJ Johnson on June 9, 1964, they supporting Lalo Shifrin's 'New Fantasy'. On December 7 he contributed to Johnson's album, 'J.J.!'. He had supported Johnny Dankworth's 'The Zodiac Variations' on October 9, 1964, with trombonist, Bob Brookmeyer. They would see multiple sessions together in the sixties, also co-leading a few albums. Terry was instrumental in the founding of Jazzmobile in Harlem in 1965, an educational organization that taught jazz at public schools and jazz camps. His first occasion to record with Ella Fitzgerald arrived with Duke Ellington at the Hollywood Bowl on July 1, 1967, she performing 'Cotton Tail'. He would see more of Fitzgerald in '74 and the early eighties. He became director of the Clark Terry International Institute of Jazz Studies in 1994. He began hosting the Clark Terry Jazz Festival in 2000. Yet active as of this writing, Terry had appeared at more than fifty jazz festivals, toured internationally, served as a U.S. State Department jazz ambassador in Africa and the Middle East, performed for seven U.S. Presidents, composed above 200 songs and attended more than 940 recording sessions, 122 this own. (By way of comparison, others prolific were Louis Armstrong: 620, Sweets Edison: 531, Dizzy Gillespie: 501). Among his many awards, Terry was made a Jazz Master in 1991 by the National Endowment for the Arts, received the Grammy Lifetime Achievement Award in 2010 and held sixteen honorary doctorates. The University of CA Press published 'Clark: The Autobiography of Clark Terry' in 2011 [1, 2, 3]. Terry died on February 21, 2015 [obits: 1, 2]. References encyclopedic: 1, 2, 3; musical: 1, 2, 3, 4. Sessions: DAHR; J-Disc; Lord. Discos: 1 (scratch Terry Clark), 2, 3, 4. Reviews. Interviews: Les Tomkins 1975, NAMM 1994, William Brower 1999 (pdf). Collections. Further reading: Marc Myers, Riverwalk, Arnold Jay Smith. Other profiles: *. Biblio: 'Terry Tunes' (William Paterson University ?). See also the documentary 'Keep On Keepin’ On' (2015). Terry isn't featured (among three other trumpeters) in the 1948 release of 'Spasmodic' below. But he is highlighted in the 1950 release of 'Little White Lies' in 1950. Clark Terry 1947 V-Disc 805 (Side B: Art Lund with Benny Goodman) With the Section Eights Composition: Terry/Elliott/King Note: Lord's sessionography typos 'Billy's' as 'Billie's'. This title not to be confused w Charlie Parker's 1945 'Billie's Bounce' dedicated to the secretary of trumpeter and agent, Billy Shaw, the same Shaw to whom Gillespie and Parker dedicated 'Shaw 'Nuff' the same year. Above title also issued on the 1998 compilation, 'V-Disc All Stars: Mostly Instrumentals', per Sounds of Yester Year DSOY881. With Charlie Barnet Music: Peter de Rose Lyrics: Mitchell Parish V-Disc 783 (Side A: Buddy Weed Trio) With the Section Eights 'Phalanges' composed by Terry 'Sleep' composed by Earl Lebieg Note: 'Phalanges' and 'Sleep' also issued on the 1998 compilation, 'V-Disc All Stars: Mostly Instrumentals', per Sounds of Yester Year DSOY881. Clark Terry 1948 With the Count Basie Orchestra Composition: George Gershwin Clark Terry 1950 With the Count Basie Octet Composition: Walter Donaldson Clark Terry 1955 Composition: Quincy Jones LP: 'Clark Terry' Clark Terry 1957 Recorded Chicago 6 Aug 1957 Composition: Terry Gonsalves LP: 'Cookin'' Tenor sax: Paul Gonsalves Piano: Willie Jones Bass: Jimmy Woode Drums: Sam Woodyard Note: Above title also issued on the 1998 Chess compilation, 'Daylight Express'. Clark Terry 1958 From 'Out on a Limb' Recorded Chicago 26 July 1957 Composition: Terry/Louie Bellson Composition: Terry Note: Above titles also issued on the 1998 Chess compilation, 'Daylight Express'. Clark Terry 1960 Filmed live in Belgium Quincy Jones Big Band Flugelhorn: Terry Composition: Bobby Timmons Clark Terry 1961 From 'Everything's Mellow' Piano: Junior Mance Bass: Joe Benjamin Drums: Charlie Persip Composition: Edgar Leslie/Horatio Nicholls Composition: Allie Wrubel Composition: Terry Composition: Harry Warren/Mack Gordon Clark Terry 1967 JATP filmed live in London Music: Hoagy Carmichael 1927 Lyrics: Mitchell Parish 1929 Clark Terry 1977 Filmed live Composition: Antônio Maria/Luiz Bonfá Filmed live Music: Charles Newman 1928 Lyrics: Carmen Lombardo First issue: Guy Lombardo 1928 Clark Terry 1994 Composition: Count Basie/Harry Sweets Edison Album: 'Portraits' Clark Terry 2000 Filmed live at Jazzwoche Burghausen In order as performed: Composition: Isham Jones/Gus Kahn 1922 First issue: Isham Jones 1922 Music: Harold Arlen 1939 Lyrics: Yip Harburg For the film 'The Wizard of Oz' Sung by Judy Garland Composition: Terry? Music: Duke Ellington/Barney Bigard Lyrics: Irving Mills Composition: Count Basie
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One of Art Farmer's Flumpets Source: Flickr/jwillmusic
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Born in 1928 in Council Bluffs, Iowa, trumpet and flugelhorn player, Art Farmer, was raised in Phoenix, Arizona, since age four. He was twin brother to bassist, Addison Farmer [1, 2, 3, 4], w whom he practiced in high school. They recorded together numerously from Art's first sessions in 1948 to as late as the 1960 Newport Jazz Fest in Rhode Island three years prior to Addison's death of SADS (sudden arrhythmic death syndrome) in early 1963. Addison had already laid tracks w Monte Easter as early as 1945 [45Cat], Charlie Parker in 1946-47, Howard McGhee in '47, Teddy Edwards in '47, Jay McShann in '48 and Roy Porter in '48 [Lord]. Art Farmer debuted as a band leader on July 2, 1953, putting together the Farmer Septet in NYC to record 'Work of Art', 'The Little Bandmaster', Mau Mau' and 'Up in Quincy's Room' (Prestige LP 7031). His first recordings, however, had been with Jay McShann in Los Angeles on an indeterminable date in early 1948: 'Black Train Blues'/'You Turned Your Back On Me' (Down Beat 148) and 'No Name Boogie' and 'Thinkin' 'Bout My Baby' (Down Beat 150). On June 28 of 1948, also in Los Angeles, Farmer laid his first tracks with R&B vocalist, Big Joe Turner, and boogie woogie pianist, Pete Johnson, toward the issue of 'Radar Blues'/'Trouble Blues' (Down Beat 151), 'Wine-O-Baby'/'B & O Blues' (Down Beat 152), 'Christmas Date Boogie'/'Tell Me Pretty Baby' (Down Beat 153) and 'Old Piney Brown is Gone'/'Baby Won't You Marry Me' (Down Beat 154). On January 19, 1949, Farmer recorded several tunes with Roy Porter's 17 Beboppers: 'Pete's Beat', two takes of 'Sippin' with Cisco', 'This Is You' and 'Gassin' the Wig'. Lord has those issued on Savoy MG 9026 excepting 'Gassin' the Wig' on Savoy 944. April of '49 saw tracks with saxophonist, Wardell Gray, in Hollywood: 'Bop' unissued and 'Scratch' ('Donna Lee' Crown CLP 5008) [Accardi; Lord]. Another session in April saw 'Perdido' and 'The Great Lie' (Spotlite SPJ 145) with the Kenton All Stars. Farmer continued with Porter into 1950, held a session with Ike Lloyd in June of '51, then was back strong with Gray in '52. One hour older than his brother, Addison, the pair had moved to Los Angeles in 1945. They worked together in a cold storage warehouse at first, but were soon getting professional gigs. Among who first hired Farmer were Horace Henderson, Jimmy Mundy and Floyd Ray. Getting hired by Johnny Otis was something to toast, until the demands of working with that band left Farmer with a lacerated lip, forcing him to quit four months later. He then went to New York to acquire technique training, working as a janitor until he was ready to freelance in 1947. Farmer returned to Los Angeles in 1948 to work, per above, with such as Jay McShann, Benny Carter, Roy Porter, Gerald Wilson and Wardell Gray. Even so, Farmer had to keep day jobs until being hired by Lionel Hampton in 1952, with whom he toured Europe. Returning to New York, Farmer made his first recordings as a leader, per above, in 1953. Thereafter in great demand, among those with whom he performed in the fifties were Gigi Gryce, Horace Silver, Gerry Mulligan, Thelonious Monk, Charles Mingus, Lester Young, George Russell, Quincy Jones, Oliver Nelson, Edgard Varèse, Hal McKusick and Benny Golson. With all that beneath his hat, his last recordings per Lord w his brother, Addison, arrived w his Jazztet [1, 2] at the Newport Jazz Fest in 1960, titles like 'It Ain't Necessarily So' and 'Killer Joe' later issued in 2017 per Wolfgang's Vault on 'Art Farmer & Benny Golson Jazztet: Live at Newport Jazz Festival 1960'. Addison moved onward from 1960 to '62 w Mose Allison, Teddy Charles, Anthony Ortega and Mal Waldron before his death in NYC on 20 Feb 1963. As for Art, he put together an important quartet with guitarist, Jim Hall, bassist, Steve Swallow, and drummer, Walter Perkins, in the early sixties. It was about that time he began playing flugelhorn rather than trumpet. Farmer toured Europe with Jimmy Heath in 1965, afterward working in the pit orchestra of Elliot Lawrence on Broadway, then moved to Europe in 1968 to play with Kenny Clarke, eventually calling Vienna home, joining the Austrian Radio Orchestra. During the seventies and eighties Farmer spent most of his time traveling from one gig to the next. In 1982 he regrouped the Jazztet, which he had formed in 1959 with tenor sax man, Benny Golson. Farmer published his book on improvisational method, 'The Art of Art Farmer' (Charles Colin), in 1984. In 1989 Farmer helped David Monette design the flumpet, a flugelhorn-trumpet hybrid [1, 2, 3, 4]. He finally bought a second house in New York in the early nineties, after two decades of commuting between there and Vienna. During the nineties he performed with saxophonist, Clifford Jordan, at the Sweet Basil Jazz Club. He also played at the Village Vanguard. Farmer died in New York City on October 4, 1999 [obit]. His last of about 400 sessions, more than a quarter of them his own, are thought to have been per a tour to Europe in 1998. Recordings in February in Poland that year saw the issue of 'Art Farmer Plays Standards'. A final track, 'Soon', was also put down in February in Vienna. References encyclopedic: 1, 2; musical: 1, 2, 3, 4, 5. Timeline. Sessions: Cohen-Fitzgerald: 1, 2; Lord. Discos: Farmer: 1, 2, 3, 4; Farmer-Golson Jazztet: 1, 2. Compilations: 'The Art Farmer Septet Plays the Arrangements and Compositions of Gigi Gryce and Quincy Jones' 1953/54 by Prestige 1956. Farmer in visual media: 1, 2, 3. Compositions. Transcriptions. Interviews: 1965/88 w Les Tomkins, 1991 w Steven Isoardi, 1994 w Ted Panken, 1995 (pdf) w Dr. Anthony Brown. Criticism: JazzWax: Farmer w Prestige 1953-55; 'Aztec Suite' 1959; w Jim Hall 1963. Awards: 1, 2. Further reading: Farmer's early career in Los Angeles; Farmer's move to Vienna, Austria, in 1968; The Farmer-Golson Jazztet; various musicians on Farmer. Other profiles: 1, 2, 3. Art Farmer 1948 With Big Joe Turner Composition: Big Joe Turner With Big Joe Turner Composition: Big Joe Turner With Big Joe Turner Composition: Big Joe Turner With Big Joe Turner Composition: Big Joe Turner Art Farmer 1949 With Roy Porter Composition: Robert Ross With Roy Porter Composition: Joseph Howard/Roy Porter/Ralph Bass Art Farmer 1952 Saxophone: Wardell Gray Composition: Art Farmer Art Farmer 1954 Composition: Art Farmer/Quincy Jones Arrangement: Quincy Jones Sax: Gigi Gryce Composition: Gigi Gryce Arrangement: Gigi Gryce Art Farmer 1957 Art Farmer Quintet Composition: Burton Lane/Alan Jay Lerner Art Farmer 1958 Album Art Farmer Quintet Art Farmer 1972 Composition: Paul Williams/Roger Nichols Arrangement: Hans Salomon Art Farmer 1975 What Are You Doing the Rest of Your Life Piano: Cedar Walton Bass: Sam Jones Drims: Billy Higgins Composition: Michel LeGrand Alan Bergman Marilyn Bergman Art Farmer 1977 Vocal: Yusef Lateef Composition: Yusef Lateef Composition: Dave Grusin Arrangement: Dave Grusin
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Art Farmer Photo: Francis Wolff Source: All About Jazz
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Humphrey Lyttelton Source: BBC
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Born in 1921 in Berkshire, England,
Humphrey Lyttelton
had served as a second lieutenant in the Grenadier Guards during World War II
when he inadvertently made his first radio broadcast on VE Day, 1945. Playing
his trumpet from a wheelbarrow during celebrations, the BBC happened to record
it. The recording yet exists but not at YouTube. Upon release from service Lyttelton
attended Camberwell Art College, then became a cartoonist for the 'Daily Mail'.
His first intentional recordings were on February 5, 1946, with his own
band, those titles unissued: 'Sister Kate, 'Tiger Rag' and 'That Da Da
Strain'. His next recording on the 7th, 'At
Sundown', for drummer, Carlo Krahmer, also went unissued. Krahmer had backed
Lyttelton's first session. Further unissued sessions, both for Krahmer and
George Webb's Dixielanders, followed into 1947 until first vinyl got
released by Esquire with Krahmer's Chicagoans per a concert at Town Hall in
Birmingham on November 21, 1947, titles like 'Original Dixieland One-Step'
and 'Fidgety Feet'. In 1949 he met Sidney Bechet,
who sat in with Lyttelton's band on November 13, 1949, in London to
record 'Some of These Days', 'Black and Blue', 'Who's Sorry Now', 'Sleepy
Time Down South', 'I Told You Once, I Told You Twice' and 'Georgia On My
Mind'. Lyttelton's original main interest
in music was the traditional jazz of New Orleans, though his repertoire later
expanded. In 1967 Lyttelton became a presenter for 'Best of Jazz' on BBC Radio
2, a position he held to the month of his
death on 25 April 2008. He was working
on the album, 'Cornucopia 3' when he passed away, which has been available since
2009. Beyond a highly prolific recording career of above 300 sessions, the
majority his own, Lyttelton's favorite pursuit was calligraphy. References:
1,
2,
3,
4,
5,
6.
Discos: 1,
2,
3.
Lyttelton in visual media.
Further reading: Guardian.
Per 'Tin Roof Blues' 1978 below, that had been co-authored in 1923 amongst
the
New Orleans Rhythm
Kings (NORK) consisting of Paul Mares, George Brunies,
Ben Pollack, Leon Roppolo and
Mel Stitzel. Lyrics were by music publisher, Walter Melrose. Humphrey Lyttelton 1949 I Told You Once, I Told You Twice With Sidney Bechet Composition: Traditional With Sidney Bechet Composition: Shelton Brooks Humphrey Lyttelton 1954 Composition: Spencer Williams 1928 Live performance Composition: Johnny Parker Composition: Porter Steele/Walter Melrose Composition: Sidney Bechet Humphrey Lyttelton 1956 Composition: Lyttelton Composition: Bernice Petkere Humphrey Lyttelton 1978 Live with the Harlem Ramblers Composition: See above Humphrey Lyttelton 1982 Live with the Harlem Ramblers Composition: Al Jolson/Buddy DeSylva/Vincent Rose Humphrey Lyttelton 1986 Live performance
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| Born in 1930 in Hertfordshire, English
trombonist and bandleader Chris
Barber first recorded in October 1949 for the Tempo label, with
a band consisting of Hugh Middleton (cornet), Alex Revell (clarinet), Colin
Bennett (piano), Arthur Hoxley (banjo) and John Westwood (drums). Those tracks
were 'Mabel's Dream' (rejected), 'Working Man Blues', 'Gatemouth' and 'Doctor
Jazz' (rejected). That's per JDP. Tradjazzradio has them all
issued on 78s. In March of 1951 Barber recorded for Esquire with his New
Orleans Jazz Band: 'Oh Didn't He Ramble' and 'Snake Rag' (unissued). In August,
also for Esquire, though with his Washboard Wonders, he grooved 'Everybody Loves
My Baby' and 'Whoop It Up'. Back with his New Orleans Jazz Band, Barber then
recorded for Tempo again in October of 1951: 'Camp Meeting Blues', 'Stomp Off,
Let's Go', 'When Erastus Plays His Old Kazoo' and 'Misty Morning'. In 1953 Barber
recorded with Ken Colyer's Jazzmen. When Colyer left the group in 1954 Barber
renamed it the Chris Barber Band, the same year he began working with Irish
blues vocalist, Ottilie Patterson.
Barber's first session with Patterson
was on January 9, 1955, at Royal Festival Hall in London, titles like 'St.
Louis Blues' and 'I Hate a Man Like You'. Their last of numerous sessions
was nigh thirty years later on January 19, 1984 in Netherlands: 'Salty Dog',
'Doctor Jazz', et al. Barber made the first of his many visits to the States in 1959 to play with
Muddy Waters. He was a UK tour manager for Waters, as well as blues artists,
Big Bill Broonzy, Brownie McGhee and Sonny Terry. Among Barber's longest musical
associations was with guitarist, John Slaughter, who played in Barber's band
from 1964 until his death in 2010. (His absence from 1978 to 1986 was filled
by Roger Hill.) Of the numerous bands Barber has formed, as of this writing
he has most recently toured with the Big Chris Barber Big Band (members)
assembled nigh two decades ago in time to record 'The First Eleven' on 16
Dec 2001 in Netherlands. References: 1,
2,
3.
Sessions: JDP, Lord (leading 438 of 541).
Discos: 1,
2,
3,
4,
5.
IMDB.
Official YouTube channel.
Further reading: archives: 1962;
Martin Chilton. Bibliography including Barber's memoir of 2014,
'Jazz Me Blues'.
More Chris Barber under Ottilie Patterson in
Blues 4. Several of the later edits below are live performances. Chris Barber 1954 With Ken Colyer's Jazzmen Composition: Colyer With Ken Colyer's Jazzmen Composition: Papa Oscar Celestin Vocal: Lonnie Donegan Music: Unknown Text: Tom Dorsey Chris Barber 1955 Composition: Jack Palmer/Spencer Williams Lord, Lord, Lord You Sure Been Good to Me Film: 'Momma Don't Allow' Composition: 1902 John Rosamond Johnson James Weldon Johnson Bob Cole Vocal: Ottilie Patterson Composition: Richard Jones 1924 Chris Barber 1956 Composition: Kerry Mills Chris Barber 1957 Music: Ted Snyder 1921 Text: Francis Wheeler/Harry Smith When the Saints Go Marching In Vocal: Ottilie Patterson Composition: Unknown Chris Barber 1959 Composition: Sidney Bichet Chris Barber 1984 With the Maryland Jazz Band of Cologne Composition: King Oliver Chris Barber 1990 Music: Lew Pollack 1914 Text: Ray Gilbert Chris Barber 1992 Composition: King Oliver Chris Barber 1994 Filmed live Music: Wilhelm Grosz 1934 Text: Jimmy Kennedy Composition: King Oliver Chris Barber 1996 Filmed live Composition: Original Dixieland Jass Band First recorded by ODJB in 1917 ('I Scream You Scream We All Scream') Filmed live Composition: Robert King Billy Moll Howard Johnson Chris Barber 1997 Filmed live Composition: Unknown
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Chris Barber Source: Chris Barber
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Born in 1928 in Verdun, Quebec, Canadian Maynard Ferguson (trumpet, flugelhorn, sax) comes to 353 sessions in Lord, 107 of those his own. Though not especially prolific as recording sessions go, that's yet a pretty full career in itself necessarily abbreviated: Ferguson is accounted a prodigy who, though he was an excelling student, dropped out of high school to play horn with greater focus. Ferguson had first worked professionally at age 13 (1941) for CBC (Canadian Broadcasting Corporation). Among numerous broadcasts, 'Serenade for Trumpet in Jazz' was composed by Morris Davis for him to play. In 1948 he moved to the United States where he played in the orchestra of Boyd Raeburn. Lord's discography lists a first recording session per Jimmy Dorsey on March 3, 1949, titles for transcription (sold to radio stations) by Standard such as 'Stop, Look and Listen' and 'Tangerine'. While with Dorsey Ferguson backed that bet with Charlie Barnet, recording with his orchestra on April 2: 'Be-Bop Spoken Here' and 'Gloomy Sunday'. Ferguson stuck with both Dorsey and Barnet into 1949, 'All the Things You Are' one of numerous titles with the latter. He would join Barnet's orchestra again in '54 and '56, their last occasion on May 8 in Hollywood for such as 'Blue Rose' and 'Lumby'. At about 350 sessions during his career, 107 of those his own, Ferguson was too busy a bee to trace his entire route in detail. The Stan Kenton Orchestra became Ferguson's main rail in 1949, that in for 'Salute' gone down on January 30, 1950. Kenton formed his 40-piece Innovations Orchestra for its first session on February 16 at the Sweets Ballroom in Oakland, CA, titles resulting like 'Soliloquy' and 'In Veradero'. Come December 1950 Ferguson featured in Kenton's band on the 'Ed Sullivan Show'. Touring points on the west and east coasts w Kenton, Ferguson's last of numerous sessions with him per Lord was on February 12, 1956, in Hollywood, such as the 'Peanut Vendor' and 'Unison Riff'. Ferguson become a session player for Paramount about that time, to appear on 46 soundtracks. In 1956 he put together the Birdland Dream Band to play at the Birdland jazz club in NYC. Tracks recorded in September resulted in 'The Birdland Dreamband Vol 1 & 2'. In 1963 Ferguson moved to Millbrook, New York, to partake in psychedelics experiments conducted at Harvard University by Timothy Leary and Ram Dass. He began teaching music in India in 1967. Come tracks in London in late 1968 for The Ballad Style of Maynard Ferguson' issued on CBS S63514 in '69. Ferguson was backed by the Keith Mansfield Orchestra on that. Among highlights in the seventies was his big band on 'Live at Jimmy’s' gone down on 52nd Street in NYC on 10 July 1973 [review]. April of 1974 brought 'Chamelion' [liner notes]. Ferguson gathered together the septet, High Voltage, in 1986, albums recorded by that group in '87 and '88 issued as 'High Voltage Vol 1 & 2'. He formed the nine-piece Big Bop Nouveau in 1988, first recording with that ensemble in Jacksonville, Florida, that year, resulting in the album, 'Big Bop Nouveau'. Several albums by that group followed until 'Brass Attitude' in 1998, recorded in May in Santa Barbara, CA. Ferguson acquired an Honorary Doctorate from Rowan University in 2000. Brad Walseth and Phil Bonyata review a concert performance by Ferguson and his Big Bop Nouveau Band in 2003. Ferguson died on August 23, 2006, in Ventura, California, of kidney and liver failure [obits: 1, 2, 3]. His last CD, 'The One and Only', was issued posthumously in 2007, recorded in July the year before [review]. References encyclopedic: 1, 2; musical: 1, 2, 3, 4, 5. Sessions: Lord; multiple issues; personnel. Discos: 1, 2, 3, 4, 5. Ferguson in visual media: IMDb; live performance video archives: 1, 2. Interviews: JJ Martin 1973, Canadian TV 1985, Bret Primack 1998, John La Barbera 2000, NAMM 2006, with Lisa Ferguson (daughter) 2009, various. Further reading: tributes by former band members, Mat Keller, Gene Lees, Marc Myers, Woodrow Wilkins. Biblio: 'Maynard!' by Ralph Jungheim (Buster Ann Music 2009). See also MFTP survey. Maynard Ferguson 1949 With Charlie Barnet Composition: Jerome Kern/Oscar Hammerstein II With Jimmy Dorsey Composition: Joe Young/Sam Lewis Maynard Ferguson 1950 Capitol CE 80148 With Stan Kenton Label credit: "Created and Scored by Shorty Rogers" 'Ed Sullivan Show' With Stan Kenton Composition: Shorty Rogers Maynard Ferguson 1959 Composition: Ferguson/Willie Maiden Album: 'Plays Jazz for Dancing' Maynard Ferguson 1969 Composition: Mike Abene Filmed live Music: Leonard Bernstein Lyrics: Stephen Sondheim For the musical 'West Side Story' Broadway premiere: 26 Sep 1957 Film premiere: 18 Oct 1961 Maynard Ferguson 1970 Television performance Composition: Keith Mansfield Composition: Jimmy Webb Composition: Jule Styne Television performance Maynard Ferguson 1975 Concert Maynard Ferguson 1977 'Dinah Shore Show' Composition: Bill Conti/Carol Connors/Ayn Robbins Live at the Conrad Hilton Ballroom Maynard Ferguson 1982 Concert Maynard Ferguson 1983 Live Composition: Dizzy Gillespie Thelonious Monk Charlie Parker Maynard Ferguson 1987 Concert Maynard Ferguson 1992 Cork Jazz Festival Composition: Ary Barroso/Bob Russell Maynard Ferguson 2007 Posthumous issue Composition: Billy Rose Edward Eliscu Vincent Youmans Arrangement: Chip McNeill
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Maynard Ferguson Source: Persons Info
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Trombonist
and bass trombonist,
Benny Powell,
was born in 1930 in New Orleans.
Powell generally played supportive
roles, releasing little of his own material. His heydays were with
the big bands of
Count Basie and
Thad Jones/Mel Lewis,
both in which three trombones were standard personnel and Powell rarely
featured. He was nevertheless a solid player and steady musician, good
lumber in the house that jazz built. He began playing professionally at age
14. Four years later in '48 he was taken up by Lionel
Hampton. His first titles with
Hampton on January 28 of '49 were 'Hamp's Boogie No 2' (Decca 24607), 'Hamp's Gumbo'
(MCA 1351) and 'Beulah's Sister's Boogie' flip side of 'Wee Albert' on Decca
24699.
On April 28 he may have joined
Hampton for 'What's Happening Baby', 'Drinkin' Wine' and 'Moonglow'. The month of May found Powell
recording 'The Hucklebuck', 'Baby, You're
Great', 'Hampology' and 'Flying Home' with
Hampton and
Wes Montgomery. August found him recording 'Beulah's
Boogie' and 'Drumology' with Hampton. The following December
they recorded 'Rag Mop', 'For You My Love'
and 'Sky Blue'. Those
were followed with a few sessions in January of 1950 with such as 'I've Been a Fool', 'How You Sound',
'I Almost Lost My Mind', 'I'll Never Be Free', 'Symphony in Jazz' and 'Everybody's Somebody's Fool'.
Powell's last of numerous recordings with
Hampton were at the Kingston Community Centre in Ontario, Canada, on
June 26, 1952, for 'What Did I Say?' and 'Midnight Sun'. He had already
joined
Count Basie's busy operation in
time for a session on January 19 of '52 in NYC for such as 'New Basie Blues'
and 'Sure Thing'.
Basie's orchestra would be
Powell's home on tour until 1963, Powell on numerous
Basie albums during that
decade. Among operations he supported in the sixties were the Duke
Ellington Orchestra on April 25 for 'Up in Duke's Workshop' and the
Thad Jones/Mel Lewis
Orchestra on June 17 for 'Tow Away Zone', 'Central Park North' and 'Jive
Samba'. Powell stuck with the Thad Jones/Mel Lewis
organization into 1970, the year he joined the band of the 'Merv
Griffin Show', which he followed from its base in New York to
Los Angeles. 'Ya Betcha B.P.!!' was Powell's first name
album, recorded in Los Angeles, issued in '79. That was followed by 'Coast to Coast',
recorded in September of '81, issued in 1982 after
returning to New York. Powell began teaching with New York City's Jazzmobile in
the eighties and would instruct at the New School for Jazz and Contemporary
Music in 1994. He had recorded the album, 'Why Don’t You Say Yes
Sometime?!', on July 7 of '91. He already partnered with
pianist,
Randy Weston, in May on such as
'The Healers' and 'African Cookbook'.
Weston would be a major figure
in the nineties, Powell backing
Weston on multiple occasions until September
24, 1999, at the Lafayette Presbyterian Church in Brooklyn per
Weston's
'Spirit! The Power of Music'. Their reunion ten years later would be
Powell's final recordings on December 12, 2009, for
Weston's 'The
Storyteller: Live at Dizzy's Club Coca-Cola'. Also highlighting the nineties
was Powell's participation in pianist, Yuka Aikawa's, 'All Beings in the
Whole Universe' in 1999. Of Powell's five albums as
a leader the latter two arrived in the 21st century: 'The Gift of Love'
(2003) and 'Nextep' (2008). He died after back surgery on June 26 of 2010. Per 2008 below, tracks are
from Powell's last LP, 'Nextep'. References w discos and credits:
1,
2,
3.
Sessions: Cohen, Lord.
Powell in visual media.
Interviews: Bob Bernotas 1997:
1,
2,
3,
4;
Jimmy Owens 2000;
Andrew Velez 2008;
Marc Myers 2008: 1,
2,
3.
Other profiles: 1,
2. Benny Powell 1949 With Lionel Hampton Vocal: Hampton Composition: Curley Hamner/Hampton With Lionel Hampton Composition: Curley Hamner/Hampton Benny Powell 1950 With Lionel Hampton Composition: Deacon Anderson Johnnie Lee Wills With Lionel Hampton Vocal: Jimmy Scott Composition: Ace Adams Gladys Hampton Regina Adams Benny Powell 1957 With Thad Jones Composition: Thad Jones Arrangement: Thad Jones Benny Powell 1959 With Count Basie Composition: Benny Moten/Count Basie Buster Moten/Ed Durham Benny Powell 1991 Album by Randy Weston Benny Powell 2008 From 'Nextep' Recorded Feb 2007 Sax/flute: Talib Kibwe Piano: Sayuri Goto Bass/electric bass: Essiet Okon Essiet Drums: Billy Hart Composition: Sayuri Goto Composition: Talib Kibwe Composition: Talib Kibwe
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 Benny Powell Source: All About Jazz |
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Born in 1926 in Detroit, trombonist and vocalist Frank Rosolino played in the same high school band with Milt Jackson. During World War II he served in the Army. Rosolino joined Bob Chester's orchestra in 1946, then the Casa Loma Orchestra in 1947. The year of Rosolino's first issued session was 1949, that in NYC upon joining Gene Krupa's band. Among four titles for Columbia were 'Bop Boogie' and 'Lemon Drop'. Among the more prolific of jazz musicians with well above 500 sessions during his career of thirty years, this can't be but a barren account of such. In latter '49 Rosolino expanded with Tony Pastor, Herbie Fields, Tommy Turk and Georgie Auld before getting down to business with the Stan Kenton Orchestra for an AFRS (Armed Forces Radio Service) broadcast from Town Casino in Cleveland Ohio on June 17, 1952: 'Taboo', 'You Go to My Head', etc.. Working with Kenton meant touring and recording nonstop to May of '55 at Stamford University in Palo Alto, CA, for the tune, 'Swing House'. It was via Kenton that Rosolino began working with arranger/bandleader, Pete Rugolo, that in July of 1952. Rosolino first joined Rugolo's orchestra in Los Angeles on May 10, 1955, to support titles by vocalist, June Christy: 'I'm Thrilled', 'The Night We Called It Day' and 'This Time the Dream's On Me'. Rosolino sided Rugolo's operation numerously to August 19, 1960, in Hollywood, that also for Christy: 'You Say You Care', 'Out of This World', etc.. Among Rosolino's more important associates was Shorty Rogers, also working as an arranger for Kenton's orchestra in July of '52. They would do duty with both Kenton and other bands together until Rosolino joined Rogers' orchestra on July 5, 1956, for what would be issued as 'The Big Shorty Rogers Express'. Rosolino was a member of Rogers' band until April 26 of '61, recording such as 'Saturnian Sunrise' that day. Their last occasion to record together was for Bud Shank's 'A Spoonful of Jazz' in 1967. As implied per Rugolo, Rosolino recorded countless titles with June Christy, first with the Stan Kenton Orchestra on January 1, 1953, for 'It's the Talk of the Town'. His last session with Christy was in November of '62 for Capitol on titles like 'Stompin' at the Savoy' and 'Goodbye'. Later in June of '77 Rosolino supported Christy on titles to her album, 'Impromptu'. Another of Rosolino's significant vehicles was Howard Rumsey's Lighthouse All-Stars, he joining that outfit at the Lighthouse Cafe in Hermosa Beach, CA, in time to join Zoot Sims on March 9, 1954, for 'Lighthouse Days', followed the next day by 'Goofy Eyes', 'All the Things You Are' and 'Bag's Groove'. Numerous sessions with the Lighthouse All-Stars ensued to May 19, 1958, for the KABC television program, 'Stars of Jazz', performing 'All the Things You Are', 'The Nearness of You' and 'Viva Zapata'. A couple sessions in 1961 would amount to Rumsey's 'Jazz Structures'. Another important figure in Rosolino's career was drummer, Shelly Manne, they first recording together on May 10, 1955, per June Christy and Pete Rugolo above. They ran much the same circle supporting Rugolo and other bands for another ten years, Rosolino also backing Manne on the latter's projects. They last recorded together in February of '65 for 'Manne - That's Gershwin!', reuniting in '67, '72 and '77, that last occasion to back Christy on 'Impromptu' per above. Beginning in 1962 Rosolino spent a couple years with the 'Steve Allen Show' band before another major figure came along in May of '63, that Ray Anthony, whose orchestra Rosolino joined for a television broadcast of a long stream of titles like 'Begin the Beguine' and 'Cherokee'. Rosolino would spend above a decade supporting Anthony's band, his last such occasion in January of '76 to record 'Tie a Yellow Ribbon', 'Paper Roses', et al. Among the highlights of Rosolino's busy and expansive career was his first session as a leader in September of '52 in Detroit, four titles issued in 1953 by Dee Gee on a 7' called 'The Frank Rosolino Quartet'. The huge names that are Dizzy Gillespie and Charlie Parker came along at the Civic Auditorium in Portland on February 25, 1954, with the Stan Kenton Orchestra for titles that would later get released in 1981 as 'Kenton and Bird'. Among the several albums Rosolino recorded was 'Frankly Speaking!' on May 4, 1955. Another fifties highlight arrived the next year in the person of vocalist, Anita O'Day, on December 20 with the Buddy Bregman Orchestra, recording such as 'Let's Begin' and 'Sweet Georgia Brown'. O'Day and Rosolino would visit often in 1959-61. Another vocalist, Peggy Lee, came along in October of '58 with the Jack Marshall Orchestra, recording 'I Like Men'. April of 1961 saw the recording of Lee's 'Blues Cross Country' with the Quincy Jones Orchestra. Rosolino would see Jones' operation again in December of 1971 for the soundtrack to the film, 'The Hot Rock'. Another session in '74 wrought Jones' 'Body Heat', the same year he supported Lee on 'Let's Love' on July 17. Highlighting Rosolino's latter career was the band, Supersax, his first of several sessions with that operation in Autumn of '74 for the album, 'Supersax Plays Bird With Strings'. His last titles with that conglomeration were were recorded in Villingen, Germany, in April of '78 toward the issue of 'Dynamite!!'. What got issued as 'The Last Recording' by Sea Breeze in 2006 was recorded in Los Angeles on 8 Jan per Discogs or 1 August per Lord. Joining Rosolino on that were Larry Willis (piano), Kevan Brandon (bass) and Billy Higgins (drums). Those, however, weren't Rosolino's last recordings. Lord traces him through later sessions w Carl Fontana in Vancouver, a quartet w Thomas Clausen in Copenhagen, and backing David Allyn in Los Angeles before arriving to the Swiss Chalet in Miami on October 16, 1978, toward the issue of 'Chubby Jackson's All Star Band: Live'. Unfortunately, being at the top of the game with a trombone doesn't prevent psychological nightmares. The next month at his home in Van Nuys, California, Rosolino's third wife committed suicide in their garage with auto exhaust, among the reasons given being her discovery of his affair with another woman. The now despairing Rosolino then shot his two sons, ages seven and nine, blinding the former and killing the latter. He then shot himself, the date November 26 of '1978, making him one of several musicians in these histories who have killed someone from Carlo Gesualdo to Lead Belly to Spade Cooley to Keith Moon (accident). References: 1, 2, 3, 4. Sessions: DAHR (w composers), Lord (leading 27 of 532). Discos: 1, 2, 3, 4. IMDb. IA. Les Tomkin interview 1973. Further reading: death of: 1, 2. Frank Rosolino 1949 With Gene Krupa Composition: George Wallington Music: Arthur Johnston 1936 Lyrics: Johnny Burke For the film 'Pennies from Heaven' Frank Rosolino 1952 Composition: Gus Arnheim Harry Tobias Jules Lemare Composition: 1908: Jack Norworth/Albert Von Tilzer Frank Rosolino 1954 From 'Frank Rosolino' Alto sax: Charlie Mariano Trumpet: Sam Noto Composition: Bill Holman Composition: Bill Holman Frank Rosolino 1956 From 'Four Horns and a Lush Life' Also trombone: Herb Harper Maynard Ferguson Tommy Pederson Music: Sigmund Romberg 1928 Lyrics: Oscar Hammerstein II What Is This Thing Called Love Composition: Cole Porter 1929 Frank Rosolino 1956 Composition: Rosolino LP: 'I Play Trombone' Piano: Sonny Clark Bass: Wilfred Middlebrooks Drums: Stan Levey Frank Rosolino 1958 Tenor sax: Howard Land Composition: Cole Porter 1930 For the musical 'The New Yorkers' Frank Rosolino 1959 With the Richie Kamuca Octet Music: Jule Styne 1946 Lyrics: Sammy Cahn Frank Rosolino 1962 Live performance Composition: Joe Romano Frank Rosolino 1974 Composition: Rosolino I Just Don't Want to Run Around Anymore Composition: Rosolino LP: 'Conversation' Recorded 25 May '73 Milan Trumpet: Conte Candoli Piano: Franco D'Andrea Bass: Giovanni Tommaso Drums: Gegè Munari Frank Rosolino 1976 Composition: Harvey Mason Frank Rosolino 1977 Composition: Horace Silver LP: 'Jazz Gala 77 All Star Big Band' Recorded 28 Jan '77 Düsseldorf Frank Rosolino 1978 ('Corcovado') Composition: Tom Jobim Album: 'In Denmark' Recorded 30 Aug '78 Copenhagen
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Frank Rosolino Photo: Eddie Engels Source: Trombone Page of the World
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| Born in London in 1926 in
Wartrace, Tennessee, Jimmy Cleveland
didn't take up trombone until age sixteen. With only eleven of perhaps 520
sessions his own, Cleveland's was a prolific career aburst with musical
personalities. The following is a list of some with whom he recorded
multiple sessions followed by their first date:
Dinah Washington (March 15, 1955),
Gil Evans (April 3, 1956),
Phineas Newborn Jr. (September 7,
1957), Miles
Davis (July 22, 1958),
Eddie Lockjaw Davis (September 20, 1960),
Johnny Griffin (July 13, 1961),
Oscar Peterson (June 14, 1962),
Charlie Barnet (December 24,
1966),
Thelonious Monk (October 28, 1967),
Grady Tate (October 12, 1962),
Hank Crawford (February 12,
1969),
Phil Woods (March 4, 1956:
Joe Newman's 'Salute to Satch')
and
Ella Fitzgerald (January 4,
1970). Cleveland's first professional employment
of note had been with Lionel
Hampton in 1950, with whom he first first recorded on July 25 that
year in Los Angeles: 'Well, Oh Well', 'Pink Champagne' and 'September in the
Rain'. During his Hampton period Cleveland taped 'Work of Art' in July of
'53 with the Art Farmer Septet,
issued in '56. Cleveland would tour to Europe with
Hampton for 12 weeks
in September of 1953. Part of
Hampton's entourage were
Farmer,
Gigi Gryce,
Clifford Brown and
Quincy Jones, all with whom he would record in Paris. Some of those tracks were variously
released years later, but in '54 'Jazztime Paris Vol 1' was issued by
Gryce,
featuring
Brown. Cleveland found himself recording in Sweden with
Jones in latter 1954, 'Jazz Abroad', released the next year (that album
shared with drummer,
Roy Haynes, on Side B).
Cleveland's debut album, 'Introducing
Jimmy Cleveland and His All Stars', was recorded in latter '55 in two
sessions for release in '56. About the same time he taped 'Sonny Stitt Plays
Arrangements from the Pen of Quincy Jones' in two sessions for issue the
next year as well. Cleveland and Stitt would work together again, but the
major figures as Cleveland turned the page from the fifties to the sixties
were
Jones and Milt Jackson.
Farmer and
Donald Byrd would figure
large as well. Cleveland backed
Jimmy Smith on a stream of albums during the
sixties,
Oliver Nelson figuring large in
the latter part of that decade as well. During the seventies Cleveland commuted from his home base in NYC
to Los Angeles to perform in the band of 'The Merv Griffin Show'. Among
highlights in the nineties was 'Mississippi Lad' recorded in March of '91
with
Teddy Edwards and Tom Waits.
Cleveland died on August 23, 2008. References:
1,
2,
3.
Sessions: Fitzgerald (as leader); Lord (leading 11 of 525).
Discos: 1,
2,
3,
4,
5.
IMDb.
'Jazz trombonist Jimmy Cleveland: A bio-discography and analysis of his solo
style' by Douglas Jerry Leibinger (Proquest 2005). Per 1956 below tracks are from Cleveland's album,
'Introducing Jimmy Cleveland and His All Stars'. Per 1959 below, the full
title is 'Seldon Powell Sextet Featuring Jimmy Cleveland'. Jimmy Cleveland 1953 With Lionel Hampton Recorded 14 Sep '53 Stockholm, Sweden Composition: Nancy Hamilton/Morgan Lewis Composition: Lionel Hampton With Lionel Hampton Composition: Gershwin Brothers/DuBose Heyward Note: Titles above were issued on 'European Concert' (IAJRC 31 possibly '53) and 'Oh Rock! Live in Sweden 1953' (Natasha Imports NI-4010 1992). Jimmy Cleveland 1955 From 'Jazz Abroad' Quincy Jones LP Composition: Gershwin Brothers/Gus Kahn Composition: Quincy Jones Jimmy Cleveland 1956 From 'Introducing Jimmy Cleveland and His All Stars' Composition: Cleveland/Hank Jones Composition: Ray Noble Composition: Gershwin Brothers Composition: Guy Wood/Robert Mellin From 'Work of Art' Art Farmer LP Recorded 1953 Composition: Gigi Gryce Jimmy Cleveland 1958 Telecast: 'The Subject Is Jazz' With Billy Taylor & Nat Adderley Jimmy Cleveland 1959 Seldon Powell . . . Jimmy Cleveland 'Seldon Powell Sextet featuring Jimmy Cleveland' Album LP: 'A Map of Jimmy Cleveland' Music: Hoagy Carmichael 1927 Lyrics: Mitchell Parish 1929 Jimmy Cleveland 1964 Composition: Irving Caesar Roger Wolfe Kahn Joseph Meyer LP: 'Rhythm Crazy' Recorded February 1959
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 Jimmy Cleveland Source: Discogs |
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Don Elliott Source: Jazz Wax
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Born in 1926 in Somerville, New
Jersey, Don Elliott
(not to be confused with the author) played vibes, trumpet and sang, but is
best known as a mellophone player. He is thought to have first recorded on
xylophone on February 5, 1951 with pianist, George Shearing,
in NYC, titles like 'I'll Never Smile Again' and 'I'll Be Around'. Several
sessions with Shearing followed until later that year when he joined
Allen Eager's octet for 'Swingin' with
Allen Eager' per a couple radio broadcasts at the Birdland in NYC in October
of 1951, recording then on mellophone. A session with pianist/vocalist,
Beryl Booker, followed on January 5,
1952, now on vibraphone, before arriving to the supernova that would be Miles
Davis for a broadcast from the Birdland on April 25, 1952, with the
Beryl Booker Quintet, yielding such as 'Lady Be Good' and 'All the Things
You Are'. A couple similar sessions were held the next month including
'Confirmation', 'Out of the Blue' and 'Wee Dot'. Elliott next walked into treasure per
Ella Fitzgerald at the Birdland on
June 7, recording such as 'Angel Eyes' and 'Goody Goody'. Vibraphonist, Terry Gibbs,
was in on that, whom he joined the next month on July 11, 1952, at the
Pythian Temple in NYC for titles that would find their way onto 'Jazztime U.S.A.'.
Gibbs was one of Elliott's more important associates for the next six
years, Elliott last recording in
Gibbs's band per
Dinah Washington at the
Newport Jazz Festival on July 6, 1958, yielding 'All of Me'. Elliott's first session as a leader on August
20, 1952, ended up on the B side of an album titled 'Vib-Rations',
vibraphonist,
Cal Tjader, on A side. Elliott isn't thought to have ever
recorded with
Tjader. One big name with whom he
had more to do was
Benny Goodman with whom
Elliott first recorded on trumpet in Chicago on August 20, 1952. Another
huge name was Dizzy
Gillespie's, Elliott joining the latter's Cool Jazz Stars at the
Birdland on November 24, 1952, for 'Muskrat Ramble', 'Battle of the Blues',
'Indiana' and 'How High the Moon'. Elliott began 1953 in January with
Ben Webster before joining Harry
James at the Band Box in NYC on March 2 for
'You'll Never Know' and 'Two O'Clock Jump'. Drummer, Buddy Rich,
was in on those, affecting further sessions that month with
James and the Buddy Rich Quartet. Elliott and
Rich would back
Gibbs at the Band Box
that month as well, titles like 'Out of Nowhere' and 'what's New?'. Sid Bulkin replaced
Rich drums for their next titles at the Band Box in
April, such as 'Cheerful Little Earful' and 'I May Be Wrong'. Come March 16
and 17 of '55 toward 'Counterpoint for Six Valves' on which Elliott shared
trumpet w Rusty Dedrick. Discogs adds a session date of 23 April 1956 which
neither AllMusic, JDP nor Lord list. Most sources of substantial authority
hesitate to give an issue date for Riverside Records RLP 12-218 (BSN [BothSidesNow],
Goldmine, LJC, SolidViper). AllMusic and Wikipedia lend '56. CVinyl prefers
1957. Discogs gives a date of 1959.
Be as may, the same tracks were issued the next year in 1960 on 'Double
Trumpet Doings' (Jazzland JLP 15) [1,
2]. Elliott was
with the
Quincy Jones Orchestra when he first backed
Dinah Washington on June 25,
1956: 'Relax Max', 'I Know', etc.. Six dates later came his last performance
with
Washington per above at the Newport Jazz Festival in '58. A couple
months later in September Elliott participated in titles that would be found on
the album by various artists, 'The Seven Ages of Jazz'. Four days after
Elliott's first session w Washington above he drew together a sextet toward
'A Musical Offering' [1,
2,
3] gone down on 29 and 30 June of '56 in NYC w
Herbie Mann (sax, flute),
Al Cohn (sax), Sol Schlinger (replacing
Cohn), Joe Puma (guitar),
Vinnie Burke (bass),
Osie Johnson (drums) and
Quincy Jones arranging. Elliott was also a record
producer (instrumental in the development of multitrack recording), wrote scores
for Broadway and film, and produced advertising jingles. He died July 5, 1984, of
cancer [obit]. His last tracks per Lord's discography were for clarinetist, Phil
Bodner in 1980 in NYC: 'Honeysuckle Rose', 'These Foolish Things', 'It Had
to Be You' and 'Have You Met Miss Jones?'.
References: 1,
2,
3,
4,
5.
Timeline.
Sessions: DAHR; Lord (leading 25 of 126).
Discos: 1,
2,
3,
4.
Select videography of live performances.
On Broadway.
Further reading: Jazz Profiles;
Marc Myers (Elliott w Bob Corwin). Other prodiles:
*.
Per 1951 below all tracks are
with George Shearing. Don Elliott 1951 With George Shearing: Possibly Elliott's 2nd recording issued Composition: Alec Wilder 1942 Possibly Elliott's 1st recording issued Composition: Ruth Lowe Possibly Elliott's 3rd recording issued Composition: Victor Schertzinger/Johnny Mercer Don Elliott 1952 On vibes with Miles Davis: Composition: Davis Composition: James Van Heusen/Johnny Burke Composition: Davis Don Elliott 1956 LP Don Elliott 1958 Elliott on trumpet Don Elliott 1960 Vocal Composition: Bobby Johnson Don Elliott 1975 Album: 'Rejuvenation' Don Elliott 1983 Concert at Staples High School
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Percy Humphrey Source: Wikipedia
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Born in 1905 in New Orleans, trumpeter
Percy Humphrey,
younger brother of clarinetist, Willie Humphrey (also trombonist Earl Humphrey),
was a New Orleans traditionalist. He became leader of the Eureka Brass Band,
founded in 1920 by trumpeter Willie Wilson, in 1946. Humphrey had played local
venues for decades before first recording with George
Lewis per a radio broadcast at the Parisian Room in New Orleans on
August 11, 1950. Of those three titles Discogs has 'High Society' issued on
the album, 'American Music by George Lewis', in 1951 by American Music. On
January 1, 1951, at age 46, he finally recorded his first tracks as a
leader, those with his Sympathy Five. Titles like 'Bourbon Street Parade',
however, wouldn't see issue until years later on American Music AMCD-88.
Humphrey led numerous bands during his career, one such his Crescent City Joymakers
in New Orleans on 24 Jan 1961 toward issue on Riverside RLP 378/RLP 9378 w
titles like 'Millenberg Joys' and 'Over in the Gloryland'. Humphrey is largely known in
association with Preservation Hall [1,
2,
3,
4,
5],
6 in New Orleans and its Jazz Band
[1,
2,
3].
(The Preservation Hall record
label was formed
in 2003.) Lord traces Humphrey's first recordings at Preservation Hall to 2
July 1962 w the Eureka Brass Band of New Orleans to lay out such as 'Just a
Little While to Stay Here' and 'Down in Honky Tonk Town'. Humphrey's first
recordings w the Preservation Hall Jazz Band arrived ten years later at the
Lenox Music Inn in Lenox, MA, on 29 July 1972 w titles like 'Billy's Boogie'
and 'Eh Las Bas' to see release per Wolfgang's Vault 204.
Also touring internationally, on October 25, 1987, Humphrey squared away
'Jazz in Schloss Gracht' live in Aachen, Germany, issued in 1995. His final
recordings w the Preservation Hall Jazz Band were also his last at
Preservation Hall on an unidentified date in 1991 to put down such as
'Hindustan' and 'Tishomingo Blues' toward issue on 'Live!' (Sony Masterworks
SK 48189) the next year. Come a date at Tulane University in New Orleans on
16 August 1991 w
Chris Barber & His New Orleans
Friends, titles like 'Birth of the Blues' and 'Coquette' to see issue in '93
on 'Timeless TTD 573'. A final
session is listed in Lord's disco per 'Narvin Kimball and Friends' (Albany
TROY 128) in Morgantown, West
Virginia, on April 27, 1992. Humphrey yet performed
until three months before his death on July 22, 1995, in New Orleans
[obit].
References: 1,
2. Sessions:
DAHR,
Lord (leading 23 of 75).
Discos: Humphrey: 1,
2,
3;
Preservation Hall Jazz Band: 1,
2,
3,
4, Lord (31 sessions '67 to '16);
Preservation Hall record label.
Further reading:
Paste.
Humphrey's brother, Willie,
is featured on a few tracks below, as well as trombonist, Big Jim Robinson. Percy Humphrey 1951 Eureka Brass Band Composition: Gershwin Brothers 1924 Percy Humphrey 1961 With the Crescent City Joy Makers All the Gals Like the Way I Ride Composition: Traditional Composition: James W. Acuff 1906 Composition: Traditional Percy Humphrey 1964 Preservation Hall Jazz Band Composition: William Tyers Percy Humphrey 1970 Eureka Brass Band Composition: Traditional hymn Eureka Brass Band Composition: WC Handy 1914 Percy Humphrey 1973 Filmed live w the Preservation Hall Jazz Band: Composition: Charles McCarron/Chris Smith Composition: Oliver Wallace/Harold Weeks Composition: Kenneth Morris 1940 When the Saints Go Marching In Composition: unknown First recording: 1923: Jubilee Singers Paramount 12073 Percy Humphrey 1987 Maryland Jazz Band Composition: See Wikipedia
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Willie Humphrey Source: D'Addario Woodwinds
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Born in 1933 in Chicago, composer, bandleader and record producer Quincy Jones got moved to Seattle as a teenager where he attended Garfield High School. He was fourteen, Ray Charles sixteen or so, when they met at the Black Elks Club where Charles performed. Not long later they started to experiment with heroin together, purchasing from their dealer, Malcom X [1, 2, 3, 4]. Jones' isn't the story, however, of a wild child on chemicals while drinking himself to death on stage; his was one of the more lucid minds in the music industry concerning which he developed into one the giants of 20th century whose surveillance regarding such may be about as accurate, and wise, as one will find: among the go-to authorities on just about anything in 20th century American music. Jones studied at Seattle University and the Berklee College of Music in Boston before dropping out to join Lionel Hampton's band with which he first grooved vinyl on May 21, 1951: 'Hannah Hannah'/'Shalom Shalom' (MGM 11039) and 'Eli Eli' (MGM 11339). He also began arranging for a string of top names in jazz about that time. Jones continued with Hampton's orchestra into '53, though their last session together was for Clifford Brown in Copenhagen, Denmark, on November 12 that year, recording such as 'Indiana' (Xanadu 122). Jones' first session as a leader occurred in Stockholm, Sweden, on November 10, 1953. Titles from that would get released in 1955 on an LP shared with drummer, Roy Haynes, called 'Jazz Abroad'. We're not going to pretend to cover Jones' extensive career in this thin column, but mention of Dizzy Gillespie is requisite. Jones first blew trumpet with Gillespie on May 24, 1954, for Gillespie's album, 'Manteca'. They toured the Middle East and South America together in 1956. Jones would record in various capacities with Gillespie in '56, '64, '87 and '89, that last occasion for his 'Back on the Block', also including such as Miles Davis, Ella Fitzgerald and Sarah Vaughan. He would record as a conductor with Davis again in Montreux, Switzerland, on July 8, 1991. Another major name arrived per Dinah Washington in NYC on March 15, 1955, Jones arranging and directing titles like 'I Could Write a Book' (Mercury 830700-2) and 'Make the Man Love Me' (EmArcy EP1 6119). Jones saw more of Washington in '56, later in December '61, that last occasion in Chicago, Jones conducting such as 'Tell Me Why' (Mercury MG 20789). On September 14, 1956, Jones recorded 'This Is How I Feel About Jazz'. 'Quincy Jones and the Jones Boys' followed the next year. He first arranged and conducted a session with Sarah Vaughan in Paris on July 7, 1958: 'Please Be Kind' (Mercury EP1 4042), etc.. Jones would record with Vaughan again in the sixties, then '89 per 'Back on the Block' (Qwest 26020-1). Ella Fitzgerald came knocking with Count Basie in July of '63, Jones arranging titles like 'Shiny Stockings' (Verve VK 10305) and ''Deed I Do' (Verve V 4061). Jones was promoted to vice-president of Mercury Records in 1964, the same year he composed his first of thirty-three film scores, 'The Pawnbroker'. Jones arranged and composed for an impressive list of prominent jazz singers in the sixties. His first arrangement for Frank Sinatra had been 'It Might as Well Be Swing' in 1964. He also began producing, among his bigger early successes popular vocalist, Lesley Gore, with whom collaborated in 1963 toward her first release, 'It's My Party'. Gore was yet a junior in high school at the time. Jones later founded Qwest Productions in 1975, producing for Frank Sinatra and, later, Michael Jackson. Jones produced Sinatra's 'L.A. Is My Lady' in 1984. In 1988 he founded Quincy Jones Entertainment with Warner Communications, which he would reshape in 1993 into QDE (Quincy Jones/David Salzman Entertainment). In addition to other media, that company would handle Jones' magazine, 'Vibe', also launched in 1993. In the meantime his production of 'Back on the Block' ('89) had won the 1991 Album of the Year Grammy Award. Jones published his autobiography, 'Q', in 2001. In 2013 he filed $10,000,000 lawsuit against the Michael Jackson estate concerning royalties. Jones had also been considerably active in a number of philanthropic endeavors. Amidst the more surprising aspects of his life is that for a man so hugely productive he never learned to drive, citing fear due to involvement in an auto accident when he was age fourteen. Jones was married thrice to Jeri Caldwell ('57-'66), Ulla Andersson ('67-'74) and Peggy Lipton ('74-'90), and produced seven children. As of this writing he is yet active (: Twitter). References encyclopedic: 1, 2, 3; musical: 1, 2, 3, 4, 5. Compositions. Discographies: 1, 2, 3, 4. Compilations: Quincy Jones Big Band: 'Complete 1960 European Concerts' 2011: 1, 2. Reviews: 'Et Voila!' recorded in Paris between May '57 and Jan '58; 'Live in Ludwigshafen 1961' recorded on 15 March: 1, 2. Awards. Jones in visual media: 1, 2, 3. YouTube. Documentaries: 'Quincy' directed by Rashida Jones (daughter) 2018. Interviews: Jan Stewart 1985, Academy of Achievement 1995/2000, Jon Burlingame 2002, Blair Jackson 2007, Dave Baker 2008 (pdf), NPR Fresh Air 2013, Gavin Edwards 2014, Eric Hynes 2014, Paul Lester 2014, NAMM 2014, Chris Heath 2018, Vulture 2018. Further reading: Jones as arranger: New Yorker, Smithsonian; other: Guardian, Indiana Public Media, Jazz Professional, Jazz Times, PBS, Spin. Further reading authored by Jones: on diplomacy at Beijing University 2006; on producing per 'The Quincy Jones Legacy Series: Q on producing: The Soul and Science of Mastering Music and Work' written w Bill Gibson (Hal Leonard Publishing Corporation 2010); on Frank Sinatra; memoirs: 'Q: The Autobiography of Quincy Jones' (Antic Hay Books 2001) *; 'The Complete Quincy Jones: My Journey & Passions' (Insight Editions 2008). See also: Playground Sessions: 1, 2; Quincy Jones Productions; 'We Are the World' co-produced w Michael Omartian [1, 2, 3] in 1985. Other profiles: 1, 2, 3. Quincy Jones 1951 With Lionel Hampton Composition: Quincy Jones Quincy Jones 1956 Composition: Quincy Jones Quincy Jones 1960 Live performance Composition: Bobby Timmons Quincy Jones 1969 From 'Walking in Space': Composition: Arthur Hamilton/Johnny Mandel Music: Galt MacDermot 1968 Lyrics: Gerome Ragni/James Rado For the musical 'Hair' Quincy Jones 1974 From 'Body Heat': Composition: Bruce Fisher/Leon Ware Quincy Jones/Stan Richardson Composition: Pam Sawyer/Leon Ware Quincy Jones 1981 Album Quincy Jones 1989 Composition: George Johnson Louis Johnson Sonora Sam Quincy Jones 1995 Composition: Nickolas Ashford/Valerie Simpson/ Steve Gadd/Eric Gale/ Quincy Jones/Richard Tee/ Ralph MacDonald
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Quincy Jones Source: Elsewhere
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Born in 1923 in Pontiac, Michigan, composer, Thad Jones, was younger brother to pianist, Hank Jones, older brother to drummer, Elvin Jones [comparison]. Thad was playing trumpet professionally by age 16. His career was interrupted in 1943 upon being drafted into the Army. Upon release in 1946 he returned to music, playing largely in Des Moines and Oklahoma City. The earliest discernible recordings in which Jones participated occurred with the Count Basie Orchestra in November and December of 1950, a live radio broadcast for Saga Records in NYC: '3:15 A.M. Blues', 'Indiana', 'C Jam Blues' and 'Robbins' Nest' [J-Disc]. On December 28, 1951, he recorded such as 'Tip Lightly'/'You'd Never Know' (Federal 12067) with the Jimmy Tyler Orchestra. 1952 saw the release of such as 'Rockaway Rock' with tenor saxophonist, Billy Mitchell. He was back with Basie again in 1954, recording at the Savoy Ballroom in Cleveland, OH, in July, such as 'Blee Blop Blues' and 'Slow But Sure'. Lord has those eventually getting released on Musica Jazz 2MPJ 1013 and Laserlight 15704. Jones arranged those titles and most of his recording with Basie would be in that capacity. Anyone who worked in Basie's band would be recording nonstop, which Jones did as an arranger to as late as October 8, 1965, for 'Makin' Whoopee' (Verve 8687). Among exceptions was when he contributed trumpet to a session with Billie Holiday at Carnegie Hall on September 25, 1954, for titles like 'All of Me' and 'My Man' (Roulette RE 127). Jones had just recorded his first album in August, 'The Fabulous Thad Jones'. Upon largely leaving Basie in 1963 Jones freelanced in New York City until forming the Thad Jones-Mel Lewis Orchestra with drummer, Mel Lewis, in 1965, rehearsals starting in December. Jones and Lewis had first recorded together in June of '63 for James Moody's 'Great Day'. Their first session as Thad Jones-Mel Lewis was per their Big Band at the Village Vanguard in NYC on February 7, 1966, recording such as 'Back Bone' and 'Big Dipper' (BMG 74321519392 and 'All My Yesterdays' per Resonance Records HCD 2023). March of 1967 saw them performing on the 'Mike Douglas Show'. They would record together to as late as March, 1985, Jones contributing to arrangements on a couple titles per Lewis' '20 Years at the Village Vanguard'. Upon Lewis' death on February 2, 1990, Jones arranged 'To You' per that year's 'To You - A Tribute to Mel Lewis'. Jones was yet with the Thad Jones-Mel Lewis Orchestra when he moved to Copenhagen, Denmark, in 1977, leaving Lewis to his Jazz Orchestra which became the Vanguard Jazz Orchestra upon his death in 1990. As for Jones now in Europe, he joined the Danish Radio Big Band, made one last trip to the States in '78 to leave his Orchestra, then recorded a couple albums with his Danish orchestra in '78: 'By Jones, I Think We've Got It' and 'A Good Time Was Had By All'. Jones then formed the band, Eclipse, in 1979, recording a couple albums that and the next year: 'Eclipse' and 'Jazzhus Slukefter'. Jones returned to the U.S. in 1985 to take the reins for the Count Basie Orchestra upon Basie's death. He became too ill, however, to work, and returned to Copenhagen where he himself died on 20 August 1986. Among the countless highlights of Jones' career arrived on 24 March of 1958 with a load of Joneses per the recording of 'Keepin' Up with the Joneses' [1, 2, 3] for release by MetroJazz, that including brothers Hank 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). Also significant were opportunities to perform on cornet with pianist, Thelonious Monk, in June of '59 ('Five By Monk By Five') and December of '63 ('Big Band and Quartet In Concert'). References for Thad Jones encyclopedic: 1, 2, 3; musical 1, 2, 3, 4; periodical: *. Chronology. Sessions: DAHR w composing credits; Lord. Arrangements; for Count Basie. Discos: 1, 2, 3, 4, 5, 6. Compilations: 'Complete Blue Note/ UA / Roulette Recordings of Thad Jones' 1956-59 by Mosaic 1997: 1, 2. Reviews: John McNeil. Analysis/criticism: Mike Carubia. Discussion. 1969 interview w Les Tomkins. Other profiles: 1, 2, 3, 4. References for the Thad Jones-Mel Lewis Orchestra: 1, 2. Personnel. Discos: 1, 2, 3, 4. Compilations: 'The Complete Solid State Recordings of the Thad Jones/Mel Lewis Orchestra' 1956-1970 by Mosaic 1994: 1, 2. Reviews: 'All My Yesterdays', 'Back Bone', 'Consummation'. Further reading: Jazz Profiles. All tracks below from 1966 to 1976 are Jones with the Thad Jones-Mel Lewis Orchestra. Per 1966, 'Three in One' is from 'Presenting Thad Jones · Mel Lewis & "The Jazz Orchestra"', most titles composed and arranged by Jones. Thad Jones 1952 With Billy Mitchell Vocal: Sonny Wilson Composition: Billy Mitchell/Sonny Wilson With Billy Mitchell Composition: Billy Mitchell Thad Jones 1954 Composition: Thad Jones Album: 'The Fabulous Thad Jones' Thad Jones 1956 Composition: Vernon Duke/Yip Harburg Album: 'The Magnificent Thad Jones' Composition: Thad Jones Album: 'The Magnificent Thad Jones' Thad Jones 1957 'Ballad Medley' from 'Mad Thad' Tenor sax: Frank Wess Trombone: Henry Coker Piano: Tommy Flanagan Bass: Eddie Jones Drums: Elvin Jones Composition: Ted Grouya/Edmund Anderson If You Were MineComposition: Johnny Mercer/Matty Malneck Composition: Johnny Mercer Gus Kahn Fud Livingston Love Walked InComposition: George & Ira Gershwin Thad Jones 1966 Composition: Thad Jones Arrangement: Thad Jones Thad Jones 1968 Filmed live Composition: Jerome Richardson Filmed live Thad Jones 1970 Album All compositions Thad Jones All arrangements Thad Jones Thad Jones 1973 Filmed live Thad Jones 1974 Filmed live Composition: Thad Jones Thad Jones 1975 Composition: Thad Jones Thad Jones 1976 Composition: Thad Jones Filmed live Composition: Thad Jones
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Thad Jones Source: Zone de Jazz
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Born in 1930 in Miami, trumpeter Blue Mitchell recorded as early as July 5, 1951, for saxophonist, Paul Williams, 'Rockin' Chair Blues' and 'Sinner's Hop' issued on Savoy. Another session followed with Williams before Mitchell signed on with Earl Bostic, in time for a session, also in NYC, on April 7, 1952: 'Velvet Sunset', 'Moonglow', etc.. Mitchell spent a couple years with Bostic's operation, last recording with him on October 9, 1954. On November 19, 1952, Mitchell was one of the Lou Donaldson Quintet consisting of Horace Silver (piano), Percy Heath (bass) and Art Blakey (drums), recording 'Sweet Juice', 'Down Home', et al. Mitchell would record with Donaldson again in 1959, later from '67 to January 9, 1970, that last occasion resulting in such as 'Tennessee Waltz' and 'Over the Rainbow'. Silver would also be a significant figure in Mitchell's career. The next he recorded for Silver was with the latter's quintet on February 1, 1959, toward 'Finger Poppin'. Blakey would support Mitchell on his second album, 'Out of the Blue', on January 5, 1959. They would record together again for Bobby Timmons' 'Soul Time' in August 1960. Mitchell would join Heath again for Elmo Hope's 'Homecoming' on June 2, 1961. Mitchell would experience multiple sessions with Cannonball Adderley into the early sixties, his first for the latter's 'Portrait of Cannonball' on July 1, 1958. March 22, 1962, saw him in the Red Garland Quintet for 'Red's Good Groove'. Mitchell's first album was 'Big 6', released in 1958, followed in 1959 by 'Out Of the Blue'. He had also joined Red Mitchell (bass/piano) and Whitey Mitchell (bass) with Andre Previn contributing piano on the '59 issue of 'Get Those Elephants Out'a Here'. Mitchell recorded seven more LPs before 'Down With It' on 14 July of '65 at the Van Gelder Studio in NJ toward 'Down With It' [1, 2] w Junior Cook (tenor sax), Gene Taylor (bass), Chick Corea (piano) and Al Foster (drums). Mitchel's next LP was 'Bring It Home to Me' [1, 2], gone down on 6 Jan of 1966 w Cook, Taylor, Harold Mabern (piano) and Billy Higgins (drums). Mitchell dove into the seventies in 1970-71 with Ray Charles' outfit. His album, 'Blue Mitchell' (Mainstream MRL 315: 1, 2, 3), saw session in March of '71 w Jimmy Forrest (tenor sax), Walter Bishop Jr. (piano), Larry Gales (bass) and Doug Sides (drums). He held sessions with bluesman, John Mayall, in Dec '71, Jan '72 and Jan '73. The Jan '72 date resulted in 'Blue's Blues' (Mainstream MRL 374: 1, 2) w Herman Riley at tenor sax and flute. More significant to Mitchell's career was Harold Land. They were members of Bobby Hutcherson's band when they first recorded together on December 21, 1971: 'Wichita Lineman', 'Workin' on a Groovy Thing' and Inner City Blues'. Another Hutcherson session followed the next day, after which Land and Mitchell ran a nigh parallel rail into the latter seventies, Land backing Mitchell's projects when they weren't supporting other bands. They are thought to have last recorded together for Philly Joe Jones' 'Drum Song' in October of '78. Mitchell had spent some time performing with Tony Bennett and Lena Horne in Los Angeles in 1974 but doesn't seem to have recorded with either. He did, however, side for Kay Starr on 'Back to the Roots' in 1975. Mitchell also experimented with a little jazz funk in the seventies. Lord's discography finds Mitchell's last session per Philly Joe Jones' 'Advance!' in October of '78 in Berkeley, CA. Also in that were Slide Hampton (trombone), Charles Bowen (tenor/soprano sax), Harold Land (tenor sax), Cedar Walton (piano) and Marc Johnson (bass). Mitchell was performing with the Harold Land Quintet when he died of cancer on May 21, 1979 in Los Angeles, only 49 years of age. Among others unmentioned with whom he recorded included such as Maxine Weldon, Stanley Turrentine, Leonard Feather and Ben Sidron. References: 1, 2, 3. Sessions: Fitzgerald; JDP; Lord (leading 49 of 231). Discos: 1, 2, 3, 4, 5, 6, 7. Compilations: 'The Complete Blue Note Blue Mitchell Sessions (1963-67)' by Mosaic 1998: 1, 2. Transcriptions. Other profiles: 1, 2. Blue Mitchell 1951 With Paul Williams Composition: Eli Thompson/John Leslie McFarland Blue Mitchell 1952 Alto sax: Lou Donaldson Composition: Donaldson Blue Mitchell 1958 Trombone: Curtis Fuller Composition: Fuller Debut LP: 'Big 6' Filmed live Horace Silver Quintet Tenor Sax: Junior Cook Piano: Horace Silver Bass: Gene Taylor Drums: Louis Hayes Composition: Gigi Gryce Alto sax: Cannonball Adderley Blue Mitchell 1959 From 'Out of the Blue' Recorded 5 Jan '59 Composition: Gigi Gryce James Van Heusen/Johnny Burke Album: 'Out Of the Blue' Newport Jazz Fest 3 July '59 Piano: Horace Silver Composition: Silver From 'Blue Soul' Recorded Sep '59 Composition: Mitchell Composition: Horace Silver Composition: Benny Golson Composition: Jimmy Heath From 'Showcase' Philly Joe Jones LP Recorded Nov '59 Drums: Jones Composition: Jones Blue Mitchell 1960 Composition: Buddy Kaye/Billy Reid Album: 'Blue's Moods' Blue Mitchell 1962 Composition: Tom McIntosh Album: 'The Cup Bearers' Junior Cook Quintet Tenor sax: Cook Composition: Cook Album: 'Junior's Cookin'' Blue Mitchell 1965 Album Note: Some sources appear to date the issue of 'Down With It' in 1966 per a review in the 9 April issue of 'Billboard' magazine. It isn't listed under New Album Releases on the same page and other sources have it issued earlier in '65. Blue Mitchell 1972 Composition: Hadley Caliman Album: 'Blue's Blues' Blue Mitchell 1973 Composition: Mitchell Album: 'Graffiti Blues' Composition: Alf Clausen Album: 'The Last Tango = Blues' Composition: Richard Fritz Album: 'The Last Tango = Blues' Blue Mitchell 1974 Album: 'Many Shades of Blue' All comps by David Matthews All arrangements Matthews Blue Mitchell 1975 Composition: Mitchell Album: 'Stratosonic Nuances' Blue Mitchell 1976 From 'Funktion Junction' Composition: Mitchell Composition: Victor Young Composition: Mervin Steals Blue Mitchell 1977 Composition: Dizzy Gillespie Album: 'Stablemates' Alto sax: Dick Spencer Piano: Victor Feldman Bass: John Heard Drums: Dick Berk
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Blue Mitchell Source: Foto Trompet
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Chet Baker Photo: Chet Baker Estate Source: Chet Baker Estate |
Born in 1929 in Yale, Oklahoma, West Coast trumpeter, composer and vocalist Chet Baker was stationed at the Presidio with the Sixth Army in 1950, making the jazz clubs of San Francisco convenient. Upon discharge from service (his second enlistment) Baker began playing with Vido Musso and Stan Getz. It was about that time that he first recorded, a private session in 1949 titled 'Get Happy', released years later on CD by Lighthouse. On March 24, 1952, he recorded 'Out Of Nowhere' at the Trade Winds Club in Inglewood, California. Joining him were Sonny Criss and Wardell Gray. Those would find issue per 'The West Coast Jam Sessions' in 1980 by Scarecrow and 'A Live Jam Session Recorded at Trade Winds' by Jam Session (#103) in 1981. It was also at the Tradewinds on June 16 of '52 that he recorded 'Inglewood Jam' (issued '89) with Harry Babasin, Charlie Parker and Sonny Criss among others: 'The Squirrel', 'Irresistible You', 'Indiana' and 'Liza'. On July 8 Baker recorded 'Scrapple from the Apple' in a private session with Charlie Parker at the Jirayr Zorthian ranch in Altadena, California. The next day he recorded 'Haig and Haig (Dinah)' and 'She Didn't Say Yes' with the Gerry Mulligan Quartet, followed by seven tracks with Al Haig and Sonny Criss on August 4, again at the Trade Winds Club. Baker continued recording and touring the West Coast with Mulligan throughout 1952, also recording heavily with Shorty Rogers in three separate sessions during September and October that year. When Mulligan disappeared upon arrest for drugs in 1953 Baker was left to form his own ensembles. He appeared in film for the first time, 'Hell's Horizon', in 1955. By that time, however, Baker was addicted to heroin, adding difficulties to his career, pawning his instruments at times to keep in money. During the the sixties he was jailed for a year in Italy on drug charges, and expelled from both the United Kingdom and West Germany (twice) for the same. Baker also served jail terms in the States for prescription fraud. In 1968 Baker lost the ability to play trumpet for some time upon getting his teeth knocked out by a group of robbers, perhaps drug related. Having already begun playing flugelhorn in 1966, Baker developed a new embouchure upon obtaining dentures, was able to get a gig three months later, and stuck to flugelhorn until 1974. During the seventies Baker concentrated on straight ahead jazz in New York City, also playing with guitarist, Jim Hall. In 1978 he moved to Europe, commuting between there and the States during his last decade. Though recording a quite lot, such was for smaller European labels, leaving him largely unpromoted in America. Myers and Farbey draw attention to dates at the Canteen in London in March-April of '83 w John Horler (piano), Jim Richardson (bass) and Tony Mann on drums toward the 2016 issue of 'Live in London' Volumes 1 and 2 by Ubuntu Music. Others with whom Baker worked in the eighties were Stan Getz and Elvis Costello. His album, 'Chet Baker in Tokyo', was recorded and released in 1987. His last recordings were made in Europe in 1988 as late as April. On 13 May of 1988 Baker was discovered dead on the street below his second-story apartment in Amsterdam, Netherlands. Cocaine and heroin were found in his system, but his death was ruled an accident, wounds to his head from falling while attempting to gain access to his balcony upon having locked himself out. References: 1, 2, 3, 4, 5. Synopsis. Sessions: chetbaker.net, J-Disc, JDP, Lord. Discos: 1, 2, 3. Compilations: 'The Early Years' 1952-54 by Proper Records 2005; 'Irresistible You' 1952-56 by Edel Records 2007. Reviews: Bill Craig, Jackson Sinnenberg. IMDb. Documentaries: 'Let's Get Lost' 1988 produced, written and directed by Bruce Weber. Interviews: Les Tomkins 1979, Rai Storia 1980. Bibliography: 'As Though I Had Wings' from journals kept by Baker (St. Martin's Press 1997) [*]. Further reading: Lawrence Russell. Other profiles: 1, 2. Chet Baker 1952 Gerry Mulligan Quartet Composition: Bernie Miller Gerry Mulligan Quartet Composition: Vincent Youmans Gus Kahn Edward Eliscu Gerry Mulligan Quartet Composition: Alberto Dominguez/Leonard Whitcup Saxophone: Charlie Parker Composition: Miles Davis Credited to Parker Saxophone: Charlie Parker Composition: Gene DePaul/Don Raye Gerry Mulligan Quartet Composition: Mulligan Saxophone: Charlie Parker Composition: Gershwin Brothers Gerry Mulligan Quartet Music: Richard Rodgers 1937 Lyrics: Lorenz Hart For the musical 'Babes in Arms' Gerry Mulligan Quartet Composition: Mulligan Saxophone: Charlie Parker Composition: Tadd Dameron Saxophone: Charlie Parker Composition: Parker Piano: Al Haig Music: 1925: Ben Bernie/Maceo Pinkard Lyrics: Kenneth Casey Chet Baker 1954 Live at the Tiffany Club Composition: Johnny Green/Edward Heyman Chet Baker 1955 With Shorty Rogers Composition: Rogers Chet Baker 1956 Alto sax: Art Pepper Composition: Jimmy Heath Album: 'Playboys' Composition: Jule Styne/Sammy Cahn Album: 'Prince of Cool' Chet Baker 1959 Filmed live Music: Richard Rodgers 1937 Lyrics: Lorenz Hart For the musical 'Babes in Arms' Chet Baker 1964 Live performance Composition: Mort Dixon/Ray Henderson Live performance Composition: Miles Davis Live performance Composition: Jule Styne/Sammy Cahn Chet Baker 1965 Album Chet Baker 1975 Live at Carnegie Hall With Gerry Mulligan Music: Richard Rodgers 1937 Lyrics: Lorenz Hart For the musical 'Babes in Arms' Chet Baker 1983 Filmed live with Stan Getz Composition: John Klenner/Sam Lewis Chet Baker 1987 In Tokyo All except album filmed live: Composition: Elvis Costello Composition: Rique Pantoja Composition: Sam Rivers Composition: Jimmy Heath Music: Richard Rodgers 1937 Lyrics: Lorenz Hart For the musical 'Babes in Arms' Album: 'Chet Baker in Tokyo' Composition: Miles Davis/Victor Feldman Composition: Victor Young/Ned Washington You'd Be So Nice to Come Home To Composition: Cole Porter 1943 For the film 'Something to Shout About'
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Valve trombonist Bob Brookmeyer was born in 1929 in Kansas City, Missouri. He was at first a pianist, working in the bands of Tex Beneke and Ray McKinley. He switched to valve trombone upon touring with Claude Thornhill in 1952. (The valve trombone plays more like a trumpet rather than sliding.) Brookmeyer's first vinyl, so to speak, wasn't for home listening. They were RCA Thesaurus transcriptions which were 16" platters called acetates and sold commercially to radio stations. Transcriptions were often used to document music before magnetic tape came into common usage in the forties. Brookmeyer's first of those arrived per the Tex Beneke Orchestra in 1952, such as 'I Talk to the Trees' (arrangement: Henry Mancini), 'Laura' (vocals: Bill Raymond) and 'Walking My Baby Back Home (vocals: Tex Beneke). Brookmeyer spent 1953 with Stan Getz, with whom his recordings first saw record shops. His first session with Getz was on March 8, 1953, at the Hi-Hat Club in Boston. His next session on April 16 would see issue on 'The Artistry of Stan Getz' that year. Brookmeyer would find himself with Getz on numerous occasions to 1964, the year they recorded 'Bob Brookmeyer and Friends' [review] in May w Herbie Hancock (piano), Gary Burton (vibes), Ron Carter (bass) and Elvin Jones (drums).Tony Bennett sang 'Day Dreams'. Brookmeyer and Getz reunited in '78 and '81, those last sessions per the Aurex Jazz Festival in Japan in September. Among Brookmeyer's more important associates was guitarist, Jimmy Raney, with whom he first recorded on June 25, 1955, with Al Cohn: 'Chorus for Morris', 'Hags!', etc.. Five days later Raney backed Brookmeyer on 'The Dual Role of Bob Brookmeyer'. On May 26, 1956, Brookmeyer contributed three tracks to 'Jimmy Raney in Three Attitudes'. Joining them in that quintet were John Williams (piano), Red Mitchell (bass) and Osie Johnson (drums). Raney and Brookmeyer recorded numerously to as late as April of '65, putting down 'Spuds' at the jazz loft of painter, David X. Young, in NYC. That can be found on the CD, 'David X. Young's Jazz Loft'. The most significant figure in Brookmeyer's career was saxophonist, Gerry Mulligan, with whom he first recorded on a tour to Europe accompanied by Red Mitchell (bass) Frank Isola (drums). Their first session on June 1, 1954, at the Salle Pleyel in Paris yielded such as 'Bernie's Tune' and 'Walkin' Shoes'. Brookmeyer would support Mulligan to as late as 1963, again on dates in '73, '81 and '95. In August of 1997 in NYC Brookmeyer took part in the Mulligan tribute album, 'Thank You, Gerry!', Mulligan having died the prior year. Working with Mulligan would occur numerous sessions with Mitchell and Isola. They would each back Brookmeyer on a couple early sessions as well. Brookmeyer and Mitchell would reunite decades later in 1995 with the Canadian Brass to record 'The Lady Is a Tramp'. Working with Mulligan also meant an important partnership with Zoot Sims. Sims joined Mulligan's operation in 1954 in time for a concert recorded at Hoover High School in San Diego, CA, on December 14, 1954: 'I'll Remember April', 'Western Reunion', etc.. Sims would back Brookmeyer on a number of projects, they last recording together for Freda Payne's 'After the Lights Go Down Low' in 1963. Also important to Brookmeyer's career was arranger/conductor/director, Manny Albam, first appearing on Albam's 'The Jazz Workshop' in '56 (recorded December '55). Brookmeyer worked numerously for Albam either directly or in association with other projects into 1963. In 1966 he contributed to Albam's 'Brass On Fire'. Come Jimmy Giuffre in 1956 with whom Brookmeyer recorded Maynard Ferguson's 'The Birdland Dreamland'. Giuffre and Brookmeyer backed each numerously, such as Brookmeyer's 'Traditionalism Revisited' in 1957. They last recorded together on October 29, 1959, per Lee Konitz' 'You and Lee', Giuffre arranging. Brookmeyer would see Konitz again in 1997 per the Mulligan tribute album, 'Thank You, Gerry!'. Another important figure was trumpeter, Clark Terry. Their first tracks together were with Al Cohn on August 24, 1960, for the latter's 'Son of Drum Suite'. Numerous sessions were held with Terry to 1966, either backing other ensembles or Terry supporting Brookmeyer's projects. They would record a couple titles at Radio City Music Hall in '73, again in 1980 at the Village Vanguard. Brookmeyers had first worked with arranger/vibraphonist, Gary McFarland, with Mulligan in 1961, McFarland arranging titles for 'Gerry Mulligan Presents a Concert in Jazz'. McFarland also arranged titles on Anita O'Day's 'All the Sad Young Men' ('61) before contributing to arrangements on Brookmeyer's 'Gloomy Sunday and Other Bright Moments' on November 6, 1961. Two days later Brookmeyer backed McFarland on 'The Jazz Version of 'How to Succeed in Business Without Really Trying''. McFarland then contributed vibes to Brookmeyer's 'Trombone Jazz Samba' in August 1962. In 1965 Brookmeyer supported McFarland on 'The 'In' Sound' and 'Tijuana Jazz'. He showed up on McFarland's 'Profiles' in '66. A spatter of the names with whom Brookmeyers recorded in the sixties: Judy Holliday ('61), Harold Farberman ('64), Astrud Gilberto ('65), the Thad Jones/Mel Lewis Orchestra ('66, '68) and Bob Thiele ('69, '75). In 1968 Brookmeyer moved to Los Angeles to work as a studio musician for the next decade. Upon returning to New York he became musical director for the Thad Jones/Mel Lewis Orchestra in 1979. 1982 saw the issue of several of Brookmeyer's compositions on the release of 'Make Me Smile' (Finesse FW 37987) by Mel Lewis and the Jazz Orchestra. During the eighties he worked in Europe, where he founded a music school in Netherlands. Brookmeyer also taught at other educational institutions, such as the New England Conservatory of Music in Boston. In 2005 he formed the New Art Orchestra, winning a Grammy for 'Spirit Music', released in 2006. He was also named a Jazz Master that year by National Endowment for the Arts. Highlights of his earlier career include his first session as a leader on January 7, 1954, resulting in 'Bob Brookmeyer Featuring Al Cohn', and 'They Met at the Continental Divide', recorded in '58 for issue in '59 by The Trombones, Inc. (issued as 'Power-Packed Trombones' in 1961). Among the highlights of Brookmeyer's latter career were sessions with both Helen Schneider and Tony Coe in 1995. Brookmeyer died in New London, New Hampshire, on December 15, 2011 [obit]. Several of his compositions were released in 2014 by the Vanguard Jazz Orchestra on 'Overtime Music of Bob Brookmeyer' (Planet Arts 101413). References: 1, 2, 3, 4. Discos: 45Cat, Discogs, Lord, RYM, Wikipedia. Compositions: analysis: large jazz ensemble by Stephen Guerra; 'Make Me Smile' by Keith Karns; jazz ensemble by Ryan Patrick Middagh. Interviews: Les Tomkins 1965; Wayne Enstice & Paul Rubin 1980: 1, 2, 3; Dan Del Fiorentino 1997; Marc Myers 2009: 1, 2, 3, 4, 5. Further reading: pedagogy and composition by Mace Francis; working w Brookmeyer by John Hollenbeck (drummer in Brookmeyer's New Art Orchestra from 1996 to 2011); virtues of: Jazz Profiles; 1952-54 by Marc Myers; Brookmeyers' modernism v mainstream jazz by Ben Ratliff. Biblio: 'In Conversation' by Dave Rivello. Bob Brookmeyer 1953 Saxophone: Stan Getz Composition: Irving Berlin Saxophone: Stan Getz Composition: Brookmeyer Saxophone: Stan Getz Music: Hoagy Carmichael 1938 Lyrics: Ned Washington Saxophone: Stan Getz Composition: Victor Schertzinger/Johnny Mercer Bob Brookmeyer 1954 Saxophone: Stan Getz Composition: Count Basie/Jimmy Mundy Live Music: Gene de Paul 1942 Lyrics: Patricia Johnston/Don Raye For the comedy 'Ride 'Em Cowboy' Saxophone: Stan Getz Music: Duke Ellington 1931 Lyrics: Irving Mills Composition: Brookmeyer Composition: Gene de Paul/Don Raye Album: 'The Dual Role of Bob Brookmeyer' Composition: Charlie Parker Bob Brookmeyer 1956 There Will Never Be Another You Music: Harry Warren 1942 Lyrics: Mack Gordon For the film 'Ride 'Iceland' Album: 'The Modernity of Bob Brookmeyer' Bob Brookmeyer 1964 Music: Erroll Garner 1954 Lyrics: Johnny Burke Bob Brookmeyer 1981 Filmed live Music: Bernie Miller Lyrics: Jerry Leiber/Mike Stoller
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Bob Brookmeyer Source: All Music
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Born in 1930 in Wilmington, Delaware, by 1948 bebop trumpeter Clifford Brown was playing professional gigs in Philadelphia when such as Fats Navarro, Dizzy Gillespie and Miles Davis became early associates of his, though he doesn't seem to have ever recorded with them. It was Dizzy Gillespie who encouraged Brown to continue his career upon convalescing from an auto accident in 1950. Brown had been severely injured, spending a year in the hospital. It had been as early as '49 or '50 that he made his first recording with alto saxophonist, Robert Lowery: 'Ornithology'. That would find issue much later on CD per a compilation of solos titled 'Clifford Brown Plays Trumpet & Piano'. Brown entered his first recording studio in a professional capacity in March of 1952 with Chris Powell and the Five Blue Flames, laying four tracks for Okeh Records: 'Ida Red', 'I Come From Jamaica', 'Blue Boy' and 'Darn That Dream'. In 1953 he held sessions with JJ Johnson, Tadd Dameron, Lou Donaldson and Lionel Hampton. In 1954 Brown joined Art Blakey's Jazz Messengers, then formed his own quintet with bassist, George Morrow, drummer, Max Roach, and pianist, Richie Powell, that triad to remain with him until his death two years later. Their first sessions had been at the home of Eric Dolphy for such as 'Deception' and 'Fine and Dandy'. Both Harold Land and Sonny Rollins played in Brown's group for a time. Unfortunately Brown was killed, along with his wife and pianist, Powell, when his wife drove their car off the road near Bedford, Pennsylvania, on 26 June of 1956. Brown was only 26 years of age but had already achieved to a reputation that found him getting compared to Miles Davis. His death has ever since been recognized as a major loss to jazz. His final recordings were at the Continental Restaurant in Norfolk, VA, on June 18, 1956, available on volumes 7 and 8 of 'Brownie's Eyes' (Philology W 1008-2 and 1009-2). References: 1, 2, 3, 4, 5, 6, 7. Synopses: 1, 2, 3. Sessions: J-Disc w compositions by Brown; JDP; Lord. Discos: 1, 2, 3, 4. Transcriptions: 1, 2. Analyses/ criticism: Lynn Bayley; Robin Brace; improvisational style compared w Donald Byrd and Freddie Hubbard: James Moore. Biblio: 'The Life and Art of the Legendary Jazz Trumpeter' by Nick Catalano (Oxford University Press 2001). Further reading: Brown w Max Roach: Jazz Profiles. Other profiles: 1, 2, 3. Clifford Brown 1949 Recorded 1949 or '50 Issued 2009 Composition: Benny Harris/Charlie Parker Clifford Brown 1952 Vocal: Chris Powell Composition: Chris Powell Clifford Brown 1953 With Tadd Dameron Composition: Tadd Dameron Clifford Brown 1954 Clifford Brown All Stars Music: Juan Tizol/Duke Ellington Lyrics: Irving Mills With Sarah Vaughan Composition: Jimmy Dorsey/Paul Madeira With Sarah Vaughan Composition: Will Hudson/Irving Mills Clifford Brown 1956 Recorded 1953 Issued posthumously
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Clifford Brown Source: Erik Veldcamp
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Born in Boston in Feb 1928, trumpeter Joe Gordon began playing professionally in 1947. Though he died yet a young man only nigh fifteen years later, he left a legacy including two albums that place him among musicians of especial note in early modern jazz. Those albums were 'Introducing Joe Gordon' in 1955 and 'Lookin' Good' in 1961. Gordon's first recording session is believed to have been with Charlie Mariano in December of 1951, resulting in Mariano's 'The New Sounds From Boston' the next year. A year later in December of 1952 he participated in a radio broadcast of 'I'll Remember April' from the Hi-Hat Club in Boston with Charlie Parker in early December of 1952. That was followed on the 14th with a recorded broadcast, again with Charlie Parker from the Hi-Hat Club, for WCOP radio. Those titles were 'Ornithology', 'Cool Blues', 'Groovin' High', 'Don't Blame Me'. 'Scrapple from the Apple', 'Cheryl' and 'Jumpin' With Symphony Sid'. At that point Gordon would have only about another decade remaining to his career, one reason he finished only 35 sessions, four of those his own. The caliber of the musicians with whom he worked nevertheless speaks of a highly respectable career. Next up after Parker came drummer, Art Blakey, on May 20, 1954, recording such as 'Minority' and 'Salute to Birdland'. The last of their few sessions together put Blakey and Gordon with Donald Byrd in Cambridge, Massachusetts, on December 2, 1955, to record 'Byrd's Eye View'. Pianist, Horace Silver, was in on that, to whose 'Silver's Blue' Gordon would contribute on July 2, 1956. Tenor saxophonist, Hank Mobley, had also participated in both 'Byrd's Eye View' and 'Silver's Blue'. The recording of Gordon's debut album, 'Introducing Joe Gordon', requires backing up to Sep of 1954 in NYC w Charlie Rouse (tenor sax), Junior Mance (piano), Jimmy Schenck (bass) and Art Blakey (drums) performing 'Toll Bridge', 'Lady Bob', 'Grasshopper', 'Flash Gordon', 'Boos Bier' and 'Xochimilco', all compositions by Gordon excepting 'Lady Bob' by Quincy Jones. Also gone down in Sep of '54 was Gordon's comp, 'Evening Lights', that issued in '55 by Wing Records (MGW 60002) on 'The Jazz School'. It was 1956 when Dizzy Gillespie came bop, bop, bopping along, they to tour the Middle East together in spring for the State Department, record tracks in NYC on June 6 that would find their way onto 'Dizzy in Greece!', and tour South America in August where they also recorded. Upon moving to Los Angeles Gordon held a United Artists session in September of 1958 with Benny Carter, recording such as 'March Wind' and 'June Is Bustin' Out All Over'. Guitarist, Barney Kessel, was in on that, whom he next backed on 'Some Like It Hot' in March of 1959. Also in that Carter session had been drummer, Shelly Manne, among Gordon's most frequent partners for the next couple years. Gordon would back Manne on several albums, they also supporting pianist, Thelonious Monk, in April 1960, recording such as 'Quartet Plus Two At The Blackhawk'. Tenor saxophonists, Harold Land and Charlie Rouse, were also in on that. Manne would side in Gordon's quintet at the Lighthouse in Hermosa Beach, CA, on July 31, 1960, that for Gordon's 'West Coast Days'. Unfortunately Gordon's career was too brief for him to get very far as a bandleader, having been killed in a house fire at the prime age of 35 on November 4, 1963. Lord's discography has Gordon recording the last of only two albums in July of 1961 in Los Angeles: 'Lookin' Good'. 'Terra Firma Irma', 'A Song for Richard', 'Non-Viennese Waltz Blues', 'You're the Only Girl in the Next World for Me', 'Co-Op Blues', 'Mariana', and 'Heleen' were all comps by Gordon supported by Jimmy Woods (alto sax), Dick Whittington (piano), Jimmy Bond (bass) and Milt Turner (drums). Later in July of 1961 Gordon laid tracks with Helen Humes for 'Swingin' with Humes'. His final recordings are listed in Lord's disco per September 13, 1961, for alto saxophonist, Jimmy Woods', 'Awakening!'. References: 1, 2, 3, 4. Sessions: Fitzgerald: main (alt), multiple issues (alt), personnel (alt); JHD (comp credits); Lord. Discos: Discogs; Fitzgerald (alt). Other profiles: *. Joe Gordon 1952 Alto sax: Charlie Parker Composition: Charlie Parker 1947 Alto sax: Charlie Parker Music: Gene de Paul 1942 Lyrics: Patricia Johnston/Don Raye For the film comedy 'Ride 'Em Cowboy' Sung by Dick Foran Alto sax: Charlie Parker Composition: Benny Harris/Charlie Parker Joe Gordon 1955 From 'Introducing Joe Gordon' Recorded Sep 1954 Personnel: See above Composition: Gordon Composition: Gordon Joe Gordon 1961 From 'Lookin' Good' Recorded July 1961 Personnel: See above All compositions: Gordon
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Joe Gordon Source: Jazz Lead Sheets
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Slide Hampton |
Born Locksley Wellington Hampton in Jeannette, Pennsylvania,
in 1932, trombonist, Slide Hampton,
made his name in the music industry as an arranger in addition to his roles
as a leader or sideman. He was one of eight brothers and four sisters
who all played in a group led by their father and mother, Clark and Laura.
Hampton began dancing and singing with that group at age three. His father
taught him to play trombone such that he started performing with the
instrument at age twelve. Hampton led that group upon his father's death in
1951. He stepped into the recording studio for the first time in July of
1952 with Eddie Cleanhead Vinson, recording 'I Need You Tonight', 'Good
Bread Alley', 'Person To Person' and 'Lonesome Train'. (A couple of those
may exist at YouTube, though undated, therefore indistinguishable from
possible later recordings.) He recorded with his family's group in April of
1953 when it was called the Duke Hampton Boy and Girl Band, among those
tracks, 'Please Be Good To Me' with lead sung by his sister, Aletra. That
band performed at Carnegie Hall the next month, then at the Apollo Theater,
then the Savoy Ballroom. Hampton left his family band in 1953, moving onward
to Buddy Johnson, participating in four recordings on Johnson's 1956 album,
'Rock 'N Roll', most notably, 'It's Obdacious', he sharing trombone with two
others on the other three tracks: 'Doot Doot Dow', 'I Don't Want Nobody' and
'Bring It Home To Me'. then both Lionel Hampton
and
Maynard Ferguson in 1958,
the latter with whom he recorded four albums in the coming years. Hampton
would play with Ferguson into the sixties and reunite on May 15, 1978 for
Ferguson's 'Carnival'. In 1958
Hampton made further recordings with
Johnson, as well as trombonist,
Melba Liston. Among titles with
the latter were those arriving in Dec of 1958 toward Liston's album, 'Melba
Liston and Her 'Bones', on which Hampton arranged five tracks and composed
'Christmas Eve'. Hampton and Liston joined one another into the sixties, last putting down tracks together for Kim
Weston's 'For the First Time' in 1967. Hampton put his first band together in 1959,
his first tracks as a leader with an octet issued on 'Horn of Plenty'. From 1964 to 1967
he worked as musical director for a number of musicians, including
Stevie Wonder and the Four Tops. In 1968 Hampton went on a tour of the United
Kingdom with
Woody Herman and decided to stay in Europe, first France for
six years, then Berlin for two. Among highlights during the seventies was
the recording of both volumes of 'Montreaux Summit' in July of '77 in
Switzerland. Returning to the U.S. in 1977, Hampton began
teaching at Harvard. He would also instruct at the University of Massachusetts, De Paul University in
Chicago and Indiana University. Highlighting the nineties was Hampton's
participation in 'Eastwood After Hours' at Carnegie Hall in October of '96. In 2005 Hampton was named a
Jazz Master by
the National Endowment for the Arts. He the formed the Hampton Ultra Big
Band in 2006. Upon releasing above forty albums as a leader, Hampton is yet active as of this writing.
References: 1,
2,
3,
4,
5.
Sessions: Fitzgerald: main w comp credits,
multiple versions,
personnel; Lord (leading 41 out of 239).
Discos: 1,
2,
3,
4,
arrangement.
Interviews: Bob Bernotas 1994;
Ted Panken 1994;
William Brower 2006
(pdf);
Molly Murphy 2007; WXXI 2008 (video):
1,
2. Other profiles:
1,
2. Slide Hampton 1956 With Buddy Johnson Composition: Johnson Slide Hampton 1958 With Maymard Ferguson Composition: Hampton With Curtis Fuller Composition: Fuller Slide Hampton 1961 Recorded 1959 Music: Joseph Kosma 1945 Lyrics French: Jacques Prévert Lyrics English: Johnny Mercer Album: 'And His Horn of Plenty' Trumpets: Freddie Hubbard & Booker Little Slide Hampton 1962 Composition: Miles Davis LP: 'Somethin' Sanctified' Recorded 17 Oct 1960 Slide Hampton Octet Filmed live in Paris Théâtre de l'Etoile Ow!/I Remember Clifford/Exodus/Mack the Knife Sister Salvation/?/Round Midnight Slide Hampton 1964 Composition: Charlie Parker Album: 'Exodus' Recorded Nov 1962 Slide Hampton 1969 Tenor sax: Dexter Gordon Composition: Hampton LP: 'A Day in Copenhagen' Slide Hampton 1975 Composition: Joe Haider 2X LP: 'Give Me a Double' Recorded Munich Jan 1974 Slide Hampton 1982 Music: Harold Arlen 1946 Lyrics: Johnny Mercer For the musical 'St. Louis Woman' Slide Hampton 1987 Filmed live with Dizzy Gillespie Music: Jerome Kern 1939 Lyrics: Oscar Hammerstein II For the musical 'Very Warm for May' Filmed live with Dizzy Gillespie Music: Juan Tizol/Duke Ellington Lyrics: Irving Mills Slide Hampton 1993 17th Jazz Festival de Vitoria-Gazteiz Concert filmed live Slide Hampton 1997 Filmed live with Dizzy Gillespie Composition: Babs Gonzales
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Ruby Braff Photo: Ken Franckling Source: New England Jazz Allance
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Born Reuben Braff in 1927 in Boston, cornetist and trumpeter, Ruby Braff, had a delicate touch better fitting traditional than modern jazz. Commencing his career in Boston nightclubs as a young man, his earliest known recordings were eight titles with clarinetist, Edmond Hall, in December of 1949 at the Savoy Cafe in Boston, released in 1954 as 'Jazz at the Savoy Cafe'. From '51 to perhaps '53 Braff participated in two or three sessions resulting in the albums 'Jazz at Storyville Vol. 1 & 2' issued in 1955. Contributing to one each of those sessions in Boston were trombonist, Vic Dickenson, and clarinetist, Pee Wee Russell. Braff would record with Russell on numerous occasions to as late as '67 ('George Wein Is Alive and Well in Mexico'), they backing each other's outfits. A session with Ella Fitzgerald and the Jo Jones Quartet at the Storyville on February 7, 1953, resulted in titles such as 'Why Don't You Do Right?' and 'Mean to Me'. Braff would often get teamed with Jones into '56, the latter supporting Braff in '55 on 'Ruby Braff Special' and 'Little Big Horn'. Braff's next session after Fitzgerald had been with Dickenson on the 29th of December, 1953, yielding such as 'Jeepers Creepers' and 'Russian Lullaby' issued on uncertain dates per Vanguard VRS8001 and PPT 12000. Dates are discrepant in that both Discogs and the 'Goldmine' have those titles catalogued in 1953, too early for a recording date of 29 December 1953. Relevantly, 'Billboard' magazine has Vanguard VRS8001 advertised in April of 1955. Be as may, Dickenson would figure large in Braff's career, they working together numerously to as late as December 1981 for Braff's 'Very Sinatra', the last album on which Dickenson backed Braff. Among the more significant names along Braff's path was pianist, George Wein, who was in on Braff's first Storyville session in '51 above. They would team up to back other bands as well as each other, Wein appearing on several of Braff's albums and Braff supporting Wein's Newport All Stars. Braff's first recordings as a leader were with Wein, live at the Boston Common on June 9, 1954. Those were issued in 2001 as 'Presents Jazz at the Boston Arts Festival'. The last of their numerous collaborations was in Nice, France, on July 18, 1974, to record such as 'Swingin' the Blues' and 'Broadway'. Braff put together an orchestra for his tribute to Billie Holiday titled 'Holiday in Braff' gone down in March of 1955. Moving ahead several years, Braff performed with Scottish trumpeter, Alex Welsh, in 1967 in London, resulting in 'Ruby Braff with Alex Welsh and His Band' and Welsh's 'Hear Me Talkin''. In 1973 Braff formed a group that would make his name with guitarist, George Barnes, first recording at Carnegie Hall on June 29 that year [1, 2]. That ensemble broke up in 1975, its last recordings also at Carnegie Hall in February. Among Braff's disadvantages was a temper, said to have prevented him from becoming more successful despite an otherwise engaging personality. During the nineties Braff confronted lung disease. Moving into the new millennium, AAJ singles out 'Watch What Happens' gone down on 12 Sep of 2001 w Dick Hyman (piano), Howard Alden (guitar), Jake Hanna (drums) and vocalist, Daryl Sherman ('Frankly'). Braff gave his last performance at the Nairn Jazz Festival in Scotland in 2002, such also affecting his final recordings, 'For the Last Time'. Members of Braff's crew on those were Scott Hamilton (tenor sax), Jon Wheatley (guitar), John Bunch (piano), Dave Green (bass) and Steve Brown (drums). Braff died on February 9, 2003, in Chatham, Massachusetts [obits: 1, 2]. Among other names to embroider his career were Urbie Green, Buck Clayton (Mel Powell's All Stars at Carnegie Hall 9 April 1954, 'Buck Meets Ruby' 1 July 1954, Newport Jazz Festival 5 July 1964 [1, 2], et al), Bud Freeman, Benny Goodman, Ellis Larkins, Dave McKenna, Ralph Sutton, Tony Bennett ('70 and '73) and Helen Ward ('79). References: 1, 2, 3, 4, 5. Discos: 1, 2, 3, 4, Lord (leading 104 of 201). IMDb. Interviews: Harvey Siders 2001. Further reading: Nat Hentoff, Larry Kart, Michael Steinman. Biblio: 'Born to Play: The Ruby Braff Discography and Directory of Performances' by Thomas Hustad (Scarecrow Press 2012). Ruby Braff 1953 From 'Vic Dickenson Septet Vol 1 & 2' Trombone: Vic Dickenson Clarinet: Edmond Hall Piano: Sir Charles Thompson Guitar: Steve Jordan Bass: Walter Page Drums: Les Erskine Composition: Edward Heyman/Johnny Green Composition: Sir Charles Thompson Composition: Irving BerlinNote: Titles above are dated per 'Goldmine Standard Catalogue of American Records'. Lord's sessionography shows a recording date of 29 December 1953 for 'Vic Dickenson Septet Vol 1 & 2' that would make issues the same year impossible. Be as may, Lord catalogues the above per Vanguard VRS8001/ VRS8002 and Vanguard PPT12000/ PPT12005 which Discogs catalogues all but the last per 1953 as well. 'Billboard' magazine has Vanguard VRS8001/ VRS8002 advertised in April of 1955. Ruby Braff 1954 Flute: Frank Wess Trombone: Urbie Green Music: George Shearing 1952 Lyrics: George David Weiss See Birdland Ruby Braff 1955 Composition: Hoagy Carmichael/Johnny Mercer Piano: Ellis Larkins Composition: Johnny Burke/James Monaco With Benny Goodman Composition: Louis Prima Recorded 1951 at the Storyville Club Music: Lil Hardin Armstrong 1930 Lyrics: Don Raye Piano: Ellis Larkins Music: Richard Rodgers 1927 Lyrics: Lorenz Hart Ruby Braff 1957 From 'Hi-Fi Salute to Bunny' RCA Victor LPM-1510 Recorded Mar & Apr 1957 Clarinet: Pee Wee Russell Piano: Nat Pierce Composition: Al Jolson Buddy De Sylva Lewis Gensler Composition: Bob Ellsworth Dick Howard Russ Morgan End 'Hi-Fi Salute to Bunny' Newport Jazz Festival 5 July 1957 [Setlist] Clarinet: Pee Wee Russell Music: Vernon Duke 1936 Lyrics: Ira Gershwin Ruby Braff 1958 Recorded 12 April 1957 Clarinet: Pee Wee Russell Piano: Nat Pierce Composition: Harold Adamson/Walter Donaldson Note: 'Did I Remember?' was originally issued on the album by various, 'Bread, Butter & Jam In Hi-Fi' RCA Victor LPM 1644. It later saw release as a bonus track on the 2007 Mosaic reissue of 'Hi-Fi Salute to Bunny' originally released in '57 (above). Ruby Braff 1959 From 'Easy Now' Recorded Aug '58 Composition: Otto Harbach/Jerome Kern From 'Ruby Braff Goes Girl Crazy' Recorded 4 & 8 Dec 1958 All comps: Gershwin Brothers Ruby Braff 1961 Filmed live w the Newport All Stars: Composition: Duke Ellington 1942 Music: Sigmund Romberg 1928 Lyrics: Oscar Hammerstein II For the Broadway show 'The New Moon' Composition: Maceo Pinkard Edna Alexander (Pinkard's wife) Sidney Mitchell Music: John Turner Layton Jr. Lyrics: Henry Creamer For the Broadway musical 'Spice of 1922' Composition: Einar Swan 1921 Ruby Braff 1967 With the Newport All Stars Music: Billy Strayhorn 1939 Lyrics: Joya Sherrill 1944 Ruby Braff 1972 Piano: Ellis Larkins Music: George Gershwin 1930 Lyrics: Ira Gershwin 1937 Ruby Braff 1974 Filmed live Guitar: Barney Kessell Composition: Gershwin Brothers 1924 Filmed live in Berlin Guitar: George Barnes Music: George Gershwin 1934 Lyrics: DuBose Heyward/Ira Gershwin Ruby Braff 1991 Filmed live at the Brecon Jazz Festival Guitar: Howard Alden Bass: Frank Tate Music: Harold Arlen 1933 Lyrics: Yip Harburg/Billy Rose Music: Fred Ahlert 1929 Lyrics: Roy Turk Music: Richard Whiting/Ralph Rainger Lyrics: Leo Robin ('Nobody Else But Me') Music: Jerome Kern 1946 Lyrics: Oscar Hammerstein II Composition: 1966: Calvin Lewis/Andrew Wright Music: Carl Fischer 1942 Lyrics: Bill Carey
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Ken Colyer Source: Last FM
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Born in London in 1928, trumpeter
and cornetist, Kenneth Colyer,
was also a guitarist and vocalist. He was younger brother to Bill Colyer, a
washboard player. A major portion of Ken's renown was as
a skiffle musician (British folk). The other portion was in the interest of
traditional jazz along the New Orleans and ragtime vein, most notably with
his Jazzmen
to which Chris Barber contributed trombone. Colyer had
joined the Merchant Navy at age seventeen. At some point he quit the Navy such
that he had played with several bands before joining the Crane River Jazz Band
[1,
2,
3]
in 1949 with which performed for Princess Elizabeth at
the Royal Festival Hall in 1951. From November of '49 to November of '51 Colyer recorded a river of titles with that band as well as the Christie
Brothers Stompers [1,
2,
3], none with any determinable release dates at the time.
Among those were 'Ja-da', 'Midnight Special', 'How Long Blues', etc., gone
down in Nov of '51 in Burnham w John R.T. Davies (harmonium/ guitar) and
Bill Colyer (wire brushes). Colyer then joined the Merchant Navy again
in 1952,
though only long enough to leave ship in Mobile and head for New Orleans where, being a devotee
of traditional New Orleans jazz, he found employment with the George
Lewis Band. Lord's disco has him recording such as 'Panama' and 'High
Society' at the home of Joe Mares in New Orleans on 8 Dec of '52 toward
eventual issue on 'The Rarest Ken Colyer' (Nola LP15/ 504 Records CD23).
Unfortunately he was arrested upon his passport expiring on 25 Dec and he
spent the month of Jan '53 in prison before his release on 5 February.
Colyer recorded numerous titles in New Orleans that month, including at the
home of John Bernard, the Jazz Record Center and the home of Emile Barnes. Lord has the first of that string on
2 Feb (preceding the given date of his release from prison) at Bernard's, w
"Governor Nicholls" further identifying the venue, for 'Going Home Blues'
toward no identifiable issue. Colyer's next tracks at Bernard's on 13 Feb, such as
'Willie the Weeper', saw eventual release on 504 Records CD23. Upon
returning to England Colyer formed a band w Monty Sunshine (clarinet) and Chris
Barber (trombone) that recorded 'Slow Drag Blues' and 'Blue Blood
Blues' in March in London, eventually released in 2003 on 'Chris Barber
1953-2003: Jubilee Stomp' (Timeless RCDTTD654). From out of that band Colyer
formed his Jazzmen consisting of Sunshine,
Barber, Jim Bray (bass/ tuba) and drummer, Ron Bowden, who'd been a
member of Colyer's Crane River Jazz Band in 1950. Completing the crew was
Lonnie Donegan on banjo when they were in Copenhagen, Denmark, on 11 and 12
April of '53 to record titles like 'Tiger Rag' and 'Breeze', those in
particular issued on such as Storyville SLP144. A later performance on the
12th as Lonnie Donegan's Skiffle Group consisting of
Barber and Colyer resulted in such as 'Hard Time Blues' and 'Nobody's
Child' (Bear Family BCD15700-1). Colyer sessioned numerously in '53 w both
his Crane River Jazz Band and his Jazzmen, also recording sometime that or
the next year w his skiffle group consisting of
Barber, Donegan and Bill Colyer on washboard. That was a radio broadcast
for BBC of 'Midnight Special' and 'John Henry' (Upbeat URCD127/ Acrobat
ACTRCD9013). The 1953 album, 'New Orleans to London', went down w the
Jazzmen on September 2, 1953, in London. Colyer and
Barber continued recording together into '54, later in '64, '81 and '84, their
last occasion in Lord's disco on December 12 to result in Barber's 'New Orleans Parade'.
Along the way backs us up to to another of Colyer's projects, his Omega
Brass Band that bounced out such as 'Over in Gloryland' and 'Tiger Rag', et
al, on 8 Sep of '57 for issue in '58 on ''Ken Colyer's Omega Brass Band |
Marching to New Orleans'' (Decca LF 1301). His final recordings about thirty
years later are traced by
Lord to June 6 of
'87 for two volumes of 'Sadly the Last One'. Colyer died on March 8, 1888.
The next year the Ken Colyer Trust, to become a record label, was formed to publish his memoir 'When
Dreams Are in the Dust' [*].
References: 1,
2,
3.
Discos: 1,
2,
3,
4, Lord (leading 188 of 248 sessions);
w Chris
Barber: 1,
2.
Reviews.
Biblio: 'Goin' Home: The Uncompromising Life an Music of Ken Colyer' by Mike
Pointon and Ray Smith (Ken Colyer Trust 2010) *.
Other profiles *.
More Colyer under Chris
Barber. Kenneth Colyer 1953 Composition: Lonnie Donegan Composition: Colyer Composition: Randolph Turpin/Tom Turpin Composition: Charley Straight Arrangement: Colyer Kenneth Colyer 1954 Composition: Paul Barbarin 1954 Composition: Irving Berlin 1930 Composition: J. Baird (?) Kenneth Colyer 1955 Composition: Scott Joplin Kenneth Colyer 1956 Composition: Charles Cooke 1914 Composition: George Bennard 1912 Kenneth Colyer 1958 Kenneth Colyer 1960 Note: 'Maryland My Maryland' was made the official state song of Maryland in 1939. Taken from the poem, 'Maryland, My Maryland', by James Ryder Randall in 1861, it was set to music by Jennie Cary who borrowed the melody from 'Lauriger Horatius', a German student song traced to sometime after 1780 that had made its way across the ocean to appear in the Yale College Song Book of 1858 [see also: 1, 2]. Some place the possible origin of 'Lauriger Horatius' w the Archpoet (or Archpoeta) living circa 1130-65. John Addington Symonds published a translation in 1884 in his book, 'Wine, Women, and Song'. 'Maryland My Maryland' and 'Lauriger Horatius' share the same melody as 'O Tannenbaum' ('O Christmas Tree'). James Davis comments in the book, 'Maryland, My Maryland', that variations of 'O Tannenbaum' are traceable in text to the 16th century [see also *]. Hymns and Carols has text and music first published in 1799, melody possibly borrowed from 'Lauriger Horatius'. Versions were published by August Zarnack in 1819 or '20 and Ernst Anschütz in 1824 [see also 1, 2]. Kenneth Colyer 1963 Composition: J.C. Higginbotham Kenneth Colyer 1981 Live performance Composition: Johnny Wiggs
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 Bill Hardman Photo: Mosaic Image Source: Blue Note |
Born in 1933 in Cleveland, Ohio,
trumpeter,
Bill Hardman,
was among not a few musicians in these histories to have made that a hopping
jazz town, saxophonist,
Albert Ayler, perhaps the most
notorious among them (free form). Hardman himself knew bassist, Bob Cunningham, and pianist,
Tadd Dameron as a youth. Upon
graduation from high school Hardman joined
Tiny Bradshaw's outfit with
whom he made his first recordings on July 29, 1953: 'Powder Puff', 'South of
the Orient', 'Later' and 'Ping Pong'. Hardman stuck with
Bradshaw into 1955. He entered
a session with
Charles Mingus at the Cafe Bohemia
in NYC on August 18 of 1956 for such as 'Confirmation'. His first tracks with
Jackie McLean followed on August 31,
1956, though 'Jackie's Pal'
wasn't issued until 1957, 'Jackie McLean & Co.' as well, recorded
February 7, 1957. Hardman also
emerged on
Art Blakey's 'Hard Bop' in '57,
together with several other LPs released in rapid succession by
Blakey that year.
Blakey was the major figure in
Hardman's career, they collaborating in the later sixties and latter
seventies as well. Also important
to Hardman's early career was
Lou Donaldson, with whom he issued
several albums in the early sixties, their first being
Donaldson's 'Sunny Side Up' recorded
on February 5, 1960. Hardman released his first LP in 1961:
'Saying Something'. As the seventies rolled into the eighties he worked with
saxophonist,
Junior Cook. Their first titles
together were for pianist, Mickey Tucker's, 'Sojourn' on March 28, 1977.
Cook would appear on several
Hardman albums, they also backing other ensembles together. Their last
session is thought to have been after Hardman moved to Paris in 1988, also
proving to be Hardman's final titles, 'What's Up', recorded in Copenhagen,
Denmark, on July 7, 1989. Hardman died of cerebral hemorrhage on December 5, 1990.
Though he
had participated in only 77 sessions [Lord] during his forty-year career,
and released only six albums as a leader or co-leader, he is yet recognized
as among the top trumpeters in jazz. References: 1,
2.
Discos: 1,
2,
3,
4.
Discussion. Per 1968 below, 'Live in Denmark' is the
Horace Silver Quintet with the
Elvin Jones Trio. 'Nutville' is
Silver's quintet featuring John Williams (bass),
Billy Cobham (drums) and
Bennie Maupin (sax). Bill Hardman 1953 With Tiny Bradshaw Composition: Bradshaw Thought to be Hardman's first recording Bill Hardman 1955 With Tiny Bradshaw Composition: Al Sears Bill Hardman 1957 From Jackie McLean's 'Jackie's Pal' Recorded 31 Aug '56 Composition: Hardman Composition: McLean From Mal Waldron's 'Mal/2' Recorded April & May '57 Music: Richard Rodgers 1938 Lyrics: Lorenz Hart For the musical 'The Boys from Syracuse' Mal Waldron LP: 'Mal/2' Bill Hardman 1960 Composition: Hardman Art Blakey LP: 'The Big Beat' Tenor sax: Wayne Shorter Trumpet/flugelhorn: Lee Morgan Piano: Bobby Timmons Bass: Jymie Merritt Bill Hardman 1961 From Hardman's 'Saying Something' Debut LP Recorded 18 Oct '61 Composition: Matt Dennis/Earl Brent Composition: Tom McIntosh Bill Hardman 1964 From Lou Donaldson's 'Possum Head' Recorded 28 Jan '64 Composition: Alberto Dominguez/Leonard Whitcup Composition: Donaldson Bill Hardman 1968 Filmed live Horace Silver Quintet Elvin Jones Trio Filmed live Horace Silver Quintet Sax: Bennie Maupin Drums: Billy Cobham Bass: John Williams Composition: Silver Bill Hardman 1987 Filmed with Junior Cook Bill Hardman 1989 Composition: Mickey Tucker LP: 'What's Up' Recorded 7 July '89 Copenhagen, Denmark Last name LP
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Albert Mangelsdorff Photo: Hermann Wygoda Source: Golden Age 3040
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Born in Frankfurt in 1928 trombonist
Albert Mangelsdorff
played violin and guitar as a child until switching to trombone in 1948. He
was the younger brother of alto saxophonist,
Emil Mangelsdorff. Mangelsdorff
began his professional career in 1950 upon joining Joe Klimm's outfit. In 1953
he switched to Hans Koller's quintet.
Lord's discography wants his first recordings unissued with Koller's
New Jazz Stars joining Dizzy
Gillespie at the NDR Studio in Hamburg, Germany
on March 9. Titles with Jutta Hipp
contributing piano were 'The Way You Look Tonight', 'Indian Summer', 'You Go
to My Head' and 'All the Things You Are'. A couple more unissued titles by Koller's
Stars followed on the 14th until a session in May in Baden-Baden saw vinyl
issued by Vogue, such as 'The Way You Look Tonight' and 'What's New'.
Koller
and Mangelsdorff would maintain a significant relationship over the decades,
holding numberless sessions, either backing each other or other ensembles,
to as late as October 12, 1980, Mangelsdorff in Koller's
band at the German Jazz Festival in Frankfurt to record such as 'Jessica's
Dream' and 'Last Not Least'. Hipp
would partake in a few more sessions with
Koller
and Mangelsdorff in '53, after which Mangelsdorff joined her quintet at the
Deutsche Jazz Festival in Frankfurt on May 28, 1955, to record such as 'Hipp
Noses' and 'The Song Is You'. It is thought Mangelsdorff first recorded with
tenor saxophonist,
Joki Freund, at that performance.
Freund and Mangelsdorff would be
nigh constant companions over the decades into the new millennium. In 1955
they formed the Frankfurt All Stars with
Emil Mangelsdorff, issuing 'Vier
Temperamente' in 1956. Koller
would join them on the release of 'Rhein Main Jump' in '58. Mangelsdorff and
Freund put together a quintet
in 1957 which became the nucleus of the Jazz-Ensemble of Hessian Broadcasting,
of which Mangelsdorff was the director until 2005. One manifestation of that
arrangement was the Jazz Ensemble of Hessischer Rundfunk, recording in '67,
'73, 1980-85, '89 and 1992-93. Mangelsdorff toured Asia, the United States
and South America in the sixties. 1969 saw the release of 'Albert
Mangelsdorff and His Friends' [1,
2]
recorded variously in Germany from '67 to '69 w such as cornetist, Don Cherry,
and guitarist,
Attila Zoller. Beginning to lead quartets in 1969,
his
first of numerous sessions of that formation was on March 23, 1970, for
'Never Let It End'. He began to emphasize solos in the seventies as well. In 1976 he began teaching at the Hoch Conservatory.
In 1995 Mangelsdorff became musical director for the JazzFest Berlin.
Leading or co-leading above fifty albums, among earlier in the new
millennium was 'Old Friends' recorded in June 2000 in Ludwigsburg, Germany,
w
Klaus Doldinger (sax), Manfred
Schoof (trumpet/ flugelhorn),
Wolfgang Dauner
(piano),
Eberhard Weber (bass)
and Wolfgang Haffner (drums). Manglesdorff final
recording is thought to have been with
Joki Freund for 'Crows on the Roof'
per the HR
Jazzensemble on May 16, 2003, that issued in 2008 on 'Unauffällige
Festansage'. Mangelsdorff died
in Frankfurt on July 25, 2005 [obit]. References: 1,
2,
3,
4.
Timelines: Deutsch,
English.
Sessions: J-Disc (w comps by Mangelsdorff);
Hans-Werner König;
Tom Lord (leading 77 of 267).
Discos: 1,
2,
3,
4,
5.
Filmographies: 1,
2.
Biblio.
Other profiles: 1,
2.
Albert Mangelsdorff 1964 Piano: John Lewis Bass: Karl-Theodor Geier Drums: Silvije Glojnaric LP: 'Animal Dance' Recorded 30 July '62 Baden-Baden, Germany Albert Mangelsdorff 1966 Filmed live Albert Mangelsdorff 1969 From 'Wild Goose' Tenor sax: Joki Freund Guitar/vocals: Colin Wilke Vocals: Shirley Hart Composition: Colin Wilke Composition:From 'Wild Goose Shanty': A.L. Lloyd/Ewan MacColl Composition: Colin Wilke Ich Armes Maidlein Klag Mich Sehr Composition: Ludwig SenflPublished 1873 [IMSLP] Composition: Colin Wilke ('The Banks of the Sweet Primroses') Composition: unknownTraditional English folk Composition: Colin Wilke Albert Mangelsdorff 1970 Composition: Mangelsdorff LP: 'Never Let It End' Albert Mangelsdorff 1973 Composition: Mangelsdorff LP: 'Birds of Underground' Albert Mangelsdorff 1976 Composition: Mangelsdorff Concert Filmed live Bass: Jaco Pastorius Drums: Alphonse Mouzon Albert Mangelsdorff 1982 Trombone solo Composition: Mangelsdorff Albert Mangelsdorff 1983 Filmed live Bass: Leon Francioli Drums: Pierre Favre Composition: Mangelsdorff Filmed live Bass: Leon Francioli Drums: Pierre Favre Composition: Mangelsdorff Filmed live Bass: Leon Francioli Drums: Pierre Favre Wobbling Notes and Fluted Crackle Composition: Mangelsdorff Albert Mangelsdorff 2004 ('Tropic of Capricorn') Filmed live Composition: Wolfgang Dauner Albert Mangelsdorff 2008 Composition: Heinz Sauer Album: 'Unauffällige Festansage' Posthumous issue
|
|
|
Papa Bue Source: Wikipedia
|
Born Arne Bue Jensen in 1930 in
Copenhagen, Denmark, traditional Dixieland trombonist
Papa Bue
was a sailor after World War II when he began teaching himself to play his instrument.
He was working venues in Copenhagen when he put together the Royal Jazz Band
in 1953. That band would soon be renamed the Bohana Jazz Band. The Bohana Band
made several live recordings in February of 1954, all unissued except 'Franklin
Blues' and 'You Always Hurt The One You Love'. Those recordings were the first
made by Bent Haandstad, launching his A Jazz Club Record label, Bue's band performing
at the Soevaernets Kaserne naval base in Copenhagen. In 1956 Bue changed the
name of his group to the New Orleans Jazz Band,
then the Viking Jazz Band. The
latter released its first album in 1958, 'Beware! The Vikings Are Over Us',
recorded on 7 and 12 Nov 1958. In 1960, its release of 'Schlafe Mein
Prinzchen' sold above a million copies. Papa Bue was the man to see when
American musicians toured through Denmark. Among the Viking Jazz Band's
recording collaborators were
George Lewis ('59),
Champion Jack Dupree
('62), Wingy Manone
('66-'67), Edmond Hall ('66), Art Hodes
('70), Albert Nicholas ('71) and Wild Bill Davison,('74-'77).
Earl Hines and Ben Webster also performed
with them at one time or another. Among the highlights of Bue's career were
his debut recordings as a leader on the 18th and 30th of December, 1956, his
first session yielding the sole title, 'Long Deep and Wide', his second
seven more such as 'Bill Bailey' and 'Blue Bells Goodbye'. A compilation of
Bue and the Viking Jazz Band was released on 4 CDs in 2005 titled, '100
Go'e'. See also '80 at 80' 1954-78 by Storyville 2010: 1,
2,
3. Bue died on 2 November of 2011.
References: 1,
2,
3,
4.
Discos: 1,
2,
3,
4,
5,
Lord (leading 159 of 178 under Arne Jensen).
IMDB: 1,
2.
Papa Bue 1954 Bohana Jazz Band Composition: Bunk Johnson You Always Hurt the One You Love Bohana Jazz Band Music: Doris Fisher Lyrics: Allan Roberts Papa Bue 1956 New Orleans Jazz Band Composition: Papa Bue Papa Bue 1958 Nyboders Pris (Praise of Nyboder) Composition: Axel Andreasen Papa Bue 1959 Composition: Billy Hill Papa Bue 1960 Composition: See Wikipedia Note: The above title is also referred to as 'Guten Abend, Gute Nacht', 'Brahms's Lullaby', 'Cradle Song' or 'Op. 49 No. 4' published for piano and voice by Johannes Brahms in 1868.Papa Bue 1970 Composition: Mamie Desdume Papa Bue 1975 Banjo/vocal: Bjarne "Liller" Pedersen Composition: Henrik Lund/Jørn Jensene Papa Bue 1978 Banjo & vocal: Bjarne "Liller" Pedersen Composition: See Wikipedia Papa Bue 1992 Music: Kurt Weill 1928 Lyrics: Bertolt Brecht Composition: Scott Joplin 'Tin Roof Blues' was composed for recording in 1923 by the New Orleans Rhythm Kings consisting of Paul Mares, Ben Pollack, Mel Stitzel, George Brunies and Leon Roppolo. Composition: Artie Matthews 1913 Composition: WC Handy 1915 Papa Bue 1996 We Shall Walk Through the Streets of the City Filmed live Composition: Garfield Haywood Papa Bue 1999 Composition: Ken Colyer Music: Michael Edwards 1937 Lyrics: Bud Green
|
|
 Shake Keane Source: Carribean Beat |
Trumpeter,
Shake Keane, was
born in 1927 in Kingstown, St. Vincent, the main of the group of islands
called the Grenadines north of Venezuela in the West Indies. He was actually
born first. The trumpet came later, though in time to play in public for the
first time at age six, brought to him by his father who played trumpet but
died when Keane was thirteen. The next year he began playing in a group with
his brothers, eventually graduating to Ted Lawrence and his Silvertone
Orchestra. Literature Shake. His dedication to writing as a young man
is how his name got changed from Ellsworth McGranahan to "Shake", short for
Shakespeare. In 1950 he published 'L'Oubili', a book of poetry, followed by
'Ixion' in 1952, the year he emigrated to Great Britain to work for BBC on
the 'Caribbean Voices' radio program, doing interviews and reading poetry.
He played trumpet in various nightclubs with various bands until forming his
own, the Highlifers, to record 'Trumpet Highlife'/'Creole Honey' in 1954 for
the Lyragon label on a date unknown. More sessions followed from February to
circa May resulting in 'High Note Highlife'/'Mambo Indio', 'Akinla'/'Fire
Fire' and 'Balonga'/'Shake's Ghana Blues'. Writing competed with music for
Shake's dedication in the latter fifties, though he began to play flugelhorn
about that time. He eventually released a number of titles in 1960 with
tenor saxophonist, Wilton "Bogey" Gaynair, on the Tempo label. Shake had
joined the
Joe Harriott Quintet the year before and would appear on numerous
recordings by
Harriott into 1966. Keane was with Francy Boland in Germany
from '66 to '68 where they recorded 49 titles together. He returned to St.
Vincent in 1972 to become Director of Culture until 1975. He published the
poetry collection, 'One a Week with Water', in 1979. During the eighties he
moved to New York to settle in Brooklyn, working as a cultural attaché for
the government of St. Vincent. Throughout the seventies and eighties Keane
was less involved with music than other activities. He became a United
States citizen in 1989, then left for Great Britain to tour with
Joe Harriott Memorial Quintet with pianist,
Michael Garrick. Though Keane was
recognized as a phenomenal trumpet player his responsibility to literature and writing
helped him to die of cancer with little to his name on 11 November of 1997
in Oslo, Norway [obit].
References: 1,
2,
3,
4,
5.
Discos: 1,
2,
3, Lord (leading 15 of 60 sessions).
Reviews.
Authorship: 1,
2. Shake Keane 1954 With Mike McKenzie's All Stars: Composition: Fela Sowande From Nigerian traditional Composition: Traditional Shake Keane 1961 Composition: Keane Note: Above title, recorded in London on 31 August 1961 w Joe Harriott at alto sax, was issued that year on 'In My Condition' (Columbia SEG 8140). Keane recorded 'Fidel' again in March of '66 in London w a different crew excepting pianist, Pat Smythe, appearing on both versions. The latter saw release on 'That's the Noise' (Ace of Clubs ACL 1219) in 1967. Lord has Keane and Smythe first recording together in Nov of 1960 to back Joe Harriott's 'Free From'. They also supported Harriott's 'High Spirits' on 7 Sep of 1964 and 'Indo Jazz Fusion' in Sep 1966. Shake Keane 1962 Composition: Keane Shake Keane 1965 Composition: Heitor Villa-Lobos Album: 'The Keating Sound' Shake Keane 1966 Filmed live in Berlin Shake Keane 1967 Composition: Mick Jagger Keith Richards Andrew Loog Oldham Album: 'That's the Noise' Note: 'As Tears Go By' above went down in London in March of 1966. It saw recording again in London on 28 May of '68 for inclusion on 'Dig It!'. Shake Keane 1969 From 'Dig It!' 'Green Onions' was composed in '62 by Booker T. & the M.G.'s consisting of Booker T. Jones, Steve Cropper, Lewie Steinberg and Al Jackson Jr.. Composition: Curtis Ousley/Luther Dixon Shake Keane 1991 Album: 'Real Keen: Reggae into Jazz' All comps by Linton Kwesi Johnson/Keane
|
|
| Hard bop trumpeter,
Dizzy Reece, had
been born in Kingston, Jamaica, in 1931. He began trumpet at age fourteen,
switching from baritone sax. Playing professionally at age sixteen, he took
a ship to London in 1948, but had difficulty getting gigs so left for Paris
the next year. He also worked in Holland and Germany before he figured he
was good to visit London again in 1954. Things went much better that time
around, hooking up with Kenny Graham's Afro Cubists to record 'The
Continental', 'Cottontail', 'Fascinating Rhythm' and 'Blues In the Night' on
April 27 of '54. A couple of sessions with Tony Crombie and his Orchestra would
follow later that year. He commenced 1955 on January 9 with titles by the
Town Jazz Group at Royal Festival Hall. On March 3 he recorded his first
tracks with pianist/vibraphonist,
Victor Feldman: 'Typhoon', 'Umf',
etc.. Two months later on May 18 he put down tracks for what would end up on
'London Jazz' (Imperial LP 9043) with his quintet in 1957. Titles for
Feldman's 'Suite Sixteen' followed on August 19, that issued in 1958.
Reece stayed with
Feldman through '56, their last session on January 3, 1957
for such as 'Strollin', 'I've Lost Your Love', etc.. On August 24, 1958,
Reece recorded 'Blues in Trinity', issued the next year. Reece made his
first trip to NYC in 1959, supporting
Art Blakey on 'Africaine' at the
Blue Note studio in Englewood Cliffs, NJ, on November 10. But, like London a
decade before, the New York jazz scene wasn't easy to invade and he returned
to England. Highlighting the
sixties was a tour of Europe in 1968 with Dizzy
Gillespie, resulting in a
few Gillespie LPs. Highlighting the seventies was his participation in Boy
Edgar's 'Music Was His Mistress: An Homage to Edward Kennedy Ellington' in
1975. A trip to New York in 1977 resulted in
Clifford Jordan's
'Inward Fire' recorded on April 5. Another trip the next year came to
Jordan backing Reece on 'Manhattan
Project' on January 17. Reece would also join
Jordan on 'Play What You Feel' in
1990 and 'Down Through the Years' in 1991, both in NYC. Highlighting the
eighties was the Paris Reunion
Band, recording 'French Cooking' on July 3, 1985, in Stockholm, Sweden.
After contributing to
Jordan's 'Down Through the Years'
in '91 per above, Reece disappeared into obscurity. His career of forty
years wasn't so emphasized on recording, he attending only 66 sessions
traced by Lord, 19
of those as a leader. References:
allmusic;
bandonthewall: 1,
2
(alt);
henrybebop (alt);
wikipedia.
Sessions: henrybebop (select)
(alt),
JDP.
Discos: 1,
2,
3,
4.
Compilations: 'Mosaic Select 11' 1958-60 by United 2004:
1,
2.
IMDb.
Further reading: Jack Cooke,
Curt's Jazz,
Christopher Porter.
Dizzy Reece 1955 Tony Crombie Orchestra Tony Crombie Orchestra Composition: Count Basie/Tadd Dameron Dizzy Reece 1957 Album Dizzy Reece 1959 From 'Blues In Trinity' Composition: Reece Composition: Reece Dizzy Reece 1960 From 'Comin' On!' Recorded April & July 1960 Issued 1999 Composition: Reece Composition: Walter Gross/Jack Lawrence From 'Soundin' Off' Recorded 12 May 1960 Piano: Walter Bishop Jr. Bass: Doug Watkins Drums: Art Taylor Composition: Reece Composition: Victor Young Bing Crosby Ned Washington From 'Star Bright' Recorded 19 Nov 1959 Composition: Reece Composition: Buddy Kaye/Billy Reid Dizzy Reece 1962 From 'Asia Minor' Recorded 13 Mar 1962 Composition: Cecil Payne Composition: Carlos Eleta Almarán Dizzy Reece 1970 LP: 'From In to Out' Recorded 23 Oct 1970 All comps by Reece Dizzy Reece 1977 Composition: Reece Album: 'Possession, Exorcism, Peace' Dizzy Reece 1978 From 'Manhattan Project' Recorded 17 Jan 1978 Composition: Reece Composition: Reece Dizzy Reece 1981 Filmed live
|
 Dizzy Reece Source: Jazz Times |
|
| West Coast master trumpeter, singer and
television actor,
Jack Sheldon,
was born in 1931 in Jacksonville, FL. Performing professionally at age
thirteen, he served
time in the Air Force, performing in military bands, then returned home to
gig in clubs before trading coastlines in 1947, moving to Los Angeles. His earliest known session
was with
Al Haig leading a group that included trumpeter, Chet Baker, and
alto saxophonist,
Art Pepper, on August 18, 1952, at the Trade Winds in
Inglewood, CA. Baker was out on three of six tracks, leaving
those to Sheldon. They wouldn't see issue until 1990 as 'Inglewood Jam 1952'.
Sheldon would later share numerous sessions with
Pepper, their next occasion on August 6, 1956, for the
latter's 'The Return of Art Pepper'. Come 27 August of '57 in Los Angeles
for initial tracks to Sheldon's, 'Jack's Groove' [1,
2], completed in Dec '58.
Also contributing to trumpet on that were Baker
(Aug '57) and
Conte Candoli (Dec '58). From '58 to 61
Pepper and Sheldon cleared much the
same path backing other operations when Sheldon wasn't supporting
Pepper. They
last recorded together per Lord with the
Teddy Edwards Septet supporting Helyne
Stewart on January 20, 1961, for tracks on 'Love Moods'. On February 19 and April 15, 1954, Sheldon joined
Jimmy
Giuffre in the recording of the latter's
debut album, 'Jimmy Giuffre'. Thought issued that year, that was likely
Sheldon's first vinyl. Giuffre
and Sheldon would visit on multiple occasions in the fifties, backing other
bands when Sheldon not supporting
Giuffre. Their last such occasion
was per
Giuffre's orchestra on April 8,
1959, supporting
Anita O'Day on titles like 'Orphie
Annie' and 'It Had to Be You'. Also present at Sheldon's first sessions for
Giuffre's debut album mentioned
above were Russ Freeman (piano),
Curtis Counce (bass),
Shelly Manne (drums), Bob
Enevoldsen (valve trombone),
Bud Shank (alto sax) and Ralph Pena
(bass). With the exception of Pena with whom Sheldon recorded only a couple
more times, the other members of that ensemble would be frequent partners on
numerous occasions in the coming years. He next joined Freeman per 'The
Return of Art Pepper' above in August of '56, they to interweave for the
next eight years backing other bands. Their last session together was in the
summer of '64 for
Shelly Manne's LP, 'My Fair
Lady with the Un-original Cast'. As for
Manne, he was also present on
'The Return of Art Pepper' above.
Manne would be a major
compatriot in the decade to come, supporting other bands when
Manne wasn't backing Sheldon.
The last sessions of that long relationship fell to
Manne's 'My Fair Lady with the
Un-original Cast' per above in 1964. They reunited thirteen years later in
the summer of '77 to back Tom Waits on the album, 'Foreign Affairs'. Sheldon
first backed
Counce on October 8, 1956, for the
album, 'The Curtis Counce Group', and stuck with
Counce to latter 1957. Sheldon next
recorded with Bob Enevoldsen (after
Giuffre above) in June of '57 to
support 'Joe Bryan Sings'. They interweaved often as they supported other
bands to as late as 1969, later reuniting in '88, '93, '01 and, finally,
September 6, 2003, backing vocalist, Eric Felton, on 'Meets the Dek-Tette'.
As for
Bud Shank, Sheldon's next session with
him (after
Giuffre above) was in the summer
of 1958, backing the Hi-Lo's on 'Then I'll Be Tired of You' and 'Lady in
Red'. They crossed paths on numerous occasions in the support of various to
as late as April of '65, backing Johnny Mandel's 'The Sandpiper'. They would
reunite nigh a quarter century later on March 21, 1989, for 'Vic Lewis West
Coast All Stars Play Bill Holman'. Highlighting Sheldon's early career was
his first session as a leader in late summer of '54, recording the 10" long
play for the Jazz West label called 'Get Out of Town!'. On
April 4 of '55 he was joined by
Zoot Sims for another 10" album: 'Jack
Sheldon Quintet with Zoot Sims'. His 1956 33 LP, 'The Quartet and the
Quintet', combined those earlier albums onto one disc. Numerous reissues
since then, beginning in '79, contain several additional tracks. Sheldon began
to appear on television per 'The Merv Griffin Show' in 1962, and would
eventually become a long-standing member of Griffin's band. Sheldon began
acting in 1964, appearing in the television movie, 'The Nut House!!', moving
on to numerous roles throughout his television career in such as 'Gilligan's
Island', 'Run Buddy Run', 'Petticoat Junction', 'Dragnet', 'The Girl with
Something Extra', 'Schoolhouse Rock!', 'Star Trek' and the television movie,
'Hard Time'. He's also contributed to numerous soundtracks, mostly in television,
though his first in 1965 was a performance of 'The Shadow of Your Smile' for
the the film, 'The Sandpiper'. Also a film actor, Sheldon first appeared as
such in 1972 in 'A Day at the White House', moving onward to, among others,
'Freaky Friday' ('76) and 'Dear God' ('96). In the meantime his second
career in music has seen the release of above twenty albums as a leader. In
2011 Sheldon endured a stroke that made him a totally left-handed player
[1,
2].
Currently residing in Hollywood Hills, he is yet active at jazz clubs such
as the Catalina Bar & Grill. The actor, George Segal, accomplished on banjo,
joins him on occasion. References: 1,
2. Sessions: Lord.
Catalogs: 1 (scratch the Tops label),
2,
3.
Transcriptions.
Sheldon in visual media: IMDb,
Wkipedia.
Further reading: Jazz Profiles: 1,
2.
Facebook.
Other profiles:1,
2.
Jack Sheldon 1955 From: 'Get Out Of Town' Jack Sheldon Quartet Composition: Al Cahn Composition: Cole Porter Jack Sheldon Quintet Composition: Noel Coward Jack Sheldon 1956 LP by Jimmy Giuffre Jack Sheldon 1958 Jack Sheldon Quintet Recorded 18 Nov 1955 Composition: Noel Coward Billy Rose Yip Harburg Harold Arlen Album by various: 'The Hard Swing' World Pacific 508 Jack Sheldon 1968 The Warm World of Jack Sheldon Album Jack Sheldon 1978 Composition: Lennon–McCartney Jack Sheldon 1984 Filmed live Music: Duke Ellington 1940 Lyrics: Bob Russell Jack Sheldon 1985 'Merv Griffin Show' with Jon Faddis Composition: Duke Ellington Jack Sheldon 2013 Filmed in Los Angeles
|
 Jack Sheldon Source: Discogs |
|
| Cornetist
Nat Adderley first
recorded with his brother,
Cannonball, on June 28, 1955,
in NYC. That was for
Kenny Clarke's 'Bohemia After
Dark'. He had earlier recorded with Lionel
Hampton's orchestra in Europe in '54. His first of several sessions
had yielded 'Star Dust' in October in Amsterdam, Holland. Another rendition
would be recorded in November in Vienna. Adderley's earliest recordings with
Hampton in Europe were made available in 1955 on the album, 'Apollo Hall
Concert 1954'. Fading back a bit earlier, Adderley had been released from
the Army in 1953 to attend Florida A&M with the intention of becoming a teacher.
But before filling his first position he joined
Hampton's band per above, with
which he played a couple years. In 1955 he and
Cannonball went to New York where
Oscar Pettiford was playing at the Café Bohemia in Greenwich Village.
Pettiford's
saxman didn't show so
Cannonball filled his spot, Nat also playing.
Pettiford was impressed and the
brothers were encouraged to form the
Cannonball Adderley
Quintet. Adderley's first session with that quintet was after
Clarke's per above, in
Hackensack, NJ, for Savoy on July 14, 1955: 'Spontaneous Combustion', 'A
Little Taste', 'Caribbean Cutie', et al.. With the exception of a couple
years in the latter fifties when Nat worked with JJ Johnson and
Woody Herman, that quintet remained in operation until
Cannonball's death in 1975.
Cannonball
and Nat last recorded at a concert at the Nassau Coliseum in
Uniondale, New York, on July 6, 1975: 'Phases', 'Country Preacher', 'Oh
Babe!', et al. Nat's first of nearly forty albums as a leader were released
in 1955. 'That's Nat' (Savoy MG 12021) saw recording in NYC on 28 July w a
crew of Jerome Richardson (tenor sax/ flute),
Hank Jones (piano),
Wendell Marshall (bass) and
Kenny Clarke (drums).
'Introducing Nat Adderley' went down in NYC on 6 Sep of '55 with
Cannonball at alto,
Horace Silver (piano), Paul Chambers
(bass) and
Roy Haynes (drums). His third LP,
'To the Ivy League', went down in July of '56 in NYC w
Cannonball, Junior Mance
(piano),
Sam Jones (bass/ cello), Al
McKibbon (bass) and Specs Wright (drums). To go by Lord's disco, his last
album recorded (not issued) was 'Mercy, Mercy, Mercy' in NYC in December of
'95 joined by Antonio Hart (sax), Rob Bargad (piano), Walter Booker (bass)
and
Jimmy Cobb (drums). Among other
of Adderley's projects were the Adderley Brotherhood with which he toured
Europe in 1980 and the 1986 musical, 'Shout Up a Morning' [*], for which he
wrote the score w
Cannonball. Lord's disco
has his last
recordings in December of 1995 per 'Mercy, Mercy, Mercy' (above). As of 1997
Nat spent
the last few years of his life as an artist in residence at Florida Southern
College in Lakeland, Florida. until his of diabetes on
2 Jan 2000 [obits: 1,
2].
He is survived by his son born in 1955, pianist, Nat Adderley Jr. [1,
2,
3].
References: 1,
2,
3,
4.
Sessions:
J-Disc; Lord (leading 57 of 297).
Discos: 1,
2,
3,
4,
5.
IMDb.
IA.
Joan Gannij interview 1997.
Other profiles: 1,
2.
Nat Adderley 1955 With Cannonball Adderley Composition: Quincy Jones Music: Richard Rodgers Lyrics: Lorenz Hart With Cannonball Adderley Composition: Cannonball With Cannonball Adderley Composition: Cannonball With Lionel Hampton Music: Hoagy Carmichael 1927 Lyrics: Mitchell Parish 1929 Nat Adderley 1958 Live with Billy Taylor & Cannonball Nat Adderley 1959 Composition: Cannonball/Nat Nat Adderley 1960 From 'Work Song' Recorded 25 & 27 Jan '60 Guitar: Wes Montgomery Composition: Gershwin Brothers Composition: Nat Adderley Composition: Nat AdderleyFrom 'That's Right' Recorded Aug/Sep '60 Composition: Jimmy Heath LP: 'That's Right' Nat Adderley 1962 Composition: Nat Adderley/Ellis Marsalis Album: 'In the Bag' With Cannonball Adderley Nat Adderley 1964 Nat Adderley 1969 Electric piano: Joe Zawinul Composition: Zawinul LP: 'Calling Out Loud' Nat Adderley 1975 Composition: Miriam Makeba/Semenya McCord LP: 'Double Exposure' Nat Adderley 1990 Live at the Pori Jazz Festival in Finland: Composition: Joe Zawinul Composition: Sam Jones Composition: Nat Adderley
|
Nat Adderley Source: Jazz Trumpet Solos
|
|
| Born in 1935 in Bridgetown, Barbados, some 500 miles north of
Venezuela, British trumpeter,
Harry Beckett,
picked up music as a cornetist with a Salvation Army band. He is thought to
have left for London in 1954, possibly with tenor saxophonist, Willy
Roachford, they to join the West African Rhythm Brothers (WARB) which had
established a residency at the Abalabi nightclub in Soho in 1952. WARB would
combine a variety of styles from calypso to swing, an operation run by
Nigerian musician, Ambrose Campbell, since 1945, making its way to London in
'46. Lord's disco picks up Beckett with the WARB on an unknown date in the
early fifties, recording 'Mofi ajobi seyin' (circa 1954) with
other unidentified titles. That (perhaps those) wouldn't see issue until 'London Is the
Place for Me Vol 3' in 2006. Lord's also lists Beckett as the possible
uncredited horn player on 'Iwa D'Arekere' (flip
side to 'Ero Ya Kewawo' Melodisc 1322) in 1955
as well as the obscure 'Egbe Mi' (flip side to 'Ajo Laway' Melodisc
1462). Beckett also worked with Leslie Hutchinson upon arriving to
London. He is thought to have met bassist,
Graham Collier, in 1961 before
Collier left for the United States to attend the Berklee College of Music. In 1962
Beckett appeared in the film,
'All Night Long', with
Dave Brubeck and
Charles Mingus. He found himself in
Collier's band upon the latter's return to the UK in '63/64.
On January 24, 1967, Beckett
participated in three tracks on
Collier's 'Deep Dark Blue Centre' (Kenny Wheeler
filling trumpet on the others). Titles toward 'Workpoints' ('06) went down
in March of 1968. Becket would remain with
Collier through above ten albums to 'The Day of the Dead' in
early 1978. Along the way
Collier assisted as arranger on Beckett's debut LP, 'Flare
Up', on July 15, 1970. They would reunite in November of 2004 for titles
toward
Collier's 'directing 14 Jackson Pollocks'.
Wheeler, above, would be one of Beckett's more important comrades, they
joining the trumpet section of numerous operations, such as Mike Gibbs', to
as late as January of 1994 for 'Ixesha (Time)' by the Dedication Orchestra.
Also contributing to 'Workpoints' above had been drummer, John Marshall,
with whom Beckett often worked into the seventies, and saxophonist,
John Surman, on whose debut
album, 'John Surman', he participated with
Wheeler on August 14, 1968. Beckett supported five of
Surman's LPs to 'Tales of the
Algonquin' in 1971. Along the way
Surman contributed to Beckett's
debut LP, 'Flare Up', in 1970. To go by Lord's disco they held their last
mutual session on January 9 of 1971 for 'Chris McGregor's Brotherhood of
Breath'. It was an unknown date for 'Jazz in Britain '68-'69' featuring
Surman and
Alan Skidmore with
Mike Osborne also on sax. Both
Skidmore and
Osborne would play large roles
in Beckett's career. Beckett and
Osborne traveled together
through
Surman and, later,
Chris McGregor. Beckett
contributed to
Osborne's 'Outback' in spring
of 1970. It was Beckett's debut LP, 'Flare Up', in July, 'Warm Smiles' in
the summer of '71 and 'Themes for Fega' on February 4 of '72. Lord's disco
finds them together to as late as
McGregor's 'Live Toulouse' on May 10 of 1977. They had also been members
of Barry Guy's London Jazz Composers Orchestra for the dual disc 'Ode'
issued in 1972 by Incus (6/7). As for
Skidmore, he and Beckett nigh
laced the same shoe into the nineties in the support of numerous enterprises
from
Surman's and
McGregor's to Mike Gibbs' and
Elton Dean's.
Skidmore had assisted on
Beckett'e debut LP, Flare Up', in 1970 and 'Themes for Fega' in '72. Lord's
disco finds them together to as late as January of 1992 for 'Spirits Reoice'
by the Dedication Orchestra. We slip back to December of 1968 for 'Something
in the Sky' and 'Mandala', those toward guitarist, Ray Russell's, 'Dragon
Hill'. Beckett would contribute to several of Russell's LPs to as late as
1978 for 'All Week Tomorrow' on Russell's 'Live at the I.C.A.' issued in
2000. Along the way Russell supported Beckett's 'Joy Unlimited' in March
1974, 'Memories of Bacares' in November 1975 and 'Got It Made' on July 13,
1977. As implied above, pianist, Chris McGregor,
was another large presence in Beckett's career, for whom we return to
Mike Osborne's 'Outback' in
1970. Beckett's next session was for 'Chris McGregor's Brotherhood of
Breath' in January of '71 per above. Lord's disco has Beckett in sessions
good to supply a total of thirteen
McGregor albums to 'En Concert a Banlieues Bleues' on March 18, 1989.
McGregor had also supported
Beckett on titles in May of 1987 that saw issue variously per 'Les Jardins
du Casino' ('93), 'Live Volume II' ('89) and 'Bremen Concert' ('88). After
McGregor's death in May of 1990
Beckett participated in the reincarnation of the Brotherhood of Breath in
December of '93 to perform a string of
McGregor's compositions for
'The Memorial Concert' ('In Memoriam' in the US). It had been with
McGregor that Beckett is
thought to have first held session with alto saxophonist,
Dudu Pukwana, that in January
of 1971 for 'Chris McGregor's Brotherhood of Breath'. They traveled through
numerous albums for McGregor
together to as late as 'Thunderbolt' on May 17, 1986. Along the way Beckett
participated in
Pukwana's 'Zila' in January
1981 and 'Life in Bracknell & Willisau' in 1983. Lord's disco has them
together to as late as John Steven's 'Fast Colour' on August 5 of 1988. We
back up to
Mike Osborne above on April 22,
1972, for Barry Guy's London Jazz Composers Orchestra toward 'Ode', that
with saxophonist, Evan Parker.
Beckett and Parker found numerous
reasons to work together through the decades from projects by
McGregor to the Dedication
Orchestra to the London Improvisers Orchestra in the new millennium. Another
of Beckett's major confederates was saxophonist, Elton Dean, for whom we
return to McGregor's 'Bremen to
Bridgwater' on February 26, 1975. Dean and Beckett would work with
McGregor and other operations,
like the Dedication Orchestra, into the nineties. Along the way Beckett
supported sessions toward some six of Dean's albums from 'Oh! For the Edge'
in March of '76 to 'Welcomet' gone down in Sao Paulo, Brazil, in March 1986.
Dean had contributed to Beckett's 'Pictures of You' in 1985. Come the new
millennium Beckett participated in six projects by the London Improvisers
Orchestra from 'The Hearing Continues' in September 2000 to 'Separately &
Together' in 2007 in a joint production with the Glasgow Improvisers
Orchestra. Beckett's last of some seventeen albums as a leader or co-leader is thought to have been 'The Modern Sound
Of Harry Beckett' gone down in 2007. Beckett died
on July 22 of 2010 of stroke [obits: 1,
2]. References: 1,
2.
Sessions: With Chris McGregor *; Lord (leading 26 of 182).
Discos: 1,
2,
3.
IMDb.
Archives: internet;
website.
Per 1967 below, Beckett is on tracks A1, A3 and
A4 of
Graham Collier's 'Deep Dark Blue Centre'. It's
Kenny Wheeler on tracks A2, B1 and B2. Harry Beckett 1954 With Ambrose Adekoya Campbell West African Rhythm Brothers Issued 2006: 'London Is the Place for Me 3' Harry Beckett 1955 Uncredited trumpet possibly by Beckett With Ambrose Adekoya Campbell West African Rhythm Brothers Composition: Campbell Issued on Melodisc 1322 1955 Also issued 2006: 'London Is the Place for Me 3' Harry Beckett 1967 LP by Graham Collier Beckett: tracks A1, A3 & A4 Kenny Wheeler: tracks A2, B1 & B2 Harry Beckett 1970 Composition: Graham Collier LP: 'Flare Up' Harry Beckett 1971 LP: 'Warm Smiles' All comps/arrangements by Beckett Saxophone: Mike Osborne Piano: John Taylor Vibraphone: Frank Ricotti Bass: Chris Laurence Drums: John Webb Engineer: Gary Lyons Producer/liner notes: Terry Brown Harry Beckett 1975 From 'Joy Unlimited' All comps by Beckett Piano/synthesizer: Brian Miller Guitar: Ray Russell Bass: Darryl Runswick Drums: Nigel Morris Congas: Martin David Engineer: Vic Keary Producer: John Jack Harry Beckett 1988 Album Harry Beckett 1991 Filmed live Harry Beckett 2008 From 'The Modern Sound of Harry Beckett': Composition: Junior Delgado Composition: Adrian Maxwell
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 Harry Beckett Photograph: David Redfern/Redferns Source: Organized Rage |
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Herbie Mann Source: Latin Jazz Network
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Born in Brooklyn in 1930, Herbie Mann was a bop flautist who began playing resorts in the Catskills (New York) at age fifteen. His earliest recordings were with the Mat Mathews Quintet in NYC on April 29, 1953: 'Owl Eyes', 'Study in Purple', etc.. Mann stuck with Mathews for a couple more sessions into '54 and would later join him in 1957 in the New York Jazz Quartet and New York Jazz Ensemble. With around 337 sessions, 222 of those his own, Mann's has been a household name for half a century whose career this small space forbids following but for a few among numerous highlights. In 1954 Mann backed Ralph Burns, Carmen McRae and Pete Rugolo before joining tenor saxist, Paul Quinichette's All Stars on November 22 of 1954 for several tracks which would be included on Quinichette's first album release ('Moods'): 'Tropical Intrigue', 'Grasshopper', 'Dilemma Diablo' and 'I Can't Believe That You're In Love With Me'. The next month Mann, Quinichette and trumpeter, Clifford Brown, supported Sarah Vaughan during a couple sessions in NYC for such as 'Lullaby Of Birdland', 'April In Paris', 'He's My Guy', 'Jim', 'You're Not The Kind', 'Embraceable You', 'I'm Glad There Is You', 'September Song' and 'It's Crazy'. It was also December that Mann first put down tracks as a leader: 'The Things We Did Last Summer' and 'My Little Suede Shoes' among the. He issued his first album, 'Flamingo', the next year in 1955. 'Herbie Mann with the Wessel Ilcken Trio', was recorded in '56, released in 1958. 'Flute Fraternity', recorded with flautist, Buddy Collette, was released in 1957. In 1961 Mann toured Africa (state sponsored), released the Afro-Cuban album, 'Flutista', then toured Brazil, commencing his venture into bossa nova during the sixties. In 1969 Mann founded Embryo Records which remained in business eight years. During the seventies Mann pursued smooth jazz as well as popular music, issuing 'Super Mann' [1, 2] in 1978. 'Brazil-Once Again' had seen release in 1978 as well, followed by a revived interest in Brazilian jazz during the eighties and nineties. Lord's discography lists Mann's final recordings in Phoenix, AZ, in 2003 with alto saxophonist, Phil Woods: 'Alvin G', 'Bohemia After Dark', 'Au Privave', 'Little Niles', 'Blood Count', and 'Time After Time'. Those tracks would be issued on the 2004 album, 'Beyond Brooklyn'. Mann gave his last performance at the New Orleans Jazz & Heritage Festival in May 2003, dying a month of so later on July 1 of prostate cancer at his home in Pecos, New Mexico. References: 1 (pdf), 2, 3, 4, 5. Discos: 1 2, 3, 4, 5, 6, Lord (leading 222 of 377 sessions). IMDb. Reviews. Select audio (ram). Interviews: various 1964/71, Jim Newsom 2002, Peter Westbrook 2003. Facebook tribute. Further reading: Jazz Profiles, various. Biblio: 'The Evolution of Mann: Herbie Mann and the Flute in Jazz' by Cary Ginell (Hal Leonard 2014): 1, 2, 3. Other profiles *. Herbie Mann 1953 With Mat Mathews Accordion: Mat Mathews With Mat Mathews Composition: Milt Jackson Composition: Matthews Thought to be Mann's 2nd recorded title Herbie Mann 1955 From 'Moods' Paul Quinichette debut LP Recorded 4 & 22 Nov 1954 Tenor sax: Paul Quinichette All arrangements Quincy Jones Composition: Quincy Jones I Can't Believe That You're in Love with Me Composition: Jimmy McHugh/Clarence Gaskill From 'Sarah Vaughan' Recorded 16 & 18 Dec 1954 Trumpet: Clifford Brown Composition: Vernon Duke/Yip Harburg Composition: Richard Rodgers/Dorothy Fields Composition: Gershwin Brothers Composition: Gene de Paul/Don Raye Composition: Jimmy Dorsey/Paul Mertz Composition: Caesar Petrillo Edward Ross Nelson Shawn Composition: George Shearing George David Weiss Composition: Kurt Weill/Maxwell Anderson Composition: Will Hudson/Irving Mills Note: Discogs has 'Sarah Vaughan issued in '54, possibly a typo, as that would leave only fifteen days to record and release EmArcy MG-36004. AllMusic and RateYourMusic have it issued in '55. Herbie Mann 1957 Duet with flautist Buddy Collette Piccolo: Herbie Mann Composition: Leigh Harline/Ned Washington LP: 'Flute Fraternity' Herbie Mann 1962 Live at the Village Gate NYC Recorded 17 Nov 1961 Music: Ben Tucker 1961 Lyrics: Bob Dorough 1962 1962 for Mel Torme Herbie Mann 1965 Live at the Newport Jazz Festival Concert Herbie Mann 1966 Composition: Jean-Michel Jarre Herbie Mann 1967 Composition: Agnes Jones/Freddy James Herbie Mann 1971 Composition: Mann LP: 'Push Push' With guitarist Duane Allman Herbie Mann 1976 Vocal: Cissy Houston Composition: JJ Cale Herbie Mann 1990 Live performance Composition: O'Donel Levy Herbie Mann 2004 Album Posthumous issue
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 Roswell Rudd Source: O Sitio do Jazz |
Born in Sharon, Connecticut, in 1935, trombonist,
Roswell Rudd, was a graduate of Yale
University. While there he was a member of a Dixieland band with pianist,
Dick Voigt, called Eli's Chosen Six that recorded with Columbia to release
its first album in 1955: 'College Jazz: Dixieland'. In November 1957 that
band recorded the album, 'Ivy League Jazz', for the Golden Crest label for
release the next year. With a full career of above 150 sessions, nigh a
third of those his own, among Rudd's contemporaries was
Steve Lacy with whom he would record on
multiple occasions for forty years into the new millennium. They first saw studio together on January 10, 1961, for Buell Neidlinger,
recording 'Jumpin' Punkins' and 'Things Ain't What They Used to Be'.
Lacy and Rudd oared much the same boat
into 1965, supporting other bands when Rudd wasn't backing
Lacy. In March of '63 they co-led titles
at the Phase Two Coffee House in NYC that would be issued as 'School Days'
in 1979. Their last session together in he sixties was on April 10, 1965,
with the Jazz Composer's Orchestra at the Contemporary Center in NYC,
putting down such as 'Day', 'Communications No. 5' and 'Radio'. Reunions
occurred in decades to follow to as late as August 8, 2002, with a
Lacy quartet including Jean-Jacques
Avenel (bass) and John Betsch (drums), that at the Iridium in NYC for
'Bamako' and 'Twelve Bars'. Also present at that session with Neidlinger in
'61 per above was free jazz saxophonist,
Archie Shepp. Eight months
later in August Rudd joined
Shepp's band to record 'Four
for Trane'. Rudd supported
Shepp on multiple occasions to
December 15, 1967, in France: 'A Portrait of Robert Thompson' and 'Jazz Is
My Religion'. Reunions occurred in '79 and 2000, such as
Shepp's 'Live in New York'
released in 2001. Further present at that session with Neidlinger on January
10 of '61 was pianist, Cecil
Taylor. On the same date (if not the day before) Rudd contributed to a track
on Taylor's 'New York City R&B':
'Cell Walk For Celeste'. In October he contributed to
Taylor's album, 'Into
the Hot'. Commencing in 1964 Rudd would participate, years off and on, in
the musicology studies of
Alan Lomax, begun that year as well. Another major figure surfaced that year
in the person of pianist,
Carla Bley, she arranging a
couple titles for the Jazz Composer's Orchestra on December 29: 'Roast' and
'Communications No 3'. In November of '68 Rudd found himself recording with
Bley's band, supporting her
numerously into '69, later in '71 and 1976-78. Prior to joining
Bley Rudd's debut album, 'Rosewell Rudd',
emerged in 1965. He began teaching in the seventies, first at Bard College
in Annandale-on-Hudson in New York, then the University of Maine. The
eighties found Rudd working in musicology with Lomax again, resulting in the
study, 'The Urban Strain'. January of 2000 found Rudd contributing to
Charlie Kohlhase's 'Eventuality'. The year 2000 also took Rudd to Mali where he began
several years of work with Mali musicians. A visit by Mongolian musicians in
2003 resulted in the album, 'Blue Mongol' [1,
2,
3,
4,
5], in 2005 with the Mongolian Buryat
Band, about as far as one can
take jazz without lift off. Rudd continued his interest in Oriental
performers in 2007 with the release of 'Keep Your Heart Right', featuring
Korean vocalist, Sunny Kim. Rudd issued more than twenty albums during
his career, his latest in 2013, 'Trombone for Lovers'. Residing in New York, Rudd
recently worked with Cuban musician, David Oquendo, the latter contributing tres and vocals to 'Dame la Mano' on Rudd's 'The Incredible Honk' released
in 2011. Rudd died in New York on 21 Dec 2017 [obits: 1,
2,
3].
References: 1,
2,
3,
4,
5.
Sessions: J-Disc; Lord (leading 48 of 157);
Scala.
Discos: 1,
2,
3,
4.
Interviews: Terry Gross 2002,
AAJ 2004.
Further reading: Brad Cohan,
DB Leonard,
Lisa Phillips.
Other profiles *. Roswell Rudd 1955 From 'College Jazz: Dixieland' Eli's Chosen Six Composition: Clarence Williams Roswell Rudd 1966 Composition: Rudd Album: 'Everywhere'Roswell Rudd 1974 Composition: Herbie Hancock Album: 'Flexible Flyer'Roswell Rudd 1983 Composition: 1942: Thelonious Monk/Kenny Clarke Album w Steve Lacy:'Regeneration' Roswell Rudd 1996 Album:'The Unheard Herbie Nichols' All comps by Nichols Roswell Rudd 2002 From 'Malicool' Album w Toumani Diabate Kora: Toumani Diabate Composition: RuddComposition: Toumani Diabate Composition: Toumani Diabate Roswell Rudd 2005 From 'Blue Mongol' Mongolian Buryat Band Composition: Traditional Composition: TraditionalRoswell Rudd 2013 Filmed live with Bob DoroughComposition: Lennon-McCartney Filmed live Guitar: Rolf Sturm Violin: Michael Doucet Music: Pee Wee King 1946 Lyrics: Redd Stewart Filmed live with Fay Victor Composition: Richard Jones 1924 See Wikipedia |
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Lee Morgan Source: Sister Ezili |
Born in Philadelphia, Pennsylvania, in 1938, bebop trumpeter Lee Morgan blew his first horn at age 13, receiving one for his birthday from his sister. Five years later he dispensed with such as chains of command and working your way to the top by simply signing on with it from the start with Dizzy Gillespie. His first recordings as a leader may possibly have been the same date as his first with Gillespie, November 4, 1956. Lord's discography notes that the session with Gillespie may have have been on December 2. Be as may, Morgan's first name session was per the Lee Morgan Quintet for Blue Note to end up on 'Lee Morgan Indeed!'. Belonging to that ensemble were Clarence Sharpe (alto sax), Horace Silver (piano), Wilbur Ware (bass) and Papa Jo Jones (drums). As mentioned, Morgan's first titles with Gillespie were for a CBS radio broadcast from the Birdland in NYC, to end up on Gillespie's 'Live in Hi-Fi from Birdland'. Morgan's early education in the music business with Gillespie lasted to July 8, 1957, in NYC after a recorded concert at the Newport Jazz Festival on the 6th. That NYC session heard such as 'Joogie Woogie' and 'I Remember Clifford'. More significant to his career was tenor saxophonist, Hank Mobley. Morgan' first tracks with Mobley were for the latter's 'Introducing Lee Morgan' on November 5, 1956. They would run together for another decade, backing other bands when not supporting one another's projects. Their last of numerous sessions is thought to have been for Mobley's 'Third Season'. Another important figure was drummer, Art Blakey. Morgan signed up as a Jazz Messenger in time for Blakey's 'Theory of Art' on April 2, 1957. Theirs was a concentrated collaboration into '61, also touring to Europe. Backing each other's albums, in 1960 alone along with projects for Blakey, the latter backed Morgan on 'Here's Lee Morgan', 'Lee-Way' and 'Expoobident'. They had co-led 'More Birdland Sessions' the same year. Drifting apart in '61, they teamed up again in 1964-65. Blakey appeared on Morgan's 'Tom Cat' in '64. Their last session was on May 13, 1965, for Blakey's 'Freedom One Day', 'The Hub' and 'A Quiet Thing'. During the sixties Morgan released more than twenty albums. His final 'The Last Session', was released in 1971. Lord's discography has him recording per a 'Soul!' television episode on January 11, 1972:' I Remember Britt', ''Angela', et al. The following month he is thought to have performed his final titles for organist, Charles Earland, such as 'Morgan' and 'Speedball'. Two days later on February 19 Morgan was playing a gig at Slug's Saloon in NYC when his common-law wife of 20 years, Helen More [1, 2, 3], shot him. By the time the ambulance, in delay, had arrived Morgan bled to death, 33 years old. Helen, 46 at the time, received a prison sentence. References: 1, 2, 3, 4, 5. Chronology. Sessions: JDP, Lord, Matsumura. Discos: 1 (strike country and Jay Jay), 2, 3, 4, 5, 6, 7. Compositions: 1, 2; 'The Sidewinder'. Transcriptions: 1, 2, 3. Reviews: 'The Cooker' 1958; 'Leeway' recorded 1960 to issue in '61; 'The Rajah' recorded in 1966 to issue in '85; essential albums: 1, 2. Morgan in visual media. Documentaries: 'I Called Him Morgan': 1, 2, 3, 4, 5, 6. Further reading: 1, 2, Morgan's death, Morgan w Wayne Shorter. Biblio: 'Lee Morgan: His Life, Music and Culture' by Tom Perchard (Goldsmiths College/U of Westminster 2008). Other profiles: 1, 2. Lee Morgan 1956 With Hank Mobley Composition: Fats Navarro Album: 'Introducing Lee Morgan' With Hank Mobley Composition: Benny Golson Lee Morgan 1957 From 'Indeed!' Recorded 4 November 1956 Alto sax: Clarence Sharpe Bass: Wilbur Ware Drums: Philly Joe Jones Composition: Owen Marshall Composition: Benny Golson Composition: Benny Golson Lee Morgan 1958 Live in Belgium w Art Blakey Composition: Benny Golson Album Art Blakey's Jazz Messengers With Dizzy Gillespie Composition: Benny Golson Album: 'Birks Works' Lee Morgan 1961 Oscar Peterson Trio Composition: Buddy Johnson Lee Morgan 1963 Album Lee Morgan 1965 Filmed live in London with Art Blakey Composition: Wayne Shorter Lee Morgan 1966 Composition: Morgan Album: 'Search for the New Land' Recorded 15 Feb 1964 Album recorded 1966 Not issued until 1985 Lee Morgan 1972 In What Direction Are You Headed? Piano/composition: Harold Mabern Album: 'The Last Session' Recorded 17 & 18 Sep 1971 Issued posthumously
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 Julian Priester Source: The Stranger |
Born in 1935 in Chicago,
trombone player,
Julian Priester,
gigged with such as
Muddy Waters,
Bo Diddley and
Sonny Stitt as a teenager. At age
seventeen he recorded his initial tracks with
Sun Ra backing vocalist, Billie Hawkins, in
January of '56: 'I'm Comin' Home' and 'Last Call For Love'. In February he
participated in
Ra's 'Super-Sonic
Jazz' and 'Angels and Demons at Play' in 1957. Other sessions with
Ra were until their last on July 12, 1956,
for 'Jazz by Sun Ra'. Priester left Chicago to tour with Lionel
Hampton that year. He isn't thought to have recorded with
Hampton, but he ended up in NYC where his next sessions with a major
name occured, recording with
Dinah Washington on October 2,
1957, he sharing trombone with
Jimmy Cleveland in the Eddie
Chamblee Orchestra on titles like 'Everybody Loves My Baby' and 'Blues Down
Home'. Titles on November 20, 1957, would appear on
Washington's 'Sings Fats
Waller', released that year according to discogs. In the meanwhile Priester
had contributed to drummer,
Philly Joe Jones', 'Blues
for Dracula' on September 17, 1958. Priester worked with
Jones into '59 (:
'Showcase') and later in '61. After
Jones, Priester held his
first session with drummer,
Max Roach, on January 22, 1959,
those titles toward
Roach's 'The Many Sides of Max'.
Priester would end up backing
Roach numerously, also supporting
other bands together, until February of '62 for for
Roach's 'It's Time'. A further
example of Priester with
Roach was 'Moon-faced and
Starry-eyed' in 1959. Trumpeter,
Booker Little, had contributed
to 'The Many Sides of Max', a musician with whom Priester would work
numerously, if not backing
Roach or other operations then
Priester supporting
Little. Priester, for example,
was one of
Little's sextet on 'Out Front'
in 1961. They last recorded together in August of '61 for
Roach's 'Percussion Bitter Sweet'.
Another frequent partner of Priester's was tenor saxophonist,
Stanley Turrentine, they
first recording together in April of '59 per participation in the joint
album by
Roach and Buddy Rich,
'Roach Vs Rich'. Priester and
Turrentine found
themselves on the same trail backing
Roach and other bands into 1960.
Later that decade Priester would support
Turrentine in 1966-67,
among those projects being 'The Spoilers' on September 22, 1966. Not long
after 'Roach Vs Rich' per above came 'The Little Giant' with the
Johnny Griffin Sextet in August of
'59.
Blue Mitchell blew trumpet on
that, a character Priester saw a lot of in 1959-60 and 1966-67, either
backing other operations or Priester supporting
Mitchell on such as 'Smooth as
the Wind' in 1960 and 'Boss Horn' in 1966. Priester
issued his debut LP in 1960: 'Keep Swingin''. 'Spiritsville' ensued the same
year. Yet another major player entered his path on August 1, 1961, per
'Percussion Bitter Sweet' above, that tenor saxophonist,
Clifford Jordan, whom Priester
would back on numerous albums into 1962, '66 and '69. They would reunite
later as the eighties became the nineties,
Jordan's 'The Mellow Side of
Clifford Jordan' and 'Masters From Different Worlds' from that period. Among
others who came Priester's way in the sixties were
Ray Charles (1963-64) and Duke
Ellington (1969-70). Also in 1970 arrived
Herbie Hancock per
'Mwandishi'.
Hancock and Priester would
visit again in '72, '76 and '78, that last occasion in San Francisco for
trumpeter,
Eddie Henderson's 'Majal'.
Henderson, also in on
'Mwandishi', would be a significant figure in Priester's career in the
seventies, also with Priester on
Hancock's 'Crossings' and
'Sextant' in 1971. They would record on multiple occasions, either backing
other operations or Priester supporting
Henderson, to as late as
1979 per Babatunde and Phenomena's 'Levels of Consciousness'. Priester had
begun instructing at the Cornish College of the Arts in Seattle in 1979
where he taught into the new millennium. Highlighting the eighties were
sessions with bassist,
Dave Holland, in Germany in
1983-84. Priester would see multiple sessions with drummer, Jerry Granelli,
beginning in Seattle, Washington, in 1984 for Allen Youngblood's 'Selah'.
Their last session was autumn of 1992 per Granelli's 'Another Place', that recorded in Ludwigsburg, Germany. Another important figure in Seatle was
pianist, David Haney, commencing in August 2000 with such as 'The
Marionette' and 'Blues In the Rain'. Priester was found on numerous projects
with Haney to as late as the latter's 'Dolphy's Hat' in 2013. Priester has
released several albums in the new millennium beginning with 'Out of This
World' in 2001 and 'In Deep End Dance' in 2002. A few have followed to as
late as 'Blue Stride' in 2012. Priester has recently been forced to cease touring, his only means of income, due to Kidney troubles.
References: 1,
2.
Sessions: JDP; Lord (leading 7 of 204).
Discos: 1,
2,
3.
IMDb.
Interviews: Dave Segal 2015;
Paul Rauch 2017.
Other profiles *. Julian Priester 1957 Album by Sun Ra 'Soft Talk' composed by Priester All other comps by Ra Julian Priester 1959 Album by Philly Joe Jones Julian Priester 1960 From 'Keep Swingin'' Recorded 11 Jan '60 Composition: Priester From 'Spiritsville' Composition: Priester Julian Priester 1974 From 'Love, Love' Recorded June & Sep '73 All comps by Priester Julian Priester 1977 From 'Polarization' 4th LP Recorded Jan '77 Composition: Curtis Clark Julian Priester 2001 Composition: Charlie Parker LP: 'Out of This World' Tenor sax: Walter Benton Julian Priester 2010 Filmed with David Haney Julian Priester 2014 Filmed at the Halifax Jazz Festival Composition: Priester
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Born in 1930 in Toronto, Ontario, trumpet and flugelhorn
player,
Kenny Wheeler, began to play the
cornet at age 12, soon to develop an interest in jazz. He studied
composition at the Royal Conservatory in Toronto before embarking to London
to become a resident in 1952. He gigged with a number of bands in London's
clubs until recording with the Tommy Whittle Orchestra on November 9, 1955,
for Esquire: 'Laura', 'Lester Leaps In', 'Jive at Five' and 'How High the
Moon'. Another session with Whittle followed on March 22, 1956, before the Buddy Featherstonhaugh New Quintet in
December, those titles released on the Pye Jazz label the next
year: 'Goldfish Blues', 'Doin' the Uptown Lowdown', 'Knock Yourself Out' and
'Henrietta'. The next month (January '57) Wheeler recorded several titles
with the Don Rendell Jazz Six: 'Jack O'Lantern', 'Will O' The Wisp', 'I Saw
Stars' and 'Out Of Nowhere'. A session in March of '58 with Vic Lewis and
his Orchestra yielded 'That's Love', 'Over The Rainbow' and 'El Congo
Valiente'. Wheeler performed on eight tracks with
Woody Herman's Anglo-American
Herd in April of '59, recorded again with Vic Lewis in June, then made his
debut recordings with the Johnny Dankworth Orchestra in July that year at the
Newport Jazz Festival. Seven more sessions would follow with Dankworth until
the last in October of '64. Wheeler appeared on issues by various other
orchestras in the mid to latter sixties. His recordings with
Alexander von Schlippenbach's Globe Unity Orchestra in '67 and '70 weren't released until
2001 on the CD, 'Globe Unity 67 & 70'. He partnered with Dankworth's outfit
again for his debut name release in 1968: 'Windmill Tilter' (Don Quixote). In 1973 he
appeared on Globe Unity's 'Live in Wuppertal', with which orchestra he would
record numerously into the new millennium. The next year he appeared on
Anthony Braxton's 'New York, Fall', several more with
Braxton to follow
into the nineties. In 1977 he formed a trio called Azimuth [*] with vocalist,
Norma Winstone, and pianist,
John Taylor, recording that group's first issue,
'Azimuth', that March. Lord has
Taylor and Wheeler
together as early as 1968 w
Alan Skidmore, recording
titles like 'Circles on Ice' toward the issue of 'Jazz in Britain '68-'69'
on Decca Eclipse ECS 2114 in 1972. They worked together often through the
seventies in support of others such as
John Surman as well as each
other's projects like Wheeler's 'Song for Someone' in '73 and
Taylor's 'Fragment' in '75.
Wheeler had supported
Winstone
on multiple occasions since 1971. The eighties saw Wheeler contributing to albums by
Dave Holland and David Sylvian.
Come 'Azimuth '85' again w
Taylor and
Winstone.
His last LPs as a leader to be released before his death were 'Mirrors' in
2013 with
Norma Winstone and 'Six for
Six' the same year, though recorded in 2008. Wheeler passed away on 18 September
2014 in London [obits: 1,
2].
References: Wikipedia;
All Music.
Sessions: Naoyuki Kamiko; Lord (leading 44 of 397).
Discos: 1,
2,
3,
4.
IMDb.
Composition: analyses: Alice Humphries;
Paul Rushka.
Interviews:
Artist's House 2002;
John Eyles 2003.
Further reading: Brad Goode;
Gene Lees;
Alexander Varty;
Peter Westbrook.
Other profiles: 1,
2,
3,
4,
5. Per 1977 and 1985
below, Wheeler performs w Azimuth [*], a
trio consisting of
John Taylor (piano) and
Norma Winstone
(vocal). Kenny Wheeler 1959 From 'In England, April 1959' Woody Herman's Anglo-American Herd Recorded 18 April 1959 Issued 1980 Composition: Ahmad Kharab Salim Composition: Ted Richards From 'London to Newport' [1, 2] Johnny Dankworth and his Orchestra Recorded 3 July '59 Newport Jazz Fest Rhode Island Composition: Dankworth Kenny Wheeler 1968 From 'Windmill Tilter' All comps by Wheeler Kenny Wheeler 1976 Album recorded June '75 Piano: Keith Jarrett Bass: Dave Holland Drums: Jack DeJohnette All comps by Wheeler Kenny Wheeler 1977 Album: 'Azimuth' Piano/synthesizer: John Taylor Vocals: Norma Winstone All comps by Taylor/Winstone Kenny Wheeler 1978 From 'Deer Wan' Recorded July '77 Oslo Tenor/soprano sax: Jan Garbarek All comps by Wheeler Kenny Wheeler 1984 Album: 'Double, Double You' Recorded May 1983 NYC Tenor sax: Mike Brecker Piano: John Taylor Bass: Dave Holland Drums: Jack DeJohnette All comps by Wheeler Kenny Wheeler 1985 From 'Azimuth '85' Piano/organ: John Taylor Vocals: Norma Winstone Composition: Taylor/Winstone Composition: Taylor/Winstone Kenny Wheeler 1988 Album: 'Flutter By, Butterfly' Recorded May 1987 Milano Sax/flute: Stan Sulzmann Piano: John Taylor Bass: Dave Holland Drums: Billy Elgart All comps by Wheeler Kenny Wheeler 1987 Album Disc 1 of 2 'Music for Large & Small Ensembles' Kenny Wheeler 2001 Composition: Wheeler Album: 'Moon' Piano: John Taylor Clarinet: Gabriele Mirabassi Kenny Wheeler 2011 Album: 'One of Many' Piano: John Taylor Bass: Steve Swallow All comps by Wheeler Kenny Wheeler 2013 Album with Norma Winstone *
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 Kenny Wheeler Source: NFM |
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Born in 1934 in Detroit, trombonist Curtis Fuller, was raised in an orphanage upon the death of his Jamaican parents. He attended school w both Donald Byrd and Paul Chambers, the latter with whom he also played in a band during military service from '53 to '55. Fuller also performed w Cannonball Adderley and Junior Mance while in the Army. Returning to Detroit upon release from duty, his initial recordings had been with Chambers (bass) and John Coltrane (tenor sax) in Boston on April 20, 1956: 'Trane's Strain', 'High Step' and 'Nixon, Dixon' and Yates Blues'. Those wouldn't see issue until 1975 on the double album, 'High Step', credited to Chambers and Coltrane. That first session also included Pepper Adams (baritone sax), Roland Alexander (piano) and Philly Joe Jones (drums). Back in Detroit he hooked up w Yusef Lateef with whose ensemble he departed for New York City in 1957. Fuller's first year in NYC [1, 2]] was a sweetly productive one. His next sessions were in April of 1957 with Lateef, appearing on Lateef's albums, 'Morning' (recorded the 5th and the 9th of April for Savoy) and 'Before Dawn' (recorded the 16th for Verve). The next month on May 10 Fuller recorded with Paul Quinichette for Prestige, then booked three sessions to document 'New Trombone' (11th for Prestige), 'Curtis Fuller with Red Garland' (14th for New Jazz) and 'Curtis Fuller and Hampton Hawes with French Horns' (18th for Prestige). A session on 17 June of '57 resulted in 'The Opener' gone down w Hank Mobley (tenor sax), Bobby Timmons (piano), Chambers and Art Taylor (drums). He wrapped up 1957 with further recordings with both Tommy Flanagan and Art Farmer. Continuing to work as a sideman with other top names, 9 March of 1959 witnessed tracks toward 'Sliding Easy' containing Fuller's composition, 'Down Home', w Hank Mobley (tenor sax), Lee Morgan (trumpet), Flanagan (piano), Chambers and Elvin Jones (drums). Come 21 May of 1959 for the recording of 'Blues ette' w Benny Golson (tenor sax), Flanagan, Jimmy Garrison (bass) and Al Harewood (drums). Fuller joined Art Blakey's Jazz Messengers in 1961 with which he kept until 1965. Fuller had first laid tracks with Blakey on August 28, 1959, per Benny Golson's 'Groovin' with Golson'. Numerous sessions followed over the years to as late as October 9, 1989, at the Leverkusen Jazz Festival in Germany, resulting in Blakey's 'The Art of Jazz'. Fuller's first tracks with Golson had been on July 24, 1958, for Abbey Lincoln's, 'It's Magic'. He would share numerous sessions with Golson over the years to as late as January 30, 2003, per Joe Farnsworth's 'It's Prime Time'. Another name big in Fuller's career was Quincy Jones, with whose orchestra Fuller first recorded on October 19, 1960, such as 'G'wan Train' and 'Tone Poem'. Fuller worked often with Jones to as late as 2009, Jones arranging 'Swinging, Singing, Playing' for the Count Basie ghost orchestra. Backing up to the sixties again, Fuller's 'Soul Trombone' had gone down in November of '61 w Freddie Hubbard (trumpet), Jimmy Heath (tenor sax), Cedar Walton (piano) and Jymie Merritt (bass) w drums split between Granville Hogan and Jimmy Cobb. Fuller had been a member of Basie's orchestra from '75 to '77. He had also collaborated with Dizzy Gillespie, first recording with Gillespie in NYC per the Quincy Jones Orchestra on December 20, 1964: 'I Had a Ball', 'Almost' and 'Addie's at It Again'. Fuller participated in a few of Gillespie's sessions to as late as September 5, 1981, in East Berlin, Germany, that resulting in 'Jazz Bohne Berlin'. Releasing a multitude of albums as a leader unmentioned above, the eighties brought 'Giant Bones at Nice' w fellow trombonist, Kai Winding. He was in Rome in Dec of 1982 for 'Meets Roma Jazz Trio', the latter consisting of Danilo Rea (piano), Enzo Pietropaoli (bass) and Roberto Gatto (drums). Come 'Blues ette Part II' in January of '93 in NYC w Benny Golson (tenor sax), Tommy Flanagan (piano), Ray Drummond (bass) and Al Harewood (drums). Highlighting the nineties was an honorary doctorate from Berklee College of Music in 1999. Fuller was named an NEA Jazz Master in 2007. Worse news arrived in 2008 per the Universal Studios fire in Hollywood, Fuller's among a wealth of master tapes by numerous musicians destroyed. Having issued above thirty albums as a leader or co-leader, those released in the new millennium included 'The Story of Cathy and Me' by Challenge in 2011, recorded in Atlanta in 2010 and dedicated to Fuller's late wife who had died of cancer. Lord traces Fuller to as late as dates in May of 2011 in Wheatridge, Colorado, toward 'Down Home' w Keith Oxman (tenor sax), Al Hood (trumpet/ flugelhorn), Chip Stephens (piano), Ken Walker (bass) and Todd Reid (drums). Fuller yet performs as of this writing, also teaching at the New York State Summer School of the Arts. References: 1, 2, 3. Sessions: JDP, Lord (leading 44 of 248). Catalogues: 1, 2, 3, 4, 5. Compilations: 'The Complete Blue Note/UA Curtis Fuller Sessions' 1957-59 by Mosaic 1996. IMDb. Interviews: Les Tomkins 1976, Molly Murphy 2007, Bill Brower 2010 (pdf), Chet Williamson 2014. Further reading: Ehsan Khoshbakht, Russ Musso, Jon Solomon, Brett Saunders. Fuller is featured on 'Blue Train' with John Coltrane below per 1957. Curtis Fuller 1957 Recorded 15 Sep 1957 Composition: John Coltrane Coltrane LP 'Blue Train' Tenor sax: Coltrane Trumpet: Lee Morgan Piano: Kenny Drew Bass: Paul Chambers Drums: Philly Joe Jones From 'Jazz Mood' LP by Yusef Lateef Tenor sax: Lateef Piano: Hugh Lawson Bass: Ernie Farrow Drums: Louis Hayes Percussion: Doug Watkins End 'Jazz Mood' Recorded 11 May 1957 Composition: Fuller LP: 'New Trombone' Alto sax: Sonny Red Piano: Hank Jones Bass: Doug Watkins Drums: Louis Hayes Curtis Fuller 1959 From 'The Curtis Fuller Jazztet with Benny Golson' Recorded 25 Aug 1959 Tenor sax: Benny Golson Trumpet: Lee Morgan Piano: Wynton Kelly Bass: Paul Chambers Drums: Charlie Persip Composition: Fuller Composition: Cole Porter Composition: Fuller Composition: Dizzy Gillespie Curtis Fuller 1960 From 'Blues ette' Recorded 21 May 1959 Tenor sax: Benny Golson Piano: Tommy Flanagan Bass: Jimmy Garrison Drums: Al Harewood Composition: Fuller Composition: Benny Golson Composition: Fuller End 'Blues ette' Composition: Fuller LP: 'Imagination' Recorded 17 Dec 1959 Tenor sax: Benny Golson Piano: McCoy Tyner Bass: Jimmy Garrison Drums: Dave Bailey Curtis Fuller 1962 Composition: Fuller Drums: Granville Hogan From 'Soul Trombone' LP: 'Curtis Fuller with Red Garland' Recorded 14 May 1957 Alto sax: Sonny Red Piano: Red Garland Bass: Paul Chambers Drums: Louis Hayes Music: Harold Arlen 1933 Lyrics: Ted Koehler Curtis Fuller 1971 Album Issue year per RateYourMusic Tenor sax: Ramon Morris Trumpet: Bill Hardman Electric piano: George Cables Bass/ Electic: Stanley Clarke Drums: Lenny White
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Curtis Fuller |
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| Born in 1936 in Oklahoma City, avant-garde cornetist
Don Cherry (not
*) had
a bartender for a father. He had known drummer, Billy Higgins, since high school in Los Angeles. Both they and
Ornette Coleman released their first recordings together in 1958,
'Something Else!', recorded that February.
Higgins and
Coleman would be a fixtures in
Cherry's career to '71, though Cherry and
Coleman recorded 'J for Jazz
Presents: Ornette Coleman Broadcasts' in '72.
Higgins joined Cherry again in '75 to remain for the coming decade. The
three would reunite in '87 for 'In All Languages' and 'The
1987 Hamburg Concert'. They would make their final recordings
together in 1990 per
Coleman's 'Reunion'. Cherry's
first sessions as a leader yielded the unissued titles, 'Harlemite' and
'Black Elk Speak' on November 29, 1961.
Henry Grimes played bass and
Ed Blackwell drums. His next
such session on January 3, 1963, wouldn't see issue until 'In the Beginning
1963 - 1964' per
Pharoah Sanders on CD. His
debut issue as a leader was 'Togetherness' recorded in Paris on April 22,
1965. 'Complete Communion' was recorded December 24, 1965, in Englewood
Cliffs, NJ.
During the seventies Cherry examined world fusion, incorporating elements of
African, Middle Eastern and Indian music into his compositions. Examples of
such were 'Organic Music Society' '72 [1,
2]
and 'Brown Rice' in '75 [1,
2].
Fitzgerald and Lord have Cherry's first session w his group, Old And New
Dreams [*],
arriving in October of '76 in NYC toward the album, 'Old and New Dreams'
('77). The rest of that quartet was filled by
Dewey Redman (tenor sax),
Charlie Haden (bass) and
Ed Blackwell (drums). That same configuration
recorded to as late as 'A Tribute to Blackwell' in 1987, Discogs listing 5
albums. In 1978 he
formed Codona [*], a trio with percussionists, Nana Vasconcelos and
Collin Walcott. That bunch released three albums from '79 to '83,
reissued as 'Trilogy' in 2008. Cherry died on October 19, 1995, of liver cancer in Málaga, Spain
[obits: 1,
2,
3].
Among his final recordings per the summer of '94 was 'Round Midnight',
issued on the album by various artists, 'Up & Down Club Sessions Vol. 2'.
All three of Cherry's sons are musicians: David Ornette, Christian and
Eagle-Eye. Two stepdaughters, Neneh and Titiyo, are vocalists. His step
granddaughter is the singer, Mabel. References: 1,
2,
3.
Sessions: J-Disc (w comps by Cherry),
Kamiyama, Lord.
Discos: 1,
2,
3,
4,
5.
Cherry in visual media.
Reviews.
Further reading: Clifford Allen: AAJ;
Howard Mandel: 1,
2;
Sound American.
Facebook tribute.
Other profiles: 1,
2,
3,
4.
Don Cherry 1958 Album: 'Something Else!!!!' Alto sax: Ornette Coleman Piano: Walter Norris Bass: Don Payne Drums: Billy Higgins All comps by Coleman Don Cherry 1959 Album: 'The Shape of Jazz to Come' Alto sax: Ornette Coleman Bass: Charlie Haden Drums: Billy Higgins All comps by Coleman Don Cherry 1960 Album Saxophone: John Coltrane Bass: Charlie Haden Bass: Percy Heath Drums: Ed Blackwell Don Cherry 1965 Drums: Ed Blackwell Composition: Cherry Tenor sax: Gato Barbieri Improvisation Don Cherry 1968 Copenhagen, Denmark With Frank Zappa & the Mothers of Invention Don Cherry 1969 Composition: Cherry Don Cherry 1972 Album Don Cherry 1973 From 'Relativity Suite' All comps Cherry Don Cherry 1975 Album Don Cherry 1976 Composition: Cherry Composition: Narada Michael Walden Composition: Sherab Barry Bryant/Cherry Filmed live in Italy
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Don Cherry Source: All About Jazz
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 Freddie Hubbard Photo: Michael Ochs Archives/Getty Images Source: Today |
Born in
Indianapolis in 1938, trumpeter
Freddie Hubbard
picked up the trumpet as a teenager to play in his high school band. With a
full bowl of
347 sessions counted by Lord, Hubbard's career isn't going to shine to degree requiring
sunglasses here. Our only light is this before us as we tempt the fathomless
dark: As Hubbard's abilities quickly developed he
is thought to have made his debut recordings on December 30 of 1957 with
Wes Montgomery, tracks from that
session released the next year by World Pacific as 'The Montgomery Brothers
And 5 Others'. He released his first album as a leader in 1960: 'Open
Sesame'. His next session after
Montgomery was on December 26, 1958, with
the
John Coltrane Quartet for the
latter's 'The Believer'. A few more sessions with
Coltrane followed into '61, their
last several years later on June 28, 1965, for
Coltrane's 'Ascension'. Another
important sax player was
Eric Dolphy, Hubbard's initial tracks
with
Dolphy's quintet on April 1, 1962, for
'Outward Bound'. Numerous sessions with
Dolphy, both backing him or with other
ensembles followed to February 25, 1964, for
Dolphy's 'Out to Lunch'.
Dolphy had meanwhile supported Hubbard
on a few tracks of 'The Body and the Soul' on March 8, 1963. Among Hubbard's
most significant partners throughout the years was upright bassist,
Ron Carter, with whom he first
recorded with the Jazz Statesmen of drummer, Charlie Persip, on April 2,
1960 in NYC, yielding such as 'Soul March' and 'Right Down Front'.
Carter and Hubbard would partner
on numberless occasions for another thirty years, backing either other
ensembles or Hubbard, with
Carter appearing on numerous of
Hubbard's LPs. Their last recording together wasn't until they joined
Stanley Turrentine for
the latter's 'More Than a Mood' on February 13, 1992. His first of several
occasions to record with tenor saxophonist,
Oliver Nelson, was with the
Quincy Jones Orchestra on
October 19, 1960, for such as 'G'wan Train' and 'Tone Poem'. Between a few
more sessions with
Jones' organization Hubbard supported
Nelson on 'The
Blues and the Abstract Truth' on February 23, 1961. Hubbard had opportunity
to record with drummer,
Roy Haynes, on a couple
occasions, as well as
Max Roach,
Elvin Jones and
Tony Williams on several, but
he saw a lot more of
Art Blakey. His first certain
date with
Blakey was per the latter's sextet on August 17, 1961, at the
Village Gate in NYC, recording such as 'Arabia' and 'The Promised Land'.
Hubbard stuck with
Blakey's operation to 1965, last sitting in his group in
May for such as 'Slowly but Surely' and 'Freedom One Day' toward 'Hold On
I'm Coming!' (Limelight). Along the way Hubbard contributed to numerous of
Blakey's
Jazz Messengers releases.
Oct 2 of 1961 saw the recording of 'Mosaic'. Come 'Buhaina's Delight on 28
Nov and 18 Dec. 'Three Blind Mice' followed in '62, 'Free for All' and
'Kyoto' in '64. Hubbard reunited w
Blakey in 1981 at the Aurex Jazz Festival in Japan.
That occasioned further reunions w the
Jazz Messengers in the
eighties. Lord shows their first such to have been at A&R Studios in NYC on
11 April 1982 toward 'Art Blakey and the All Star Jazz Messengers' released
by Baystate in Japan and RCA in France. 'Caravan' arrived in April of '83,
'Super Live' in '85 from a performance in Tokyo on 2 Feb of 1984. Studio
sessions in Monster, Holland, in Oct and Nov of 1988 saw release on '70
Years Anniversary: Special Edition Vol 1'. Lord shows a last session w the
Messengers at the Leverkusen
Jazz Festival in Germany on 9 Oct 1989 toward 'The Art of Jazz'.
Blakey died a year later in Oct
of 1990. We need slip back to Blakey's sextet at the Village Gate in '61
in mention of another of Hubbard's important associates, tenor
saxophonist and one of that sextet,
Wayne Shorter. Hubbard and
Shorter became frequent partners into the latter sixties, later in the latter
seventies. A few of Hubbard's recordings on which
Shorter appear are 'Ready
For Freddie' ('61), 'Here to Stay' ('62) and 'The Body and The Soul' ('63).
Another important figure was pianist,
Herbie Hancock, Hubbard first
appearing with
Hancock on 'Takin' Off' in '62.
Hancock then contributed piano to
Hubbard's 'Hub-Tones' later that year.
Hancock and Hubbard would be tight
partners, both supporting each other and other operations, to 1966. They
started collaborating again in '69 and recorded numerously for another
decade into the early eighties. Other of Hubbard's projects in which
Hancock
participated were 'Red Clay' ('70: 1,
2) and 'Straight Life'('70). Other
highlights in the seventies were 'Gleam', recorded in Tokyo on March 17, 1975. In
April 1977 Hubbard released 'V.S.O.P.', a jazz-funk fusion project with
Herbie Hancock,
Wayne Shorter,
Ron Carter and
Tony Williams. The same would
issue 'The Quintet' later in October. Other V.S.O.P. projects were 'Tempest
in the Colosseum', also in October, and 'Live Under the Sky' issued in '81.
In the meantime Hubbard collaborated with
Billy Joel on '52nd Street' in
1978. Performances by Hubbard at Keystone Korner in San Francisco in June
and October of 1980 were recorded toward eventual release on 'Pinnacle: Live
& Unreleased from Keystone Korner' in 2011
[1,
2]. He recorded 'The Rose Tattoo' in Japan, issued in Japan in December of '83. He also
toured Europe in the eighties. Hubbard's concert at the Warsaw Jazz Festival on
October 24, 1991, was recorded. He then toured Japan again in April of '92. Hubbard was made
an NEA Jazz Master in 2006. The next year he recorded his final tracks
in
studio on December 2007 for 'On the Real Side'. He died of complications from a heart attack
a year later on December 29,
2008 [obits: 1,
2,
3].
References: 1,
2,
3.
Sessions: JDP, Lord.
Discos: 1,
2,
3,
4.
Transcriptions: 1,
2,
3.
Analysis: improvisational style compared with
Clifford Brown and
Donald Byrd: James Moore.
Hubbard in visual media. Interviews:
Les Tomkins 1973,
NPR 'All Things Considered' 2001,
Ted Panken 2001,
Geoffrey Himes 2008.
Further reading: Hubbard w the Blue Note label 1960 to '65: Dan Miller; various:
1,
2.
Other profiles: 1,
2.
Freddie Hubbard 1958 Guitar: Wes Montgomery Composition: Charlie Parker Recorded 30 Dec 1957 Indianapolis Freddie Hubbard 1960 Debut LP Freddie Hubbard 1961 Album: 'Ready for Freddie' Freddie Hubbard 1962 Album Freddie Hubbard 1965 Album: 'Blue Spirits' All comps by Hubbard Freddie Hubbard 1967 Filmed live Composition: Hubbard Freddie Hubbard 1970 Album Title track composed by Hubbard Freddie Hubbard 1971 Composition: Hubbard Album: 'First Light' Freddie Hubbard 1979 Vocal: Al Jarreau Composition: Hubbard/Jarreau Album: 'The Love Connection' Freddie Hubbard 1982 Filmed at Playboy Jazz Festival Composition: McCoy Tyneru Freddie Hubbard 1985 Filmed live in Berlin With Dizzy Gillespie Music: Gene de Paul 1942 Lyrics: Patricia Johnston/Don Raye For the comedy 'Ride 'Em Cowboy' Filmed live in Köln (Cologne) Freddie Hubbard 1986 Filmed live Composition: Herbie Hancock Filmed live Cedar Walton Trio Composition: Johnny Burke/Erroll Garner Freddie Hubbard 1991 Filmed concert Freddie Hubbard 2000 Recorded live 1991 Freddie Hubbard 2008 LP: 'On the Real Side' All comps by Hubbard
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Born in 1938 in Memphis, Tennessee,
Booker Little began playing
trumpet in high school upon trombone and clarinet in earlier years. What
sent him to Chicago in 1954 was the Conservatory of Music where he studied
four years. Rooming with
Sonny Rollins at the YMCA, the latter
introduced him to Max Roach (drums) in 1955. He
joined Roach's ensemble upon the
early death of
Clifford Brown in an auto
accident in June of 1956. Lord has Little first recording trumpet w
Roach
in Chicago in 1958,
that as one of the latter's Plus Four on 'Max on the Chicago Scene'.
Little's first album release was also
that year with Roach: 'Booker Little 4 and Max Roach'.
Roach would be a continual partner to the end of Little's career only
three years later. Another important figure was Eric Dolphy
with whom he jammed at the Five Spot
in NYC. Little's first occasion to support Dolphy
was for the latter's 'Far Cry' on December 21, 1960. They worked together
numerously, including several albums by Dolphy,
to August 1, 1961 for Roach's
''Percussion Bitter Sweet', thought to be Little's final recordings.
Booker's career flowed only three some years, but he managed to jam nigh
fifty sessions into that period, six of those his own on which he
distinguished himself as a highly promising talent to come. Unfortunately,
his bloom was short-lived, he dying on 5 October of 1961 of uremia (kidney failure),
only 23 years old. In addition to Roach
and Dolphy, Little also recorded
with the Young Men From Memphis,
Bill Henderson,
Slide Hampton,
Frank Strozier,
Teddy Charles,
Abbey Lincoln and
John Coltrane. References: 1,
2,
3,
4,
5.
Sessions: JDP; Lord;
Saul.
Discos: 1,
2,
3.
Gordon Vernick's audio chronology.
Leo Sullivan's YouTube audio archive.
Interviews: Robert Levin for 'Metronome' 1961.
Further reading:
Steven Cerra,
Dylan Lagamma,
Robert Levin,
Dan Miller,
Richard Williams.
Booker Little 1958 From 'Booker Little 4 & Max Roach' Recorded October Composition: Miles Davis Composition: Jimmy Van Heusen/Johnny Burke Booker Little 1959 From 'Award-Winning Drummer' Drums: Max Roach Composition: Dedette Lee Hill/Willard Robison Composition: George Coleman Booker Little 1960 From 'Booker Little' Recorded 13 & 15 April 1960 Composition: Little Grand Valse (Waltz of the Demons) Composition: Little Composition: Little Composition: Little Composition: Alec Wilder/William Engvick End 'Booker Little' Booker Little 1961 From 'Out Front' Recorded March & April 1961 All compositions: Little
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Booker Little Source: All About Jazz
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| Born in 1935 in Philadelphia,
PA, trumpet player,
Ted Curson,
began training on that instrument at age ten. He was a student at the
Granoff School of Music in Philadelphia before heading to NYC in 1956.
Curson's first recordings to emerge on vinyl are thought to have been in
1959 with the Cecil
Taylor Quintet: 'Get Out of Town', 'I Love Paris', etc., to be found on
Taylor's 'Love for Sale'. The next month he recorded 'I'm Gonna Get Married'/'Three Little
Pigs' with
Lloyd Price. On May 24, 1960, Curson recorded the first of
several albums
with
Charles Mingus, 'Pre Bird'. 'Mingus
at Antibes' was recorded July 13, 1960, per that festival in Juan-les-Pins,
France, though not issued until 1976. Both 'Charles Mingus Presents Charles
Mingus' and 'Mingus', were recorded on October 20. Curson issued his debut album as a leader in 1961: 'Plenty of
Horn'. He would release some twenty LPs as a leader. Curson performed at
the first Pori Jazz Festival in Finland in 1966, a venue to which he would
return each year throughout his career. Of interest in the seventies was his
performance at Carnegie Hall on 27 June of 1976 to obscure result,
Fitzgerald having those tapes housed at the Library of Congress per Voice of
America, Lord listing Wolfgang's Vault 426 [DL]. Those tracks are
nevertheless published at Wolfgang's w an article by Bill Milkowski.
He released 'I Heard Mingus' and 'Snake Johnson' in the early eighties,
'Traveling On' and 'Sugar n' Spice' in the latter nineties, 'Ted Curson in
Paris' and 'Ted Curson & The Clinic Sextet' into the new millennium. Curson passed away in 2012 in Montclair,
New Jersey, where he had long been a resident [obit]. His last recordings are
thought to have been in Paris on October 27, 2008, issued in 2012: 'Ted Curson Plays the Music of Charles Mingus'.
References: 1,
2.
Sessions: Fitzgerald;
JDP; Lord (leading 30 of 71).
Discos: 1,
2,
3,
4,
5.
IMDb.
IA.
Further reading: Clifford Allen,
Chris Kelsey. Other
profiles: 1,
2. Ted Curson 1959 With vocalist, Lloyd Price: Session unidentified Composition: Harold Logan/Lloyd Price Composition: Harold Logan/Lloyd Price From Cecil Taylor's 'Love for Sale' Recorded 15 April '59 Tenor sax: Bill Barron Bass: Buell Neidlinger Drums: Denis Charles Barron & Curson on 4-6 only Composition: Taylor Composition: Taylor Ted Curson 1961 From 'Plenty of Horn' Recorded 11 April '61 Composition: Rodgers/Hammerstein Composition: Curson Composition: Curson Composition: Curson Music: Jule Styne 1946 Lyrics: Sammy Cahn Ted Curson 1963 Composition: James Monaco/Johnny Burke LP: 'Ted Curson Plays Fire Down Below' Recorded 19 Dec '62 Piano: Gildo Mahones Bass: George Tucker Drums: Roy Haynes Congas: Montego Joe Ted Curson 1967 Composition: Andrzej Trzaskowski Album: 'Seant' Andrzej Trzaskowski Sextet Recorded Jan/Feb 1965 Warsaw Alto sax: Paul Desmond Ted Curson 1970 Composition: Curson Album: 'Ode to Booker Ervin' Recorded 3 Sep '70 Helsinki Sax: Eero Koivistoinen Piano: Pentti Hietanen Bass: Pekka Sarmanto Drums: Reino Laine Ted Curson 1971 Composition: Curson Album: 'Pop Wine' Recorded 18 June '71 Paris Piano: Georges Arvanitas Bass: Jacky Samson Drums: Charles Saudrais Ted Curson 1973 Filmed live in France Ted Curson 1974 Album: 'Quicksand' Recorded 13/16 May '74 NYC All comps by Curson Ted Curson 1977 Album: 'Jubilant Power' Recorded 16/17 Oct '76 All comps by Curson Ted Curson <2008 Filmed live at the Pori Jazz Festival Composition: Toivo Kärki/Kerttu Mustonen Note: The year of the above event is unidentified. It necessarily preceded Curson's death in Nov of 2008. The Pori Jazz Fest is usually held in July. Ted Curson 2012 Composition: Curson Album: 'Live in Paris' Recorded 27 Oct '08 Paris Posthumous release
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 Ted Curson Photo: The Star-Ledger Source: All That's Jazz |
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Don Ellis Source: Overdose |
Born in 1934 in Los Angeles, trumpet player,
Don Ellis,
also made a name for himself as an arranger, bandleader and composer. His
first employment as a trumpeter was with Ray McKinley, McKinley directing
the Glenn Miller ghost band.
Ellis' first recordings are thought to have been with that orchestra on
August 26, 1956, such as 'In the Mood' and 'Rhapsody In Blue'. Those aren't
thought to have been issued, however, until much later by Star Line
Cassesttes. Drafted in 1956, Ellis spent some time in Army
bands in Germany, then headed for Greenwich Village in 1958. First working
with such as Charlie Barnet,
Woody Herman and
Lionel Hampton, he also recorded
'It Don't Mean a Thing' at the jazz loft of painter/photographr, David X.
Young, on December 15, 1958, that eventually released on CD years later. Ellis then
joined Maynard Ferguson's outfit in 1959
in time to record 'Plays Jazz for Dancing' in February and March. He didn't
have to play second trumpet to Ferguson
or anyone else when he put down tracks with
Charles Mingus on November 13, 1959,
for such as 'Where's Teddy' and 'Hey There'. Ellis stayed with Ferguson
into 1960, the same year he recorded his first album that has never been released, 'New Sounds for the 60's',
which tapes are stored per the Don Ellis Collection at UCLA. Later that year, however, he
issued 'How Time Passes'. Ellis traveled to Warsaw in 1962, then
Stockholm in '63 before forming the Improvisational Workshop Orchestra that
year. In 1964 he studied ethnomusicology at UCLA, then formed the Hindustani
Jazz Sextet. The first performance of the Don Ellis Orchestra was at the
Monterey Jazz Festival in September 1966, recording such as '33 222 1 222'
and 'Passacaglia and Fugue' [1,
2].
Collaboration w sitarist, Harihar Rao, wrought the formation of the
Hindustani Jazz Sextet in 1964, performing at
Shelly Manne's Manne-Hole
nightclub in Hollywood [Anu Kumar 1,
2]. Ellis' first symphony, 'Contrasts
for Two Orchestras and Trumpet', was performed in 1967 by the Los Angeles
Philharmonic Orchestra. In 1971 'The French Connection' appeared, for which
Ellis had written the score, he adding a string quartet and pianist, Milcho
Leviev, to his orchestra in 1971 as well. Ellis began experiencing heart
conditions in 1974, but worked through them to later be able to take his
orchestra to the Montreux Jazz Festival in Switzerland in 1977. That
performance was recorded along with a title with the Atlantic All Stars:
'Pick Up the Pieces'. Ellis' final recordings were in India in February of
1978, released on 'Live in India'. His last
performance is thought to have been in April of 1978 in Los Angeles, he dying in
December that year of cardiac arrhythmia, only 44 years of age. From
avant-garde to Third Stream (fusion of classical with jazz improvisation),
Ellis was highly regarded for his spectrum, creativity and
knowledge of his craft. References: 1,
2,
3,
4,
5,
6.
Sessions: Matt Endahl 1960-78;
Tom Lord (1956-78 leading 34 of 54). Discos:
1,
2,
3,
4,
5;
soundtracks: 1,
2. Authorship:
'The Element of 'Corn' in Jazz Improvisation' 1959/60; books:
'The New Rhythm Book' (Ellis Music Enterprises 1971);
'Quarter Tones' (Harold Branch Publishing 1975);
'Rhythm' (unpublished 1977).
Interviews: Ron Simmonds 1968.
Further reading: Don Ellis Orchestra: Jazz Profiles: 1,
2,
3,
4,
5,
6,
7.
Archives: 1,
2.
Synopses: 1,
2,
3,
4,
5,
6.
Don Ellis 1959 With Maynard Ferguson Composition: Don Sebesky Don Ellis 1960 Composition: Ellis LP: 'How Time Passes' Piano/alto sax: Jaki Byard Bass: Ron Carter Drums: Charlie Persip Don Ellis 1961 LP: 'New Ideas' Recorded 11 May '61 Piano: Jaki Byard Piano/alto sax: Jaki Byard Vibes: Al Francis Bass: Ron Carter Drums: Charlie Persip All comps by Ellis Don Ellis 1962 Composition: Richard Rodgers/Lorenz Hart LP: 'Essence' Recorded July '62 Los Angeles Piano: Paul Bley Bass: Gary Peacock Drums: Nick Martinis/Gene Stone Composition: Charlie Parker LP: 'Jazz Jamboree 1962' Recorded Oct '62 Warsaw Piano: Wojciech Karolak Bass: Roman Dyląg Drums: Andrzej Dąbrowski Don Ellis 1966 From 'Live in 3²/³/4 Time' Composition: Hank Levy Composition: Ellis Don Ellis 1967 Composition: Ron Myers LP: 'Electric Bath' Don Ellis 1968 Composition: Ellis Live at Tanglewood Don Ellis 1970 Composition: Hank Levy Live at the Fillmore Don Ellis 1971 From 'Tears of Joy' Composition: Ellis Composition: Ellis Don Ellis 1972 Composition: Andrew Lloyd Webber/Tim Rice Arrangement: Milcho Leviev LP: 'Connection' Don Ellis 1976 Live w Shirley MacLaine Composition: 1925 Ben Bernie/Maceo Pinkard Lyrics: Kenneth Casey Don Ellis 1977 Filmed live 8 July '77 Montreux Jazz Fest Switzerland All comps & arrangements Ellis
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|
 Hugh Masekela Source: Hudson Valley Times | Born in 1939 in Witbank, South Africa, composer,
Hugh Masekela,
began training on piano as a child, adding trumpet at age fourteen. After a
bit of early training he began leading his own ensembles, he a popular
performer by the time he joined the African Jazz Revue in 1956. He was
trumpeter in the Father Huddleston Band circa 1956 for titles in
Johannesburg toward the issue by various, 'Township Swing Jazz! Vol 1' in
1981. In 1958 he began touring South Africa with 'King Kong', the musical
about the heavyweight boxer [1,
2,
3,
4,
5,
6,
7]. It was 1959 that he participated in pianist,
John Mehegan's, 'Jazz In Africa Vol 1' for issue that year (per discogs). In 1959
Masekela helped form the Jazz Epistles (named after
Art Blakey's Jazz Messengers) with Dollar Brand, coming to
the distinction of being the first black jazz ensemble to make a
recording in South Africa, 'Jazz Epistle - Verse 1', released in 1960. Come
the Jazz Dazzlers on July 15, 1960, for titles included on 'Township Swing
Jazz! Vol 2' ('90). By that time the
National Party had governed South Africa for twelve years (1948). Apartheid, the
official
segregation and disenfranchisement of blacks, was a system largely ignored
by the global community. The Sharpeville Massacre of 69 demonstrators in
March of 1960 was one of the results of an oppression that included
censorship of the arts, not only mind-wrenchingly ridiculous in the banning
of blacks from performing jazz, but making South Africa a dangerous place for jazz
musicians to be (see
Fela Kuti as to the rather
different political zeitgeist in the latter seventies in Nigeria). Masekela therefore left his homeland in exile in 1960. Like others in the 'King King' production
(concerning the boxer),
he used its tour to Europe to leave South Africa without returning. He next
attended the Guildhall School of Music in London before leaving for the
United States to study classical trumpet at the Manhattan School of Music
from 1960 to 1964. He issued his first LP, 'Trumpet Africaine', in 1962. 'Grrr'
('66) followed in April and May of 1965. November of '65 saw the recording
of both 'The Americanization of Ooga Booga' ('66) and 'The Lasting
Impression of Hugh Masekela' ('68). 'Hugh Masekela's Next Album' and 'The
Emancipation of Hugh Masekela' both went down in 1966. 'Hugh Masekela's
Latest' went down sometime in 1967, by which time he could draw a crowd at the Monterey Pop
Festival in June. Even better was the four million copies he would sell of the
instrumental, 'Grazing in the Grass', issued in 1968, something not about to
have happened in South Africa, which would be governed by the National Party
until 1994. In 1980 Masekela and Jive Records put together a mobile studio
in Botswana just across the border from South Africa to assist musicians
there. While living in Botswana he recorded 'Techno-Bush' in 1984 and
'Waiting for the Train' in 1985. Masekela's career would last considerably longer than that of
the National Party. He is thought to have returned to South Africa in 1990
while that party was yet in power, contributing to Miriam Makeba's 'Vukani'
in Johannesburg in 1991, found on 'Eyes on Tomorrow' that year. In 1992
Masekela joined alto saxophonist, Rene McLean, to record 'In African Eyes'
in Johannesburg. Among others on whose recordings he can be found are Letta
Mbulu,
Herb Alpert, Manu Dibango and
Prisca Molotsi. Into the new millennium Masekela released 'Still Grazing' on
11 May 2004, recorded during multiple sessions between 1966 and 1974. His
memoir, 'Still Grazing', was published by Crown Archetype the same day.
Masekala released such as 'Playing @
Work' and 'Friends' in latter 2012 with pianist,
Larry Willis. Issuing a sum of forty-five
studio albums, Masekela's final was 'No Borders' appearing in November of
2016. He remained active touring until his death on
23 January 2018 from prostate cancer [obits: 1,
2,
3,
4].
References: 1,
2,
3,
4,
5.
Sessions: Lord;
Payne.
Solography. Discos: 1,
2,
3,
4.
Soundtracks: 1,
2.
Compilations.
Reviews: 1,
2.
Documentaries: 'Welcome to South Africa' by BBC 2010: 1,
2.
Interviews: Robin Denselow 2011,
David Ellenbogen 2013.
Further reading: 1,
2,
3.
Other profiles: 1,
2,
3.
Per 1960 below, piano in
the Jazz Epistles [1,
2,
3,
4] is by Dollar Brand
who changed his name to
Abdullah Ibrahim in 1968
upon becoming Muslmi. Tracks are from the album, 'Jazz Epistle - Verse 1'. Hugh Masekela 1959 Featuring John Mehegan Composition: Sigmund Romberg Oscar Hammerstein II The Jazz Epistles 1960 From 'Jazz Epistle - Verse 1' Piano: Dollar Brand (Abdullah Ibrahim) Composition: Kippie Moeketsi Composition: Dollar Brand Hugh Masekela 1966 Composition: Masekela Album: 'The Emancipation of Hugh Masekela' Hugh Masekela 1968 Composition: Philemon Hou Hugh Masekela 1973 Album Hugh Masekela 1974 Side 1 Side 2 Hugh Masekela 1975 Composition: Masekela Album: 'The Boy's Doin' It' Hugh Masekela 1984 Composition: Masekela/Stewart Levine Album: 'Techno Bush' Hugh Masekela 1986 Filmed live Composition: Masekela Hugh Masekela 1994 Composition: Masekela Album: 'Hope' Hugh Masekela 2009 Filmed concert Hugh Masekela 2010 Filmed live: Inntöne Festival Austria Composition: Masekela Hugh Masekela 2011 Filmed concert Hugh Masekela 2015 Filmed live Composition: Masekela
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|
| We proceed no further than Hugh Masekela
in this section of modern jazz. Horn players who began their careers in
the sixties are at Modern Jazz 8. |
Early Blues 2: Vocal - Other Instruments
Modern Blues 2: Vocal - Other Instruments
Romantic: Composers born 1770 to 1840
Modern: Composers born 1900 to 1950
Early Jazz 1: Ragtime - Bands - Horn
Early Jazz 2: Ragtime - Other Instrumentation
Modern 4: Guitar - Other String
Modern 5: Percussion - Other Orchestration
Modern 7: Latin Jazz - Latin Recording
Modern 8: United States 1960 - 1970
Modern 9: International 1960 - 1970
Latin
Latin Recording 2: The Caribbean
Latin Recording 3: South America
Total War - Sixties American Rock
Classical - Medieval to Renaissance
Classical - Baroque to Classical
Classical - Romantic to Modern
Jazz Early - Ragtime - Swing Jazz
Jazz Modern- Percussion - Latin - Song - Other
Boogie Woogie - Doo Wop - R&B - Rock & Roll - Soul - Disco
Sixties American Rock - Popular
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