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A Birth of Jazz

A YouTube History of Music

Modern Jazz 5


Other Instrumentation - Other Orchestration

Group & Last Name Index to Full History:


Tracks are listed in chronological order by year, then alphabetically.

Listings do not reflect proper order by month or day: later oft precedes earlier.

Not on this page? See history tree below.



Manny Albam
Dave Bailey    Ray Barretto    Les Baxter    Louie Bellson    Ed Blackwell    Art Blakey
Big Sid Catlett    Teddy Charles    Kenny Clarke    Jimmy Cobb    Jack Costanzo
Alan Dawson    Eric Delaney
Victor Feldman
Terry Gibbs    Norman Granz
Chico Hamilton    Louis Hayes    Roy Haynes    Albert Heath    Billy Higgins
Milt Jackson    Jazz at the Philharmonic    Jazz Messengers    Ron Jefferson    Osie Johnson    Elvin Jones    Papa Jo Jones    Philly Joe Jones
Don Lamond    Pete La Roca    Stan Levey    Mel Lewis    Arthur Lyman
Shelly Manne   Larance Marable    Sabu Martinez   MJT+3    Modern Jazz Quartet    Buddy Montgomery    Joe Morello    Paul Motian    Idris Muhammad
Sonny Payne    Walter Perkins    Dave Pike    Tito Puente
Boyd Raeburn    Nelson Riddle    Ben Riley    Max Roach   Mickey Roker
Phil Seamen
Grady Tate    Art Taylor    Ed Thigpen    Toots Thielemans    Cal Tjader
Guy Warren



Featured on this page loosely in order of first recording if not record release (as possible).

Names are alphabetical, not chronological, per year:


1928 Big Sid Catlett
1931 Papa Jo Jones
1937 Kenny Clarke
1941 Chico Hamilton    Shelly Manne    Nelson Riddle
1943 Louie Bellson
1944 Manny Albam    Victor Feldman    Norman Granz    Jazz at the Philharmonic    Don Lamond    Boyd Raeburn    Max Roach
1945 Les Baxter    Art Blakey    Roy Haynes    Stan Levey
1946 Terry Gibbs   Milt Jackson    Phil Seamen    Toots Thielemans
1947 Jack Costanzo    Eric Delaney    Jazz Messengers    Sonny Payne
1948 Philly Joe Jones    Sabu Martinez
1949 Teddy Charles    Mel Lewis    Tito Puente    Cal Tjader
1950 Elvin Jones
1951 Jimmy Cobb    Larance Marable    Art Taylor    Ed Thigpen
1952 Ron Jefferson    Osie Johnson    Modern Jazz Quartet
1953 Alan Dawson    Joe Morello
1954 Ray Barretto    Idris Muhammad   Mickey Roker
1955 Dave Bailey    Buddy Montgomery    Paul Motian
1956 Walter Perkins    Guy Warren
1957 Louis Hayes    Albert Heath   Billy Higgins    Arthur Lyman     MJT+3    Dave Pike
1958 Pete La Roca
1959 Ed Blackwell    Ben Riley    Grady Tate


  This page concerns the birth of modern jazz percussion, as well as instrumentation and orchestration not found elsewhere, such as vibraphone or musicians who were more composers than performers. This page is intended to list bands, bandleaders and musicians releasing their first recordings before 1960. Other arrangers and composers, orchestral and not, can be found throughout these histories under the instruments they played. Also important to jazz percussion were Latin musicians on instruments such as maracas, congas, bongos, tumbadoras and timbales. Those of Latin heritage born in America are on this page. See Latin Recording for others.

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


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. He began his professional career in 1928 with Darnell Howard and was a member of the Chocolate Dandies. Among his first recordings in 1928 was with the Creole Jazz Band. Though definitely a swing drummer, and died in 1951 of heart attack at only age 41, Catlett is a perfect musician with whom to begin this history of modern jazz percussion, due to collaborations with Dizzy Gillespie in early bebop as well as experimental pieces like 'Boff Boff' below. Catlett was posthumously elected into the Big Band and Jazz Hall of Fame in 1996.

Big Sid Catlett   1928

   Down By the Levee

Big Sid Catlett   1939

   Haven't Named It Yet

      Vibes: Lionel Hampton

Big Sid Catlett   1944

   Just a Riff

Big Sid Catlett   1945

   Love For Scale

      Guitar: Al Casey

   Rose Room

   Salt Peanuts

      Alto sax: Charlie Parker

     Trumpet: Dizzy Gillespie

      Bass: Curley Russel   Piano: Al Haig

   Shaw 'Nuff

      Alto sax: Charlie Parker

     Trumpet: Dizzy Gillespie

      Bass: Curley Russel   Piano: Al Haig

Big Sid Catlett   1947

   Boff Boff

   Just a Riff

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


      Film: 'Sepia Cinderella'


Birth of Modern Jazz: Big Sid Catlett

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 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).

Papa Jo Jones   1931

   Sensational Mood

      With Lloyd Hunter

Papa Jo Jones   1941

   Swingin' the Blues

      With Count Basie

Papa Jo Jones   1955

   Embraceable You

Papa Jo Jones   1959

   Embraceable You

Papa Jo Jones   1959

   But Not For Me

Papa Jo Jones   1964


      With Coleman Hawkins and the Harry Edison Quintet


Birth of Modern Jazz: Papa Jo Jones

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 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. More Kenny Clarke under Paul Chambers.

Kenny Clarke   1951

   All of Me

      Piano: Lennie Tristano

     Sax: Charlie Parker

   I Can't Believe That You're In Love With Me

      Piano: Lennie Tristano

     Sax: Charlie Parker

Kenny Clarke   1954


      Album: 'Strillin''

Kenny Clarke   1955

   Bohemia After Dark

      Album: 'Bohemia After Dark'


      Album: 'Bohemia After Dark'


      Album: 'Telefunkin' Blues'

     Piano: Milt Jackson

   Telefunken Blues

      Album: 'Telefunkin' Blues'

     Piano: Milt Jackson

   We'll Be Together Again

      Album: 'Bohemia After Dark'

   Willow Weep For Me

      Album: 'Bohemia After Dark'

Kenny Clarke   1956


      Tenor sax: Donald Byrd

Kenny Clarke   1958

   On the Alamo

      With Dizzy Gillespie & the Martial Solal Trio

Kenny Clarke   1959

   Get Happy

      Piano: Bud Powell

Kenny Clarke   1967

   Live in Prague

      Filmed concert with Francy Boland

Kenny Clarke   1972

   Our Delight

      Filmed live

Kenny Clarke   1975

   Bebop Reunion

      With Dizzy Gillespie on 'Soundstage'


Birth of Modern Jazz: Kenny Clarke

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 1941. Hamilton also performed on 'Bugle Call Rag' in the film, 'You'll Never Get Rich', that year with dancer, Fred Astaire. 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' in 1945. Lord's disco shows Hamilton next in a couple sessions with Helen Humes in 1946 for 'Be Baba Leba Boogie', 'Married Man Blues' and 'Bo Bop Bounce'. August of '46 found him with Lester Young for 'You're Driving Me Crazy', 'Now Lester Leaps In', et al. Hamilton was back with Jacquet in his Yellow Jackets on September 21 for 'Just a Dream', 'Wake Up Old Maid', etc.. 1947 found him 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 Colette, 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'. 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. More Hamilton with Buddy Collette.

Chico Hamilton   1941

   March Milastaire

      Film: 'You'll Never Get Rich'

     With Fred Astaire

Chico Hamilton   1955

   Blues Sands

   Buddy Boo

   Gone with the Wind

   My Funny Valentine

   A Nice Day

   The Sage

Chico Hamilton   1956

   Sleepy Slept Here

   The Wind

Chico Hamilton   1957

   Night Beat

Chico Hamilton   1958

   Blue Sands

    Newport Jazz Festival 

   Tuesday At Two

        Bass: Wyatt Ruther   

      Cello: Nathan Gershman

        Guitar: Dennis Budimir

      Alto Sax: Eric Dolphy

Chico Hamilton   1959

   Lost in the Night

Chico Hamilton   1963

   Lady Gabor

Chico Hamilton   1965


Chico Hamilton   1973


Chico Hamilton   1989

   My Funny Valentine

      Live performance

Chico Hamilton   2007



   Bones No Meat

   Chicken Pox

   Kerry's Caravan

   My Brother Bernie

   My Brother Don

   Mr. Hamilton

   Yeh Yeh

   You Name It

Chico Hamilton   2009

   Charlie Parker Suite

   Happiness Prevails

   I Don'T Know Why (I Just Do)


Birth of Modern Jazz: Chico Hamilton

Chico Hamilton

Source: Drummer World


Drummer Shelly Manne was born in New York City in 1923. He got his first 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', 'Lower Register', 'I Know That You Know' and 'Slow Down', those on Decca. 1943 found him in Coleman Hawkins' Swing Four with bassist, Oscar Pettiford for a couple sessions in December yielding 'Voodle', 'Crazy Rhythm', 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', Time On My Hands', etc.. With a highly prolific 870 sessions to his name, this account of Manne's career is an attempt to squeeze an elephant into a shot glass, all of it refusing to cooperate, 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. Another of Manne's important associates was 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. He also became part owner of the Manne-Hole in Los Angles in the sixties, performing there into the seventies. Manne died a major figure in West Coast jazz on September 26 of 1984 in Los Angeles. An example of straight-ahead jazz is 'Straight No Chaser' in 1958 below.

Shelly Manne   1941

   Bull's Eye

      With Joe Marsala

Shelly Manne   1944

   The Man I Love

      With Coleman Hawkins

Shelly Manne   1945


      With Boyd Raeburn

Shelly Manne   1946

   Blue n' Boogie

      With Dizzy Gillespie


      With Coleman Hawkins

Shelly Manne   1949


      With Dizzy Gillespie

   Nonet Jam

      Miles Davis album  

      Live at WPIX Radio with Oscar Pettiford

Shelly Manne   1951


      With Shorty Rogers

   Scrapple From the Apple

      With Shorty Rogers

Shelly Manne   1952

   Don't Get Around Much Anymore

      With the Hampton Hawes Trio

   Jumpin' Jacque

      With the Hampton Hawes Trio

Shelly Manne   1953


   You and the Night and the Music

Shelly Manne   1958

   Be Deedle De Do

      With Ray Brown & Barney Kessell

   Straight No Chaser

      Filmed live

   Up Blues

      Piano: Hampton Hawes

Shelly Manne   1959

   Just Squeeze Me

      Album: 'At the Black Hawk'


      Album: 'At the Black Hawk'

Shelly Manne   1962

   En Passant

   Take the 'A' Train

      Bass: George Duvivier

     Piano: Hank Jones

      Sax: Coleman Hawkins

      Composition: Billy Strayhorn   1939

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


Birth of Modern Jazz: Shelly Manne

Shelly Manne

Source: NPR

Birth of Modern Jazz: Nelson Riddle

Nelson Riddle

Source: Arts Fuse


Arranger, composer, conductor and pianist Nelson Smock Riddle Jr. refused to be born until 1921 so he could be in Oradell, New Jersey. He began arranging and playing trombone for the Charlie Spivak Orchestra in 1941, recording as early as January 13 for Okeh: 'Praineland Lullaby' (6036), 'What's Cookin'?' (6061), et al, for Okeh. Lord's disco shows Riddle's last titles with Spivak on July 6, 1942: 'Yesterday's Gardenia's', 'I Left My Heart at the Stage Door Canteen' and 'Southern Medley' (unissued). Riddle joined the Merchant Marine about that time, stationed at Sheepshead Bay, Brooklyn, for a couple years. He put down titles in 1943 in the orchestra of clarinetist, Jerry Wald: 'Alice Blue Gown', 'On the Sunny Side of the Street', et al. Upon leaving the Merchant Marine Riddle hired on with Tommy Dorsey in 1944, arranging and playing trombone. His initial session with Dorsey is thought to have been NBC's radio program, 'All Time Hit Parade', in Hollywood on June 18, 1944, with Bing Crosby at vocals: 'Small Fry', 'Pennies From Heaven', et al. Not a year later Nelson was drafted into the Army, his last recording with Dorsey possibly on April 1 of '45: 'Roses From the South', 'Vienna Life', et al. His tour with the military was a brief one, discharged in time to join the Bob Crosby Orchestra as an arranger for an AFRS 'One Night Stand' broadcast (#1025) from Culver City, CA, on June 1, 1946: 'Summertime' (theme), 'Blue Moon', et al. Riddle worked with Crosby on multiple occasions to as late as '53. Among the more recognizable titles Riddle arranged along the way was 'Mona Lisa' for Nat King Cole in 1950. From 'Songs for Young Lovers' in 1953 to 'She Shot Me Down' in 1981 Riddle arranged and conducted twenty-five albums by Frank Sinatra. Riddle released his own debut album as a bandleader in 1955, 'The Music from Oklahoma!', followed by 'Lisbon Antigua' and 'The Tender Touch' in '56, the first three of about 33 albums. Some twenty of his soundtracks were issued from 'Flame of the Islands', 'Lisbon' and 'Johnny Concho' in 1956 to 'Chattanooga Choo Choo' in 1984. Another of the more important figures in Riddle's career was Ella Fitzgerald with whom he arranged and conducted. Their first title with his orchestra is thought to have been 'Beale Street Blues' in 1958. Come January of 1959 it was 'Ella Fitzgerald Sings the George and Ira Gershwin Song Books'. Riddle worked with Fitzgerald for the next several years into the sixties, Lord's disco showing a last session for that period in October of 1964 for 'Ella Fitzgerald Sings The Johnny Mercer Song Book'. They would reunite in '72 ('Ella Loves Cole'), '78 ('Dream Danicng') and '82 ('The Best Is Yet to Come'). Riddle also worked in television, arranging themes for such as 'The Untouchable' in '59 and 'Route 66' in 1960 (CBS hiring Riddle to come up with an instrumental rather than paying royalties to original composer, Bobby Troup). Among others who employed Riddle's talents were Ella Mae Morse, Billy Eckstine, Georgia Carr, Keely Smith and Peggy Lee. During the eighties he arranged for Linda Ronstadt, who accepted his third Grammy on his behalf in early 1986, Riddle having died in Los Angeles on October 6 of 1985.

Nelson Riddle   1956

   I've Got You Under My Skin

     Frank Sinatra

   Lisbon Antigua 

   The Shadows

     Nat King Cole acetate demo

Nelson Riddle   1957

   It's the Same Old Dream

     Frank Sinatra

   September In The Rain

   You Are My Lucky Star

Nelson Riddle   1958

   Am I Blue?

   One For My Baby

     Frank Sinatra

   Out of the Night

   Polka Dots And Moonbeams

   Shooting Star

Nelson Riddle   1960

   Can Can


Nelson Riddle   1962

   Playboy's Theme

   Theme From Route 66

Nelson Riddle   1963

   All the Things You Are

     Ella Fitzgerald

   My Foolish Heart

     Piano: Oscar Peterson

Nelson Riddle   1964

   Something's Gotta Give

      Ella Fitzgerald

Nelson Riddle   1968

   Jet Set Pop


  The Riddle of Today


Nelson Riddle   1968


Nelson Riddle   1971

   Changing Colors


Nelson Riddle   1984

   What's New

     Filmed concert with Linda Ronstadt



Drummer Louie Bellson was born in 1924 in Rock Falls, Illinois. Bellson's first recording session is thought to have been with Benny Goodman, which orchestra he joined in 1942 in time for the September soundtrack, 'I Know That You Know', to 'The Powers Girl' issued in 1943. That was followed into December with Goodman by sessions backing Peggy Lee and Dennis Day. 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 married in 1952 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 BrownBrown 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. 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. Bellson died in Los Angeles of complications from a broken hip on Valentine's Day 2009 and was buried in Moline, Illinois.

Louie Bellson   1943


    Film: 'The Gang's All Here' 

     Vocals: Benny Goodman & Carmen Miranda


     Film: 'That Powers Girl' 

      With Benny Goodman

Louie Bellson   1954

  Blues in C

    Alto sax: Benny Carter

    Piano: Art Tatum

Louie Bellson   1957

   Skin Deep Solo

Louie Bellson   1964

   Drum Quartet

     With Shelley Manne, Irv Cottler & Philly Joe Jones

      Dancing: Caterina Valente

Louie Bellson   1967

   Drum Solo

Louie Bellson   1977


      Album: 'Prime Time'

Louie Bellson   1980

   Drum Solo

Louie Bellson   1982

   Drum Solo

Louie Bellson   1991


    Filmed live

Louie Bellson   1992


    Filmed live 

Louie Bellson   2008

   Give Me the Good Time

      With the Northern Illinois University Jazz Ensemble


Birth of Modern Jazz: Louie Bellson

Louie Bellson

Source: Ink & Beats

Birth of Modern Jazz: Victor Feldman

Victor Feldman

Source: Nino de Rose

Born in London in 1934, drummer, vibraphonist and pianist Victor Feldman was a prodigy whose father owned a swing club. Feldman gave his first professional performance at age seven at the No. 1 Rhythm Club in a trio with his brothers Monty (accordion) and Robert (clarinet). He held his first recording session at age ten on November 4 of 1944 for Parlophone with his brothers, adding Bert Howard on bass and Vic Lewis on guitar: 'Drumming Man', 'Sweet Georgia Brown', 'Coolin' Off' and 'Zanzibar'. A 1944 issue date is possible. He next recorded as a leader on February 17, 1948, grooving five tracks for the Esquire label: 'Mop-Mop', 'Lady Bird', 'Quaternity', 'Moonlight In Vermont' and 'Gone With The Wind'. His first recordings on vibraphone were in 1951, also for Esquire: 'Ego' and 'Jolly Squire'. Feldman's first name recordings as a pianist occurred in 1955, also for Esquire: 'Stella By Starlight', 'Sue Side Jump', 'Lullaby' and 'Groove For Two'. Feldman first traveled to the United States in 1955. His first Stateside recordings were on January 1, 1956, in NYC, such as 'Umf' and 'Fran' unissued by Keynote. His next session in the States was with Woody Herman's band on March 7 for such as 'For All We Know' and 'To Love again', the latter with Herman at vocals. Numerous sessions ensued with Herman, they to tour to Chicago and Salt Lake City before Feldman's return to the United Kingdom in time for sessions there in December of '56. In '57 Feldman immigrated to the States. If not before then afterward he was with Herman again, performing for 'The Jerry Lewis Show' on January 17 of '57 at an unknown location. Recording resumed in Los Angeles in May of '57 with Buddy DeFranco, supporting Helen Forrest on such as 'September Song' and 'Them There Eyes'. Feldman now working as a session player for jazz artists and the film industry, his career would well exceed a highly prolific four hundred sessions, 76 his own projects. The breadth of such clearly can't be approached here. Apt to mention, though, were notable collaborations in the early sixties with industrial strength Cannonball Adderley and hardcore Miles Davis. Feldman first joined Adderley in the summer of '60 to record 'Cannonball Adderley & The Poll Winners'. Feldman did another year with Adderley, including a tour to Europe, until May 11, 1961, that to record Adderley's 'Plus' in the latter's quintet. Feldman's two sessions with Davis in '63 were on April 16 and 17 to participate in 'Seven Steps to Heaven'. Jump ahead a good gap to 1967 when Feldman's career as a studio player found him supporting wide ventures such as Frank Zappa's 'Lumpy Gravy' in 1967, contributing percussion. 1975 found him performing electric piano on Joni Mitchell's 'The Hissing of Summer Lawns'. He played electric piano on Steely Dan's 'Aja' in 1977. Joe Walsh employed him for percussion on 'There Goes the Neighborhood' in 1981. 1982 found Feldman drumming on a few tracks of Tom Waits' 'Swordfishtrombones'. He released his final album, 'Smooth', in 1986. Lord's disco has his last recordings in that year with Osamu Kitajima (piano on 'Heaven Sent') and Tony Scott (percussion on 'One Night/One Day'). Feldman died of heart attack at his home in Woodland Hills, California, on May 12, 1987. The tracks below feature Feldman at piano. See Feldman in Early Modern Jazz Piano for samples of his work on piano.

Victor Feldman   1957


Victor Feldman   1958


      Bass: Scott LaFaro   Drums: Stan Levey

   Serpent's Tooth

Victor Feldman   1959

   Woody'n You



Birth of Modern Jazz: Norman Granz

Norman Granz

Source: Noticias de Jazz

Born in 1918 in Los Angeles, Norman Granz was not a musician (though he did play tambourine on Louie Bellson's 'Drumorama!' in 1957). But he staged the first Jazz at the Philharmonic (JAPT) in July 1944 at the Philharmonic Auditorium in Los Angeles. Jazz at the Philharmonic featured the cream of jazz musicians in a series of tours throughout Canada, Europe and the States. JAPT concerts owned considerable prestige, such that to play for Granz at a JATP concert you had to be a musician at the top of your game. Granz used various record labels to promote and distribute recordings of JATP concerts until founding his own, Verve Records, in 1956, in part to produce Ella Fitzgerald, whose manager he had been since 1946. Granz was well-liked by his musicians for two main reasons: the whole point of JATP was to showcase the masters or masters-to-be, thus pay was above average as well. Second, Granz had no problem with whites and blacks playing music together in the same ensemble. He was firmly antiracist, to the degree that he cancelled concerts at locations where segregation was expected, loss of income regardless. The last JATP concert was held in Tokyo in 1983. Granz died in 2001 in Geneva, Switzerland. The harvest below is but an iota of the many top name musicians who performed for Granz at JATP concerts.

Jazz at the Philharmonic   1944


      Guitar: Les Paul


       Guitar: Les Paul

     Piano: Nat King Cole

       Tenor Sax: Jack McVea

     Trombone: JJ Johnson

Jazz at the Philharmonic   1949

   Embraceable You

       Alto Sax: Charlie Parker

     Piano: Hank Jones

       Trumpet: Roy Eldridge

   Lester Leaps In

       Bass: Ray Brown

     Tenor Sax: Lester Young & Flip Phillips

       Drums: Buddy Rich  

     Piano: Hank Jones

Jazz at the Philharmonic   1956

   C Jam Blues

      Oscar Peterson Trio

Jazz at the Philharmonic   1957

   I Want To Be Happy

      Piano: Nat King Cole


      Oscar Peterson Trio

Jazz at the Philharmonic   1958

   It Don't Mean a Thing

      Piano: Oscar Peterson  

      Violin: Stuff Smith

      Vocal: Ella Fitzgerald

Jazz at the Philharmonic   1960

   All The Things You Are

      Tenor Sax: Coleman Hawkins, Don Byas & Stan Getz

      Trumpet: Roy Eldridge

Jazz at the Philharmonic   1966

   Goin' To Chicago Blues

       Bass: Bob Cranshaw  

     Guitar: T-Bone Walker

   Woman, You Must Be Crazy

       Bass: Bob Cranshaw

     Guitar: T-Bone Walker

Jazz at the Philharmonic   1967

   JATP Concert

       Drums: Louie Bellson

     Piano: Teddy Wilson

       Tenor sax: Zoot Sims

     Trumpet: Dizzy Gillespie



Birth of Modern Jazz: Don Lamond

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 which lists his sessions at a prolific 560. 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, in December 2003.

Don Lamond   1944


      With Boyd Raeburn

Don Lamond   1946

   Summer Sequence

      Clarinet: Woody Herman

Don Lamond   1947

   Keen And Peachy

      Clarinet: Woody Herman

Don Lamond   1951


      Piano: Marion McPartland

Don Lamond   1952


      Guitar: Johnny Smith

   Now's the Time

      With Charlie Parker

   Where or When

      Guitar: Johnny Smith

Don Lamond   1954

   Walk Don't Run!

      Guitar: Johnny Smith

Don Lamond   1954

   Body and Soul

      Violin: Joe Venuti

Don Lamond   1957

   In Other Words

      Vocal: Frances Wayne

   My One And Only Love

      Vocal: Frances Wayne

Don Lamond   1958

   Loch Lamond

      With Chubby Jackson

Don Lamond   1958


      With Woody Herman


  Born in 1913 in Faith, South Dakota, Boyd Raeburn played bass saxophone but was far better known as a bandleader. He led his first orchestra while a student at the University of Chicago. Raeburn first recorded with his own orchestra on October 23, 1943: 'I Got Rhythm' and 'Verdi Rides Again'. That was for an AFRS 'Spotlight Bands' broadcast (#187) from the U.S. Naval Training School in Cedar Rapids, Iowa. Radio transcriptions were made at the Hotel Lincoln in NYC March and April of 1944 for such as 'Speak Low' and 'Street of Dreams'. Raeburn's early career was much effected by the American Federation of Musicians recording ban of 1942-44, making his first release in August of 1944 from amidst titles put down on May 11 for V-Disc #246: 'Who Started Love?'. That was shared by Harry James' 'Crazy Rhythm' on side B. Also from that session arrived 'A Night in Tunisia' in September on V-Disc #275, that shared with titles by Tony Pastor on side A. Two other titles from that session were issued in June of 1946 on side B a 12" V-Disc #647 (shared with Hoagy Carmichael on side A): 'March of the Boyds' and 'Two Spots in an Igloo'. Among the various arrangers Raeburn employed were George Handy, Dizzy Gillespie, Ralph Flanagan and Johnny Richards. Though Raeburn was a highly regarded bandleader he had great difficulty attaining to commercial success and keeping bands together. Going bankrupt a number of times, he was once saved by a large cash donation from Duke Ellington who was a fan. Howsoever, his band completely folded in 1949. Though he issued three albums in the fifties for Columbia they went nowhere. Raeburn died in 1966 in Lafayette, Louisiana, of heart attack, thought to be caused by the earlier trauma of an auto accident in Texas during which he was trapped for twenty hours inside an overturned vehicle.

Boyd Raeburn   1944


      One Night Stand' radio broadcast

   Night In Tunisia

      Radio broadcast

Boyd Raeburn   1945



      Trumpet: Dizzy Gillespie

Boyd Raeburn   1946

   Blue Echoes

   Body and Soul

      Vocals: David Allyn & Ginnie Powell

   Boyd Meets Stravinsky

   Dalvatore Sally

   The Eagle Flies

   Little Boyd Blew His Top


      V-Disc 677

   Memphis In June

      Vocals: David Allyn & Ginnie Powell

   Over the Rainbow


Birth of Modern Jazz: Boyd Raeburn

Boyd Raeburn

Source: Jazz Wax

Birth of Modern Jazz: Max Roach

Max Roach

Source: Jerry Jazz

Max Roach was a seriously gifted drummer who studied classical percussion before beginning his jazz career in 1942. Born in 1923 near Newland, North Carolina, he 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. From 'Work Time' in '55 to 'Stuttgart 1963' Roach would contribute to seven Rollins albums. With 385 sessions to Roach's career, we jump ahead a bit from '49 to May 25 of 1955 and the Dizzy Gillespie Septet for Sarah Vaughan: '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!' they to work together on multiple occasions to 'Straight Ahead' in 1961. 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 in August 16, 2007, in Manhattan and was buried in Bronx. Among the numerous others with whom he had recorded were Buddy DeFranco, Chet Baker, Dave Brubeck and Thelonious Monk. More of Roach under Booker Little.

Max Roach   1943

   Blues Changes

    Coleman Hawkins Quintet

   Lover Come Back To Me

    Coleman Hawkins Quintet

Max Roach   1944

   Rainbow Mist

    Coleman Hawkins Orchestra

Max Roach   1945

   Now's the Time

      Alto sax: Charlie Parker

     Bass: Curley Russell

      Piano: Dizzy Gillespie

     Trumpet: Miles Davis

Max Roach   1945

   Now's the Time

      Alto sax: Charlie Parker

Max Roach   1955

   Clifford Brown * Max Roach


   A Foggy Day

   Haitian Fight Song

   Love Chant

Max Roach   1956

   Woody 'n You

Max Roach   1957


      Saxophone: Sonny Rollins

   Minor Trouble

      Saxophone: Sonny Rollins

Max Roach   1960

   We Insist! Freedom Now

      Album   Vocal: Abbey Lincoln

Max Roach   1962

   Money Jungle


      Bass: Charles Mingus

   Piano: Duke Ellington

Max Roach   1964

   Driva Man

      Vocal: Abbey Lincoln

      Filmed live

   Freedom Day

      Vocal: Abbey Lincoln

      Filmed live


      'Prayer'   'Protest'   'Peace'

      Vocal: Abbey Lincoln

      Filmed live

Max Roach   1968

   Copenhagen Jazz Festival 1968

      Filmed concert


      Album: 'Members, Don't Git Weary'

Max Roach   1976



Max Roach   1992

   Newport Jazz Festival 1992

      Filmed concert

Max Roach   1994

   Mr. Hi-Hat

      Filmed live



Arranger, composer, conductor and pianist Les Baxter studied classical piano at the Detroit Conservatory and Pepperdine College in Los Angeles. Born in 1922, he began his jazz career playing sax for Freddie Slack on November 24 of 1943, titles like 'Silver Wings in the Moonlight' and 'Small Batch o' Nod'. He was singing bass with Mel Tormé and the Mel-tones in 1944 per 'Where or When'. Unissued titles with alto saxophonist, Dave Matthews, were put down on January 14 of '44 before further sessions with Slack and Tormé, the latter to be a major figure through the forties. Baxter was famous for exotica, as well as conducting with one of the rarer musical instruments, the theremin. The theremin is featured below with tracks from Baxter's first two albums, 'Music Out Of the Moon' and 'Perfume Set to Music', released in 1947 and 1948. He scored his first film, 'Tanga Tika', in 1953 and focused on soundtracks throughout his career, thus his mixture of classical, jazz and pop. In 1956 his orchestra backed Ella Mae Morse on titles like 'Down in Mexico' and 'I'm Gonna Walk'. His career ran through the seventies before largely dropping off after the soundtrack to 'Born Again' in 1978. Having issued well above sixty albums, Baxter passed away on January 15 of 1996, and was buried in Corona del Mar, California. His soundtrack to the 1961 film, 'The Lost Episode', had been released the prior year.

Les Baxter  1945

   Lullaby Of Broadway

      With Mel Tormé and the Mel-Tones

   Tantza Babele

      With Mel Tormé and the Mel-Tones

Les Baxter  1947

   Lunar Rhapsody

      Composition: Harry Revel

      Theramin: Samuel Hoffman


      Composition: Harry Revel

       Theramin: Samuel Hoffman

Les Baxter  1948


      Composition: Harry Revel

      Theramin: Samuel Hoffman

Les Baxter  1951

   The Ritual of the Savage


Les Baxter  1952

   Blue Tango

Les Baxter  1953


      Vocalist: Bill Kennedy

Les Baxter  1956

   Sinner Man

      Vocalist: Will Hart

Les Baxter  1957

   Tahiti: A Summer Night At Sea

Les Baxter  1970


   Boca Chica


Birth of Modern Jazz: Les Baxter

Les Baxter

Source: Discogs

Birth of Modern Jazz: Art Blakey

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, and young Wayne Shorter on tenor sax 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 apart from the Messengers and dozens on which he performed as sideman, such as Dorham's album, 'Afro/Cuban', in 1955. The Messengers are interspersed throughout the tracks below without mention, many live performances. The group will also be found under pianist Cedar Walton. Blakey gave his last performance in July of 1990, he dying that October 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'. Per below, Horace Silver plays piano on tracks 1954 through 1956.

Art Blakey   1944

   I Want To Talk About You

      With Billy Eckstine

Art Blakey   1945

   Blowing The Blues Away

      With Billy Eckstine

   I Love The Rhythm In A Riff

      With Billy Eckstine

Art Blakey   1951

   It's Only A Paper Moon

    With Miles Davis 

Art Blakey   1954


   Split Kick

Art Blakey   1955


    Album: 'Horace Silver and the Jazz Messengers' 

   Lady Bird

Art Blakey   1956


   The End Of a Love Affair

   The New Message


Art Blakey   1958



   A Night In Tunisia

    Filmed live

   It's You or No One

     Filmed live 

Art Blakey   1961

   Dat Dere

Art Blakey   1962



      Filmed live

Art Blakey   1965


    Filmed live 

Art Blakey   1980


      Live   Trumpet: Wynton Marsalis

Art Blakey   1989

   Leverkusen Jazzfest

      Filmed concert



Birth of Modern Jazz: Roy Haynes

Roy Haynes

Source: Metal Jazz

Drummer, Roy Haynes, was born in 1925 in Boston. Well-known for his contributions to avant-garde and fusion jazz, he began his professional career at age seventeen in Boston. He made his first recordings in 1945 in New York City with Luis Russell, Lord's disco showing him in seven sessions with Russell from unknown dates in 1945 to latter 1946. Three sessions in 1945 included 'Yesterdays', 'Kansas City Holiday', 'You Taught Me How to Smile Again' and 'After Hour Creep, et al. Four sessions in 1946 witnessed 'Sweet Memory', '1280 Jive', 'You Gave Me Everything But Love' and 'Gone', et al. Titles backing Babs Gonzales in August of 1947 followed. A couple associates with high impact on Haynes career arrived about that time, Haynes recording Sarah Vaughan's 'One Night Stand' ('97) on November 8 of 1947 in Lester Young's Orchestra. Haynes acquired his associates degree in the business of jazz from Young, hanging with the latter to June 28, 1949, for such as 'Crazy Over J-Z' and 'Ding Dong the Witch Is Dead'. Vaughan would be one of the more important figures in Haynes' career into the latter fifties, holding countless sessions with her, including at Carnegie Hall in '54 and the Newport Jazz Festival in '57, to as late as March 7 of 1958 in Chicago for 'After Hours at the London House'. Before leaving Young in the summer of 1949 another important figure arrived on April 27 that year to back Babs Gonzales on such as 'St. Louis Blues' and 'Real Crazy', that saxophonist, Sonny Rollins. Haynes' first period with Rollins ran to January 17 of 1951 in NYC for 'I Know' with Miles Davis and Percy Heath. A second period commenced in 1957, Rollins' 'The Sound of Sonny' going down in June that year. They recorded at the Newport Jazz Festival in 1958, their last session that year thought to have been five days later on July 11 for such as 'Grand Street', 'Far Out East', etc.. Lord's disco has Haynes and Rollins reuniting at Carnegie Hall in a trio with bassist, Christian McBride on September 18 of 2007 for 'Some Enchanted Evening'. That trio became a quartet with Ornette Coleman on alto sax at the Beacon Theatre in NYC on September 10, 2010, for 'Sonnymoon For Two'. We return to July 28, 1949, for the major presence that Stan Getz would be in Haynes' career, that thought to be their first session together, backing pianist, Al Haig, with Kai Winding at trombone on what would get released in 1968 on a Getz/Haig compilation called 'Prezervation'. Haynes held simultaneous careers with both Rollins and Getz into 1951. In December of '49 Haynes joined Getz and Winding at Carnegie Hall for 'Always' and 'Sweet Miss'. Haynes' last session of that period with Getz was also a quintet on August 15 of 1951 with pianist, Horace Silver, for such as 'Melody Express' and 'Yvette'. They reunited in 1961 and 1965-67, their last titles together thought to have been on August 31 of '67 in Chicago for such as 'Wives and Lovers', 'The Windows of the World', et al. While doubling up with Rollins and Getz in 1949 Haynes tripled up as well with Charlie Parker, joining the latter's quintet in November that year with Red Rodney at trumpet at the Pershing Ballroom in Chicago for private recordings of 'Perdido', 'Allen's Alley', etc.. Haynes' earned his stripes with Parker into the mid fifties, beginning at Carnegie Hall for a VOA (Voice of America) broadcast in December of 1949, also with Rodney, for such as 'Ornithology' and 'Cheryl'. Haynes hung with Parker, recording numerously, to August 27, 1954, for a WABC broadcast from the Birdland bearing such as 'What Is This Thing Called Love?' and 'Repetition'. (Parker would die in March of 1955.) Later in 1954 on October 23 Haynes held his debut session as a leader in Stockholm, Sweden, resulting in 'Busman's Holiday'. Thirty-one albums later he recorded 'Roy-Alty' in January of 2011. On September 21, 1959, another major force had entered Haynes' space in the person of saxophonist, Sonny Stitt, the latter's 'The Sonny Side of Stitt' going down on that date. Multiple Stitt LPs ensued to 'Sax Expressions' in April of 1965. They had participated in 'Charlie Parker Tenth Memorial Concert' at Carnegie Hall the preceding month. They reunited for a rendition of 'A Night in Tunisia' with Art Blakey's Jazz Messengers in Central Park, NYC, on July 7, 1973. On February 4 if 1975 Haynes contributed to Stitts 'Mellow'. During the sixties arrived the major figures that were Gary Burton, Steve Swallow and Chick Corea. It was Burton and Swallow in August of 1966 to back Stan Getz' LP, 'A Song After Sundown'. It was Burton's 'Tennessee Firebird' in September of 1966 in Nashville, also with Swallow and joined by Chet Atkins. They backed Stan Getz during a couple sessions in Europe in 1966, then put down Burton's 'Duster' in April of 1967, also with Swallow. 'Country Roads & Other Places' arrived in September of 1968 with Swallow. Come a reunion with Burton in Belgrade, Yugoslavia, on November 6, 1973, with tenor saxophonist, Joe Henderson, for 'In a Modal Way'. It was Burton's 'Times Square' in 1978 w Swallow and Tiger Okoshi (trumpet). Come 'Like Minds' in 1997 w Chick Corea (piano), Pat Metheny (guitar) and Dave Holland (bass). Which mention returns us to Corea in 1967 with Getz and Swallow for 'Windows' on Corea's 'Music Forever and Beyond'. It was Corea's Trio with Miroslav Vitouš at bass March 14, 1968, for Corea's 'Now He Sings, Now He Sobs'. That trio held a couple more sessions that year, to reunite in November of 1981 for 'Trio Music'. In 1982 Reseda, California, witnessed 'The Trio - Live from the Country Club'. In September of 1984 'Trio Music -Live In Europe' went down in Switzerland. That trio recorded 'Matrix' at the Blue Note in December of 2001, seemingly Haynes' last session with Vitouš. In the meantime Haynes had held multiple sessions variously with both Corea and Vitouš. 1981 had seen Corea and Gary Peacock (bass) backing Joe Henderson in Montreux Jazz Festival in Switzerland. Haynes joined Corea and Vitouš on a tour to Tokyo in 1983. Other keyboardists of especial importance to Haynes' career were pianists Bud Powell, Thelonious Monk, Duke Jordan and Claude Williamson. Haynes is another drummer whose career of 409 sessions requires a book to cover. Among the host of others with whom he had recorded through the years were Milt Jackson, Stephane Grappelli, Larry Coryell, Ray Brown and Clark Terry. Haynes is yet active as of this writing. The bottom several edits below are live performances. Per 2010 below, Haynes is 85 years old.

Roy Haynes   1947

   Easy Does It

      Saxophone: Lester Young

Roy Haynes   1953

   Moose the Mooche

      Piano: Red Garland

      Saxophone: Charlie Parker

Roy Haynes   1954

   Little Leona/Gone Again

      Album: 'Busman's Holiday'

Roy Haynes   1958

   Sneakin' Around

Roy Haynes   1963

   Go 'n Git It!

      Album: 'Cymbalism'

   I'm Gettin' Sentimental Over You

      Album: 'Cymbalism'


      Album: 'Cymbalism'

Roy Haynes   1971

   I'm So High

Roy Haynes   1973

   Blue n' Boogie

      Original composition: Dizzy Gillespie

     Trumpet: Jimmy Owens

      Live performance

   Tin Tin Deo

   Togyu (Bullfight)

Roy Haynes   1998

   My Little Suede Shoes

Roy Haynes   2009

   Heineken Jazzaldia 2009

      Filmed concert

Roy Haynes   2010

   Vitoria-Gasteiz Jazz Festival 2010

      Piano: Chick Corea Piano

      Filmed concert



Birth of Modern Jazz: Stan Levey

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 KentonKenton 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.

Stan Levey  1945

   Dizzy Atmosphere

      Alto sax: Charlie Parker

     Bass: Ray Brown

      Piano: Al Haig

     Trumpet: Dizzy Gillespie

     Vibes: Milt Jackson

   Shaw 'Nuff

      Alto sax: Charlie Parker

     Bass: Ray Brown

      Piano: Al Haig

     Trumpet: Dizzy Gillespie

     Vibes: Milt Jackson

Stan Levey  1955

   Casa de Luz

      Lighthouse All-Stars

     Bass: Howard Rumsey

      Trombone: Frank Rosolino

   Diggin' For Diz

      Stan Levey Sextet

   Stanley The Steamer

      Stan Levey Sextet

Stan Levey  1956

   Hit That Thing

      Trombone: Frank Rosolino

   My Deluxe

      Trombone: Frank Rosolino

Stan Levey  1957

   I Didn't Know What Time It Was

      Trombone: Frank Rosolino

   One For Joan

      Trombone: Frank Rosolino

   One For Stan

      Trombone: Frank Rosolino

Stan Levey  1958

   Chart of My Heart

      Filmed live  

      Bass: Scott LaFaro

     Trombone: Frank Rosolino



Birth of Modern Jazz: Terry Gibbs

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 the Dream Band, 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. 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. His tribute to bebop, '52Nd & Broaday', was issued in 2005. Yet active of this writing, Gibbs is credited with 47 albums by Wikipedia, his latest 'Findin' the Groove' with Hubert Laws in 2006. He can be found under Buddy DeFranco as well.

Terry Gibbs   1948

   Early Autumn

      With Woody Herman

   Lemon Drop

      With Woody Herman

Terry Gibbs   1949

   Bop Scotch

      With Serge Chaloff

   The Most

      With Serge Chaloff

Terry Gibbs   1950

   Lullaby Of The Leaves

      With Benny Goodman

  Temptation Rag

      With Benny Goodman

Terry Gibbs   1951

   Farewell Blues

      With Benny Goodman

Terry Gibbs   1953

   Nutty Notes

       Pianist: Terry Pollard

Terry Gibbs   1955

   Four or Five Times

      With Benny Goodman

Terry Gibbs   1956

   Gibberish/Now's the Time

      Live   Pianist: Terry Pollard

Terry Gibbs   1982

   Air Mail Special/Hot Blues

     Live on the 'Tonight Show'


   Opus One



Birth of Modern Jazz: Milt Jackson

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 were three sessions with Lucky Thompson to Dinah Washington in December, 1945, his first two tracks being 'Wise Woman Blues' and 'Walkin' Blue'. 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. 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 of the permanent 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 replacing Clarke in 1955, the MJQ remained together until 1974. The group often regathered to perform from 1981 to 1993. That last session on July 16 of '93 at the Montreaux Jazz festival yielded 'Darn That Dream' with Nino Tempo on tenor sax. The MJQ yet consisted of Heath, Lewis and Kay. That configuration 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 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 dderley'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. Amidst the host of others with whom he had recorded were John Coltrane, Paul Desmond, Stanley Turrentine and George Benson.

Milt Jackson   1945

   My Voot Is Really Vout

       Album: Dinah Washington's 'Mellow Mama'

   No Voot, No Boot

       Album: Dinah Washington's 'Mellow Mama'

   Wise Woman Blues

        Album: 'Dinah Washington Sings The Blues'

Milt Jackson   1946




   Round About Midnight

Milt Jackson   1952


Milt Jackson   1955

   Dr. Jackle (Jackie McLean)

      Trumpet: Miles Davis

   Opus de Funk

      Piano: Hank Jones

Milt Jackson   1956

   Milt Jackson Lucky Thompson Quintet


   Roll 'Em Bags

     Album with Kenny Clarke 

Milt Jackson   1957

   Somebody Loves Me

      Vocal: Chris Connor

Milt Jackson   1958

   Afternoon In Paris

     Milt Jackson Sextet

Milt Jackson   1970

   Enchanted Lady

     With the Ray Brown Big Band 

Milt Jackson   1974


Milt Jackson   1977

   Once I Loved

      Piano: Monty Alexander

   Soul Fusion

      Piano: Monty Alexander

Milt Jackson   1984


      Filmed live with Percy Heath

Milt Jackson   1986

   Bag's Groove

      Filmed live

Milt Jackson   1990


      Filmed live


      Filmed live

   Round Midnight

      Filmed live

Milt Jackson   1994

   Take the 'A' Train

      Filmed live

Milt Jackson   1995

   Munchner Klaviersomner

      Piano: Makoto Ozone

      Filmed live



Birth of Modern Jazz: Phil Seamen

Phil Seamen

Photo: Terry Cryer

Source: All About Jazz

Born in 1926 in Staffordshire, England, drummer Phil Seamen began playing drums at age six, turning professional at age eighteen upon joining Nat Gonella and his Georgians in 1944. Lord's disco has him recording with Gonella in London on July 22, 1946, for Decca: 'Put the Blame on Mame', 'One Meat Ball', et al. In 1948 Seamen joined the Tommy Sampson Orchestra, followed by the Joe Loss Orchestra. In 1951 he became a member of Jack Parnell's band, thought to have first recorded with Parnell on October 28, 1952: 'Catherine Wheel', 'The Champ' and 'Summertime'. Tenor saxophonist, Ronnie Scott, was in on that, commencing one of the more important musical relationships in Seamen's career. Together with backing others from Petula Clark to Victor Feldmann, Seaman supported Scott numerously from September 7, 1954 ('The Ronnie Scott Jazz Club Vol 4' Esquire 32-006) to 'Presenting The Ronnie Scott Sextet' on January 9, 1957. Lord's disco has Scott and Seamen together as late as January 1966 for 'Presenting The Harry South Big Band'. It was at Scott's jazz club in London in January of 1971 where Tony Coe's 'Brian Lemon Trio' went down with Dave Green at bass. We back up to the Jimmy Deuchar Sextet on January, 26, 1953, for 'Showcase'. Deuchar would be a significant figure in Seamen's career. Seaman sided for Deuchar on multiple occasions, such as 'Pal Jimmy' in 1958. They also partnered in other bands, particularly those of Ronnie Scott and Victor Feldman. Lord's disco has them together as late as 1966 for Georgie Fame's 'Sound Venture'. From 1952 to 1958 Seamen worked with Kenny Graham's Afro-Cubists, their initial session thought to have been on October 23, 1953, for 'Beguine', 'Tempo Medio Lento', et al. About 1954 Seamen began working as a session musician in plentiful demand much contributing to his 155 sessions during his 26-year recording career. It was also 1954 when Seamen joined Tubby Hayes in June in Jack Parnell's band for 'Sure Thing'. Hayes and Seamen interweaved often into the sixties, backing other operations when not working on Hayes' projects such as 'The Last Word' and 'Tubby's Groove' in '59 and 'Blues at The Manor 1959-60'. Lord's disco has them recording as late as August 9 of 1966 at Scott's jazz club for 'Night and Day'. It was also 1954 when Seamen joined Victor Feldman in September for 'Serenade in Blue' and 'Nice Work If You Can Get It'. Seamen remained with Feldman, often in association with Scott, to January of 1957 for such as 'Strollin'', 'Short Circuit', 'Wail' and 'Wailing Wail'. The one time Seamen attempted to visit the United States he was arrested for drug possession (1957), thus never performed in America. Seamen's first titles as a leader were in 1956. Among the few of his own later projects were 'Now! ... Live!' in a trio with Tony Archer (bass) and Tony Lee (piano) in 1968, the same year as 'Phil Seamen Meets Eddie Gomez'. About that time his career went into snooze due to alcohol and heroin addiction. In 1970 Seamen found himself playing with Ginger Baker's Air Force. He didn't care for rock music ("Too bloody loud!"), but the band's energy, not to mention that Baker had been a prior student of his, shook him out of his malaise and he began working busily again. Sadly, the damage had already been done, such that Seamen died upon falling to sleep in October of 1972, due less to overdose of alcohol and drugs on that occasion than the accumulative effects of such over the years. He was only 46 years old. His last known live recordings were at the Hope & Anchor in June of 1972, listed below, issued on 'The Phil Seamen Story' that year. Among the numerous others with whom he had laid tracks were Joe Harriott, Dizzy Reece, Tommy Watt, Stan Tracey, Alexis Korner, Duffy Power and Carmen McRae. Nigh all titles below from 1955 through 1959 are with Tubby Hayes on tenor saxophone.

Phil Seamen   1952

   The Champ

      With Jack Parnell

 Phil Seamen   1953

   Bongo Chant

      With Kenny Graham

Phil Seamen   1955

   Final Selection

Phil Seamen   1956

   Scrapple From The Apple

      With the Dizzy Reese Quintet

   A Tribute

      Trumpet: Jimmy Deuchar

Phil Seamen   1958

   The Moon Was Yellow

Phil Seamen   1959

   Hook's Way

   Like Someone to Love


   Tin Tin Deo

   The Trolley Song

Phil Seamen   1960

   Free Form

      With the Joe Harriot Quintet

Phil Seamen   1968

   Cool of the Evening

      Filmed live   Saxophones: Al Cohn & Zoot Sims

Phil Seamen   1970

   Don't Care

      With Ginger Baker

Phil Seamen   1972

   Live at the Hope & Anchor


Birth of Modern Jazz: Toots Thielemans

Toots Thielemans

Source: Enciclopedia del Jazz

It is thought Toots Thielemans, guitarist and harmonica player born in Belgium in 1922, first recorded in March of 1943 in Brussels, those titles with the Het Trio unissued: Les Yeux Noirs', Solitude', etc.. He played guitar on those with Gilbert DeLange on drums. His next recordings are thought to have been with the Robert De Kers Orchestra in early 1946, those for Animated Cartoons which Lord's disco links to the Belgian film, 'Modern Moods'. February 8 of 1946 found Thielemans in the band of Rud Wharton for titles like 'Don't Fence Me In' and 'Amor, Amor'. Theielemans was a prolific recording career of some 470 sessions, nigh a couple hundred of those his own. We'll not attempt to squeeze that into this pill box, and mention but a very few of its more significant events. Among the first would be his debut recording on harmonica rather than guitar. Thielemans was host to not a few American jazz musicians who toured to Europe during his career. Benny Goodman was the first visiting American with whom Thielemans recorded, that on harmonica for BBC Radio in London on July 16, 1949, with the Benny Goodman Quintet for 'After You've Gone'. Thielemans would see Zoot Sims, more of Goodman and Leonard Feather as well before moving to the United States in 1951 (citizenship in '57). His last recordings in Europe had been in October in Brussels that year for 'High School Cadets March', 'Michigan' and 'Birds and Bees'. His first in the States was a trio with Dick Hyman (organ) and Harry Reser (banjo) in NYC on June 12 of 1952 for 'The Jazz Me Blues', 'Smoke Rings', et al. His next session would be one of his more important in that it was for pianist, George Shearing, who would become a major figure in Thieleman's career. That was at the Birdland on December 6 of '52 for such as 'Pick Yourself Up' and 'Tenderly', et al. Thielemans spent the next seven years in countless sessions with Shearing to October, 1959, for Shearing's 'Satin Brass'. Among highlights in the early sixties was a trip to Europe in June 1962 to perform at the Ruhr Festival in Germany with Hans Koller and Rolf Ericson, et al, that to be found on 'Jazz Workshop - Ruhr Festival 1962'. Another important figure in Thielemans career was bandleader, Quincy Jones. Thielemans contributed harmonica, guitar and whistling to Jones' 'Explores the Music of Henry Mancini' on February 5 of 1964. He was with Jones again on May 21 of 1966 to support Peggy Lee's 'Happy Feet', 'The Shining Sea' and 'Stay With Me'. Albums with Jones followed from 1969 to 1972, 'Mellow Madness' in '75, 'The Dude' in 81 and 'Live at Budokan' in '85 in Tokyo. Thielemans contributed to numerous soundtracks during his career from 'The Pawnbroker' in 1964 to 'French Kiss' in 1995. He also worked in television, such as the theme to 'Sesame Street' in 1969 ('Can You Tell Me How to Get to Sesame Street?' Joe Raposo). He appeared on Billy Eckstine's last album in 1984: 'I Am a Singer'. Thielemans was made an NEA Jazz Master in 2009. He recorded as late as '90 Years' in 2011, also contributing to 'Grégoire Maret' that year. Thielemans died on August, 22, 2016. Among the host of others on whose recordings Thielemans can be found are Bill Ramsey, JJ Johnson, Dannie Richmond, Sylvia Vrethammar, Monica Zetterlund, Pat Metheny and Shirley Horn. Thielemans on guitar.

Toots Thielemans   1950

   Jazz Me Blues

Toots Thielemans   1951

   Harmonica Rag

Toots Thielemans   1958

   Them There Eyes

Toots Thielemans   1959


      Piano: Ray Bryant

Toots Thielemans   1970

   The Railroad Song

      Guitar: Mads Vinding

Toots Thielemans   1972

   Love Theme From 'The Getaway'

Toots Thielemans   1975

   What Are You Doing The Rest Of Your Life

Toots Thielemans   1979

   Body & Soul

      Piano: Bill Evans

   The Days Of Wine And Roses

      Piano: Bill Evans

   Jesus' Last Ballad

      Piano: Bill Evans

Toots Thielemans   1982


Toots Thielemans   1985

   David Letterman Show


Toots Thielemans   1992

   Always and Forever

      With Pat Metheny

Toots Thielemans   1998

   Tenor Madness

Toots Thielemans   2000

   Hard To Say Goodbye

Toots Thielemans   2009

   Time Remembered/Very Early

Toots Thielemans   2012

   Midnight Cowboy




Birth of Modern Jazz: Jack Costanzo

Jack Costanzo

Source: Latin Jazz Corner


Bandleader and bongo player Jack Costanzo began his career in music with his wife as dancer. An important figure in Afro-Cuban jazz, the reason he isn't listed in Latin Music is that he was born in Chicago (1919). In 1947 he joined the Stan Kenton Orchestra with which he first recorded on bongos on September 24 on such as 'Prologue Suite'. Costanzo worked with Kenton into the fifties, though in 1949 he became a member of Nat King Cole's ensemble with which he remained until 1953 with a reunion in 1956. His first titles with Cole in 1949 were 'Laugh! Cool Clown' and 'Bop Kick'. On November 4 of 1949 they performed at Carnegie Hall for what would get issued in 2010 as 'The Forgotten 1949 Carnegie Hall Concert'. Costanzo formed his own band in 1950 and began issuing albums in 1954: 'Afro Cuban Jazz North-Of-The-Border' and 'Afro-Cubano' (December). Six more LPs ensued in the fifties: 'Mr. Bongo' (1956), 'Mr. Bongo Has Brass' (1956), 'King of the Bongos' (1957), 'Mr. Bongo Plays Hi-Fi Cha Cha' (1957), 'Latin Fever' (1958) and 'Bongo Fever: Jack Costanzo at the Garden of Allah' (1959). The sixties brought 'Afro Can-Can' (1960), 'Learn–Play Bongos' (1961), 'Naked City' (1961) and ''Bongo Fever!' (1966). 1971 saw 'Vivo Tirado'. Costanzo had begun touring internationally during the fifties, also appearing in film and on television. Costanzo was largely retired when he got ants in his pants and released the first of several more albums in thirty years in 2001: 'Back From Havana'. To follow were 'Scorching the Skins' (2002), 'Latin Percussion with Soul' (2003) and 'Versatile Mr. Bongo Plays Jazz, Afro and Latin' (2005). Costanzo is yet active touring California and internationally as of this writing.

Jack Costanzo   1949

   Laugh, Cool Clown

Jack Costanzo   1954


   Viva Torado

Jack Costanzo   1957

   Bongo Cha Cha Cha!





  Born in 1934 in Acton, London, drummer Eric Delaney started his career with the Bert Ambrose Quartet. He joined Geraldo Bright's outfit in December of 1946, thought to have first recorded with Bright the year on such as 'Chi-Baba, Chi-Baba' and 'Now Is the Hour'. Unfortunately major portions of Delaney's career are missing at YouTube, as well as Geraldo Bright's during that period. (The one recording discovered, below, on which Delaney likely appears is too worn for listening). It was with Bright that Delaney began coming fore both on stage and via radio programs such as 'Tip Top Tunes', 'Music Through the Shows' and 'The Charlie Chester Show'. Delaney left Bright in 1954 to form his own orchestra, also recording with the Melody Maker All Stars in 1954 and '55. About the cusp of the decade he downsized to a smaller band as big band jazz gave way to smaller ensembles as well as rock n' roll. Of note in 1960 is his recording of the album, 'Repercussion', with drummer, Louie Bellson (unfound). In 1965 he dissembled his band as he began performing in Las Vegas and the Bahamas, putting an ensemble together again in 1975. During the eighties he played regularly at the Tower Ballroom in Blackpool. In 1991 he thought hair too much bother and shaved his head. From 1998 to 2006 he lived in Spain, commuting to Great Britain to work. During his latter years he gigged at Ronnie Scott's Jazz Club in London and oft played with the Wigan Youth Jazz Orchestra. Delaney passed away in London in 2011.

Eric Delaney   1947

   South America Take It Away

      Geraldo Bright Orchestra

Eric Delaney   1955

   Waxing The Winners

      Melody Maker All Stars

Eric Delaney   1956

   Rock n' Roll King Cole

Eric Delaney   1957

   Old King Rock & Roll

      Filmed live

Eric Delaney   1961

   Drum Twist

Eric Delaney   1962

   Sing Sing Sing

Eric Delaney   1992


Eric Delaney   2009

   Big Noise From Winnetka


Birth of Modern Jazz: Eric Delaney

Eric Delaney

Photo: Christian Him

Source: The Guardian

Birth of Modern Jazz: Sonny Payne

Sonny Payne

Source: Drummer Cafe


Born in 1926 in New York City, drummer Sonny Payne, for whom the adjective "awesome" is not hyperbole, had drummer, Chris Columbus, for a father. Payne began to play professionally in 1944 with Dud & Paul Bascomb band. He then worked with saxophonist Earl Bostic from 1945 to 1947. April of '47 found him recording his first titles with the Bob Merrill Orchestra for 'You Took My Woman' and 'Blues Without Booze' (Aladdin 3002). Come a quintet led by guitarist, Tiny Grimes. on December 30 of '47 for the Atlantic label: 'Profoundly Blue', 'Blue Harlem', 'That Old Black Magic' and 'Boogie Woogie Barbecue'. His next session with Grimes was on March 16 of 1949, also for Atlantic: 'Jealousy'/'The Sidewalks Of New York'. Payne commenced the fifties in the band of Erskine Hawkins with which he remained to 1953. Their first session on July 1 of 1950 yielded such as 'Hey Pretty Baby' and 'Opportunity'. Their last session on September 17, 1953, saw 'My Baby Please', Function at the Junction', et al. A reunion on February 9, 1956 witnessed 'The Yurt', 'Waltz in Blue', et al. Concurrent with Hawkins Payne sided 'Song of the Wanderer', 'Birmingham', et al, for Jimmie Mitchell. Tenor saxophonist, Julian Dash, was in on that, with whom Payne maintained a circle through Hawkins, supporting Dash on numerous titles in 1951 from 'Hot Rod' to 'Cry' with Carmen Taylor at vocals. With Payne's sessions approaching 250 we jump ahead a bit to the most important figure in his early career, that Count Basie whose band he joined at the Municipal Auditorium in Topeka, Kansas, in February 1955, for what would get issued in 1989 as 'Count Basie and The Stars of Birdland on Tour!'. Payne traveled with Basie well into the sixties and would record some 33 albums with him to as late as October 4, 1973, in London for 'Basie The Last Decade'. Lord's disco lists Payne's single tune as a leader as 'Clap Hands! Here Comes Charlie', recorded in March of 1959 for an album featuring various drummers called 'More Drums On Fire'. Due Basie, Frank Sinatra would also much shape Payne's career. Payne first backed Sinatra in Basie's band in Los Angeles on October of 1962 for 'Sinatra–Basie: An Historic Musical First'. Their last titles together were in early 1966 with Basie in Las Vegas for 'Sinatra at the Sands. Payne also recorded with such as Duke Ellington, Joe Newman, the Harry James Orchestra and Illinois Jacquet. He died of pneumonia in 1979 in Los Angeles, only fifty-two years of age. Most of the recordings below were filmed live.

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

   Drum Solo

Sonny Payne   1961

   Drum Solo

      Count Basie Orchestra

   Old Man River

      Count Basie Orchestra

Sonny Payne   1962

   Corner Pocket

      Count Basie Orchestra

   Drum Solo

      Filmed live


      Filmed concert   Count Basie Orchestra

Sonny Payne   1967

   Blues For Sale

      Harry James Orchestra

Sonny Payne   1971

   Drum Solo

      Harry James Orchestra

Sonny Payne   1978

   Opus One

      Harry James Orchestra



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'', 'Wow!', 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. His album, 'Trailways Express', followed in London in 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.

Philly Joe Jones   1953


      Trumpet: Clifford Brown

   I Remember You

      Piano: Elvin Hope

   'Round Midnight

      Trumpet: Miles Davis

Philly Joe Jones   1958

   Blues For Dracula

      Bass: Jimmy Garrison

     Piano: Tommy Flanagan


      With Cannonball Adderley

Philly Joe Jones   1959

   Joe's Debut

Philly Joe Jones   1960

   Two Bass Hit

Philly Joe Jones   1961

   Le Roi

      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!


Philly Joe Jones   1968

   Here's That Rainy Day

    Album: 'Mo' Joe' 

   Trailways Express

       Album: 'Mo' Joe' 

Philly Joe Jones   1975

   On Green Dolphin Street

     Album   Recorded 1959

        Piano: Bill Evans


Birth of Modern Jazz: Philly Joe Jones

Philly Joe Jones

Source: Jazzipedia

  Born in Spanish Harlem in 1930, conguero Sabu Martinez began playing professionally as a teenager. Though born in the States, he lived in Puerto Rico for a time in 1944. After a year in the military, age 17, he joined the Joe Loco Trio in NYC. In 1948 he replaced Chano Pozo's vacancy in Dizzy Gillespie's outfit upon Pozo's untimely death. That occasioned Martinez' first session with Gillespie at the Royal Roost in NYC in October for AFRS 'Jubilee' #313: 'The Squirrel', 'Taboo', etc.. Numerous sessions were held with Gillespie in the next couple of months, they finally recording such as 'Guarachi Guaro' and 'Swedish Suite' in December, the latter for an AFRS broadcast of 'Christmas Jubilee'. A rapid succession of sessions followed with Benny Goodman from March 8 of '49 to the 29th bearing numerous titles from 'Chico's Bop' to 'Clarinade'. He squeezed in Mary Lou Williams on June 10 of 1951 for 'The Sheik of Araby'. Sessions with Buddy DeFranco on October 2 of 1952 and June 5 of 1953 involved drummer, Art Blakey, leading to the duo on November 23 of 1953 issued in 1955: 'Message From Kenya'. Future occasions with Blakey saw such as 'Orgy in Rhythm' and 'Cu-Bop' in 1957, and 'Holiday for Skins' in 1958. In the meantime Martinez had recorded his first LP, 'Palo Congo', on April 28 of 1957, that with Arsenio Rodríguez. 'Safari with Sabu' ensued that year, 'Sorcery' in 1958. 1960 saw 'Sabu's Jazz Espagnole' (w Louie Ramirez), 'In Orbit' and 'Astronautas de la Pachanga'. Martinez moved to Sweden in 1967, first recording there in Stockholm in August per pianist, Lars Werner's, 'That's Why I Drink'. He recorded with Arne Domnérus' Radiojazzgruppen (Radio Jazz Group) from March 19 of 1968 to April 22 of 1970. In 1973 Martinez put together the band, Burnt Sugar, and held a couple sessions that and the next year which got released on CD in 2008 as 'Burned Sugar'. (The LP contains only the '73 session.) Among the numerous on whose titles Martinez participated during his career were Kenny Clarke, Bjorbobandet, Peter Herbolzheimer (several albums), Art Farmer and George Russell. Martinez died on January 13 of 1979 of gastric ulcer. He had recorded 'Encounter' with Debbie Cameron and Richard Boone in early 1978. The next December on the 13th he had put down titles with Sahib Shihab for Swedish Radio that got included on 'Winds & Skins' in 2008 with earlier titles from 1967.

Sabu Martinez   1953

   Horace Silver: Art Blakey - Sabu

      Album   Appears on tracks 15 & 16 only

Sabu Martinez   1957

   El Cumbanchero

      With Arsenio Rodriguez


   Tribilin Cantore

Sabu Martinez   1960

   Sabu's Jazz Espagnole


   In Orbit

Sabu Martinez   1961

   Flamenco Ain`t Bad

Sabu Martinez   1968


Sabu Martinez   1973

   Afro Temple

   Hotel Alyssa-Soussie

   My Christina

   The Polyvox Jam


Birth of Modern Jazz: Sabu Martinez

Sabu Martinez

Source: Discogs

  Born in 1928 in Chicopee Falls, Massachusetts, Teddy Charles Cohen played drums and piano, but is best known as a vibraphonist. He studied percussion at Juilliard, beginning his career as Teddy Cohen, changing his last name to Charles in 1951. His first two sessions appear to have been in February of '49 in NYC, one on the 24th, with Chubby Jackson's band: 'Lemon Drop', 'Father Knickerbopper', 'All Wrong' and 'Belvedere Bop'; on the 24th: 'Tiny's Blues', 'Father Knickerbopper', 'All Wrong' and 'Belvedere Bop'. A third session with Jackson on March 5 yielded 'Jumpin' with Symphony Sid', 'Tiny's Blues', 'Father Knickerbopper', 'Tenderly', 'Lemon Drop' and 'Boomsie'. On March 12 it was 'Bop Slappy', 'Tiny Blues', 'Father Knickerbopper', 'Belvedere Bop', 'You Wear Love So Well', 'Godchild' and 'Boomsie'. A May session with Jackson saw 'Three Men on a Bass'. Those 1949 titles by Jackson in NYC got issued in 2014 on 'Ooh What an Outfit!'. Charles held sessions with Florence Wright in September of '49 and Buddy DeFranco in March of 1951 before his first as a leader as the Teddy Cohen Trio on November 10 of 1951 with Don Roberts (guitar) and Kenny O'Brien (bass): 'I Got It Bad', 'Thus Is New', etc.. In 1953 he issued the LP, 'New Directions'. Charles appeared on the television program, 'Art Ford's Jazz Party', on September 4, 1958, for such as 'I Won't Cry Anymore' and 'Hallelujah' with vocalist, Chris Connor. He issued his fourteenth album, 'Russia Goes Jazz', in 1963. After sessions in August of 1967 for Harold Vick's 'The Melody Is Here' Charles largely retired from the music industry, though played locally. He resurfaced briefly in 1988 with 'Live at the Verona Jazz Festival'. Twenty years later he bobbed up again with 'Dances with Bulls' and 'Teddy Charles and the Walter Wolff Trio Live' in 2008. One reason less than more was heard from Charles was his love of sail boating. He first raced sloops in the forties, purchasing his first boat in 1958. In 1959 he sailed to his engagement at the Newport Jazz Festival (New York to Rhode Island), but was tardy so didn't play. He dropped out of the national jazz scene in the latter sixties to charter vessels between New York City and the Caribbean. During the seventies he established the Seven Seas Sailing Club of City Island, also restoring a 1906 fishing schooner. Charles' final recording was on December 17 of 2010 for vocal overdubbed by Wily Bo Walker: 'You Don't Know What Love Is'. Charles died on April 16 of 2012. Among the numerous with whom Charles played vibes were Earl Bostic (1954-55), Earl King (1955), Gunther Schuller (1957), Manhattan Jazz All Stars (1959), Nat Wright (1960), Rusty Dedrick and Teo Macero. A good discography of Charles.

Teddy Charles   1953


Teddy Charles   1955


Teddy Charles   1956

   Just One of Those Things

   You Go To My Head

   When Your Lover Has Gone

Teddy Charles   1958

   3 For Duke


    Bass: Oscar Pettiford   Piano: Hall Overton


Birth of Modern Jazz: Cal Tjader

Teddy Charles

Source: Jazz Wax

Birth of Modern Jazz: Mel Lewis

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' with Pat Baldwin on vocals and 'Slider'. Lewis' first period with Anthony ran to March 24 of 1950 for 'Please Treat Him Nicer', 'Spaghetti Rag', et al. He then joined Tex Beneke for 'The Anniversary Waltz', 'Frenesi', et al, in 1950. Lewis stuck with Beneke to January of 1953 for '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. He contributed to arrangements on Lewis' 'Naturally' in '79 and '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. Lord's disco puts Lewis' sessions at 673, making the brick 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.

Mel Lewis   1949

   A Dreamer's Holiday

      With the Ray Anthony Orchestra

      Vocal: Dick Noel

Mel Lewis   1954

   Frank'n Earnest

      With the Frank Rosolino Sextet

      Recorded November 1954 

Mel Lewis   1955

   It Had To Be You

      With the Bill Perkins Quintet

Mel Lewis   1956


      With Stan Kenton

   El Congo Valiente

      With Stan Kenton

  Leave Your Worries Behind

      Album: 'Got Cha'

   Malibu Moonlight

      With Stan Kenton

   Polka Dots and Moonbeams

      With Stan Kenton

Mel Lewis   1957

   Flute Fraternity

      Flutes: Herbie Man & Buddy Colette

Mel Lewis   1964

   Music for Piano and Band

      Pianist: Friedrich Gulda

Mel Lewis   1967


      Trumpet: Thad Jones

   Samba Con Getchu

      Trumpet: Thad Jones

Mel Lewis   1970


      Album with Thad Jones



Tito Puente was born of Puerto Rican heritage in New York City in 1923. Puente was 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. 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.

Tito Puente   1948


Tito Puente   1955



Tito Puente   1956

   Elegua Chango

   Puente In Percussion


Tito Puente   1959

   Philadelphia Mambo


Tito Puente   1965

   El Cumbanchero

     Filmed live

Tito Puente   1985

   Pachito Eché

     Filmed live with Celia Cruz 

Tito Puente   1987


Tito Puente   1997


      With Machito 

   Newport Jazz Festival 1997

      Filmed concert

Tito Puente   2000



Birth of Modern Jazz: Tito Puente

Tito Puente

Source: Carolee Ross

Birth of Modern Jazz: Cal Tjader

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'. He would record in Tokyo again 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. Per 1949 below Tjader plays drums. He plays bongos on 'That Old Black Magic' per 1950.

Cal Tjader   1949

   Blue Moon/Tea For Two

       Dave Brubeck Trio


       Dave Brubeck Trio


       Dave Brubeck Trio

Cal Tjader   1950

   That Old Black Magic

       Dave Brubeck Trio

Cal Tjader   1950

   Tjader Plays Mambo


Cal Tjader   1957

   Bill B


Cal Tjader   1964

   Soul Sauce


Cal Tjader   1966


      Piano: Eddie Palmier

Cal Tjader   1966

   Cal Plugs In


   Guajira En Azul

      Piano: Eddie Palmier

Cal Tjader   1966

   Cal Plugs In


Cal Tjader   1975



Cal Tjader   1973

   Big Noise From Winnetka

Cal Tjader   1980

   This Is Always



Drummer Elvin Jones was born in Pontiac, Michigan, in 1927. Enlisting in the Army in 1946, upon relief from duty in 1949 he 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. General consensus has Jones first recording in 1950 in Detroit with Kenny Burrell. Titles with Burrell were 'Kenny's Sound' and 'My Funny Valentine' (JVB 58) with issue dates unknown. Jones' first identifiable issues (45worlds) were with Mitchell in 1952 for Dee Gee: 'Rockaway Rock'/'Rainy Day Blues' and 'Danny Boy'/'The Bulldozer'. 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 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' on March 24, 1958, that with Eddie Jones (unrelated) on bass and Hank Jones (brother) on piano. 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'. He died of heart failure in Englewood, New Jersey in May 2004. 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. More Jones under pianist, Tommy Flanagan in Jazz Piano.

Elvin Jones   1963

   Afro Blue Impressions

      Album with John Coltrane

Elvin Jones   1965


       Sax: John Coltrane

Elvin Jones   1968

   Sweet Little Maia

   Filmed live 

Elvin Jones   1972

   New Breed

   Taurus People

Elvin Jones   1973

   The Children/Merry-Go-Round

    Filmed live 


Elvin Jones   1976

   Ray Nay

Elvin Jones   1979

   A Love Supreme

Elvin Jones   1996

   My Favorite Things

      Live   Guitar: John McLaughlin


Birth of Modern Jazz: Elvin Jones

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.

Jimmy Cobb   1951


      With Earl Bostic 

Jimmy Cobb   1957

  Another Kind Of Soul

      Bass: Sam Jones

     Piano: Junior Mance

      Alto Sax: Cannonball Adderley

     Trumpet: Nat Adderley


      Bass: Sam Jones

     Piano: Junior Mance

      Alto Sax: Cannonball Adderley

     Trumpet: Nat Adderley

Jimmy Cobb   1959

  Kind of Blue

     Album with Miles Davis 

Jimmy Cobb   2002

  Sugar Ray

Jimmy Cobb   2009

  Kind Of Blue/So What

      Filmed live 

   he Theme

      Filmed live  

Jimmy Cobb   2011

  Dear Old Stockholm

      With the Berklee All-Stars

      Filmed live 

Jimmy Cobb   2012

  Live In Vienna

     With Larry Coryell & Joey DeFrancesco

       Filmed live 


Birth of Modern Jazz: Jimmy Cobb

Jimmy Cobb

Source: All About Jazz

Birth of Modern Jazz: Art Taylor

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 1993. He died February 6, 1995, in Manhattan. Per 1960 below, all nonannotated entries are from Taylor's album, 'A.T.'s Delight'.

Art Taylor   1951

   And to Sleep Again

      Sax: Coleman Hawkins

Art Taylor   1955


      Trumpet: Miles Davis

   Dr. Jackal

      Trumpet: Miles Davis

   Minor March

      Trumpet: Miles Davis

Art Taylor   1957


      Piano: Ray Bryant


      Piano: Red Garland


      Red Garland Trio   Album

Art Taylor   1959

   Live in Cannes

      Filmed live


Art Taylor   1960

   Blue Interlude

   Cookoo and Fungi


   High Seas


   Syeeda's Song Flute

   Second Balcony Jump

       Filmed live with Dexter Gordon

Art Taylor   1971

   Live in Cannes

      Filmed live with Johnny Griffin

Art Taylor   1991

   Mr. A.T.

   Soul Eyes

Art Taylor   1992

   Dear Old Stockholm


Birth of Modern Jazz: Ed Thigpen

Ed Thigpen

Source: Drummer Cafe
Born in Chicago, Illinois, in 1942, drummer, Ed Thigpen, was raised in Los Angeles. He there enrolled in college to major in sociology, but soon moved to St. Louis to see his father, Ben, who had played drums with Andy Kirk's Clouds of Joy years earlier. He gigged with Floyd Candy Johnson in St. Louis before moving onward to NYC. Among his first first professional jobs was with Cootie Williams at the Savoy Ballroom in 1951 with whom he made his debut recordings early that year (per bebopwino) for the Derby label: 'Shot Gun Boogie', 'Divorce Me C.O.D. Blues' (w Eddie Mack), 'Steamroller Blues' (w Eddie Mack) and 'Beauty Parlor Gossip'. Soon drafted into military service, Thigpen performed in a military band in Korea before returning to NYC where he recorded a couple tracks in Chicago on June 7 of '53 with Dinah Washington: 'Am I Blue?' and 'Pennies From Heaven'. Lord's disco estimates Thigpen with Reg Wilson in 1954 for the 1956 issue of the latter's 'All By Himself'. Come four tracks with Dinah Washington in February of 1954. Two of those emerged on Washington's album, 'After Hours With Miss 'D'', that year: 'Love For Sale' and 'Our Love Is Here to Stay'. 'Short John' surfaced on her '63 album, 'Late Late Show'. 'Old Man's Darlin'' appeared on her LP, 'The Good Old Days', of 1963. Four more titles with Washington on June 15 of '54 went toward 'After Hours With Miss 'D''. 'The Toshiko Trio' also went down in 1954 on an unknown date with pianist, Toshiko Akiyoshi, and bassist, Paul Chambers. Lord's disco estimates 'A Rare Musical Vintage' ('58) by the Napoleon Brothers to have been recorded some time in 1956. It was January 28, 1956, when Taylor joined a quartet in Chicago led by pianist, Billy Taylor, for the tune, 'You Don't Know What Love Is', followed in April by 'A Mellow Tone'. Taylor would be one of the more important of Thigpen's associates for the next several years, appearing on four of Taylor's albums: 'My Fair Lady Loves Jazz' ('57), 'The New Billy Taylor Trio' ('57), 'The Billy Taylor Touch' ('57) and 'Taylor Made Jazz' ('59). On April 1 of '56 Thigpen recorded the first of a few LPs with Gil Mellé, 'Patterns in Jazz'. Four days later on the 5th of April Thigpen recorded tracks for both volumes of Jutta Hipp's 'At the Hickory House'. That July he laid tracks on 'Jutta Hipp with Zoot Sims' for issue the next year. In August of 1956 Thigpen recorded 'Gille's Guests' with the Gil Mellé Septet, released in '58. March and April of '57 found Taylor recording 'A Grand Night for Swinging' with Mundell Lowe for issue that year. Sessions in April and May with the Mal Waldron Sextet saw 'Mal/2' issued that year. One of the more important bassists in Thigpen's career was Ray Brown, their initial mutual session thought to have been in September of 1958 to support Blossom Dearie's 'Once Upon a Summertime'. Brown and Thigpen would partner numerously in support of other ensembles into the early seventies. They were also members of the long-standing Oscar Peterson Trio, Brown since 1951 with guitarist, Kenny Burrell, Thigpen from '59 (replacing guitarist, Herb Ellis) to '65 when Brown also left (they replaced by Louis Hayes and Sam Jones). Lord's disco has Brown and Thigpen reuniting in Los Angeles with the Peterson Trio in 1972 for 'Blues for Allan Felix' per the soundtrack for 'Play It Again, Sam'. Living in Europe by then, that was one of Thigpen's earlier of numerous revisits to the States. Numerous visits back to the States would occur in the eighties (particularly to perform with pianist, Monty Alexander) into the new millennium. Brown and Thigpen reunited in Montréal, Quebec, in March of 1996 for 'Rainee Lee's 'You Must Believe in Swing'. Come pianist, Shelly Berg's, tribute to Peterson in March of '97: 'The Will'. Thigpen's first titles with  Peterson's Trio are thought to have been in Paris on May 18 of 1959 for 'A Jazz Portrait of Frank Sinatra'. Some 25 albums, including nine  Peterson Songbooks, would be released, the last recorded being 'Eloquence' on May 29 of 1965. They reunited per above in '72 for 'Blues for Allan Felix' on the soundtrack for 'Play It Again, Sam'. Another important figure was Ella Fitzgerald, they touring to Europe in 1961 for a concert on February 11 resulting in 'Ella Returns to Berlin'. Thigpen worked with Fitzgerald numerously from sessions for the BBC in 1965 to a Jazz at the Philharmonic concert at Civic Center in Santa Monica, CA, on June 2, 1972, in the Tommy Flanagan Trio with Keter Betts at bass for such as 'Night and Day', 'Little White Lies', et al. After that date Thigpen moved to Copenhagen, Denmark, his next session in Switzerland on November 11, 1972, with another major presence in his career, that pianist, Kenny Drew. Drew had lived in Europe since 1961. Dexter Gordon had followed in '62 and Ben Webster in '65, the latter two leading 'Baden 1972' with Bo Stief (native to Copenhagen) at bass on the date above. Drew and Thigpen maintained a tight partnership into the latter eighties both backing other ensembles and fulfilling Drew's projects, a number of which were trios largely with Niels-Henning Ørsted Pedersen. From that Trio on an unknown date possibly as early as 1978 for what saw issue as 'Nature Beauty' in 1996, to 'Dream' recorded in June of 1987 by the same Trio, Lord's disco shows Thigpen on twelve Drew albums. One of those was 'Swingin' Love' laid out on a tour to Japan in January of 1983, again a trio with Niels-Henning Ørsted Pedersen. Thigpen would visit Tokyo again in December of 1995 with Duke Jordan. Thigpen had recorded his debut LP, 'Out of the Storm', in April of 1966 in New Jersey before moving to Los Angeles in '67. Lord's disco wants him leading twelve more albums to 'Scantet #1' in August 2003. Lord's lists his last session in June of 2007 with the Mathias Algotsson Trio with Jesper Bodilsen (bass) for 'In Copenhagen'. Thigpen died on January 13 of 2010 in Copenhagen. With sessions approaching 370 during his career, among the host of those undiscussed with whom he recorded were Zoot Sims, Bill Henderson, Stan Getz, Oliver Nelson, Willie Ruff, Helen Humes, Herb Ellis, Gene Ammons, Duke Pearson (: 'Flight to Denmark'), Sylvia Vrethammar, Rune Gustafsson, Svend Asmussen and Elly Wright. Per below, all Oscar Peterson Trio are with double bassist, Ray Brown.

Ed Thigpen   1954

   Love for Sale

      Vocal: Dinah Washington

   Our Love Is Here to Stay

      Vocal: Dinah Washington

Ed Thigpen   1956

   The Arab Barber Blues

      Album: 'Patterns in Jazz'

      Album/Sax: Gil Mille

   Block Island

      Album: 'Gil's Guests'

      Album/Sax: Gil Mille

   These Foolish Things

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

      Album/Piano: Jutta Hipp

      Bass: Peter Ind

Ed Thigpen   1957

   It's a Grand Night for Swinging

      Album: 'A Grand Night for Swinging'

      Album by Mundell Lowe Quartet

Ed Thigpen   1961

   Live In Belgrade

      Album by Oscar Peterson Trio

Ed Thigpen   1964

   C Jam Blues

      Filmed live

      Oscar Peterson Trio

   The Oscar Peterson Trio Plays



      Filmed live

      Oscar Peterson Trio

   We Get Requests


      Oscar Peterson Trio

Ed Thigpen   1966

   Cielito Lindo

      Album: 'Out of the Storm'

   Out of the Storm

      Album: 'Out of the Storm'

Ed Thigpen   1969

   Live in Montreux

      Filmed live with Ella Fitzgerald

      Tommy Flanagan Trio

Ed Thigpen   1982

   Brush Mastery & Drum Solo

      Filmed live

   How My Heart Sings

      Album: 'Good Girl'

      Kim Parker - Tommy Flanagan Trio

   It's Time to Emulate the Japanese

      Album: 'Good Girl'

      Kim Parker - Tommy Flanagan Trio


      Album: 'Good Girl'

      Kim Parker - Tommy Flanagan Trio

Ed Thigpen   1987

   Throwback Thursday

      Filmed live at the MI Vault

Ed Thigpen   1995

   Leverkusener Jazzdays

      Drum solo filmed live

Ed Thigpen   1998

   Stolen Moments

      Album: 'A Time for Love'

      Bass: Christian McBride

      Piano: Benny Green

Ed Thigpen   2004

   Childrens Dance

      Filmed live

      Bass: Ron Carter

      Guitar: Tony Purrone

   Synonymous Blues

      Filmed live

      Bass: Ron Carter

      Guitar: Tony Purrone


  Drummer, Ron Jefferson, was born in 1926 in New York City. He began his career as a tap dancer in the early forties, soon to be drumming in clubs. Lord's disco picks him up as early as 1952 for saxophonist, George Singleton's 'Deep Purple' (Atlas 1010). He is thought to have also participated in Singleton's 'Good Aire' and 'My Song' in '52. Come Joe Roland in 1954 per May and October sessions. Those were released on 'Joltin' Joe Roland' in '54. In between those sessions had come pianist, Oscar Pettiford, in September of '54 for 'Edge of Love', 'Sextette', etc., those to get issued on the album, 'Oscar Pettiford', that year. Jefferson hung with Roland into 1955, He would see Pettiford again with both Joe Castro and the Jazz Modes in 1956. Several albums with Julius Watkins and Charlie Rouse (the Jazz Modes) followed in the latter fifties. Figuring large in Jefferson's career would be pianist, Les McCann, with whom he issued several LPs in the early sixties in McCann's Ltd. trio, beginning with that group's debut: 'Les McCann Ltd. Plays the Truth' per 1960. About that time Jefferson moved to Los Angeles where he recorded his debut album as a leader, 'Love Lifted Me', released in 1962. In September of 1965 he recorded 'Ron Jefferson Choir' in Paris, then worked with Ruth Brown and pianist, Stuart de Silva, in Barcelona. Upon returning to the US Jefferson hosted the 'Miles Ahead' television program with drummer, John Lewis (not the pianist). Jefferson's next and last album followed eleven years later, 'Vous Ete's Swing', per 1976. Lord's discography has him vanishing after 'Alive in L.A.' for Pat Britt in July of 1981. Jefferson died in Richmond, VA, in May 2007.

Ron Jefferson   1954

   Cable Car

      LP: 'Oscar Pettiford Modern Quintet'

   Garrity's Night

      LP: 'Joltin' Joe Roland'

   Gene's Stew

      LP: 'Joltin' Joe Roland'

   Golden Touch

      LP: 'Oscar Pettiford Modern Quintet'

Ron Jefferson   1955

   Ready Freddie

      Bass: John Ore

      Piano: Freddie Redd

Ron Jefferson   1956

   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

Ron Jefferson   1960

   Fish This Week

      Bass: Leroy Vinnegar

      Piano: Les McCann

   A Foggy Day

      Bass: Leroy Vinnegar

      Piano: Les McCann

   Blues Comjumations

      Album: 'It's About Time'

      Bass: Leroy Vinnegar

      Piano: Les McCann

      Tenor Sax: Teddy Edwards


      Album: 'It's About Time'

      Bass: Leroy Vinnegar

      Piano: Les McCann

      Tenor Sax: Teddy Edwards


      Bass: Leroy Vinnegar

      Piano: Les McCann

Ron Jefferson   1961

   Go On and Get That Church

      Bass: Herbie Lewis

      Piano: Les McCann

      Filmed in France

   Too Close for Comfort

      Bass: Herbie Lewis

      Piano: Les McCann

Ron Jefferson   1962

   George's Dilemma

   Yours Is My Heart Alone

      Album: 'On Time'

      Bass: Leroy Vinnegar

      Piano: Les McCann

      Guitar: Joe Pass

Ron Jefferson   1965

   The Speaker

      LP: 'Ron Jefferson Choir'


Birth of Modern Jazz: Ron Jefferson

Ron Jefferson

Source: Music Web International


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.

Osie Johnson   1952

   I Come From Jamaica

    With Chris Powell & the Blue Flames 

   Ida Red

    With Chris Powell & the Blue Flames

Osie Johnson   1955

   Blues For Camels

   Osie's Oasis

Osie Johnson   1956

   Clothesline Ballet

    Bass: Oscar Pettiford

    Piano: George Wallington

   Half Loved

   Lullaby of the Leaves

     Guitar: Billy Bauer

   When It's Sleepy Time Down South

     Guitar: Billy Bauer

Osie Johnson   1957

   In a Mellotone

      Vocal: Carol Stevens

   'Round Midnight

     Vocal: Frances Wayne

Osie Johnson   1958

   Jazz Party 1958

     Filmed live with Buster Bailey

Osie Johnson   1960

   Then I'll Be Tired of You


Birth of Modern Jazz: Osie Johnson

Osie Johnson

Source: Discogs



Birth of Modern Jazz: Alan Dawson

Alan Dawson

Source: Drummer World
Born in 1929 in Marietta, PA, drummer, Alan Dawson, was raised in Roxbury, Massachusetts. He served States-side in the Army at Fort Dix in New Jersey during the Korean War ('50-'53) from '51 to '53. Upon release he joined Lionel Hampton's entourage to Europe in 1953, which members included James Cleveland, Clifford Brown, Art Farmer, Gigi Gryce and Quincy Jones among others. On September 14 Dawson and Jones (playing piano) recorded 'The Song Is You' and 'Jackie' with vocalist, Annie Ross, and Swedish baritone saxophonist, Lars Gullin, for the Metronome label. Those were released decades later in 2002 on 'Various Artists - Americans in Sweden 1949-1953 Vol 1: Dear Old Stockholm'. On September 26 Dawson drummed on tracks which would be found on 'The Many Faces of Jazz Vol 8', release date indeterminable. Appearing on that were Gryce, Brown, Farmer and vocalist, Cleveland, among others. A session two days later yielded 'The Clifford Brown Big Band In Paris', said to have been released in '53 but unconfirmed. Later on November 6 Dawson recorded more tracks for Metronome with Lars Gullin as one of Gullin's Quintet which saw issue in 1954, again unconfirmed: 'Bugs', 'Jump for Fan', 'Stocks and Bonds' and 'I Fall in Love Too Easily'. Four days later he laid tracks with Quincy Jones and his Swedish-American All Stars that aren't thought to have been released until 1958 on Jones 'Stockholm Sweetnin''. Upon leaving Hampton, Dawson returned to Boston to perform with pianist, Sabby Lewis, in whose band he had played before Hampton's. In 1957 Dawson began his long tenure of eighteen years at the Berklee College of Music. He mixed that with drumming at Lennie's on the Turnpike in Peabody, Massachusetts, from '63 to 1970. In the meanwhile saxophonist, Booker Ervin, was the major figure in his career in the sixties, they releasing eight albums together between '63 and '68. Pianist, Jaki Byard, also figured large, five albums recorded between '65 and '68'. Dawson drummed on three Sonny Criss albums from '66 to '68, five with saxophonist, Eric Kloss, between '66 and '69. The early seventies saw several LPs recorded with Dave Brubeck before a ruptured disc in '75 slowed Dawson's activities. No longer at Berklee, Dawson held private lessons, he famous for teaching such as independent limb movement. In 1992 Dawson recorded his only album as a leader with bassist, Ray Drummond, containing some of his own compositions and playing vibes on a couple tracks: 'Waltzin' with Flo'. That wouldn't be released, however, until 2002, posthumously, as Dawson died of leukemia in 1996.

Alan Dawson   1953

   Brown Skins

      Clifford Brown Big Band

      Issue date unconfirmed

   Brown Skins (Alt)

      Clifford Brown Big Band

      Issue date unconfirmed

Alan Dawson   1958

   Stockholm Sweetnin'

      Recorded 1953   First issue:

      Quincy Jones: 'Stockholm Sweetnin''

Alan Dawson   1965

   Beautiful Love

      Filmed with Bill Evans

   Drum Solo

      Filmed with Sonny Rollins

Alan Dawson   1972

   All the Things You Are

      Filmed with Dave Brubeck

   Take Five

      Filmed with Dave Brubeck

Alan Dawson   1978

   Live in Nice

      Filmed with Eddie Cleanhead Vinson

Alan Dawson   2002

   Penta Blues

      LP: 'Waltzin' with Flo'

      Recorded 1992   Posthumous release



Born in 1928 in Springfield, Massachusetts, drummer Joe Morello studied violin until age 15, then switched to drums, thinking he could never match the sound of violinist, Jascha Heifetz. Morello made his first recordings in 1947 with Phil Woods and Sal Salvador at Wood's home in Springfield, MA, when Woods was age sixteen. Those tracks are said to exist on a CD called 'Bird's Eyes', issued by the Philology label (Philology Jazz Records in Italy). No earlier record releases are known for Morello than 1953 for Blue Note with the Gil Mellé Quintet.: 'Cyclotron', 'October', 'Under Capricorn' and 'Venus'. In 1953 Morello joined pianist, Marian McPartland, at the Hickory House in NYC. Titles recorded on April 27 that year with Bob Carter at bass were released on 'Lullaby of Birdland' in 1955. On October 8 with Vinnie Burke at bass they recorded such as 'A Foggy Day', 'The Lady Is a Tramp', 'Manhattan', et al. Those would get issued in 1955 on McPartland's 'At Storyville - At The Hickory House'. (The Storyville tracks were recorded June 2, 1951, prior to Morello, with Eddie Safranski (bass) and Don Lamond (drums).) Between those two sessions with McPartland Morello had joined Stan Kenton for the title, 'Everything Happens to Me' on May 12 of 1953. Morello sessioned with McPartland on multiple occasions to July 8 of 1956 for 'Carioca', 'Dream a Little Dream of Me', etc.. They would reunite at the the Birdland in NYC more than forty years later in September of 1998 for 'Reprise'. 2001 saw 'Live at Shanghei Jazz'. Morello had also recorded a couple albums with Marian's husband, Jimmy, as well, those in 1956: 'After Hours' and 'The Middle Road'. Prior to those Morello is thought to have contributed to 'Tea for Two' at the Newport Jazz Festival on July 17, 1955, with Dave Brubeck and Paul Desmond, whose quartet he would join in 1956, replacing drummer, Joe Dodge. November 1956 saw Morello backing Brubeck and Desmond on 'Jazz Impressions of the USA'. Morello spent the next twelve years with Brubeck and Desmond. Appearing on more than 120 albums during his career, sixty of those would be with the Dave Brubeck Quartet. Morello's first session as a leader is thought to have occurred with Art Pepper on January 3, 1957, including titles composed by Pepper: 'Tenor Blooz', 'Pepper Steak' and Straight Life'. Those are thought to have been issued in 1958 on 'Collections' (Score SLP 4031). Morello laid out his album, 'It's About Time', in June and November of 1961 with Phil Woods, Doc Severinsin and Clark Terry. 'Another Step Forward' went down in 1969. Come 'Percussive Jazz' in 1976, 'Going Places' in '93 and 'Morello Standard Time' in '94. Morello also authored several instructional books and videos. Among his numerous awards were 'Playboy' magazine's Best Drummer seven years straight and 'Down Beat' magazine's Best Drummer for five. 'Modern Drummer' magazine elected him in 1988 for its Hall of Fame. Morello died in Irvington, New Jersey, on March 12, 2011.

Joe Morello   1956

   Falling In Love With Love

      Piano: Marian McPartland

Joe Morello   1957

   The Masquerade Is Over

      Piano: Dave Brubeck

Joe Morello   1961

   Drum Solo

    Filmed live 

   Fatha Time

   It's About Time

   Just In Time

      Sax: Phil Woods

   Time After Time

Joe Morello   1964

   Sounds of the Loop

    Filmed live

Joe Morello   1969

   The Truth

Joe Morello   1995

   Take Five

      Television performance


Birth of Modern Jazz: Joe Morello

Joe Morello

Source: Jazz Profiles

  Born in 1929 in New York City, conga player Ray Barretto was raised in Spanish Harlem. At age 17 he joined the Army and was stationed in Germany. Though his mother had been a jazz lover it was in the military that Barretto decided to become a musician. Discharged from duty in 1949, he returned to NYC and began playing in clubs. He quickly joined pianist, Eddie Bonemere’s, Latin jazz combo, then worked with Jose Curbelo. His earliest known recording is thought to have been on bongos with Neal Hefti for 'In Veradero' on November 15, 1952 (Lord's), first issued in 1954 on the album, 'Neal Hefti' (See Coral 57007). Continuing to perform at clubs like the Bucket of Blood, Barretto next played conga with Eddie Lockjaw Davis on January 22 of 1957 for the King label: 'I Wished On the Moon', 'Speak Low', 'Sheila', and 'Ebb Tide' (none found). Davis would be a fairly important figure in Barretto's career, joining him again from 1959 to 1961, reuniting in 1965 to support Sonny Stitt's 'The Matadors Meet The Bull', again in 1966 to record Davis' 'Lock, The Fox'. Sometime in 1957 Barretto joined Tito Puente's orchestra with which he kept three or four years. Titles recorded during that period were included on 'Babarabatiri', a Puente mambo compilation. Titles included on that were his own compositions, 'Babarabatiri', 'Ran Kan Kan' and 'Oye Como Va'. In 1958 Barretto featured on Puente's album, 'Dance Mania'. After Barretto's first session with Eddie Lockjaw Davis he recorded with Hal Singer, Bill Doggett and Sabu Martinez before a session with Lou Donaldson on June 9 of 1957 for 'Swing and Soul'. Donaldson would be a fairly significant associate in the several years to come, appearing on five more of Donaldson's LPs to 'Cole Slaw' in 1964. Another important figure was saxophonist, Gene Ammons, Barretto participating in titles on Ammons' 'Blue Gene' on May 2 of 1958. Among titles recorded with Ammons into 1961 were the albums 'Boss Tenor' ('60), 'Angel Eyes' ('60) and 'Twisting the Jug'. Barretto later contributed to tracks on Ammons' 'Goodbye' in 1974. The major figure that was tenor saxophonist, Oliver Nelson, arrived on April 22, 1960, they backing Johnny Hammond Smith's 'Talk That Talk'. Their paths interweaved often into 1966, first backing other bands, then Nelson arranging and conducting his own orchestra. In 1962 Barretto supported Nelson on three albums issued in 1962: 'Main Stem' w Joe Newman and Hank Jones, 'Afro-American Sketches' and 'Impressions of Phaedra'. Their last recording project together may have been September 21 of 1966, Nelson arranging Jimmy Smith and Wes Montgomery's 'Dynamic Duo'. Another major figure was Herbie Mann had come along on May 5 of 1960 for 'Dearly Beloved' and 'Fife 'n' Tambourine Corps'. Multiple sessions were held with Mann into 1961. He backed Mann on 'The Glory of Love' in 1967 and reunited in the seventies for 'Herbie Mania' ('76). Barretto is thought to have first recorded with Yusef Lateef sometime in 1961, that to support Babatunde Olatunji's 'Afro Percussion' (also issued as 'Zungo!'). Later in 1969 he would back Lateef on 'Yusef Lateef's Detroit'. Ten years later in May of 1979 Barretto supported Lateef's 'In a Temple Garden'. Barretto released his debut album, 'Barretto Para Bailar', in 1961. He would issue fifty of them into the new millennium. Also notable was his 1963 issue of the 45 7", 'El Watusi' bw 'Ritmo Sabroso'. He began his association with the Fania record label, specializing in salsa, in 1967, issuing 'Acid' in 1968. He would work with Fania Records' Fania All Stars some thirty years. Tito Puente supported him in 1982 for 'La Cuna'. His first album with his sextet, New World Spirit, was 'Ancestral Messages' in 1993. His final albums were laid out in 2005: 'Time Was Time Is' and 'Standards Rican-Ditioned'. Guitarist, Wes Montgomery, had also been a major figure, leaping back to August 6 of 1964 to regard 'So Much Guitar!'. 1966 saw several albums recorded with Montgomery: 'Tequila', 'California Dreaming', 'The Dynamic Duo' and 'The Further Adventures of Jimmy and Wes', the latter two with organist, Jimmy Smith. 1967 saw 'A Day in the Life of Wes Montgomery', 1968 'Down Here On The Ground'. Another guitarist Barretto saw a lot of was Kenny Burrell, their first titles together with Coleman Hawkins and Tommy Flanagan on 'Bluesy Burrell' on September 14, 1962. Barretto's association with Burrell resulted in multiple albums into 1964. They would reunite in 1971 for Stanley Turrentine's 'The Sugar Man'. March of 1999 saw Burrell supporting Barretto's 'Portraits in Jazz and Clave'. Another musician with whom Barretto was often seen was vibraphonist, Cal Tjader, Barretto surfacing on Tjader's 'Along Comes Cal' in 1967, 'Hip Vibrations' and 'Solar Heat' in 1968. Barretto managed well beyond a couple hundred sessions during his career. Among the host of others he had supported were Art Blakey, Red Garland, Art Farmer, Julius Watkins, Gil Goldstein, the Rolling Stones and the Bee Gees. During the nineties Barretto joined Chino Rodríguez in the formation of the Latin Legends of Fania. He was inducted into the International Latin Music Hall of Fame in 1999. Barretto's heart failed on February 17, 2006, in New York City, one month after recording his final tiles per 'Standards Rican-Ditioned'.

Ray Barretto   1958

   Blues in Mambo

      Piano: Red Garland

   Dance Mania

      Album   With Tito Puente

   Holiday For Skins/Reflection

      Drums: Art Blakey   Trumpet: Donald Byrd


      Alto sax: Lou Donaldson   Drums: Jimmy Wormworth


      Piano: Red Garland


      Piano: Red Garland

Ray Barretto   1960


      Album   Tenor sax: Eddie Lockjaw Davis

Ray Barretto   1961

   El Watusi

      (Included on the 1962 album, 'Charanga Moderna')

Ray Barretto   1964

   Errante y Bohemio

   Guaguanco Bonito

   Swing a la Moderna

Ray Barretto   1969

   Oye la Noticia

Ray Barretto   1970


Ray Barretto   1972

   Quitata la Mascara

Ray Barretto   1973


Ray Barretto   1979

   Ya Ves


Birth of Modern Jazz: Ray Barretto

Ray Barretto

Source: Galeria Cafe Libro


Birth of Modern Jazz: Idris Muhammad

Idris Muhammad

Source: Blue Note
Born Leo Morris in 1939 in New Orleans, Idris Muhammad began drums at age eight. He recorded as Leo Morris until becoming a Muslim in 1966, then changing his name. At fifteen he joined the Hawketts, run by Art Neville, himself sixteen at the time. In January of 1955 the Hawketts recorded 'Mardi Gras Mambo'/'Your Time's Up' (Chess 1591) at WWEZ radio station for release the next month. 'Mardi Gras Mambo' would become a standard at the New Orleans Mardi Gras. The next year Muhammad (yet Morris for some years to come) became famous as the drummer on Fats Domino's 'Blueberry Hill'. He recorded 'Bony Moronie' in 1957 with Larry Williams, then 'You Talk Too Much' with Joe Jones in 1960. Muhammad was a fairly experienced drummer before signing up with big name, Lou Donaldson, in 1965, for the recording of 'Fried Buzzard'. Donaldson would be Muhammad's main vehicle into the seventies, issuing eleven more LPs with him to 1971 (then 'Sweet Poppa Lou' in 1981). In 1968 Muhammad (no longer Morris) joined the Broadway production of 'Hair', with which personnel he remained the for four years. In the meantime he had recorded 'Jewels of Thought' with Pharoah Sanders ('69) and 'The Black Cat' ('70)with Gene Ammons. Several more with Ammons rapidly followed, by which time Muhammad had issued his debut LP in 1970: 'Black Rhythm Revolution!'. After 'Hair' Muhammad backed Roberta Flack for about four years. Muhammad appeared on at least a thousand recordings as a sideman, among them multiple albums by Grant Green, Rusty Bryant, Hank Crawford, Melvin Sparks, Leon Spencer and Sonny Stitt. During the eighties he worked closely with Sanders, then Randy Weston into the nineties. Muhammad emerged on Ahmad Jamal's first volume of 'The Essence' in 1995 and continued working with Jamal into the 21st century. He was supposed to have retired in New Orleans in 2011 for dialysis treatments (kidneys), but died in Fort Lauderdale, Florida, in 2014. He had released twelve albums in addition to the countless that he had backed.

Idris Muhammad   1955

   Mardi Gras Mambo

      Art Neville & the Hawketts

Idris Muhammad   1956

   Blueberry Hill

      With Fats Domino

Idris Muhammad   1957

   Boney Maronie

      With Larry Williams

Idris Muhammad   1960

   Chain Gang

      With Sam Cooke

   You Talk Too Much

      With Joe Jones

Idris Muhammad   1970


      LP: Black Rhythm Revolution!'

Idris Muhammad   1971


      LP: 'Peace and Rhythm'

Idris Muhammad   1974



Idris Muhammad   1976

   House Of The Rising Sun

      LP: 'House Of The Rising Sun'

Idris Muhammad   1977

   Crab Apple

      LP: 'Turn This Mutha Out'

   Turn This Mutha Out

      LP: 'Turn This Mutha Out'

Idris Muhammad   1978


      LP: 'Boogie to the Top'

Idris Muhammad   1980

   For Your Love

      LP: 'Make It Count'


  Born in Portsmouth, VA, in 1926, drummer, Dave Bailey, was a pilot during World War II. He took up drumming in NYC upon termination of service. His earliest determined recordings were three private sessions unissued in July of 1952 with Charlie Parker (see Allan Sutherland). Among each of those dates were 'Scrapple From the Apple', 'Embraceable You', the bebop anthem, 'Hot House', and another rendering of 'Scrapple From the Apple'. Bailey began recording with a number of R&B musicians in latter 1954, first with Al Sears & his Rock n Rollers for Herald 448: 'Goin' Uptown' and 'Tweedle Dee'. Larry Darnell came along on January 20 of '55 for Savoy 1151: 'That's All I Want From You' and 'Who Showed My Baby How to Love Me'. Varetta Dillard arrived on January 24 for Savoy 1153: 'Johnny Has Gone' and 'So Many Ways'. It was Nappy Brown on February 1 for Savoy: 'Don't Be Angry' and 'It's Really You'. The Roamers put down Savoy 1156 on March 14: 'Chop Chop Chin a Ling' and 'Never Let Me Go'. Come the Dreams the same day, which was the same vocal group as the Roamers under another name, for Savoy: 'I'll Be Faithful' and 'My Little Honeybun'. Little Jimmy Scott followed for Savoy for such as 'Time on My Hands and 'Imagination'. It was then Varetta Dillard with the Roamers on May 3 for Savoy: 'I'll Never Forget You', 'I Can't Stop Now', et al. Bailey found his place upon joining Gerry Mulligan in 1954, his first session with Mulligan thought to have been with the latter's sextet on September 21 of 1955 for 'Presenting the Mulligan Sextet'. Bailey would work regularly with Mulligan for another decade through a minimum of fourteen albums to the last on July 19 of 1966: 'Something Borrowed, Something Blue'. Bailey's first session with Mulligan also meant a major comrade in valve trombonist, Bob Brookmeyer, for the next decade, they both members of Mulligan's outfits during those years, later supporting Clark Terry and Lalo Schifrin together. Albums by Brookmeyer in which Bailey participated were 'Traditionalism Revisited' ('57), 'Samba Para Dos' ('63), 'The Vibes Are On' ('65), 'Suitably Zoot' ('66) and 'Gingerbread Men' ('66), the latter jointly led by Clark Terry. Apt to comment that Terry was another major figure in Bailey's career, theirs a tight relationship for eight years since July of 1960 when Terry joined Bailey in a sextet to record the latter's debut LP, 'One Foot in the Gutter: A Treasury of Soul'. Terry supported Bailey's second album in October: 'Gettin' Into Somethin''. They kept a largely parallel rail supporting other artists, such as Mulligan and Brookmeyer, to what Lord's disco lists as his last recordings before retirement, those on June 27, 1968, for Terry's 'Music in the Garden ('93). In the meantime Bailey had backed five prior Terry LPs beginning with 'More (Theme from Momdo Cane)' in 1963 with Ben Webster. Another significant figure in Bailey's career was Lou Donaldson, emerging on five of the latter's album's from 'Swing and Soul' ('57) to 'Gravy Train' ('61). On December 17, 1959, he supported Curtis Fuller's 'Imagination'. Fuller then backed Bailey on the latter's first two albums per above in 1960 w Terry, after which Bailey drove the beat on Fuller's 'South American Cookin'' in August of 1961. Next up was a tour to Brazil in July of 1961 with the Jazz Committee for Latin American Affairs where they recorded some bossa nova,'Jazz No Municipal', with Chris Connor. On October 1 of 1961 Fuller backed Bailey's 'Bash!'. Bailey saw Connor again on December 11 for 'Free Spirits'. Among the host of others Bailey backed during his career were Grant Green ('Green Street' '61), Billy Strayhorn ('Lush Life' '65) and Jimmy Witherspoon ('Blues for Easy Livers' '67). Bailey opted out of the music industry in 1969, returning to the military as a pilot. He would also be a flight instructor. He became active as well in jazz education, serving as executive director for the Jazzmobile in New York City. Other of his LPs not mentioned above were 'Reaching Out' ('61) and '2 Feet in the Gutter' ('61).

Dave Bailey   1955

  Who Showed My Baby How to Love Me

     With Larry Darnell

  Bernie's Tune

     LP: 'Presenting the Gerry Mulligan Sextet'

  Mud Bug

     LP: 'Presenting the Gerry Mulligan Sextet'

Dave Bailey   1960

  One Foot In the Gutter


Dave Bailey   1961

  Grand Street

     LP: 'Bash!'

  Shiny Stockings

     LP: '2 Feet in the Gutter'

  Slop Jah

     LP: 'Gettin' Into Somethin''


Birth of Modern Jazz: Dave Bailey

Dave Bailey   1965

Source: Discogs
  Born in indianapolis in 1930, pianist and vibraphonist, Buddy Montgomery, was younger brother to Monk and Wes Montgomery. He began his professional career in 1948, working with such as Big Joe Turner, Slide Hampton and Jay Johnson. It was 1955 when Montgomery appeared on vinyl with his brothers, Monk and Wes, in the Montgomery Brothers. That is thought to be 'Love for Sale', available on a compilation of various artists by Columbia called 'Almost Forgotten'. They are thought to have been joined by Alonzo Johnson (tenor sax) and Robert Johnson (drums) on that recording held on June 15 in NYC. The Montgomery Brothers would release several titles into the early sixties. Buddy and Monk put together the Mastersounds with Benny Barth (drums) and Richie Crabtree (piano) to release the album, 'Jazz Showcase', recorded in Los Angeles in 1957. That was followed the same year by 'The King and I'. The Mastersounds released a number of titles into the early sixties, including one on which Wes appeared in 1958: 'Kismet'. Montgomery issued his debut LP as a leader in 1968: 'The Two-Sided Album'. Ten more would follow into the 21st century. In 1969 Montgomery moved to Milwaukee, where he divided his time between music and jazz promotion, founding the Milwaukee Jazz Alliance (MJA). He moved to Oakland in 1982 where he organized the Oakland Jazz Alliance (OJA). Montgomery's last LP was 'A Day In the Life', issued in 2006. Though only about eight years younger than his brothers, Monk and Wes (about the same age, Monk a year and a half older), Buddy outlived them both by decades. Wes had died of heart attack in 1968, Monk following in 1982 of cancer. Buddy lived until 2009, dying in Palmdale, California. He performs on both piano and vibraphone on tracks below.

Buddy Montgomery   1958

   Billie's Bounce

      Album: 'The Montgomery Brothers and 5 Others'

Buddy Montgomery   1961

   Double Deal

      Montgomery Brothers with George Shearing

   Groove Yard

      Montgomery Brothers album with Bobby Thomas


      Album: 'The Montgomery Brothers in Canada'


      Album: 'The Montgomery Brothers in Canada'

Buddy Montgomery   1970

   This Rather Than That


Buddy Montgomery   1997

   Blues for David

      Album: 'Here Again'

   One Thousand Rainbows

      Album: 'Here Again'

Buddy Montgomery   2013

   Polka Dots and Moonbeams

      Album: 'Remembering Wes'

      Recorded June 2000   Posthumous issue


Birth of Modern Jazz: Buddy Montgomery

Buddy Montgomery

Source: jpc
  Born in Philadelphia, Pennsylvania, in 1931, drummer Paul Motian left his tour in the Navy in 1952 for New York City. Having played gigs in high school, he eventually began playing late night sessions with Thelonious Monk. He is thought to have made his first recordings to issue on an unknown date in 1955 with pianist Bill Evans and Eddie Costa on vibes for Jerry Wald: 'Mesa Verde' and "Frenchmen's Creek' (Kapp 212). Other titles from that session may have seen issue in 1956 on 'Listen to the Music of Jerry Wald'. In July of 1955 Motian held a couple sessions with Warren Fitzgerald (trumpet) and Hal Stein (sax) resulting in 'Hal Stein - Warren Fitzgerald' that year. A session in August for 'Just Friends' would get included on 'Hal Stein - Warren Fitzgerald Quintet' first issued in 1994 (per cdUniverse). His next session on September 27, 1956, was his first with the Bill Evans Trio, that with Eddie Kotick on bass for 'New Jazz Conceptions'. Evans was Motian's main carriage into the early sixties. Lord's disco has their their last Bill Evans Trio with Gary Peacock at bass on December 18, 1963, for 'Trio '64'. Peacock and Motian then backed pianist, Paul Bley's, 'Turning Point' on March 9, 1964. They had already recorded in a trio with Bley on April of 1963 for 'Blues', 'Getting Stared', et al. Peacock would become a major figure in Motian's later career in the nineties, beginning in October of 1990 in the Tethered Moon Trio w Masabumi Kikuchi at piano. Another session added in March of 1991 resulted in 'First Meeting' containing the track 'Tethered Moon'. Motian and Peacock continued numerously in the support of various ensembles to as late as Alexandra Grimal's 'Owls Talk' in December of 2009. Multiple sessions were held with the Tethered Moon Trio along the way: 'Tethered Moon' in '91, 'Triangle in '91, 'Plays Kurt Weill' in '94, 'Plays Jimi Hendrix' in '97, 'Chansons d'Edith Piaf' in '99 and 'Experiencing Tosca' in '02. Among other latter trios with Peacock was the New York Trio with pianist, Marc Copland, in June of 2006 for '(Voices)'. Motian's first titles with Bley had been per above in the Paul Bley Trio with Peacock in April of '63. Bley would be a major collaborator throughout Motian's career, recording in numerous of Bley's smaller ensembles, including trios, to as late as Bley's 'Not Two Not One' in January of 1998 in a trio with Peacock. Along the way Motian had backed Carla Bley (wife) on multiple occasions including 'Escalator Over the Hill' ('71) and 'Tropic Appetites' ('74). (Paul participated in neither of those.) Also supporting other groups, Motian and Paul are thought to have held their final session together in the quartet of tenor saxophonist, Yuri Honing, with Peacock at bass on March 8, 2001, for 'Seven'. Another important upright bassist was Charlie Haden, they first in a trio with pianist, Keith Jarrett, another significant figure in Motian's career. On May 4, 1967, they recorded Jarrett's 'Life Between the Exit Signs'. Titles by that trio at Shelly's Manne-Hole in Los Angeles in October of 1968 saw issue on 'Somewhere Before'. Haden and Motian would be lifetime companions into the new millennium while supporting other ensembles, like Jarrett's and Paul Bley's, as well each other. From Haden's 'Liberation Music Orchestra' in April of 1969 to 'Dream Keeper' in April of 1990 Motian sided six of Haden's LPs. Haden supported Motian on his debut LP, 'Conception Vessel', in '72, 'Tribute' in '74 and all three volumes of 'On Broadway' in '88, '89 and '91. Lord's disco has them last recording together for Lee Konitz' 'Live at Birdland' in December of 2009. As for Jarrett, after their sessions in '68 at Shelly's Manne-Hole, Motian joined Jarrett again on July 8, 1971, for 'Traces of You', 'Standing Outside', etc.. Motian hung with Jarrett through numerous LPs to October of 1976 for 'Bop-Be'. Lord's disco has them reuniting on September 16, 1992, for 'At The Deer Head Inn' in a trio with bassist, Gary Peacock. Apt to regard another fairly important bassist, that Steve Swallow, with whom Motian is thought to have first recorded on May 30, 1978, in the Kenny Davern Quartet with Steve Lacy at soprano sax for 'Unexpected'. They reunited in Milan in 1988-89, recorded numerously throughout the nineties in various configurations, and recorded what is thought their last on October 2, 2006, for Pietro Tonolo's 'Your Songs: The Music of Elton John'. Along the way Swallow backed Motian on 'Reincarnation of a Love Bird' in June '94, 'Flight of the Bluejay' in August '96, '2000 + 1' in August of '97 and 'Monk and Powell' in November of 1998. Motian would later distinguish himself in the nineties with his Electric Bebop Band first recording in April of 1992: 'Paul Motian and The Electric Bebop Band'. 'Reincarnation of a Love Bird' ensued in 1994, 'Monk and Powell' in 1998, 'Europe' in 2000 and 'Holiday for Strings' in 2001. Motian recorded his last of about 46 albums, 'The Windmills of Your Mind', in May of 2010. Lord's disco would have his last recordings in December of 2010 with trombonist, Samuel Blaser, for 'Consort in Motion'. Motian died of myelodysplastic syndrome in 2011 in Manhattan. All tracks below through year 1961 are with pianist, Bill Evans.

Paul Motian   1956



   Easy Loving


   I Got It Bad (And That Ain´t Good)

   I Love You

   No Cover, No Minimum

   Our Delight

   Speak Low

Paul Motian   1957

   Round Johnny Rondo

      Guitar: Barry Galbraith

Paul Motian   1961

   Waltz For Debby

      Bass: Scott LaFaro

Paul Motian   1962

   Lonely Woman

      Bass: Charlie Haden   Piano: Geri Allen

Paul Motian   1969

   La Pasionaria

     Album: 'The Montreal Tapes'    Bass: Charles Haden

Paul Motian   1974


Paul Motian   1978


Paul Motian   1982


      Album: 'Psalm'

Paul Motian   1995

   How Deep Is the Ocean

      Umbria Jazz Festival


      Live at the Village Vanguard

   Stella By Starlight

      Live in Italy

   What is this Thing Called Love

      North Sea Jazz Festival

Paul Motian   2002

   The Electric Be

      Filmed live

Paul Motian   2003

   Brilliant Corners

      Chivas Jazz Festival   The Electric Bebop Band

Paul Motian   2005

   Body and Soul

      Live at the Village Vanguard

      Guitar: Bill Frisell Tenor sax: Joe Lovano

   It Should've Happened a Long Time Ago

      Live at the Village Vanguard

      Guitar: Bill Frisell Tenor sax: Joe Lovano

   On The Street Where You Live

Paul Motian   2008

   Just Now

      Filmed live

      Bass: Gary Wang   Piano: Anat Fort

Paul Motian   2009

   Cathedral Song

      Piano: Jason Moran

     Tenor Saxophone: Chris Potter


Birth of Modern Jazz: Paul Motian

Paul Motian

Source: Dan Tepfer

  Born in 1932 in Chicago, not a lot of information is readily available concerning drummer, Walter Perkins (not to be confused with the early rockabilly musician), before he joined Ahmad Jamal in 1956 to support 'Count 'Em 88'. Perkins formed his first configuration of the group, MJT+3 (Modern Jazz Two + 3), in 1957, issuing 'Daddy-O Presents MJT +3' that year. Perkins reorganized MJT+3 in '59 and made that group his focus until its disbanding in 1962 when he traded Chicago for side work in New York City. Just so, such as Gene Ammons came along, with whom Perkins worked in the early sixties. Other major associates in the sixties were Lionel Hampton, Billy Taylor, Rahsaan Roland Kirk and Sonny Stitt. Making Queens his domicile, Perkins there played clubs while beginning to teach drums in public schools in the eighties. Apart from several albums released with MJT+3 Perkins has no catalogue as a leader. He died of lung cancer in February 2004 in Queens. His most recent recordings had been for tenor saxophonist, Bob Feldman's, 'Triplicity' in 2004 in a trio with Ken Filano at bass. That had been preceded in 2002 by a duo album with Peter Brötzmann for 'The Ink Is Gone'. Per 1956 below, tracks are with the Ahmad Jamal Trio from the album, 'Count 'Em 88'.

Walter Perkins   1956

  Easy to Remember

   How About You

   I Just Can't See For Lookin'

   Jim Love Sue

   Volga Boatman

Walter Perkins   1957

  Temporarily Out of Order

      LP: 'Daddy-O Presents MJT+3'

Walter Perkins   1959

  Body and Soul

      Live with Coleman Hawkins

  Brother Spike

      LP: 'Walter Perkins' MJT+3'


      LP: 'Walter Perkins' MJT+3'

Walter Perkins   1961

  Long Night

      Album by Frank Strozier

  Raggity Man

      LP: 'MJT+3'

Walter Perkins   1964

  Jazz Conversations

      LP: 'The Happy Horns of Clark Terry'

  Stompin' at the Savoy

      Art Farmer LP: 'Live at the Half-Note'


Birth of Modern Jazz: Walter Perkins

Walter Perkins

Source: Jazz Talk

Birth of Modern Jazz: Guy Warren

Guy Warren (aka Kofi Ghanaba)

Source: Kentake Page
Born Warren Gamaliel Kpakpo Akwei in 1923 in Greater Accra, Ghana, Guy Warren's parents had named him after US President Warren Harding. He began playing drums professionally in 1937 with the Accra Rhythmic Orchestra. He won a scholarship to Achimota School in Accra, but dropped out to join United States Army's Office of Strategic Services, a World War II intelligence agency. After the War he worked as a journalist and editor in various African newspapers. He began his radio career for the Gold Coast Broadcasting Service in 1944, beginning to go by the name he is known by at that time. In '51 he started with the BBC, after which he worked as a disc jockey for National Broadcasting Service of Liberia from '53 to '55. He journeyed to Chicago in 1955 where He recorded his first album the next year with the Gene Esposito Band: 'Africa Speaks America Answers'. In 1974 Warren returned to Ghana, changing his name to Ghanaba. He had apparently been in Great Britain for a time though, having recorded 'Emergent Drums' there in 1963, along with other recordings including 'Afro-Jazz' ('69) and 'Blood Brothers 69' with Ginger Baker, that appearing on Baker's 1972 LP, 'Stratavarious'. As a Pan-Africanist, Warren worked in South Africa during the apartheid years (Nelson Mandela imprisoned from 1964 to '91) and was a celebrant of Namibia's final independence from South Africa in 1990. His own favorite work is said to have been his talking drums version of Handel's 'Hallelujah Chorus'. Warren died in December 2008. Per 1956 below, tracks are from 'Africa Speaks America Answers'.

Guy Warren   1956

   Africa Speaks

   The Highlife

   Monkies and Butterflies

   Ode to a Stream

Guy Warren   1959

   Blood Brothers

      LP: 'Themes For African Drums'

   Waltzing Drums

      LP: 'Themes For African Drums'

Guy Warren   1964


      LP: 'Emergent Drums'

Guy Warren   1969

   I Love the Silence

      LP: "Afro-Jazz'

Guy Warren   1972

   Blood Brothers 69

      Ginger Baker LP: 'Stratavarious'

Guy Warren   1986

   Hallelujah Chorus

      Filmed live

   Hallelujah Chorus

      Live at Royal Albert Hall (?)

Guy Warren   1987

   Hallelujah Chorus

      Filmed in Accra


Birth of Modern Jazz: Louis Hayes

Louis Hayes

Source: Blue Note
Born in Detroit, Michigan, in 1937, drummer Louis Hayes had led a band in Detroit before working there with Yusef Lateef and Curtis Fuller. He left Detroit to replace Art Taylor in the band of Horace Silver in New York in 1956. He issued his first album, 'Louis Hayes' in 1960, three years after his first release on vinyl in 1957 with Horace Silver, '6 Pieces of Silver', recorded in November of '56. That was followed in 1957 by sessions with Phil Woods, Kenny Burrell ('K. B. Blues' with Silver '79), Yusef Lateef, and The Cats (John Coltrane, Idrees Sulieman, Tommy Flanagan, Kenny Burrell and Doug Watkins). After Silver's 'The Stylings of Silver' on May 1 of 1957 Hayes filled out that year with Curtis Fuller, Sonny Clark, Jackie McLean, Clifford Jordan and Sulieman's ('Roots'). Hayes remained with Silver, recording numerously, to September 13 of 1959 for 'Melancholy Mood' and 'The St. Vitus Dance'. A reunion nigh forty years later in May of 1997 wrought 'A Prescription for the Blues'. Lateef was also a major figure in Hayes' early years. His first session with Lateef had been with Fuller on April 8 of 1957 for such as 'Beau Regard' and 'O Blues'. Eight days later they recorded 'Before Dawn' with Fuller. On April 26 of 1960 Lateef supported Hayes' debut LP. 'Louis Hayes', with Nat Adderley (cornet) Barry Harris (piano) and Sam Jones (bass). In 1962-63 they worked together in the Cannonball Adderley Sextet, including a couple tours to Europe and Japan. Lord's disco shows their last recordings together with Adderley at the Hibaya Open Theatre in Tokyo on July 28 of '63 for unissued titles like 'Marney', 'Nippon Soul', et al. It was June 15, 1958, when another major figure first recorded with Hayes, that being tenor saxophonist, Junior Cook, in the Horace Silver Quintet to back Bill Henderson on 'Tippin'' and 'Senor Blues'. They worked together with Silver into 1959, including a tour to Europe, reunited in 1969-70 with Freddie Hubbard, 1976 with Woody Shaw and 1988 for McCoy Tyner's 'Uptown Downtown'. After leaving Silver in latter 1959 Hayes joined Cannonball on October 10 for 'The Cannonball Adderley Quintet in San Francisco' with Nat Adderley (cornet) Bobby Timmons (piano) and Sam Jones (bass). Hayes hung with Cannonball to a WABC FM broadcast of 'Portraits in Jazz' at the Half Note in NYC on April 23, 1965, for such as 'How Can I Tell You?' and 'Unit Seven', also with Nat and Jones. Hayes, Nat and Jones would join Gene Ammons in March of 1974 for 'Goodbye'. All would reunite in February of 1975 for Cannonball's 'Phenix'. Hayes and Nat joined each other again in May of 1989 in Aarburg, Switzerland, in the Paris Reunion Band for 'We Remember Klook' (Kenny Clarke). Jones continued to play a major role in Hayes career after Cannonball'. In February of 1966 they supported Joe Zawinul's 'Money in the Pocket' before joining Oscar Peterson. A few of their sessions that year were as the Oscar Peterson Trio. They reunited in 1972 for Lucky Thompson's 'Friday the 13th' with Cedar Walton at the Cook County Jail in Chicago and Sonny Stitt's '12!'. January of 1973 found Hayes and Jones participating in both volumes of Walton's 'A Night at Boomer's'. 1974 found them with Ammons per above, then in a trio with Walton for 'Firm Roots'. It was another trio with Peterson in 1974, Cannonball's 'Phenix' per above in 1975, Al Cohn's 'Silver Blue' and 'True Blue' in 1976, Jones' 'Changes and Things' in 1977, Jamey Aebersold's 'Cannonball Adderley' in 1978 and Rein de Graaff's 'New York Jazz' in 1979. We retrace to March 29 of 1960 with Cannonball for the important figure that was pianist, Barry Harris, they joining Nat and Jones on that date for 'Jeannine', 'Work Song', et al. Harris supported Hayes' debut LP in April 1960: 'Louis Hayes'. That same year Hayes backed 'Barry Harris at the Jazz Workshop'. They then contributed to Harold Land's 'West Coast Blues' in May before joining CannonballNat and Jones at the Newport Jazz Festival in July. On January 24 of 1962 they participated in Lee Morgan's 'Take Twelve' with Clifford Jordan (tenor sax) and Bob Cranshaw (bass). Harris and Hayes reunited in 1972 for Stitt's '12!', 1976 for Cohn's 'Silver Blue' and 'True Blue', and Jones' 'Changes and Things' in September of 1977. Another major pianist in Hayes' career was vibraphonist, Victor Feldman, first joining Hayes on May 21 of 1960 for 'Cannonball Adderley and The Poll Winners featuring Ray Brown and Wes Montgomery'. Feldman and Hayes were frequent partners with both Cannonball and other operations like Jazz at the Philharmonic until May 11 of 1961 for Cannonball's 'Plus'. It had been December 11, 1960, when trumpeter, Freddie Hubbard, came along to back pianist, Kenny Drew's, 'Undercurrent' with Hank Mobley (tenor sax) and Jones. Come Hubbard's 'The Artistry of Freddie Hubbard' on July 2, 1962. They worked together in 1963, again in 1969-70 (including the '69 Newport Jazz Festival), and reunited in 1982 for Hubbard's 'Above & Beyond'. Hubbard albums to which Hayes had contributed were 'The Black Angel', 'The Hub of Hubbard' and 'Without a Song' in 1969, and 'Sing Me a Song of Songmy' in 1970. We return to July 4, 1965, for the major figure that would be pianist, Oscar Peterson, they performing in a trio with bassist, Ray Brown, on that date at the Newport Jazz Festival for such as 'Reunion Blues' and 'Easy Walker'. That trio continued into 1966 when Sam Jones replaced Brown on 'Canadian Giant', also recording 'Soul Espanol' later that year. It was George Mraz on bass in 1971 for 'In Tune' with Singers Unlimited. July of 1971 saw them with Brown again in Villingen, Germany, for 'Reunion Blues' with vibraphonist, Milt Jackson. It was a trio with Mraz again the same month in Nice, France, for Peterson's 'In Concert'. It was Niels-Henning Ørsted Pedersen on bass for trios in latter 1971 in Monterey, CA, and Villingen. Come tours to Tokyo and Australia in 1972 with Michel Donato on bass. It was Jones again in 1974 on 'Main Stem', 'Don't Get Around Much Anymore' and 'Swamp Fire' in NYC. Hayes released his second LP, 'Breath of Life', in 1974. He worked with Woody Shaw in 1976-77. Starting with Shaw's 'The Tour Volume One' in Stuttgart, Germany, on March 22, 1976, Hayes and Shaw backed each other on multiple occasions, such as Hayes' 'Ichi-Ban' in 1976, their jointly led 'Lausanne 1977', and Hayes' 'The Real Thing' in 1977. Along the way they backed tenor saxophonist, Dexter Gordon, on titles including 'Homecoming' in December of 1976. Hayes recorded 'Variety Is the Spice' in October of '78. Ten albums later it was 'Dreamin' of Cannonball', put down in May of 2001 with his Cannonball Legacy Band consisting of Vincent Herring, Jeremy Pelt, Vicente Archer and Rick Germanson. That group recorded 'Maxiimum Firepower' in June of 2006 with Richie Goods replacing Archer and Anthony Wonsey added. In 2010 Hayes' Jazz Communicators left behind 'Lou's Idea'. Hayes also joined Jazz Incorporated that year for 'Live at Small's'. Hayes has issued eighteen name albums, his latest, 'Return of the Jazz Communicators' and 'Live at Cory Weeds' Cellar Jazz Club' as of 2014. Over the course of his career Hayes had backed or collaborated with countless musicians from Stan Getz to JJ Johnson, Grant Green, Blue Mitchell, Chuck Mangione, David Hazeltine and Peter Washington. Hayes currently heads both the Cannonball Legacy Band and The Jazz Communicators.

Louis Hayes   1957

   Cool Eyes

      Horace Silver album: '6 Pieces of Silver'


      Horace Silver album: 'The Stylings Of Silver'


      Horace Silver album: '6 Pieces of Silver'

Louis Hayes   1958

   Cool Eyes

      Filmed live with Horace Silver

Louis Hayes   1960


      With Yusef Lateef

   Rip De Boom

      With Yusef Lateef

   Them Dirty Blues

      Cannonball Adderley album

Louis Hayes   1961


     With Cannonball Adderley

    'Jazz Casual' television program

Louis Hayes   1969

   Softly As In a Morning Sunrise

      Double bass: Richard Davis

   The Things We Did Last Summer

      With Freddie Hubbard

   Without a Song

      With Freddie Hubbard

Louis Hayes   1970

   The Black Angel

     With Freddie Hubbard

Louis Hayes   1977

   In Case You Haven't Heard

      Louis Hayes-Woody Shaw Quintet


      Louis Hayes-Woody Shaw Quintet

Louis Hayes   1979


      Album: 'Variety Is the Spice'

   Little Sunflower

      Album: 'Variety Is the Spice'

   Dance With Me

      Album: 'Variety Is the Spice'

   My Favorite Things

      Album: 'Variety Is the Spice'

Louis Hayes   1986


      Bass: Scott LaFaro

Louis Hayes   2014


      Bass: Scott LaFaro


Birth of Modern Jazz: Albert Heath

Albert Heath

Photo: Mike McMillen

Source: Mike McMillen
Born 1935 in Philadelphia, PA, drummer, Albert Heath (aka Tootie), was younger brother to bassist, Percy, and Jimmy Heath (tenor sax). Heath is thought to have first recorded with John Coltrane on the latter's debut album, 'Coltrane', in 1957. Recorded on the same date (May 31) was 'I Hear a Rhapsody', found on Coltrane's 'Lush Life' in '61. Of major importance as Heath turned the page of the latter fifties into the sixties was his brother, Jimmy Heath, Clifford Jordan and Art Farmer. In 1964 he was featured on 'Gulda Jazz', an album by Austrian pianist, Friedrich Gulda. Also in '64 he and Kenny Dorham were recorded live in New York City that August, resulting in 'Jazz at P.S. 175'. Heath released his first album as a leader in 1969: 'Kawaida'. As he moved from the latter sixties into the seventies such as Yusef Lateef, Dexter Gordon and Tete Montoliuu would figure large. More so would be his formation of the Heath Brothers in 1975 with Percy and Jimmy. That group was good for three years when Heath dropped out to concentrate on side work. He would, however, be a member of the Heath Brothers one way and another throughout his career. Though Heath hasn't issued over many albums as a leader, he's appeared on countless recordings backing others. Yet active, Heath teaches at the Stanford Jazz Workshop and runs a group called the Whole Drum Truth. Among his most recent releases was 'Philadelphia Beat' in 2015. Per 1958 below, tracks are live with JJ Johnson (trombone), Nat Adderley (trumpet), Tommy Flanagan (piano) and Wilbur Little (bass).

Albert Heath   1957



Albert Heath   1958

   Tune Up


   What Is This Thing Called Love

Albert Heath   1959

   The Thumper

      Jimmy Heath LP: 'The Thumper'

Albert Heath   1959

   The Thumper


Albert Heath   1961

   Lowland Lullaby

      Jimmy Heath LP: 'The Quota'

Albert Heath   1967

   Live in Denmark

      Filmed live with Dexter Gordon

Albert Heath   1969


      LP: 'Kawaida'

Albert Heath   1974

   Wazuri Blues

      LP: 'Kwanza (The First)'

      Bass: Percy Heath

      Guitar: Ted Dunbar

Albert Heath   1992

   Sassy Samba

      Jimmy Heath LP: 'You've Changed'

Albert Heath   1995

   Hot House

      Jimmy Heath LP: 'You Or Me'

Albert Heath   2008

   Live at Duc des Lombards

      Filmed live

Albert Heath   2013

   The Charleston

      LP: 'Tootie's Tempo'

      Bass: Ben Street

      Piano: Ethan Iverson

Albert Heath   2015

   Live at Dizzy's

      Filmed live


  Born in Los Angeles in 1936, bop drummer Billy Higgins is thought to have first recorded on television on February 18, 1957, for the 'Stars of Jazz' television show, titles made available in 1976 on an LP called 'Sessions, Live: André Previn, Shelly Manne, Red Mitchell'. His next session was March 26, of 1957 for 'Presenting Red Mitchell'. Come February 8 of 1959 it was 'Cal Tjader/Stan Getz Sextet'. Higgins's initial session with Ornette Coleman was two days later for 'Something Else!!!'. Coleman and Higgins were tight for a couple years, both backing other operations and fulfilling Coleman's projects like 'Coleman Classics 1' in '58 ('77), and 'The Shape of Jazz to Come' ('59) and 'Change of the Century' ('60) in 1959. Multiple reunions in decades to come would see several more Coleman albums to 'Reunion' in 1990, recorded in Italy with Don Cherry (cornet) and Charlie Haden (bass). Both Cherry and Haden were major figures in Higgins' career. His first tracks with Cherry had been per Coleman's 'Something Else!!!' per above in February of '59. They worked with both Coleman and Sonny Rollins in their early years together into the sixties. Higgins backed Cherry on 'Brown Rice' in 1975. They reunited in 1986 at Storyville Jazz Hall in New Orleans to back Sarah Vaughan on 'Bemsha Swing'. 1987 saw Cherry and Haden backing Coleman's 'In All Languages' followed by a recorded concert in Hamburg, Germany, on October 29. Cherry's 'Art Deco' ensued in August of 1988 before Coleman's 'Reunion' per above in 1990. Higgins had laid his first tracks with Haden during two sessions at the Hillcrest Club in Los Angeles in October, 1958, with Coleman, Cherry and pianist, Paul Bley. The first session was for Bley, resulting in what would get issued as 'The Fabulous Paul Bley Quintet' in 1971 and 'Live at the Hillcrest Club 1958' in 1976. The second session saw issue as 'Coleman Classics 1' in 1977. Haden and Higgins continued with Cherry and Coleman to December, 1960, for the latter's 'Free Jazz' ('61). It was Cherry and Coleman again in 1971 for the latter's 'Broken Shadows' and 'Science Fiction'. Haden and Higgins worked together on occasion during the seventies, such as in support of Cherry's 'Brown Rice' in '75. They worked together with Art Pepper in '75, '79, and '81, that latter date with Zoot Sims for what got issued in '91 and '95 as 'Art `N' Zoot'.  March of '83 found them in a quartet with guitarist, Nana Simopoulos. A trio with guitarist, Pat Metheny followed that year ('Rejoicing'). It was Henry Butler's 'Fivin' Around' in 1986, Haden's 'Quartet West' in December that year. Numerous sessions followed into the nineties, both backing other enterprises, like Coleman's and Cherry's, and recording Haden projects. Their last session together is thought to have been a trio with Bheki Mseleku in March of 1995 for the latter's 'Star Seeding'. Another major figure in Higgin's career was Harold Land, for whom we return to a session with Thelonious Monk in April of 1960 in San Francisco for 'At The Blackhawk'. They worked with Pepper in 1975, then reunited on October 22, 1981 for Land's 'Xocia's Dance'. Higgins and Land shared numerous sessions through the eighties into the nineties, both backing other operations, like the Timeless All Stars,  and each other. Land contributed to Higgins' 'Bridgework' in 1986 and '3/4 for Peace' in 1993. Higgins participated in Land's 'A Lazy Afternoon' in 1994 and 'Promised Land' in August of 2000, that thought to be their final session together. Another important associate was Herbie Hancock, for whom we retrace to September 21, 1961, for Donald Byrd's 'Royal Flush'. Higgins next backed Hancock on his debut LP, 'Takin' Off', on May 28, 1962. Hancock and Higgins traveled much the same path for the next five years supporting other groups, particularly Lee Morgan's with whom they held their last session of that period together on July 14, 1967, for Morgan's 'The Procrastinator'. They reunited in 1985 in Paris with Chet Baker and Dexter Gordon for ''Round Midnight' (soundtrack) and 'The Other Side of 'Round Midnight'. Their last titles together are thought to have been for Sarah Vaughan at the Storyville Jazz Hall in New Orleans in 1986 for such as 'Bemsha Swing' and ''Round Midnight'. The major figure that was Jackie McLean had arrived on October 26, 1961, Higgins joining McLean's quintet on that date with Stanley Turrentine on trumpet for 'A Fickle Sonance'. Higgins worked with McLean numerously into the latter seventies both backing other groups, like Morgan's, and recording some eight of McLean's albums. Their last sessions of that extended period were with Art Farmer in Japan for the latter's 'Live in Tokyo'. They reunited in February of 1990 to support vocalist, Abbey Lincoln, on 'The World Is Falling Down'. Their last titles are thought to have been in June of 1999 for McLean's 'Nature Boy'. We return to March 19, 1962, for another important comrade, that bassist, Herbie Lewis, who had joined Higgins on that date for McLean's 'Let Freedom Ring'. Higgins and Lewis would visit on multiple occasions in the support of various operations to as late as December 18, 1986, for saxophonist, Curtis Peagler's, 'I'll Be Around'. Dexter Gordon was also a notable figure in Higgins' career, for whom we return to May 28, 1962, for Herbie Hancock's debit album: 'Takin' Off'. From Gordon's 'Go!' put down on August 27 of 1962 to 'Bouncin' with Dex' in Copenhagen, Denmark, on September 14, 1975, Higgins supported seven of Gordon's LPs. 1985 saw ''Round Midnight' (soundtrack) and 'The Other Side of 'Round Midnight' recorded in Paris. September 6 of 1987 found them together a last time for 'At the Chicago Jazz Festival 1987' issued in 2014. Bassist, Bob Cranshaw, was also a notable figure in the sixties, their initial session together on July 27, 1962 at the Village Gate in NYC for Sonny Rollins' 'Our Man in Jazz'. Cranshaw and Higgins got mixed together on multiple occasions, particularly with Hank Mobley, to January 19, 1968, for the latter's 'Reach Out!'. They reunited in 1973 for Jimmy Heath's 'Love and Understanding' with Curtis Fuller at trombone. On June 30 of 1989 they joined the Contemporary Piano Ensemble for 'Four Pianos for Phineas'. Another major player in Higgins' career was trumpeter, Lee Morgan, for whom we track back to December 21, 1963, for Morgan's 'Sidewinder'. Higgins backed thirteen of Morgan's LPs to 'Caramba!' on May 3, 1968. We step back to November 2, 1964 for one of the more important of Higgins' partners through the years, that bassist, Ron Carter, with whom he backed saxophonist, Wayne Shorter, on that date for the unissued titles, 'Witch Hunt', 'Dance Cadaverous' and 'Speak No Evil'. Carter and Higgins interwove often, supplying rhythm to numerous operations to Bobby Timmons' 'Got to Get It' on November 20, 1967. They reunited twelve years later in September of 1979 for JJ Johnson's 'Pinnacles', after which they spent the eighties and nineties backing all variety of bands, such as Dexter Gordon's and Cedar Walton's, to January 17 of 1998 for James Williams' 'Classic Encounters'. Saxophonist, Hank Mobley, also owned a strong presence in Higgins career. Higgins first joined Mobley on February 5, 1965, for 'The Turnaround'. Eight albums later it was Mobley's 'Reach Out!' on January 19, 1968. Along the way they supported other operations like Lee Morgan's. They reunited for Cedar Walton's 'Breakthrough' on February 22, 1972. Which to note takes us back to August 9, 1965, for Higgins' first session with Walton, that to support Eddie Harris' 'The In Sound'. Walton would be the singularly important character in Higgins' career through countless sessions for decades to come. Along with touring together through an extensive Rolodex of bands they supported each other's projects exhaustively. From Walton's 'Cedar!' in 1967 to his 'Manhattan After Hours' in 2000 Higgins contributed to some 34 of Walton's albums. Among them was 'Eastern Rebellion' laid out in December of 1975. Walton backed Higgins on the latter's debut LP, 'Soweto', on January 21, 1979. Ditto 'The Soldier' in '79, 'Bridgework' in '80 and '86, 'Once More' in '80 and 'Billy Higgins Quintet' in '93. It was Higgins' 'The Night Has a Thousand Eyes' in 1999 to get issued on the album by various, 'Summer Nights at MOCA'. Another powerful presence in Higgins' career was saxophonist, Clifford Jordan, for whom we step back to October 12, 1966, for Jordan's 'Soul Fountain'. Some eight LPs later came Jordan's 'The Pentagon' on May 17, 1976. Along the way they participated in the Brass Company's 'Colors' in 1974. They reunited in Monster, Holland, on April 17, 1985, for Slide Hampton's 'Roots', again in September of '88 for Walton's 'Plays the Music of Billy Strayhorn'. In 1989 Higgins founded the World Stage in Los Angeles with poet, Kamau Daaood. Higgins also taught at the University of California. Appearing on well above 700 recordings with upwards of 500 sessions attended, Lord's disco lists his last for Charles Lloyd's 'Which Way Is East' in January of 2001 in Montecito, CA. Higgins died on May 3 of 2001 of kidney and liver failure. Amidst the galaxy of others unmentioned above with whom he recorded were Freddie Hubbard, Stanley Cowell, Gene Ammons, Milt Jackson, Kaeef Ali and Cyrus Chestnut. Higgins drums with alto saxophonist, Orenette Coleman, in all tracks below through 1971 unless otherwise indicated.

Billy Higgins   1958


   Angel Voice

   The Blessing


   The Disguise




   The Sphinx

   When Will the Blues Leave?

Billy Higgins   1959

   Billie's Bounce

      Sax: Teddy Edwards

   The Shape of Jazz to Come

Billy Higgins   1960

   Una Muy Bonita

Billy Higgins   1965


      Bass: Charlie Haden   Piano: Enrico Pieranunzi

      Trumpet: Chet Baker

   Our Man Higgins

      Alto sax: Jackie McLean   Trumpet: Lee Morgan

Billy Higgins   1971

   Civilization Day

Billy Higgins   1979


Billy Higgins   1983


      Filmed live   Alto sax: Jackie McLean

Billy Higgins   1985


      Filmed live   Bass: Ron Carter   Piano: Herbie Hancock

Billy Higgins   1986

   Cool Struttin'

      Filmed live   Alto sax: Jackie McLean


      Filmed live   Guitar: Pat Metheny

Billy Higgins   1990

   Blues For C.M.

      Piano: Hank Jones

Billy Higgins   1993


      Filmed live   Guitar: Pat Metheny

Billy Higgins   2000


      Concert filmed live   Sax: Charles LLoyd


Birth of Modern Jazz: Billy Higgins

Billy Higgins

Source: Hipster Sanctuary

  Born in 1932 on the island of Oahu in Hawaii (territory at the time), Arthur Lyman played vibes and the marimba (a kind xylophone, which was first developed in Asia circa 2000 BC, then imported to Africa circa 500 AD to become the marimba). Lyman's premier recordings were with pianist, Martin Denny in 1956, releasing the album, 'Exotica', the next year. 'Exotica' was the big splash of the jazz subgenre thereafter called exotica, often incorporating animal sounds, especially tropical birds. Though conceived in Hawaii exotica would come to be referred to as Polynesian. Lyman left Denny's outfit after recording 'Exotica' and released his own LP the same year, 'Leis of Jazz'. Lyman recorded into the seventies while working clubs and hotels in Hawaii. He also played in Southern California and Chicago. Lyman expired February of 2002 in Honolulu, having issued above thirty albums.

Arthur Lyman   1957


     Album with Martin Denny

Arthur Lyman   1958

  Ringo Oiwake

Arthur Lyman   1960

  Return To Paradise

Arthur Lyman   1961

  Yellow Bird

Arthur Lyman   1965



Arthur Lyman   1992

  Live at the Makai Bar

Birth of Modern Jazz: Paul Motian

Arthur Lyman

Source: All Music
Birth of Modern Jazz: Dave Pike

Dave Pike

Source: Wikipedia
Born in Detroit in 1938, vibes player, Dave Pike , also performed on marimba. Starting with drums at age eight, he moved with his family to Los Angeles in 1954 and would soon be gigging with such as Dexter Gordon, Harold Land, Carl Perkins (pianist) and Curtis Counce. Pike recorded 'Gene Norman Presents the Jazz Couriers' in 1956, the year Gene Norman founded the Whippet Record Company (having founded GNP Crescendo in '54). bsn.pubs and 'Billboard' have that issued in March of '57. Pike came to recording 'Solemn Meditation' in Hollywood with Paul Bley in 1958. He moved to New York City in 1960 where he signed up with Herbie Mann to appear on the first of several albums with him in the sixties, 'The Family of Mann', issued in 1961. That was preceded by Pike's album, 'It's Time for Dave Pike'. In 1968 he formed the Dave Pike Set in Europe, releasing six albums with that group into the early seventies. Returning to the States about that time, he performed at Hungry Joe's in Huntington Beach, CA, until it burned down in '75. He played in clubs, toured and recorded until his last of 22 albums in 2000, 'Peligroso'. Pike toured until 2010 when poor health slowed his pace, he to die on October 3 of 2015. Per 1957 below, 'Valse Hot' is from the LP, 'Gene Norman Presents the Jazz Couriers'. Tracks in 1969 and '70 are with the Dave Pike Set.

Dave Pike   1957

   Valse Hot

Dave Pike   1961


      LP: 'It's Time for Dave Pike'

Dave Pike   1962

   Bossa Nova Carnival


Dave Pike   1963

   Limbo Carnival


Dave Pike   1965

   Standing Ovation at Newport

      LP by Herbie Mann

Dave Pike   1966

   The Jet Set


Dave Pike   1969


      Original composition: Classics IV

      LP: 'Got the Feelin''

Dave Pike   1970

   But Anyway

      LP: 'Infra-Red'

Dave Pike   2000

   Beauty & the Beast

      LP: 'Peligroso'


      LP: 'Peligroso'


Birth of Modern Jazz: Pete La Roca

Pete La Roca

Source: All Music
Born Peter Sims in Harlem in 1938, drummer Pete La Roca began percussion as a child. While attending the City College of New York he played tympani in its orchestra. He began his professional career in the early fifties, changing his name from Sims to La Roca and playing timbales in NYC for Latin bands. La Roca's first track to see vinyl was 'A Night in Tunisia', recorded at the Village Vanguard November 3rd of 1957 with saxman, Sonny Rollins, released the next February on Rollins's album, 'A Night at the Village Vanguard'. A 1999 reissue of that album also has La Roca on 'I've Got You Under My Skin' and 'Softly, as in a Morning Sunrise'. LaRoca would later join Rollins on a tour to Sweden and Europe for several sessions in March of 1959. In December of '57 La Roca laid three tracks with pianist, Sonny Clark, that found their way onto the 1979 release of 'My Conception', a Blue Note compilation of Clark compositions per '57 and '59: 'Minor Meeting', 'Eastern Incident' and 'Little Sonny'. La Roca may have backed Tony Scott's 'Gypsy' before his tour to Europe per above with Rollins. He was with Scott' again in August of '59 for the latter's 'Golden Moments' and 'I'll Remember', those quartets consisting of Bill Evans (piano) and Jimmy Garrison (bass). After returning from Europe per Rollins above La Roca fell in with Jackie McLean on May 2 of '59 for 'New Soil', that with Donald Byrd. He would later join McLean in 1961 on 'Bluesnik', that with Freddie Hubbard. Following Scott came a quartet led by JR Montrose for 'The Message', Tommy Flanagan (piano) and Jimmy Garrison (bass) for personnel. That was followed by the first of several sessions with Slide Hampton over the next few years, that in late 1959 for the tunes, 'Newport', 'Jazz Corner', etc.. February of 1960 saw Hampton's 'Sister Salvation'. October of 1960 witnessed 'Somethin' Sanctified'. Notable during La Roca's career were several recordings with Steve Kuhn Trio. The first was on November 29, 1960, with Scott LaFaro on bass, not issued until 2005 as '1960'. A trio with LaFaro followed with Don Friedman at piano for 'Memories for Scotty'. On February 21, 1961, Kuhn and LaFaro supported Stan Getz on such as 'Baubles, Bangles and Beads' and 'Little Old Lady'. La Roca supported Kuhn in 1963 on 'The Country & Western Sound for Jazz Pianos' with pianist, Toshiko Akiyoshi. It was a trio with Kuhn and Steve Swallow at bass for Art Farmer's 'Sing Me Softly of the Blues' in March of 1965. Kuhn played piano on La Roca's debut album, 'Basra', on May 19, 1965, Joe Henderson (tenor sax) and Swallow also participating. It was Kuhn's trio with Swallow for 'Three Waves' in 1966. Thirty-three years later it was a trio with George Mraz at bass for 'Sing Me Softly of the Blues' on September 14, 1997, that La Roca's last listing in Lord's disco. La Roca's initial of three albums as a leader was 'Basra' per above in 1965. In 1967 La Roca issued the LP, 'Turkish Women at the Bath', with Chick Corea, titled after the painting by Ingres. The next year he put away music due inability to find work. He had small taste for the huge burst of free jazz in the sixties and stated jazz fusion to be his nemesis, that not his bag either. He preferred to drive a taxi for the next five years while studying law, after which he successfully sued Muse Records upon its 1973 release of 'Bliss' crediting Corea as leader of the quartet because it was the same LP as 'Turkish Women at the Bath'. La Roca returned to music in 1979 and would form the band, Swingtime. His third and final album, 'Swingtime', didn't appear until much later in 1997. La Roca died of lung cancer in November 2012. Per 1967 below, all tracks are from La Roca's album, 'Turkish Women at the Bath'.

Pete La Roca   1958

  A Night in Tunisia

     Saxophone: Sonny Rollins

        Album: 'A Night at the Village Vanguard'

  Softly, As In a Morning Sunrise

Saxophone: Sonny Rollins

        Album: 'A Night at the Village Vanguard'

        Reissue 1999

Pete La Roca   1959

  Paul's Pal

     With Sonny Rollins

     Not released until 1984

Pete La Roca   1960

  Little Old Lady

     Bass: Scott LaFaro

     Piano: Steve Kuhn

Pete La Roca   1964

  Bag's Groove

     Filmed live with Art Farmer

  So In Love

     Filmed live with Art Farmer

Pete La Roca   1965


     Album: 'Basra'

  Lazy Afternoon

     Album: 'Basra'

Pete La Roca   1965


  Dancing Girls

  Love Planet

  Turkish Women at the Bath


  Born in 1929 in New Orleans, drummer, Ed Blackwell, was much influenced by the drumming of brass band funeral parades and participated in second lines (nonofficial participants following the main parade, music generally more festive than that of the featured band). He also listened to Max Roach and Charlie Parker records. Blackwell played his first professional gigs after high school in 1949 with the Johnson Brothers Band. He first met Ornette Coleman during that period. In 1951 he left Louisiana for Los Angeles where he performed in R&B bands. Returning to New Orleans in '56, he participated in his first recordings sessions with the American Jazz Quintet, tunes such as 'Nevermore', 'Nigeria', 'To Brownie' and 'Stephanie'. Those didn't appear, however, until 1976 in a box set of four LPs titled, 'New Orleans Heritage Jazz: 1956-1966'. Though that's gone out of print, those early recordings can be heard on the CD, 'In the Beginning', released in 1991 by Afo Records. Blackwell briefly joined Ray Charles' touring outfit of two torturous Greyhound buses in 1957. His first drum set was purchased by Charles, impressed by his drumming. The next year Blackwell recorded what would see release in 1994, 'Boogie Live', again with the American Jazz Quintet. Sometime in 1958 (Lord's disco) Blackwell joined the Wallace Davenport Quintet for 'Tippy'/'This Love of Mine' (Pontchartrain Records K8OW-4838/39), those seeming to have been his first appearance on vinyl (1959 See comments 45cat). Lord's disco has Blackwell on obscure unissued titles with pianist, James Booker, and bassist, Frank Fields, sometime in ''58 or '59 on 'September in the Rain', 'Willow Weep for Me', et al. Lord's has that  annotated with "Rex" without any numbers, mysteriously in that none of multiple Rex record companies which we can find are known to have been in operation at that time. Come another session with the American Jazz Quintet on February 19, 1959, for what would see issue as 'Gulf Coast Jazz Vol 1' in 2014. Come April of 1960 for Blackwell's first recordings with Eric Dolphy: 'April Fool' and 'G.W.' appearing on the Dolphy release of 'Here and There' the next year. In December of 1960 Blackwell recorded 'Serene' with Dolphy, that appearing on the much later release of 'Dash One' in 1983. In 1961 Blackwell appeared on both volumes of Dolphy's 'At the Five Spot'. Other recordings from 1961 would appear on the 1967 release of 'The Eric Dolphy Memorial Album'. We slip back John Coltrane with Don Cherry in June and July of 1960 for 'The Avant-Garde'. Cherry was to become a major figure in Blackwell's career. They worked together extensively both with Ornette Coleman and supporting each other's projects into the nineties. Blackwell's first session in support of Cherry was a trio with Henry Grimes at bass for titles unissued by Atlantic on November 29, 1961: 'The Idiot', 'Harlemite' and 'Black Elk Speaks'. From 'Togetherness' issued in '66 to 'Multikuti' released in 1990 Blackwell supported above ten of Cherry's LPs. Cherry backed 'Shades of Edward Blackwell' in January of 1968 and 'What It Be Like?' in August of 1992 at the Eddie Moore Festival in Oakland, CA. Ornette Coleman also played an important role in Blackwell's career. In December of 1960 Blackwell recorded right channel percussion with Billy Higgins on left, contributing to Ornette Coleman's release of 'Free Jazz: A Collective Improvisation' in '61. Blackwell then replaced Higgins to appear on Coleman's 1961 release of 'This Is Our Music'. Blackwell's first period with Coleman extended from the summer of 1960 into late 1961. He joined Coleman's outfit again in the winter of 1968 to latter '72. Blackwell provided rhythm on some twenty of Coleman's albums to 'J For Jazz Presents Ornette Coleman Broadcasts' recorded on September 22, 1972. Blackwell's first session with vibraphonist and pianist, Karl Berger, is thought to have been on September 19, 1966, to support Don Cherry's 'Symphony for Improvisers'. Blackwell's first of several albums with Karl Berger followed on September 19, 1966, on Berger's debut LP as a leader: 'From Now On'. Four more albums followed through the years to 'Crystal Fire' laid out in April of 1991 with bassist, Dave Holland. Another important figure in Blackwell's career was tenor saxophonist, Dewey Redman, June 7, 1969, the date they joined Ornette Coleman for 'Man on the Moon' and 'Growing Up'. Blackwell and Redman would work closely together for more than twenty years both backing other enterprises, like Coleman's or Cherry's, and supporting each other's projects. Blackwell appeared on Redman's 'Tarik' in 1969, 'Red and Black in Willisau' in 1980 and 'The Struggle Continues' in 1982. They recorded 'Back on 52nd Street' with an ensemble including alto saxophonist, Marion Brown, on June 28, 1980. 'Walls - Bridges' followed on February 27 of 1992 at the University of Massachusetts with bassist, Cameron Brown. Blackwell and Redman were also members of a quartet called Old And New Dreams with Don Cherry (trumpet) and Charlie Haden (bass). That configuration recorded four albums from 'Old And New Dreams' in 1976 to 'A Tribute to Blackwell' in 1987. Another notable presence along Blackwell's path was pianist, Mal Waldron. They had recorded together as early as 'Eric Dolphy at The Five Spot' in 1961. Twenty years later Blackwell joined Waldron for a five-year stretch resulting in eight albums from 'Interpretations of Monk' at Columbia University in New York on November 1, 1981, to both volumes of 'Eric Dolphy & Booker Little Remembered Live at Sweet Basil' in October of 1982. Blackwell's last sessions were as a leader in 1992, released posthumously: 'Walls - Bridges' recorded in February, and 'What It Is?' plus 'What It Be Like?', both laid out on August 8 at different live venues. The latter are also known as 'Ed Blackwell Project' Vol 1 and 2. Dying on October 7, 1992, Blackwell was awarded with a spot in 'Down Beat' magazine's Jazz Hall of Fame. Lord's disco credits Blackwell with 115 sessions. Among the numerous others with whom he recorded were Archie Shepp, the Jemeel Moondoc Trio, David Murray, Jay Hoggard and Ray Anderson. 

Ed Blackwell   1956


      American Jazz Quintet

      First issue 1976


      American Jazz Quintet

      First issue 1976

Ed Blackwell   1961


      Eric Dolphy album: 'At the Five Spot Vol 2'

  At the Five Spot Vol 1

      Album by Eric Dolphy

  Free Jazz: A Collective Improvisation

      Album by Ornette Coleman

  Like Someone In Love

      Eric Dolphy album: 'At the Five Spot Vol 2'

  This Is Our Music

      Album by Ornette Coleman

      Alto sax: Ornette Coleman

      Bass: Charlie Haden

      Pocket trumpet: Don Cherry

Ed Blackwell   1966

  Focus on Sanity

      Recorded 1959

      Album: 'The Avant-Garde'

      Bass: Percy Heath

      Cornet: Don Cherry

      Saxophone: John Coltrane

Ed Blackwell   1967

  Booker's Waltz

      'Eric Dolphy & Booker Little Memorial Album'

      Recorded 1961

  Number Eight

      'Eric Dolphy & Booker Little Memorial Album'

      Recorded 1961

Ed Blackwell   1969


      Dewey Redman album: 'Tarik'

Ed Blackwell   1979


      Don Cherry album: 'Old and New Dreams'

Ed Blackwell   1982

  Lost in the Stars

      Album: 'Mighty Lights'

  Roland Alphonso

      Don Cherry album: 'El Corazón'

  Voice of the Silence

      Don Cherry album: 'El Corazón'

Ed Blackwell   1986


      Solo filmed live at Village Vanguard

Ed Blackwell   1987

  Drums First

      Karl Berger album: 'Transit'

Ed Blackwell   1994


      Album: 'Ed Blackwell Project - What It Be Like?'

      Posthumous release   Recorded 1992


Birth of Modern Jazz: Ed Blackwell

Ed Blackwell

Source: Marc de Douvan
Birth of Modern Jazz: Ben Riley

Ben Riley

Source: Drummer World
Born in 1933 in Georgia, drummer, Ben Riley, had been raised in NYC since age four. Entering military service after high school, Riley was an Army paratrooper until his release in 1954. He began playing professionally a couple years later. Riley is thought to have held his first session on August 8 of 1958 for pianist, Gene Rodgers, in a trio with bassist, Tony Williams. Both Sides Now and Vol XX #35 of 'The Cash Box' (May '59) have that issued in May of 1959 on 'Introducing the Gene Rodgers Trio: Jazz Comes to the Astor'. Riley's recording career gained momentum in 1960 upon joining saxophonists, Eddie Lockjaw Davis and Johnny Griffin, in 1960 for 'Battle Stations'. Davis and Griffin co-led nine more albums with Riley's participation to 'Tough Tenor Favorites' on February 5, 1962. Along the way Riley backed Davis' 'Afro-Jaws' in March of 1960. After Davis, Griffin and Riley continued to partner in support of other operations like Thelonious Monk's. Riley's third session had been for Griffin's 'Studio Jazz Party' on September 28 of 1960. 'Change of Pace' and 'White Gardenia' were finished in 1961. 'The Kerry Dancers' was completed in January of '62. Their last sessions in the sixties were on tour to Europe with Monk in 1967, to reunite twenty years later in Barcelona in October of 1987, first for Ben Sidran's 'Have You Met... Barcelona?', next for Griffin's 'Continent Bleu'. Come a later reunion in January of '98 for Phil Woods' 'The Rev and I' (The Rev = Griffin). We return to the early sixties for another of Riley's more important associates, that bassist, Ron Carter, who had joined Riley in July of 1961 for Griffin's 'White Gardenia'. Carter and Riley backed numerous ensembles together into the eighties, such as Roland Hanna's New York Jazz Quartet in Tokyo in 1975 and Red Garland's in Berkeley in 1979. Along the way Riley contributed to 'Epistrophy' on Carter's 'Yellow and Green' recorded in May of '76. Carter's 'Piccolo' followed in March of '77, Carter on piccolo. 'Peg Leg' followed in November' of '77, 'Pick 'Em' in December of '78. Twenty years of interweaving fairly often later led to Chet Baker's 'Live at Fat Tuesday's' featuring Bud Shank on April 28, 1981. They would reunite another twenty years later in September of 2001 at the Apollo Theater for the first annual 'A Great Night in Harlem' benefit concert for the Jazz Foundation's Musician Emergency Fund: 'If I Had You' and 'Every Day I Have the Blues', found on a set of 2 CDs called 'Great Night in Harlem Live' issued by Playboy Jazz in 2002. Come September 12 of 2002 Carter and Riley joined pianist, Noah Baerman, in a trio for 'Patch Kit'. We slip back to the sixties for another major figure in Riley's career, that pianist, Thelonious Monk, whose crew he had joined in time for 'It's Monk's Time' in January of '64. Riley toured with Monk at a tight pace often to various locales in Europe, Canada and Mexico as well, for some five years. They left sessions in their wake that would supply no less than seventeen albums, at the time or later, to 'Monk's Blues' in Los Angeles in November of 1968. We return to Ron Carter for a trio with pianist, Kenny Barron, on February 6 of 1976 for Jamey Aebersold's sixth of 133 volumes of his 'Play-a-Long' instructional series, 'All Bird' (Charlie Parker). The next month it was Carter's trio for 'Epistrophy' mentioned above. Barron and Riley beaded nigh the same string through countless sessions into the new millennium, backing numerous enterprises when not each other. Lord's disco has Riley backing nine of Barron's albums from 'Innocence' in 1978 to 'Minor Blues' in May 2009 in a trio with George Mraz at bass. The early eighties had seen them forming Sphere with Charlie Rouse (tenor sax) and Buster Williams (bass), that quartet laying out 'Four in One' on February 17, 1982. Six more albums followed to 'Four for All' and 'Bird Songs' in March of 1987. Rouse died on November 30, 1988, so Gary Bartz replaced him in October of 1997 for 'Sphere'. Barron had also supported the first of Riley's three albums as a leader on August 26 of 1993 with Ralph Moore (tenor sax) and Buster Williams (bass): 'Weaver of Dreams'. Williams' was a significant presence in Riley's career. They are first found together in Lord's disco for Ron Carter's 'Piccolo' in March of '77 with Barron present. Riley and Williams supported numerous bands together into the nineties as well as other. Riley added drums to Williams' 'Tokudo' in a trio with Barron in Tokyo on January 7 of 1978. It was Williams' 'Heartbeat' in early 1978, 'Dreams Come True' the latter. Williams was a permanent member of the quartet Sphere, appearing on all seven albums per above from 1982 to 1997. Williams had also participated in Riley's first album as a leader per above in '93: 'Weaver of Dreams'. Lord's disco puts them together a last time in 2000 for pianist, Osamu Ichikawa's, 'In New York' with guitarist, Satoshi Inoue, issued in 2007 in Japan (Nippon Blue Note 7101). We drop back to August 1983 for Riley's initial session with saxophonist, Bill Barron, that for 'Variations in Blue'. Four more Barron LPs followed to 'Higher Ground' on January 5 of '89. That session in '83 included Jimmy Owens on trumpet and Ray Drummond on bass. Drummond and Riley backed numerous ensembles together, such as Stan Getz', into the latter nineties to as late as 'Again' in the trio of pianist, Eddie Higgins, in October of 1998. They reunited in 2010 for Riley's third of three albums as a leader, 'Grown Folks Music', issued in 2012. That was with Wayne Escoffery (tenor sax), Avi Rothbard (guitar) and Freddie Bryant (guitar). Preceding that, Riley had formed the Monk Legacy Septet, recording 'Memories of T', his second album, with arranger/trumpeter, Don Sickler, in August 2003 and April 2005 for issue in 2006. 'Memories of T' consisted of Thelonious Monk covers though there's no piano inviolved. Lord's disco follows Riley to as late as 2013 for vocalist, Laura Marks', '57 Minutes'. Among the host of others Riley supported through above 300 sessions were Sonny Rollins, Andrew Hill and Alice Coltrane. Per 1989 below, each edit was filmed lived with Stan Getz at the Umbria Jazz Festival.

Ben Riley   1960

  If I Had You

     Griffin/Davis LP: 'Battle Stations'

  Party Time/Good Bait

     Voice: Babs Gonzales

     Johnny Griffin LP: 'Studio Jazz Party'

  Save Your Love for Me

     Griffin/Davis LP: 'Tough Tenors'

Ben Riley   1962

  The Bridge

     LP by Sonny Rollins

     Bass: Bob Cranshaw

     Guitar: Jim Hall

     Sax: Sonny Rollins

  If Ever I Would Leave You

     Sonny Rollins LP: 'What's New?'

     Bass: Bob Cranshaw

     Guitar: Jim Hall

     Sax: Sonny Rollins

Ben Riley   1964

  Drum Solo

     Live in Paris

Ben Riley   1966

  Live in Denmark

     Filmed live

     Bass: Larry Gales

     Piano: Thelonious Monk

     Sax: Charlie Rouse

  Live in Oslo

     Filmed live

     Bass: Larry Gales

     Piano: Thelonious Monk

     Sax: Charlie Rouse

Ben Riley   1967

  Straight, No Chaser

     LP by Thelonious Monk

Ben Riley   1989

  But Beautiful

  I Love You


Ben Riley   2005

  Jazzwoche Burghausen

     Filmed live   Monk Legacy Septet

Ben Riley   2009

  Young and Foolish

     Album: 'Invitation'

     Bass: Gene Perla

     Piano: Bernie Senensky

Ben Riley   2015


     Filmed live   Monk Legacy Septet


  Drummer, Grady Tate, was part vocalist. He got his wheels rolling as a highly popular session musician in the early sixties before taking on vocals in the latter sixties. Born in Durham, North Carolina, in 1932, Tate began his recording career in NYC in 1959 on organist, Wild Bill Davis', album, 'Flying High'. Davis' 'Dance the Madison' followed in 1960, 'Dis Heah' in 1960 and 'One More Time' in 1962. Davis' combo had backed Charlie Shavers on 'The Music from Milk & Honey' in 1961. The next year saw 'Something Big' by the Metronomes, 'Going to the Movies', by Jerome Richardson and 'The Complete Town Hall Concert' with Charles Mingus. That session included trombonist, Jimmy Cleveland, with whom Tate partnered on numerous dates throughout the sixties in support of various bands, their last session together per Lord's disco for Phil Woods' 'Round Trip' in July of '69. Tate's career began its bloom in 1963, both as a sessions player and in terms of important future musical associates, those arriving in November of 1963 in guitarist, Wes Montgomery, trombonist, Urbie Green and arranger, Oliver Nelson. Tate's initial session with Montgomery was with the Billy Taylor Trio with Ben Tucker at bass for titles that would get issued as 'Wes Montgomery & The Billy Taylor Trio' in 2005. From 'Movin' Wes' on November 11, 1964, to 'Road Song' on May 7, 1968, Tate supported ten of Montgomery's albums. On November 12 it was the Billy Taylor Trio with the Oliver Nelson Orchestra in which Urbie Green played trombone for 'Right Here Right Now!'. Green and Tate found themselves sharing sessions on multiple occasions in the sixties and seventies. Along the way Tate backed Green on both volumes of '21 Trombones' in '68, 'Green Power' in '71 and 'Big Beautiful Band' in '74. The latter seventies found them on titles with Benny Goodman, Stanley Turrentine and Sarah Vaughan before what Lord's disco shows their last session as 1982 for Teresa Brewer's 'I Dig Big Band Singers'. As for Nelson, he arranged and/or conducted numerous bands employing Tate throughout the sixties, Tate also supporting Nelson on the latter's own projects: 'Fantabulous' in '64, 'More Blues and the Abstract Truth' in '64, 'Oliver Nelson Plays Michelle' in '66, 'Sound Pieces' in '66 and 'The Kennedy Dream' in 1967. March 16 of 1970 saw them participating in Johnny Hodges' 'Three Shades of Blue'. We step back to 1964 for a handful of other important figures in Tate's career: organist, Jimmy Smith, trombonist, JJ Johnson, trombonist, Kai Winding, bassist, Ron Carter and tenor saxophonist, Stanley Turrentine. Smith's 'The Cat', went down on April 27, to be followed by nine more albums in the sixties to 'Stay Loose' on January 29, 1968. The eighties witnessed Tate siding four Smith albums from 'The Cat Strikes Again' in July 1980 to 'Go For Whatcha Know' on January 2, 1986. 1990 saw 'Fourmost' and 'Fourmost Return' laid out in November at Fat Tuesday's in NYC, those with Kenny Burrell at guitar and Stanley Turrentine. We return to April 9, 1964, for Lalo Schifrin's 'New Fantasy' in which Tate participated with Jimmy Cleveland, Johnson and Winding. Tate's next sessions resulted in 'The Dynamic Sound of J.J. with Big Band' in December of 1964. Johnson and Tate partnered numerously in the support of other bands, including Winding's, throughout the sixties to Quincy Jones' 'Walking In Space' in June of 1969. Along the way Tate supported Johnson on such as 'Broadway Express' in December of 1965 and 'The Total J.J. Johnson' in November of 1966. They reunited in 1979 for Zoot Sims' 'Passion Flower' and both volumes of Sarah Vaughan's 'Duke Ellington Song Book'. February of 1992 saw them backing Abbey Lincoln's 'Devil's Got Your Tongue'. As for Winding, their next session together was for the latter's 'Rainy Day' on January 14 of 1965. Tate remained with Winding through 'More Brass' and 'Dirty Dog' in '66, 'Penny Lane & Time' in '67 and 'Israel' in '68. Quincy Jones' 'Walking In Space' in June of 1969 would appear to have been their last session together. It was December 16, 1964, when Tate and Ron Carter supported trumpeter, Donald Byrd, on 'Cantaloupe Island' and 'Sometimes I Feel Like a Motherless Child'. Their next session together was for Jimmy Smith's 'Got My Mojo Workin''. Carter and Tate nigh took the same cab into the new millennium backing countless musicians. Along the way Carter supported Tate's 'Feeling Life' in '69, 'She Is My Lady' in '72 and 'TNT: Grady Tate Sings' in 1991. Tate supported Carter's 'Uptown Conversation' in 1969. It was December of 1964 per above with Byrd and Carter that Tate and Stanley Turrentine held their first mutual session as well. That was followed in April of 1965 by Turrentine's 'Joyride'. They visited a few more times, particularly with Byrd, to Turrentine's 'The Look of Love' in April of 1968. Tate and Turrentine supported multiple operations into the nineties, particularly Jimmy Smith's, Tate meanwhile participating in Turrentine's 'West Side Highway' in 1977 and 'Use the Stairs' in 1980. Their last session together is thought to have been Turrentine's 'If I Could' in 1993. We return to August 10, 1966, for flautist, Hubert Laws, Tate joining a quartet consisting of Chick Corea (piano) and Ron Carter (bass) on that date for 'Windows', that included on 'Laws' Cause' in 1969. Laws and Tate interweaved fairly often to as late as Turrentine's 'West Side Highway' in 1977. Along the way Laws supported Tate's 'She Is My Lady' in '72. They reunited in 1993 for Turrentine's 'If I Could'. We step back to June 18, 1968, for tenor saxophonist, Houston Person, they joining John Abercrombie (guitar) on that date for Johnny Hammond Smith's 'Nasty!'. Four years later Tate joined Person's band in time to record 'Broken Windows Empty Hallways' in 1972. Tate provided rhythm on nine more of Person's albums to 'Sentimental Journey' in 2002. Also partnering in other bands on occasion along the way, Lord's disco has their last mutual session in the Marty Phillips Quartet with Rufus Reid on bass for 'Somewhere In Time' issued in 2007. Tate followed that the same year with pianist, Kenny Barrons 'The Traveler'. He then participated in Nancy Marano's 'Magic' issued in early 2011. In addition to just about 700 sessions, placing him among the more highly prolific of jazz musicians, Tate began teaching at Howard University in Washington DC in 1989. Among the greater host of those he supported through the years unmentioned above were Gary McFarland, Eddie Lockjaw Davis, Cal Tjader, Irene Reid, Willie Ruff, Bill Evans, Duke Ellington, Ella Fitzgerald, Louis Armstrong, Eddie Harris, Nat Adderley, Nancy Wilson, Michel Legrand, Blossom Dearie, Lionel Hampton, Peggy Lee, Nancy Harrow, Ruth Brown, Bob Kindred and Freddy Cole. As for Tate's own recordings, his first session as a leader with known date and issue was for 'Windmills of My Mind' in June of '68. Lord's disco has him releasing ten more albums to 'From the Heart' in 2006, recorded live at the Blue Note in 2001. 'All Love - Grady Tate Sings' was laid out in 2002 for issue that year. Per below, all tracks are Tate at percussion with vocals per 'Windmills of My Mind' in 1968 and 'By Special Request' in 1974.

Grady Tate   1962


      Charles Mingus album:

       'The Complete Town Hall Concert'

   Peggy's Blue Skylight

      Charles Mingus album:

       'The Complete Town Hall Concert'

Grady Tate   1964

   A Bientot

      Oliver Nelson album: 'Fantabulous'

   The Cat

      Jimmy Smith album: 'The Cat'

   Take Me With You

      Oliver Nelson album: 'Fantabulous'

Grady Tate   1968

   2 Shows Nightly

      Album by Peggy Lee

      Live at the Copacabana


      Album: 'Hear, O Israel'

   Sack Full of Dreams

      Album: 'Windmills Of My Mind'

   The Windmills of Your Mind

      Album: 'Windmills Of My Mind'

   Would You Believe

      Album: 'Windmills Of My Mind'

Grady Tate   1974

   And I Love Her

      Album: 'By Special Request'

Grady Tate   1985

   Night Train

      Filmed at Jazzfestival Bern

     Bass: Ray Brown

     Piano: Gene Harris


Birth of Modern Jazz: Grady Tate

Grady Tate

Source: Drummer World


We suspend this Birth of Modern Jazz with drummer Grady Tate. Drummers who began their careers in the sixties are at Modern Jazz 8.




Early Blues 1: Guitar

Early Blues 2: Vocal - Other Instruments

Modern Blues 1: Guitar

Modern Blues 2: Vocal - Other Instruments

Modern Blues 3: Black Gospel Appendix


Medieval - Renaissance


Galant - Classical

Romantic: Composers born 1770 to 1840

Romantic - Impressionist

Expressionist - Modern

Modern: Composers born 1900 to 1950




Country Western


Early Jazz 1: Ragtime - Bands - Horn

Early Jazz 2: Ragtime - Other Instrumentation

Early Jazz 3: Ragtime - Song - Hollywood

Swing Era 1: Big Bands

Swing Era 2: Song

Modern 1: Saxophone

Modern 2: Trumpet - Other Horn

Modern 3: Piano

Modern 4: Guitar - Other String

Modern 5: Percussion - Other Orchestration

Modern 6: Song

Modern 7: Latin Jazz - Latin Recording

Modern 8: United States 1960 - 1970

Modern 9: International 1960 - 1970

Rock & Roll

Early - Boogie Woogie - R&B - Soul - Disco

Doo Wop

The Big Bang - Fifties American Rock

UK Beat

British Invasion

Total War - Sixties American Rock

Other Musical Genres - Popular Music Appendix

Musician Indexes

Classical - Medieval to Renaissance

Classical - Baroque to Classical

Classical - Romantic to Modern

The Blues

Bluegrass - Folk

Country Western

Jazz Early - Ragtime - Swing Jazz

Jazz Modern - Horn

Jazz Modern - Piano - String

Jazz Modern- Percussion - Latin - Song - Other

Jazz Modern - 1960 to 1970

BoBoogie Woogie - Doo Wop - R&B - Rock & Roll - Soul - Disco

UK Beat - British Invasion

Sixties American Rock - Popular

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Latin Recording - The Caribbean - South America


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