A Birth of Jazz

Early Percussion Recording

The earliest recordings emphasizing percussion were, what else but, the U.S. military on Edison cylinders. Examples below are a long distance from jazz, until one considers such as James Reese Europe who later transformed his military experience into ragtime and touched (though barely) the hems of early jazz. Among the earliest military bands to record with Edison was the Columbia Drum, Fife and Bugle Corps, releasing 'The Girl I Left Behind Me' in 1899, a recording that doesn't appear to have survived. The early military recordings below were each made on Edison cylinders:

The Grenadier Fife, Drum and Bugle Band   1900/1901

   Bugle Union March

U. S. Marine Fife and Drum Corps   1902

   Florodora

U. S. Marine Fife and Drum Corps   1903

   The Girl I Left Behind Me

Drummer Big Sid Catlett was born in 1910 in Evansville, Indiana. Some of the drummers on this page began their careers performing swing during that period. Catlett is on this page in a seminal position as a veteran whose career preceded swing yet played an important role in the transition to modern jazz, albeit his early death precluded going over far with it. Catlett had begun his professional career in 1928 with Darnell Howard and was a member of the Chocolate Dandies. Among his first recordings was with the Creole Jazz Band, Lord tracing him to as early as 2 October 1928 in Chicago for 'Down by the Levee' (Vocalion 1220 w vocals by Punch Miller) and 'She's Crying for Me' (Vocalion 1252). Come Albert Wynn and His Gut Bucket Five on October 9 for 'Crying My Blues Away' (Vocalion 1218) and 'Parkway Stomp' (Vocalion 1220) w Punch Miller identified on the latter. Come another date in Chicago on 13 February 1929 in support of Frankie Half Pint Jaxon on 'Let's Knock a Jug'/'Can't You Wait Til I Get You Home?' (Vocalion 1285). Lord has Catlett supporting Elmer Snowden's Smalls Paradise Orchestra in 1932 in Brooklyn on tracks for the film, 'Smash Your Baggage', premiering in 1933. He sat in Benny Carter's orchestra for sessions in NYC in 1932 and '33 before Spike Hughes and His Negro Orchestra on 18 April 1933 to come up w 'Nocturne'/Someone Stole Gabriel's Horn' (Decca F3563) and 'Pastorale'/'Bugle Call Rag' (Decca F3606). One of Catlett's most important partner in swing would be Louis Armstrong with whom he first recorded per Lord on 24 April of 1933 toward such as 'Honey Don't You Love Me Any More?' (Victor 24335) and 'Dusty Stevedore' (Victor 24320). Catlett later joined Armstrong's operation in 1938, they to record together countlessly throughout the forties. Lord shows their last occasion to record together per NBC television for 'The Eddie Condon Floor Show' on 11 June 1949. Such as 'Them There Eyes' and 'Sweethearts on Parade' saw issue on the Italian label Queen Q-010 on an unknown date. Also working for Benny Goodman, though Catlett's story is for the major part one of the swing period, he is a perfect musician in a unique position with whom to begin this history of modern jazz percussion due to collaborations in early bebop with Dizzy Gillespie in 1945 as well as experimental pieces like 'Boff Boff' (below). Catlett died on 25 March 1951 of heart attack at only age 41. He was posthumously elected into the Big Band and Jazz Hall of Fame in 1996. References: 1, 2, 3, 4, 5. Sessions: DAHR w composing credits; Lord. Discos: 1, 2. Catlett has also been issued on one volume of the Chronological Classics series per #974 '1944-1946'. Catlett in visual media. Other profiles: 1, 2, 3, 4, 5. See also Jazzwax: 1, 2.

Big Sid Catlett   1928

  Down By the Levee

      Composition: Albert Wynn

Big Sid Catlett   1939

  Haven't Named It Yet

      Vibes: Lionel Hampton

      Composition:

      Charlie Christian/Lionel Hampton

Big Sid Catlett   1944

  Just a Riff

      Composition: Catlett

Big Sid Catlett   1945

  Love for Scale

      Guitar: Al Casey

      Composition: Horace Henderson

  Rose Room

      Composition:

      Art Hickman/Harry Williams

  Salt Peanuts

      Alto sax: Charlie Parker

    Trumpet: Dizzy Gillespie

      Bass: Curley Russel   Piano: Al Haig

      Composition: Dizzy Gillespie/Kenny Clarke

  Shaw 'Nuff

      Alto sax: Charlie Parker

    Trumpet: Dizzy Gillespie

      Bass: Curley Russel   Piano: Al Haig

      Composition:

      Ray Brown/Gil Fuller/Dizzy Gillespie

Big Sid Catlett   1947

  Boff Boff

      With the Louis Armstrong All Stars

      Composition: Coleman Hawkins

  Just a Riff

      Film: 'Boy, What a Girl'   With Gene Krupa

      Composition: Catlett

  Musicomania

      Trumpet: Charlie Shavers

      Film: 'Sepia Cinderella'

Note: 'Musicomania' is the title given to Charlie Shaver's 'Broadjump' in 'Song of India'. 'Broadjump' was recorded in 1945 and issued on Vogue R-755 on an unidentified date. That was with Alvin Stoller on drums, composition unknown. See also 1, 2.

Big Sid Catlett

Source: Puro Jazz

Drummer Papa Jo Jones was known for his manner with brushes and shifting the role of time keeping from bass drum to the hi-hat cymbal. He is placed on this page as one of two veteran drummers whose careers preceded and included swing but were important in the transition to modern jazz [see Catlett]. Jones began his musical career as a drummer and tap dancer at carnival shows. He joined Walter Page's Blue Devils in the late twenties. A double bassist, Page would be a major figure in Jones' career into the latter fifties, clearing much the same trail together while backing various enterprises like the Count Basie Orchestra. Page would eventually support Jone's first album in August of 1955, 'The Joe Jones Special', with Basie and Nat Pierce contributing piano. Their last recordings together may have been on October 18, 1957, backing Paul Quinichette's 'For Basie'. For Jones' first recordings we return to April 2, 1931, with Victoria Spivey as a member of Lloyd Hunter's Serenaders (Hunter's only recordings): 'Sensational Mood' and ''Dreaming 'Bout My Man'. The major boost to Jone's career was Basie with whom he first hooked up in 1934, Basie to form his first orchestra the next year. They had first recorded together with Jones-Smith Incorporated on November 9 of 1936 for Vocalion: 'Shoe Shine Boy' and 'Lady Be Good', et al. That grouping consisted of Carl Smith (trumpet), Jimmy Rushing (vocals) Lester Young (tenor sax) and Walter Page, all of whom attended the first session by the Count Basie Orchestra on January 31 of 1937 for such as 'Honeysuckle Rose' and 'Pennies From Heaven'. Jones kept with Basie for another decade, thought to have drummed his last titles with him on December 12 of 1947 in Los Angeles: 'Robbin's Nest' and 'Hey Pretty Baby', et al. Jones would join the Basie Orchestra again at the Newport Jazz Festival in 1957 for such as 'Polka Dots and Moonbeams' and 'Lester Leaps In'. He also joined Basie that year for the December 9 telecast of 'Sound of Jazz'. In January of 1967 they both participated in John Hammond's 30th 'Spirituals to Swing' concert at Carnegie Hall. Of the above per Jones-Smith Incorporated in 1936, Rushing and Young were to become major figures in Jones' career. Jones would back countless titles by Rushing, first with Basie, then with Rushing's All Stars, into the latter sixties. Lord's disco shows them together for the last time on October 30 of 1967 for Rushing's albums, 'Gee Baby, Ain't I Good to You' and 'Who Was It Sang That Song?'. As for Young, much like Page they recorded together often with Basie as well as other operations like those of Billie Holiday and Teddy Wilson. Lord's shows their last titles together at the Newport Jazz Festival in July of 1958 with Buck Clayton and Jack Teagarden on such as 'Royal Garden Blues' and 'I Cover the Waterfront'. Jones' first titles with Clayton had been with Basie on January 21 of 1957. Clayton would be an important associate for another twenty years, recording countless titles together, first with Basie, then with Clayton's own bands. His first tracks with Clayton's orchestra were in NYC circa August of '47 to support Helen Humes on such as 'Jet Propelled Papa' and 'They Raided the Joint'. Lord's disco shows their last titles together per Rushing's albums, 'Gee Baby, Ain't I Good to You' and 'Who Was It Sang That Song?' in October of 1967. Jones is thought to have first recorded with Benny Goodman as members of the Teddy Wilson Orchestra with Clayton and Billie Holiday on January 25 of 1937 for such as 'He Ain't Got Rhythm' and 'This Year's Kisses'. Both Holiday and Wilson would figure large in Jones' career. Jones backed Holiday numerously to as late as July 6, 1957, with the Mal Waldron All Stars, performing 'Fine and Mellow' on 'The Sound of Jazz' telecast for CBS Television. Jones kept his spot in Wilson's orchestra into 1938, joining him again in 1941 and 1954-56 ('The Impeccable Mr. Wilson' and 'These Tunes Remind Me of You'). They reunited on July 2 of 1972 at Carnegie Hall to back Benny Carter. Trombonist/vibraphonist, Tyree Glenn, was also of notable presence in Jones' career. Their initial session together is thought to have been on May 27, 1938, with Timme Rosenkrantz and his Barrelhouse Barons: 'A Wee Bit of Swing' and 'The Song Is Ended' along with two vocals by Inez Cavanaugh: 'Is This to Be My Souvenir?' and 'When the Day Is Done'. They backed vocalist, Chris Powell, in April of 1950 before the Bill Doggett Trio in 1951 to support Glenn's 'Tell Me Why', 'Sugar', et el. It was Glenn's All Stars in 1952 with Hank Jones and Milt Hinton for 'Sidewalks of New York' and 'How Could You Do a Thing Like That?'. Jones would surface on a number of Glenn's albums: 'At the Embers' ('57), 'At the Roundtable' ('58), 'Let's Have a Ball' ('58) and 'At the London House' ('61). They reunited in 1972 per above to back Benny Carter at Carnegie Hall, Teddy Wilson and Hinton also in on that. We return to April 10, 1941, for the important figure that would be Coleman Hawkins, they both with Count Basie's band on that date for such as 'I Do Mean You' and '9:20 Special'. Thirteen years later they would back Buck Clayton with Joe Newman on such as 'Jumpin' at the Woodside' and 'Don't Be That Way'. It was next Hawkins's band for 'Timeless Jazz' on November 8 of 1954. Numerous sessions followed for another decade either supporting other operations, like Jazz at the Philharmonic (JATP) or working on Hawkins's projects which included 'The Hawk Flies High ('57), an engagement at the Newport Jazz Festival ('57), 'Body and Soul' ('61) and a tour to Europe (independent of JATP) in '64. Jones' last session with Hawkins is thought to have been on that tour on October 2 in London with Sweets Edison for such as 'Stoned' and 'Centerpiece'. We need step back to August of 1944 in Hollywood for another of the major figures in Jones' career, that being tenor saxophonist, Illinois Jacquet, with whom he recorded 'Jammin' the Blues' on that date for the short film of the same title. They saw each other on multiple occasions with Count Basie or the JATP before the Illinois Jacquet Orchestra on April 6 of 1949 for 'Big Foot', Black Velvet', etc.. They visited again with JATP in '56 before recording Jacquet's 'Swing's the Thing' on October 16 of '56 with Roy Eldridge on trumpet. 1968 witnessed Jacquet's 'The King'. 1974 saw them in Paris, at Carnegie Hall and in Minden, Ontario. Lord's disco shows their last of of numerous sessions together in Paris on July 17 of 1975 for 'I Found a New Chapeau', that a trio with organist, Milt Buckner. Having mentioned Jazz at the Philharmonic a few times, it is apt comment that Jones was invited to join that operation on at least ten dates, the first at Carnegie Hall on September 27 of 1947 with Howard McGhee on trumpet for 'Perdido', 'Mordido', 'Endido' and 'I Surrender Dear'. Jones' last occasion with the JATP is thought to have been on November 25 of 1960 in Paris with Roy Eldridge for 'Take the 'A' Train', 'Indiana', etc.. We retrace to March 5, 1950, for another major character in Jones' career, that Sonny Stitt who was leading a band with Gene Ammons to include Duke Jordan on that date to record such as 'Bye Bye' and 'Let It Be'. They were with Ammons and Jordan again on March 5, 1950, to back vocalist, Teddy Williams, on 'A Touch of the Blues' and 'Dumb Woman Blues'. Jones and Stitt traveled much the same path into the latter fifties, recording numerously together in support of other bands, such as Norman Granz' JATP. On November 20 of 1952 Jones backed Stitt on 'Symphony Hall Swing'. Lord's disco shows their last recordings together with the JATP at the Shrine Auditorium in Los Angeles on October 9 of 1957 for 'Slow Blues', 'Merry-Go-Round', et al. Another major figure was organist, Milt Buckner, for whom we return to March 25, 1950, when they supported vocalist, Mabel Scott, on such as 'Fine, Fine Baby' and 'Baseball Boogie' with Buckner at piano. Sixteen years later in November of 1966 Jones backed Buckner's 'Play, Milt, Play' in Paris with Roy Eldridge, Illinois Jacquet and Jimmy Woode (bass). They thereafter recorded on multiple occasions together to 1977, especially on tours to Europe in 71, '72, '73, '74, '75 and '77. That last occasion in '77 is thought to have been live in Mantes-la-Jolie, France, in a trio with Buddy Tate at tenor sax for 'Sweet Georgia Brown'. Another personality who played a major role in Jones' career was Ella Fitzgerald, for whom we step back to February 7, 1953, to pianist, George Wein's, Storyville jazz club in Boston for such as 'Why Don't You Do Right?' and 'Mean to Me'. (Wein owned Storyville Records in the fifties as well, not to be confused with the Danish label during the same period owned by Karl Emil Knudsen.) Jones was up to travel Fitzgerald's itinerary another four years, he found on no few recordings with her during that period. Their last session together is thought to have been at the Shrine Auditorium in Los Angeles on October 7, 1957, for 'At the Opera House'. Jones recorded his first unissued name titles with pianist, George Wein, at the latter's Storyville Club in Boston in 1953. Those were 'Please Don't Talk About Me' and 'Pennies From Heaven' with Ruby Braff on trumpet and Jimmy Woode on bass. In 1955 Jones released his first album, per above, 'The Jo Jones Special'. He is thought to have recorded the last two of ten in 1977: 'Papa Jo and His Friends' and 'Our Man, Papa Jo'. As for Braff, he and Jones are thought to have first recorded together at the Storyville Club in Boston on April 29 of 1951 for such as ''S Wonderful' and 'Struttin' with Some Barbecue', et al. Jones would support Braff in 1955 on 'Little Big Horn' and 'Ruby Braff Special'. Jones was house drummer at the West End jazz club in NYC during his latter career. He died of pneumonia on September 3 of 1983 in NYC. Lord's disco credits Jones with a prolific 531 sessions. Among the host of others for whom he'd swung sticks were the Kansas City Six, Ida Cox, Joe Bushkin, Paul Gonsalves, Earl Hines, Machito, Blossom Dearie, Nat King Cole, the Newport Jazz Festival All Stars, Johnny Hodges, Ben Webster and Rose Murphy ('58). References: 1, 2, 3, 4. Discos: Discogs, RYM, Lord. Jones in visual media: IMDb, live performances. Further reading: Steven Cerra, Ken Franckling, Modern Drummer. Other profiles: 1, 2.

Papa Jo Jones   1931

  Sensational Mood

      With Lloyd Hunter

      Composition: Henry Woods/Noble Floyd

Papa Jo Jones   1941

  Swingin' the Blues

      With Count Basie

      Composition: Count Basie

Papa Jo Jones   1955

  Embraceable You

      Composition: Gershwin Brothers   1928

      Album: 'The Jo Jones Special'

Papa Jo Jones   1959

  Embraceable You

      Composition: Gershwin Brothers   1928

      Piano: Ray Bryant

      Bass: Tommy Bryant'

      Album: 'Jo Jones Trio'

Papa Jo Jones   1964

  Caravan

      With the Harry Edison Quintet

      Sax: Coleman Hawkins

  Drum Solo

Papa Jo Jones

Source: JD Drum School

Bop drummer Kenny Clarke (aka Klook) was born in Pittsburgh, PA, in 1914. He began recording as early as 1937 as a member of the Edgar Hayes Orchestra. Lord's disco has him in a Variety session on March 9 that year for 'Sweet Is the Word for You' and 'Sylvia', et al. Titles released by Brunswick ensued on May 25: 'Caravan', 'Edgar Steps Out', et al. Several sessions later he assumed Haye's spot as leader in Sweden on March 8 of 1938 to record four tracks with vocalist, James Anderson: 'I Found A New Baby', 'Once In A While', 'You're A Sweetheart' and 'Sweet Sue'. Back in the States Clarke joined Sydney Bechet at Log Cabin in Fonda, New York on November 25, 1939, for 'The Sheik of Araby' and 'Pop It'. Following a couple more sessions with Bechet into 1940 Clarke backed Mildred Bailey on May 15 for 'How Can I Ever Be Alone?', 'Tennessee Fish Fry', etc.. Come Billie Holiday on September 12 that year for 'I'm All for You', 'I Hear Music', et al. Clark would support Holiday again in '41 and '46. Clarke was house drummer at Minton's Playhouse in Harlem where he recorded numerously in 1941 with such as Joe Guy, Hot Lips Page and Roy Eldridge. It was at Minton's that he held his first session with Dizzy Gillespie in May to put down 'Stardust'. Another session that month saw 'Stardust' and 'Kerouac'. Five years later he joined Gillespie's Sextet for such as 'One Bass Hir' and 'Oop Bop Sh'Bam'. That period with Gillespie ran to March 2, 1948, in Paris for 'Confirmation', 'A la Colette', etc.. Clarke was living in Paris, having moved there in 1956, when he next recorded with Gillespie in Cannes in July of 1958 for titles that would eventually get released on a CD compilation called 'Jazz sur la Croisette'. Future tours by Gillespie saw sessions in Paris in 1960, Paris in 1963, London in 1970 and Paris in 1973, that last on April 13 resulting in Gillespie's 'The Giant' and 'The Source'. We need step back to May 7, 1946, for another major player in Clarke's career, that pianist, Tadd Dameron, whose orchestra he joined on that date to back Sarah Vaughan on 'If You Could See Me Now', 'I Can Make You Love Me', et al. Clarke hung with Dameron's operation to 1949, their final session together possibly in May with Miles Davis in Paris for such as 'Wahoo' and 'Lady Be Good'. Pianist, Bud Powell, participated in that session with Dameron and Vaughan in 1946. Powell joined Clarke's 52Nd Steet Boys on September 5, 1946, for such as 'Epistrophy' and '52nd Street Theme'. The next day they backed Fats Navarro and Gil Fuller on 'Boppin' a Riff', 'Fat Boy', etc.. Powell would be an important comrade for another twenty years. January 13 of 1955 saw a trio with bassist, Percy Heath, for 'Mediocre', 'All the Thing You Are', etc.. It was another trio at the Blue Note in Paris with bassist, Pierre Michelot, in 1959 for 'Bud on Bach', 'Yesterdays', etc.. Powell moved to Paris that year, commencing a partnership with Clarke through numerous sessions to include yet another trio with Pierre Michelot in May of '63 to support Dexter Gordon's 'Our Man In Paris'. On July 8 of 1963 they backed Gillespie on tour to Paris for 'Dizzy Gillespie and the Double Six of Paris'. We need back up to May 15, 1946, for another major figure in Clarke's career, that vibraphonist, Milt Jackson, who joined Clarke in the Dizzy Gillespie Sextet on that date for 'One Bass Hit', 'Oop Bop Sh'Bam', et al, per above. Jackson was a major force in Clarke's career into the latter fifties, theirs much a parallel path in the backing of other bands, such as Gillespie's, when not supporting each other. Clarke was in Jackson's All Stars in April of 1948 in Detroit for 'Bobbin' with Robin', 'Autumn Breeze', etc.. Jackson was one of Clarke's Clique on January 25, 1949, for 'Conglomeration', 'Bruz', etc.. He supported Clarke's 'Telefunken Blues' issued in 1955. The last of continual sessions together brought Jackson's 'Ballads and Blues' in NYC on January 17 of 1956. As Clarke moved to Paris that year they didn't record together again until Jackson toured to France in 1958, they to put down 'Jazz sur Seine' in April. They reunited in 1967 in Cologne, Germany, with Sahib Shihab, Jackson singing 'I'm a Fool for You'. It was Cologne again on February 2 of 1969 with Johnny Griffin and Shihab for such as 'Just Friends', 'I'm a Fool to Want You', et al. Another important pianist was Hank Jones, for whom we return to September 26, 1947, to a Jazz at the Philharmonic performance with Howard McGhee at the Academy of Music in Philadelphia, PA, for unissued titles like 'Blues' and 'Cocktails for Two'. Six years later they participated in 'Jazz Studio 1' in October, joining Cal Tjader eleven days later on October 21 of '63 for 'Vibist'. Clarke and Jones were continual partners into 1956 in support of other operations, also backing each others' projects. March 30 of 1955 saw Jones contributing to 'Kenny Clarke & Ernie Wilkins'. On May 31 of 1955 it was a quartet with Eddie Bert (trombone) and Wendell Marshall (bass) for such as 'Fragile' and 'Stompin' at the Savoy'. August 4 witnessed Jones' 'The Trio' with Marshall. November 1 saw Jones' 'Quartet-Quintet'. Two days later 'Bluebird' was spread. They are thought to have seen the last of numerous sessions on August 21 of 1956 in Jones' Trio with Paul Chambers featuring Bobby Jaspar on flute: 'Sunday in Savannah', 'Moonlight Becomes You', etc.. Another high-impact musical associate was Sahib Shihab for whom we retrace to January 18, 1949, for their first session together in Tadd Dameron's orchestra for 'Sid's Delight' and 'Casbah'. They worked with Dameron that year and other bands like Mort Herbert's to May 29 of 1956 with the latter's sextet in NYC for 'Blues for Fred and Faye' and 'Mitch's Carol'. They reunited in Paris on April 20, 1960, to back vocalist, Gail Mitchell, on such as 'Frankie and Johnny' and 'Bill Bailey'. Shihab joined the Kenny Clarke/Francy Boland operation for 'Jazz Is Universal' in Cologne, Germany, on December 21, 1961. Another Clarke/Boland album followed in Frankfurt in January of 1963, 'Handle With Care', after which tour Shihab moved to Paris to continue with Clarke and Boland, to as late as January 14 of 1972 in Cologne for 'Lotus' and 'Lobsang'. We need reroute to February 19, 1949, for another heavyweight in Clarke's career, that being Miles Davis in Tadd Dameron's Big Ten on that date for a broadcast at the Royal Roost in NYC: 'Focus', 'April in Paris', et al. They stuck with Dameron to a tour to France in May of 1949 to record such as 'Rifftide' and 'Lady Be Good. Clarke joined Davis' All Stars on May 9 of 1952 for 'Dear Old Stockholm', 'Chance It', etc., remaining with Davis to December 24, 1954, for such as 'Bag's Groove' and 'The Man I Love'. They would reunite in latter 1957 for a European tour, their last titles together thought to have been in Amsterdam on December 8 of '57 with the Rene Urtreger Quartet yielding 'Woody 'n You', 'Lady Bird', et al. We need back up once again for another important figure, that JJ Johnson on April 21, 1949, Johnson joining Dameron's orchestra on that date for 'John's Delight', 'What's New?', etc., Miles Davis also in on that. Clarke and Johnson would be partner on numerous occasions for several years, either backing other operations, like Davis', or working on Johnson's projects, the first of which was Johnson's Sextet with Clifford Brown in NYC on June 22, 1953, for 'Isle of Capri', 'Lover Man', et al. Multiple Johnson projects ensued like 'Reflections' in '54 and 'The Eminent JJ Johnson' in '55 before their last session of that period on July 29 of '55 with Cannonball and Nat Adderley for 'Cannonbal', 'Nat's Everglade' and 'You'd Be So Nice to Come Home To'. 1956 saw titles with Kai Winding in July: 'Too Close for Comfort', ''S Wonderful', etc.. Sessions with Johnson's All Stars followed in Europe variously in 1958, another in London for a BBC telecast of 'Jazz 625' on October 18 of 1964 which may have been their final. An affair with Annie Ross in 1949 had produced their son, Kenny Clarke Jr., raised by Clarke's family. On April 1, 1952, Clarke backed Ross on such as 'Every Time' and 'The Way You Look Tonight'. Prior to that Clarke had toured to Europe with Zoot Sims for a session in Paris on June 16, 1950, with his Sims' quartet consisting of Gerald Wiggins (piano) and Pierre Michelot (bass) for 'Slingin' Hash, 'Tenorly', etc.. On February 19, 1953, they backed Miles Davis' 'Miles and Horns'. Sessions in Paris and NYC followed in 1956. 1958 found Clarke and Sims recording 'The Concert 23.6.1958' in Baden-Baden, Germany, before supporting Sarah Vaughan in Paris for such as 'Please Be Kind' and 'Live For Love'. 1958 also saw sessions with JJ Johnson and Kai Winding's All Stars in '58 in Europe. Such as Sims' 'Star Eyes' ensued in Amsterdam, Netherlands, on September 27, 1958. Clarke was in the Bud Powell Trio with Pierre Michelot on bass to feature Sims at the Blue Note in Paris in January of 1961 for 'Groovin' High', 'Blue Bud Blues', etc.. Sims also participated in the Clarke/Boland project, 'Jazz Is Universal', in 1961. We need back up to December 22, 1952, for Milt Jackson's, Modern Jazz Quartet consisting of John Lewis (piano) and Percy Heath (bass). It was on that date that they recorded the LP, 'Modern Jazz Quartet'. Spreading out such as 'Django' along the way in 1953, that ensemble recorded numerously into early 1955 at the Birdland in NYC, a session on February 6 bearing such as 'D & E' and 'Yesterdays'. The next day Clarke recorded his debut album, 'Telefunken Blues'. In June of 1955 Clark's 'Bohemia After Dark' acquired assistance from Donald Byrd with Cannonball and Nat Adderley. Multiple dates with Byrd saw support of other bands like those of Hank Jones and Ernie Wilkins in '55 and Hank Mobley in '56 ('Jazz Message' and 'Jazz Message No. 2'). 'Byrd's Word' went down on September 29, 1955, Byrd's 'The Jazz Message' on January 30 of 1956. February 6 of 1956 saw Byrd backing Clarke's 'Klook's Clique'. March of 1956 saw them contributing to Creed Taylor's 'Know Your Jazz'. Ten years later they reunited in Paris in March 1966 for Lou Bennett's 'Pentecostal Feeling'. As for Cannonball and Nat, Clare visited with them a couple more times in 1955, to reunite with Cannonball in Paris in 1961, the latter contributing 'Cherokee' to Don Byas and Bud Powell's 'A Tribute to Cannonball'. Cannonball and Nat joined Gene Ammons at the Montreux Jazz Festival in 1973 on 'Treux Blue'. Clarke's first title with Martial Solal had been for Zoot Sims in Paris in March of 1956: 'It Had to Be You'. After what is thought Clarke's last recording in the States in August of '56 with the Hank Jones Trio and Bobby Jaspar (: 'Sunday in Savannah', et al) before moving to Paris, Clarke joined Solal on September 24 for 'Reunion a Paris'. Clarke and Solal found numerous occasions to record together for the next five years, both backing each other and other enterprises such as 'Jazz sur la Croisette' in Cannes in 1958. In spring of 1961 they supported Lucky Thompson's 'Lord, Lord, Am I Ever Gonna Know?'. A reunion in 1968 found them on Hampton Hawes' 'Key For Two'. It was 1961 when Clarke and Belgian pianist, Francy Boland, formed the Kenny Clarke-Francy Boland Big Band, an operation in which Clarke would be heavily involved for another decade. Clarke's first titles with Boland had been for Don Byas in Cologne, Germany, on February 25 of 1960: 'Tampico', 'Don Walks with Kenny', etc.. A few sessions for this and that ensued until May of 1961 witnessed Kenny Clarke/Francy Boland and Co recording 'The Golden Eight' and 'The Golden Eight Encore'. The first Kenny Clarke-Francy Boland Big Band LP was 'Jazz Is Universal', gone down on December 31 of 1961. Wikipedia credits 26 albums to that organization, Clarke leaving after 'Change of Scenes' with Stan Getz in 1971. Another important figure in Clarke's career was saxophonist, Johnny Griffin, who moved to France in 1963. Clarke backed Griffin's 'Night Lady' in Koln, Germany, on February 13, 1964. December 2 of 1965 found them supporting vocalist, Kitty White on 'Visit Me', 'My Kind of Guy', etc.. February 19 of 1967 saw Griffin's 'Griff'n'Bags' after which Griffin filled spots in the Clarke/Boland Band to 1969, recording Griffin's 'Lady Heavy Bottom's Waltz' along the way on August 27 of 1967. Lord's disco has Griffin's 'Jazz Undulation' ('77) with Dexter Gordon recorded in Rome on January 25 of 1968. On April 24, 1970, they backed Eddie Lockjaw Davis on 'Tough Tenors Again 'n' Again'. April 13 of 1973 found them participating in 'The Giant' and 'The Source' with the Dizzy Gillespie Sextet in Paris. Clarke was named an NEA Jazz Master in 1983. He died on January 26 of 1985. Having left 'Pieces of Time' in 1983, he was inducted into the 'Down Beat' Jazz Hall of Fame in 1988. Lord's disco credits Clarke with a prolific 522 sessions, there not a little missing in the account above. Among numerous others unmentioned above with whom Clarke had put down titles through the years were Anita O'Day, Coleman Hawkins, Lee Konitz, Art Farmer, Horace Silver, Kenny Burrell, Eddie Barclay and Jean-Christian Michel. References: 1, 2, 3, 4, 5. Sessions: J-Disc, Lord. Discos: 1, 2, 3, 4. Clarke in visual media. 1977 aural interview w Helen Oakley. Other profiles: 1, 2, 3. More Kenny Clarke under Paul Chambers.

Kenny Clarke   1951

  All of Me

     Sax: Charlie Parker

      Piano: Lennie Tristano

     Composition:

     Gerald Marks/Seymour Simons   1931

  I Can't Believe That You're in Love with Me

     Sax: Charlie Parker

       Piano: Lennie Tristano

     Composition: Clarence Gaskill/Jimmy McHugh

Kenny Clarke   1955

From 'Telefunken' Blues'

Recorded 1 Nov '54 & 7 Feb '55

Piano/vibes: Milt Jackson

  Inhibitions

     Composition: Ernie Wilkins

  Strollin'

     Composition: Clarke

  Telefunken Blues

     Composition: Ernie Wilkins

From 'Bohemia After Dark'

Recorded 28 June & 14 July 1955

Alto sax: Cannonball Adderley

Cornet: Nat Adderley

Trumpet: Donald Byrd

  Bohemia After Dark

     Composition: Oscar Pettiford

  Chasm

     Composition: Adderley Brothers

  We'll Be Together Again

     Composition: Carl Fischer/Frankie Laine

   Willow Weep For Me

     Composition: Ann Ronell

Kenny Clarke   1956

  Cattin'

       Tenor sax: Hank Mobley

       Trumpet: Donald Byrd

       Piano: Ronnie Ball

       Bass: Doug Watkins

     LP: 'The Jazz Message of Hank Mobley'

Kenny Clarke   1958

  On the Alamo

       The Martial Solal Trio

       Trumpet: Dizzy Gillespie

     Composition:

     Isham Jones/Gus Kahn   1922

Kenny Clarke   1959

  Get Happy

       Piano: Bud Powell

     Composition: Harold Arlen/Ted Koehler

     Bud Powell album 'Jazz Giant'

  Live in Prague

      Filmed concert with Francy Boland

  Our Delight

       Filmed live

     Composition: Tadd Dameron   1947

  Bebop Reunion

       With Dizzy Gillespie on 'Soundstage'

Kenny Clarke

Source: Drummer World

West Coast drummer, composer and band leader Chico Hamilton was born in 1921 in Los Angeles. He made his recording debut with Slim Gaillard in July of 1941 for tracks like 'Bingie-Bingie-Scootie' (Okeh 6382) and 'B-19' (Hep 11). Hamilton also performed on 'Bugle Call Rag' in the film, 'You'll Never Get Rich', that year with dancer, Fred Astaire. Lord has that eventually issued on CD per Saga Jazz 066542-2. After military service during World War II he headed back to Los Angeles where he backed Russell Jacquet on 'Penny's Worth of Boogie' and 'Look What You've Done to Me' (Globe 105) in 1945. Lord's disco shows Hamilton next in a couple sessions with Helen Humes in 1946 for 'Be Baba Leba Boogie' (Black & White 109), 'Married Man Blues' (Black & White 109) and 'Bo Bop Bounce' (Black & White 114). August of '46 found him with Lester Young for 'You're Driving Me Crazy' (Aladdin 137) and 'She's Funny That Way' (Aladdin 138), et al. Hamilton was back with Jacquet in his Yellow Jackets on September 21 for 'Just a Dream', 'Side Saddle Blues', and multiple takes of 'Wake Up Old Maid' and 'Blues la Russ', those issued variously at one time or another by Jewel, Onyx and Savoy. 1947 found Hamilton recording with Vic Dickenson, Buddy Tate and Jimmy Witherspoon. From the summers of 1948 to 1955 Hamilton toured to Europe with Lena Horne. In the meantime one of the more important figures in his career smoothed in per saxophonist, Gerry Mulligan, on June 10, 1952, at the home of recording engineer, Phil Turetsky, recording ''Get Happy, ''S Wonderful' and 'Godchild' in Mulligan's trio with Red Mitchell at bass. Mulligan hogged most of Hamilton's time to 1955. Along the way they picked up bassist, Carson Smith, for titles at the Blackhawk in San Francisco on September 22, 1952, with Chet Baker: 'Line for Lyons', 'Carioca', etc.. Smith would be one of Hamilton's more important compatriots into the latter fifties, recording with him variously to as late as Hamilton's 'Ellington Suite' in January of 1959. They would reunite thirty years later to record in Italy. We need retrace to December 6, 1953, for Hamilton's debut session as a leader, that with a trio consisting of George Duvivier on bass and Howard Roberts at guitar, thought to be his first session with either of them as well for 'Broadway', 'Street of Drums', etc.. Duvivier would join another Hamilton Trio on February 8 of 1956 with guitarist, Jim Hall, for 'Autumn Landscape', 'Porch Light', et al. Hamilton and Roberts recorded variously together to as late as Pinky Winters' 'Lonely One' in 1958. Hamilton and Halll had gone back to August 4 of 1955 for 'Chico Hamilton Quintet featuring Buddy Collette' recorded live in Long Beach, CA. They recorded together variously to as late as January of 1959 for Hamilton's 'Ellington Suite'. Having mentioned Buddy Collette, we need return to the summer of 1954 for what Lord's disco lists as Hamilton's first sessions with Collette, those for pianist, Joe Castro: 'Abstract Candy', 'Abstract Sweets'. The then joined Red Norvo for a couple sessions in August. Collette and Hamilton would interweave often to as late as Hamilton's 'The Three Faces of Eve' on February 25, 1959. They reunited thirty years later for sessions in Italy in 1989 and even later in June of 1996 at Lincoln Theatre in Washington D.C. for what would get issued in 2000 as 'In Concert - The Music of William Buddy Collette', Hamilton on 'Buddy Boo'. We track back to August 4, 1955, for another important figure in Hamilton's career, that cellist, Fred Katz, who joined him in Long Beach, CA, for 'Chico Hamilton Quintet Featuring Buddy Collette' on that date. Katz would hang with Hamilton's operation throughout the latter fifties to 'Ellington Suite' in January of 1959. Along the way Hamilton supported Katz on such as 'Soul-o-Cello' in 1957. They reunited in 1978 for Hamilton's 'Reaching for the Top', again Italy in 1989, finally in Washington D.C. in 1996 for 'The Buddy Collette Big Band in Concert'. Hamilton is credited as major progenitor of the subgenre called chamber jazz as of his work in the sixties. Examples of such are albums with Charles Lloyd and Gabor Szabo in 1962: 'Drumfusion', 'Passin' Thru' and 'Transfusion'. In 1975 Hamilton formed the Players to record 'Chico Hamilton and The Players'. Hamilton became among the first faculty members at New School University in 1987. He also formed the group, Euphoria, that year with Eric Person, they to record the album, 'Euphoria', in 1988 in London. December of 1990 saw 'Arroyo', 1992 'My Panamanian Friend'. Hamilton was named an NEA Jazz Master in 2004. Wikipedia has Hamilton recording 62 albums during his career, his latest going down in March and April of 2011: 'Revelation'. Among the host of others with whom he had recorded were Red Callender, Billie Holiday and John Lewis. Hamilton died in Manhattan in November of 2013 [obits: 1, 2, 3, 4, 5]. References: 1, 2, 3, 4. Discos: 1, 2, 3, 4, Lord. Compilations: 'The Complete Pacific Jazz Recordings of the Chico Hamilton Quintet' 1954-59 by Mosaic 1997: 1, 2, 3; 'Live at The Strollers' 1955 by Fresh Sound 2007. Hamilton in visual media. Reviews: Dr. Progresso: 1, 2. Interviews: Les Tomkins 1972, NEA 2003, Anthony Brown 2006 (pdf); Jeff Tamarkin 2008. Further reading: A. Scott Galloway; Emory Holmes II; Jazz Profiles: 1, 2; Dr. Progresso. More Hamilton with Buddy Collette.

Chico Hamilton   1941

  March Milastaire

       ('A-Stairable Rag')

       Film: 'You'll Never Get Rich'

      With Fred Astaire

      Composition: Cole Porter

Chico Hamilton   1955

 From 'Chico Hamilton Quintet'

 Featuring Buddy Collette

 Guitar: Jim Hall

 Bass: Carson Smith

 Cello: Fred Katz

  Blues Sands

     Composition: Buddy Collette

 Buddy Boo

     Composition: Buddy Collette

  My Funny Valentine

     Composition:

     Richard Rodgers/Lorenz Hart

 A Nice Day

     Composition: Buddy Collette

 The Sage

     Composition: Fred Katz

 End 'Chico Hamilton Quintet'

  Gone with the Wind

     Chico Hamilton Quintet

     Recorded 1955

     Issued 2007:

     'Live at The Strollers'

     Personnel same as above

Chico Hamilton   1956

 From 'Chico Hamilton Quintet in Hi Fi'

 Personnel same as above

  Sleepy Slept Here

     Composition: Buddy Collette

  The Wind

     Composition: Russ Freeman

Chico Hamilton   1957

  Night Beat

     Composition: Hamilton/Fred Katz

Chico Hamilton   1958

  Blue Sands

      Newport Jazz Festival

      Composition: Buddy Collette

  Far East

      Composition: Nat Pierce

      Album:  'Gongs East'

      Alto Sax: Eric Dolphy

        Guitar: Dennis Budimir

        Bass: Wyatt Ruther   

      Cello: Nathan Gershman

Chico Hamilton   1959

  Lost in the Night

     Composition: Richard Maltby

     Album: 'That Hamilton Man'

Chico Hamilton   1963

  Lady Gabor

     Composition: Gábor Szabó

     Album: 'Passin' Thru'

Note: 'Lady Gabor' above was recorded in September of 1962. The same group laid out another version on 11 Dec 1963 for issue in '64 on 'Man from Two Worlds'.

Chico Hamilton   1965

  Conquistadores

     Composition: Hamilton

     Album: 'El Chico'

Chico Hamilton   1973

  Gengis

     Composition: Hamilton

     Album: 'Chico: The Master'

Chico Hamilton   1989

  My Funny Valentine

       Live performance

     Music: Richard Rodgers   1937

     Lyrics: Lorenz Hart

     For the musical 'Babes in Arms'

Chico Hamilton   2006

From 'Juniflip'

Recorded multiple dates 2003

  Kerry's Caravan

     Main version

     Composition: Hamilton/Paul Murphy

     Bob Klose/Richard Poynton/Tom Bailey

  Mr. Hamilton

     Composition: Evan Schwam

  Yeh Yeh

     Composition:

     Jon Hendricks/Pat Patrick/Rodgers Grant

     Arrangement: Cary DeNigris

  You Name It

     Composition: Hamilton

From 'Believe'

Recorded multiple dates 2005

  Alive

     Arrangement: Cary DeNigris

  Arroyo

  My Brother Bernie

  My Brother Don

Chico Hamilton   2007

  Bones No Meat

     Composition: Hamilton

     Album: 'Hamiltonia'

  Chicken Pox

     Album: '6th Avenue Romp'

Chico Hamilton   2009

 From 'Twelve Tones of Love'

  Charlie Parker Suite

  Happiness Prevails

  I Don'T Know Why (I Just Do)

Chico Hamilton

Source: Drummer World

Drummer Shelly Manne was born in New York City in 1923. He began his career in Manhattan where he spent the first several years of his career [*] before touring w Stan Kenton from '46 to '51 [1, 2, 3, 4, 5, 6], then moving to California in 1951 to make Los Angeles his home. Originally learning saxophone, he traded that for drums at age eighteen. His father, a professional drummer w the Music Hall Symphony, wasn't surprised that Shelly began hanging out on 52nd Street south of his home on 75th. Graduating from high school early in 1939, Shelly began joining sets w Kenny Watts & the Kilowatts. He got his first major professional job at age twenty (1940) with the Bobby Byrne Orchestra. His debut recordings followed on March 21, 1941, he age 20, with Joe Marsala's band: 'Bullseye' (Decca 3715), 'Lower Register' (Decca 3764), 'I Know That You Know' (Decca 3764) and 'Slow Down' (Decca 3715). Manne was w Vic Schoen's orchestra to back the Andrews Sisters on 22 July 1942 before the musician's strike of 1942-44 commencing on 1 August of '42, for which Manne had prepared by joining the Coast Guard the week before [*]. Manne served in the Coast Guard into 1945, but as the larger portion of his duty was spent at Manhattan Beach, Sheepshead Bay, he was able to frequent the clubs on 52nd street and often performed in uniform. It was 1943 when he met Flip Butterfield who became Flip Manne that year. She would be Shelly's touring comrade once he got out of the Coast Guard and began touring w bands like Stan Kenton's. December of 1943 had found Manne in Coleman Hawkins' Swing Four with bassist, Oscar Pettiford for a couple sessions to yield 'Voodle' (Signature 28101 '45), 'Crazy Rhythm' (Signature 28104 '45), etc.. 1944 saw Manne recording with both Barney Bigard and Eddie Heywood, his second session with the latter on May 24 in a trio with alto saxophonist, Johnny Hodges, for 'Flamingo' (Signature 40003), 'Time On My Hands' (Signature 40004), etc.. With a highly prolific 875 sessions to his name, this account of Manne's career requires gapping abbreviations, forcing us to jump ahead a bit to December 14, 1945, for one of Manne's more important comrades through the years, that trumpeter, Shorty Rogers, with whom he held his first session on that date for Kai Winding with Stan Getz: 'Sweet Miss', 'Loaded', et al. Manne and Rogers would be partners almost continually into the latter fifties in the support of countless bands such as Stan Kenton's. Lord's disco lists their last session of that long stretch on October 28, 1958, for 'Bobby Troup and His Stars of Jazz'. They would reunite in 1961-63, 1966 ('We Dig Pat Dahl') and 1983, those last occasions resulting in Rogers' LPs, 'Re-Entry' and 'Aurex Jazz Festival '83'. From 'Modern Sounds' on October 8 of 1961 to those in 1983 Manne sided nearly twenty of Rogers' LPs. Rogers also supported Manne on multiple occasions, beginning on January 7, 1952, for 'It Don't Mean a Thing', 'Deep Purple', et al. Manne albums on which Rogers appeared were 'Shelly Manne Vol 2' ('54) 'The Three & The Two' ('54), 'The West Coast Sound' ('56) and 'My Son The Jazz Drummer!' ('62). Manne's major vehicle into the fifties was the Stan Kenton Orchestra, joining that organization in Hollywood on June 4, 1946, for 'Rika Jika Jack', 'Artistry in Boogie', etc. Manne stayed with Kenton to January 21, 1952, for 'Soliloquy', 'Lazy Daisy' and 'Tenderly'. They would reunite in '55, '57, '58 and January of '65 for a couple sessions resulting in Volumes 1 and 2 of Kenton's 'New Horizons' with the Los Angeles Neophonic Orchestra. Manne's first session with Kenton per above in June of 1946 was his first with vocalist, June Christy, who had sang 'Rika Jika Jack'. Manne would see numerous enterprises involving Christy to as late as January of 1959 with the Pete Rugolo Orchestra for such as 'Across the Alley from the Alamo', 'It's a Pity to Say Goodnight', et al. Multiple reunions occurred in the sixties, they to reunite for last sessions in June of 1977 for Christy's 'Impromptu' with the Lou Levy Sextet. Manne's first session above with Kenton for Christy in June of '54 also occasioned Manne's first with pianist and arranger, Pete Rugolo, who had arranged 'Rika Jika Jack'. Rugolo would be a major figure through Kenton and beyond to Rugolo's 'Ten Saxophones and Two Basses' in November of 1961. Most of their work was with Rugolo arranging for other bands, though Manne supported Rugolo's projects numerously. From February of 1954 for 'Introducing Pete Rugolo and His Orchestra' to 'Ten Saxophones and Two Basses' above Manne sided Rugolo on about eight albums. It was a session for Christy with the Frank de Vol Orchestra on March 31, 1947, that Manne first recorded with guitarist, Barney Kessel: 'Little Grass Skirt', 'Skip Rope' and 'I'll Bet You Do'. Six years later on June 6 of 1951 they backed Billy Eckstine in the Pete Rugolo Orchestra: 'Love Me', 'Wonder Why', et al. Kessel and Manne partnered through countless sessions in the fifties to September of 1960 for Helen Humes' 'Songs I Like to Sing' in the Marty Paich Orchestra. During that stretch Manne supported Kessel on some nine LPs from 'Swing Guitars' in July of '53 to 'Some Like It Hot' in March of '59. After Humes in 1960 they would reunite in 1972 for Joe Williams' 'With Love', Bob Friedman and Les Strand. Another guitarist of notable presence through the years was Laurindo Almeida, their first mutual session with Stan Kenton on September 24, 1947, in Hollywood for 'Elegy for Alto', 'Soothe Me', et al. Almeida stayed with Kenton to 1950, after whcih he and Manne supported multiple bands together from 1954-58, 1961-66 and 1974-77. Along the way Manne contributed drums to Almeida's 'Viva Bossa Nova!' in October of '52. Their last session is thought to have been in September of 1977 in the L.A. Four with Bud Shank and Ray Brown for 'Going Home'. Trumpeter, Conte Candoli (brother of Pete), was another early figure who would have a highly significant role in Manne's career. Their first mutual session with Kenton is thought to have been at the Click in Philadelphia, PA, on November 12 of 1948 for a radio broadcast of such as 'Machito' and 'I'll Remember April'. Conte and Manne recorded numerously together backing other operations when not working on Manne's projects to 1952, again from '54 to '69 with reunions in the seventies. Along the way Conte supported Manne on twelve albums from 'Peter Gunn' in 1959 to 'The Manne We Love' in 1978. One of those was 'Live! Shelly Manne & His Men at the Manne-Hole' [1, 2] gone down in March of 1961 at Manne's new nightclub in L.A., the Manne Hole [1, 2, 3], which had opened its doors five months earlier in 1960. Unfortunately the Manne Hole needed to be closed in 1972. Conte had also backed Manne's 'Checkmate' [1, 2, 3, 4] in October of 1961 at Contemporary Studio in Los Angeles. We need back up a long distance to regard another of Manne's important associates, clarinetist and saxophonist, Jimmy Giuffre, they first getting mixed together in Woody Herman's orchestra in Chicago on May 26, 1949, for 'The Crickets' and 'More Moon'. Giuffre and Manne would hold numberless sessions together with various combos into the latter fifties. Along the way Manne provided drums to Giuffre's 'Four Brothers' in 1954. Maynard Ferguson arrived on January 30, 1950, in the band of Pete Rugolo for 'Little White Lies', 'Bobbin' with Bob', etc.. Manne's first session for Ferguson is thought to have been on September 13, 1950, for 'Take the 'A' Train', 'Short Wave', et al. Ferguson and Manne and remained pretty tight through the support of various bands to 'Hello, We're the Axidentials!' in 1958. Manne sided for Ferguson on multiple occasions along way, such as 'Dimensions' in '54 and 'Maynard Ferguson Octet' in '55. Lord's disco has them reuniting on August 4, 1966, for Benny Carter's tune, 'Urbanissimo'. Another important presence in Manne's career was trumpeter, Pete Candoli (brother of Conte), their first mutual session with Stan Kenton on January 21, 1952, for 'Soliloquy', 'Lazy Daisy' and 'Tenderly'. Pete and Manne partnered nigh continuously together in the support of other bands to 1964, that last occasion for Junior Mance's 'Straight Ahead'. Along the way Manne had sided Pete's 'For Pete's Sake' in 1960 and 'When Your Lover Has Gone' in 1961. 1968 found them supporting 'The Sound of Nancy Wilson' with the Jimmy Jones Orchestra. 1971 found them on 'Mancini Concert'. Lord's disco has them together a last time for the soundtrack to 'Sharky's Machine' in March of 1981. Among bassists with whom Manne paired on multiple occasions were Ray Brown, Red Mitchell, Howard Rumsey and Buddy Clark. Manne's career with Rumsey was distinguished in association with the Lighthouse All Stars. A discussion of their first such session estimates February of 1952 for their first such mutual session, that with Jimmy Giuffre and Shorty Rogers for Parts 1 and 2 of 'Big Boy' and 'More Big Boy'. Manne remained in the Lighthouse circle through numerous sessions with Rumsey to September of 1953 for Chet Baker's 'Witch Doctor'. They were back together in 1955 with pianist, Hampton Hawes, for 'Lighthouse at Laguna'. Pianist, André Previn, was one of Manne's more important collaborators for a decade, beginning on June 24, 1953, in a trio with Buddy Clark at bass for 'Andre Previn Plays Fats Waller'. They backed each other numerously, as well as other groups, to as late as December 18, 1963, for Previn's '4 to Go!' with Herb Ellis at guitar and Ray Brown at bass. In addition to appearing on several of Previn's LPs Previn supported Manne on 'Shelly Manne and His Friends' in '56, 'My Fair Lady' in '56, 'L'il Abner' in '57 and 'The Bells Are Ringing' in '58. They reunited in 1980 for a couple LPs by violinist, Itzhak Perlman: 'It's a Different Kind of Blues' and 'It's a Breeze'. Another trumpeter with whom Manne would visit numerously for several years was Jack Sheldon, starting with Jimmy Giuffre's 'Four Brothers' on February 19, 1954. They worked together numerously in support of other groups, especially in the sixties, to Manne's 'My Fair Lady with the Un-original Cast' in 1964. Along their way Manne provided rhythm for Sheldon's 'Out!' in 1962 and 'The Entertainers' in 1964. They reunited in 1977 for June Christy's 'Impromptu' and Tom Waits' 'Foreign Affairs'. Pianist, Pete Jolly, was another early figure Manne would see numerously throughout his career. Their first session together is thought to have been for Shorty Rogers in his Giants on September 10 of 1954 for 'Joycycle', 'The Lady Is a Tramp', et al. They supported other operations numerously, and each other, to as late as the Aurex Jazz Festival in Japan in 1983, again for Rogers. Manne provided rhythm along the way for Jolly's 'Jolly Jumps In' and 'I Get a Kick Out of You' in 1955. Jolly supported Manne's 'Gemini Three' in a trio with Chuck Berghofer on bass in December of 1979. In May of 1981 Jolly joined Manne's Hollywood All Stars for 'Hollywood Jam'. Another group with which Manne had a strong presence was the Four Freshmen, first backing them on August 17, 1955, for 'Love Is Just Around the Corner' and 'I Remember You'. Numerous sessions were held to February 1 of 1960 for 'Polka Dots and Moonbeams', 'I Hadn't Anyone Till You', et al. Along the way Manne backed the Freshmen on such as the albums 'Voices and Brass' in '59 and 'First Affair' in 1960. Charlie Mariano was a significant figure in the latter fifties, he supporting Manne on 'Swinging Sounds' in January of 1956. Together with backing other groups for the next couple years Mariano supported Manne on such as 'More Swinging Sounds' in '56, 'The Gambit' in '57 and 'Concerto for Clarinet & Combo' in '57. Manne sided Mariano's 'Beauties if 1918' in December of '57. Another group with which Manne came to distinction was the L.A. Four, first recording at the Concord Summer Festival in California on December 27, 1974, that issued as 'The L.A. Four Scores'. 'The L.A. Four' ensued in '75, 'Pavane Pour Une Infante Defunte' in '76 in Japan and 'Going Home' in '77. Manne's final recordings are thought to have been 'Remember', laid out in Otter Crest, Oregon, in May of 1984, that about his 47th album. Among the host of others left unremarked above with whom Manne recorded were Dizzy Gillespie, Boyd Raeburn, Ralph Burns, Benny Goodman, Henry Mancini (film scores) and the United States Air Force Airmen of Note. Manne's interests beyond music included a ranch near Los Angeles in the fifties to raise horses. Manne died a major figure in West Coast jazz on September 26 of 1984 in Los Angeles [obit]. Other references: 1, 2, 3, 4, 5. Discos: 1, 2, 3, 4, 5; recorded at the Manne Hole: Discogs. Manne in visual media. Interviews: Charles Bernstein 1984; w Flip Manne 2015. Internet Archive. Further reading: John Tynan. Collections: LOC. An apt example of straight-ahead jazz is 'Straight No Chaser' in 1958 below.

Shelly Manne   1941

   Bull's Eye

      With Joe Marsala

      Composition: Adele Girard

Shelly Manne   1944

   The Man I Love

      With Coleman Hawkiins

      Composition: Gershwin Brothers

Shelly Manne   1945

   Interlude

      With Boyd Raeburn

      Composition:

      Dizzy Gillespie

      Frank Paparelli

      Raymond Leveen

Shelly Manne   1946

   Blue n' Boogie

      With Dizzy Gillespie

      Composition:

      Dizzy Gillespie

      Frank Paparelli

   Spotlite

      With Coleman Hawkins

      Composition: Hawkins

Shelly Manne   1949

   Overtime

      With Dizzy Gillespie

      Composition: Pete Rugoo

   Nonet Jam

      Miles Davis album  

      Live at WPIX Radio with Oscar Pettiford

Shelly Manne   1951

   Apropos

      Trumpet: Shorty Rogers

      Composition: Rogers

   Scrapple from the Apple

      Trumpet: Shorty Rogers

      Composition: Charlie Parker

Shelly Manne   1952

   Don't Get Around Much Anymore

      With the Hampton Hawes Trio

      Music: Duke Ellington   1940

      Lyrics: Bob Russell   1942

   Jumpin' Jacque

      With the Hampton Hawes Trio

      Composition: Hawes

Shelly Manne   1953

   Afrodesia

      Composition: Shorty Rogers

   You and the Night and the Music

      Music: Arthur Schwartz   1934

      Lyrics: Howard Dietz

Shelly Manne   1958

   Be Deedle De Do

      With Ray Brown & Barney Kessell

      Composition: Barney Kessell

   Straight No Chaser

      Filmed live

      Composition: Thelonious Monk

   Up Blues

      Piano: Hampton Hawes

      Composition: Hawes

Shelly Manne   1959

   Just Squeeze Me

      Composition:

      Duke Ellington/Lee Gaines

Shelly Manne   1960

   Summertime

      Recorded Sep 1959

      From 'At the Black Hawk'

      Music: George Gershwin   1934

      Lyrics: DuBose Heyward

      For the opera 'Porgy and Bess'   '35

Shelly Manne   1962

From 'Checkmate'

Tenor sax: Richie Kamuca

Trumpet: Conte Candoli

Piano: Russ Freeman

Bass: Chuck Berghofer

All comps: John Williams

   Checkmate

Note: The above version of 'Checkmate was recorded by Manne's band in Oct of 1961. Manne had supported John Williams' organization on an earlier version gone down on 17 Nov 1960 for the television series, 'Checkmate', issued in 1961 on 'Checkmate' (Columbia CL1591).

   En Passant

Fnd 'Checkmate'

   Take the 'A' Train

     Piano: Hank Jones

      Sax: Coleman Hawkins

      Bass: George Duvivier

Shelly Manne   1964

   Drum Quartet

      With Philly Joe Jones, Irv Cottler & Louie Bellson

       Dancing: Caterina Valente

Shelly Manne   1970

   Live at Shelly's Manne Hole

Shelly Manne

Source: NPR

Drummer Louie Bellson was born in 1924 in Rock Falls, Illinois, to a father who ran a music shop which inventory included musical instruments. He thus began to play drums a child. Bellson conceived the double bass drum set at age fifteen. In 1941 he won the first Slingerland National Gene Krupa competition which had attracted 40,000 contestants. About a year later he was working in the band of Ted Fio Rito at age eighteen. Joining Benny Goodman's orchestra in 1942, Bellson's first recording session is thought to have been with Goodman in time for the September soundtrack, 'I Know That You Know', for 'The Powers Girl' issued in 1943. Bellson also appeared w Goodman's band in the film alongside uncredited Peggy Lee. That was followed in December with Goodman sessions backing Lee and Dennis Day. Excepting time spent in the military, leaving a sessions gap in Lord's disco for all of 1944 and '45, Bellson remained with Goodman another five years to the recording of 'Nagasaki' on August 22, 1947, with Goodman's Sextet. They reunited 40 years later in '85 and '86, that last occasion at SUNY (State University of New York) on January 19 for 'Lulu's Back in Town', 'Stardust' and 'Wrappin' It Up'. It was with Goodman that Bellson first recorded with saxophonist, Zoot Sims, on February 6, 1943, for a radio broadcast of 'Bugle Call Rag'. Sims joined Goodman again in October of '46 for an AFRS "Magic Carpet' broadcast #514 in Culver City (Los Angeles) for such as 'Let's Dance (theme) and 'Under the Double Eagle'. On June 21 of 1954 Sims and Charlie Shavers supported Bellson's album, 'Concerto for Drums' with Don Abney (piano) and George Duvivier (bass). Bellson and Sims found themselves working together often during Bellson's mid career. In 1966 they toured to England together with Norman Granz' Jazz at the Philharmonic All Stars. That was verily an all-star tour consisting of Dizzy Gillespie, Clark Terry, Benny Carter, Coleman Hawkins, James Moody, Teddy Wilson, Bob Cranshaw and T-Bone Walker recording such as 'Ow!', 'Woman You Must Be Crazy', 'Shiney Stockings' and 'Blue Lou' on November 26 at Royal Festival Hall in London. It was the JATP All Stars again at the Monterey Jazz Festival on September 19, 1971, to back Sarah Vaughan. The early seventies found them with Count Basie and Ella Fitzgerald before a tour to Europe to record Sims' 'The Tenor Giants' in October of 1975 with Eddie Lockjaw Davis (tenor sax), Oscar Peterson (piano) and Niels-Henning Ørsted Pedersen (bass). It was the JATP All Stars again in Tokyo on October 17, 1983, a second session supporting Ella Fitzgerald on 'Flying Home'. Sims was a major talent bobbing up on occasion, but Bellson's association with Count Basie would be of major impact on Bellson's later career. Bellson is thought to have first recorded with Basie on October 12, 1946, while with Goodman, Basie contributing piano to 'Mad Boogie' on 'The Benny Goodman Show' #7 in NYC. Sixteen years later Bellson joined Basie's orchestra in time for 'The Touch of Your Lips', 'Bluish Grey', et al, on July 25 of 1962. Several Basie albums went down between '62 and '67, Bellson to partner with Basie again from 1973 to '78. Their last session is thought to have been in Las Vegas on November 1, 1981, for Basie's 'Kansas City 6'. Long before Basie became a major element in Bellson's career had come the principal figure that was Tommy Dorsey. Bellson was yet with Goodman when he recorded his first titles with Dorsey on July 1 of 1957, such as 'I'll Be There' and 'Deep Valley' with vocalist, Stuart Foster. Bellson stuck with Dorsey's orchestra for another eight years to November 25, 1956, for a CBS radio broadcast from the Hotel Statler in NYC resulting in such as 'Harlem Express' and 'Moten Stomp'. Dorsey died the next day on the 26th. (Jimmy Dorsey, with whom Bellson worked on the multiple occasions that Jimmy appeared with Tommy's band, died seven months later on June 12, 1957, both premature deaths, they each in their early fifties.) It was a big deal for any musician to work with Louis Armstrong once, but Bellson was a major figure in Armstrong's career as well. Their initial session was on August 9, 1947, with Lionel Hampton, Goodman and Tommy also in the band for the soundtrack to 'A Song Is Born' ('48). Ten years later Bellson spent 1957 recording numerously with Armstrong, uniting thirteen years later on July 3 of 1970 for Armstrong's 'Hello Louis!'. We step back to May, 3 of 1951 for the next large-impact associate that was Duke Ellington, that a CBS telecast of 'The Kreisler Bandstand' which titles would get included on 'Hooray for Duke Ellington' in 1975. Bellson worked with Ellington to February 9 of 1953 for a 'Band Box' radio broadcast including such as 'Caravan' and 'Frustration'. He would see Ellington again numerously from 1963 to '69, that last occasion on April 29 at the White House in Washington D.C. for Ellington's 70th birthday celebration. Bellson joined Ellington's Big Four on January 8, 1973, in Los Angeles with Joe Pass on guitar and Ray Brown on bass for such as 'Cotton Tail' and 'Carnegie Blues'. Ellington died the next year on May 24, 1974, after which his son, Mercer Ellington assumed leadership of the Ellington ghost orchestra. In 1986 Bellson contributed drums to Mercer's 'Digital Duke' ('87). We step back to November 15, 1951, for the major character that would be Clark Terry. Bellson and Terry first got combined on that date with Ellington's orchestra in Ann Arbor, Michigan, for 'The Biggest Show of 1951' at the University of Michigan. They recorded together with Ellington numerously into 1953, in the meantime Terry supporting Bellson's 'Just Jazz All Stars' on May 23, 1952. Twelve years later they were with Ellington again at the Monterey Jazz Festival on September 18, 1965, for such as 'Take the 'A' Train' (Strayhorn) and 'Ad Lib on Nippon'. The next year saw them in London in November with the JATP All Stars per above with Dizzy Gillespie. It was Ellington again in '69 per above at the White House for Ellington's 70th birthday tribute, then 'Hello Louis!' per above in 1970 with Louis Armstrong. The seventies saw them together in sessions with Sarah Vaughan, Ella Fitzgerald, Gillespie and Count Basie. 1983 saw them with the JATP All Stars in Tokyo, per above, with Fitzgerald. Terry was also with Bellson for Mercer Ellington's 'Digital Duke' in 1983. December of 1987 found Terry backing Bellson's 'Hot' and 'East Side Suite'. In April of 1988 they recorded 'Berne, Baby, Berne' in Switzerland. They are thought to have recorded at the annual University of New Hampshire Jazz Festival from May of '89 to September of '92. December 16 of 1993 found Bellson and Terry recording 'Live in New York', that including 'Louie & Clark Expedition'. In 1999 they supported Steve Tyrell's 'A New Standard'. Eight years later in May of 2007 they expanded on 'Louie & Clark Expedition' with 'Louie & Clark Expedition Vol 2'. As might be indicated thus far, Dizzy Gillespie was also a large presence in Bellson's career. Lord's disco puts them together for the first time on November 14 of 1952 in Ellington's orchestra at Carnegie Hall for such as 'Star Spangled Banner and 'The Mooche'. They traveled much the same paths, largely with Ellington or the JATP, to a JATP concert at Carnegie Hall on September 17, 1955, with Roy Eldridge for titles like 'Blues', 'Lester Leaps In', etc.. They Bellson and Gillespie reunited with Ellington in 1965 and JATP in '66 before touring to Europe in 1975 to perform such as 'Montreux Blues' and 'On the Alamo' at the Montreux Jazz Festival in July with Eldridge, Terry, Oscar Peterson and Niels-Henning Ørsted Pedersen. Their last recordings together were possibly in support of Benny Carter's 'In the Mood for Swing' on November 9 of 1987. We need back up to May 23, 1952, for Bellson's first tracks as a leader, 'Just Jazz All Stars', per above with Terry. The first session of 'Skin Deep' ('55) was held in July of 1953 with Sweets Edison and Maynard Ferguson. The second was with Don Elliott in February of '54. 'Louis Bellson Quintet' (aka 'Concerto for Drums') went down on June 21 of 1954 for 1955 issue. Come 1954 for 'Journey Into Love'. Bellson was an unstoppable locomotive approaching 500 sessions during his career, Wikipedia's list of seventy albums as a leader is incomplete. 'Louie & Clark Expedition Vol 2' per above in 2007 was his final release. Bellson's first session in the making of 'Skin Deep' per above in July of '53 had included veteran alto saxophonist, Benny Carter. Carter was to become another heavyweight in Bellson's career, Bellson to back Carter's 'Moonglow' on June 23 of 1954. Two days later they recorded in a trio with pianist, Art Tatum, in Los Angeles, a string of titles like 'My Blue Heaven', 'Blues in B Flat', 'Idaho' and 'Street Of Dreams'. Some of those would get issued in 1955 on 'Tatum-Carter-Bellson', reissued in '57 as 'The Three Giants', both by Clef. Carter participated in Bellson's 1962 'Big Band Jazz at The Summit', followed by Carter's presence on numerous occasions in mutual support of various other enterprises to November of 1987 for Carter's 'In the Mood for Swing' with Dizzy Gillespie. We back up again for another of Bellson's more important partners, that Pearl Bailey whom he met in London in 1952 and married until her death in 1990. Becoming Bailey's musical director, their first recordings are thought to have been with the Don Redman Orchestra in NYC on September 10 of 1953: 'I Love My Argentine', 'Me and My Shadow' and 'She's Something Spanish'. Their next sessions in February of 1954 wrought such as 'Come Rain or Come Shine' and 'He's Gone'. They worked together continually to Bailey's 'All About Good Little Girls & Bad Little Boys' in 1963, partnering again in 1968 for 'The Real Pearl Bailey' and 1971 for 'Pearl's Pearls'. Having mentioned Jazz at the Philharmonic a couple of times, it's apt to comment that Norman Granz' JATP was one of the more important operations of which a musician could be a part, Granz' object to assemble the finest talents he that could acquire for his concerts a successful and highly regarded enterprise. Bellson was first invited to join the All Stars on September 17, 1954, at the Bushnell Memorial Auditorium in Hartford, Connecticut, with Dizzy Gillespie and Roy Eldridge, putting out such as 'Jazz Concert Blues' and 'The Challenges'. Bellson recorded with JATP on at least eight dates to 1983 per above with Ella Fitzgerald in Tokyo. It was at his first session with JATP in '54 that Bellson is thought to have first recorded with upright bassist, Ray Brown. Brown would be one of the more important of Bellson's comrades for above four decades to come. They partnered continually in support of various bands, such as the JATP, to be found on countless titles together to July 28, 1995, with the Concord Festival All Stars for 'Fujitsu-Concord 27th Jazz Festival'. Along the way Brown had supported Bellson's 'Drummer's Holiday' on January 26 of 1958. In February of 1981 Bellson and Brown had put down 'Echoes from the West' in a trio with pianist, Roger Kellaway. We return to January 26 of 1955 when Bellson backed drummer, Buddy Rich, in the Howard Gibeling Orchestra, Rich not drumming, but delivering vocals on such as 'Everything Happens to Me' and 'Glad to Be Unhappy'. Rich's wasn't a career-shaping relationship with Bellson, but those two together on drums were major events. On January 18 of 1965 they participated in 'Are You Ready for This?' in Tokyo, that consisting of 22 minutes of drum solos. Bellson arranged 'Apples' on Rich's 'Swingin' New Big Band' in September of 1966. December 5 of 1971 saw the recording of 'Conversations - A Drum Spectacular' in London, also employing drummer, Kenny Clare. Having mentioned Ella Fitzgerald not a few times is due that Fitzgerald was another major steer in Bellson's career, nor only with Jazz at the Philharmonic with which he first supported her on February 10 of 1955 in Berlin: 'Papa Loves Mambo' and 'Perdido'. July 23 of 1957 found Bellson backing both Fitzgerald and Louis Armstrong in Los Angeles on such as 'Love Is Here to Stay' and 'Learning the Blues'. It was the Armstrong-Fitzgerald partnership again on August 13 of 1957 for 'I Won't Dance', ''A Fine Romance', et al. Come October of 1965 for 'Ella at Duke's Place' with Duke Ellington, those three together as well on the 24th for the 'Ed Sullivan Show'. On July 20 of 1966 it was the Marty Paich Orchestra supporting Fitzgerald's 'Whisper Not'. Multiple sessions followed in the sixties and seventies to 'Lady Time' in June of 1978. Their last session was in 1983 per above for 'Flying Home' at the Yoyogi National Stadium in Tokyo. His wife, Pearl Bailey, died in 1990, leaving him to meet physicist and engineer, Francine Wright, aboard ship on a 1991 Jazz Cruise, they to wed the next year. Bellson was named an NEA Jazz Master in 1994. With the tower above accounting for but a small portion of Bellson's career, others with whom he'd worked were swing leaders such as Harry James and Johnny Hodges. Whom Duke Ellington had described as "the world's greatest drummer" died in Los Angeles of complications from a broken hip on Valentine's Day 2009 and was buried in Moline, Illinois [obits: 1, 2, 3, 4, 5]. Among compositions to his credit was 'Portifino' w Will Irvin and Richard Ney, though performed on only two dates in February 1958 at the Adelphi Theatre on 54th Street. References: 1, 2, 3. Discos: 1, 2, 3, Lord. Bellson in visual media: IMDb; live performances. Equipment. Interviews: Les Tomkins 1967, NAMM 1995, Anthony Brown 2005 (pdf). Instructional books written by Bellson. Further reading: Marc Myers.

Louie Bellson   1943

 Paducah

    Film: 'The Gang's All Here' 

      Vocals: Benny Goodman & Carmen Miranda

      Composition: Harry Warren/Leo Robin

 Untitled

     Film: 'The Powers Girl' 

      With Benny Goodman

      Composition: Jule Styne? *

Louie Bellson   1954

 Blues in C

    Alto sax: Benny Carter

    Piano: Art Tatum

      Composition:

      Bellson/Benny Carter/Art Tatum

Louie Bellson   1957

  Skin Deep Solo

      Composition: Bellson

Louie Bellson   1964

  Drum Quartet

     With Shelley Manne, Irv Cottler & Philly Joe Jones

      Dancing: Caterina Valente

Louie Bellson   1967

  Drum Solo

Louie Bellson   1977

  Trashin'

      Composition: Pete Christlieb

      Album: 'Prime Time'

Louie Bellson   1980

  Drum Solo

Louie Bellson   1982

  Drum Solo

Louie Bellson   1989

  Wind Machine

    Filmed live in Los Angeles

    Buddy Rich: Memorial Concert

      Composition: Sammy Nestico

Louie Bellson   1992

  Caravan

    Filmed live

Louie Bellson   2008

  Give Me the Good Time

      With the Northern Illinois University Jazz Ensemble

      Composition: Bellson

Louie Bellson

Source: Ink & Beats

Victor Feldman

Source: Nino de Rose

Victor Feldman   1957

  Fidelius

      Composition: Feldman

Victor Feldman   1958

  BeBop

      Bass: Scott LaFaro   Drums: Stan Levey

      Composition: Dizzy Gillespie

      LP: 'The Arrival of Victor Feldman'

  Serpent's Tooth

      Composition: Miles Davis

      LP: 'The Arrival of Victor Feldman'

Victor Feldman   1959

  Woody'n You

      Composition: Dizzy Gillespie

      LP: 'Latinsville!'

Don Lamond

Source: Drummer World

Don Lamond was born in 1920 in Oklahoma City. He attended the Peabody Conservatory in Philadelphia before hiring on with Sonny Dunham in 1943 in NYC, also first recording with Dunham that year on December 21 for Langsworth transcriptions: 'I Couldn't Sleep a Wink Last Night with vocalist, Don Darcy, and the instrumental, 'Star Eyes', etc.. Several more sessions with Dunham ensued to April, the month Boyd Raeburn took on Lamond for transcriptions from the Hotel Lincoln in NYC for such as 'Speak Low' and 'Street of Dreams'. Lamond continued with Raeburn to their last transcription broadcast in August from Liederkranz Hall in NYC bearing such as 'Bobby Socks', 'Duck Waddle', et al. Lamond joined the Emmett Carls Sextet in Chicago in 1945, putting down such as 'Tea for Two' and 'Blue Lou' in June. His next session on November 16, 1945 was an important one,  joining Woody Herman's orchestra for 'Wild Root'. Lamond hung with Herman to become a member of Herman's various configurations such as the First Herd in 1945-46 and Second Herd in 1947-49. Among examples of Herman's First Herd, dissolved in December of '46, is a Carnegie Hall session on March 25, 1946, bearing such as 'Caledonia', 'Sweet and Lovely, 'Superman with a Horn', et al. Among examples of his Second Herd (aka the Four Brothers Band and Road Band) is an AFRS 'One Night Stand' broadcast (#1590) at the Hollywood Palladium in California on February 3, 1948, yielding 'The Good Earth', 'P.S. I Love You', Wild Root', et al. As the Musician's Union went on strike in 1948 most of the Second Herd's recordings were radio broadcast transcriptions. Lamond's last recordings with Herman in the forties are thought to have been on March 4, 1949, for a radio broadcast from the Blue Note in Chicago yielding 'John Had the Number', 'Four Brothers', et al. Lamond had also been a member of Herman's Woodchoppers in '46 and the Four Chips in '47. After leaving Herman in 1949 they reunited in 1952, Lamond in the Ralph Burns Orchestra to back Herman and Fran Warren on vocals: 'One for the Wonder' (that during the period of Herman's Third Herd not including Lamond). Lamond joined Herman's operation again in 1957-59, 1976 and 1981, that last occasion for Vol 2 of 'Woody Herman Presents Four Others'. Among the more important of Lamond's early comrades was pianist, Ralph Burns, with whom he first recorded on December 22, 1945, in Herman's orchestra for a broadcast of the 'Wildroot Radio Show' (#11): 'Great Northern', 'He's Funny That Way', etc.. Burns and Lamond were nigh continual partners into the early sixties, both backing other operations, like Herman's or the Sauter-Finegan Orchestra, or working on Burns' projects, the first of which was two takes of 'Introspection' on October 15, 1946. Lamond participated in Burns' 'Very Warm For Jazz' and 'Porgy and Bess in Modern Jazz' in January and September of 1958. Lord's disco has them together a last time in 1961 for Vol 2 of 'The Persuasive Trombone of Urbie Green'. They reunited fifteen years later with  Herman's New Thundering Herd on November 20, 1976, for 'The 40th Anniversary Carnegie Hall Concert'. Another of the more important figure's in Lamond's career was saxophonist, Charlie Parker, whose All Stars he had joined in time for a session on February 26, 1947, to bear 'Relaxin' at the Camarillo', 'Cheers', et al. Lamond kept rhythm for Parker for five years into the early fifties, their last session thought to have been private takes at the Howard Theatre in Washington, D.C. on October 18, 1952, with Parker's Tentet for 'Scrapple From the Apple', 'Out of Nowhere', et al. Another important pianist was Dick Hyman, with whom he first laid tracks on February 9, 1951, in the quartet of Herbie Steward with Mert Oliver at bass for such as 'My Last Affair', 'It Could Happen to You' (unissued), et al. Their next session was in 1952 in a trio led by bassist, Eddie Safranski, bearing 'No Moon at All' and 'Martin Kaine Theme', et al. Hyman and Lamond interweaved often into the early seventies, both supporting other operations together and each other. Safranski's trio, above, became the Dick Hyman Trio in 1954-56. Examples of such are 'The Dick Hyman Trio Swings' issued in 1956 per WorldCat, and 'Swingin' Double Date' issued in 1958 per rateyourmusic. That trio also recorded the tunes, 'Wow!' and 'Flutter Waltz', in 1956. Hyman and Lamond joined bassist, Milt Hinton, for a concert in Wallingford, Connecticut on September 26, 1958, backing various for 'The Seven Ages of Jazz' issued in 1959. On November 6 of '59 Lamond backed Hyman's 'Strictly Organ-ic'. Hyman supported Lamond's 'Off Beat Percussion' in 1962 with trumpeter, Doc Severinsin. They held their last sessions together in September and October of 1971 for Lee Wiley's 'Back Home Again'. Lamond's first session with the Sauter-Finegan Orchestra (Eddie Sauter and Bill Finegan) was in May of 1952 for 'New Directions in Music'. Lamond recorded with that organization numerously on some 25 dates to December 1960 for such as 'April in Paris' and 'A Foggy Day' with Florence Blumberg at vocals. Lamond had also worked frequently with Milt Hinton, their first sessions are thought to have been in 1953 in the Peanuts Hucko Quintet for 'A Tribute to Benny Goodman'. They were in the Peanuts Hucko Orchestra about the same time for 'Bugle Call Rag', 'Let's Dance', et al. Hinton and Lamond kept a fairly common path through numerous sessions in various bands to as late 1962 for Vol 2 of 'The Persuasive Trombone Of Urbie Green' per above with Ralph Burns. Lord's disco picks them up again in 1964 in the Rusty Dedrick All Star Septet for 'The Big Band Sound'. Four more sessions were held with Dedrick to Maxine Sullivan's 'Sullivan-Shakespeare' in June of 1971. Among arrangers with whom Lamond often crossed paths was Manny Albam, their first common project together for Billy Butterfield's 'New York Land Dixie' which went down on October 20, 1955. Numerous mutual projects followed to Chubby Jackson's 'Chubby Takes Over' in August of 1958. Along the way Lamond was in Albam's orchestra for 'The Blues Is Everybody's Business' in 1957. Lamond joined Albam's orchestra again for 'More Double Exposure' in 1961. Per above, Lamond released the album, 'Off Beat', in 1962. Sessions in '77 and '82 saw the issue of 'Extraordinary' in 1983. In the meantime he had accompanied vocalist, Terry Lamond (wife), on 'Lady of Park Avenue' in May of 1981 with a quartet in Kissimmee, Florida. That was followed in July of 1981 by Vol 2 of Woody Herman's 'Presents Four Others'. Those were his last bunch of recordings per Lord's discography. Among the host of others with whom Lamond had spread titles were Benny Goodman, Ruth Brown, Benny Payne, Ruby Braff, Elliot Lawrence, Sid Ramin and Dave Grusin. Lamond died in Orlando, Florida, on 23 December 2003 [obit]. References: 1, 2. Sessions: DAHR (w composers), Lord (leading 4 of 567). Discos: 1, 2, 3, 4, 5. Internet Archive. Further reading: Modern Drummer. Other profiles: 1, 2.

Don Lamond   1944

  Cherokee

      With Boyd Raeburn

      Composition: Ray Noble   1938

Don Lamond   1946

  Summer Sequence

      Clarinet: Woody Herman

      Composition: Ralph Burns

Don Lamond   1947

  Keen and Peachy

      Clarinet: Woody Herman

      Composition:

      Ralph Burns/Shorty Rogers

Don Lamond   1951

  Flamingo

      Piano: Marian McPartland

      Composition:

      Edmund Anderson/Theodor Grouya

Don Lamond   1952

  Jaguar

      Guitar: Johnny Smith

      Composition: Smith

  Now's the Time

      With Charlie Parker

      Composition: Parker   1945

  Where or When

      Guitar: Johnny Smith

      Composition: Rodgers-Hart

Don Lamond   1954

  Walk Don't Run!

      Guitar: Johnny Smith

      Composition: Smith

  Body and Soul

      Violin: Joe Venuti

      Music: Johnny Green   1930

      Lyrics:

      Edward Heyman/Robert Sour/Frank Eyton

  In Other Words

      Vocal: Frances Wayne

      Composition: Bart Howard

  My One and Only Love

      Vocal: Frances Wayne

      Composition: Guy Wood/Robert Mellin

  Loch Lamond

      With Chubby Jackson

      Composition: See 1, 2

  Panatella

      With Woody Herman

      Composition: Joseph Mark

Max Roach

Source: Jerry Jazz

Max Roach was a seriously gifted drummer who studied classical percussion before beginning his jazz career in 1942. Traced to 386 sessions in Lord's disco, Roach was born in 1923 near Newland, North Carolina, but taken at age four to Brooklyn for raising along w his brother. First taking up piano about age ten, not long later he found drums more to his liking and performed in his high school's band. Upon graduating, Roach gained his first professional employment at Monroe's Uptown House in '42 where such as Dizzy Gillespie and Charlie Parker also visited. Working at other nightclubs on 52nd Street, Roach is thought to have first recorded with Coleman Hawkins on December 18 of 1943 for Brunswick in NYC: 'Blues Changes', 'These Foolish Things', 'Lover Come Back To Me' and 'Indiana'. Oscar Pettiford, was in on that, a bassist who would play a fairly important role on Roach's career. Roach next joined the Dizzy Gillespie-Oscar Pettiford Quintet in January of '44 for 'A Night in Tunisia'. Pettiford and Roach continued with Hawkins for a couple of sessions, to join one another again in 1950 in Leo Parker's Mad Lads for 'Mona Lisa', 'Who's Mad', et al. They provided rhythm to various ensembles on multiple occasions to March 7, 1958, when a first session as a duo wrought 'There Will Never Be Another You', and a second as a trio with Sonny Rollins saw 'The Freedom Suite'. After Hawkins per above Roach joined Benny Carter for titles in May and June of 1944 like 'I Can't Escape From You'' and 'Jay Jay's Jump'. Those included JJ Johnson, a trombonist with whom Roach worked frequently in the support of other ensembles to as late as Benny Golson's 'The Modern Touch' in December of 1957. Along the way Roach backed Johnson on such as 'Mad Be Bop' in '46, 'First Place' in '57 and 'Blue Trombone' in '57. Among pianists Roach saw a lot of was Al Haig, they joining Gillespie and Charlie Parker at Town Hall in NYC on June 22, 1945, for such as 'Bebop' and 'A Night In Tunisia'. Haig and Roach saw numerous sessions together into the fifties, especially with Parker, the latter with whom Roach would record twelve albums in the next nine years. Haig also participated in Roach's debut session as a leader in 1949 in Paris: 'Prince Albert', 'Ham and Haig', et al. It was May 26 of 1949 when Roach and Sonny Rollins joined Johnson's Boppers for 'Elysee', 'Opus V', etc.. Roach and Rollins later worked with Clifford Brown in 1955-56, those among Roach's more highly regarded recordings, putting down such as 'Sonny Rollins plus 4' on March 22 of 1956. From 'Work Time' in '55 to 'Stuttgart 1963' Roach contributed to seven Rollins albums. Stepping back to 1955, Roach joined the Dizzy Gillespie Septet on May 25 to back Sarah Vaughan on 'What More Can a Woman Do?', et al. Gillespie had joined Roach and Pettiford earlier in 1944 per above with Coleman Hawkins, thenceforth to become a major figure in the shaping of Roach's career into the fifties to a sextet with Stan Getz on December 9, 1953, for 'Diz and Getz'. Gillespie and Roach reunited in the seventies and eighties on several occasions, lastly in Paris in 1989 for their duo album, 'Max & Diz 1989' and 'Homage to Charlie Parker'. Another career-shaping associate had been Miles Davis, they joining Parker's Reboppers on November 26, 1945, for 'Warming Up a Riff', 'Billie's Bounce', et al. Parker, Davis and Roach maintained their circle into 1951, Roach also participating in Davis' projects, such as 'Milestones' and 'Little Willie Leaps' with Parker on August 14, 1947. It was Davis' 'Birth of the Cool' in 1949. Other titles recorded in that period saw issue on Davis' 'Conception' in 1956. Lord's disco lists their last of numerous recordings together during that long stretch on September 13, 1953, with Howard Rumsey's Lighthouse All Stars in Hermosa Beach, CA, for 'Infinite Promenade', 'A Night In Tunisia', et al, those issued on 'At Last'. Another pianist Roach worked with frequently was Duke Jordan, their initial session together thought to have been in Allen Eager's Be-Bop Boys with Terry Gibbs at vibes on July 15, 1947, for 'All Night All Frantic', 'Donald Jay', et al. Jordan and Roach would partner often with Parker into early 1949, their last such session with Parker's Quintet including Davis and Tom Potter on bass at the Pershing Hotel Ballroom in Chicago for such as 'A Night In Tunisia', 'My Old Flame', et al. It was May 15, 1949, that Roach held his first session as a leader, that with his Quintet in Paris for 'Prince Albert', 'Baby Sis' ('Maxology'), et al. His debut album, 'The Max Roach Quartet featuring Hank Mobley', went down in April of '53 for '54 issue. Wikipedia lists the last of above sixty albums as 'Friendship' with Clark Terry in 2002. Roach and Terry had gone back to 1954 with Dinah Washington. Another bassist with a strong presence in Roach's career was Charles Mingus, their first recording together thought to have been for Charlie Shavers' rendition of 'Yesterdays' on February 21, 1952. They would collaborate often for the next few years, backing other ensembles when not fulfilling Mingus' projects like 'Mingus at The Bohemia' in '55, to reunite in 1960 for 'Pre Bird'. 1962 found them in a trio with pianist, Duke Ellington, for 'Money Jungle'. Roach's first date with trumpeter, Clifford Brown, in 1954 is unknown, that with Teddy Edwards at tenor sax for such as 'Pennies From Heaven' and 'Second Balcony Jump'. From 'Best Coast Jazz' in 1954 to 'Clifford Brown and Max Roach at Basin Street' in 1956 Roach surfaced on 10 of Brown's albums. 'Live at the Bee Hive', issued in 1979, had gone down on November 7, 1955. Roach first backed Dinah Washington on 'Dinah Jams' on August 14, 1954, and would see her on a few more occasions to 'Newport '58'. Come 1956 for Roach's formation of Max Roach + Four to put down 'Max Roach + 4' in September containing the track, 'Ezz-Thetic' (George Russell). That was with Kenny Dorham at trumpet, those two going back to Charlie Parker's All Stars on December 25 of 1948 for such as 'Half Nelson' and 'White Christmas'. Roach supported Dorham's 'Jazz Contrasts' in May of '57. He kept with Roach until replaced by Booker Little on June 3, 1958, for Roach's 'Max on the Chicago Scene'. The next month Little joined Roach for 'Max Roach + 4 at Newport'. Little would stick with Roach through several more albums to 'Percussion Bitter Sweet' in 1961. Along the way Roach backed Little on such as 'Booker Little 4 and Max Roach' in 1958, 'Out Front' in '61 and 'Booker Little and His Sextet' in '61. In October of 1957 Roach supported vocalist, Abbey Lincoln, on 'That's Him!' (w Dorham) they to work together on multiple occasions to 'Straight Ahead' (w Little) in 1961. During that time they recorded 'We Insist!' (w Little) in 1960, among the more cited of Roach's projects [1, 2, 3]. During the seventies Roach formed the percussion orchestra, M'Boom, putting down 'Re: Percussion' in Laren, Holland, in August of '73. 'M'Boom' ensued in '79, 'Collage' in in '84, 'Live at S.O.B.'s New York' in 1992. Roach died on August 16, 2007, in Manhattan and was buried in Bronx [obits: 1, 2, 3, 4]. Among the numerous others with whom he had recorded were Buddy DeFranco, Chet Baker, Dave Brubeck and Thelonious Monk. References: 1, 2, 3, 4, 5. Synopses: 1, 2. Sessions: J-Disc w compositions by Roach; JDP; Lord. Discos: 1, 2, 3, 4. Roach in visual media: IMDb, live performances. Internet Archive. Further reading: discussion; Ted Panken; Matt Schudel; Ted Sirota. Other profiles: 1, 2, 3, 4, 5, 6. Collections: LOC: 1, 2. More Roach under Booker Little.

Max Roach   1943

  Blues Changes

     Coleman Hawkins Quintet

     Composition: Hawkins

  Lover Come Back to Me

     Coleman Hawkins Quintet

     Music: Sigmund Romberg

     Lyrics: Oscar Hammerstein II

Max Roach   1944

  Rainbow Mist

     Coleman Hawkins Orchestra

     Composition: Hawkins

Max Roach   1945

  Now's the Time

      Alto sax: Charlie Parker

    Bass: Curley Russell

      Piano: Dizzy Gillespie

    Trumpet: Miles Davis

    Composition: Parker

Max Roach   1954

  Clifford Brown * Max Roach

      Album issued in Dec

Max Roach   1955

  Charles Mingus Quintet + Max Roach

    Album recorded 23 Dec 1955

Note: The above album wasn't issued until 1964. Personnel on are George Barrow (tenor sax), Eddie Bert (trombone) and Mal Waldron (piano). Roach plays drums on only 'Drums' and 'I'll Remember April'. Drummer all other titles is Willie Jones.

Max Roach   1956

  Blue 7

    Composition: Sonny Rollins

    Album: 'Saxophone Colossus'

      Saxophone: Sonny Rollins

      Piano: Tommy Flanagan

      Bass: Doug Watkins

  Max Roach + 4

    Album

      Saxophone: Sonny Rollins

      Trumpet: Kenny Dorham

  Pure Genius

      Saxophone: Sonny Rollins

      Trumpet: Clifford Brown

     Album recorded live 1956

     Not issued until 1982

Max Roach   1960

  We Insist! Freedom Now

       Album   Vocals: Abbey Lincoln

Max Roach   1962

  Money Jungle

      Album

     Piano: Duke Ellington

      Bass: Charles Mingus

Max Roach   1964

  Driva Man

       Filmed live

       Vocal: Abbey Lincoln

     Composition: Roach/Oscar Brown

  Freedom Day

       Filmed live

       Vocal: Abbey Lincoln

     Composition: Roach/Oscar Brown

  Triptych

       'Prayer'   'Protest'   'Peace'

       Filmed live

       Vocal: Abbey Lincoln

     Composition: Roach

Max Roach   1968

  Copenhagen Jazz Festival 1968

       Filmed concert

  Effi

     Composition: Stanley Cowell

       Album: 'Members, Don't Git Weary'

  Force

      Album

  Newport Jazz Festival 1992

      Filmed concert

  Mr. Hi-Hat

      Filmed live

Art Blakey

Source: Souffle Bleu

Art Blakey was born in 1919 in Pittsburgh, PA. He was a pianist before he became a drummer. He was also Chick Webb's valet as a teenager. Blakey put together his first band in 1937, age eighteen. In 1939 he went touring with Fletcher Henderson, then was hired to back pianist Mary Lou Williams. He first recorded in December of 1944 with the Billy Eckstine Orchestra in NYC: 'If That's the Way You Feel', 'I Want to Talk About You', 'Opus X', et al. He stayed with Eckstine through the soundtrack to 'Rhythm in a Riff' in summer of 1946 to titles in October like 'Oo-Bop-Sh'bam' and 'I Love the Loveliness of You'. In 1947 Blakey formed a group called the Seventeen Messengers. Eight members of that group recorded five tracks as the Jazz Messengers for Blue Note in December 1947 at WOR Studios in NYC with Kenny Dorham in the band (first recording with Dorham in January 1946 with Eckstine). Those tracks: 'The Thin Man', 'The Bop Alley', 'The Bop Alley' (alt), 'Groove Street' and 'Musa's Vision'. Releases of 'The Thin Man'/'Musa's Vision' and 'Groove Street'/'The Bop Alley' were issued as Art Blakey's Jazz Messengers, though date unknown. 'The Thin Man' and 'Bop Alley' were released in 1952 on a compilation album, 'New Sounds', with James Moody. Both the Seventeen Messengers and Jazz Messengers quickly dissolved for financial reasons. In 1952 Blakey met pianist, Horace Silver, who resurrected the Jazz Messengers name during performances in 1953, though recorded with Blakey under other group titles: Horace Silver Quintet and Horace Silver Trio, between which they released recordings pushing Blakey's name. The first name recording of the more permanent Jazz Messengers was in November of 1954, issuing, 'Horace Silver & The Jazz Messengers', in 1955. That hard bop band was led by Horace Silver until his departure in May of 1956, after which Blakey took over. Donald Byrd had replaced Dorham in December of '55. While leading the Messengers Blakey also worked with Buddy DeFranco from 1951 to '57. The Messengers quickly became among the more elite bands in jazz, host to countless prestigious musicians as personnel continually changed, such as Lee Morgan who began contributing trumpet in 1957. Morgan was part of Blakey's ensemble on 30 October 1958 when the album, 'Moanin'', was recorded at the Van Gelder Studio in Hackensack, NJ, w Benny Golson (tenor sax), Bobby Timmons (piano) and Jymie Merritt (bass) [reviews: 1, 2]. Wayne Shorter played tenor sax w Blakey for about five years since latter '59. Cedar Walton replaced Wynton Kelly at piano (since March of '57) in 1961 to appear in sessions oftly into the eighties. Wynton Marsalis first joined the Messengers in 1980 per a tour to Europe. It wouldn't appear that Blakey ever took a day off with about 400 sessions yielding some 76 Jazz Messenger albums, ten or so by Blakey apart from the Messengers and dozens on which he performed as sideman such as Dorham's album, 'Afro/Cuban', in 1955. Blakey was honored a Jazz Master by the NEA in 1988. He gave his last performance in July of 1990, he dying that October on the 16th in New York City. He had recorded the Messenger albums, 'The Art of Jazz' and 'Chippin' In' in 1989, and two of his own in 1990: 'Bluesiana Triangle' and ''One for All'. References for Art Blakey encyclopedic: 1, 2; musical: 1, 2, 3, 4, 5. Chronologies: gigs. Sessions: JDP, J-Disc, Lord. Discos: 1, 2, 3, 4. Reviews. Compositions: 1, 2. Method: 1, 2. Blakey in visual media. Awards: 1, 2. Interviews w Les Tomkins 1963-87. Further reading: DrummerWorld; ModernDrummer; 'Muscle Jazz'. Bibliography: 'Art Blakey Cookin' and Jammin': Recipes and Remembrances from a Jazz Life' by Sandy Warren (Margaret Media 2010); 'Hard Bop Academy' by Alan Goldsher (Hal Leonard Corporation, 2002). Facebook tribute. Other profiles: 1, 2, 3, 4. References for the Jazz Messengers: 1, 2, 3. Personnel: 1, 2, 3, 4, 5. Discos: 1, 2, 3. Compilations: 'The Complete Blue Note Recordings of Art Blakey's 1960 Jazz Messengers' by Mosaic 1992. Jazz Messengers in visual media. Further reading: 'Big Beat Legacy' by Willard Jenkins. See also pianist, Cedar Walton. The Messengers are interspersed throughout tracks below without mention, many live performances. Horace Silver plays piano on tracks 1954 through 1956.

Art Blakey   1944

  I Want to Talk About You

      With Billy Eckstine

      Composition: Eckstine

Art Blakey   1945

  Blowing the Blues Away

      With Billy Eckstine

      Composition: Eckstine/Jerry Valentine

  I Love the Rhythm In a Riff

      Composition: Eckstine/Jerry Valentine

Art Blakey   1951

  It's Only a Paper Moon

    With Miles Davis 

      Composition:

      Harold Arlen/Yip Harburg/Billy Rose

    Issued 1956 on Miles Davis LP 'Dig' 

Art Blakey   1954

  Confirmation

       Composition: Charlie Parker   1946

  Split Kick

       Composition: Horace Silver

Art Blakey   1955

  Doodlin'

       Composition: Horace Silver

     LP: 'Horace Silver and the Jazz Messengers' 

  Lady Bird

       Composition: Tadd Dameron

     LP: 'At the Cafe Bohemia' 

Art Blakey   1956

  Ecaroh

       Composition: Horace Silver

     LP: 'The Jazz Messengers' 

  The End of a Love Affair

       Composition: Edward Redding

     LP: 'The Jazz Messengers' 

  The New Message

     Aka: 'Little T' 

       Composition: Donald Byrd

     LP: 'Drum Suite' 

  Weird-O

       Composition: Hank Mobley

     LP: 'The Jazz Messengers' 

Art Blakey   1958

  Moanin'

     Album

      Composition title track: Bobby Timmons

  A Night in Tunisia

    Filmed live

      Composition: Dizzy Gillespie

  It's You or No One

     Filmed live 

      Composition: Sammy Cahn/Jule Styne

Art Blakey   1961

  Dat Dere

      Music: Dizzy Gillespie

      Lyrics: Oscar Brown Jr.

Art Blakey   1962

  Caravan

     Album

      Composition title track: Juan Tizol

      Tenor sax: Wayne Shorter

      Trumpet: Freddie Hubbard

      Trombone: Curtis Fuller

      Piano: Cedar Walton

      Bass: Reggie Workman

  Moanin'

      Filmed live

      Composition: Bobby Timmons

Art Blakey   1965

  On the Ginza

    Filmed live

      Composition: Wayne Shorter

Art Blakey   1973

  The Salt

      Filmed live with Ginger Baker

Art Blakey   1980

  Moanin'

      Live   Trumpet: Wynton Marsalis

      Composition: Bobby Timmons

Art Blakey   1989

  Leverkusen Jazzfest

      Filmed concert

Roy Haynes/font>

Roy Haynes   1947

  Easy Does It

      Saxophone: Lester Young

      Composition: Sy Oliver/Trummy Young

Roy Haynes   1953

  Moose the Mooche

      Piano: Red Garland

      Saxophone: Charlie Parker

      Composition: Charlie Parker

Roy Haynes   1954

  Gone Again

      Composition: Curtis Lewis

      Album: 'Busman's Holiday'

  Little Leona

      Composition: Adrian Acea

      Album: 'Busman's Holiday'

Roy Haynes   1959

  Sneakin' Around

      Piano: Phineas Newborn Jr.

      Bass: Paul Chambers

      Composition: Ray Bryant

      Album: 'We Three'

      Recorded 14 Nov 1958

Roy Haynes   1963

  Go 'n Git It!

      Composition: Ronnie Matthews

      Album: 'Cymbalism'

  I'm Gettin' Sentimental Over You

      Composition: George Bassman/Ned Washington

      Album: 'Cymbalism'

  Modette

      Composition: Frank Strozier

      Album: 'Cymbalism'

Roy Haynes   1971

  I'm So High

      Composition: Roy Haynes

Roy Haynes   1973

  Blue n' Boogie

     Trumpet: Jimmy Owens

       Live performance

       Composition: Dizzy Gillespie/Frank Paparelli

  Tin Tin Deo

     Composition: 1947:

     Walter Gilbert Fuller/Chano Pozo

      LP: 'Togyu'

  Togyu (Bullfight)

      Composition: Roy Haynes

      LP: 'Togyu'

Roy Haynes   1998

  My Little Suede Shoes

      Composition: Charlie Parker

Roy Haynes   2009

  Heineken Jazzaldia 2009

      Filmed concert

Roy Haynes   2010

  Vitoria-Gasteiz Jazz Festival 2010

      Piano: Chick Corea Piano

      Filmed concert

Stan Levey

Source: Rhythm Web

Drummer Stan Levey was born in 1926 in Philadelphia. He began his professional career in a huge way at but age sixteen, joining the bebop group of Dizzy Gillespie with whom he took off for New York City. Per Jason Ankeny at allmusic and Blue Note Levey's first recording session was for pianist, Art Tatum on an undisclosed date, that too obscure to discover anything more about. His first session per Lord's disco was on December 29, 1944, in the Barney Bigard Orchestra: 'Blues Before Dawn', 'Poong Tang', et al. His second session was the same day with Bigard in support of Etta James on 'Salty Papa Blues', 'Evil Gal Blues', et al. A session on January 5, 1945, with the Barney Bigard Sextet included Art Tatum on: 'Can't Help Lovin' That Man', 'Please Don't Talk About Me', et al. Come the Georgie Auld Orchestra on May 24, 1945, Auld and Levey having worked together with Bigard: 'Honey', 'Stompin' at the Savoy', etc.. It was May 30, 1945, when Levey joined the Charlie Parker Sextet with Dizzy Gillespie for 'Sweet Georgia Brown', initiating his involvement in that circle which was the principal generator of his early career into 1946. Levey was with Stan Kenton when they reunited at the Concert Civic Auditorium in Portland, Oregon, on February 25, 1954, for what would see issue on 'Kenton and Byrd' in '81. Levey saw Gillespie again with Roy Eldridge on October 16 of 1956 for a medley of 'I'm Through with Love', 'The Nearness of You', et al. A second session that day saw Gillespie's 'For Musicians Only'. It was December 17, 1945, when Levey first recorded with bassist, Ray Brown, that for Parker on a tour to California with Gillespie: 'I Waited For You', 'How High the Moon and '52nd Street Theme'. Brown and Levey provided rhythm to the Gillespie/Parker circle into 1946. They would reunite in 1956 with Gillespie and Eldridge per above. 1957 found them contributing to Oscar Peterson's 'Soft Sands' in March. They recorded 'Bass Ball' in the Ray Brown Trio with Herb Ellis at guitar on July 31, 1957, later supporting Ellis on 'Nothing But the Blues' on October 11 of '57. Lord's disco has Brown and Levey participating in Sonny Stitt's 'Only the Blues' the same date, that with Eldridge, Peterson and Ellis. Come 'Getz Meets Mulligan' the next day with Lou Levy at piano. Their last session of sprint together was in the Ben Webster Quintet on October 15, 1957, for "Lover Come Back to Me', 'Where Are You?', etc.. They would visit again in '66 and '68. Of considerably greater impact on Levey's early career was Stan Kenton, whose orchestra he joined in NYC in 1952 for a session on June 15 for 'Love for Sale', 'Delicado', et al. Levey toured with Kenton through numerous sessions, including in Europe, until getting deposited on the West Coast, ending up in Hollywood for his last titles with Kenton on May 6 of 1954: 'Under a Blanket of Blue', 'Suddenly' and 'Skoot'. Levey's second session with Kenton had been on June 17, 1952, in Cleveland, Ohio, two days after the first per above in NYC. Saxophonist, Gerry Mulligan, was with Kenton for that as an arranger, commencing an association for the next several years, Mulligan to get deposited in Los Angeles with Levey via Kenton. Trombonist, Frank Rosolino, was also in that Cleveland session, putting down 'Taboo', 'You Go to My Head', etc.. Thus commenced an important  association with Rosolino for the next several years as well, Rosolino also getting deposited in Los Angeles via Kenton. Trumpeter, Conte Candoli, joined Kenton in NYC on July 14, 1952, for 'When Your Lover Has Gone' and 'The Lady in Red'. Theirs, too, would be a strong association of several years, Conte remaining in Los Angeles after Kenton. Shorty Rogers contributed to arrangements per that session, to become one of Levey's frequent partners for the next six years, Rogers also getting deposited in Los Angeles by Kenton. Kenton was already in Hollywood when trumpeter, Pete Candoli, joined his orchestra for 'A Trumpet' on February 11, 1953, Levey and Pete to remain tight for several years as well. Alto saxophonist, Charlie Mariano, joined Kenton per above in Portland on February 25, 1954. Mariano would be a major figure in Levey's career for the next couple of years, remaining in Los Angeles after Kenton. Thus began Levey's career in West Coast jazz, flanked by Mulligan, Rosolino, Rogers, two Candoli brothers and Mariano to invade Los Angeles, soon to meet a few other major figures during that period via the Lighthouse Cafe, a jazz hot spot in Hermosa Beach, CA: bassist, Howard Rumsey, alto saxophonist, Bud Shank, and pianist, Claude Williamson. Levey's first sessions with Rumsey's Lighthouse All Stars were in March of 1954 with Rosolino, Shank, Williamson, Bon Cooper and Stu Williamson to back Zoot Sims on 'Lighthouse Days', 'Goofy Eyes', 'All the Things You Are' and 'Bag's Groove'. A couple days later Rosolino formed a sextet in 1954 in Los Angeles for titles like 'That Old Black Magic' and 'Yo Yo', issued among the numerous in the 'Stan Kenton Presents' series for Capitol. Their next session was on December 3, 1954, with Howard Rumsey's Lighthouse All Stars in Los Angeles for 'Who's Sleepy', 'Mad at the World' and 'Sad Sack'. Levey and Rosolino partnered numerously, both backing other ensembles and each other, to April of 1961 for Peggy Lee's 'Blues Cross Country'. Along the way Levey had contributed to Rosolino's 'Frankly Speaking!' in '55, 'I Play Trombone' in '56, 'The Legend of Frank Rosolino' in '57 and 'Free For All' in December of '58. Rosolino had backed Levey's 'This Time the Drum's On Me' [*] in '55, 'Grand Stan' in '56 and 'Drummin' the Blues' in '57. After their last session with Lee above they reunited five years later for Joe Castro on such as two takes of 'Reflections' and 'Sunset Eyes' on May 27, 1966. After wrapping things up with Stan Kenton in 1954 Levey backed Conte Candoli on titles that would get issued in 2005 as 'Best from the West', Shorty Rogers arranging. Rogers and Levey kept their circle going to May of 1958 for the 'Stars of Jazz' television program, Rogers contributing trumpet to Howard Rumsey's Lighthouse All Stars on 'All the Things You Are', 'The Nearness of You' and 'Viva Zapata'. Along the way Levey supported Rogers on multiple occasions such as 'The Big Shorty Rogers Express' in '56, 'Plays Richard Rodgers' in '57 and 'Portrait of Shorty' in '57. Levey and Conte Candoli recorded numerously since Kenton in '54 as well, both backing other bands and each other. Among Conte's projects to which Levey contributed were 'Sincerely Conte Candoli' in November of '54 and 'Little Band, Big Jazz' on February 3 of 1960. Among Levey's projects supported by Conte was his debut session as a leader on December 6, 1954, bearing 'Fast Clip', 'Extra Version', et al. Titles from that were collected onto an album shared with Red Mitchell in 1982 called 'West Coast Rhythm'. They also got issued on 'West Coasting' in 2000, a CD shared with titles by Conte. Conte also supported Levey's 'This Time the Drum's On Me' [*] in '55, 'Grand Stan' in '56, 'Drummin' the Blues' in '57 and 'Stan Levey Quintet' in '57. Lord's disco lists their last session of that long stretch together in 1961 for Barney Kessel's 'Contemporary Latin Rhythms'. They reunited in '66 per above with Frank Rosolino for Joe Castro, again for Joe Terry's 'Lonely Place' issued in 1969. Levey and Pete Candoli would interweave often after Kenton for the next few years into the latter fifties supporting various bands, notably, like his brother, Howard Rumsey's and Shorty Rogers'. Lord's disco lists their last session of that run together on October 28, 1957, with Rumsey's Lighthouse All Stars in Los Angeles for 'Jazz Rolls Royce'. They would see reunions in '59, '61 and (possibly) '62 for 'Billy May's' 'Process 70' issued that year by Time Records. That saw issue again in 1980 as 'I Believe In You' by Bainbridge. After leaving Kenton per above in 1954 Levey and Charlie Mariano were nigh inseparable for the next two years. Their first titles together after Mariano left Kenton were in Rosolino's Sextet per above in March of 1954 for 'Yo Yo', 'Pennies From Heaven', etc.. On December 21 of 1954 Levey backed Mariano on 'Green Walls', 'S' Nice', et al, those to see issue on 'Charlie Mariano Plays' in '56. Their last of numerous sessions in the support of various operations was August 2 and 3, 1952, for 'Waltz Anyone?' and 'For All We Know', et al, on Johnny Richards' 'Something Else'. Levey's first session with Howard Rumsey's Lighthouse All Stars was per above in March of 1954 featuring Zoot Sims. Rumsey's operation was a major vehicle for Levey through numerous sessions to 'Jazz Structures' in 1961. Saxophonist, Bud Shank, was also in that session with Sims. They backed other bands together while supporting Rumsey's Lighthouse All Stars to 'Jazz Structures' in 1961. Pianist, Claude Williamson, was in that session with Sims as well. Their next session was on June 26, 1954, in a trio with Curtis Counce at bass for 'Kenton Jazz Presents Claude Williamson'. Levey and Williamson spent the next four years backing various operations numerously, supporting each other along the way, such as Levey's debut titles as a leader per above with Conte Candoli and Sims in December of 1954. Levey contributed drums to Williamson's 'Keys West' on May 2 of 1955 and 'Claude Williamson Mulls the Mulligan Scene' in 1958. Levey is said to have accompanied Skitch Henderson's Tonight Show Band on unidentified dates, Henderson directing music for the 'Tonight Show' from '54 to '57 with its original host during those years, Steve Allen. During those years another full hand of important figures in Levey's career arrived in Max Bennett, Jimmy Giuffre, Red Mitchell, Leroy Vinnegar and Victor Feldman. Levey's first session with bassist, Bennett, is thought to have been for Bill Holman on August 2, 1954 for 'East of the Sun', 'Play On', et al. They interweaved on countless occasions in the support of other bands to November 15, 1956, in the Lou Levy Trio for 'A Most Musical Fella'. Along the way Bennett had participated in Levey's debut session as a leader per above in December 1954 with Candoli and Sims. Levey delivered rhythm to 'Max Bennett Quintet' on January 27, 1955. Clarinetist/saxophonist, Jimmy Giuffre, had also backed Levey on his debut session as a leader in 1954. Giuffre and Levey found numerous occasions to support other bands together to April 3, 1957, for Shorty Rogers on 'It's Got to Be Love', 'Mimi' and 'Ten Cents a Dance'. Along the way Levey backed Giuffre on 'The Jimmy Giuffre Clarinet' on March 21, 1956. Another important bassist came along long in the person of Red Mitchell on January 17, 1955 for guitarist, Tal Farlow's 'The Interpretations of Tal Farlow'. Their next session was for Mitchell's 'Jazz Mainstream on February 1, 1955. They provided rhythm for numerous ensembles to guitarist, Howard Roberts'', 'Good Pickins' in 1959. They visited again in 1961 for guitarist, Barney Kessel's 'Contemporary Latin Rhythms'. Yet another bassist with strong significance in Levey's career was Leroy Vinnegar, they first getting mixed together on January 20, 1955, for Stu Williamson's 'Stu's Due Blues', 'The Lady Is a Tramp', et al. They supported other bands together, like those of Stan Getz, to October 29 of 1957 for Buddy DeFranco's 'Plays Benny Goodman'. Along the way Vinnegar supported Levey on 'This Time the Drum's On Me' [*] in '55 and 'Grand Stan' in '56. 1958 saw them participating in Hampton Hawes's 'The Sermon' and Frank Rosolino's 'Free For All', the latter with Harold Land at sax. 1960 found them in the Paul Smith Trio for 'The Big Men' and a quintet led by Conte Candoli for 'Little Band, Big Jazz'. It was titles for Joe Castro in 1966: 'Reflection', 'Sunset Eyes', etc.. Pianist, Victor Feldman, liked Levey for 'Mallets a Fore Thought' in September of 1957. Levey sided for Feldman, they backing other bands along the way, to Peggy Lee's 'If You Go' in the orchestra of Quincy Jones in June of 1961. Along the way they recorded 'The Arrival of Victor Feldman' in in January of 1958, the initial of multiple trios with bassist, Scott LaFaro. April 7 of '58 found them backing LaFaro's 'Deep in a Dream. March 2 of 1959 witnessed Levey contributing to Feldman's 'Latinsville'. Vocalist, Peggy Lee, was also of notable presence in Levey's career, he in the Billy May Orchestra in February of 1960 for his first titles with her on 'Pretty Eyes'. Seven albums later it was 'In the Name of Love' in July of 1964. Ella Fitzgerald came knocking from June of '61 to June of '62, a tour to Europe included. Levey retired from the music business in 1973 to pursue photography. He had participated in more than 1400 recordings with sessions numbering 315 per Lord's disco. Among the host of others he had supported were Buddy Bregman, Nancy Wilson and Marion Montgomery. Levey died in Van Nuys, California, on April 19 2005. References: 1, 2, 3, 4, 5. Synopsis. Discos: 1, 2, 3, 4, Lord (leading 6 of 334 sessions). Gordon Jack interview 1999.

Stan Levey  1945

  Dizzy Atmosphere

      Alto sax: Charlie Parker

     Bass: Ray Brown

      Piano: Al Haig

     Trumpet: Dizzy Gillespie

     Vibes: Milt Jackson

     Composition: Gillespie

  Shaw 'Nuff

      Alto sax: Charlie Parker

     Bass: Ray Brown

      Piano: Al Haig

     Trumpet: Dizzy Gillespie

     Vibes: Milt Jackson

     Composition: Gillespie

Stan Levey  1955

  Casa de Luz

      Lighthouse All-Stars

      Trombone: Frank Rosolino

     Bass: Howard Rumsey

     Composition: Shorty Rogers

     From 'This Time the Drum's on Me'

Stan Levey Sextet

  Diggin' for Diz

     Composition: George Handy

  Stanley the Steamer

     Composition: Dexter Gordon

Stan Levey  1956

  My Delux

       Trombone: Frank Rosolino

     Composition: Rosolino

       Rosolino LP 'I Play Trombone'

Stan Levey  1957

  Hit That Thing

     Composition: Bill Hofman

       Levey LP: 'Grand Stan'

  One for Joan

     Composition: Richie Kamuca

       LP: 'Stan Levey Quintet'

Stan Levey  1958

  Chart of My Heart

       Filmed live

     Trombone: Frank Rosolino

     Piano: Victor Feldman

       Bass: Scott LaFaro

Terry Gibbs & Terry Pollard

Source: Women in Jazz

Terry Gibbs, vibraphone, was born in 1924 in Brooklyn. His earliest determinable recordings were with clarinetist, Aaron Sach's, Manor Re-Bops in NYC on June 8, 1946: 'Aaron's Axe', 'Patsy's Idea', 'Sam Beeps and Bops' and 'Tiny's Con'. Also in that configuration were Gene Di Novi (piano) Clyde Lombardi (bass) and Tiny Kahn (drums). Come Allen Eager and the Be-Bop Boys on June 17, 1947 for 'All Night, All Frantic', 'Donald Jay', 'Meeskite' and 'And That's For Sure'. That group consisted of Duke Jordan (piano) Curly Russell (bass) and Max Roach (drums). He was with the Kay Penton Group, Tadd Dameron at piano, in latter 1947 for 'I Think I'll Go Away' and 'Don't Mention Love to Me' (V-Disc 794). From December of 1947 into January of '48 Gibbs held three sessions in Stockholm, Sweden, with Chubby Jackson to record such as 'Crown Pilots', 'Shishka' and 'Boomsie'. Come five sessions with Buddy Rich in July and August of 1947 for such as 'Fine and Dandy' and 'It's So Peaceful in the Country'. One of those sessions with Rich in July was for the soundtrack to 'Thrills of Music'. Gibbs' initial session with Woody Herman is thought to have been on October 30, 1948, for a radio broadcast from the Royal Roost in NYC: 'Keeper of the Flame', 'Bijou', et al. Gibbs stayed with Herman for more than a year through titles like 'That's Right', 'Lemon Drop', 'Early Autumn' and 'Keeper Of The Flame' in December of 1948. He last recorded with Herman in Habana, Cuba, on January 6, 1950: 'Tasty' and 'The Old Pail'. Serge Chaloff had been at Gibbs' first session with Herman in '48. In 1949 Gibbs laid four tracks with Chaloff's Herdsmen on March 10: 'Chickasaw', 'Bop Scotch', 'The Most' and 'Chasin' The Bass'. Four days later he recorded with his band, the New Jazz Pirates: 'Michelle' Parts 1 and 2 with alt takes of each, 'T and S', 'Terry's Blues' with two alt takes and 'Cuddles'. In that band were Shorty Rogers, Stan Getz, Earl Swope, George Wallington, Curly Russell and Shadow Wilson. January 23, 1951, found Chaloff and Gibbs with Miles Davis and Kai Winding in the Metronome All Stars for 'Early Spring' and 'Local 802 Blues'. After his brief period with  Herman Gibbs joined a session with Tommy Dorsey circa June of 1950 for 'Serenade to a Pair of Nylons'. Come his initial session with the Benny Goodman Sextet in NYC on October 10: 'Oh Babe', 'You're Gonna Lose Your Gal' and 'Walking with the Blues'. Also making the first of many television appearances in 1950, Gibbs remained with Goodman's Sextet to July 30, 1952, for 'East of the Sun' and two takes of 'Four or Five Times'. In the meantime Gibbs' first album, 'Good Vibes', was issued in 1951. June 7, 1952, saw 'Angel Eyes' with vocal giant, Ella Fitzgerald. Gibb's second album, titled simply 'Terry Gibbs', followed in 1953, the same year as 'Russian Lullaby' for Milt Buckner. His first titles with pianist, Terry Pollard, arrived on September 8 and 9 of that year: 'Wednesday at Two', 'I've Found a New Baby', et al. That period with Pollard is especially notable in the analogues of jazz, she remaining with Gibbs until October 1 of '56 for Gibbs' album, 'Swingin'. Gibbs joined the All Stars run by pianist, Steve Allen (original 'Tonight Show' host 1954-57), on March 24 of 1958 at the home of film producer, Joe Pasternak, for such as 'Snacks at Pasternak's', 'Baby But You Did', etc.. Allen and Gibbs worked together into the sixties to as late as May 31 of 1967 for 'A Lovely Bunch of Al Jazzbo Collins'. They reunited thirty years later on September 4, 1997, for Allen's '75th Birthday Celebration'. It was 1959 when Gibbs formed his big band, the Dream Band [1, 2, 3], putting down titles for its first album, 'Launching a New Band', on February 17. Lord's disco has that ensemble recording through 'Swing Is Here' ('60) and 'Main Stem' ('61) to 'Big Cat' on April 6-7, 1962. Several later compilations followed for live recordings in 1959. Dream Band issues include 'Dream Band' ('86)'The Sundown Sessions' ('87), 'Flying Home' ('88), 'One More Time' ('02). Among Gibbs' more important partners was Buddy DeFranco later in his career. In March of 1981 they both contributed to the soundtrack for 'Sharky's Machine'. They then jointly led 'Jazz Party - First Time Together' in October of '81. DeFranco and Gibbs recorded numerously together for nigh another twenty years, 'Play Steve Allen' thought to be their last session on September 3, 1998. The new millennium witnessed Gibbs participating in 'White Christmas' issued on 'Jazz Yule Love' in 2002. His tribute to Lionel Hampton, 'From Me to You', saw release in 2003, the same year his autobiography, 'Good Vibes: A Life in Jazz', was published by Scarecrow Press. Gibbs' tribute to bebop, '52Nd & Broaday', was issued in 2005. Yet active of this writing, Gibbs is credited with 48 albums by Wikipedia, among others released in the new millennium was 'Findin' the Groove' with Hubert Laws at flute in 2006, also accompanied by Tom Ranier (piano), Dan Faehnle (guitar), Hamilton Price (bass), Gerry Gibbs (drums) and Joan Carroll on vocals. Gibbs recorded '92 Years Young: Jammin' at the Gibbs House' at his home as recently as April 2016 toward issue on CD per Whaling City Sound WCS 092 in 2017. That included son, Gerry [1, 2], John Campbell at piano and Mike Gurrola on bass. References: 1, 2, 3, 4, 5, 6. Career highlights. Sessions: DAHR (w composing credits), Lord. Discos: 1, 2, 3, 4. IMDb. Reviews. Interviews: Les Tomkins 1963-83, George Harris 2015, Bret Primack 2017. Internet Archive. More Gibbs under Buddy DeFranco.

Terry Gibbs   1948

  Early Autumn

      With Woody Herman

      Music: Ralph Burns/Herman

      Lyrics:  Johnny Mercer

  Lemon Drop

      With Woody Herman

      Composition: George Wallington

Terry Gibbs   1949

  Bop Scotch

      With Serge Chaloff

      Composition: Chaloff

  The Most

      With Serge Chalof

      Composition: Al Cohn

Terry Gibbs   1950

  Lullaby of the Leaves

      With Benny Goodman

      Music: Bernice Petkere   1932

      Lyrics:  Joe Young

  Temptation Rag

      With Benny Goodman

      Composition: Henry Lodge

Terry Gibbs   1951

  Farewell Blues

      With Benny Goodman

      Composition:

      Elmer Schoebel

      Leon Roppolo

      Paul Mares

Terry Gibbs   1953

  Nutty Notes

       Piano: Terry Pollard

      Composition: Terry Gibbs

Terry Gibbs   1955

  Four or Five Times

      With Benny Goodman

      Composition: Byron Gay/Marco Hellman

Terry Gibbs   1956

  Gibberish

      Live   Pianist: Terry Pollard

      Composition: Terry Gibbs

  Now's the Time

      Live   Pianist: Terry Pollard

      Composition: Charlie Parker

Terry Gibbs   1982

  Air Mail Special

     Live on the 'Tonight Show'

      Composition:

      Benny Goodman

      Charlie Christian

      Jimmy Mundy

  Cottontail

      Composition: Duke Ellington

  Hot Blues

     Live on the 'Tonight Show'

      Composition: Terry Gibbs

  Opus One

      Composition: Sid Garis/Sy Oliver

Milt Jackson

Source: Toppe2's Jazz

Milt Jackson (aka Bags) was born in 1923 in Detroit. He first pursued music as a pianist, later switching to the vibraphone. His first recordings in Lord were three sessions with Lucky Thompson to Dinah Washington in December, 1945, his first two tracks being 'Wise Woman Blues' and 'Walkin' Blue' [see also JDP]. Several titles from those sessions would get included on the 1955 release of 'Dinah Washington Sings The Blues', such as 'Chewin' Mama Blues' from the first session. Thompson would figure with Jackson to 1949 in the bands of Dizzy Gillespie and Charlie Parker. He would later join Jackson's operation in 1956-57, reuniting in December of 1964 with the Quincy Jones Orchestra. Jackson's next session after Washington's was an important one on December 17 of 1945 with Gillespie (trumpet), Parker (alto sax), Al Haig (piano), Ray Brown (bass) and Stan Levey (drums), that for a radio broadcast of 'I Waited for You', 'How High the Moon' and '52nd Street Theme'. Brown would be a major associate throughout Jackson's career. He, Gillespie, Jackson and others appeared in the documentary film, 'Jivin' in Be-Bop', in 1946 [IMDb]. They were found together continually with Gillespie and other operations to 1952. Brown was in the session on August 24, 1951, with John Lewis (piano) and Kenny Clarke (drums) often cited as the inception of the Modern Jazz Quartet (MJQ), recording 'Milt Meets Sid', 'D & E', et al. Another quartet with Al Jones replacing Clarke was held for titles on September 18 like 'Autumn Breeze' and 'Bluesology'. Neither Brown nor Jones, however, would be members of the official MJQ first recording in November of 1952 with Parker as John Lewis (piano), Percy Heath (bass) and Clarke, then as the official MJQ in December of 1952 with the same configuration (minus Parker) to issue 'The Modern Jazz Quartet' in 1953. Jackson's last session of that early period with Brown was also in December of 1952 with Slim Gaillard. They reunited again on September 15, 1961 to support Oscar Peterson's 'Very Tall'. They spent the next decade supporting each other to 'Reunion Blues' in Villingen, Germany, in July of 1971. They reunited in 1975 in a trio with guitarist, Joe Pass, to record 'The Big Three', recording thereafter numerously to as late as November 1988 with Peterson (piano) and Karriem Riggins (drums) for 'What's Up?' Returning to December 17 of 1945, both Gillespie and Parker would play major roles in Jackson's career. (All the tracks below for year 1946 are with Gillespie.) Jackson's last session of that early period with Gillespie was in the latter's sextet on February 29, 1952 for such as 'Groovin' the Nursery Rhymes' and 'This Is Happiness'. They reunited at the Newport Jazz Festival in 1963, with Quincy Jones in '64, again at the Newport in '65. A reunion at Radio City Music Hall in NYC resulted in titles issued on 'Newport in New York '72 - The Jam Sessions'. 1975 and '77 found Gillespie with Jackson at the Montreux Jazz Festival in Switzerland, 1980 in Montreal, Ontario, for 'Concert of the Century', 1981 at the Hague, Netherlands, then Montreux again. Their last sessions are thought to have been with the Paris All Stars in 1989 for 'Homage to Charlie Parker'. Jackson's association with  Parker lasted from '47 to November 1, 1952, with the Milt Jackson Quartet per above before it was the official MJQ, that a radio broadcast from the Birdland for 'How High the Moon', 'Embraceable You' and '52nd Street Theme'. Jackson's first session is thought to have been with his All Stars in Detroit in April of 1948 (preceding the MJQ) for such as 'Bobbin' with Robin', 'Autumn Breeze', etc.. Those were with John Lewis (piano) Alvin Jackson (bass) Kenny Clarke (drums) and Chano Pozo (percussion). Titles mentioned were issued, according to rateyourmusic, by Sensation in September of '49 on 10" 78. To note here is 'Wizard of the Vibes' seeing several issues from 1952 to 2001. Issues from 1956 onward included titles recorded on July 2 of 1948 as well as sessions with the Thelonious Monk Quintet in 1951 and '52. Lou Donaldson and Sahib Shihab are also present. Jackson's New Sound Group with Clarke left titles on February 23 of 1949 like 'Hearing Bells' and 'Junior'. Per above, Jackson's first Quartet with John Lewis, Ray Brown and Kenny Clarke in August of 1951 is generally viewed as the conception of the MJQ. Percy Heath replaced Brown and Al Jones replaced Clarke for a September session with Lewis yielding 'Autumn Breeze', 'Bluesology', etc.. It was a session featuring Parker on November 1 of '49 when all four members of the MJQ (Jackson, Lewis, Heath, Clarke) recorded at the Birdland: 'How High the Moon', 'Embraceable You' and '52nd Street Theme'. The MJQ was made official with its first issues in March of 1953 on 78: 'All the Things You Are'/'La Ronde'. Their debut album, 'The Modern Jazz Quartet', was released that year as well. With the exception of Connie Kay [1, 2, 3, 4] replacing Clarke in 1955, the MJQ remained together until 1974, Jackson dropping out due to too much touring. Jackson, Lewis, Heath and Kay reformed the MJQ from 1981 to 1993. Their last session is thought to have been on July 16 of '93 at the Montreaux Jazz festival to yield 'Darn That Dream' with Nino Tempo on tenor sax. The MJQ wasn't, however, Jackson's only quartet. One at Ronnie Scott's in London in 1982 for 'Mostly Duke' and 'A London Bridge' consisted of Monty Alexander (piano), Ray Brown (bass) and Mickey Roker (drums). Issuing above twenty albums with the MJQ, Jackson led or co-led above sixty others (picked up by Norman Granz' Pablo Records in 1975). With the majority of Jackson's career in capacities apart from the MJQ it's apt to mention at least a couple of other strong presences along his trail, one being drummer, Art Blakey. Their first session together in Lord had been on June 11, 1949, in the Gil Fuller orchestra for 'Mean to Me', 'Blues for a Debutante', etc.. They worked multiple sessions together with Dizzy Gillespie and other operations to July 23 of 1951 in the Thelonious Monk Quintet with Sahib Shihab for 'Four in One', 'Criss Cross', et al. Several years later Blakey contributed to Jackson's 'Plenty, Plenty Soul' in 1957, they also supporting 'Hank Mobley and His All Stars' that year. October 28 of 1958 found them backing Cannonball Adderley's 'Things Are Getting Better'. December 20 of '64 saw them with the Quincy Jones Orchestra for 'I Had a Ball', 'Almost' and 'Addie's At It Again'. Lord's disco shows their last session with the Sonny Rollins Quintet in Berlin on October 30, 1965, for 'In Europe'. Another important figure was pianist, Oscar Peterson, with who's Trio of Ray Brown and Ed Thigpen he had recorded 'On Green Dolphin Street' and 'Reunion Blues' on September 15, 1961. A session on the 18th saw titles contributing to the album, 'Very Tall', issued that year. They reunited a decade later for 'Reunion Blues' with Jackson's MJQ in Villingen, Germany. Four years later in July of 1976 they were at the Montreux Jazz Festival in Switzerland for a couple of sessions per Peterson's Big 6 and Jackson's Big 4. It was the Montreux again in 1977 before Peterson's 'The Silent Partner' on March 14 of 1979 with Clark Terry, Benny Carter, Zoot Sims, John Heard and Grady Tate. Peterson joined Jackson's Quartet with Brown and Tate for 'Ain't But a Few of Us Left' on November 30 of 1981. It was a duo with Peterson for 'Two of the Few' on January 20, 1983. 1996 saw titles with a Peterson quintet including Brown at the Town Hall in NYC ('Bag's Groove' and 'Willow Weep for Me'), 1998 a couple of last sessions with another Peterson quartet (the Very Tall Band) in November for 'Live at the Blue Note' and 'What's Up?'. Brown was in those with drummer, Karriem Riggins. Lord's disco indicates Jackson's next session in 1999 to be his last, contributing to 'They Can't Take That Away From Me' on Ben E King's 'Shades of Blue'. Jackson died of liver cancer in Manhattan in October 1999 [obit]. Amidst the host of others with whom he had recorded were John Coltrane, Paul Desmond, Stanley Turrentine and George Benson. References encyclopedic: 1, 2, 3; musical: 1, 2, 3, 4; news agencies: NPR. Notable compositions. Discographies: 1, 2, 3, 4, 5. Compilations: 'Wizard of the Vibes' first issue 1952 by Blue Note [1, 2]. Criticism. Les Tomkins interview 1975. Further reading: Josef Woodard at JazzTimes. Facebook tribute. Other profiles: 1, 2. References for Modern Jazz Quartet: 1, 2, 3. Sessions: JDP, Lord. Discographies: 1, 2, 3, 4, 5. Compilations: 'The Modern Jazz Quartet: Lost Tapes: Germany 1956-1958': 1, 2, 3, 4, 5, 6, YouTube. MJQ in visual media. Criticism: Steven Cerra at JazzProfiles, Carla Marie Rupp at CUNY. Further reading: Eric Levin at People. Other profiles: 1, 2, 3.

Milt Jackson   1945

   My Voot Is Really Vout

       Composition: John Henry

       Album: Dinah Washington's 'Mellow Mama'

   No Voot, No Boot

       Composition: Duke Henderson

       Album: Dinah Washington's 'Mellow Mama'

   Wise Woman Blues

        Composition: John Henry

        Album: 'Dinah Washington Sings the Blues'

Milt Jackson   1946

   Emanon

   Oop-Bop-Sh-Bam

        Trumpet: Dizzy Gillespie

        Composition: Dizzy Gillespie

   Round About Midnight

        Trumpet: Dizzy Gillespie

        Originally ''Round Midnight'

Milt Jackson   1952

   Tahiti

       Composition: Milt Jackson

Milt Jackson   1956

   Dr. Jackle (Jackie McLean)

       Recorded 1955

       Alto sax: Jackie McLean

       Trumpet: Miles Davis

        Composition: Jackie McLean

        Arrangement: Jackie McLean

   Milt Jackson Lucky Thompson Quintet

     Album

  Opus de Funk

      Recorded 1955

      Piano: Hank Jones

       Composition: Horace Silver

     Album: 'Opus de Jazz'

   Roll 'Em Bags

     Album with Kenny Clarke

Milt Jackson   1957

   Somebody Loves Me

      Vocal: Chris Connor

      Music: George Gershwin

      Lyrics: Ballard MacDonald/Buddy DeSylva

Milt Jackson   1958

   Afternoon in Paris

     Milt Jackson Sextet

       Composition: John Lewis

Milt Jackson   1970

   Enchanted Lady

     With the Ray Brown Big Band

       Composition: Milt Jackson

Milt Jackson   1974

   Olinga

       Composition: Dizzy Gillespie

Milt Jackson   1978

   Once I Loved

       Piano: Monty Alexander

       LP: 'Soul Fusion'

       Recorded 1977

       Composition:

       Antônio Carlos Jobim/Vinicius de Moraes

   Soul Fusion

       Piano: Monty Alexander

       LP: 'Soul Fusion'

       Recorded 1977

       Composition: Milt Jackson

Milt Jackson   1986

   Bag's Groove

       Piano: Ceder Walton

       Bass: Buster Williams

       Drums: Billy Higgins

        Composition: Milt Jackson   1952

Milt Jackson   1990

   Bolivia

         Filmed live

         Composition: Cedar Walton

   Lament

         Filmed live

         Composition: JJ Johnson

   'Round Midnight

         Filmed live

Milt Jackson   1994

   Take the 'A' Train

        Filmed live

   Munchner Klaviersomner

       Piano: Makoto Ozone

       Bass: Jaribu Shahid

       Drums: Tani Tabbal

       Also featuring Gary Burton on vibes

       Filmed live

Phil Seamen

Photo: Terry Cryer

Source: All About Jazz

Phil Seamen   1952

   The Champ

      With Jack Parnell

      Composition: Dizzy Gillespie

 Phil Seamen   1953

   Bongo Chant

      With Kenny Graham

      Composition: Dizzy Gillespie

Phil Seamen   1955

   Final Selection

      Tenor sax: Tubby Hayes

      Trumpet: Jimmy Deuchar

      Composition: Jimmy Deuchar

Phil Seamen   1956

   Scrapple from the Apple

      With the Dizzy Reese Quintet

      Trumpet: Dizzy Reece

      Composition: Charlie Parker   1947

Phil Seamen   1958

      With the Tom Watt Orchestra

   The Moon Was Yellow

      Composition: Fred Ahlert/Edgar Leslie

Phil Seamen   1959

From 'Tubby's New Groove'

Candid   2011

   Hook's Way

     Composition: Hayes

   Symphony

   The Trolley Song

     Composition: Hugh Martin/Ralph Blaine

Phil Seamen   1960

   Like Someone to Love

     Composition: Jimmy Van Heusen

   Tin Tin Deo

     Composition: 1947:

     Walter Gilbert Fuller/Chano Pozo

Phil Seamen   1961

   Free Form

      LP as the Joe Harriot Quintet

     Alto sax: Joe Harriott

     Trumpet: Shake Keane

     Piano: Pat Smythe

     Bass: Coleridge Goode

     All comps by Harriott

Phil Seamen   1968

   Cool of the Evening

      Filmed live

      'What the World Needs Now'

     Music: Burt Bacharach   1965

     Lyrics: Hal David

      'Doodle-Oodle'

     Composition: Billy Byers

      Saxophones: Al Cohn & Zoot Sims

Phil Seamen   1970

   Don't Care

      With Ginger Baker

     Composition:

     Ginger Baker/Steve Winwood

Phil Seamen   1972

   Live at the Hope & Anchor

Jack Costanzo

Jack Costanzo   1949

   Laugh, Cool Clown

      Composition: Ruggiero Leoncavallo

Jack Costanzo   1954

   Caravan

      Composition:

      Duke Ellington/Juan Tizol

   Viva Torado

Jack Costanzo   1957

From 'King of the Bongos'

1960 reissue: 'Bongo! Cha Cha Cha!'

  Side 1

  Side 2

From 'Cha Cha Cha: Mr. Bongo Plays in Hi-Fi':

  Silencio

Jack Costanzo   1958

  Cumbanchero

      Composition: Rafael Hernandez

      LP: 'Latin Fever'

Eric Delaney   1947

  South America Take It Away

      Geraldo Bright Orchestra

      Parlophone F 2279

      Composition: Harold Rome

Eric Delaney   1955

  Waxing the Winners

      Melody Maker All Stars

      Alto sax: John Dankworth

Eric Delaney   1956

  Rock n' Roll King Cole

      Composition: Delaney

Eric Delaney   1957

  Old King Rock & Roll

      Filmed live

Eric Delaney   1961

  Drum Twist

      Composition: Murray Harman

Eric Delaney   1962

  Sing Sing Sing

      Composition: Louis Prima   1936

Eric Delaney   1992

  Truckin'

      Composition: Rube Bloom/Ted Koehler

Eric Delaney   2009

  Big Noise from Winnetka

      Music: Bob Haggart/Ray Bauduc   1938

      Lyrics: Gil Rodin/Bob Crosby

Eric Delaney

Photo: Christian Him

Source: The Guardian

Sonny Payne

Source: Drummer Cafe

Sonny Payne   1951

  Hot Rod

      With Julian Dash

  Somebody's Gone

      With Julian Dash

Sonny Payne   1958

  Drum Solo

      Count Basie Orchestra

Sonny Payne   1959

  Blee Blop Blues

      Count Basie Orchestra

      Composition: Basie/A.K. Salim

      (Ahmad Kharab Salim)

  Drum Solo

Sonny Payne   1961

  Drum Solo

      Count Basie Orchestra

  Ol' Man River

      Count Basie Orchestra

      Music: Jerome Kern   1927

      Lyrics: Oscar Hammerstein II

      For the musical 'Show Boat'

Sonny Payne   1962

  Corner Pocket

      ('Until I Met You')

      Count Basie Orchestra

      Music: Freddie Green

      (Lyrics: Donald Wolf)

  Drum Solo

      Filmed live

Sonny Payne   1967

  Blues for Sale

      Harry James Orchestra

      Composition: Ernie Wilkins/James

Sonny Payne   1971

  Drum Solo

      Harry James Orchestra

Sonny Payne   1978

  Opus One

      Harry James Orchestra

      Music: Sy Oliver   1943

      Lyrics: Sid Garris

Joseph Rudolph "Philly Joe" Jones was born in 1923 in Philadelphia. He got his major start in jazz in 1947 as a house drummer at Café Society in New York City. He is thought to have first recorded the next year at Apex Studios in NYC, beginning three sessions on September 19 with Joe Morris and His Orchestra, Morris on trumpet, Johnny Griffin tenor sax for 'In the Gloamin'' (unissued), 'Wow!' (Atlantic 870), et al. Jones would see Griffin again, but bassist, Percy Heath, and pianist, Elmo Hope, both in that session, were to become more constant comrades. Heath and Jones would join Miles Davis for the latter's 'Collector's Items' on January 30, 1953, after which they spent the next nine years providing rhythm to various enterprises to as late as July 16, 1962, for Bill Evans' 'Interplay'. June 9 of 1953 saw Hope and Jones in a quintet led by Lou Donaldson and Clifford Brown for 'Bellarosa' and 'Carving the Rock', et al. Their next session was as the Elmo Hope Trio with Heath for 'New Faces New Sounds'. Jones joined the Elmo Hope All Star Sextet on May 7 of '56 for 'Informal Jazz'. Another sextet followed on June 22, 1961, for Hope's 'Homecoming'. A trio with bassist, Paul Chambers, wrought 'Here's Hope' in 1961 as well. Come the Elmo Hope Orchestra on August 19, 1963 for 'Sounds from Rikers Island'. Trios with bassists, Ronnie Boykins and Larry Ridley, were recorded that year as well. March 8 of 1966 saw a trio with bassist, John Ore, for Hope's 'The Final Sessions Vol 1', that thought Jones and Hope's last project. Miles Davis was also a major figure in Jones' career, they first recording on January 30, 1953, for 'Collector's Items' per above. Jones hung with Davis to the latter's 'Porgy and Bess' on July 22, 1958, easily found on recordings by Davis during that five year period. They reunited on March 21, 1961 for two takes of 'Teo', 'I Thought About You' and 'Blues No. 2'. Pianist, Red Garland, also contributed significantly to Jones' career, their first mutual session with Davis on June 7, 1955, for 'The Musings of Miles'. They were both together with Davis to March 4, 1958, for 'Dr. Jackle', 'Sid's Ahead' et al. They reunited in 1961 and 1977. Jones had supported Garland on multiple occasions, beginning in a trio with Paul Chambers on May 11 of 1956 for the tune, 'Ahmad's Blues'. Garland's Quintet laid out 'Red's Good Groove' on March 22, 1962. Fifteen years later witnessed trios for 'Groovin' Red' (w Leroy Vinnegar bass), 'Keystones!' (w Vinnegar), 'Crossings' (w Ron Carter bass) and 'Swingin' on the Korner' (w Vinnegar) in 1977. Bassist, Paul Chambers, was another principal character in Jones' career, October 26, 1955, their first mutual date with Davis for 'Two Bass Hit', 'Ah-Leu-Cha', et al. John Coltrane and Garland were also in on those. Chambers and Jones worked together numerously to Ike Quebec's 'Blue and Sentimental' on December 16, 1961, with guitarist, Grant Green. Along the way Jones backed Chambers' 'Chambers' Music', 'High Step', and 'Whims of Chambers' in 1956. Come titles for 'The East/West Controversy' on January 22, 1957. Chambers had backed Jones on 'Philly Joe's Beat' on May 20, 1960, and 'Together!' on February 2, 1961, the latter a drum duo with Elvin Jones. Saxophonist, Hank Mobley, also figured large in Jones' career. Their first session is thought to have been on May 7, 1956, to support Elmo Hope's 'Informal Jazz'. Their next session on April 21 of 1957 saw Mobley's album, 'Hank', then Mobley's 'Poppin' on October 20. The sixties saw multiple recording dates both backing other enterprises and each other. Mobley supported 'Together!' in February 1961, a drum duo per above with Elvin Jones. March 26 saw Mobley's 'Workout'. 'No Room For Squares' arrived on October 2, 1963. Mobley's 'The Flip' was put down in Paris with Dizzy Reece and Slide Hampton on July 12, 1969. The following month in Paris saw them supporting Archie Shepp's 'Poem for Malcolm'. Another important double bassist was Wilbur Ware, October 21, 1956, when they backed 'JR Montrose'. Jones and Ware delivered rhythm for the next five years to numerous operations to March 19, 1961, for Kenny Dorham on such as 'Mason-Dixon Line' and 'Blues Lament'. Pianist, Wynton Kelly, was also significant in Jones' career. They had first recorded together with Paul Chambers on Clark Terry's 'Serenade to a Bus Seat' in April of 1957. Jones and Kelly worked together often in the support of various operations to December 18, 1961, that with Milt Jackson and Wes Montgomery for 'Bags Meets Wes'. Along the way Jones backed Kelly on such as 'Kelly Great!' ('59) and 'Kelly at Midnight' ('60), the last a trio with Chambers. Kelly had backed Jones on 'Drums Around the World' on May 4 of 1959. He also provided piano on 'Together!' on April 2, 1962, a duo album with drummer, Elvin Jones. Another important pianist had been Bill Evans, they first recording together in the Miles Davis Quintet at the Cafe Bohemia in NYC on May 17, 1958, for 'Bye Bye Blackbird' and 'Walkin'. Evans and Jones were tight backing other bands when not working on Evans' projects to 1962, reuniting in 1967, again in the seventies. Jones first supported Evans on December 15, 1958, in the latter's trio with Sam Jones at bass for 'Everybody Digs Bill Evans'. 'Green Dolphin Street' ensued on January 19, 1959, with Chambers at bass. It was the Bill Evans Quintet in July 1962 for 'Interplay' and August for 'The Interplay Sessions'. Trios in 1967 with bassist, Eddie Gómez, went down in 1967 at the Village Vanguard in NYC and the Newport Jazz Festival in Rhode Island. Come another quintet in May of 1976 for Evans' 'Quintessence', that with Harold Land at tenor sax, Kenny Burrell at guitar and Ray Brown on upright bass. Lord's disco has their last sessions in France and Italy in July of 1978. Titles recorded at both la Grande Parade du Jazz and the Umbria Jazz Festival got issued on Evans' 'Live in Nice 1978'. Trumpeter, Blue Mitchell, also owned a strong presence in Jones' career. Their initial tracks together were for Cannonball Adderley's 'Portrait of Cannonball' on July 1, 1958, with Evans at piano and Sam Jones at bass. Jones and Mitchell supported each other and other bands numerously to 'Sonny Stitt & The Top Brass' on July 16 of 1962. Along the way Jones had contributed to such as Mitchell's 'Big Six' in '58 and 'Blue Soul' in '59. Mitchell had participated in Jones 'Drums Around the World' in '59, 'Showcase' in '59 and 'Together!' in '61, the latter a drum duo with Elvin Jones. Jones and Mitchell reunited in 1978 for Jones' 'Drum Song' and 'Advance!'. Jones' first session or issue as a leader is often listed as 'The Joe Jones Special' in 1957 per Jazztone, occult beyond that, nothing more known about it. If that wasn't an album then Jones' first was 'Blues for Dracula', gone down on September 17, 1958. In 1967 Jones left the United States to live in Europe for the next few years. His last recordings in the States had been with Evans at the Village Vanguard in NYC, 'Time Remembered' and 'You and the Night and the Music' gone down in September of '67. Jones' first titles in Europe had been in Paris in a trio with Maurice Vander (piano) and Luigi Trussardi (bass): 'Sonnymoon for Two', 'Philly', et al. Jones authored 'Brush Artistry' to see publishing by premiere Drums of London sometime in 1968 [scans: 1, 2]. His album, 'Trailways Express', went down in London in Oct 1968 containing the title, 'Mo' Joe'. Jones' last session as a leader during that European period had been 'Round Midnight', recorded on July 18, 1969, in Pescara, Italy ('79 in Italy, '80 in the States). His last session of that period before returning to the States is thought to have been with Thelonious Monk on December 16 of 1969 for 'Paris 1969'. Back in the States in the early seventies, Jones would form an obscure fusion band in Philadelphia called Le Gran(d) Prix with which he is known to have performed between 1976 and '79 per 'The Daily Pennsylvanian' and Wilmington 'Morning News'. That group apparently (per the existence of a poster) performed with Hank Mobley as well at the Annenberg Auditorium, University of Pennsylvania, on an unknown date. Jones then formed his less enigmatic Dameronia for 'To Tadd With Love' in '82 and 'Look Stop Listen' in '83. Jones' final session as a leader was with James Long and Clifford Jordan for 'The Rotterdam Session' on April 18, 1985. Lord's disco lists his last session for the Manhattan Transfer with Tommy Flanagan on 'To You' (Thad Jones) for the album, 'Vocalese', issued in 1985, neither session nor issue dates determinable. He had also backed 'Sling Shot' for pianist, Cees Slinger, on April 22 of '85, that with Jordan (tenor sax) and Isla Eckinger (bass). Jones died of heart attack in Philadelphia on August 30, 1985. Among the host of others with whom he'd recorded were Abbey Lincoln, Lee Morgan, Sonny Rollins, Tadd Dameron and Sun Ra. References encyclopedic: 1, 2, 3; musical 1, 2, 3; Dustin Mallory. Sessions: J-Disc, JDP, Lord. Discographies: 1, 2, 3, 4. Jones in visual media. Transcriptions: 'Deep Night'; etudes; 'Minority'; various: 1, 2. Lick/solo analysis. Rick Mattingly interview 1982. Biblio: 'The Philly Joe Jones Solo Book' by Joerg Eckel 2017. Other profiles: 1, 2. See also Leo Sullivan: selective audio; solos on video.

Philly Joe Jones   1953

   Cookin'

      From Clifford Brown's 'Memorial Album'

      Trumpet: Clifford Brown

      Composition: Lou Donaldson

  Dee Dah

      From Clifford Brown's 'Memorial Album'

      Trumpet: Clifford Brown

      Composition: Elmo Hope

   'Round Midnight

      Trumpet: Miles Davis

Philly Joe Jones   1958

   Blues for Dracula

     Composition: Johnny Griffin

     From 'Blues for Dracula'

       Tenor sax: Johnny Griffin

       Cornet: Nat Adderley

       Trombone: Julian Priester

     Piano: Tommy Flanagan

       Bass: Jimmy Garrison

   Minority

     Composition: Gigi Gryce

       From Adderley's 'Portrait of Cannonball'

       Alto sax:  Cannonball Adderley

       Trumpet: Blue Mitchell

       Piano: Bill Evans

       Bass: Sam Jones

Philly Joe Jones   1959

  Green Dolphin Street

     Album recorded 1959 & 1962

     Unissued until 1978 by Riverside

         Piano: Bill Evans

   Joe's Debut

       Composition: Philly Joe Jones

       Album: 'Showcase'

Philly Joe Jones   1960

   Two Bass Hit

       Composition:

       Dizzy Gillespie/John Lewis   1947

Philly Joe Jones   1961

   Le Roi

       Composition: Dave Baker

       With Elvin Jones

Philly Joe Jones   1964

   Drum Quartet

    Live on 'Hollywood Palace' 

      With Shelley Manne, Irv Cottler & Louie Bellson

      Dancing: Caterina Valente

  Philly Joe Jones & Elvin Jones Together!

     Album

Philly Joe Jones   1971

   Trailways Express

       Composition: Philly Joe Jones

         Album: 'Trailways Express'

         Recorded October 1968

Philly Joe Jones   1978

   Drum Solo

Philly Joe Jones

Source: Jazzipedia

Sabu Martinez   1953

  Horace Silver: Art Blakey - Sabu

      Album   Appears on tracks 15 & 16 only

Sabu Martinez   1957

From 'Palo Congo':

  El Cumbanchero

      With Arsenio Rodriguez

      Composition: Rafael Hernández

  Simba

      Composition: Martinez

  Tribilin Cantore

      Composition: Martinez

Sabu Martinez   1960

  Sabu's Jazz Espagnole

      Album

  In Orbit

      Composition: Martinez/Irez/Rios

Sabu Martinez   1961

  Flamenco Ain't Bad

      Composition: Louie Ramirez

Sabu Martinez   1968

  Groovin'

      Composition:

      Eddie Brigati/Felix Cavaliere

      LP: 'Groovin' with Sabu Martinez'

      Metronome MLP 15316

      Recorded 2 & 3 April   Stockholm

Sabu Martinez   1973

From 'Afro Temple'

All comps below by Martinez

  Afro Temple

  Hotel Alyssa-Soussie

  My Christina

Sabu Martinez   1974

  The Polyvox Jam   Part 1

  The Polyvox Jam   Part 2

      Composition: Martinez

      Recorded 1974  Stockholm

      Issued 2008:

      'Burned Sugar'

      Mellotronen MELLOCD 026

Mel Lewis

Source: Jazz Wax

Drummer and bandleader Mel Lewis was born in 1929 in Buffalo, New York. He played professionally as a teenager in Buffalo in 1948 with Boyd Raeburn, Alvino Rey in 1948-49. Lord's disco has Lewis in Hollywood on July 13, 1949, with the Ray Anthony Orchestra for his first titles: 'The Way It Looks on You' (unissued), 'My Baby Missed the Train' (Capitol 57-721) with Pat Baldwin on vocals and 'Slider' (Capitol 57-721). Lewis' first period with Anthony ran to March 24 of 1950 for 'Please Treat Him Nicer', 'Spaghetti Rag', et al, issued later per Lord on Circle CCD 156. He then joined Tex Beneke for 'The Anniversary Waltz', 'Frenesi', et al, transcribed by Thesaurus in 1950. Lewis stuck with Beneke to January of 1953 for more Thesaurus transcriptions: 'Between the Devil and the Deep Blue Sea', 'The Breeze', etc.. Joining Beneke's band in 1952 was Bob Brookmeyer at piano for Thesaurus transcriptions of 'Walking My Baby Back Home', 'I Never Knew', et al. A few years later Lewis participated in 'Bob Brookmeyer Plays Bob Brookmeyer and Some Others' (Brookmeyer now at valve trombone) on January 17 of 1955. 'The Dual Role of Bob Brookmeyer' ensued on June 30. A few years later they recorded titles for 'Power-Packed Trombones' on December 3, 1958, commencing a close association for the next decade, both collaborating with others, like Gerry Mulligan or Thad Jones, and supporting Brookmeyer' projects: 'The Blues Hot and Cold' in '60, '7 X Wilder' in '61 and 'Gloomy Sunday and Other Bright Moments' in '61. Recording extensively together, their last session of that period is thought to have been on July 18, 1968, for 'The Big Band Sound of Thad Jones/Mel Lewis featuring Miss Ruth Brown'. They reunited in May of 1978 for Brookmeyer' 'Back Again' with Thad Jones. 1980 saw 'Bob Brookmeyer: Composer Arranger' with Lewis' Jazz Orchestra. 1982 saw Brookmeyer's 'Through a Looking Glass' and 'Make Me Smile & Other New Works by Bob Brookmeyer' with Lewis' Jazz Orchestra in January. They put down Lewis' '20 Years at The Village Vanguard' in March of 1985. Their last titles together are thought to have been in April of 1989 in Cologne, Germany, for 'Just Friends' and Brookmeyer's composition, 'Fire'. Those were with the WDR Big Band, issued in 1990 on 'Last Recordings'. Lewis had begun his second period with Ray Anthony on July 25, 1953, for 'Dancing in the Dark', 'Venezuela', et al, sticking with Anthony to August 30 of 1954 for 'Falling in Love with Love' (unissued), 'Green Sheet' and 'Daily Double'. Lewis exchanged Anthony's for Stan Kenton's orchestra in 1954, first diving in at the Civic Auditorium in Portland, Oregon on September 21 for 'A Theme of Four Values', 'Saxonia', et al. Kenton was Lewis' main vehicle to 'The Ballad Style of Stan Kenton' in Hollywood on May 19, 1958. Lewis' initial session with Kenton in latter '54 had included a couple of major figures in his career, those tenor saxophonist, Bill Holman, and trombonist, Frank Rosolino. Holman and Lewis traveled through Kenton together, their first session afterward for Chet Baker's soundtrack with Bud Shank, 'The James Dean Story' on November 6, 1956. Their next sessions in April of '57 saw 'The Fabulous Bill Holman'. Holman and Lewis were nigh continual partners in the support of a variety of operations to June Christy's 'Big Band Specials' in latter 1962. Along the way Holman had supported Lewis on such as the album, 'Mel Lewis Sextet' in June of 1957. 'In a Jazz Orbit' and 'Jive for Five' in 1958. Twenty years after their last session with Christy above they reunited in May of 1982 for Jugg Whigham's 'The Third Stone' in Cologne, Germany. Five years later on October 16, 1987, Holman and Lewis participated in a concert in Amsterdam, Holland, with Dizzy Gillespie and Quincy Jones for 'Jessica's Day' and 'Just Friends'. While Lewis and Rosolino were with Kenton's orchestra Lewis supported Rosolino on November 6, 1954, on 'Embraceable You', 'I'm Gonna Sit Right Down and Write Myself a Letter', 'Besame Mucho' ('Kiss Me Much') 'Linda', 'Ragamuffin' and 'Frank 'n Earnest'. After leaving Kenton they began backing other bands together, beginning with the Lennie Niehaus Octet on December 10, 1956, for 'Blues for Susie', 'Four', etc.. They partnered in the support of other bands numerously to 'Georgie Auld Plays the Winners' on April 2, 1963. Lewis and Rosolino reunited in February of 1968 for 'Satin Doll' on the LP, 'Jazz for a Sunday Afternoon Vol 3'. Ten years later in October of 1978 they supported David Allyn on 'Down with Love', 'It's That Old Devil Called Love' and 'Cocktails for Two'. We return to April 20, 1955, for bassist, Red Mitchell, they with Herb (alto sax) and Lorraine (piano) Geller for "The Gellers'. After the Gellers Lewis and Mitchell joined pianist, Hampton Hawes, in a trio for 'I Hear Music' issued on the album by various, 'Jazz Pianists Galore'. Lewis and Mitchell found themselves partners in countless sessions together providing rhythm for numerous bands to April of 1961 for Shorty Rogers on tunes like 'El Rojo Bajo' and 'Lunar Montunar'. Another of the more important figures in Lewis' career was saxophonist, Gerry Mulligan. They had first worked together in '55 and '56 with Mulligan arranging for Stan Kenton. Come November 3, 1959, it was 'Gerry Mulligan Meets Ben Webster'. On November 17 it 'Gerry Mulligan Meets Johnny Hodges'. Lewis sided for Mulligan on several occasions to 1962, they last backing alto saxophonist, Paul Desmond, on August 13 that year on 'The Way You Look Tonight', 'Two of a Mind', et al. In January of 1956 Lewis participated in 'Mel Tormé and the Marty Paich Dek-Tette', those significant sessions in that both Marty Paich and Mel Tormé would be fairly significant in Lewis' career. Paich liked Lewis on numerous projects, such as with Tormé, to as late as June 13, 1961, Paich arranging 'Ray Charles and Betty Carter'. In October of 1956 Lewis supported Paich on 'Times Square', 'Coldwater Canyon Blues', 'Four Blow Fours' and 'Lonely Time', those issued on an album by various called 'Modern Jazz Gallery'. From 'Marty Paich Trio' in 1957 with Red Mitchell at bass to 'Lush Latin & Cool' in 1960 Lewis backed six of Paich's LPs. In June of 1957 Paich had contributed piano to ''Mel Lewis Sextet'. From Tormé's first per above in 1956 to 'Mel Torme Swings Shubert Alley' in 1960 Lewis sided eight of Tormé's LPs. Another of Lewis' more important partners had contributed to 'Mel Tormé and the Marty Paich Dek-Tette', that trumpeter, Don Fagerquist. Lewis and Fagerquist were continual companions into the early sixties backing numerous operations, like Paich and Tormé, until Harry Betts' 'The Jazz Soul of Dr. Kildare' in April of '62. Along the way Lewis had provided rhythm to Fagerquist's 'Eight By Eight' on September 14, 0f 1957. Another important figure in Lewis' career would be baritone saxophonist, Pepper Adams, with whom he had first recorded titles in the Stan Kenton Orchestra at the Macumba Club in San Francisco on November 3, 1956. That performance is thought to have been made available in 2010 on 'Swinging in San Francisco 1956'. Their first titles together apart from Kenton were for Chet Baker and Bud Shank on the soundtrack to 'The James Dean Story'. They supported other bands as well as each other to 1957, most of their work together later in the sixties, seventies and eighties. Adams had supported Lewis' debut album, 'Got 'Cha', in November of 1956. Adams LPs backed by Lewis were 'Pepper Adams Quintet' in '57, 'Critics' Choice' in '57 and 'Ephemera' in '73. Another of the more important figures in Lewis' career was vibraphonist, Terry Gibbs, first joining the latter's ensemble in September of 1957 for 'A Jazz Band Ball'. Lewis participated in numerous of Gibbs' LPs to 'The Big Cat' in 1962. It is apt to regard Shorty Rogers as well, Lewis with Rogers' Giants for 'Gigi in Jazz' on January 27, 1958. Lewis stuck with Rogers through numerous sessions to December of 1962 for the latter's 'Jazz Waltz'. Another frequent companion of Lewis' was arranger, Gary McFarland, they first bouncing in July of 1961 for Gerry Mulligan's 'A Concert in Jazz'. They maintained a common circle backing other operations, like Bob Brookmeyer's, when not working on McFarland's projects to the latter's 'Tijuana Jazz' in December of 1965 with Clark Terry, Joe Newman and Brookmeyer. Along the way Lewis had participated in McFarland's 'The Jazz Version of 'How to Succeed in Business Without Really Trying' in '61 and 'Point of Departure' in '63. Lewis was most recognized for his partnership in the Thad Jones-Mel Lewis Orchestra. They had seen their first session together for James Moody's 'Great Day' in June of 1963. The Thad Jones/Mel Lewis Big Band first recorded at the Village Vanguard in NYC on February 7, 1966, for such as 'Back Bone' and 'All My Yesterdays'. A mutual session with Jimmy McGriff followed before a second Thad Jones-Mel Lewis Big Band session at the Village Vanguard on March 21 for 'Low Down', 'Lover Man', et al. The initial Thad Jones-Mel Lewis Jazz Orchestra held session in May of 1966 for 'ABC News', 'Kids Are Pretty People', et al. The Thad Jones-Mel Lewis organization operated through multiple sessions, including in Europe, to January 20, 1970, for 'Consummation'. Jones and Lewis resurrected the Jazz Orchestra in September of 1973 for 'Thad Jones / Mel Lewis & Manuel De Sica'. They led multiple Thad Jones-Mel Lewis big bands and orchestras to 'One More Time' at Jazz Jamboree '78 in Warsaw, Poland, in October. Jones is thought have had moved to Denmark after that, leaving Lewis to his own orchestra. Jones contributed to arrangements and compositions on Lewis' 'Naturally' in '79. A couple of his arrangements appeared on Lewis' '20 Years at The Village Vanguard' in March of '85. Lewis' last recordings were ten years later in Germany in April and November of 1989, those issued on 'Last Recordings' in 1990, the year he died on February 2 in New York City. His band then became the Vanguard Jazz Orchestra. Lord's disco puts Lewis' sessions at 673, making the column of text above a verily condensed account of his recording career. Among the host of others unmentioned on whose titles Lewis drummed were Bill Perkins, Herbie Mann, Anita O'Day, the Hi-Lo's, Annie Ross, Dave Pell, Sonny Stitt, Peggy Lee, Benny Goodman, Harold Farberman, Jimmy Rushing, Cal Tjader, Jazz Wave Ltd., Stephane Grappelli, Sal Salvador and Helen Merrill. References: 1, 2, 3. Sessions: DAHR w composing credits; Lord. Discos: 1, 2, 3, 4. Reviews: 'Got'cha' by the Mel Lewis Septet '56/'57. Interviews w Les Tomkins: 1969, 1971-88. 1969 interview w Les Tomkins. Further reading: Rick Mattingly, Carl Smith, John Tynan, various. Other profiles: 1, 2, 3. 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.

Mel Lewis   1949

Mel Lewis   1954

Tito Puente was born of Puerto Rican heritage in New York City in 1923 to become a Latin jazz, salsa and Afro-Cuban band leader, famous as a timbales drummer. Drafted in 1942, Puente served in the Navy for for three years. He graduated from Julliard in the latter forties. 'Great Hispanic Heritage: Tito Puente' by Tim McNeese wants him recording with his orchestra as early as 1948 for Tico Records, but no earlier issue is determined than 1949 per 'Abaniquito'. 'Babarabatiri' (Barretto) and 'Ran Kan Kan' (Barretto) went down later in 1949 for RCA Victor. Compilations of Puente's early works were released in 1994 on CD: 'El Timbal' by Greycliff and 'Babarabatiri' by Saludos Amigos. 'Live!...the Early Years' was issued in 2007. Puente had issued several 10" mambo albums for Tico between 1951 and 1953 before releasing his first 12" LP, 'Mamborama', in 1955. 'Puente In Percussion' ensued in 1956. In 1958 he issued 'Herman's Heat & Puente's Beat!' with Woody Herman. 1961 found him contributing to Quincy Jones' 'Around the World'. 1963 saw the issue of the tune 'Oye Como Va' (Barretto), covered seven years later by Santana. A performance at the Nassau Coliseum in Uniondale, NY, on 8 July of 1973 resulted in 'Tito Puente and His Concert Orchestra' [1, 2, 3]. Recording dozens of albums into the new millennium, in 1979 Puente released the first of six that won Grammy Awards: 'A Tribute to Benny Moré'. His next Grammy arrived in '83 for 'On Broadway', '85 for 'Mambo Diablo' with George Shearing, '90 for 'Goza Mi Timbal' containing 'Lambada Timbales', '99 for 'Mambo Birdland' and 2000 for 'Obra Maestra' ('Masterpiece') with Eddie Palmieri. Among Puente's more important associates in the nineties was pianist, Hilton Ruiz, they both contributing to 'Rhythmstick' in 1989 with Dizzy Gillespie and Art Farmer, et al. They would spend the next eight years backing both other bands and each other. Puente albums to which Ruiz contributed were 'Live at the Village Gate' ('92), 'In Session' ('92), 'Tito's Idea' ('95), 'Jazzin'' ('95) and 'Special Delivery' ('96). Ruiz albums were 'Heroes' ('94), 'Hands on Percussion' ('95), 'Island Eyes' ('96) and 'Rhythm in the House' ('97). Among the many others with whom Puente had recorded were the TropiJazz All Stars in 1996 (with Ruiz) and Benny Golson in 1997 ('Tito Puente' with Patato on Golson's 'Remembering Clifford'). Puente gave his last concert in New York City on April 19 of 2000 ('The Last Concert' '09). A heart attack in 2000 in Puerto Rico saw Puente flown to NYC for unsuccessful surgery, he to die on May 31. Among numerous awards was a posthumous Lifetime Achievement Grammy in 2003. References: 1, 2, 3, 4, 5, 6. Discos: 1, 2, 3, 4, Lord (leading 41 of 72 sessions). IMDb. Compilations: 'The Complete 78s' 1949-55 Vol 1-3 by Fania 2008/09: 1, 2, 3, 4; 'The Complete RCA Recordings' 1949-60 by RCA 2001: 1, 2. Internet Archive. Dan Del Fiorentino interview 1997. Biblio: 'Tito Puente and the Making of Latin Music' by Steven Loza (University of Illinois Press 1999); 'When the Drums Are Dreaming' by Josephine Powell (Authorhouse 2007). Further reading: NPR: 1, 2; Jim Payne. Other profiles: 1, 2, 3, 4.

Tito Puente   1948

  Abaniquito

      Composition: Bobby Escoto/Jose Curbelo

Tito Puente   1955

  Mamborana

    Album 

Tito Puente   1956

  Elegua Chango

      Composition: Puente

  Puente in Percussion

    Album

      All comps by Puente

Tito Puente   1959

  Philadelphia Mambo

    Live

      Composition: Puente

Tito Puente   1965

  El Cumbanchero

     Filmed live

      Composition: Rafael Hernández Marín

Tito Puente   1985

  Pachito Eché

     Filmed live with Celia Cruz

      Composition: Alex Tovar

Tito Puente   1987

  Spain

      Composition: Chick Corea/Joaquín Rodrigo

Tito Puente   1997

  Caravan

     With Machito 

  Newport Jazz Festival 1997

      Filmed concert

  Caravan

Cal Tjader

Source: Jazz Wax

Though Cal Tjader is better known as a vibraphonist, he began his career playing a variety of percussion. Born in St. Louis, Missouri, in 1925, he was at San Francisco State when he met Dave Brubeck and Paul Desmond. His first recordings from 1946 to 1948 were as a drummer in the Dave Brubeck Octet, compiled onto the 1950 release of the album, 'Old Sounds From San Francisco'. Later titles in '49 and '50 saw release in 1956 on ''Distinctive Rhythm Instruments' (per Wikipedia; discogs wants 1951). Both of those were combined in '56 for 'Dave Brubeck Octet'. In February or May of '49 Tjader contributed drums to Charles Mingus' 'He's Gone' and 'Story of Love', not issued until 2000. He played bongos in the Nick Esposito Boptette in May of '49 for 'Spring Fever' and 'Dot's Bop' issued by 4 Star Records on an unknown date in that period. In September of '49 he was with the Dave Brubeck Trio with bassist, Ron Crotty, for 'Indiana'/'Laura' and 'Blue Moon'/'Tea for Two' issued that year by Coronet. Lord's disco has Tjader's initial recordings on vibes in May of 1950 issued in '56 on 'Dave Brubeck Trio' (Fantasy 3204): 'Lullaby in Rhythm' and 'I'll Remember April'. Tjader's first titles as a leader went down in September 1951 for Galaxy with his trio of John Marabuto (piano) and Jack Weeks (bass): 'Charley's Quote', 'These Foolish Things', 'Give Me the Simple Life' and 'Ivy'. Vince Guaraldi replaced Marabuto in November for 'Vibra-Tharpe', 'Chopsticks Mambo', et al. January 6 of 1952 found him in the Vido Musso Sextet for 'Cuttin' the Nut', 'Come Back to Sorrento' and 'Grunions A-Running'. His next session on March 12 of 1953 was his first with pianist, George Shearing, for 'I Hear a Rhapsody', 'Spring Is Here', et al. Lord's disco has him in three more sessions with Shearing that year to September 2 for 'Tiempo de Concerto', 'Ill Wind', et al. Tjader's initial album, 'The Vibist' (Savoy Records ‎– MG9036), went down in October of '53 and March of '54, issued that year. They got issued again in 1956 on an LP shared with vibraphonist, Don Elliot, on side B: 'Vib-Rations' (Savoy MG12054). Tjader's earlier career was Latin oriented, the mambo in particular. One instance of that was 'Tjader Plays Mambo' on September 21, 1954. He also had a taste for straight-ahead jazz, such as 'Cal Tjader Quartet' gone down on May 24, 1956. He co-led 'El Sonido Nuevo' ('The New Soul Sound') with Eddie Palmieri in May of 1966. 'Bamboleate' followed in 1967. From 'The Vibist' in '54 to 'Good Vibes' in 1984 Tjader recorded enough material for about 77 albums. Nigh all of his recordings were as a leader, though he toured to Japan in April of '77 with pianist, Clare Fischer, for Art Pepper's 'Tokyo Debut'. Fischer was with Tjader again in Hollywood in March of '78 for 'Hurrican' [1, 2]. Tjader was back in Tokyo in September of 1980 with a crew of Dizzy Gillespie, Illinois Jacquet, Eddie Lockjaw Davis, Harold Land, Cedar Walton, Eddie Gómez and Shelly Manne for 'Aurex Jazz Festival '80 - Battle of the Horns'. Tjader died of heart attack while on tour in Manila, Philippines, on May 5, 1982. References: 1, 2, 3, 4, 5. Discos: 1, 2, 3, 4, Lord (leading 117 of 156 sessions). IMDb. IA. Official website. Further reading: Jazz Profiles. Biblio: 'Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz' by S. Duncam Reid (McFarland 2013). Other profiles: 1, 2.

Cal Tjader   1949

With the Dave Brubeck Trio

Piano: Dave Brubeck

Bass: Ron Crotty

Drums: Tjader

  Blue Moon

      Composition: Rodgers/Hart

  Indiana

      Composition:

      Ballard MacDonald/James Hanley

  Laura

      Composition: David Raksin/Johnny Mercer

  Tea for Two

      Composition: Irving Caesar/Vincent Youmans

Cal Tjader   1950

With the Dave Brubeck Trio

Piano: Dave Brubeck

Bass: Ron Crotty

Bongos: Tjader

  That Old Black Magic

      Composition:

      Harold Arlen/Johnny Mercer   1942

Cal Tjader   1950

  Tjader Plays Mambo

       Album

Cal Tjader   1957

  Bill B

      Composition: Tjader

 Poinciana

      Composition:

      Nat Simon/Buddy Bernier   1936

Cal Tjader   1964

  Soul Sauce

     Album 

Cal Tjader   1966

From 'El Sonido Nuevo'

Joint LP w Eddie Palmieri

Piano: Eddie Palmieri

  Picadillo

      Composition: Tito Puente

  Guajira En Azul

      Composition: Tjader/Palmieri

  Cal Plugs In

      Album

  Amazonias

      Album

  Big Noise from Winnetka

      Music: Bob Haggart/Ray Bauduc

      Lyrics: Gil Rodin/Bob Crosby

  This Is Always

      Composition: Harry Warren/Mack Gordon

Drummer Elvin Jones was born in Pontiac, Michigan, in 1927, younger brother to both Hank Jones (piano and oldest b 1918) and Thad Jones (trumpet b 1923) [comparison]. Enlisting in the Army in 1946, upon relief from duty in 1949 Elvin began his career in Detroit for a brief stint at the Grand River Street, later to hire on at the Bluebird Inn for Billy Mitchell. The Jazz Discography Project (JDP) has Jones recording w Mitchell in Detroit on an unknown date in 1948 w titles like 'Compulsory' and 'Blue Room' getting issued later in 1957 on the EP, 'New Sounds in Modern Music' (Dee Gee XP 40090) [45Cat]. Lord has those recorded in the early fifties on an unknown date. It was also Detroit that Jones laid tracks in 1950 with Kenny Burrell. Titles with Burrell were 'Kenny's Sound' and 'My Funny Valentine' (JVB 58) with issue dates unknown. Jones' first identifiable issues were with Mitchell in 1952: 'Rockaway Rock'/'Rainy Day Blues' (Dee Gee 4000) and 'Danny Boy'/'The Bulldozer' (Dee Gee 4001) [45Worlds]. Mitchell's 'Swing Not Spring' saw release in Japan in 1953 ('A History of Jazz Before Motown 1920-1960' by Lars Bjorn). Those tracks consisted of 'Compulsory', 'Blue Room', 'The Zec' and 'Alone Together'. Lord's disco dates those sessions in 1950 but Mitchell isn't thought to have formed that band in Detroit with Elvin's brother, Thad Jones, and Terry Pollard until 1952. Lord's disco picks up Jones again with Miles Davis on July 8, 1955 for 'Nature Boy', 'Alone Together' etc.. Come May of '56 with Sahib Shihab per below, followed in July by three sessions with JJ Johnson. By that time Jones was on his way to a prolific recording career well exceeding four hundred sessions. Of musicians thus far mentioned, Burrell, Thad and Johnson would play significant roles in Jones' career. Jones' next session with Burrell isn't the mystery that his first is, that with Shihab for 'Humbug' and 'Southern Exposure' to get issued that year on the album by various, 'After Hours Jazz'. His next session with Burrell was for the latter's 'Blue Moods' on February 1, 1957. The pair recorded numerously in support of other ensembles to Burrell's 'Guitar Forms' on December 4, 1964. They later supported Quincy Jones (unrelated) on 'The Pawnbroker' on February 20 of 1965. Lord's disco lists their last session together for 'Greensleeves' on April 6 with Gil Evans arranging. After their mutual passage through Billy Mitchell's band above in the early fifties Elvin joined Thad for titles on January 6 of 1957 like 'Bird Song' and 'Quiet Sip'. Elvin and Thad recorded numerously together into the latter sixties, both supporting each other and other bands. Elvin contributed to Thad's 'The Magnificent Thad Jones Vol 3' on February 3, 1957. It was the Jones Brothers for 'Keepin' Up with the Joneses' [1, 2, 3] on March 24, 1958, that with Eddie Jones (unrelated) on bass and Hank Jones (brother) on piano. 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). Thad contributed flugelhorn to Elvin's 'Mr. Jones' on July 12, 1972, Lord's disco listing that their last session. As for trombonist, JJ Johnson, Jones first backed him for 'J Is for Jazz' on July 24 of 1956. Jones and Johnson were tight to a tour to Europe in 1957 for Johnson's 'What's New' recorded in Amsterdam, Netherlands. They would get together again with the Gil Evans Orchestra in 1962, joining one another on multiple occasions to February 16 and March 18 of 1965 for Jones' LP, 'And Then Again'. We need return to May 17, 1956, to regard another of Jones' close comrades, that pianist, Tommy Flanagan, who was with Sahib Shihab back in May of '56 per above. They next found themselves supporting Johnson on July 27 of 1956 for two takes of 'Chasin the Bird', 'Naptown USA' and 'It Might As Well Be Spring'. Flanagan and Jones kept a tight weave in the support of other bands like Johnson's to February 14, 1961, for Clifford Jordan's 'A Story Tale'. The first of their trios together had occurred in Sweden on August 15, 1957, with Wilbur Little (bass) for Flanagan's 'Trip Overseas'. 'Lonely Town' followed on March 10, 1959, with Joe Benjamin (bass). Come Flanagan's 'Eclypso' with George Mraz (bass) on February 4, 1977. On February 4, 1980, it was 'Super-Session' with Red Mitchell (bass). In August of 1980 it was Jones' trio with Richard Davis (bass) for 'Heart to Heart', that thought their last session together. Another pianist significant in Elvin's career was his brother, Hank Jones. After a few sessions with Johnson per above in July of '56 ('J Is for Jazz') Hank and Elvin backed Bobby Jaspar on 'Clarinescapade' on November 12 of 1956, thereafter to partner numerously to March 18, 1965, with brother, Thad Jones, for Elvin's 'And Then Again'. Along the way Elvin had joined Hank's quartets for 'Porgy and Bess' in '59 and 'Here's Love' in '63. It was a trio with Mraz for 'Upon Reflection' in '93. Come the Great Jazz Trio in 2002 with Richard Davis for 'Someday My Prince Will Come' and 'Collaboration'. Hank had also participated in Elvin's 'Elvin!' in '61 and 'Dear John C' in '65. Apt at this point is mention of bassist, Paul Chambers, who would be a significant comrade for nigh a decade beginning on May 19, 1957, when Jones joined Chambers' Quintet for 'Four Strings', 'Beauteous', et al. Chambers and Jones provided rhythm to various enterprises, such as those of Miles Davis, to February 16, 1965, for Jones' 'And Then Again'. Along the way Chambers had provided bass for 'Together!' on February 2 of 1961, that a duo with drummer, Philly Joe Jones. Another important figure in Jones' career was saxophonist, Pepper Adams, November 12, 1957, the date they joined each other in Sonny Red's Quintet in Chicago for 'Stop', 'Watkins Products' and 'Redd's Head'. Their next session together was seven days later for Adams' 'Cool Sounds'. Adams and Jones would visit numerously into the seventies. Along the way Jones contributed to Adams' '10 to 4 at The 5-Spot' and 'Encounter!' in '58. Adams backed Jones on 'Poly-Currents' in '69, 'Merry Go Round' in '71, 'Mr. Jones' in '72 and 'The Prime Element' in '73, the last thought their final session together. Pianist and arranger, Gil Evans, had also been an important associate, Jones first working with Evans orchestra on February 2, 1959, for 'Chant of the Weed', 'Ballad of the Sad Young Men', et al. Evans would employ Jones numerously into the seventies. Among multiple recordings with Miles Davis was a session on March 10 of 1960 for two takes of 'The Pan Piper' and three of 'Song of Our Country'. Miles Davis albums that Jones supported in Evans' orchestra were 'Sketches Of Spain' in '59, 'Out of the Cool' in '60, 'Miles Davis at Carnegie Hall' in '61 and 'Quiet Nights' '62. A session with Miles Davis and Evans on November 6, 1962, wrought two takes of 'Once Upon a Summertime' and 'Song No. 2'. Jones also supported Evans on such as 'The Individualism of Gil Evans' in '63 and 'Blues In Orbit' in '69, that thought their last session together. Were there space to account for only one of Jones' comrades during his career John Coltrane would vie for that solitary spot. Jones joined Coltrane's quartet on October 21, 1960, with McCoy Tyner (piano) and Steve Davis (bass) for 'My Favorite Things'. Jones would spend an industrious five years with Coltrane, easily found on Coltrane records during that period to 'Meditations' on November 23, 1965, that also with McCoy Tyner. Whom to mention requires regard as one of the major figures in Jones' career. Jones and Tyner were glue through Coltrane and beyond to Tyner's 'The Real McCoy' in 1967. Along the way Jones recorded as a member of the McCoy Tyner Trio in '60 and '62. On August 8, 1963, Tyner collaborated with Tyner on 'Illumination!'. They jointly led 'Love & Peace' in 1982. Recording on occasion in the seventies, eighties and nineties together, Lord's disco has them in a last session on March 26, 1990, for David Murray's 'Special Quartet'. It is apt to regard the significant figure that was bassist, Jimmy Garrison, as well. It was at the Village Vanguard in NYC on November 1, 1961, that Garrison and Jones first got paired together, that for Coltrane on 'India', 'Chasin' the Traine', et al. They would pass through Coltrane and beyond together to as late as the Elvin Jones Trio in Europe in a couple sessions with tenor saxophonist, Joe Farrell, in 1968 for 'The Ultimate Elvin Jones' and the titles 'Village Greene', 'Yesterday' and 'Gingerbread Boy'. Garrison also participated in Jones 'Illumination!' in '63 and 'Puttin' It Together' in '68, a trio with Farrell. Another bassist of major importance in Jones' career was Richard Davis, they first getting paired for 'The Individualism of Gil Evans' on September 17, 1963, their paths to interweave often for the next five years to July of 1968 for Helen Merrill's 'A Shade of Difference'. Jones' first trio with Richard Davis had been with Earl Hines on January 17, 1966, for 'Here Comes Earl 'Fatha' Hines'. Trios with pianist, Tete Montoliu, occurred in 1967. A reunion with the band of Fred Tomkins was held in 1973 for 'Find a Way', after which sessions were held on occasion into the new millennium. Along the way Richard Davis had supported Jones on 'Dear John C' on February 23, 1965, with alto saxophonist, Charlie Mariano, and brother, Hank Jones. They co-led 'Heavy Sounds' in 1968 and put down 'Very R.A.R.E.' in June of '79 with alto saxophonist, Art Pepper, and pianist, Sir Roland Hanna. It was 'Heart to Heart' in August of 1980 with pianist, Tommy Flanagan, 'Love & Peace' in April of '82 with the quintet of pianist, McCoy Tyner, also featuring Pharoah Sanders at tenor sax. It was 'Love at Pit Inn' in Tokyo in August 1985. Lord's disco shows Jones' last recordings in Tokyo in August 2003 and February 2004 in a trio with Richard Davis and brother, Hank, for 'Smoke Gets In Your Eyes' and 'Memories of You'. Wikipedia has Jones leading fifty albums during his career. His first with his ensemble, Jazz Machine, is thought to have been 'Remembrance' in Stuttgart, Germany, in February of 1978. Jazz Machine would tour to Japan for sessions in April of 1978, '80, '85 and '92. Jones recorded his last album with Jazz Machine in September of 1998 for 'The Truth'. In 2001 he was awarded an Honorary Doctorate of Music from Berklee College of Music [Berklee, Facebook, Twitter, Wikipedia, YouTube]. He died of heart failure in Englewood, New Jersey on 18 May 2004 [obits: 1, 2]. Among the host of others unmentioned with whom Jones had recorded were Blue Mitchell, Curtis Fuller, Hank Mobley, Wynton Kelly, Duke Ellington and Joe Henderson. References: 1, 2, 3, 4, 5, 6. Chronology. Sessions: J-Disc, JDP, Lord. Discographies: 1, 2, 3, 4, 5. Reviews: Drum!. Method. Interviews: NPR Fresh Air 1996, Anthony Brown 2003 (pdf). Further reading: Bobby Jaspar; Adam ansback. Facebook tribute. Other profiles: 1, 2, 3, 4. More Jones under pianist, Tommy Flanagan, in Jazz Piano.

Elvin Jones   1963

  Afro Blue Impressions

      Album with John Coltrane

      Recorded Oct & Nov 1963

      Issued 1977

Elvin Jones   1965

  A Love Supreme

      Album with John Coltrane

      Recorded 9 Dec 1964

  Transition

      Album with John Coltrane

      Recorded May & June 1965

      Issued 1970

Elvin Jones   1968

  Sweet Little Maia

    Filmed live

      Composition: Jimmy Garrison

Note: Studio version of this title on Jones' 1968 album, 'Puttin' It Together'.

Elvin Jones   1972

  Merry-Go-Round

     Album

       Recorded Feb & Dec 1971

Elvin Jones   1973

  The Children's Merry-Go-Round

     Filmed live

     Sax/Flute: Dave Liebman

     Sax: Steve Grossman

     Bass: Gene Perla

       Composition:  Elvin Jones

  G.G.

     Composition: Gene Perla

       Album:  'Mr. Jones'

       Recorded July 1972

  New Breed

      Composition:  Dave Liebman

      Album:  'Live at the Lighthouse'

      Recorded 9 Sep 1972

Elvin Jones   1976

  Raynay

      Composition:  Elvin Jones

      Album:  'The Prime Element'

Elvin Jones   1988

  A Love Supreme

      Concert tribute to John Coltrane

      Filmed live in Japan

      Tenor sax: Sonny Fortune

      Trumpet/flugelhorn: Freddie Hubbard

      Piano: McCoy Tyner

      Bass: Richard Davis

Elvin Jones   1996

   My Favorite Things

      Live   Guitar: John McLaughlin

      Music: Richard Rodgers   1959

      Lyrics: Oscar Hammerstein II

      For the musical 'The Sound of Music'

      Film premiere: 2 March 1965

Elvin Jones

Source: Drummer World

Drummer Jimmy Cobb, was born in 1929 in Washington D.C.. Lord's disco commences his recording career with the Dizzy Gillespie Orchestra to support Dinah Washington for radio broadcasts from the Royal Roost in NYC on October 16 and 23 of 1948. Those sessions weren't for issue, though titles from the first were released in 2000 on a CD titled 'Dinah Washington - Queen of the Juke Box 'Live' 1949-1955'. The second session was 'Stairway to the Stars' and 'Evil Gal Blues'. It was with his own orchestra later on January 18 of 1952 that he first recorded to issue with Washington: 'Wheel of Forune', 'Tell Me Why', etc.. That affected a relationship lasting into latter 1955, their last sessions thought to have been in November that year for such as 'There'll Be Some Changes Made' and 'Accent On Youth'. Present in Cobb's orchestra with Washington in 1952 was pianist, Wynton Kelly, with whom he kept a tight association into the latter sixties. When they weren't backing other operations like Washington, Paul Chambers, Miles Davis or Wes Montgomery they were supporting each other. Cobb contributed to at least thirteen of Kelly's albums from 'Kelly Blue' in 1959 to 'On 'Powertree'' ('79) and 'Wynton Kelly Live at the Left Bank Jazz Society 1968' ('77) in 1968. Cobb's first issues to see record shops had been in 1951 from a January session with Earl Bostic: 'Flamingo', 'September Song', et al. Other sessions in 1951 were with Gene Redd and Annisteen Allen. After Cobb's last recordings with Washington per above in 1955, Cobb hooked up with a couple other heavyweights in Cannonball and Nat Adderley on December 17, 1956, for the 'Stars of Jazz' television program in Burbank, CA, for such as 'Spectacular', 'Willow Weep for Me', etc.. That initiated a relationship lasting through numerous sessions to September 15, 1960, in NYC, thought to have been the last with Cannonball: 'The Old Country', 'That's Right', et al. Cobb and Nat would support Mongo Santamaria's 'Mongo Explodes' in 1964, then reunite numerously in the eighties and nineties. Lord's disco puts Cobb with Nat as late as December of 1995 for 'Mercy Mercy Mercy'. We return to March 7, 1958, for a couple other major figures in Cobb's career, that bassist, Paul Chambers, and saxophonist, John Coltrane. They were with pianist, Tommy Flanagan, on that date with guitarist, Kenny Burrell, for what saw issue in 1963 as 'Kenny Burrell & John Coltrane'. Chambers and Cobb left nigh the same wake for the next decade supporting other enterprises, like those of Miles Davis or Wynton Kelly, when not working on Chambers' projects, one among which was 'Go!' on February 2, 1959. Lord's disco shows them together for the last time backing Wynton Kelly's 'On 'Powertree'' in August of 1968. As for Coltrane, he and Cobb traveled with Miles Davis for about three years. Their first mutual session with Davis is thought to have been on May 26, 1958, for such as 'On Green Dolphin Street' and 'Fran-Dance'. Cobb and Coltrane were joined by Cannonball, Bill Evans and Chambers. Lord's shows their last session with Davis on March 21, 1961, with Hank Mobley, Wynton Kelly and Chambers for 'Teo' and 'I Thought About You'. Having mentioned Miles Davis a couple times, it's apt to regard that Davis was the major element in Cobb's career from 1958 per above with Coltrane to as late as April 16 of 1963 for the track, 'So Near So Far'. Of the numerous LPs by Davis on which Cobb appeared was 'Kind of Blue' in 1959. Of vocalists to whom Cobb got majorly attached was Sarah Vaughan, his first titles with her on September 19, 1971, at the Monterey Jazz Festival for 'I Remember You', 'The Lamp Is Low', etc.. They sailed the same ship through numerous sessions, including tours to Europe, to as late as Rosy's Jazz Club in New Orleans on May 31, 1978, for Vaughan's 'Live at Rosy's'. Likely exceeding 365 sessions during his career, among the host of others with whom Cobb had worked were Junior Mance, Sonny Stitt Shirley Scott, Lorez Alexandria, Mark Murphy, Carmen McRae, Ricky Ford, Jon Hendricks and Antonio Hart. Cobb didn't begin issuing name LPs until 1994: 'Encounter' with Ada Montillanico. He released at least ten of them, including 'So Nobody Else Can Hear' in 2000, recorded December 1981. Cobb was made an NEA Jazz Master in 2009. His latest recordings in the new millennium include 'Remembering Miles-Tribute to Miles Davis' (2011), Joey DeFrancesco's 'Wonderful! Wonderful!' (2012), 'The Original Mob' (2014) and Federico Bonifazi's 'You'll See' (2016). Cobb is yet active as of this writing. References: 1, 2, 3, 4. Sessions: JDP; Lord (leading 12 of 377). Discos: 1, 2, 3. IMDb. Reviews: 1, 2. Interviews: Molly Murphy 2008; Marc Myers 2009: 1, 2, 3, 4; William Brower 2010 (pdf); Greg Roth 2012. Further reading: Ashley Kahn. Other profiles: 1, 2.

Jimmy Cobb   1951

  Flamingo

      With Earl Bostic  

      Music: Ted Grouya

      Lyrics:  Edmund Anderson

Jimmy Cobb   1957

From 'Sophisticated Swing'

LP by Cannonball Adderley

Alto Sax: Cannonball Adderley

Trumpet: Nat Adderley

Piano: Junior Mance

Bass: Sam Jones

  Another Kind of Soul

      Composition: Nat Adderley

  Spectacular

       Composition: Sam Jones

Jimmy Cobb   1959

  Kind of Blue

     Album with Miles Davis

     Recorded March & April 1959

Jimmy Cobb   2002

  Sugar Ray

     Album: 'Jimmy Cobb Trio'

     Piano: Massimo Farao

      Bass: Paolo Benedettini

         Composition: Miles Davis

Jimmy Cobb   2009

  So What

      Filmed live at Bridgestone Music Fest

      Jimmy Cobb So What Band

     Composition: Miles Davis

   The Theme

      Filmed live

      Jimmy Cobb So What Band

     Composition: Miles Davis

Jimmy Cobb   2011

  Dear Old Stockholm

      With the Berklee All-Stars

     Filmed live

      Composition: Swedish traditional

      See Wikipedia

Jimmy Cobb   2012

  Live in Vienna

     With Larry Coryell & Joey DeFrancesco

       Filmed live 

Jimmy Cobb

Source: All About Jazz

Arthur Taylor

Photo: Getty Images

Source: Aural Art

Drummer, Arthur Taylor, was born in 1929 in NYC. He began his professional career in 1948 in Harlem, joining a band consisting of Sonny Rollins, Jackie McLean and Kenny Drew. He would later record with all three. Taylor also performed in Howard McGhee's band in 1948. Taylor's debit recordings are thought to have been with Buddy Lucas in 1951 on an unknown date if Jubilee 5058 preceded February 23: 'Soppin' Molasses' and 'Whoppin' Blues'. On the 23rd Taylor put down 'Blue Moon' and 'Somebody Tell Me I'm Wrong' with the Howard Biggs Orchestra for Milt Larkins. Come April 28 of 1951 for the Mercer label with the Oscar Pettiford Sextet including McGhee on trumpet: 'Swingin' Till The Girls Come Home', 'Bei Mir Bist Du Schon', 'Love For Sale' (unissued), and 'Oscar's Wild' (unissued). That also included pianist, Kenny Drew, with whom he would partner on occasion in the support of other bands for the next twenty years and more. Lord's disco has them last together per a session in Cologne, Germany, in 1973 for Johnny Griffin while Taylor was living in Europe: 'Live in Cologne 1973'. Returning to 1951, a session with Hot Lips Page arrived on May 3 for 'I Want to Ride Like the Cowboys', 'Strike While the Iron's Hot' and 'You're My Baby, You' (unissued). Taylor filled up 1951 in October with 'It's No Sin' and 'And So to Sleep' for Coleman Hawkins on Decca. With Taylor's highly active career at 314 sessions we blur past Zoot Sims, Buddy DeFranco and Lou Donaldson in '52 to arrive to pianist, Bud Powell, on May of 1953 at the Birdland in NYC with saxophonist, Charlie Parker, for such as 'Dance of the Infidels' and 'Moose the Mooche'. Powell would be among Taylor's more important collaborators into the early sixties, notably in trios (for which Powell was well-known since his first in 1947 with Curly Riussell and Max Roach) with bassists, Charles Mingus, George Duvivier, Curly Russell, Paul Chambers, Jacques Hess and Michel Gaudry. Their next session at the Birdland that May was a trio with Mingus for 'I've Got You Under My Skin', 'Autumn In New York', et al. From 'The Bud Powell Trio' in 1953 with Duvivier to 'Pianology' in 1961 with Hess at bass and Barney Wilen on sax Taylor participated in some eight or nine Powell albums. 'Blues for Bouffemont' followed on July 31, 1964, in Paris with Gaudry. Duvivier's first trio with Powell and Taylor was in August of 1953 for multiple takes of 'Autumn in New York', 'Reets and I', etc.. Their last of numerous sessions with Powell arrived on October 14, 1957, for 'Bud Plays Bird'. The next year on May 5 Duvivier and Taylor provided rhythm on Billy VerPlanck's 'The Soul of Jazz'. October 18 of 1961 saw them in session with saxophonist, Gene Ammons, for 'Five O'Clock Whistle', 'Up Tight', et al. Ammons was himself among the more significant figures in Taylor's career. Between 'The Happy Blues' in 1956 and 'Boss Soul!' in 1961 Taylor sided twelve of Ammons' albums. We look back to May 26, 1955, when Taylor joined alto saxophonist, Gigi Gryce, and trumpeter, Art Farmer, for 'When Farmer Met Gryce'. From 'Gigi Gryce and The Jazz Lab Quintet' in early 1957 to 'Modern Jazz Perspectives' that summer Taylor contributed to six of Gryce's LPs. We return to August 5, 1955, for saxophonist, Jackie McLean, he and Taylor joining Miles Davis, Milt Jackson, Ray Bryant and Percy Heath for 'Milt and Miles' on that date. They backed pianist, George Wallington on a couple dates that year before taping McLean's 'Lights Out! on January 27, 1956. Nine more LPs ensued to 'Jackie's Bag' in 1960. Along the way McLean contributed alto sax to Taylor's debut LP, 'Taylor's Wailers', on February 25, 1957. McLean and Taylor supported Kenny Dorham's 'Inta Somethin'' in November of 1961 before putting down 'Tippin' the Scales' on September 28, 1962, with Sonny Clark at piano. Paul Chambers' first session with the Bud Powell Trio had been at the Birdland in September of 1957 for such as 'That Old Black Magic', 'Like Someone In Love', et al. They worked together frequently into the early sixties, not so much with Powell as in support of a variety of other ensembles such as Red Garland's or John Coltrane's. Their last of numerous sessions on Lord's list was for Stanley Turrentine's 'Z.T.'s Blues' on September 13, 1961, with Tommy Flanagan at piano and Grant Green at guitar. Among guitarists with whom Taylor often partnered was Kenny Burrell. Their initial session together was on an unknown date in 1956 for Ray Bryant's 'Music Minus One'. Burrell and Taylor traveled through numerous sessions together to April 18, 1958, for Ray Charles' 'Soul Meeting'. Along the way Taylor provided rhythm on four of Burrell's albums: 'All Night Long' ('56), 'All Day Long' ('57), '2 Guitars' ('57 w Jimmy Raney) and 'Just Walin'' ('58). Among the more important pianists in Taylor's career was Tommy Flanagan. Their first session together may have been on March 16, 1956, for Miles Davis' 'Collector's Items' with Sonny Rollins at tenor sax and Paul Chambers on bass. Flanagan and Taylor recorded numerously together in the support of other ensembles to Benny Golson's 'Free' on December 26 of 1962. They reunited twenty years later in '82 for Flanagan's 'Thelonica' in a trio with George Mraz at bass. Another important pianist was Red Garland, Taylor having joined Garland in a trio with Chambers on August 17, 1956, for 'A Garland of Red'. Taylor hung with Garland's smaller ensembles of quintets, quartets and numerous trios into the sixties. Chambers was the major bassist with whom Garland and Taylor worked to throughout 1958, Sam Jones replacing him in 1959 in time to lay out the Red Garland Trio's 'Red In Bluesville' on April 17. Taylor's last trio with Garland was with Jones on July 15, 1960, for 'Halleloo-Y'-All', that the eleventh Garland album in which Taylor participated. We fall back to September 7, 1956, for 'Tenor Conclave' for saxophonists Hank Mobley, Al Cohn, Zoot Sims and John Coltrane with Garland on piano and Chambers at bass. Coltrane was to become a major figure in Taylor's career. From August 16, 1957, when titles to Coltrane's 'Lush Life' ('61) went down to May 5, 1959, when tracks for 'Giant Steps' ('60) were taped Taylor contributed to thirteen of Coltrane's albums. We return to September 9, 1955, for trumpeter, Donald Byrd, they joining Jackie McLean and Chambers on that date in support of George Wallington's 'Live! At the Cafe Bohemia'. Byrd and Taylor laid nigh parallel rail through the fifties in support of other operations. Along the way Taylor supported Byrd and Art Farmer's '2 Trumpets' in '56, 'Jazz Eyes' with John Jenkins in '57, 'Off to the Races' in '58 and 'Byrd in Hand' in '59. Byrd participated in Taylor's debut LP, 'Taylor's Wailers', in January 27, 1957. Taylor was living in Europe when he next recorded with Byrd in Paris on June 2, 1964, for Dexter Gordon's 'One Flight Up'. Byrd had joined another figure of notable presence in Taylor's career in London on August 24 of 1958, that trumpeter, Dizzy Reece, for the latter's 'Blues in Trinity'. It was 'Star Bright' on November 19, 1959, 'Soundin' Off' on May 12, 1960. Their last session of that couple years together saw them with Stanley Turrentine for Duke Jordan's 'Flight to Jordan'. Taylor would be living in Europe the next he and Reece got together in Denmark on March 10, 1969, in the Slide Hampton Sextet for Dexter Gordon's 'A Day in Copenhagen'. Reuniting a few more times in the seventies, Lord's disco shows their last mutual session in October of 1975 for vocalist, Gerrie van der Klei's, 'Waltzy Mood' in Hilversum, Netherlands. As commented, Taylor's first LP had been 'Taylor's Wailers' laid out in February of 1957. He led several more from 'Taylor's Tenors' in June of '59 to 'A.T.'s Delight' in 1960, 'Mr. A.T.' in 1991 and 'Wailin' at The Vanguard' in 1992. The latter were with his new configurations of the Wailers. As mentioned, Taylor moved to Europe (France, then Belgium) in 1963 after recording Johnny Griffin's 'Soul Groove' in May. Griffin also left for France, later Netherlands, in '63, he and Taylor to record 'In Copenhagen' in April and December of 1964. Taylor lived nigh twenty years in Europe before returning to the United States, his first session back in the States thought to have been 'Mad About Tad' in Tadd Dameron's Continuum on May 4, 1982. Among the host of others with whom Taylor had recorded were Thelonious Monk, Lee Morgan and Niels-Henning Ørsted Pedersen. Taylor published the book, 'Notes and Tones', in 1982. He died February 6, 1995, in Manhattan [obits: 1, 2]. References: 1, 2. Sessions: DAHR, J-Disc, JDP, Lord (leading 6 of 320). Discos: 1, 2, 3, 4. Interviews: Walter Bolden 1992, Hugo Pinksterboer 1993. Further reading: Jazz Profiles. Other profiles *.

      For the musical 'The New Yorkers'

      For the film 'The Goldwyn Follies'

      Album: 'At the Hickory House' (Vol 1)

      Piano: Jutta Hipp

      Bass: Peter Ind

      Composition: Billy Taylor

      Oscar Peterson Trio

      Bass: Ray Brown

      Composition: Carlos Fernandez

      Composition: Thigpen

      Filmed live with Ella Fitzgerald

      Tommy Flanagan Trio

Piano: Tommy Flanagan

      Ed Thigpen's Trio Supreme

      Piano: Benny Green

Ron Jefferson   1954

From 'Oscar Pettiford Modern Quintet'

Recorded Jan '54

  Cable Car

      Composition: Oscar Pettiford

  Golden Touch

      Composition: Quincy Jones

From 'Joltin' Joe Roland'

Vibes: Joe Roland

Recorded 10 May '54

  Garrity's Night

      Composition: Joe Roland

  Gene's Stew

      Composition: Wade Legge

Ron Jefferson   1955

  Ready Freddie

      Piano: Freddie Redd

      Bass: John Ore

      Composition: Freddie Redd

      LP: 'Introducing ... Freddie Redd'

Ron Jefferson   1957

  When the Blues Come On

      French horn: Julius Watkins

      Tenor sax: Charlie Rouse

      Piano: Gildo Mahones

      Bass: Paul Chambers

      Harp: Janet Putman

      Vocal: Eileen Gilbert

      Composition:

      Al Cohn/Charles Isaiah Darwin

      LP: 'Les Jazz Modes'

      Recorded 12 June '56

Ron Jefferson   1960

  Fish This Week

      Bass: Leroy Vinnegar

      Piano: Les McCann

      Composition: Les McCann

  A Foggy Day

      Bass: Leroy Vinnegar

      Piano: Les McCann

      Composition: Gershwin Brothers

  Vakushna

      Bass: Leroy Vinnegar

      Piano: Les McCann

      Composition: Les McCann

From 'It's About Time'

Recorded Aug '59   Los Angeles

Tenor Sax: Teddy Edwards

Piano: Les McCann

Bass: Leroy Vinnegar

  Blues Comjumulations

      Composition: Les McCann

  Undecided

      Composition:

      Charlie Shavers/Sid Robin

Ron Jefferson   1961

  Go On and Get That Church

      Filmed in France

      Bass: Herbie Lewis

      Piano: Les McCann

      Composition: Les McCann

  Too Close for Comfort

      Bass: Herbie Lewis

      Piano: Les McCann

      Composition:

      Jerry Bock

      George David Weiss

      Larry Holofcener

Ron Jefferson   1962

  George's Dilemma

      Composition: Richie Powell

      Jefferson LP: 'Love Lifted Me'

  Yours Is My Heart Alone

      Composition:

      Franz Lehár

      Fritz Löhner-Beda

      Ludwig Herzer

      Les McCann LP: 'On Time'

      Piano: Les McCann

      Guitar: Joe Pass

      Bass: Leroy Vinnegar

Ron Jefferson   1965

  The Speaker

      Composition: Jefferson

      LP: 'Ron Jefferson Choir'

      Recorded 23 Sep '56   Paris

Drummer and vocalist Osie Johnson was born in Washington D.C. in 1926. He first worked professionally in 1941 with Harlem Dictators, then Sabby Lewis from 1942-43. In 1944-45 he was a member of a Navy band while stationed at the Great Lakes Naval Station just north of Chicago. Upon discharge from the military Johnson freelanced in Chicago clubs where opportunity occurred to back such as Dinah Washington and Carmen McRae, both with whom he would later record. Lord's disco estimates Johnson's first tracks with tenor saxophonist, Eddie Chamblee, in 1949: 'Lazy Mood', 'Jump for Joy','Blue Steel' and 'All Out'. Lord's wants him with Chamblee for a session or two in 1950 as well for such as 'Every Shut Eye Ain't Sleep' (with vocalist, Danny Overbea) and 'Laughin' Boogie'. His first session as a leader was in 1950 for Chess, titles unissued: 'Turn Me Loose' and 'Angels Sing'. He was in the Eddie Wilcox Orchestra in NYC on June 5 of 1951 to back vocalist, Betty McLaurin, on such as 'I'm Afraid the Masquerade Is Over' and 'Shuffle Express'. Johnson is said to have joined Earl Hines' band in Chicago in 1951 which which he would soon tour the States. While with Hines 1952 saw sessions with McLaurin (NYC), Chris Powell (Chicago: 'Ida Red', 'I Come From Jamaica', 'Blue Boy' and 'Darn That Dream') and Bennie Green (Chicago) before a date with Hines in Hollywood circa August of '52 for 'Honeysuckle Rose' and 'Love Is Just Around the Corner. His next session with Hines is thought to have been in December back in NYC for such as 'A Cigarette for Company' and 'Ella's Fella'. Thence began Johnson's career as a session player in NYC, though he recorded with Chamblee again in Chicago on August 17 of 1953: 'Walkin' Home Comin' Home', 'Spider Web' and 'Lonesome Road'. Two days later it was another session with Hines back in NYC: 'I Shoulda Be On My Merry Way', 'Hot Soup', etc.. That was followed on October 9 for 'Gotta Get Outta Bed' and 'The Boss Is Back', et al, for vocalist, Babs Gonzales.  But Johnson's brief career was bloated to bursting with nigh 700 sessions, so we limit this account to some of his associates with a greater impact on his career. Among them were bassist, Milt Hinton and tenor saxophonist, Frank Wess, Johnson recording with them both in the summer of 1953. That first session with Hinton is problematic, Lord's disco among sources dating it that year, discogs among sources placing it on March 10, 1955. That moot session was for 'Joe Derise Sings' issued in 1955. Be as may, Hinton and Johnson started getting paired frequently in 1954, supporting such as Urbie Green's 'A Cool Yuletide'. They were constant companions in the studio on countless sessions to August 11, 1965, with guitarist, Kenny Burrell, to back vocalist, Sylvia Sims, on 'Sylvia Is!'. They supported each other along the way as well, such as Hinton's 'East Coast Jazz/5' in 1955 and Johnson's 'A Bit of Blues' in '56. As for Wess, he and Johnson first got together for Bennie Green's 'Blow Your Horn' on July 23, 1953. The two would partner on numerous occasions throughout Johnson's career to April 9, 1963, with the Quincy Jones Orchestra for 'Plays Hip Hits'. They supported each other variously along the way, such as Wess' 'Southern Comfort' on March 22, 1962. Another major figure in Johnson's career was pianist, Hank Jones, they first getting mixed together back on October 9, 1953, per above for Babs Gonzales ('Get Out of Bed', 'The Boss Is Back', et al). Jones and Johnson partnered in countless sessions together to April 15, 1965, with Lionel Hampton's All Stars for such as 'Stardust', 'Midnight Blues' and 'As Long As We're Here'. Along the way they supported each other variously, such as Johnson's 'A Bit of the Blues' in '56, and Jones' 'The Rhythm Section' '56, 'The Talented Touch' in '58 and 'This Is Ragtime Now!' in '64. We return to December 22, 1953, for clarinetist, Tony Scott, and pianist, Dick Katz. Johnson joined Scott's quartet on that date for 'I Cover the Waterfont', 'It's You or No One', et al, with Dick Katz (piano) and Earl May (bass). Johnson and Scott traveled to as late as November of '58 together, backing Steve Allen's 'And All That Jazz!'. During that time Johnson supported numerous of Scott's ensembles. Katz and Johnson would partner often to as late as summer of '59 for Bobby Prince's 'Saxes Inc.'. We back up to May 8, 1954, for bassist, Oscar Pettiford, they joining the Frank Wess Quintet on that date for such as 'Some Other Spring' and 'Mishawaka'. Johnson and Pettiford were constant companions through countless sessions to Dick Hyman's 'Oh Captain!' on February 7 of 1958. Along the way Johnson backed Pettiford on such as 'Basically Duke' in December '54, 'Oscar Pettiford' in August '55 and 'Oscar Pettiford Orchestra in Hifi' in June '56. Saxophonist, Coleman Hawkins, was also a large large presence in Johnson's circle, they thought to have first laid tracks together on August 16, 1954, with the Sir Charles Thompson Band for the likes of 'It's the Talk of the Town', 'Fore!', et al. Their next session together was in Hawkins Quintet in October 1954 on a tour to Europe for 'Disorder at the Border', 'Yesterdays' and 'Bean and the Boys'. Hawkins employed Johnson continually throughout the latter's career, Johnson contributing to numerous of Hawkins' albums during that period. One of those was 'The Hawk and the Hunter' on March 21, 1963, two years before their next and last session together with Lionel Hampton per above in April of 1965. Pianist and arranger, Ralph Burns, also made numerous appearances in Johnson's career, beginning with the Leonard Feather Orchestra in September of 1954 for 'Winter Sequence'. The next several years saw Johnson supporting Burns on such as 'Spring Sequence' when not joining other operations together, Burns generally arranging. Lord's disco shows them last working together for Lena Horne in June of 1958 for 'Just in Time' and 'Get Out of Town'. We return to 1954 to the major figures that would be saxophonist, Al Cohn, and trombonist, Urbie Green. Sometime that year they put down Green's 'A Cool Yuletide'. Johnson's next session with Cohn was for the latter's 'East Coast - West Coast Scene' on October 26, 1954. Cohn and Johnson were nigh inseparable, supporting other bands together to April 9, 1963, for Quincy Jones' 'Plays Hip Hits'. Along the way Johnson backed several Cohn LPs. Cohn also participated in Johnson's 'A Bit of the Blues' on April 7, 1956. As for Green, he and Johnson maintained a tight relationship to July of 1965 for Jean DuShon's 'Felling Good'. Along the way they supported each other on such as Johnson's 'A Bit of the Blues' in April '56 and Green's 'All About Urbie Green and His Big Band' in July '56. We need back up to October 26, 1954, for bassists Eddie Bert and Billy Byers, they contributing to Al Cohn's 'East Coast-West Coast Scene' on that date with Joe Newman at trumpet. Bert and Johnson partnered in numerous sessions in the support of various enterprises to vocalist, Clea Bradford's, 'Now' in 1965. Along the way Johnson backed Bert on such as 'I Hear Music - Modern Music' in 1955. As for Byers, they were continual companions as well to Jean DuShon's 'Feeling Good' in July of 1965. Among countless sessions together Johnson backed Byers on such as 'The Jazz Workshop' in December '55, 'Byer's Guide' in '56 and 'Impressions of Duke Ellington' in '61. Guitarist, Barry Galbraith, would also own a strong presence in Johnson's career. They first recorded together for Aaron Sachs with Green on trombone for such as 'Helen', 'The Bull Frog', etc.. Galbraith and Johnson got mixed together on countless sessions to July of 1965 for tombonist, JJ Johnson, on tunes such as 'The Seventh Son' and 'Incidental Blues'. Along the way Galbraith contributed to Johnson's 'A Bit of the Blues' in '56. Johnson backed Galbraith's 'Guitar & the Wind' on January 16 of '58. Another of Johnson's major associates was arranger, Manny Albam. Albam, Ralph Burns and John Carisi contributed to arrangements on Al Cohn's 'Mr. Music' in December of 1954. Johnson would travel into the latter fifties and early sixties with Albam, both working with other enterprises and Johnson joining in Albam's orchestra. That first occasion is thought to have been on February 1, 1955, for 'Prelude to a Kiss', 'Fump', etc.. From 'The Jazz Workshop' on December 24 of 1955 to 'I Had the Craziest Dream' in November of 1961 Johnson participated in ten some of Albam's LPs. Along the way Albam arranged Johnson's 'A Bit of the Blues' in April of '56. Lord's disco has them together a last time on April 24, 1962, Albam arranging trombonist, Curtis Fuller's, 'Cabin in the Sky'. We're not going to get away without regarding another important associate of Johnson's, that trombonist, JJ Johnson, they joining the Quincy Jones All Stars on February 25, 1955, for a rendition of 'Grasshopper' to be issued in 1963 on the LP by various called on 'The Giants of Jazz'. JJ and Osie interwove on multiple occasions to as late as July of 1965 with Clark Terry on trumpet for such as 'The Seventh Son' and 'Incidental Blues'. Along the way Osie added rhythm to such as JJ and Kai Winding's 'Trombone For Two' in '55 and 'Jay & Kai Plus 6' in '56. Johnson himself released four albums from '55 to '57: 'Osie's Oasis' ('55), 'Johnson's Whacks' ('55), 'A Bit of the Blues' ('56) and 'The Happy Jazz of Osie Johnson' ('57). Other titles recorded in 1955 would get issued on 'Swingin' Sounds' in 1978. Examples of Osie at vocals are on his 'A Bit of the Blues' ('56) and JJ Johnson's 'Goodies' ('65). Lord's disco lists his last recordings in 1966 with the Village Stompers for 'One More Time'. He was only 43 years of age when he died of kidney failure in February of 1966 in NYC. For a career of only about twenty years Osie left behind a wake the size of Lake Michigan at which coast he had begun his career in Chicago. Among the host of others for whom he had provided rhythm were Lurlean Hunter, Barbara Lea, the Keymen, Joe Saye, Billy Butterfield, Clifford Brown, Chris Powell, Billy Bauer, Ray Bryant, Tex Beneke, Billie Holiday, the Axidentials, Sam The Man Taylor, Tal Farlow, Sascha Burland, Oscar Brown Jr., Erskine Hawkins, Teddy Charles, Paul Gonsalves, Ethel Ennis, Pat Bowie and Irene Reid. References: 1, 2. Sessions: DAHR, J-Disc, JDP, Lord (leading 7 of 692). Discos: 1, 2, 3. IMDb. IA. Further reading: Jazz Profiles; Steve Wallace.

Osie Johnson   1952

With Chris Powell & the Blue Flames:

  I Come from Jamaica

      Composition: Powell

  Ida Red

      Composition: Amos Easton

From 'Osie's Oasis':

Recorded Feb '55

  Blues for Camels

      Composition: Dick Katz

  Osie's Oasis

      Composition: Johnson

  Clothesline Ballet

     Bass: Oscar Pettiford

    Piano: George Wallington

      Composition: Fats Waller   1925

  Half Loved

      Osie Johnson & His Orchestra

      Composition:

      Ray Stanley/Jaye Fitzsimmons

  Lullaby of the Leaves

    Guitar: Billy Bauer

      Music: Bernice Petkere

      Lyrics: Joe Young

  When It's Sleepy Time Down South

    Guitar: Billy Bauer

      Composition: 1931:

      Clarence Muse/Leon & Otis René

  In a Mellotone

      Vocal: Carol Stevens

      Composition:

      Duke Ellington/Milt Gabler

  'Round Midnight

     Vocal: Frances Wayne

  Jazz Party 1958

     Filmed live with Buster Bailey

  Then I'll Be Tired of You

      Composition:

      Arthur Schwartz/Yip Harburg

Osie Johnson

Source: Discogs

Alan Dawson   1953

  Brown Skins

      Clifford Brown Big Band

      Issue date unconfirmed