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A Birth of Jazz

A YouTube History of Music

Modern Jazz 1


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.



Pepper Adams    Cannonball Adderley    Gene Ammons    Harry Arnold    Georgie Auld

Gato Barbieri    Rolf Billberg    Earl Bostic    Nick Brignola    Tina Brooks    Rusty Bryant    Don Byas
Serge Chaloff    James Clay    Arnett Cobb    Al Cohn    Ornette Coleman    Buddy Collette    John Coltrane    Junior Cook    Hank Crawford    Sonny Criss    Ronnie Cuber    King Curtis
John Dankworth    Eddie Lockjaw Davis    Paul Desmond    Klaus Doldinger    Eric Dolphy    Arne Domnérus    Lou Donaldson    Dutch Swing College Band
Allen Eager    Teddy Edwards    Booker Ervin
Jimmy Forrest    Frank Foster    Von Freeman    Joki Freund
Herb Geller    Stan Getz    Benny Golson    Dexter Gordon    Wardell Gray    Johnny Griffin    Gigi Gryce    Lars Gullin
Lenny Hambro    John Handy    Joe Harriott    Coleman Hawkins    Tubby Hayes    Jimmy Heath    Ernie Henry    Red Holloway
Willis Jackson    Illinois Jacquet    Bobby Jaspar    Plas Johnson    Clifford Jordan
Rahsaan Roland Kirk    Hans Koller    Lee Konitz
Steve Lacy    Harold Land    Yusef Lateef
Emil Mangelsdorff    Charlie Mariano   Warne Marsh    Jackie McLean    Hal McKusick    Gil Mellé    Hank Mobley    James Moody    Frank Morgan    Gerry Mulligan
Zbigniew Namyslowski    Oliver Nelson    David Fathead Newman
Charlie Parker    Cecil Payne    Art Pepper    Flip Phillips    Seldon Powell
Ike Quebec    Paul Quinichette
Sonny Red    Don Rendell    Sonny Rollins    Charlie Rouse
Ronnie Scott    Bud Shank   Sahib Shihab    Peter Schilperoort    Wayne Shorter    Zoot Sims    Sonny Stitt    Frank Strozier
Buddy Tate    Lucky Thompson    Stanley Turrentine
Charlie Ventura
Sadao Watanabe    Ben Webster    Frank Wess    Phil Woods    Leo Wright



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

Names are alphabetical, not chronological, per year:



Coleman Hawkins

1931 Ben Webster
1937 Georgie Auld
1938 Don Byas
1939 Earl Bostic    Buddy Tate
1940 Ike Quebec
1941 Buddy Collette    Charlie Parker    Charlie Ventura
1942 Dexter Gordon    Illinois Jacquet    Hans Koller    Peter Schilperoort
1943 Arnett Cobb    Stan Getz    Flip Phillips    Lucky Thompson
1944 Serge Chaloff    Al Cohn    John Dankworth    Eddie Lockjaw Davis    Arne Domnérus    Allen Eager    Jimmy Forrest    Wardell Gray    Hal McKusick    Art Pepper    Paul Quinichette    Zoot Sims    Sonny Stitt
1945 Gene Ammons    Harry Arnold    Dutch Swing College Band    Teddy Edwards    Ronnie Scott    Sahib Shihab
1946 Sonny Criss    Johnny Griffin    Lenny Hambro    James Moody    Gerry Mulligan   Cecil Payne    Frank Wess
1947 Ernie Henry    Bobby Jaspar    Lee Konitz    Harold Land    Charlie Mariano    Charlie Rouse
1948 Paul Desmond    Jimmy Heath    Yusef Lateef    Warne Marsh    Frank Morgan    Bud Shank
1949 Harry Arnold    John Coltrane    Eric Dolphy    Herb Geller    Benny Golson    Lars Gullin    Willis Jackson    Plas Johnson    Jackie McLean    Don Rendell    Sonny Rollins
1950 Lou Donaldson    Frank Foster    Von Freeman    Hank Mobley    Seldon Powell
1951 Tina Brooks    Tubby Hayes    Oliver Nelson
1952 Hank Crawford    Joki Freund    Gil Mellé    Stanley Turrentine
1953 Rusty Bryant    King Curtis    Gigi Gryce    Red Holloway
1954 Joe Harriott    Steve Lacy    Emil Mangelsdorff    David Fathead Newman    Phil Woods
1955 Pepper Adams    Cannonball Adderley    Rolf Billberg    Klaus Doldinger
1956 Gato Barbieri    James Clay    Booker Ervin    Rahsaan Roland Kirk
1957 Clifford Jordan    Sonny Red
1958 Nick Brignola    Ornette Coleman    Junior Cook    Sadao Watanabe
1959 Ronnie Cuber    John Handy    Zbigniew Namyslowski    Wayne Shorter    Frank Strozier    Leo Wright


  Together with piano, saxophone is the main instrument of modern or progressive jazz beyond big band swing. This page is intended to cover bands and musicians releasing their first recordings before 1960.



Born in 1904 in Saint Joseph, Missourri, bass and tenor saxophonist Coleman Hawkins could well be listed in Early Jazz, as he began his career touring with Mamie Smith's Jazz Hounds in 1921. His earliest recordings are also thought to have been with Smith about September that year, four tracks per two sessions for Okeh in NYC: 'Arkansas Blues', 'The Wang-Wang Blues', 'Stop! Rest a While' and 'Sweet Cookie'. Those were with Smith's Jazz Band, which became her Jazz Hounds for tracks in April or May of 1922, also for Okeh: 'Mean Daddy Blues', 'Dem Knock-Out Blues', 'Lonesome Mama Blues', 'New Orleans'. 'Mamie Smith Blues' and 'Alabama Blues' followed on June 27, 'Stuttering' and 'Those Longing For You Blues' on August 15. Several sessions with Smith ensued into 1923, until Hawkins began working with the orchestra of bandleader Fletcher Henderson, their first such occasion to record for Rosa Henderson (no relation) on July 23, 1923: 'Midnight Blues' and 'Struttin Blues'. Among Hawkin's first recorded solos was 'Dirty Blues' in 1923. Hawkins was a huge talent finishing some 549 sessions spanning early, swing and modern jazz, an encyclopedia of the genre all by himself. Hawkins toured Europe with Django Reinhardt and Stephan Grappelli where they recorded swing jazz together in Paris in 1935 and '37 (Reinhardt guitar, Grappelli piano). Coleman's rendition of 'Body and Soul' in 1939 would bring him to national acclaim. Other notable swing-era musicians with whom Hawkins collaborated were Henry Red Allen, Roy Eldridge and Duke Ellington. We begin this history of modern jazz with Hawkins both in terms its roots and his great contributions to modern jazz. Examples of such were early bebop with Dizzy Gillespie. Other modern jazz giants with whom Hawkins worked were Thelonious Monk, Oscar Peterson, Max Roach and Ben Webster. Among the countless highlights of Hawkins' career were his numerous sessions with Jazz at the Philharmonic on twelve dates in '45, '46, '47, '49 and '66. The last was at Royal Festival Hall in London with Dizzy Gillespie and Clark Terry on trumpets, resulting in such as 'Blue Lou' and 'I Can't Get Started'. Also to note was his 'Seven Ages of Jazz' concert in Wallingford, Connecticut, in September 1958. As well, Hawkins released a version of the bossa nova tune, 'Desafinado', the same year as Stan Getz (1962). Making his final recordings in 1968 in Copenhagen, Denmark, Hawkins died in 1969 in New York City of pneumonia. More Hawkins under Howard McGhee in Early Modern Jazz Horn.

Coleman Hawkins   1921

   Arkansas Blues

      With Mamie Smith

Coleman Hawkins   1922

   Lonesome Mama Blues

      With Mamie Smith

   Mean Daddy Blues

      With Mamie Smith

   New Orleans

      With Mamie Smith

Coleman Hawkins   1925

   Carolina Stomp

      With Fletcher Henderson

Coleman Hawkins   1927

   Hello Lola

      Comb: Red McKenzie

      Clarinet: Pee Wee Russell

Coleman Hawkins   1933

   Queer Notions

      With Fletcher Henderson

   The Day You Came Along

Coleman Hawkins   1937

   Crazy Rhythm

   Honeysuckle Rose

      Guitar: Django Reinhardt


      Guitar: Django Reinhardt

      Piano: Stephane Grappelli

Coleman Hawkins   1939

   Body and Soul

Coleman Hawkins   1943

   How Deep Is the Ocean

   The Man I Love

Coleman Hawkins   1944

   Blue Moon

      Trumpet: Dizzy Gillespie


   Disorder at the Border

   On the Sunny Side of the Street

   Rainbow Mist

   Woody'n You

      Trumpet: Dizzy Gillespie


Coleman Hawkins   1946

   Low Flame

      Drums: Shelly Manne


      Drums: Shelly Manne

Coleman Hawkins   1947

   Half Step Down, Please

      Trumpet: Fats Navarro

   I Love You

   Jumping For Jane

      Trumpet: Fats Navarro

      Guitar: Chuck Wayne

Coleman Hawkins   1952

   Disorder at the Border

      Radio broadcast: 'The Birdland Show'

Coleman Hawkins   1954

   Lullaby of Birdland

Coleman Hawkins   1956

   Autumn Leaves

Coleman Hawkins   1957

   Blues For Yolanda

Coleman Hawkins   1958

   Battle Hymn Of The Republic

   Frankie and Johnny

   Maryland, My Maryland


      Filmed live at Cannes

   Until The Real Thing Comes Along

      Piano: Ray Bryant

Coleman Hawkins   1959

   Bean's Blues

   Sandra's Blues

     Guitar: Kenny Burrell

      Piano: Tommy Flanagan

     Vibes: Milt Jackson

Coleman Hawkins   1960

   After Midnight

      Album: 'The Hawk Swings'

   At Dawning

      Piano: Tommy Flanagan

   Then I'll Be Tired Of You

      Piano: Tommy Flanagan

Coleman Hawkins   1962


   Disorder at the Border

      Recorded in Brussels

   Disorder at the Border

      Radio broadcast

Coleman Hawkins   1964


      Live performance

   Disorder at the Border

      Live performance


      Live performance

Coleman Hawkins   1966

   Blue Lou

      Live for 'Jazz at the Philharmonic'

Coleman Hawkins   1967

   Body and Soul

      Live for 'Jazz at the Philharmonic'


Birth of Modern Jazz: Coleman Hawkins

Coleman Hawkins

Photo: Walter Hanlon

Source: Walter Hanlon


Born in 1909 in Kansas City, Ben Webster first recorded with Blanche Calloway's Joy Boys in 1931. That was in Camden, NJ, on March 27, resulting in ''Just a Crazy Song', 'Sugar Blues', et al. Webster joined Ben Moten's band in 1932, a session on December 13 yielding such as 'Toby and 'Moten Swing'. His first tracks with Fletcher Henderson were on September 11, 1934: 'Limehouse Blues' 'Shanghai Shuffle', etc.. More sessions with Henderson were held that year, again in '37 and '39. In December 13 of 1934 he backed Benny Carter on such as 'Shoot the Works' and 'Dream Lullaby'. Carter was the arranger on Webster's first titles with Henderson. The would work together again with Teddy Wilson, Lionel Hampton, Jazz at the Philharmonic, and backing each other's operations to as late as May 22, 1973, in Holbaek, Denmark, their to record live such as 'I Can't Get Started' and 'Mess a Stomp'. Sessions were held with Bob Howard and Willy Bryant in '35 before reaching Teddy Wilson on July 2, 1935. Wilson and Webster had supported Carter and Howard in '34 and '35. The date in July of '35 was significant in that it was Webster's first with the Teddy Wilson Orchestra. Titles on that date were with Billie Holiday on such as 'I Wished on the Moon' and 'What a Little Moonlight Can Do'. Webster would sit in with Wilson's outfit frequently in the decades to come. He and Wilson himself would record as late as March 19, 1973, at the Stampen Club in Stockholm, Sweden, with Arne Ryskog (trumpet), Sture Nordin (bass) and Ed Thigpen (drums). Webster also recorded with bassist, John Kirby, for the first time on July 2 of '35 with Wilson. They would find themselves together frequently into '37. Kirby would later be one of Webster's sextet to record such as 'Randall's Island' and 'Old Folks' on December 27, 1951, in Los Angeles. With nearly 500 sessions to Webster's name, some 120 of those his own, we find space here for the bigger footprint that was Duke Ellington's. Webster joined Ellington's orchestra in time record such as 'Cotton' and 'Truckin' in NYC on August 19, 1935. Webster stuck with Ellington until 1943, left upon dispute to work as a freelancer in NYC, then joined Ellington again into 1949. Another of the larger names came calling on September 11, 1939, Lionel Hampton needing support on 'When Lights Are Low', 'Hot Mallets', etc.. Dizzy Gillespie was in on that. Hampton would come around again in '53 and 64, their last date that year to yield Hampton's 'You Better Know it', that recorded shortly after Webster backed Milt Hinton on 'Here Swings the Judge'. Highlighting the forties were Webster's first titles as a leader in 1941: 'Ab Swing', 'Eb Swing', etc.. Trumpeter, Bill Coleman, backed him on 'As Long as I Live' and 'Blue Belles of Harlem' in 1947. They would reunite twenty years later to record 'Swinging in London' on April 27, 1967. Highlighting the fifties was Webster's first album as a group leader, 'King of the Tenors', released 1953. 1959 saw opportunity to record with Earl Hines at the Monterey Jazz Festival in October: 'No Rollin' Blues', 'Good Rockin' Tonight', etc.. Hines and Webster would hold sessions again in 1965 in Paris. In 1964 Webster moved to Europe, living in London for a year, Amsterdam four, then finally Copenhagen. He appeared in the film, 'Quiet Days in Clichy', in 1970. Webster gave his last performance at Twee Spieghels in Amsterdam, Holland, on September 6 of 1973, that taped for posthumous release as 'Last Concert'. Webster died 14 days later of cerebral hemorrhage on the 20th of September.

Ben Webster   1931

   It's Right Here For You

      With Blanche Calloway & Her Joy Boys

   Make Me Know It

      With Blanche Calloway & Her Joy Boys

Ben Webster   1944

   Blue Skies

Ben Webster   1953

   Bounce Blues

      Album: 'King of Tenors'

Ben Webster   1956

   The Album

     Album with Art Tatum 

Ben Webster   1964

   Chelsea Bridge

   Night in Tunisia


Ben Webster   1970

   My Romance


Birth of Modern Jazz: Ben Webster

Ben Webster

Source: Sooze Blues & Jazz

Birth of Modern Jazz: Don Byas

Don Byas

Source: All About Jazz

Born in 1912 in Muskogee, Don Byas, tenor sax, left Oklahoma for Los Angeles in 1933, where he started to play professionally. His biggest early break was likely getting hired by Lionel Hampton to play in his orchestra at the Paradise Club in 1935. In 1937 Byas took off for New York City where he backed Ethel Waters. On May 27, 1938, Byas recorded several tracks with Timme Rosenkrantz and his Barrelhouse Barons: 'A Wee Bit of Swing', 'Is This to Be My Souvenir?', 'When Day Is Done' and 'The Song Is Ended'. In late '38 he laid tracks with Lucky Millinder: 'Ride, Ride, Ride' and 'Jazz Martini'. In 1939 Byas recorded 12 tracks in three sessions with Andy Kirk and his Clouds of Joy for the Decca label (one track below, though Byas isn't featured). More followed in 1940 before putting down tracks with Billie Holiday on September 12 that year, five takes of 'It's the Same Old Story', three of 'Practice Makes Perfect' et al. In addition to leading his own bands, Byas backed a long list of big names that can only be touched upon here: It was with Holiday that Byas first recorded with alto saxophonist, Don Redman. Redman would arrange for Count Basie in '41 while Byas was with the latter. Byas frist recorded with Redman's own orchestra in NYC on January 29, 1946, 'Midnight Mood' leading four tracks. He last recorded with Redman on a tour to Europe in 1946. Hot Lips Page entered Byas' space in 1940. He first recorded with Byas in Pete Johnson's band on November 11, yielding '627 Stomp'. A later session that day found the three recording in Page's band: 'Lafayette' and 'South'. Byas and Page partnered in other bands together during the forties, Byas intemittently backing Page in the latter's own bands. They last recorded together on May 15, 1949, at the Paris Jazz Festival, yielding 'Blues' ('Farewell Blues'). Like Page, Byas first laid tracks with Pete Johnson on November 11, 1940 ('627 Stomp'), the two then joining Page on the same date to back the latter's band. They would lay tracks together with Big Joe Turner in 1940, play Carnegie Hall in '41, then record with Turner again and '45. Those Carnegie Hall titles were 'One O'Clock Jump' and 'Blues'. Tracks with Turner in '45 were 'SK Blues', 'Johnson and Turner Blues' and 'Watch That Jive'. Big artillery arrived in 1941 upon Byas replacing Lester Young in Count Basie's orchestra. His first tracks with Basie were recorded January 20: four takes of 'It's Square But It Rocks' and 'Ill Forget'. Basie was Byas' main engine into '43, they last recording together on November 23 for V-Disc: 'Yeah Man', 'Rhythm Man', 'Queen Mary III' and 'Let's Make Hay'. Another important figure in Byas' early days and throughout the forties was Dizzy Gillespie. First performing together at Minton's Playhouse in NYC, Byas there backed Gillespie in May on a take of 'Star Dust'. Chu Berry and Kenny Clarke were also in on that. Their last tracks together were during a tour of Europe in 1952, recording at the Schola Cantorum de Paris on April 11: 'She's Funny That Way' and 'Wrap Your Troubles in Dreams' among others. As with Page, Byas often partnered with Gillespie backing other bands, Byas also backing Gillespie numerously. Byas backed Cozy Cole during sessions from 1944 to 1946. He recorded with Duke Ellington for the first time on August 20 of '45, both working with Ben Webster and his Boys, that yielding 'The Romp' and 'Honeysuckle Rose'. Byas moved to Paris in 1946 (later Amsterdam), thus was already in Europe when Ellington toured there in 1950, again in '69, both trips to affect recordings together. Per above, 'The Romp' was Byas' initial recording with Ben Webster. He and Webster backed Page circa September 1945 on such as 'Corsicana' and 'Race Horse Mama Blues'. Byas would later back Page on the latter's tour to Europe in 1968. Byas' first recording with Johnny Hodges was 'Long Long Journey' on January 10, 1946, with Louis Armstrong and Ellington. He would back Hodges's band in Paris on such as 'Last Legs Blues' on April 15, 1950, during an Ellington tour to Europe of which Hodges was one of Ellington's large retinue. In 1949 Byas co-led sessions with Bill Coleman in Paris. The latter fifties saw sessions with Eddie Barclay in Paris in 1957-58, a recorded concert with Sarah Vaughan in Amsterdam, Netherlands, on April 7 of '58. Byas began leading bands while at Minton's Playhouse in NYC in 1941, his first of several recordings there were 'I Can't Give You Anything But Love' and 'Indiana'. Helen Humes joined him on 'Star Dust' and 'Exactly Like You'. 'Uptown' and 'Body and Soul' were also recorded at Minton's in '41. Running both orchestras and smaller ensembles throughout his career, Byas began recording as a leader continuously and extensively in 1944, beginning with what would later be pressed onto 'Savoy Party Jam' in 1976, 'Free and Easy' and 'Don's Idea' among those titles. Tom Lord's discography has Byas leading on 78 sessions, his final in early 1971 in Tokyo, bearing such as 'Ebb Tide' and 'Yesterday' with Norio Maeda and Nozomu Aoki arranging respectively. Among the highlights of Byas' career were tracks for 'Esquire' magazine's All-American Award Winners in 1946 (Information about that poll at Esquire.) Norman Granz liked him for Jazz at the Philharmonic (JATP) in 1960 in Stockholm, Sweden. Living in Europe during most of his career, Byas returned to the States only once, that to perform at the Newport Jazz Festival in 1970. He passed away of lung cancer in 1972 in Amsterdam. All tracks below for 1938 are Byas with Timme Rosenkrantz and his Barrelhouse Barons.

Don Byas   1938

    Is This to Be My Souvenir?

    The Song Is Ended

    A Wee Bit of Swing

    When Day Is Done

Don Byas   1939

    I'll Never Fail You

      With Andy Kirk and his Clouds of Joy

Don Byas   1940

   627 Stomp

Don Byas   1944

   What Do You Want With My Heart

Don Byas   1945

   I Got Rhythm


Don Byas   1946


   Don't You Know I Care

   Gloomy Sunday

Don Byas   1947

   Stormy Weather

Don Byas   1951

   Georgia On My Mind

   The Man I Love

   Where Or When

Don Byas   1958




Born in 1912 in Rochester, New York, alto sax man Earl Bostic, first recorded in 1939 alongside guitarist, Charlie Christian, for Lionel Hampton. Hampton sang vocals on 'I'm On My Way From You' and two takes of 'The Heebie Jeebies Are Rockin' the Town' with the instrumental, 'Haven't Named It Yet'. Bostic was with Hampton for numerous sessions in '44 before moving onward to Hot Lips Page, Buck Ram, then Louis Prima that year, to stick with Prima into '45. It was latter 1945 that Bostic formed his own orchestra, singing vocals on 'Hurricane Blues' with three other instrumentals during his premier session as a leader. Bostic was also an arranger and songwriter, such as 'Let Me Off Uptown' and 'Brooklyn Boogie'. Among his better known compositions is 'Flamingo', released in early 1951 by King Records. Bostic and his wife owned the Flying Fox nightclub in Los Angeles in the early sixties. Of above eighty sessions, nearly all are per his own catalogue leading his own bands. He died of a second heart attack in October 1965 while giving a performance in his birthplace, Rochester. More Bostic under Jimmy Cobb in Jazz 9.

Earl Bostic   1939

   Haven´t Named It Yet

      With Lionel Hampton

Earl Bostic   1945

   Hurricane Blues

Earl Bostic   1948


Earl Bostic   1949

   Joy Dust

   Slightly Groovy

Earl Bostic   1951


Earl Bostic   1952


Earl Bostic   1955

   Sweet Lorraine

Earl Bostic   1959

   Dancing In the Dark

Earl Bostic   1961

   Unchained Melody


Birth of Modern Jazz: Earl Bostic

Earl Bostic

Source: Earl Bostic


Born in Sherman, Texas, in 1913, Buddy Tate, tenor sax, got his big break in 1930, touring with Terrance Holder, then with Artie Shaw. In 1934 he became a member of Count Basie's orchestra. He also played with the Andy Kirk Orchestra before rejoining Basie's band in 1939, his first recording session in March of that year on such as 'What Goes Up Must Come Down' and 'Rock-a-Bye Basie'. Remaining with Basie's swing operation until 1948, Tate would fill some 370 sessions during his career. Vocalists during his first session with Basie had been Helen Humes and Jimmy Rushing. Tate would see more of Humes with Basie for the next couple years. He would work with her again in 1979-80. As for Rushing, the latter would have Tate backing him for the next twenty years, their last date together in Copenhagen with Buck Clayton on September 17, 1959: 'Goin' to Chicago', 'Sent for You Yesterday', etc.. Tate would back Rushing one last time for the latter's 'Livin' the Blues' in 1968. More significant in Tate's first session, however, was the presence of trumpeter, Buck Clayton, with whom he would numerously record through the sixties, from '73 to '76 and again in 1990. His first appearance with Clayton after their years with Basie was with Skip Hall in 1949: 'Two Left Feet', 'Skip a Page', etc.. Clayton's first tracks with Tate's band were also in '49: 'Swingin' with Willie' and 'Dear Mary'. Highlighting the forties were Tates initial tracks as a leader on December 4, 1947: 'In the Evening', 'Vine Street Breakdown', et al. Multiple sessions with organist, Milt Buckner, would be held, the first in 1950 with Eddie Cleanhead Vinson: 'My Big Brass Bed Is Gone', 'Queen Bee', etc.. More followed in '67, '68 and 1972-77, their last dates in Europe. (Buckner would contribute to Tate's 'A Basket of Blues' in '62 and 'A Soft Summer Night' in '76.) Paul Quinichette was a member of Tate's outfit from '75 to '77. Quinichette first appeared on Tate's 'Texas Twister'. They last recorded together on Jay McShann's 'The Last of the Blue Devils' in July of '77. Among the highlights of Tate's career was forming his own in 1953 to fill a residency at the Celebrity Club in Harlem until 1974. Another highlight in the fifties was opportunity to record with Benny Goodman at the Newport Jazz Festival in July of 1958, such as 'Boogie Woogie' and 'Mr. Five By Five' with vocals by Rushing. He would see Goodman again in '78 for the latter's '40th Anniversary Concert' and 'The King'. Lionel Hampton played vibes on '40th Anniversary Concert'. Tate would next record with Hampton's Golden Men of Jazz in '91 per the latter's 'Just Jazz - Live at the Blue Note'. Tate was one of 'The Statesmen of Jazz' recorded December 20, 1994. Lord's discography shows last sessions with James Carter on January 30, 1996: 'Blue Creek' and 'Moten Swing'. Tate died in Chandler, Arizona, on February 10, 2001, in the care of his daughter.

Buddy Tate   1939

   Rock-a-Bye Basie

      With Count Basie

Buddy Tate   1940

   Super Chief

      With Count Basie

Buddy Tate   1945

   Grand Slam

      With the Karl George Octet

Buddy Tate   1967

   Mack the Knife

   Too Heavy Blues

Buddy Tate   1975

   Talk of the Town

Buddy Tate   1977

   Body and Soul

Buddy Tate   1987

   Moten Swing

      With Dick Hyman


Birth of Modern Jazz: Buddy Tate

Buddy Tate

Source: All About Jazz


  Born in 1918 in Newark, New Jersey, though Ike Quebec, tenor sax, first recorded in 1940 with the Barons of Rhythm. He also appeared on 'Forniculi, Fornicular, Forniculate' in NYC with trumpeter Frankie Newton, recorded on September 11, 1941. Lord's discography picks him up in 1943 with Roy Eldridge, issuing on the World label: 'After You've Gone', 'Body and Soul', et al. Quebec had recorded titles with Sammy Price (1944) and led his first session (July 18, 1944: 'Tiny's Exercize', et al) before hooking up with Cab Calloway on August 15 of '44 to record a radio broadcast from the Cafe Zanzibar in NYC: 'Dance with a Dolly', 'I'm Making Believe', et al. Quebec took the Calloway express into the the fifties, recording numerously with him to December of 1950: 'Que Pasa Chica', 'Shotgun Boogie', et al. Quebec experimented with a number of styles from bop to bossa nova to soul jazz during his brief career. Important in 1961-62 was guitarist, Grant Green. Green backed Quebec on  'Blue & Sentimental' on December 16 of '61. The Quebec supported Green on 'Gooden's Corner' on the 23rd. Green then backed Quebec on 'Born To Be Blue' on March 1, 1962. Various sessions followed until their last, also Quebec's last, with vocalist, Dodo Greene, on November 2, 1962: 'Everybody's Happy But Me', 'Jazz in My Soul', et al. Another fine guitarist with whom Quebec had opportunity to record before his premature death was Kenny Burrell, putting down titles for Burrell's 'Soul Samba' on October 18, 1962. Quebec died in NYC in 1963 of lung cancer. All tracks below for year 1962 are from the album 'Soul Samba' and feature guitarist Kenny Burrell.

Ike Quebec   1944

   Blue Harlem


   The Gasser

   If I Had You

   Mad About You

   Tiny's Exercise

Ike Quebec   1945

   Cup-Mute Clayton

   Sweethearts on Parade

Ike Quebec   1960

   Mardi Gras

Ike Quebec   1961


      Album: 'Heavy Soul'

   Blue and Sentimental

      Album: 'Blue and Sentimental'

   Blues for Charlie

      Album: 'Blue and Sentimental'

   Blues for Ike

      Album: 'Heavy Soul'

   A Light Reprieve

      Album: 'It Might As Well Be Spring'

   Lover Man

      Album: 'It Might As Well Be Spring'

   Nature Boy

      Album: 'Heavy Soul'

   Old Man River

      Album: 'It Might As Well Be Spring'

   Willow Weep For Me

      Album: 'It Might As Well Be Spring'

Ike Quebec   1962

   Blue Samba


   Lloro tu Despedida


   Shu Shu


Birth of Modern Jazz: Ike Turner

Ike Quebec

Source: Blue Note


Born in 1921 in Los Angeles, Buddy Collette, associated with West Coast jazz, began playing horns at age twelve, which would come to include alto sax, clarinet and flute. He formed his first group about that time with bassist Charles Mingus and trombonist Britt Woodman. Collette played professionally at age seventeen before joining the Navy in which he was a bandleader. He had recorded on a couple occasions before military service. His first wasn't to vinyl, but for the soundtrack to the Fred Astaire film, 'You'll Never Get Rich', in 1941: 'A-Stairable Rag'. Circa October of '42 he recorded with Les Hite and His Orchestra in Hollywood for an AFRS (Armed Forces Radio Service)Jubilee radio broadcast (#2), bearing 'Spruce Juice' and 'Three Bones'. After finishing his military tour Collette rejoined his former group, now called the Stars of Swing and employing saxophonist Lucky Thompson. Upon beginning to work as a studio musician Collette's first sessions were with a quartet in Los Angeles led by pianist, Darby Hicks, the first in '45 or '46 yielding 'Ditty Bag Jump' and 'Gettin' Out' for Gem Records. The second was for Indigo in '46 with Charles Mingus in the group: 'Let's Go Again', 'Got No Lead in My Pencil', 'Lazy Baby' and 'Just Count the Days I'm Gone'. Colette and Mingus were partners in sessions with both Ivie Anderson and Wilbert Baranco before scratching tracks with Baron Mingus and His Octet on April 10, 1946, for 4 Star Records: 'Make Believe', 'Honey Take a Chance with Me', ' Bedspread', 'That Subdues My Passion' and 'Pipe Dream'. Colette recorded variously before his next sessions with Mingus. 'The Chill of Death' in '47 went unissued. Titles in November of '48 would be found on a much later compilation titled 'Baron Mingus and His Rhythm': 'Mingus Fingers' and 'These Foolish Things'. Colette's first tracks as a leader were also circa 1948. That was a quartet issuing 'It's April' and 'Colette' on Dolphin's of Hollywood (205). About the cusp 0f 1951-52 he out down 'Blue Strings' and 'Jimmie's Boogie' for Crest. His debut album as a leader was 'Man of Many Parts' in 1956. With more than 350 sessions during his career, Colette backed the cosmos of jazz. Among his most important companions was drummer, Chico Hamilton. Hamilton had participated in the recording of 'A-Stairable Rag' per above in 1941. Beginning with Joe Castro in 1954 ('Abstract Candy') they were continual session partners. Of note during that period were their contributions to Jack Millman's 'Jazz Studio 4' in 1955 just before recording, partly live, partly in studio, 'Chico Hamilton Quintet featuring Buddy Collette'. Hamilton backed Colette on the latter's 'Tanganyika Jazz' in 1956. Colette stuck with Hamilton's operation into 1959, to work together again in '89 and '96. Another important band for Colette was Billy Eckstine's, beginning in 1954 with such as 'Love Me' and 'Love Me Or Leave Me'. He would record with Eckstine again in '57, '60 and '64. Another important swing musician was Frank Sinatra with whom he first recorded in Hollywood on April 2, 1957. Sinatra didn't sing, but conducted arrangements by Nelson Riddle for Peggy Lee's album, 'The Man I Love'. He saw Riddle and Sinatra again in 1960 per Sinatra's album, 'Swingin' Session!!!'. He would lay tracks with Sinatra again in '67 and '84. The last was for Sinatra's LP, 'L.A. Is My Lady' with the Quincy Jones Orchestra. Colette found himself with Keely Smith in 1957-58 and would back her on the 'The Loving Songs of the John Lennon/Paul McCartney Songbook' in 1964. Another important drummer, Lou Bellson, entered his space as one of Colette's Pollwinners to back his album, 'Porgy and Bess', in 1957. Colette next backed Bellson on the latter's 'Music, Romance and Especially Love' recorded on July 24, 1957. Colette supported Bellson during several sessions until 1964, they to work together again in the latter sixties and early seventies. Colette was with Nelson Riddle's Orchestra for a few sessions with Dean Martin in 1960. Another significant vocalist was Sarah Vaughan per sessions in 1962-63 and later in 1979, the last just before recording Zoot Sims' 'Passion Flower' on August 14 in Hollywood as well. Another big name was Stan Kenton in 1964-65. Among other highlights were Horace Silver's 'Silver 'N Brass' per 1975. He issued the LP, 'Buddy Collette Big Band in Concert' in 1996, several to follow into the new millennium. He played flute on Richard Simon's 'Covering the Basses' in 1997. His final album release would appear to have been 'Live at El Camino College' in 2006, that recorded in 1990. Collette spent his entire career playing clubs and teaching music in Los Angeles. His autobiography, 'Jazz Generations', was published in 2000. He died in Los Angeles in 2010. Collette plays clarinet, flute and saxophone on recordings below.

Buddy Collette   1941

   A-Stairable Rag

      Film: 'You'll Never Get Rich'

Buddy Collette   1946

   Gettin' Out

      With Darby Hicks

   Got No Lead in My Pencil/Let's Go Again

      With Darby Hicks

     Vocals: Norman Alexander/Carolyn Richards

Buddy Collette   1948

   Mingus Fingus (Mingus Fingers)

      Bass: Charles Mingus

Buddy Collette   1954  

   Coming Back For More

      Chico Hamilton Sextet

   Crazy Quilt

      With Lyle Spuds Murphy

   Lost In a Fugue

      With Lyle Spuds Murphy

Buddy Collette   1956

   Jungle Pipe

       Album: 'Man Of Many Parts'


      Chico Hamilton Quintet

   A Nice Day

       Album: 'Nice Day'

Buddy Collette   1957


      Album: 'Jazz Loves Paris'

   Give a Little Whistle

      With Herbie Mann

   La Vie en Rose

     Album: 'Jazz Loves Paris'

Buddy Collette   1971


      Album: 'The Polyhedric Buddy Collette'

Buddy Collette   1991

   Blues/Someone I've Never Known

      Live performance

   Emilyn/Maggie Lee/Andre

      Live performance


Birth of Modern Jazz: Buddy Collette

Buddy Collette

Source: Wikipedia


Birth of Modern Jazz: Charlie Parker

Charlie Parker

Source: Wikipedia

Born in 1920 in Kansas City, Kansas, be bop saxophonist Charlie Parker was also known as Yardbird, or simply Bird. Parker started playing sax at age eleven. He is thought to have first recorded in Kansas City, Missouri, with Miles Davis in 1940, a private recording of 'Honeysuckle Rose' and 'Body and Soul'. Those would be issued years later on CD alike his next sessions with Jay McShann in latter 1940, radio broadcasts from KFBI in Wichita, Kansas, among those being 'Jumping At the Woodside', 'I've Found a New Baby', 'Body and Soul', 'Lady Be Good', 'Coquette', 'Moten Swing' and 'Wichita Blues'. Parker had been with Jay McShann's band since 1938. His first titles to see vinyl with McShann are thought to have been for Decca, released on two 10" 78s: 'Confessin' the Blues'/'Hootie Blues' and 'Hold 'Em Hootie'/'Dexter Blues' in 1941. Parker left McShann in 1942, whence he joined Earl Hines' ensemble and met Dizzy Gillespie, the latter with whom he would develop bebop. Their first recordings together were private, at Room 305 of the Savoy Hotel in Chicago, beginning with 'Sweet Georgia Brown' on February 15, 1943. Their first professional session together was in NYC with Clyde Hart's All Stars on January 4, 1945, that yielding 'What's the Mater Now?' et al. Parker's first session in Gillespie's band was with the latter's sextet on February 28, bearing such as 'Groovin' High' and 'All the Things You Are'. Despite Parker's heroin demon he recorded prolifically, the majority of some 234 sessions his own on which Gillespie backed not a few, the majority of around seventy others either for or with Gillespie. Parker's last recordings with Gillespie were with the Stan Kenton Orchestra at the Civic Auditorium in Portland, Oregon, on February 25, 1954: 'Night and Day', 'My Funny Valentine', etc.. The first few years that Gillespie and Parker had spent developing bebop had gone largely unknown due to the banning of commercial recordings by the Musician's Union from '42 to '44. As well, about the same time that he and Gillespie began recording bebop, Parker's heroin addiction (begun by addiction to morphine upon an automobile accident as a teenager) came to a head. Substituting heroin with alcohol when the former couldn't be found, he descended into hell, busking for money, missing gigs, pawning saxophones, recording drunk, eventually getting arrested for indecent exposure at a hotel where he managed to put his bed afire with a lit cigarette. Placed in the Camarillo State Mental Hospital in California for six months (1946), upon release he resumed his heroin need. Yet, paradoxically, he remained highly productive until his final sessions with his quintet in NYC on December 10, 1954, playing alto sax with Walter Bishop (piano), Billy Bauer (guitar), Teddy Kotick (bass) and Art Taylor (drums) on five takes of 'Love for Sale' and two of 'I Love Paris'. He died on March 12, 1955, while watching 'Stage Show' on television, the coroner initially assuming his 34-year old body to be twenty years older. Highlighting Parker's career beyond Gillespie were his numerous appearances with Jazz at the Philharmonic. His first of eight sessions to 1950 had been at the Philharmonic Auditorium in Los Angeles on January 28, 1946 (that with who else but Gillespie) to yield such as 'Crazy Rhythm' and 'Sweet Georgia Brown'.

Charlie Parker   1940


      Date of issue unknown

      With Jay McShann

Charlie Parker   1941

   Hold 'Em Hootie

      With Jay McShann

Charlie Parker   1945

   Dizzy Atmosphere

Charlie Parker   1946

   A Night In Tunisia

      Trumpet: Miles Davis

Charlie Parker   1947


      Album   Trumpet: Howard McGhee

   Bongo Deep (Dexterity)

      Trombone: JJ Johnson

      Trumpet: Miles Davis

   Donna Lee

   Embraceable You

   Groovin' High

Charlie Parker   1948

   How High the Moon

   Parker's Mood

Charlie Parker   1949

   Everything Happens to Me

      LP: 'Charlie Parker with Strings'

      Unissued until 1995

  Just Friends

      LP: 'Charlie Parker with Strings'

      Unissued until 1995


      LP: 'Charlie Parker with Strings'

      Unissued until 1995

Charlie Parker   1951

   Blues for Alice

Charlie Parker   1952


      Live   Trumpet: Joe Gordon

   Hot House

      Live   Trumpet: Dizzy Gillespie

   I'll Remember April

      Live   Trumpet: Joe Gordon


      Original composition: Benny Harris/Charlie Parker

      Live   Trumpet: Joe Gordon

   Stella By Starlight

Charlie Parker   1953

   Groovin' High

   Moose the Mooch



Birth of Modern Jazz: Charlie Ventura

Charlie Ventura

Source: Wikipedia

Born in 1916 in Philadelphia, bop alto and tenor saxophonist Charlie Ventura began his jazz career recording with Chu Berry in Philadelphia in September of 1941: 'Dream Girl' and 'Get Lost'. His next sessions were with Teddy Powell in 1943. Having signed on with Gene Krupa, first racks were on August 11, 1944: 'Futurama', 'It Had to Be You', etc.. Their next session was for V-Disc on August 15: 'The Very Thought of You', 'Who?', etc.. Krupa was easily Ventura's most significant early associate, recording with Krupa numerously into '46, again from '52 to '64. His last date with Krupa was the latter's last studio album recorded in the winter of '64: 'The Great New Gene Krupa Quartet'. Among his partners with Krupa had been alto/tenor saxophonist, Charlie Kennedy, from '45 to '46. Kennedy would be a member of Ventura's septet for the May recording of 'Chopin's Minute Waltz', 'Slow Joe', et al. They would record together again in 1960. Among the highlights of Ventura's career in the forties were three dates with Norman Granz' Jazz at the Philharmonic in '45 and 46. The first such had been with Billie Holiday at the Philharmonic Auditorium in February 12 of '45: 'Body and Soul' and 'Strange Fruit'. Ventura then recorded his first tracks as a band leader on March 1, 1945, two takes each of 'Ghost of a Chance', 'Tea for Two', 'C.V. Jump' and 'I Surrender Dear'. Those were followed on August 15, 1945, by 'Let's Jump For Rita', 'Tammy's Dream', 'C.V. Jam (Sweet Georgia Brown)' and 'Out You Go', all for the EmArcy label. Later that month on the 24th he recorded several tracks for Savoy: 'Charlie Comes On', 'Big Deal', 'Ever So Thoughtful', 'Jack Pot' and 'Dark Eyes'. In 1949 Ventura put together the band, Bop For the People. During the fifties he led the band, the Big Four. During his latter career he worked with comedian, Jackie Gleason, in Las Vegas. Ventura died in Pleasantville, New Jersey, in 1992 of lung cancer. Per 1941 below all titles are with Chu Berry.

Charlie Ventura   1941

   Dream Girl Part 1

   Dream Girl Part 2

   Get Lost Part 1

   Get Lost Part 2

Charlie Ventura   1945

   Body and Soul

     Vocal: Billie Holiday

   C.V. Jump

   Dark Eyes

Charlie Ventura   1946


   S' Wonderful

Charlie Ventura   1947

   The Man I Love

Charlie Ventura   1948

   Pina Colada

Charlie Ventura   1949

   East Of Suez

      Album: 'Charlie Ventura Concert'   Vocal: Jackie Cain


      Album: 'Charlie Ventura Concert'   Vocal: Jackie Cain


      Vocals: Betty Bennett & Jackie Cain

   Lullaby in Rhythm

      Vocal: Jackie Cain

Charlie Ventura   1952




Birth of Modern Jazz: Dexter Gordon

Dexter Gordon

Photo: Roberto Polillo

Source: Jazz Labels

Born in 1923 in Los Angeles, bop tenor sax man Dexter Gordon was introduced to jazz through his father who was a doctor to Duke Ellington and Lionel Hampton, playing professionally with the latter while yet a high school student. Gordon made his first recordings on August 22, 1941, with Hampton in Trenton, New Jersey, per a rehearsal of 'Body and Soul', 'Trentin in Trenton', et al. On September 11 he was in Chicago at the Panther Room, Hotel Sherman, with Hampton when 'Train Time' was taped. None of those were issued at the time, to be found much later on CD. Gordon's first recordings to see issue are thought those in NYC in December, again with Hampton: 'Just for You', 'Southern Echoes', 'My Wish' and 'Nola'. Gordon made his first solo recordings in Los Angeles in 1943 with his quintet consisting of  Sweets Edison (trumpet), Nat King Cole (piano), Johnny Miller (bass) and possibly Juicy Owens (drums). That session wrought 'I've Found a New Baby', 'Rosetta', 'Sweet Lorraine' and 'I Blowed and Gone'. His next session on October 30, 1945, included tracks that would be found on the 1950 album, 'Dexter Rides Again', in 1950. In 1955 Gordon appeared in the film, 'Unchained'. Gordon left the States circa 1959 to live in Paris, then Copenhagen. He began recording for Blue Note in 1961, then switched to Prestige in 1965 until 1973. He was picked up by Columbia in 1976 upon returning to the States. In 1986 Gordon starred in the film, 'Round Midnight'. He was inducted into 'Down Beat' magazine's Jazz Hall of Fame in 1988. Gordon died in 1990 of kidney failure in Philadelphia. Tom Lord's discography has him recording prolifically to 244 sessions, 143 of them his own.

Dexter Gordon   1942


      With Lionel Hampton

   Southern Echoes

      With Lionel Hampton

Dexter Gordon   1945

   Blow Mr. Dexter

      Album: 'Dexter Rides Again'   Issued 1950

   Dexter Rides Again

      Album: 'Dexter Rides Again'   Issued 1950

   Dexter's Deck

      Album: 'Dexter Rides Again'   Issued 1950

Dexter Gordon   1955

   Autumn In New York


   Cry Me a River

Dexter Gordon   1963

   Second Balcony Jump

      Live performance   Drums: Arthur Taylor

   You've Changed

      Live performance

Dexter Gordon   1964

   Blues Walk

      Live performance

   Night in Tunisia

      Live performance

Dexter Gordon   1972

   Days of Wine and Roses

      Album: 'Tangerine'

Dexter Gordon   1976

   Blue Bossa



Born in 1922 in Broussard, Louisiana, tenor sax man (Jean-Baptiste) Illinois Jacquet is thought to have first recorded on September 26 of 1941 with the Lionel Hampton Orchestra. That was at the Panther Room, Hotel Sherman, in Chicago: 'Train Time' which didn't see issue until years later on a Masters of Jazz CD. Jacquet's first recordings to issue were nevertheless with Hampton in NYC in December for Decca: 'Just for You', 'Southern Echoes', 'My Wish' and 'Nola'. Rubel Blakey was at vocals. Jacquet had been born to a Sioux mother and Creole father. He began playing professionally at age fifteen with the Milt Larkin Orchestra in Houston. In 1939 he left for Los Angeles where he met Nat King Cole, who introduced him to Lionel Hampton per above. He left Hampton after recording 'Flying Home', among others, in May of 1942 in NYC. Moving onward to Cab Calloway, his next sessions were with the latter in January of 1943, back in Los Angeles for an AFRS 'Jubilee' (#12) radio broadcast: 'Don't Get Around Much Anymore', 'Rose Room', and 'There'll Be Some Changes Made'. Jacquet stuck with Calloway into 1944 until his first tracks with Nat King Cole in February: 'Heads' and 'Pie Sky' with a couple others. In May of '44 he appeared in the film, 'Jammin' the Blues', with such as Lester Young and Sweets Edison. By that time Jacquet was a big shot, also evidenced by his first tracks with Jazz at the Philharmonic on July 2 at the Philharmonic Auditorium in Los Angeles, netting such as 'Lester Leaps In' and 'Tea for Two'. Jacquet would attend at least thirty JATP sessions in the forties and fifties. 1944 was also significant in that Jacquet made his debut recordings as a leader that year at an AFRS 'Jubilee' (#95) radio broadcast in August: 'Sweet Georgia Brown', 'Mop Mop', etc.. Recording prolifically, Tom Lord's discography has Jacquet on 71 of 204 sessions as a leader. 1944 would become an even bigger year upon joining Count Basie's operation in Los Angeles for a guest performance of 'My! What a Fry!' at an AFRS 'Jubilee' (#97) radio broadcast. He followed Basie to NYC but would be back in Los Angeles to record with Lena Horne on November 21, 1944: 'I Didn't Know About You', etc.. Among the highlights of Jacquet's career was Charles Mingus, with whom he first recorded via Billie Holiday and JATP on February 12 of 1945: 'Body and Soul'. Mingus joined Jacquet's All Stars to record with Wynonie Harris on August 2, 1945: 'Wynonie's Blues' and 'Here Comes the Blues'. He would be a part of Jacquet's band later that month to record to takes of 'Ladies Lullaby' with 'Illinois Stomp'. Jacquet was back with the Count Basie Orchestra in latter 1945 in Hollywood, recording in October, such as 'Blue Skies' and 'Jivin' Joe Jackson'. Jacquet recorded with Basie numerously to 1960, again in '67. He meanwhile made his first tour to Europe in 1954, that with the Coleman Hawkins Quintet, recording 'Disorder at the Border', 'Yesterdays' and 'Bean and the Boys' while there in October. Jacquet would record on a number of European labels during his career. In 1983 he became the first jazz musician artist-in-residence at Harvard University. In 1993 he played 'C-Jam Blues' at President Bill Clinton's inaugural ball. Giving his last performance at Lincoln Center in NYC in July 2004, Jacquet died six days later of heart attack on the 22nd. He plays bassoon on his rendition of 'Round Midnight' below.

Illinois Jacquet   1942

   Flying Home

      With Lionel Hampton

   In the Bag

      With Lionel Hampton

Illinois Jacquet   1945

   Flying Home

Illinois Jacquet   1946

   Blow Illinois Blow

   Jivin' With Jack the Bellboy

      Trumpet: Miles Davis

   Illinois Blows The Blues

Illinois Jacquet   1947

   Riffin' At 24th Street

Illinois Jacquet   1954



Illinois Jacquet   1969

   'Round Midnight


Birth of Modern Jazz: Illinois Jacquet

Illinois Jacquet

Source: Musik World

Birth of Modern Jazz: Hans Koller

Hans Koller

Source: Discogs

Born in 1821 in Vienna, free jazz tenor sax man Hans Koller played his first professional gig at age seventeen. He graduated from university in Vienna in 1939. Koller was drafted into the Nazi army in 1941 and spent time as an American POW, being released in 1946. It is therefore curious, if dates are not amiss, that there exists a CD titled 'Early Recordings Of Hans Koller 1942-1950', released in 1987 by Harlequin. Either he was drafted into the army at a later date, or he recorded tracks whilst in the military. Lord's discography nevertheless has him listed per December 7, 1942, in Vienna with the Jeff Palme Group, recording such as 'The Flat Boogie' and 'Netcha's Dream'. Following World War II, Koller performed at the Hot Club of Vienna. A number of sessions in 1947 found him performing with Peter Kreuder, Ernst Landl and Othmar Sherhak, especially Landl. Koller left Austria for Germany in 1950. 1952 found pianist, Jutta Hipp, in his quartet in Munich for such as 'Hans Is Hipp' and 'All the Things You Are'. They would lay further tracks together into 1953, including with Dizzy Gillespie in Hamburg ('The Way You Look Tonight'). Pianist, Roland Kovac, was a member of his outfit from '54 to '58. Stan Kenton would come his way during that period but no recordings are readily documented. 1956 found Koller with Lee Konitz and baritone saxophonist, Lars Gullin. Koller recorded with drummer, Kenny Clarke, for the first time at a concert in Baden-Baden on June 23, 1958, with Zoot Sims also in the band. He and Sims would lay tracks in August as a quintet in Cologne: 'Blues Around Joe', 'Minor Meeting' and 'Cohn's Limit'. He would record with Clarke again as well, notably with bassist, Oscar Pettiford, in November per the latter's 'We Get the Message'. Multiple sessions with Pettiford followed into 1960, their last on March 20 with tenor saxophonist, Don Byas, bearing such as 'Blues In the Closet'. Koller's later studies in free jazz, however, are perhaps his best-known legacy. Also a painter (abstract), Koller died in Vienna in 2003.

Hans Koller   1947

   Fräulein Melanie

      With Peter Kreuder

Hans Koller   1950


      With Charles Prouché

Hans Koller   1953


Hans Koller   1954

   Ack Varmeland Du Skona

      Piano: Jutta Hipp

   Frankfurt Special

      Piano: Jutta Hipp

   Koller's Idea

Hans Koller   1958

   Back In Paradise

   Blues Around Joe

   Blue Night

      Duet with Zoot Sims

   I'll Close My Eyes

      Bass: Peter Trunk

      Drums: Rudi Sehring

      Piano: Hans Hammerschmid

      Trombone: Albert Mangelsdorff

   Minor Meeting

      Duet with Zoot Sims

Hans Koller   1959

   The Gentle Art of Love

      Bass: Oscar Pettiford

Hans Koller   1962

   Call Me Eric

Hans Koller   1965

   After Glow

      Guitar: Attila Zoller   Piano: Martial Solal

   All the Things You Are

      Guitar: Attila Zoller   Piano: Martial Solal

Hans Koller   1972

   Nicolas 1-2

Hans Koller   1974

   Free Sound

      Filmed live   Violin: Zbigniew Seifert




Hans Koller   1980

   Continued Talks

Hans Koller   2003

   London Ear Session

      Filmed live with Steve Lacy



Birth of Modern Jazz: Arnett Cobb

Arnett Cobb

Photo: Gerry Bahl

Source: All About Jazz

Born in 1918 in Houston, tenor saxophonist Arnett Cobb worked with Milt Larkin for six years, beginning in 1936, but neither he nor Larkin recorded during those years. (Larkin believed record companies were ripping off musicians.) Cobb next worked with Lionel Hampton for about five years, until 1947, first recording with Hampton in 1942. (He plays on 'Flyin' Home No. 1' below, but is second tenor sax to Illinois Jacquet, whom he would replace. Cobb played lead tenor on 'Flyin' Home No. 2', released in 1944. The first band he led to issue was the Hampton All Stars in Los Angeles in 1946: 'Down Home', 'Jenny', 'Gate Serene Blues' and 'Shebna'. From '47 onward he led His Orchestra and others, beginning on May 13 of '47 in NYC: 'Walkin' with Sid', 'Still Flyin', 'Cobb's Idea' and 'Top Flight'. Tom Lord's discography has him recording as a leader on 46 occasions. his final in that capacity are thought to have been in Nuremberg, Germany, sharing leadership with two other tenor saxophonists, Jimmy Heath and Joe Henderson. Backing them were Benny Green (piano), Walter Schmocker (bass) and Doug Hammond (drums). Thus on April 30, 1988 were Volumes I and II of 'Tenor Tribute' recorded, issued that year. A couple of Cobb's worst experiences in life were the necessity of spinal surgery in 1950 and an auto accident in 1956. The "Wild Man of Tenor Sax" died in 1989 in Houston.

Arnett Cobb   1942

   Flying Home No. 1

Arnett Cobb   1943

   Salty Papa Blues

      With Dinah Washington

Arnett Cobb   1952

   Someone to Watch Over Me

Arnett Cobb   1960

   I Don't Stand a Ghost of a Chance With You

Arnett Cobb   1979

   She Got It

      Duet with Buddy Tate

Arnett Cobb   1982

   Smooth Sailin'

      With Lionel Hampton

Arnett Cobb   1984

   Texas Blues

Arnett Cobb   1987

   Nearness Of You/Fab

      Trombone: Al Grey   Trumpet: Doc Cheatham



Birth of Modern Jazz: Stan Getz

Stan Getz

Source: Estadao


Born in 1927 in Philadelphia, tenor saxophonist Stan Getz first played professionally with Jack Teagarden in 1943, with whom he first recorded seventeen tracks that year from August 18 to November 5. The first of three sessions yielded 'Wolverine Blues, 'I Never Mention Your Name' 'Clarinet Marmalade', 'All Or Nothing at All' and 'Chinatown'. Following Teagarden, Getz joined Stan Kenton in 1944. The first of numerous tracks with Stan Kenton's orchestra were for an AFRS (Armed Forces Radio Service) radio broadcast from Pasadena, CA, on April 15, serving up 'Begin the Beguine', 'Ol' Man River', et al. Getz stuck with Kenton into 1945, then joined Benny Goodman in NYC to record with that orchestra into 1947. His initial tracks with Goodman were on November 20 of '45 bearing two takes each of 'Give Me the Simple Life', 'Fascinating Rhythm' and 'I Wish I Could Tell You'. Getz would later participate in the soundtrack to 'The Benny Goodman Story' in 1955. Getz met Kai Winding via Goodman's band, they both present in the session on November 20 in Pasadena. Getz and Winding would be fairly frequent partners during their early careers, supporting each other's recordings and performing together in other bands such as the Metronome All Stars in 1950 with Dizzy Gillespie. On December 14, 1945, Getz backed Kai's Cats on 'Sweet Miss', 'Loaded', 'Grab Your Axe, Max' and 'Always'. On December 24, 1949, Winding was a member of Getz' quintet to record 'Always', 'Sweet Miss' and 'Long Island Sound' at Carnegie Hall. Previous to Getz' debut recordings as a leader he was one of the Decca Jazz All Stars to record 'A Night at Deuces' and 'How High the Moon' on April 12, 1946. He then formed the Bebop Boys with which he first recorded as a leader on July 31 of 1946: 'Opus De Bop', 'And The Angels Swing', 'Running Water' and 'Don't Worry 'Bout Me'. A session followed with Vido Musso in February of 1947 before Getz joined Woody Herman's Second Herd, first laying tracks in Los Angeles on May 7: 'Between the Devil and the Deep Blue Sea', 'Blue Prelude', et al. A condensed history of Getz can't but leave much missing, as he played with virtually every big name in the book. One to become famous via Getz was guitarist, Charlie Byrd. It was 1961 that Getz began pursuing bossa nova ("new beat"), releasing 'Jazz Samba' in 1962 with Byrd. Byrd, now a household name, didn't stick around long, but the pair would reunite on July 2, 1975, at Avery Fisher Hall. They didn't, however, record together, performing separate tunes. (Byrd appeared on four titles with a trio consisting of bassist, Joe Byrd (his brother) and drummer, Ron Davis: 'Top Hat, White Tie and Tails', 'Prelude to the Southern Cross', 'Undecided' and 'Don't Lend Your Guitar to Anyone'.) Among the several bossa nova albums that Getz issued in the early sixties was 'Getx/Gilberto' in April of 1964. Featuring Tom Jobim with the latter's compositions like 'Desifinado' and 'The Girl From Ipanema', that platter won the 1965 Album of the Year Grammy Award. Getz also returned to cool jazz in 1964 with 'Nobody Else But Me', though that album wasn't released until 1994, posthumously. During the seventies Getz pursued jazz fusion with keyboardist, Chick Corea. Corea first joined Getz per a quartet with Ron Carter (bass) and Grady Tate (drums) to record the album, 'Sweet Rain', in Englewood, CA, on March 21, 1967. Corea saw several sessions in Getz' ensembles until their last recording together at the International Jazz Festival in Bern, Switzerland on April 27, 1978: 'La Fiesta', that to get pressed on the Getz album, 'Berne, Baby, Berne!'. During the eighties Getz taught at Stanford University in California as an artist in residence. Among the highlights of Getz' career were numerous sessions with Jazz at the Philharmonic. The first on October 11, 1956, had been with Dizzy Gillespie at the Civic Auditorium in Seattle, WA, yielding such as 'Groovin' High' and ''Shaw 'Nuff'. The last was at the Civic Auditorium in Santa Monica, CA, with Sweets Edison on June 2, 1972, bearing 'C Jam Blues' among others. Getz was inducted into 'Down Beat' magazine's Jazz Hall of Fame in 1986. His preferred tenor saxophone was the Selmer Mark VI. Getz died of liver cancer in 1991 in Malibu, California.

Stan Getz   1944

   And Her Tears Flowed Like Wine

      With Stan Kenton   Vocals: Anita O'Day

Stan Getz   1946

   And The Angels Swing

   Don't Worry About Me

   Running Water

Stan Getz   1949



   Stan's Mood

Stan Getz   1950

   The Alamo

   For Stompers Only

Stan Getz   1952

   Autumn Leaves

Stan Getz   1955


Stan Getz   1962


      Guitar: Charlie Byrd

      Live version   "Perry Como Show'


      Guitar: Charlie Byrd   Studio version

   Samba De Una Nota

      Guitar: Charlie Byrd

   Samba Triste

      Guitar: Charlie Byrd

Stan Getz   1964

   Girl From Ipanema

      Television performance   Vocal: Astrud Gilberto

Stan Getz   1983

   Just Friends

      Filmed live with Chet Baker

Stan Getz   1989

   Green Dolphin Street

      Live performance



Birth of Modern Jazz: Flip Phillips

Flip Phillips

Source: Discogs


Born in 1915 in Brooklyn, tenor sax player Flip Phillips began to play professionally from 1934 to 1939 in a Brooklyn restaurant. In 1940 he began working with Frank Newton for a short period, also spending time in the bands of Benny Goodman, Red Norvo and Wingy Manone. His first issues were in Norvo's Overseas Spotlite Band per V-Disc, recorded in NYC on November 28, 1943: 'One-Two-Three-Four Jump', 'Seven Come Eleven, 'In a Mellow Tone' and 'Flying Home'. Another date with Norvo followed before one with Earl Hines, then Chubby Jackson, then Woody Herman, to become a member of  Herman's First Herd. Philips' first recordings with Herman's orchestra were per the 'Old Gold Rehearsals' of August 2, 1944 in NYC, such as 'Flyin' Home' and 'It Must Be Jelly' ('Cause Jam Don't Shake Like That') released by V-Disc. Herman's operation was Phillips' main project until December of '46 saw their last recordings in Chicago, such as 'The Blues Are Brewin', 'The Anniversary Song' and 'Non-Alcoholic'. Philips would record with Herman again on multiple occasions in the seventies and eighties. Among Phillips' most constant partners was trombonist, Bill Harris. Starting with the 'Old Gold Rehearsals' in '44 with Herman, Harris and Phillips moved from one session to the next together nigh continuously until 1959, Harris a fixture in Phillips' bands, they both supporting other enterprises as well. One such was Jazz at the Philharmonic, a major venue for Phillips, he appearing on nearly thirty dates from '46 to '56. Another fairly continual companion at JATP sessions was Benny Carter, Phillips having first backed Carter on January 7 of 1946: 'Diga Diga Doo' (two takes), 'Who's Sorry Now?' and 'Some of These Days'. Philips' first session as a leader was with his Fliptet on October 2, 1944: 'Skyscraper', 'Pappiloma', 'A Melody From the Blue' and '1-2-3-4-Jump'. He led sessions fairly consistently until 1954, that finding release in 1956 per 'Rock with Flip'. He largely retired in Florida in 1959. He led a couple sessions in '63 (: 'Your Place Or Mine?'), then  gradually picked up pace again in the early seventies to the end of his career thirty years later. He began leading sessions again in 1974 per his album, 'Sax Giant', recorded live at the Town Tavern in Boynton Beach, FL. That was followed by 'Phillips Head' the next year in NYC. He is thought to have recorded his final titles in NYC in October of 2000, to be found on 'Swing Is the Thing'. Among the highlights of Philips' career was his annual attendance at twenty Odessa Jazz Parties in Odessa, TX, from 1971 to 1991. (The first Odessa Jazz Party was in 1967). Several titles were recorded in 1977 ('Odessa Sound of Jazz Vol 1'). Phillips died in Fort Lauderdale, Florida, in 2001.

Flip Phillips   1943

   Too Marvelous for Words

      With Red Norvo

      Vocal: Helen Ward

Flip Phillips   1947

   Flip and Jazz

      With Roy Elridge

   Leap Here

   Lover Come Back To Me

      With the Metronome All-Stars

      Piano: Nat King Cole   Trumpet: Dizzy Gillespie

Flip Phillips   1949

   Don't Take Your Love From Me

Flip Phillips   1952

   If I Had You

Flip Phillips   1970

   Sweet and Lovely

Flip Phillips   1983

   I Hadn't Anyone Til You

      Live performance



Birth of Modern Jazz: Lucky Thompson

Lucky Thompson

Photo: Frank Driggs Collection

Source: Charleston Jazz


Born in 1924 in Columbia, South Carolina, bebop saxophonist Lucky Thompson first recorded as a member of Lionel Hampton's orchestra on October 6, 1943. According to Noal Cohen's attictoys those titles were for an AFRS (Armed Forces Radio Service) radio broadcast from Camp Breckenridge, KY: 'In the Bag', 'I Heard You Cried Last Night', 'Stormy Weather' (vocal: Dinah Washington), 'Hamp's Boogie Woogie' and 'Flying Home'. Issue that year is presumed. On March 8, 1944, Thompson was a member of Hot Lips Page's ensemble for 'My Gal Is Gone', 'Rockin' at Ryan's', 'You'd Be Frantic Too' and 'The Blues Jumped the Rabbit'. After sessions with Lucky Millinder and Don Byas another with Page occurred on November 30: 'The Lady In Bed', 'Gee Baby, Ain't I Good', 'Big D Blues' and 'It Ain't Like That'. Come December 6 he was Count Basie at Liederkranz Hall in NYC to record such as 'Taps Miller' and 'Jimmy's Blues', et al. Thompson stuck with Basie into '45 and would work with him again in '51 on 'The Jo Jones Special' by Papa Jo Jones, Basie at piano, Thompson tenor sax. Among the arrangers with whom Thompson early worked was Jimmy Mundy, first on a session for V-Disc on January 11, 1945, for Basie, ('Taps Miller', 'Jimmy's Blues', et al), then with Mundy's orchestra in 1946-47. With above 260 sessions to his name, Thompson was a huge talent who backed not a few big names. Among the first was Dizzy Gillespie, they working with Boyd Raeburn at Club Morocco in Hollywood in December of 1945 to record via AFRS 'Jubilee' broadcasts (163, 209): 'One O'Clock Jump', 'Tonsillectomy', etc.. Gillespie and Thompson would back Wilbert Baranco and His Rhythm Bombardiers the next month, Thompson to find himself in Gillespie's band that year. He would work with Gillespie again in '54 and '56, their last occasion on December 20 of '56 to back Quincy Jones on 'I Had a Ball', 'Almost', and 'Addie's At It Again'. Via Gillespie Thompson first recorded with Charlie Parker for NBC's 'The Drene Show' in Hollywood on January 24, 1946: 'Salt Peanuts'. They would hold another session with Gillespie before Thompson joined the Charlie Parker Septet, of which Miles Davis was a member, to record such as 'Moose the Mooche', 'Yardbird Suite' and 'Ornithology' on March 28, 1946. Thompson would be one of Parker's All Stars recording for WMCA Radio from the Royal Roost in NYC on February 26, 1949: 'Cheryl', 'Chasin' the Bird', etc.. Thompson's first tracks with Davis had been per above with Parker in March of '46. Thompson would join Davis again at WPIX TV in NYC on January 17, 1949, with Mildred Bailey for such as 'Don't Take Your Love From Me' and 'There'll Be Some Changes Made'. His last session with Davis was in Hackensack, NJ, on April 29, 1954: 'Blue n' Boogie' and 'Walkin'. Another big name was Dinah Washington, whom he backed with his All Stars on December 10, 1945, in Los Angeles: 'Wise Woman Blues', 'Walkin' Blues', et al. More titles ensued that year with Washington, they to record again on June 25, 1956, with the Quincy Jones Orchestra: 'Relax Max', 'Tears to Burn', etc.. Vibraphonist, Milt Jackson, performed on that initial session with Washington in '45. Jackson and Thompson found themselves teamed on numerous sessions backing various to '49, later from '56 to '64. Thompson's first session with trumpeter, Quincy Jones, had been for Dizzy Gillespie's 'Manteca' on May 24, 1954. Jones would be an arranger, director or conductor on multiple sessions to 1958. Thompson's last session in Jones' orchestra was on December 20, 1964, to record 'I Had a Ball', 'Almost' and 'Addie's At It Again'. From 1957-58 Thompson held a number of sessions in Paris for French producer, Eddie Barclay. Their final on January 11 of '58 yielded 'Sermonette', 'Craven', 'Numero 13' and 'Pas Moi'. Thompson's first titles as a leader were recorded privately at the apartment of Timmie Rosenkrantz in NYC on December 26, 1944: 'Toe Jam Blues', 'Am I Blue', etc.. On April 22, 1947, his Lucky Seven recorded 'Just One More Chance', 'Boulevard Bounce', et al. His first album, 'Accent on Tenor', was recorded in October of '54, issued in 1956. Like a number of American jazz musicians, Thompson moved to Europe, to live in Paris, in 1957. Returning to New York in 1962, he then moved to Switzerland for a couple of years in 1968. He taught music at Dartmouth College in New Hampshire for two years, commencing in 1973, the year he made his final recordings: 'I Offer You'. Thompson then disappeared into complications, homeless by 1994 when he began living at the Columbia City Assisted Living Center in Seattle. He died in 2005 of Alzheimer's complications.

Lucky Thompson   1944

   Rockin' at Ryans

      With Hot Lips Page

Lucky Thompson   1946

   Oodie Coo Bop

Lucky Thompson   1947

   Drop Dead

      Vocal: Rickey Jordan

Lucky Thompson   1953


Lucky Thompson   1956

   Dancing Sunbeam

      Bass: Oscar Pettiford

   East Of the Sun

   A Lady's Vanity

      Bass: Oscar Pettiford

   Lullaby In Rhythm


   There's No You


   What's New

      Piano: Hank Jones

Lucky Thompson   1959


      Live in Paris

   Midnight Sun

   Tea For Two

Lucky Thompson   1960

   Choose Your Own

   Live In Paris

      'Modern Jazz at the Blue Note'

   You Move You Lose

      Live in Paris

Lucky Thompson   1964


Lucky Thompson   1973


      Album: 'I Offer You'



Birth of Modern Jazz: Serge Chaloff

Serge Chaloff

Source: JazzBariSax

Born in 1923 in Boston, baritone saxophonist Serge Chaloff is thought to have first recorded per radio transcription, performing at Liederkranz Hall in NYC on August 21, 1944, with Boyd Raeburn, as one of six saxophonists in that configuration. 'Raeburn Theme' was one of those tracks. Before further sessions with Raeburn Chaloff recorded with Oscar Pettiford on January 9 of 1945: 'Something for You', 'Worried Life Blues' and two parts to 'Empty Bed Blues'. The latter three tracks were with Rubberlegs Williams at vocals. He held his first session with saxophonist/vocalist, Georgie Auld, on May 24, 1945, "Honey' leading off four tracks. Chaloff stuck with Auld into '46 and would record with him again in 1949 per an AFRS (Armed Forces Radio Service) Jubliee broadcast (#365) in Hollywood, leading off with 'Tiny's Blues'. After Auld Chaloff held a couple sessions with Sonny Berman before his first recording occasion with the Jimmy Dorsey Orchestra on February 6, 1946: 'Ain't Misbehavin'', 'I'll Always Be In Love with You', 'I'm Glad There Is You' and 'Perdido'. He then worked intermittently between Auld and Dorsey until his last of four sessions in '46 with Auld, that in June to bear 'Canyon Passage', 'You're Blase', 'Handicap' and 'Mo-Mo'. Continuing with Dorsey, Chaloff recorded numerously with him until their last collaborations in September of '46, two AFRS radio broadcasts from Casino Gardens in Ocean Park, CA, and tracks for the film, 'The Fabulous Dorsey Brothers': 'Green Eyes' and 'Contrasts'. Several sessions backing various occurred until on October 19, 1947, Chaloff first laid tracks with Stan Getz, Woody Herman, Zoot Sims and Herbie Steward. That was with Herman's orchestra in Hollywood to lay 'If Anybody Can Steal My Baby' and three takes of 'I Told Ya I Love Ya, Now Get Out'. Herman's operation would be Chaloff's main locomotion through the forties, they thought to have last recorded together in Havana, Cuba on January 6, 1950, with Herman's Woodchoppers: 'Tasty' and 'The Old Pail'. The Woodchoppers consisted of Conte Candoli (trumpetp), Bill Harris (trombone), Milt Jackson (vibes), Ralph Burns (piano) Dave Barbour (guitar), Red Mitchell (bass), Shelly Manne (drums) and an unknown conga player. Stan Getz was a continual partner with both Herman and the  Metronome All Stars until their final session together with the latter in NYC on January 23, 1951: 'Early Spring' and 'Local 802 Blues'. (The Metronome All Stars were a series of bands assembled to record for 'Metronome Magazine', 14 such orchestras appearing from 1939 to 1943, all with high cachet jazz musicians.) Zoot Sims was also a continual partner of Chaloff's in Herman's outfit. They recorded with the Metronome All Stars on June 18, 1956, together: 'Billie's Bounce'. Sims was also one of the Four Brothers which recorded 'Together Again' on February 11, 1957, Chaloff's final tracks. The other two brothers were Al Cohn and Herbie Steward. That is, the Four Brothers all played saxophone, backed by Elliot Lawrence (piano), Buddy Jones (bass) and Don Lamond (drums). Their name came from the tune, 'Four Brothers', composed by Jimmy Giuffre when they were all with Herman (Giuffre arranging). Herman's first of numerous renditions was recorded December 27, 1947. Cohn, also an All Star with Chaloff in '56, went back with Chaloff to Raeburn, they first recording together at Liederkranz Hall on January 17, 1945, 'Barefoot Boyd with Cheek' leading off that radio session. Cohn was also a continual companion of Chaloff's, more so than Getz or Sims in that they also backed other bands than Herman's together. Also a bandleader, Chaloff co-led his first ensemble per the Ralph Burns Quintet in Hollywood on September 21, 1946: 'Blue Serge'. That November he recorded some duets with pianist, Rollins Griffith: 'Billie's Bounce', 'Body and Soul', 'Blue Serge' and 'Red Cross', available on CD per 'Boston 1950'. His debut recordings as a leader were per a sextet in NYC on March 5, 1947, yielding 'Pumpernickel', 'Gabardine and Serge', 'Serge's Urge' and 'A Bar a Second'. His final two albums as a leader were issued in '55 and ''56: 'Boston Blow Up' and Blue Serge'. Among the highlights of Chaloff's career were Herman's first recordings by his Second Herd for AFRS 'One Night Stand' radio broadcasts at the Hollywood Palladium in March of 1948. Chaloff died in his prime at the young age of 34 in 1957, of spinal cancer. All tracks for year 1956 below are from the album, 'Blue Serge'.

Serge Chaloff   1945

   Interlude (A Night In Tunisia)

      With Boyd Raeburn

Serge Chaloff   1947

   A Bar a Second

      Piano: George Wellington

   Four Brothers

      With Woody Herman

   The Goof and I

      Tenor sax: Allen Eager

Serge Chaloff   1949

   Bop Scotch

      Bass: Oscar Pettiford

      Trumpet: Red Rodney

   King Edward the Flatted Fifth

      Piano: Ralph Burns

   The Most!

      Bass: Oscar Pettiford

      Trumpet: Red Rodney

Serge Chaloff   1950  

   No Figs

      Tenor sax: Stan Getz

Serge Chaloff   1954

   All I Do Is Dream of You

   The Fable of Mabel

Serge Chaloff   1955  

   Bob the Robin

   Body and Soul

     Album: 'Blow Up!'



   What's New

Serge Chaloff   1956  

   A Handful of Stars

   All The Things You Are

   Stairway To The Stars

   Susie's Blues

   Thanks For the Memory



Born in 1925 in Brooklyn, it isn't certain when arranger and tenor saxophonist Al Cohn first entered the recording studio. He worked with Joe Marsala as early as 1943. Tom Lord's discography lists Cohn contributing to airchecks in 1944-45 by the Henry Jerome Orchestra, those sessions issued much later on CD as 'A Taste of Crazy Rhythm' and 'The First Big Band to Ever Play Bebop'. Both feature renditions of 'Vitalize', 'Tea for Two', 'Etonize' and 'It's a Wonderful World'. His first certain recording dates to issue were with Georgie Auld and his Orchestra, first radio transcriptions for Associated broadcast from NYC on March 28, 1944 (such as 'Mandrake Root', 'Short Circuit' and 'Stompin' at the Savoy'), then for Apollo Records on May 22, yielding 'I Can't Get Started' et al. He finished that year on December 1 with Jack Teagarden with tracks performed at an AFRS (Armed Forces Radio Service) radio broadcast at Charleston Airfield, South Carolina, tracks like 'Temptation' and 'Shine' to be released on an undisclosed date by Jazum (#55). Cohn began 1945 with Boyd Raeburn, his initial radio broadcast to issue from Liederkranz Hall in NYC on January 17, 1945, yielding 'Barefoot Boyd with Cheek' et al. Sessions with others such as Georgia Auld followed until '46, recording with Alvino Ray and Sonny Berman while yet with Auld. He began '47 in January with Red Rodney's Be-Boppers on tracks like 'Elevation'. In October he began recording with Buddy Rich per an AFRS radio broadcast from Larchmont, NY, titles such as 'The Goof and I' and 'A Sunday Kind of Love'. It was '47 when Cohn joined Woody Herman's Orchestra, first recording with that outfit in Hollywood on October 19 with 'If Anybody Can Steal My Baby' and three takes of 'I Told Ya I Love Ya, Now Get Out'. Cohn stuck with Herman until 1950 (later sessions in '54, '57, '66, '72, '76, '81 and '82). That made him an original member of Herman's Second Herd formed in 1948. Cohn distinguished himself as an arranger while with Herman, with which band he oft played shoulder to shoulder with saxophonist, Stan Getz, and became one of the Four Brothers with Zoot Sims, Herbie Steward and Serge Chaloff, all saxophone players. The name of that group came from a tune composed by Jimmy Giuffre, 'Four Brothers', the first of many renditions first recorded by Herman's outfit on December 17, 1947. With considerably above 600 sessions to his name, Cohn backed the Rolodex of jazz. Among those with whom he recorded in the fifties alone were Freddie Green, Elliot Lawrence, Urbie Green, Lurlean Hunter, Maynard Ferguson, Tommy Shepard, Terry Gibbs, the Keymen, Hal McKusick, Manny Albam, Lee Wiley, Jimmy Giuffre, Larry Sonn, Tony Perkins, Zoot Sims, Tex Beneke, Bob Prince, Quincy Jones, Benny Payne and Ted McNabb. The sixties saw him participating on titles with such as Judy Holliday, Kai Winding, Gary McFarland, Dinah Washington, Erskine Hawkins, Tony Bennett, Jimmy Rushing and Astrud Gilberto. Helen Ward was among big names in the seventies, Joe Derise following in the eighties. Cohn's first session as a leader was with a quartet consisting of George Wallington (piano) Tommy Potter (bass) Tiny Kahn (drums). That session on July 29, 1950, resulted in the album issued by Savoy as 'Cohn's Tones'. Well above fifty of Cohn's sessions were as a leader. Tom Lord's discography lists Cohn's final sessions per the Edinburgh Jazz Festival in England on August 15 and 22, 1987, with Bruce Adams and Claude Tissendier, those yielding 'B Flat Blues', 'The Return of the Redhead', 'Fascinating Rhythm', 'Hershey Bar' and 'Be My Guest'. Other sessions in Europe that year were as a leader toward the issue of the albums, 'The Final Performance' (March), 'Keeper of the Flame' (May) and 'Rifftide' (June). Among the highlights of Cohn's career was an album issued in 1958 with Zoot Sims and poet, Jack Kerouac, titled 'Blues and Haikus'. Cohn died of liver cancer in Stroudsburg, Pennsylvania, in 1988. More of Cohn under Zoot Sims.

Al Cohn   1944

   Sweet and Lovely

      With Georgie Auld   Vocal: Kay Little

Al Cohn   1945

   Interlude (Night In Tunisia)

      With Boyd Raeburn

Al Cohn   1949


      Tenor sax quintet

Al Cohn   1954

   Autumn Leaves

   Inside Out

   Serenade For Kathy

   Suddenly It's Spring

Al Cohn   1955

   Cap Snapper


   Sioux Zan

      Tenor sax trio with Richie Kamuca & Bill Perkins

Al Cohn   1956

   Singing the Blues

      Piano: Hank Jones

   Tenor Conclave


      Tenor sax quartet

   The Things I Love

      Piano: Hank Jones

   We Three

      Piano: Hank Jones

Al Cohn   1957

   What a Wonderful World

      Album: 'Al and Zoot'

Al Cohn   1958

   American Haikus

      With Jack Kerouac & Zoot Sims

   What the World Needs Now/Doodle-Oodle

      Live on 'Cool of the Evening' with Zoot Sims

Al Cohn   1959

   Lover Come Back To Me

      Live at the Half Note with Zoot Sims

Al Cohn   1960

   Ah Moore

      Live at the Birdland with Zoot Sims

   Just You, Just Me

      Live at the Birdland with Zoot Sims

   You'd Be So Nice to Come Home To

      With Zoot Sims

Al Cohn   1973


Al Cohn   1976

   America the Beautiful

Al Cohn   1977

   Them There Eyes

      Piano: Jimmy Rowles

Al Cohn   1979

   No Problem

Al Cohn   1987


      Live at the Sanremo Jazz Festival


      Live at the Sanremo Jazz Festival


Birth of Modern Jazz: Al Cohn

Al Cohn

Source: Lehigh Valley Music


Birth of Modern Jazz: John Dankworth

John Dankworth

Source: Movie Morlocks

Born in 1927 in Woodford, British film score composer, John Dankworth, played both clarinet and alto sax. He stepped into his first recording studio on September 13, 1944, with Freddy Mirfield and his Garbage Men to record 'Good Old Wagon Blues' and 'Miss Annabelle Lee' in London. In 1946 he put down tracks with both Humphrey Lyttelton and drummer, Carlo Krahmer. 1948 found him with the Vic Feldman Quartet to record 'Ladybird' and 'Mop Mop' for the Esquire label. First working with Krahmer in Lyttelton's organization, the two would also attend a recorded concert at Birmingham's Town Hall that year, performing such as 'Buzzy' and 'How Hight the Moon'. In 1949 Dankworth continued with Esquire, leading the Johnny Dankworth Quartet on titles recorded at King George's Hall in London: 'Lover Man'/'Bremavin' and 'Body and Soul'/'Second Eleven'. The ensemble with which he rose to renown, the Dankworth Seven, began laying tracks in 1950 for Jazz Parade and Esquire. Dankworth formed his orchestra in 1953. He married singer, Cleo Laine, in 1958. Their first recordings together had been on November 8, 1951, Laine singing 'Mr. & Mississippi' and 'Lush Life'. Dankworth took his big band to the Newport Jazz Festival in 1959. He played often in the States with all number of bigger names in American jazz from Clark Terry to both Duke and Mercer Ellington. In 1970 he founded The Stables with Laine, a musical venue in Wavendon, Buckinghamshire (now with two auditoria presenting above 600 concerts and educational events each year). Dankworth was knighted in 2006 by Queen Elizabeth II. His last record release in 2003 was with a quintet: 'JD5'. He passed away in February of 2010.

John Dankworth   1946

 That Da Da Strain

     With Humphrey Lyttelton

John Dankworth   1950

 Lightly Politely

     The Dankworth Seven


     The Dankworth Seven

John Dankworth   1956

  Experiments with Mice

John Dankworth   1961

  African Waltz

John Dankworth   1964


John Dankworth   1965


John Dankworth   1966

  Return From The Ashes

    Film theme 

John Dankworth   1990

  Webster's Mood

    Filmed live



Birth of Modern Jazz: Eddie Lockjaw Davis

Eddie Lockjaw Davis

Source: Jazzland


Born in 1922 in New York City, tenor sax man Eddie Lockjaw Davis is thought to have first recorded in January of 1944 upon joining the band of Cootie Williams. His first of three sessions with Williams resulted in 'You Talk a Little Trash', 'Floogie Boo', 'I Don't Know and 'Gotta Do Some War Work Baby'. Upon leaving Williams in 1944 Davis went on to work with Lucky Millinder, his first session yielding 'Hurry Hurry', 'Darling', 'I Can't See for Lookin'' and 'Who Threw the Whiskey in the Well?' Those were with vocalists, Judy Carroll and Wynonie Harris. Another session with Millinder followed in January of '45 for an AFRS (Armed Forces Radio Service) 'Jubilee' radio broadcast (#116) from Hollywood. Included were 'I'll Get By' and 'Is You Or Is You Ain't You My Baby'. Another important early figure was Andy Kirk with whose orchestra he first laid tracks on November 27, 1945: 'Get Together with the Lord' and 'I Know'. A couple more sessions with Kirk followed into 1946. It was 1946 when Davis formed his own band, a quintet, to record 'Surgery', 'Lockjaw', 'Afternoon in a Doghouse' and Athlete's Foot' for the Haven label. That was followed with a couple sessions in December of '46 with his Beboppers, yielding such as 'Callin' Dr Jazz' and 'Just a Mystery' for Savoy. He began recording steadily and extensively with his own ensembles and orchestras the next year. Among the most featured members of his ensembles was tenor saxophonist, Johnny Griffin, from 1960 to '62 and later in 1970. Among Davis' albums featuring Griffin were 'Tough Tenors' (recorded November 1960), 'Tough Tenor Favorites' ('62) and 'Tough Tenors Again 'N' Again' ('70). Davis' final recordings as a leader would be with a quartet in Europe (where he toured often) in the summer of 1985: 'Night and Day', 'Days of Wine and Roses', 'Misty' and 'Swingin' Till the Girls Come Home'. Those were live tracks recorded at the Jazzland in Vienna, Austria, on August 20. They were also some thirty years after his first tracks with Count Basie, the major figure in his career. Davis was with Basie in NYC by July 22, 1952, to record such as 'Jack and Jill', 'Paradise Squat' and 'Tippin' the Q.T.' Excepting years 1958-63 and 1975 Davis recorded heavily with Basie into 1976, again in '79, '80 and '83. His last session with Basie in '83 was in Hollywood on June 22, leading off with 'I'll Always Be In Love With You' with 'Brio' at tail. Via Basie Davis first recorded with Frank Sinatra on June 20, 1965, at the Civic Center in Pittsburgh: 'I've Got You Under My Skin'. Sessions followed into '66, another in 1970 in London at the Royal Festival Hall yielding 'Pennies From Heaven'. Working with Basie also meant recording with Ella Fitzgerald, first at a taped concert in Tillburg, Holland, in May of 1971: 'St. Louis Blues', 'C Jam Blues', et al. Davis was recorded with Fitzgerald on a few occasions in '73, '74 and later in '83 in Tokyo per the JATP All Stars, bearing 'Flying Home'. Among the highlights in Davis' career was the recording of the Sonny Stitt LP, 'The Matadors Meet The Bull', in New York City in 1966. Stitt had backed Davis on tenor sax at the Birdland in New York in 1954, such as 'Metalmouth', 'I Can't Get Started' and 'Roller Coaster'. Davis held a couple sessions with Stitt again in '81. The year prior to that Davis had attended the Aurex Jazz Festival in Japan with Dizzy Gillespie and Cedar Walton, recording such as 'I Can't Get Started'. Other highlights include his Jazz at the Philharmonic (JATP) sessions in '71, '72, '82 and '83. Davis died in Culver City, California, in 1986. His final recordings are thought to have been in January of '86 in Vienna, Austria, with Art Farmer on flugelhorn, leading off with 'The Time and the Place' with 'I'm Gonna Make It All the Way' at rear with Louie Austen at vocals.

Eddie Lockjaw Davis   1944

   Echoes Of Harlem

   Floogie Boo

   Hurry Hurry

   You Talk A Little Trash

Eddie Lockjaw Davis   1948

   Happy Birthday

Eddie Lockjaw Davis   1958

   The Chef

      Album: 'Cookbook'   Organ: Shirley Scotts

   High Fry Smokin'

   In the Kitchen

      Album: 'Cookbook'   Organ: Shirley Scotts

   Jaws Smokin'


Eddie Lockjaw Davis   1960


   The Stolen Moment

Eddie Lockjaw Davis   1961

   Wild Rice

Eddie Lockjaw Davis   1977


Eddie Lockjaw Davis   1985

   Take the 'A' Train

   I Can't Get Started

   Just Friends

   Out of Nowhere



  Born in 1924 in Stockholm, Swedish saxophonist, Arne Domnérus, played a significant role in the history of modern jazz. Like many sax players he started with clarinet, he eleven, picking up sax before he began to play professionally. Domnerus' earliest recording per Tom Lord's discography was with the Owe Kjell Orkester on December 27, 1941: 'Jump Jack Jump', not released until 1995 on CD by Caprice. Ditto his next session with Kjell in spring of '42: 'Blue Lou'. He's listed with Miff Gorling and vocalist, Sonja Sjobeck, in Stockholm in summer of 1943: 'Watch the Birdie' and 'Mr. Five By Five'. That's given an issue designation as Pol 49565G. Our guess is that means Polar Music in Stockholm. As that's so obscure in documentation one thinks it may have been issued at the time. However, not until after a couple sessions with Lulle Ellboj (Vinterpalatset Orkester) in 1944 (one for a soundtrack, the next a radio broadcast) does Domnerus certainly see vinyl with the Sonora label, that with Diana Miller, recorded October 19, 1944, released as 'The Song in My Heart' bw 'It's Love, Love, Love'. Domnerus stayed with Ellboj’s orchestra until 1946, recording frequently. After a session with the Expressens Elitorkester Domnerus backed bassist, Simon Brehm, on January 13 of '47 to issue 'Who's Sorry Now?' and 'After You've Gone'. Brehm had been with Domnerus in Kjell's orkester in 1941-42. They were found together again on December 12, 1945, with Alice Babs and the Lulle Ellbojs Orkester: 'I'm a Little On the Lonely Side' and 'Gotta Be This Or That.' Thence onward Brehm and Domnerus recorded together extensively until 1959, that occasion the 'Konserthus' concert in Stockholm, Sweden, April 16, bearing 'A Sailboat In the Moonlight' and 'Indiana'. One cause for Domnerus' historic position in modern jazz was his invitation to join Parisorkestern 1949 with the Swedish Jazz All-Stars. That engagement at the Paris Jazz Fair in May was important for a number of reasons. One, it was the first jazz festival held in Europe after World War II. (Domnerus' Sweden had been a neutral power along with Portugal and Switzerland.) Second, up to that time Sweden had been fairly much a jazz hinterland in comparison to the Continent or UK, much less the United States. It was due much to that festival that Swedes came to light on the international scene. Three, it made Domnerus' name. Recordings of that event were issued in 1999: 'The Swedish Jazz All-Stars: Parisorkestern 1949'. The All-Stars Parisorkestern ensemble held a recording session (presently unidentified) before attending that event as well. Vocalist, Alice Babs, accompanied the All-Stars to Paris, the band consisting of Domnerus (alto sax), Carl-Henrik Norin (tenor sax), Putte Wickman (clarinet), Gösta Törner (trumpet), Simon Brehm (bass) and Sven Bollhem (drums). Domnerus made his initial recordings as leader of the Favourite Four in August: 'Body and Soul', 'Conversation' and 'More Than You Know'. Those were made available in 2002 by Dragon on a CD titled, 'Favourite Groups'. In September Domnerus recorded 'I've Got My Love to Keep Me Warm' with his Favourite Five. That would be made available much later as well, on a CD issued in 2004 by Phontastic titled, 'Ulf Linde Jazz', a compilation for years 1948–52 featuring Linde (vibraphone), Domnerus' Favourite Five and Reinhold Svensson among a cluster of others. Several more sessions in October of '49 on the 6th would also find their way onto 'Favourite Groups'. Among the results of the Jazz Fair in Paris was a much increased interest in Stockholm by American and European musicians. One of those was saxophonist, James Moody, who was living in Europe at the time. On the 7th of October Domnerus recorded with Moody, he featured on alto sax on 'Out of Nowhere' and 'Moody’s Mood for Love'. Domnerus had opportunity to perform with visiting Charlie Parker as well in latter 1951. Before recording with British pianist, Leonard Feather, he made his first recordings with His Majesty's Voice in April of '51, making 34 titles with HMV into 1955. Domnerus joined Harry Arnold's Swedish Radio Big Band in 1956, with which he remained until '65. He afterward released a steady load of albums (nigh thirty) into and throughout the nineties. Into the new millennium Domnerus' health began to fail and he retired until his death in September of 2008 in Stockholm.

Arne Domnérus   1944

   It's Love Love Love

      Vocal: Diana Miller

Arne Domnérus   1949

   Body and Soul

      Parisorkestern 1949


      Parisorkestern 1949

Arne Domnérus   1951

   Out of Nowhere

Arne Domnérus   1975

   Antiphone Blues

      LP: 'Antiphone Blues'

      Organ:: Gustaf Sjökvist


      LP: 'Antiphone Blues'

      Organ:: Gustaf Sjökvist

   Nobody Knows the Trouble I've Seen

      LP: 'Antiphone Blues'

      Organ:: Gustaf Sjökvist

Arne Domnérus   1976

   Good Vibes at the Pawnshop Jazz Club


Arne Domnérus   1977

   High Life

      LP: 'Jazz at the Pawnshop'

   Lady Be Good

      LP: 'Jazz at the Pawnshop'

   Limehouse Blues

      LP: 'Jazz at the Pawnshop'

Arne Domnérus   1979

   After All

      LP: 'The Sheik'

      Piano: Jimmy Rowles

Arne Domnérus   1986

   Blåtoner Fra Troldhaugen


      Guitar: Rune Gustafsson


Birth of Modern Jazz: Arne Domnérus

Arne Domnérus

Source: Discogs

  Born in 1927 in New York City, tenor sax man Allen Eager began playing professionally at age fifteen with Woody Herman's band, also beginning to use heroin during that time. His first two sessions were with Herman in November of 1943, the first on the 8th with vocalist, Francis Wayne, to yield 'The Music Stopped', 'Do Nothin' Till You Hear From Me' and 'I Couldn't Sleep a Wink Last Night'. Before Eager's next sessions with Herman in '44 he joined Hal McIntyre's Orchestra to lay tracks on December 16 of '43 per a radio broadcast for war workers at Atlantic Steel, 'Hairless Joe' and 'Heat Wave' among others. A couple more sessions with McIntyre followed in Hollywood, before three with Johnny Bothwell back in NYC in '45 and '46. He is thought to have been employed by Tommy Dorsey at some time by then. Eager next recorded with Coleman Hawkins and his 52nd Street All Stars on February 27 of '46, yielding 'Say It Isn't So', 'Spotlite', 'Low Flame' and 'Allen's Alley'. It was March 22, 1946 that Eager made his debut name recordings for Savoy Records, in session order: 'Rampage', 'Vot's Dot?', 'Booby Hatch' and 'Symphony Sid's Idea' ('Zadah'). That quartet included Bob Carter on bass, Max Roach on drums and Ed Finckel on piano. Among the big name musicians with whom Eager collaborated was with West Coast saxophonist Gerry Mulligan. Their first tracks together were with Red Rodney's Be-Boppers in NYC on January 29, 1947, setting 'All God's Chillun Got Rhythm', 'Elevation', 'Fine and Dandy' and 'The Goof and I'. Eager appeared on Mulligan's 'Mulligan Plays Mulligan' in 1951, as well as the first seven tracks of 'The Gerry Mulligan Songbook' in 1957. From latter '47 to latter '48 Eager recorded with pianist, Tadd Dameron, numerously, especially with Dameron's ensembles. Eager largely retired from the music business in the latter fifties. He would take employment on the ski patrol at the Hunter Mountain ski resort in New York, then enter into professional racecar driving with partner, Denise McCluggage. Though Eager performed with Charles Mingus at the 1960 Newport Jazz Festival in Rhode Island, recorded with Henri Renaud in Paris in the early sixties and appeared on Frank Zappa's 'Hot Rats' album released in 1970, he didn't return to the music business until 1982, recording the album, 'Renaissance'. In 1983 he toured with Dizzy Gillespie and, briefly afterward, Europe with Chet Baker. Eager died of lung cancer in 2003 in Daytona Beach, Florida.

Allen Eager   1944

   The Music Stopped

      Woody Herman w Frances Wayne

Allen Eager   1946

   Allen's Alley

      Coleman Hawkins' Fifty-Second Street All-Stars

Allen Eager   1947

   All Night, All Frantic

   And That's For Sure


   Donald Jay

   Fine and Dandy

      Baritone sax: Serge Chaloff

      Trumpet: Red Rodney

   The Goof and I

      Baritone sax: Serge Chaloff

   Groovin' High

   Nightmare Allen

Allen Eager   1948

   Bow Tie

      Piano: Al Haig


Birth of Modern Jazz: Allen Eager

Allen Eager

Source: Blue Note


Born in 1920 in St. Louis, Missourri, Jimmy Forrest, tenor sax, is thought to have begun his career in high school, playing with pianist Eddie Johnson, after which he played with Fate Marable and the Jeter-Pillars Orchestra. Most information places him with Jay McShann's band for a couple years, beginning in 1940. Most sources also agree that he was with Andy Kirk's band in 1942. Forrest is thought to have first recorded in latter 1943 with Andy Kirk on the tracks, 'Avalon', 'Wednesday Night Hop', 'If That's the Way You Want It', 'Hit That Jive', 'Seven Come Eleven', 'Shorty Boo', 'Fare Thee Well, Honey', 'Baby Don't You Tell me no Lie' and 'Thing 'Bout Coming My Way'. (Forrest is featured on 'Avalon' below.) Upon leaving Kirk in 1948 Forrest played briefly with Duke Ellington in 1949, then freelanced with Sweets Edison. He also collaborated with Miles Davis and Count Basie. Forrest released his first album in his own name in 1952 ('Night Train'). In 1979 he performed in the film, 'Last of the Blue Devils'. He died in Grand Rapids, Michigan in 1980.

Jimmy Forrest   1944


      With Andy Kirk

   Roll 'Em

      With Andy Kirk

      Piano: May Lou Willimas

Jimmy Forrest   1952

   Blue Groove

   Bolo Blues

   All the Things You Are

      Trumpet: Miles Davis

   Night Train

Jimmy Forrest   1959

   All the Gin Is Gone

      Album: 'All the Gin Is Gone'

      Guitar: Grant Green


      Album: 'All the Gin Is Gone'

      Guitar: Grant Green

Jimmy Forrest   1961

   Rocks In My Bed

   Soul Street

      Album: 'Soul Train'


Birth of Modern Jazz: Jimmy Forrest

Jimmy Forrest

Source: Papy Blues


Born in 1921 in Oklahoma City, Wardell Gray, tenor saxophone, began his professional career playing at dances in Detroit, Michigan. He got his major break with Earl Hines, whom he joined in 1943, though his first recordings were with Billy Eckstine in 1944 in NYC. He plays with three other sax players and is not at all featured, but a couple of those tracks with Eckstine are included below. Gray next recorded with Hines the same year, an AFRS (Armed Forces Radio Service) session to be released on Jubilee (105,106), titles such as 'I Know That You Know' and 'Keep On Jumpin'. Between sessions with Hines Gray had opportunity to participate in a recorded JATP performance by Billie Holiday on February 15, 1945: 'Body and Soul' with 'Strange Fruit'. Gray didn't know he had only ten years to make his mark but progressed rapidly, his brief career spent backing big shots who wanted the best tenor sax to be found. Among the more significant bands in which Gray played were Benny Goodman's and Count Basie's. Gray first sat in with Goodman on December 17, 1947, for a take of 'I Never Knew' per an AFRS broadcast in Los Angeles. He began recording with Goodman as a steady band member for a radio broadcast on May 24, 1948, at the Click Restaurant in Philadelphia: 'Stompin' the Blues', 'Limehouse Blues', 'On the Sunny Side of the Street' and 'Cookin' One Up'. Several such sessions followed at the Click until June 5. Gray's last of numerous sessions with Goodman was held in NYC on September 18, 1949: 'Egg Head', 'Little Girl Don't Cry', 'Why Don't We Do This More Often?' and 'Spin a Record'. Gray had already been performing with Count Basie, first recording with the latter the year before on September 11, 1948, a radio broadcast from the Royal Roost in NYC: 'X-1', 'The King' and several between. Gray hung with Basie into 1951 and would record with him again in 1953 for Norman Granz in Hollywood: 'Apple Jam', 'Lady Be Good', 'Blues for the Count' and a medley of ballads. Of Gray's 125 sessions 15 were as a leader, his first in Hollywood with his quartet on November 23, 1946, for the album, 'One for Prez' (one for Lester Young). His last name session was January 15, 1955: 'Sweet Mouth', 'Blues in the Closet', 'Dat's It' and 'Hey There'. His final session was with Frank Morgan in Los Angeles on March 31, 1955: 'The Champ', 'Get Happy', 'Milt's Tune', 'My Old Flame', 'Neil's Blues' and 'The Nearness of You'. Unfortunately Gray's career was cut short in 1955. Found dead of a broken neck in the desert near Las Vegas, it is yet a mystery whether his death was an accident or murder. Among Gray's compositions was 'Twisted' in 1949, to which Annie Ross added lyrics in 1952, to become famous via Joni Mitchell on her 1974 album, 'Court and Spark'.

Wardell Gray   1944

   Good Jelly Blues

      With Billy Eckstine

   I Stay in the Mood for You

      With Billy Eckstine

   Fatha's Idea

      With Earl Hines

Wardell Gray   1947


      With the Howard McGhee Sextet

   The Chase

      With Dexter Gordon

   The Hunt

      With Dexter Gordon

Wardell Gray   1949

   Easy Living


Wardell Gray   1951

   Every Tub

      With Count Basie

   I May Be Wrong

      With the Charlie Parker Sextet


      With the Joe Swanson Orchestra

Wardell Gray   1953

   So Long Broadway


Birth of Modern Jazz: Wardell Gray

Wardell Gray

Source: Wardell Gray


Born in 1924 in Medford Massachusetts, Hal McKusick worked in the bands of Woody Herman and Les Brown in 1943. Thought to have begun recording with Brown that year, most were radio broadcasts not issued at the time until a session in November for V-Disc saw release in '44, such as 'Just for a Day' with Roberta Lee and 'Mexican Hat Dance'. McKusick then joined the Boyd Raeburn Orchestra in 1944. He first recorded with Raeburn in May that year in NYC, netting such as 'Starlight Avenue' and 'I Dream of You' with Don Darcy at vocals. Among titles with Raeburn issued by V-Disc in '44 were 'March of the Boyds' and 'A Night In Tunisia'. A session in October of '45 netted 'Tonsillectomy', 'Forgetful', 'Rip Van Winkle' and 'Yerxa'. McKusick stuck with Raeburn through 1945 though would appear on Raeburn's 1955 album, 'Boyd Meets Stravinski', and also sit in Raeburn's band for a January session in 1956 yielding 'Fine and Mellow' with Ginnie Powell and 'Creole' among others. While with Raeburn McKusick had played alongside Dizzy Gillespie who had been Raeburn's arranger on a couple earlier sessions. Gillespie contributed first trumpet (among three others) on January 17, 1945, for transcriptions per Liederkranz Hall in NYC, titles such as 'Barefoot Boyd with Cheek', 'Lonely Serenade' and 'Summertime'. McKusick isn't thought to have recorded with Gillespie again, but with considerably above a couple hundred sessions per his career he backed all number of musicians large and small. Among the first who would rise to renown was Jimmy Giuffre, with whom he first recorded per AFRS radio with Harry Babasin and his Potential Philharmonics in Pasadena, CA, in January of '48: 'Four Brothers' and 'When You're Smiling'. They next found themselves performing with Buddy Rich before Giuffre joined McKusick's ensemble for a time. McKusick first recorded with vibraphonist, Terry Gibbs, in '51, later in 1955-56, also putting down numerous titles with tombonist, Tommy Shepard, in '56. From '54 to '59 McKusick sat in with the Elliot Lawrence Orchestra on numerous occasions. He also began recording with trombonist, Urbie Green, in '54 (Med Flory Orchestra), numerous sessions to follow both with other groups and Green's own into 1960. Arranger, Manny Albam, figured large in many of McKusick's sessions from '55 to '58, as well as arrangements by pianist, George Russell, from '56 to 1960. In March of '56 McKusick recorded alongside another vibraphonist, Bob Prince, for Johnny Mathis: 'Caravan' and 'Babalu'. He would back Prince in '59 on 'Saxes, Inc.' Pianist, Bill Evans, entered his scene per Russell's debut album, 'The Jazz Workshop', recorded March 31, 1956. McKusick would set numerous tracks with Evans in association with Russell, other bands and McKusick's own. Dinah Washington changed his atmosphere in 1956-57. McKusick had released his first album as a bandleader in 1955, 'Hal Mckusick Plays - Betty St. Claire Sings'. His second and third albums, titled 'Hal McKusick Quartet' and 'In a Twentieth-Century Drawing Room', were released the same year. During McKusick's latter years he taught at the Ross School in East Hampton, New York. He died in April of 2012.

Hal McKusick   1944

   A Night in Tunisia

      With Boyd Raeburn

Hal McKusick   1945


      With Boyd Raeburn

Hal McKusick   1955

   Give Em' Hal

      Album: 'East Coast Jazz'

   Minor Matters

      Album: 'East Coast Jazz'

Hal McKusick   1956

   The Blues Train

   Irresistible You


Hal McKusick   1958

   La Rue


Birth of Modern Jazz: Hal McKusick

Hal McKusick

Source: Jazz Wax




Born in 1925 in Gardena, California, Art Pepper, alto and tenor sax, released his first album, 'Popo', in 1951 with trumpeter Shorty Rogers. Beginning his career in the early forties with Benny Carter, age seventeen, then Stan Kenton with whom he first recorded on November 3, 1943, at an AFRS 'Downbeat' broadcast (#70) from Hollywood: 'Liza', 'I Lost My Sugar in Salt Lake City, et al. Kenton would Pepper's mainstay for another eight years, he last sitting in with Kenton's orchestra on December 7, 1951, per 'Entrance Into the City' and 'The Structures'. Among his more significant partners during his early career was arranger/trumpeter, Shorty Rogers, first working together with Kenton in 1948. They would play side by side with Kenton through the fifties as well as back each other's bands. Rogers was one of Pepper's Nine in 1957, recording such as 'Popo' and 'Powder Puff' in Hollywood. They laid the last of numerous titles together in Los Angeles on May 26, 1960, Pepper supporting Rogers on 'Snowball', 'China, Where?' and 'Like Nutty Overture'. Among highlights in the sixties was a session with Buddy Rich at Caesar's Palace in Las Vegas on July 7, 1968, netting such as 'Mercy, Mercy, Mercy' and 'Preach and Teach'. Pepper's would become a name famously associated with West Coast jazz, but not without some trials. As with rock and roll, drugs were a part of the culture of jazz, especially as it bloomed into modern jazz. Pepper did the cycle of drugs upon jazz upon drugs upon jazz, heroin his preferred high. Unlike some others, however, drugs didn't seem to damage his musical abilities: addicted, but apparently to measure. His career was interrupted, though, by several incarcerations for drug possession in the fifties and sixties. He nevertheless held a prolific 266 sessions, 97 of them his own. His debut session as a leader was in February of 1952 with a quartet consisting of  Hampton Hawes (piano), Joe Mondragon (bass) Larry Bunker (drums/vibes). Discogs would seem to have a couple of those titles released in 1953 by Swing Records: 'Suzy the Poodle' and 'Tickle Toe'. His first album, 'The Early Show', showed up kind of late, not pressed until 1976. He also recorded 'The Late Show' in 1952, that appearing aptly later in 1980. Both would later see reissue as Vol. 1 and 2 of 'A Night at the Surf Club'. Pepper's final session is thought to have been May 30, 1982, at the Kool Jazz Festival at Kennedy Center in Washington DC, those tracks to be released as 'Final Art'. Pepper's autobiography, co-written with his third wife, Laurie Pepper, was published in 1980: 'Straight Life'. Pepper died of cerebral hemorrhage in Los Angeles at the relatively young age of 56 in 1982. The majority of tracks for year 1957 below are from the album, 'Art Pepper meets The Rhythm Section'.

Art Pepper  1944

   I Lost My Sugar in Salt Lake City

      With Stan Kenton

      Vocal: Dolly Mitchell

Art Pepper  1951

   Body and Soul


   Brown Gold



      Trumpet: Shorty Rogers

   Scrapple From The Apple

      Trumpet: Shorty Rogers

   Street of Dreams

      With Stan Kenton

Art Pepper  1952

   Brown Gold

Art Pepper  1954

   The Way You Look Tonight

Art Pepper  1956


   What Is This Thing Called Love

   What's New?

   You Go to My Head

Art Pepper  1957

   Birk's Works

   The Breeze and I


   Jazz Me Blues

   Pepper Steak

   Red Pepper Blues

   Star Eyes

   Straight Life

   Tin Tin Deo

   Waltz Me Blues

   Webb City

   You'd Be So Nice To Come Home To

Art Pepper  1960

   Smack Up


Art Pepper  1976

   Mambo Jumbo

      Album: 'Mucho Calor'

   Mucho Calor (Much Heat)

      Album: 'Mucho Calor'

   Old Devil Moon

      Album: 'Mucho Calor'


      Album: 'Mucho Calor'

   Summer Knows

   That Old Black Magic

      Album: 'Mucho Calor'

Art Pepper  1976

   Lost Life

Art Pepper  1977

   But Beautiful

   Here's That Rainy Day



   My Friend John

   My Funny Valentine

   Red Car

Art Pepper  1978


Art Pepper  1979

   Mambo de la Pinta

Art Pepper  1980

   Blues for Blanche

   Blues for the Fisherman

Art Pepper  1981

   Mambo de la Pinta

   When You're Smiling


Birth of Modern Jazz: Art Pepper

Art Pepper

Photo: Andy Freeberg

Source: Art Pepper Disco

Birth of Modern Jazz: Paul Quinichette

Paul Quinichette

Source: Blue Sounds

Born in 1916 in Denver, CO, Paul Quinichette, tenor sax, is thought to have first recorded to issue in NYC on December 1, 1943, with Jay McShann, Decca releasing such as 'Wrong Neighborhood' and 'Home Town Blues'. A couple more sessions with McShann followed in '44, Quinichette to record next with Johnny Otis. His initial tracks with Otis in '45 were such 'My Baby's Business' with Jimmy Rushing at vocals and the instrumental, 'Preston's Love Mansion'. Quinichette hung with Otis into 1946, putting down such as 'Love's Nocturne' and 'My Old Flame' circa December. He would soon lay tracks with others who were transitioning from swing to rhythm and blues like Louis Jordan and Lucky Millinder. Quinichette would take the swing jazz rather than R&B route with Count Basie in 1951. His first titles with Basie were recorded at a WNEW radio broadcast from the Make Believe Ballroom in NYC May 6, 1951: 'Cheek to Cheek' and 'Every Tub', et al. A session on July 29, 1952, found him with tenor saxophonist, Lester Young, filling second sax (Quinichette first). Broadcasting from the Birdland in NYC, they recorded such as 'One O'Clock Jump' and 'Jumpin' at the Woodside'. His last tracks withBasie are thought to have been at the Birdland in January of '53: 'One O'Clock Jump' and 'Lullaby of Birdland', et al. Later that year Quinichette began backing another stellar name, supporting Dinah Washington in NYC on September 24 on 'Mixed Emotions' and 'Cold Cold Heart', 'Baby Did You Hear Me' and 'New Blowtop Blues'. Quinichette attended nine sessions with Washington to November 10, 1955, in Los Angeles: 'Goodbye', 'The Show Must Go On', etc.. Among other highlights in the fifties was his recording of 'The Chase Is On' in August of '57 in a quintet with Charlie Rouse also on tenor. Other members of that affair were Wynton Kelly (piano), Wendell Marshall (bass) and Ed Thigpen (drums). He also recorded with Woody Herman for the first time on December 30, 1957, performing 'I Want to Be Happy', et al, on NBC's 'Timex All-Star Jazz' television show. He would hold a few more sessions with Herman in latter '58: 'The Herd Rides Again . . . In Stereo' was recorded July 30. 'Herman's Heat and Puente's Beat' was manufactured with Tito Puente in September. Another fifties highlight was three sessions with LaVern Baker in 1958 ('LaVern Baker Sings Bessie Smith'). Quinichette had made his first name recordings on October 5, 1951: 'Cross Fire', 'Sandstone', 'Prevue' and 'No Time', followed in January 1952 with such as 'Paul's Bunion' and 'Crew Cut'. He released his first album, 'The Vice Pres', in 1952. Quinichette was forced to retire in the latter seventies due to health. His final of some 120 sessions (22 his own) is thought to have been with whom his firsts session had been 34 years prior, Jay McShann, in NYC in the summer of '77 toward the release of 'The Last of the Blue Devils'. Quinichette died in New York City on May 25, 1983.

Paul Quinichette   1944

   Hometown Blues

      With Jay McShann

      Vocal: Walter Brown

   Wrong Neighborhood

      With Jay McShann

      Bob Merrill

Paul Quinichette   1951

   Every Tub

      Piano: Count Basie

   No Time

      Piano: Kenny Drew

Paul Quinichette   1952

   Basie Beat

       Piano: Count Basie

   I Can't Face the Music

      Vocal: Billie Holiday

   Paul's Bunion

      Album: 'The Vice Pres'   Piano: Count Basie

   Royal Garden Blues

      Piano: Count Basie

Paul Quinichette   1954


      Album: 'moods'

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

      Album: 'moods'

   Lullaby of Birdland

      Vocal: Sarah Vaughan

Paul Quinichette   1956

   These Foolish Things

Paul Quinichette   1957

   On the Sunny Side of the Street

Paul Quinichette   1958

   Pennies From Heaven



Born in 1925 in Inglewood, California, alto, tenor and soprano saxophonist Zoot Sims first recorded with Alvino Rey on an obscure date requiring Sim's discography by Arne Astrup to better determine. Lord's discography has him on tracks by with Rey's orchestra sometime between 1940 and 1948, releases not known until much later on a Rey compilation titled, 'Drowsy Old Riff'. Sim's first certain recording was 'Bugle Call Rag' on February 6, 1943, as a member of Benny Goodman's orchestra. That and several following radio broadcasts weren't issued until later. His first session to release (V-Disc) was on December 9, 1943, with Goodman: 'Dinah', 'Henderson Stomp' and 'Limehouse Blues'. Goodman was one of the major players in Sims career, he to be found in Goodman's operations on numerous sessions to as late as 1973 at the Hordern Pavilion in Sydney, Australia: 'I Want to Be Happy, 'A Smooth One', et al. Another large figure was tenor saxophonist, Al Cohn. Sims and Cohn had first recorded together for Rey in NYC in 1946 on such as 'How High the Moon', 'Bumble Boogie', et al. They would spend the next decade and some as nigh continuous partners supporting other bands as well as each other's recordings, numerously together in the sixties and seventies as well. Their last session together was on June 8, 1982, in Stockholm, Sweden, for Sims' 'Zoot Case'. Another large figure was Woody Herman whose orchestra Sims joined in Hollywood to record 'If Anybody Can Steal My Baby' and 'I Told Ya I Love Ya, Now Get Out' on October 19, 1947. He was one of the Four Brothers of Herman's Second Herd to which Jimmy Giuffre's composition, 'Four Brothers', referred, which Herman recorded often. Sticking with Herman to '57, he would join him again in '59, '66 and '72. Yet another major associate of heavyweight status was saxophonist, Gerry Mulligan, they first recording together with Gene Roland's Boppers on May 17, 1949, in NYC: 'Oh, Them Saxes!', 'Symphony Sid's Symphonette' and 'Blues In Our Times'. They would support other bands together numerously, Sims also to join Mulligan's ensembles, to as late as 1966. Their last date that year was July 19 resulting in Mulligan's  'Something Borrowed, Something Blue'. The rest of that quintet was Warren Bernhardt (piano), Eddie Gómez (bass) and Dave Bailey (drums). One of the larger figures to come along in the fifties was Quincy Jones, whose orchestra Sims joined in 1955 to record 'Lullaby of Birdland' on August 17 in NYC. Sims stuck with Jones into '56, later '58 to as late as February 5, '64, that last date for Jones' 'Explores the Music of Henry Mancini'. With at least 568 sessions with more than a hundred of those his own, to highlight Sims' life here cab be but a brief mist. He was a member of the Sid Catlett Quartet in 1944 before entering the Air Force, released from active duty in 1946. He would be with Artie Shaw in 1949-50, his first session as a leader also in 1950 in Stockholm, Sweden, on April 23: 'All the Things You Are', 'You Go to My Head' and 'Tickle Me'. 1953 witnessed Sims touring the States with Stan Kenton. He recorded some titles at the Lighthouse in Hermosa Beach, CA, with his Lighthouse Allstars in 1954, those available on a much later CD titled 'Zoot Sims With The Lighthouse Allstars 1954'. Highlighting the sixties was a tour of the Soviet Union in 1962 with Benny Goodman, recording in Moscow that summer. He joined drummer, Buddy Rich, at the Newport Jazz Festival on July 3, 1966, supporting Woody Herman on such as 'Apple Honey' and 'Four Brothers'. He would record with Rich again with Lionel Hampton in '74. His first of five dates for impresario, Norman Granz, and his JATP occurred in London at Royal Festival Hall on November 26, 1966: 'Ow', 'Tin Tin Deo', etc.. His last recording engagement with the JATP was in Tokyo with Ella Fitzgerald on October 17, 1983: 'Flying Home'. Among vocalists with whom Sims appeared on multiple occasions was Sarah Vaughan in '58, '63, '69, '71 and '79. Sims first backed her in Paris on July 7, of '58 for such as 'Please Be Kind', 'Misty', et al. His last occasion to support Vaughan in '79 was per her 'Duke Ellington Songbook Vol. 1'. Sims died of cancer on March 23, 1985, in New York City. More Zoot Sims under Al Cohn.

Zoot Sims   1944

   Henderson Stomp

      With Benny Goodman

Zoot Sims   1954

   Blueberry Hill

      Trumpet: Clifford Brown

Zoot Sims   1956

   The Blue Room

   Captain Jetter

   Crazy Rhythm

   Evening In Paris

   Everything I Love

   From A to Z

      With Al Cohn

   Gus Blues

      Piano: John Williams

   I Wish I Were In Love Again

   Jerry's Jaunt

      Piano: John Williams

   Just Blues

   Looking At You

      With Al Cohn

   Morning Fun

      With Bob Brookmeyer

   Nuzzolese Blues

   Tenor Conclave

      Album   Saxophone quartet

   These Foolish Things

      Piano: Jutta Hipp

   Violets For Your Furs

      Piano: Jutta Hipp

Zoot Sims   1961

   Autumn Leaves

   You Go to My Head

Zoot Sims   1962

   Buscando la Luna

   Nature Boy

Zoot Sims   1967


      With the Brasilia Nueve

Zoot Sims   1970


      Film: 'Live at Donte's'

Zoot Sims   1974

   Honeysuckle Rose

      Bass: Milt Hinton   Drums: Buddy Rich

      Guitar: Bucky Pizzarelli

Zoot Sims   1975

   I Got Rhythm


      With Eddie Lockjaw Davis

Zoot Sims   1975

   Blues For Louise

      Piano: Ray Bryant

Zoot Sims   1979

   She's Funny That Way

Zoot Sims   1981



      Bass: Bob Cranshaw   Drums: Jake Hanna

      Piano: Ross Tompkins

Zoot Sims   1983

   Blues For Two

      Guitar: Joe Pass

Zoot Sims   1984

   A Time For Love


Birth of Modern Jazz: Zoot Sims

Zoot Sims

Source: Concert Database


Birth of Modern Jazz: Sonny Stitt

Sonny Stitt

Photo: Herman Leonard

Source: Jacaras Reales

Born Edward Boatner, Jr. in Boston in 1924, it was 1943 when Sonny Stitt got his professional start upon meeting Charlie Parker. He is thought to have first seen vinyl per a session with Tiny Bradshaw in NYC on January 1, 1944: 'After You've Gone' (Session #1149 Regis issue 1011). Lord's discography places other titles in the same session per #1150-52 and Regis 1010 as well. Another session with Tiny Bradshaw ensued before Stitt joined the Billy Eckstine Orchestra in 1945, his first session with that operation on May 2, 1945: 'Lonesome Lover Blues', 'A Cottage for Sale', et al.. Stitt would continue with Eckstine into 1946, the year he first recorded as a leader, such as 'Bebop in Pastel', 'Fools Fancy', 'Seven Up', 'Blues in Bebop', etc.. Of Stitt's around 250 sessions by far the greater majority were his own. One of his early partners played piano in that first session, Bud Powell. They would back Kenny Clarke and Fats Navarro later that year, to collaborate on a couple projects in '49 as well. A more substantial partner for the next quarter century was drummer, Art Blakey. They first recorded together for Billy Eckstine on October 5, 1946: 'Oo'Bop-Sh'bam', 'I Love Loveliness', etc.. Starting in 1950 Blakey would sit in Stitt's ensembles often. They also teamed up together with other bands, Stitt to become one of Blakey's Jazz Messengers as well. Their last of numerous sessions together was on May 16, 1975, for Stitt's 'In Walked Sonny'. Among highlights in the fifties was opportunity to record with pianist, Dick Hyman, on February 18, 1950, for WNYC Radio, Gene Ammons (tenor sax), Gene Ramey (bass) and Art Blakey (drums) also in that session yielding 'Honeysuckle Rose', 'You're Driving Me Crazy', etc.. Between '55 and '58 Stitt held seven sessions with Norman Granz' Jazz at the Philharmonic. The first was at Carnegie Hall on September 17 of '55: 'Blues', 'I've Found a New Baby', etc.. The last in May of '58 was the soundtrack for the film, 'Les Tricheurs', recorded in Paris. Highlighting the sixties were several sessions with Miles Davis in Europe in 1960. Stitt had first recorded side by side with Davis upon joining Billy Eckstine per above in '45. They had recorded some titles at Carnegie Hall in '49 as well: 'Move', 'Hot House', et al. 1968 saw the recording of his album, 'Night Work', in Zurich, Switzerland. Highlighting the seventies was Stitt's album, 'Tune Up' in 1972. In 1978 he recorded 'The Shadow of Your Smile' in Tokyo. 'Good Life' per 1980 was made in Tokyo as well. Stitt's final sessions were in June of 1982, to be found on two volumes of 'The Last Stitt Sessions'. Stitt died of heart attack on July 22 that year in Washington D.C..

Sonny Stitt   1945

   A Cottage for Sale

      With Billy Eckstine

Sonny Stitt   1946

   Bebop in Pastel

      Piano: Bud Powell

   Serenade to a Square

Sonny Stitt   1948

   Bobbin' With Robin (Baggy's Blues)

      Vibraphone: Milt Jackson

Sonny Stitt   1949

   Sunny Side

      Piano: Bud Powell

Sonny Stitt   1951

   P.S. I Love You

   Sonny Side

Sonny Stitt   1957

   Blues Greasy

      Piano: Bobby Timmons

Sonny Stitt   1958


Sonny Stitt   1961

   Time On My Hands

Sonny Stitt   1962

   When You Wish Upon A Star

Sonny Stitt   1964

   Lover Man

Sonny Stitt   1982

   Bouncin' With Bud

   I Cover the Waterfront

   Ill Be Seeing You



Born in 1925 in Chicago, tenor saxophonist Gene Ammons was son to boogie woogie pianist, Albert Ammons. He first recorded in December 1944, upon joining Billy Eckstine's orchestra. Those tracks with Dexter Gordon at second tenor sax were: 'If That's The Way You Feel', 'I Want To Talk About You', 'Blowing The Blues Away', 'Opus X', 'I'll Wait And Pray' and 'The Real Thing Happened To Me'. Ammons stuck with Eckstine until a last session in Los Angeles on October 6, 1946, 'My Silent Love' leading a list of four titles. He and Gordon recorded Eckstine's album, 'Together', in early '45 before going their separate ways, not to reunite until the seventies. Ammons led his first band to issue in Chicago on June 17, 1947, those titles: 'Concentration', 'Red Top' and 'Idaho'. His first album, 'Golden Saxophone', was released in 1952. Ammons spent nine years in prison between 1958 and 1969 on two narcotics convictions. Tom Lord's discography lists his last sessions per March of 1974 for his final album, 'Goodbye'. Ammons died in Chicago the following July of cancer.

Gene Ammons   1945

   Blowing The Blues Away

      With the Billy Eckstine Orchestra

   I Want To Talk About You

      Film with the Billy Eckstine Orchestra

   I Love The Rhythm In A Riff

      With the Billy Eckstine Orchestra

Gene Ammons   1946

   Oo Bop Sh'bam

      With the Billy Eckstine Orchestra

   Taps Miller/Call It Madness/2nd Balcony Jump

      Film with the Billy Eckstine Orchestra

Gene Ammons   1947

   E-A-A-K Blues

Gene Ammons   1950

   Bless You

      Recorded 1949

      Gene Ammons Sextet with Mary Graham

   Bye Bye

      With Sonny Stitt

   I Can't Give You Anything But Love

   When I Dream Of You

   You Can Depend On Me Take 1

      With Sonny Stitt

   You Can Depend On Me Take 2

      With Sonny Stitt

Gene Ammons   1953

   Big Slam

   My Foolish Heart

Gene Ammons   1960

   Blue Ammons

   Hittin' the Jug

   My Romance

   Canadian Sunset

Gene Ammons   1961


Gene Ammons   1970

   Jungle Strut

Gene Ammons   1972

   Lady Mama


Birth of Modern Jazz: Gene Ammons

Gene Ammons

Source: Robins Nest

  Born in 1926 in Dayton, Ohio, after college in North Carolina alto saxophonist Bud Shank moved to California where he had his first recording experience was with Ike Carpenter in April or June of '47. Those titles aren't thought to have been released until much later on CD, such as 'Moon Mist', 'Jeep's Blues', 'Day Dream', et al. In December of '47 he recorded the soundtrack for a 'Thrills of Music' short film with Charlie Barnet. It would also be with Barnet's orchestra that he first recorded for disc that December, such as 'Rockin' In Rhythm', 'Tulip Or Turnip', et al. After another short film with Barnet in the summer of 1948 ('Redskin Rhumba') Shank became involved in the West Coast jazz scene. He joined Stan Kenton's orchestra in 1950 early enough to record 'Salute' on January 30 in Los Angeles. That single title wasn't released until later on CD. With well above 600 sessions to his name, some 84 his own, Mr. Shank was an encyclopedia of jazz a bit intimidating to approach here. He would visit with Barnet again in 1969, with Kenton numerously as late as January 1979 to record 'Stan Kenton Presents Gabe Baltazar'. (Kenton would die the next August.) Among the more important figures in Shank's career was guitarist, Laurindo Almeida. Shank first worked with Almeida upon joining Kenton and they would record nigh continuously together for the next three decades until 1982, their last session that year in June in San Francisco for 'Executive Suite' per the band they co-led since 1974 called the L.A. Four. Another important figure in Shank's career was drummer, Shelly Manne. They together since Shank joined Kenton in 1950, they would work side by side for nigh another thirty years to 1978, again in the early eighties. Manne had been an original member of the L.A. Four per 1974, replaced in '77 by Jeff Hamilton. Another important figure in Shank's career was arranger/conductor, Pete Rugolo, with whom he'd also worked since joining Kenton. He would first sit in Rugalo's orchestra in NYC on May 26, 1950 to back vocalist, Johnny Parker. He stuck with Rugulo until 1961, last recording with him on November 9 in Los Angeles: 'Contrasts', 'Holiday for Strings', et al. They would reunite in the nineties. Another important partner was Shorty Rogers, having also first recorded with him upon joining Kenton. Rogers and Shank would work nigh shoulder to shoulder into the sixties with Kenton, other orchestras and as co-leaders. They would hold sessions in the eighties and nineties as well. Another long-time frequent partner was vocalist, June Christy. They had first recorded together with Kenton on February 3, 1950, in Hollywood, she singing 'Conflict'. They recorded a load of titles together as late as 1968 in Los Angeles: 'Rock Me to Sleep'. Yet another important frequent partner was double bassist, Howard Rumsey, especially in terms of West Coast jazz. Rumsey and Shank had first come together on November 19, 1952, for 'Rock That Beat' with Shorty Rogers as Boots Brown and His Blockbusters. They would collaborate in numerous sessions together to 1958, notably in association with the Lighthouse Club in Hermosa Beach, California. They would also hold sessions in '61 and '89. Another upright bassist Shank would see a lot of was Ray Brown, first recording with the latter on November 7, 1955, for 'Around the Horn with Maynard Ferguson. Most of their sessions were from '59 into the sixties, then the early eighties. Brown had been an original member of the L.A. Four per 1974. Among the host of others who sprinkled Shank's career were Ella Fitzgerald ('56, '58), Anita O'Day ('56, '59-60, '91), the Hi-Los ('58, '60), Sammy Davis Jr. ('58), Ravi Shankar ('61), Noel Pointer ('77) and Tom Collier ('90-91). Shank's first recordings as a leader had been with Shorty Rogers in their quintet on March 25, 1954, released in '55 on 'Bud Shank – Shorty Rogers'. 'Bud Shank and Three Trombones' followed in April, released in '54. He appeared on both volumes of Laurindo Almeida's 'Brazilliance' in '55 and '58. In 1974 he formed the L.A. Four with Almeida, Brown and Manne, which ensemble ran another eight years, replacing Manne with Jeff Hamilton in 1977. Lord's discography wants him last recording as a leader for 'Fascinating Rhythms' in Culver City, CA, in January 2009. A final session is listed per Jake Fryer's 'In Good Company' on April 1. Shank died of pulmonary embolism the next day on the 2nd of April 2009 in Tucson. He plays flute on several tracks below. Shank will also be found under Laurindo Almeida in Jazz Guitar.

Bud Shank   1947

   Jeep's Blues

      With Ike Carpenter

      Issue date unkown

Bud Shank   1948

   East Side, West Side

      With Charlie Barnet

      Vocal: Bunny Briggs

Bud Shank   1950

   Art Pepper

      With Stan Kenton

      First alto: Art Pepper

Bud Shank   1951

   Street of Dreams

      With Stan Kenton

Bud Shank   1953


      Drums: Shelly Manne

   Don't Take Your Love From Me

      With Stan Kenton

Bud Shank   1954


      Guitar: Laurindo Almeida

   Stairway to the Stars

      Guitar: Laurindo Almeida

Bud Shank   1956

   All This and Heaven Too

      Piano: Claude Williamson

   Bag of Blues

      Piano: Claude Williamson

   Blues For Delilah

     Oboe: Bob Cooper


      Piano: Claude Williamson

   How About You

      Album: 'Live at the Haig'

   I Heard You Cried Last Night

      Album: 'Live at the Haig'

   I Want to Be Happy

     Oboe: Bob Cooper

   In the Blue of the Evening

   Jimmy's Theme

      Trumpet: Chet Baker

   Moonlight in Vermont

      Album: 'Jazz at Cal-Tech'

   Nature Boy

      Piano: Claude Williamson

   Nocturne For Flute

      Piano: Claude Williamson

   Tequila Time

     Oboe: Bob Cooper


      Piano: Claude Williamson

   What'll I Do

      Oboe: Bob Cooper

Bud Shank   1957

   All the Things You Are

Bud Shank   1961

   Ala Moana

Bud Shank   1962


Bud Shank   1966

   California Dreaming


      Trumpet: Chet Baker

Bud Shank   1967

   Blue Jay Way

Bud Shank   1976

   Here's That Rainy Day


Birth of Modern Jazz: Bud Shank

Bud Shank

Source: Jazz Logical

Birth of Modern Jazz: Harry Arnold

Harry Arnold

Source: Discogs

Born in 1920 in Helsingborg, Sweden, Harry Arnold began his career as a saxophone player and vocalist, but would be better known as an orchestra leader. Arnold's was one of the most significant bands to arise in Sweden in the fifties. Prior to that Stockholm had in general lagged behind the U.S., the U.K. and the Continent in the production of jazz, due largely to remoteness and World War II. Since that time, however, some of the finest world-class musicians have been snow-bound Swedes, Scandinavian musicians in general breaking into jazz to great note in the sixties due musicians such as Arnold. Arnold began recording with his own orchestra in Stockholm in 1945 for the Sonora label (639): 'I'll Walk Alone' and 'Is You or Is You Ain't My Baby'. 1948 saw the issue of 'It's the Same Old Dream' and 'Tallahassee' for the Cupol label (4063). 1948 also saw 'Civilization' and 'Coffee Song' issued by Cupol (4066). 1949 found him in the band of Thore Ehrling for his first couple titles with that outfit: 'The Maharajah of Magador' (April) and 'I Wanna Be a Friend of Yours' (May). Arnold backed Ehrling frequently into 1951, including 'Candy Kisses' ('49) and 'Careless Hands' ('50). In addition to tenor sax and vocals Arnold also arranged for Ehrling. Arnold would, of course, back a number of preeminent Scandinavian musicians, among the first being Gosta Torner and Arne Domnérus at a concert in Hamburg in October 1949, 'Mandy' and 'Smiles' among those titles. He and Domnérus would be found together continually throughout Arnold's career, they last recording titles together in 1965 at Sveriges Radio. Also composing for film in the fifties, Arnold formed the first of his radio big bands in 1956, which he ran with great  success until the mid sixties. Spending his latter years arranging and leading other bands, he died, only age 51, in Stockholm in 1971. Per 1957 below, each track is from Arnolds's LP, 'Bailando'.

Harry Arnold   1948


   The Coffee Song

Harry Arnold   1950

   Mona Lisa

       With the Thore Ehrlings Orkester

Harry Arnold   1951


       Vocal: Åke Grönberg

Harry Arnold   1954

   Falleri og fallera

       Vocal: Birthe Buch

   Hånd i hånd med dig

       Vocal: Lili Bechman

   Når vi to blir eet

       Vocal: Birthe Buch

Harry Arnold   1957

   Blue Lou

   Esperando (Stand By)

   Ritmo Loco (Crazy Rhythm)



Birth of Modern Jazz: Teddy Edwards

Teddy Edwards

Source: Jazz Music Archives


Born in Jackson, Mississippi in 1924, tenor saxophonist Teddy Edwards began his jazz career with Doc Parmley and the Royal Mississippians at age 12. At age 16 he traveled to Detroit to live with an uncle. While there, he worked at the Band Box and the Norwood Hotel Congo Club, dropping out of high school to pursue music. He next played with Ernie Field's band in Tampa, Florida, before touring to Los Angeles where he secured a gig at the Alabam Club. Tom Lord's discography lists a recording date in L.A. possibly as early as '44 with Russell Jacquet: 'Penny's Worth of Boogie' and 'Look What You've Done to Me'. Edward's is also shown with Pearl Traylor on 'Lonesome Gal' in 1945, the year he joined Roy Milton's ensemble, then Howard McGhee's band at Billy Berg’s Cocktail Lounge. Sources have Edwards recording as early as spring of '45 with McGhee for Melodisc: 'Night Mist', 'Hoggin'', 'Sweet Potato' and 'Blues a la King'. In June of '45 Edwards joined Wynonie Harris on 'Around the Clock', Parts 1 & 2, released in July by the Philo label. That same month Edwards was with McGhee for AFRS (Armed Forces Radio Service) Jubilee radio broadcasts (238 and 239): 'Ornithology', 'Body and Soul' and 'The Man I Love'. A session with Slim Gaillard followed in September, as well as another of numerous sessions with McGhee's operation, one such yielding 'Deep Meditation' to get pressed with 'Blues in B Flat' by Hadda Brooks on back for Modern Music (111). Other tracks with McGhee that September were 'Mop Mop', 'Intersection', 'Stardust' and 'Lifestream'. McGhee's band was Edwards main vehicle until he issued his first titles as leader, recorded in July of '47 with 'Bird Legs' and 'Out of Nowhere' leading off. In 1949 Edwards became an original member of Howard Rumsey's Lighthouse All-Stars, until Rumsey began to attract better sax players to his venue. Several years later, however, in 1954 he would join Clifford Brown, Carl Perkins (piano, possibly) and Max Roach (drums) to record 'Pennies From Heaven' and 'Second Balcony Jump'. He would be part of the same outfit, now with George Bledsoe on bass, in July that year to record 'All God's Chillun' Got Rhythm' and ''Sunset Eyes'. Among the names with whom Edwards worked frequently with various bands was trumpeter/arranger, Gerald Wilson. Edwards first backed Wilson per the latter's album, 'Big Band Modern', in 1954. (That was issued in '59, containing tracks Wilson had recorded in 1950 as well.) Edwards' last tracks with Wilson were recorded in the summer of '66: 'The Breeze and I' and 'Man of La Mancha' among them. Edwards also frequently backed Jimmy Witherspoon, his initial occasion on May 8, 1958, issuing 'There's Good Rockin' Tonight', 'All That's Good', et al. Edwards laid tracks with Witherspoon as late as October of 1988 at the Biltmore Hotel in Los Angeles: 'You Got Me Running', 'S.K. Blues', et al. He first recorded with bassist, Joe Castro, with the Leroy Vinnegar Quartet (Billy Higgins on drums) per the 'Stars of Jazz' television broadcast on December 15, 1958: 'Love for Sale', 'Old Folks' and 'Walk On'. He would back Castro's own recordings into 1966. Edwards' initial session with Sarah Vaughan was on May 29, 1963, to record her LP, 'Sings Soulfully'. Several sessions would follow, including one as late as 1974 with the Jimmy Rowles Quintet: 'The Folks Who Live on the Hill', 'Morning Star', et al. In 1964 he worked with Benny Goodman at both Disneyland and the New York World's Fair. Milt Jackson was another big name to follow, that at Shelly Manne's Manne-Hole in Hollywood in August 1969: 'Frankie and Johnny', 'That's the Way It Is', etc., issued on Jackson's album, 'That's the Way It Is', that year. Edwards recorded with Jackson as late as 1976 in Tokyo. He recorded with Tom Waits in '81 and '91. In 2000 Edwards joined trumpeter, Oscar Brashear, in the recording of tracks for the album, 'The Legacy Lives On'. Edwards had begun composing orchestral music for large bands in 1976, one example of which is the album, 'Blue Saxophone', first released in 1992 on the Antilles label. Edward's first tour of Europe didn't arrive until 1978. Tom Lord's discography has him recording as late as January 1, 2002, in Paris with the Claude Tissendier Quintet: 'Sunset Eyes', 'Wheelin' and Dealin', et al. With a couple hundred sessions behind him, above thirty with his own bands, Edwards died of cancer on April 20 of 2003.

Teddy Edwards   1945

   Around the Clock

      With Wynonie Harris

   Lonesome Gal

      With Pearl Traylor

   Look What You've Done to Me

      With Russell Jacquet

   Penny's Worth of Blues

      With Russell Jacquet

Teddy Edwards   1946

   Up In Dodo's Room

      Trumpet: Howard McGhee

Teddy Edwards   1947

   Blues In Teddy's Flat

     Bass: Red Callender   Drums: Roy Porter

      Piano: Jimmy Rowles

   The Duel

      With Dexter Gordon

   Horning In

      With Dexter Gordon

Teddy Edwards   1964

   Together Again

      Trumpet: Howard McGhee

   Up There

      Trumpet: Howard McGhee

Teddy Edwards   1980

   April Love

     Bass: Jesper Lundgård   Drums: Billy Hart

      Piano: Kenny Drew

   Out of This World

     Bass: Jesper Lundgård   Drums: Billy Hart

      Piano: Kenny Drew

   Serenade In Blue

     Bass: Leroy Vinnegar   Drums: Billy Higgins

      Piano: Jack Wilson

Teddy Edwards   1991

   I'm Not Your Fool

      Album: ''Mississippi Lad'   Vocal: Tom Waits


  Born in Aldgate, England in 1927, tenor saxophonist, Ronnie Scott, began his professional career as a teenager playing clubs. He began working with Johnny Claes in 1944. We're cheating a bit to call his first release date 1945 as that was 'Mop Mop' per the film, 'George in Ivy Street'. That was the only track recorded by Claes' band in that film. (Claes' group synced other musical sequences recorded by Harry Bidgood and his Orchestra.) Scott's first session to issue was actually in April of 1946 with Kenny Baker: 'Song of the Volga Boatmen' and 'Eager Beaver', et al. That same month he began making broadcast recordings by Ted Heath and his Orchestra. Those weren't issued at the time, some not until years later. Scott was fired by Heath the same year he started. He'd only been playing about four years and couldn't handle Heath's need for a more mature musician. Later that December, however, Scott recorded a number of tracks with Jack Parnell and his Quartet. In June of 1947 he recorded 'Blue Moon' with George Shearing, one of numerous 'Melody Maker' titles. ('Melody Maker' was a trade newspaper for musicians which became the 'New Musical Express' in 2000.) Scott began recording as a leader with the Esquire Five in January of 1948, issuing 'Lady Be Good'/'What Is This Thing Called Love' and 'Boppin' at Esquire'/'Ida Bop' for Esquire Records. A release date of 1948 is assumed but not confirmed. Scott recorded several titles in April of 1949 with Alan Dean's Beboppers, those for Decca. They were recorded again in September for Esquire with 'Galaxy' added. Issue dates per 1949 are assumed but not confirmed. Scott's first LP arrived per 'The Couriers of Jazz!' ('58). Scott would become a major figure on the London jazz scene upon opening Ronnie Scott's Jazz Club in 1959, a venue that would become an institution in London, yet operating as of this writing for more than half a century. During the sixties Scott recorded a long string of albums with the Kenny Clarke/Francy Boland Big Band. Scott's renown as a sax player was largely via his nightclub, he issuing only several albums over the years. His last was a live recording at his club in 1990: 'Never Pat a Burning Dog'. It was an accidental overdose of barbiturates, prescribed by his dentist, that killed him in December of 1996. Several albums of previously recorded material were later released into the new millennium. Per 1947 below, Blue Moon was recorded with George Shearing at piano. No earlier release than 1999 is known, per the Shearing album, 'Jump for Joy'. Per 1951 through 1957 recording dates are used for unconfirmed release dates.

Ronnie Scott   1947

   Blue Moon

      Thought unissued until 1999

Ronnie Scott   1948

   Boppin' at Esquire

      The Esquire Five


      The Esquire Five

Ronnie Scott   1949


      Alan Dean's Beboppers

   Gone With the Windmill

      Alan Dean's Beboppers


      Alan Dean's Beboppers

Ronnie Scott   1951

   Brand's Essence

      Melody Maker All-Stars

   Chasin' the Bird

      Ronnie Scott Boptet

   Marshall's Plan

      Melody Maker All-Stars

   El Sino

      Ronnie Scott Boptet

Ronnie Scott   1957

   A Foggy Day

      Jazz Couriers with Tubby Hayes

Ronnie Scott   1958

   After Tea

      LP: 'The Couriers of Jazz!'

      Jazz Couriers with Tubby Hayes

   Star Eyes

      LP: 'The Couriers of Jazz!'

      Jazz Couriers with Tubby Hayes

Ronnie Scott   1964

   Night In Tunisia

      Filmed with Ben Webster

Ronnie Scott   1965

   Summer Love

      Filmed with Victor Feldman

Ronnie Scott   1987

   Cantaloupe Island


   Recorda Me



Birth of Modern Jazz: Ronnie Scott

Ronnie Scott

Photo: Freddy Warren

Source: Wikipedia

Born in 1925 in Savannah, Georgia, though Sahib Shihab was also a flautist he largely played alto sax. Shihab is thought to have laid his first tracks with Jay McShann and His Jazz Men in Los Angeles circa July of '45: 'McShann's Boogie Blues', 'Confessin' the Blues', etc.. A couple sessions followed with Roy Eldridge in '46, then Thelonious Monk with Art Blakey on drums in '47 for 'In Walked Bud', 'Monk's Mood', etc.. Shihab's next session would be for Blakey's 'New Sounds' on December 22. Monk, Blakey and Shihab would record again on July 3, 1951: ''Four In One', 'Criss Cross', etc.. Shihab would see Blakey again with Milt Jackson on January 7 of '57 for 'Plenty, Plenty Soul', 'Boogity Boogity', etc.. With at least 222 sessions to his name, Shihab supported too long a parade of name musicians to mark their passing here. Among the more significant during his early career were drummer, Kenny Clarke, and pianist, Tadd Dameron, both with whom he first laid tracks in Dameron's band on January 18, 1949: 'Sid's Delight' and 'Casbah'. Fats Navarro and Kai Winding were in on that. More sessions with Dameron ensued in '49, then in March of '56 for Dameron's 'Fontainebleau'. Shihab's association with Clarke was more substantial, continuing with Dameron a bit, then with the Mort Herbert Sextet in '56 ('Swiss Movement' et al), an engagement with vocalist, Gail Mitchell, in France in 1960 ('Frankie and Johnny', et al), then with pianist/arranger, Francy Boland, in Cologne, Germany, in '61 toward the release of 'Jazz Is Universal'. Sessions with the Clarke/Boland orchestra continued another nine years, after which Shihab would work with Boland again in '76 and '84, the latter date with Sarah Vaughan in Dusseldorf, Germany, toward the LP, 'The Planet Is Alive . . . Let It Live!'. Among the supernovas with whom Shihab recorded was Dizzy Gillespie, their first session a radio broadcast from the Birdland in NYC: ''The Bluest Blues' and 'On the Sunny Side of the Street'. They would record titles in '55, '56 and, finally, November 3 of 1970, supporting Carmen McRae on 'November Girl'. More substantial was his association with Quincy Jones, first working with Jones per Milt Jackson on January 7 of '57 per above, Jones the arranger of titles on that date. Shihab would find himself in Jones' orchestra in '59, recording such as 'The Hucklebuck' and 'The Preacher' in March. Numerous sessions were held with Jones into 1961, more in '75 and '76, Jones arranging for the Johnson Brothers' 'Look Out for No 1' on that last date. A comparable name arrived per trumpeter, Art Farmer, in the summer of '57, Farmer and Shihab first setting tracks together during an Oscar Pettiford radio broadcast from the Birdland: 'The Gentle Art of Love', 'Aw C'mon', etc.. Shihab and Farmer would find themselves teamed with various groups, especially those of Jones and Clarke, to 1972. In '81 Shihab backed Farmer's 'Manhattan'. Their last titles together were for Sarah Vaughan in Dusseldorf, Germany, per 'The Planet Is Alive . . . Let It Live!' on June 30 of '84. Among the countless highlights of his career was Phineas Newborn Jr.'s 'Plays Harold Arlen's Music From Jamaica' recorded in September of '57. Shihab's first session as a leader resulted in 'Hum-Bug' and 'Southern Exposure' on May 17, 1956. Those would be released on a various artists LP titled 'After Hours Jazz' in 1958. 'Jazz We Heard Last Summer' was his first album release in 1957. In 1960 he toured Europe with Jones, a couple sessions with Nat King Cole on that trip. Another tour with Jones would find Shihab settling in Scandinavia, teaching at the Copenhagen Polytechnic and writing scores for screen and theatre. He returned to the States in 1973 to work as a session player, thereafter commuting between Europe and the States in pursuit of his career. Shihab died in Nashville on October 24, 1989, at the relatively young age of sixty-four. His last session had been with the same with whom he'd started his recording career 44 years earlier, Jay McShann, live at La Villette in Paris on June 13, 1989, for 'Paris All-Star Blues'.

Sahib Shihab   1945

   McShann's Boogie Blues

      With Jay McShann

Sahib Shihab   1947

   Monk's Mood

      Piano: Thelonious Monk

   'Round Midnight/Off Minor

      Piano: Thelonious Monk

Sahib Shihab   1949


      Piano: Tad Dameron   Trumpet: Miles Davis

   Webb's Delight

      Piano: Tad Dameron   Trumpet: Miles Davis

Sahib Shihab   1951

   Four In One

      Piano: Thelonious Monk

Sahib Shihab   1956


      Album: 'Fontainbleau'

      Composition: Tadd Dameron

      Piano: Tadd Dameron

   The Scene Is Clean

      Album: 'Fontainbleau'

      Composition: Tadd Dameron

      Piano: Tadd Dameron

Sahib Shihab   1957

   Cocoanut Suite

      Piano: Phineas Newborn

Sahib Shihab   1963


   Please Don't Leave Me

Sahib Shihab   1968


      Album: 'Seeds'

   Ray's Idea

      With Dizzy Gillespie and Cecil Payne

Sahib Shihab   1970

   Calypso Blues

      Album: 'Companionship'

Sahib Shihab   1971

   Om Mani Padme Hum

   Rue de la Harpe


Birth of Modern Jazz: Sahib Shihab

Sahib Shihab

Source: Savage Music

Birth of Modern Jazz: Sonny Criss

Sonny Criss

Source: This Day in Jazz History

Born William Criss in 1927 in Memphis, hard bopper Sonny Criss, an alto saxophonist, traveled to California at age fifteen where he began playing in various bands, including those of Stan Kenton and Johnny Otis. He is thought to have first recorded for the Melodisc label with trumpeter Howard McGhee in spring of 1946 on the tunes 'Sweet Potato', 'Hoggin'', 'Blues a la King' and 'Night Mist'. Sticking with McGhee into 1947, he meanwhile also recorded tracks with Billy Eckstine and Wardell Gray. He owned the mettle by 1949 to join a couple sets for Jazz at the Philharmonic per arranger and impresario, Norman Granz, at Carnegie Hall on February 11: 'Indiana', 'Perdido', et al. Criss is among the most underestimated of jazz musicians, his talents far exceeding his fame, as evidenced on recordings with pianists Sonny Clark and Wynton Kelly in the fifties. Criss remained as active in the sixties, but in 1977 he began to suffer stomach cancer, a condition so miserable that he committed suicide by gun in Los Angeles in November that year. All tracks below for year 1947 are Criss with trumpeter Howard McGhee.

Sonny Criss   1947


   Groovin' High

   Hot House

   The Man I Love


Sonny Criss   1956

   Blue Friday

   How High the Moon

   I Love You

Sonny Criss   1963

   God Bless the Child

Sonny Criss   1965

   Saturday Morning

   What's New

Sonny Criss   1966

   When Sunny Gets Blue

Sonny Criss   1967

   A Million Or More Times

   On a Clear Day

   Paris Blues

   Up, Up And Away

Sonny Criss   1968

   Ballad For Samuel

   Georgia Rose

   The Golden Pearl

   Once In a While

   Sandy and Niles

Sonny Criss   1969

   Cry Me a River

   Don't Rain On My Parade

   I'll Catch the Sun

Sonny Criss   1975

   All the Things You Are

   Angel Eyes

   The Isle Of Celia

Sonny Criss   1977

   Cool Struttin'



Birth of Modern Jazz: Johnny Griffin

Johnny Griffin

Source: Rate Your Music


Born in 1928 in Chicago, bebop saxophonist Johnny Griffin played music with T-Bone Walker in high school. Only three days after graduating he joined Lionel Hampton's band, first recording with Hampton in December of 1945 in Los Angeles ('Slide, Hamp, Slide' and 'Hey-Ba-Ba-Re-Bop'. Griffin recorded his first titles as a leader about April of '1953: 'Flyin' Home', 'Chicago Riffin'', ''Till We Meet Again' and 'For Dancers Only'. The album, 'Johnny Griffin' (also 'JG') was recorded in Chicago as well, issued in 1958. 'Introducing Johnny Griffin' was recorded in April of '56 at the Blue Note studio in Hackensack, New Jersey, and issued that year. Griffin recorded with Art Blakey's Jazz Messengers in 1957-58, later in 1985. He laid tracks with Thelonious Monk during the same years of 1957-58, later in '67. In 1984 he contributed to Carla Bley's rendition of 'Misterioso' to be found on the album by various artists, 'That's the Way I Feel Now - A Tribute to Thelonious Monk'. 1958 also found Griffin in a couple sessions with Nat Adderley, the first for Adderley's album, 'Branching Out', the next that same month with the Philly Joe Jones Sextet for the latter's album, 'Blues for Dracula'. July of 1962 found Griffin contributing to Wes Montgomery's 'Full House' in Berkeley, CA, at the Tsubo Club. Griffin would record more tracks with Montgomery in Europe in 1965. Among other stellar talents were sessions with Dizzy Gillespie in '71 ('Summertime'), '73 (in Paris) and '75 (pianist, Boy Edgar's, 'Music Was His Mistress'). Of 249 sessions Lord's discography wants Griffin on 79 as a leader. Among his most important band members was drummer, Kenny Clarke, who performed with Griffin's ensembles from 1964 ('Night Lady') to 1970 ('Tough Tenors Again 'N' Again' with Sweets Edison). Clarke would record with Griffin again in Paris with Gillespie in 1973. (Gillespie issued both 'The Giant' and 'The Source' from that session.) Griffin had migrated to France in 1963, then the Netherlands in 1978. His last recordings were in London in latter May of 2008, 'Live at Ronnie Scott's', issued posthumously. He gave his last concert performance in July of 2008 in Hyères, France, dying of heart attack four days later on the 25th in Mauprévoir.

Johnny Griffin   1946

   Hey Ba-Ba-Re-Bop

       With Lionel Hampton

Johnny Griffin   1956

   The Boy Next Door

       Bass: Curley Russell

       Drums: Max Roach

       Piano: Wynton Kelly


        Bass: Curley Russell

       Drums: Max Roach

        Piano: Wynton Kelly

   It's All Right With Me

        Composition: Cole Porter

       Piano: Wynton Kelly

        Bass: Curley Russell

       Drums: Max Roach

   Lover Man

        Bass: Curley Russell

       Drums: Max Roach

        Piano: Wynton Kelly

   Mil Dew

        Piano: Wynton Kelly

        Bass: Curley Russell

       Drums: Max Roach

   The Way You Look Tonight

        Piano: Wynton Kelly

        Bass: Curley Russell

       Drums: Max Roach

Johnny Griffin   1957

   Smoke Stack

Johnny Griffin   1964

   Night In Tunisia

      Filmed live in the Netherlands

Johnny Griffin   1976

   Blues Up and Down

      With Dexter Gordon

   Cheese Cake

      With Dexter Gordon

Johnny Griffin   1980

   Autumn Leaves

       Piano: Ronnie Matthews

       Bass: Ray Drummond

       Drums: Kenny Washington

Johnny Griffin   1986

   Well You Needn't

       Composition: Thelonious Monk

       With Freddie Hubbard



Born in 1923 in Bronx, Lenny Hambro (aka "Latin from Manhattan"), alto sax, auditioned with Gene Krupa at age eighteen, then found himself on stage with the same at age nineteen, the same year he volunteered into the army in the Allied cause (1942). His tour ended in 1945, after which he played with Krupa again, as well as trumpeter, Bobby Butterfield, and trombonist, Bobby Byrne. Hambro's initial three sessions were with Butterfield in 1946, the first in April yielding 'More Than You Know', 'Whatta Ya Gonna Do' and 'Billy the Kid'. He began putting down tracks with Krupa late the next year, recording numerously with Krupa well into 1952. He had appeared in the short film, 'Deep Purple', with Krupa and Frank Rosolino in 1949. Hambro had early played with several Latin bands, including that of Chico O'Farrill whom he first backed on tracks on January 21, 1951, that toward the release of 'The Second Afro Cuban Jazz Suite'. More sessions with O'Farrill followed into 1952, 1967 and 1995 (the last to be Hambro's final recordings in February for O'Farrill's LP, 'Pure Emotion'). Hambro also backed Machito in 1951-52, as well as 1977 for Machito's 'Fireworks'. Among Hambro's more important early associates was Ray McKinley, they first recording together in the Sauter-Finegan Orchestra in NYC on July 14, 1952: 'Moonlight on the Ganges' and 'Camptown Races'. His first session with McKinley's band was August 27, 1954, yielding 'Flaggin' the Train', 'The Natives Are Restless', 'Arizay' and 'You Came a Long Way'. His first of 18 sessions for McKinley with the latter directing the New Glenn Miller Orchestra was a radio broadcast from Lennox, MA, on August 26, 1956, bearing 'In the Mood', 'Little Brown Jug', et al. Their last such occasion was February 6, 1962, recording 'I'll Be Seeing You' with three others. Hambro would back McKinley again in 1966 for the latter's LP, 'Ray McKinley's Greatest Hits'. Hambro didn't issue a lot as a leader. His first session as such was with vocalist, Babs Gonzales, on September 22, 1953: 'Sad Eyes' and 'Ham Nose' with the instrumentals, 'Try a Little Tenderness' and 'Makin' Whoopee'. Those would be found on the album, 'Mambo Hambro' in '54. On June 20, 1955, he recorded 'Message from Hambro' with the Lenny Hambro Quintet. The album, 'The Nature of Things saw session on May 9, 1956. Tom Lord's discography has his last of only eight name sessions on December 17, 1956, recording such as 'Sweet Sue, Just You' and 'Love Letters' with Eddie Costa (piano) Barry Galbraith (guitar) Arnold Fishkin (bass) and Gus Johnson (drums). Hambro became a booking agent in 1964. In 1967 he went to work for Don Elliott Productions, producing cartoons, commercials, documentaries and films. The next year he and violinist, Emanuel Vardi, established their own business doing the same. All the while Hambro played clubs in New York City, Philadelphia, and Miami. In 1975 he worked on Broadway both as a pit musician and musical director. He started working as an entertainment director in 1980 for casinos in Atlantic City. Continuing to perform in Philadelphia jazz clubs, in his later years Hambro became involved with playing for charitable organizations such as March of Dimes, the Association for Retarded Citizens and the Brevard County Food Bank in Florida. As noted above, Hambro made his last recordings in February 1995, with a gap of sixteen years before his prior with Bobby Hutcherson in 1979 ('Conception: The Gift of Love'). Hambro died in September 1995 of blood clot following open heart surgery. Hambro's preferred alto sax was the Martin Magna.

Lenny Hambro   1948

   Leave Us Leap

      With Gene Krupa

Lenny Hambro   1949

   After You've Gone

   Lemon Drop

   Let Me Off Uptown

   Pennies From Heaven

Lenny Hambro   1955

   Moonlight Becomes You

Lenny Hambro   1956

   I Love You Much Too Much

   Love Letters/My Foolish Heart

Lenny Hambro   1995

   Pura Emocion

      Album: 'Pure Emotion'

     With Chico O'Farrill


Birth of Modern Jazz: Lenny Hambro

Lenny Hambro

Source: Discogs

Birth of Modern Jazz: James Moody

James Moody

Source: Quriky New York Chic


Born in 1925 in San Diego, James Moody began bopping with Dizzy Gillespie in 1946 upon discharge from the Army. Though largely a tenor and alto saxophonist, Moody also played flute. He is thought to have first recorded on June 18 of 1946 with Dizzy Gillespie, a live performance at the Spotlite Club in Washington D.C.: 'Things to Come, 'Second Balcony Jump', et al. Those would eventually be included on a 2008 CD titled 'Showtime at the Spotlite'. Moody's last of numerous sessions during his first period with Gillespie was a radio broadcast from the Royal Roost in NYC with Dinah Washington: 'Am I Asking Too Much?' and 'It's Too Soon to Know', et al. He had meanwhile joined sessions with Ray Brown, Howard McGhee and Charlie Parker, also recording his first tracks as a leader on October 19, 1948: 'The Fuller Bop Man', 'Workshop', 'Oh Henry' and 'Moodamorphosis'. His next session on the 25th employed drummer, Art Blakey, on 'Tropicana', 'Cu-ba', 'Moody's All Frantic' and 'Tin Tin Deo'. Both those sessions saw issue by Blue Note and would also witness release on a CD titled 'New Sounds' in 1991 (also containing 5 tracks by Art Blakey's Jazz Messengers). That same year he left for Europe, his first of numerous sessions there in Lausanne, Switzerland, on April 30, 1949, putting down such as 'Monday Blues' and 'Buzzy'. Also recording in Stockholm, Sweden, Moody's last session on that tour was in Paris on July 27, 1951: 'More Than You Know', 'Deep Purple', et al. Returning to the States in 1952 he signed up with Mercury Records, then Prestige in '54. His first recordings in NYC upon returning to the States were in October 1951, to be issued by EmArcy in '54 as 'The Moody Story'. With something like 270 sessions to his name, a considerable number were with Gillespie. Moody's second period with Gillespie spanned twelve years from 1960 to '72, his third from '80 into '81, his fourth from '89 into '90. Their last tracks together were recorded in Belgrade, Yugoslavia, with Gillespie's United Nations Orchestra in October, 1990, resulting in Gillespie's 'Strangers in Paradise'. Among the highlights of Moody's midcareer were opportunities to collaborate with bassist, Charles Mingus, in '71 and '72, resulting in the Mingus LPs: 'Let My Children Hear Music' and 'Charles Mingus and Friends in Concert'. Highlights in his latter career included sessions with Dianne Reeves and the 'Eastwood After Hours' concert at Carnegie Hall (honoring actor, Clint Eastwood), both in 1996. In May of 2000 Moody contributed tracks to 'The Legacy Lives On' with trumpeter, Oscar Brashear. Moody's final recordings were in 2009 with Cheryl Bentyne per 'The Cole Porter Songbook' and Meeco per 'Perfume e Caricias'. He died in 2010 of pancreatic cancer in San Diego.

James Moody   1947

   Our Delight

     With Dizzy Gillespie

James Moody   1947

   Jivin' in Be-Bop


James Moody   1948

   Tin Tin Deo


James Moody   1949

   Moody's Mood

James Moody   1956

   Hmm Mmm

      Live performance with Dizzy Gillespie

James Moody   1973


      Album: 'Feelin' It Together'



Birth of Modern Jazz: Gerry Mulligan

Gerry Mulligan

Photo: Bill Wagg/Redferns

Source: Jazz Wax

Born in 1927 in Queens, arranger and composer Gerry Mulligan was multi-instrumental though played largely baritone sax. Mulligan dropped out of high school to join a touring band. He quickly found work arranging for bandleader Tommy Tucker. At about age 19 he went to New York City and secured a position on Gene Krupa's arranging staff. He appears uncredited with Krupa in the 1946 RKO short, 'Follow That Music'. Shortly thereafter he began arranging for Claude Thornhill. Mulligan first recorded with the Elliot Lawrence Orchestra on June 21, 1945 per a radio broadcast from the Time Town Ballroom in Louisville, Missouri, leading off with 'Lawrence Leaps' and 'The Song Is You'. Those wouldn't see issue until 1975 per Big Band Archives (LP 1219) on a Lawrence compilation titled 'Sugar Beat.' Mulligan would see more of Lawrence into 1950 and later in 1955-56. His first session with Krupa on January 18, 1946, was also a radio broadcast, that from the Hollywood Palladium netting such as 'Begin the Beguine', arranged by Mulligan. Those wouldn't see issue until much later on a Krupa CD titled '1946 Live!'. It would appear that Mulligan first saw vinyl with Krupa for Columbia per a session on February 4 the same year: 'We Gather Lilacs', 'Gimme a Little Kiss', 'Tomorrow Is Forever' and 'Loop-de-loo'. Mulligan laid numerous tracks with Krupa into 1948. They would reunite for a few sessions in '58, then record Mulligan's 'Americans in Sweden' per a JATP concert in Stockholm in 1959. With well beyond 400 sessions to his name, some 145 of them his own, Mulligan's career was as prolific as major to jazz. One early illustration of such was joining trumpeter, Miles Davis, on sessions from 1948 into 1950. Their first was a broadcast on September 4 of '48 from the Royal Roost in NYC: 'Move' and 'Hallucinations', et al. Tracks from that session would be selected for the 1957 album, 'Birth of the Cool', often cited as the origin of West Coast jazz due Mulligan's involvement, albeit developed on the East Coast. Other tracks would be taken from a session on January 21, 1949, in NYC. Mulligan also backed Davis at the Newport Jazz Festival on July 17, 1955: 'Hackensack', ''Round Midnight' and 'Now's the Time'. Between sessions with Davis in New York City Mulligan also recorded his first with tenor saxophonist, Georgie Auld's, orchestra in Los Angeles on July 17, 1949: 'You've Got Me Jumpin'', and 'Darn That Dream', et al. Further sessions with Auld followed in both California and NYC into 1950. They would perform together again at the Newport Jazz Festival on July 5, 1958, backing Pete Johnson. Mulligan released his debut album, 'Mulligan Plays Mulligan', in 1951 in New York City. In 1952 he began arranging and composing for Stan Kenton with whom he recorded numerously while on tour. That would deposit him in California (he to become known as a, if not the, major originator of what is called West Coast jazz) where he continued with Kenton while recording three albums, only to follow Kenton back to the East Coast on tour again in 1953. Kenton was Mulligan's major engine into 1959, he last recording with Kenton's orchestra at a concert at March Field Air Force Base in California on December 13, 1959: 'Street of Dreams', 'I'm Glad There Is You', et al, released much later on CD. Trumpeter, Chet Baker, had first recorded with Mulligan's group in 1952: 'Haig and Haig'. Baker supported Mulligan numerously into 1957, he last joining him with Annie Ross in December to record such as 'This Time the Dream's On Me', 'Let There Be Love', et al. They would hold a reunion at Carnegie Hall in 1974. Another continuous member of Mulligan's operation was trombonist, Bob Brookmeyer, his first recorded performance with him per a tour to Europe in 1954. Brookmeyer hung with Mulligan into '57, later from 1960-64, as well as the early seventies, early eighties and as late as 1995. That was with the Canadian Brass: 'The Lady Is a Tramp'. The most significant figure during Mulligan's midcareer was likely pianist, Dave Brubeck, they first recording together at a Newport Jazz Festival in July of 1955: 'Tea for Two'. Later numerous sessions spanned from 1968 to as late as 1995 in Berlin: 'Brother Blues', 'Dragonfly', et al. Among other highlights during Mulligan's earlier career was pianist, André Previn, they working together on the soundtrack to 'The Subterraneans' in the summer of 1959. They later recorded a few tracks in Los Angeles. Among the highlights of Mulligan's mid career were dates with bassist, Charles Mingus. The first on February 4, 1972, at Philharmonic Hall in NYC wrought Mingus' album, 'Charles Mingus and Friends in Concert'. The second on November 6, 1977, in NYC resulted in 'Lionel Hampton Presents: The Music Of Charles Mingus'. Four years later Mulligan toured to Japan per the Aurex Jazz Festival (held at various locations). During the eighties Mulligan more concentrated on orchestral works. In 1992 he released the album, 'Re-Birth of the Cool'. Mulligan's last three sessions were in 1995, resulting in 'Dragonfly' and 'Gerry Mulligan Quartet & Special Guests' issued that year. The second session was issued in 2003 as 'Midas Touch Live In Berlin'. Mulligan gave his final performance at the 13th Annual Floating Jazz Festival on the SS 'Norway' in November 1995. He died in January 1996 in Darien, Connecticut, of complications upon knee surgery. Mulligan plays piano on 'Storyville Story' below. A large portion of the tracks below are live performances.

Gerry Mulligan   1948


      Trumpet: Miles Davis


      Trumpet: Miles Davis

Gerry Mulligan   1951

   Mulligan's Too

      Album: 'Mulligan Plays Mulligan'

Gerry Mulligan   1952

   Bernie's Tune

   Walking Shoes

Gerry Mulligan   1953

   Love Me Or Leave Me

   Moonlight In Vermont

Gerry Mulligan   1956

   Davenport Blues

   Storyville Story

   Western Reunion

Gerry Mulligan   1957

   The Birth of the Blues

   Blues In Time

      Alto sax: Paul Desmond

   When Your Lover Has Gone

      With Chet Baker

Gerry Mulligan   1958

   As Catch Can


      Newport Jazz Festival   Trumpet: Art Farmer

Gerry Mulligan   1959

   Blue at the Roots

      Live in Stockholm

   Live In Rome

      Filmed concert with the Art Farmer Quartet

   Lullaby of the Leaves

      Live in Stockholm

   My Funny Valentine


   Utter Chaos

      Album: 'What Is There to Say'

Gerry Mulligan   1962

   All The Things You Are

      Alto sax: Paul Desmond

   Subterranean Blues

      Live in Paris

Gerry Mulligan   1963

   Night Lights

      Bass: Bill Crow

Gerry Mulligan   1965

   Feelin' Good

   The Shadow of Your Smile

Gerry Mulligan   1966

   Spring Is Sprung

Gerry Mulligan   1972

   Rotterdam Blues

      Live in Rotterdam

      Piano: Dave Brubeck

      Alto sax: Paul Desmond

Gerry Mulligan   1976

   North Atlantic Run

Gerry Mulligan   1981

   Groovin' High

      Bass: George Duvivier

   North Atlantic Run

Gerry Mulligan   1987

   Satin Doll

Gerry Mulligan   1995




Born in 1922 in Brooklyn, Cecil Payne, baritone and alto sax, began his professional career with trombonist Jay Jay Johnson in 1946, first recording to issue on alto sax that year as well in NYC on June 26: 'Jay Bird', 'Coppin' the Bop', 'Jay Jay', 'Mad Bebop'. He filled out '46 playing baritone with Roy Eldridge ('Lover Come Back to Me' et al) and two sessions with Billy Eckstine ('Jelly, Jelly', 'My Silent Love', et al). While with Eldridge he recorded with Sahib Shihab, the latter on alto. He would brush shoulders with Shihab multiple times during his career in '49, 1956-57, '60 and '68, the latter year with Dizzy Gillespie in Europe. Payne was more a freelance studio musician than inveterate member of any band. As well, his sixty year career has him on a couple hundred sessions, but only 20 of those his own. After backing Milton Buggs and Billy Stewart in early '47 he upgraded his resume with Dizzy Gillespie at the Downbeat Club in NYC in July: 'I Waited for You' et al. Sessions followed with Gillespie that year, but not again until 1968 with Shihab in Europe. While recording with Gillespie at Carnegie Hall on September 29, 1947, he played alongside pianist, Tadd Dameron, for the first time: 'Cool Breeze', 'Nearness', etc.. He would later back Dameron in the latter's bands in '49, '56 and 1961-62. Payne's first session as a leader was June 21, 1949, resulting in 'Egg Head', 'No Chops', 'Big Joe', and 'Happy Dippy'. His next session on November 25 netted 'The Worst Is Yet to Come', 'Angel Child' (vocal by Henry Johnson), 'Block Buster Boogie' and 'Ham Hocks'. He would issue his debut album, 'Cecil Payne Quartet and Quintet', in 1956 per Signal (released again in '59 as 'Patterns of Jazz'). Among his sessions in the early fifties came Illinois Jacquet in 1952 per 'Boot 'Em Up', 'Bluesitis' and 'Swingin' Home'. Payne would record with Jacquet again in '53, '62 and '69. Also in the early fifties came drummer, Philly Joe Jones. Their initial recordings together were for Kai Winding radio broadcasts from the Birdland in NYC in May of '53: 'Sweet Miss' et al. Payne would see more of Jones in 1961 and 1982-83. During the mid fifties came pianist, Randy Weston, in 1956 for the albums 'With These Hands', 'Jazz a la Bohemia' and 'The Modern Art of Jazz'. Future sessions with Weston occurred in 1960 and '66. Payne sat in on some Latin beat with Machito's outfit from '63 to '66 but doesn't seem to have recorded with him. Latter '66 found him recording the album, 'Brookfield Andante', with his quartet. After Machito Payne joined Woody Herman's ensemble at the Monterey Jazz Festival in September of '67, resulting in the album, 'Concerto for Herd'. In December of '68 Payne put down the album, 'Zodiac', with his quintet, that not issued until 1973. Payne opened the seventies with Count Basie in January and would tour with him into 1971. Payne worked with the New York Jazz Repertory Orchestra in 1974. Tom Lord's discography shows Payne's last session as a leader in August 2000 per his album, 'Chic Boom: Live at the Jazz Showcase'. His last session would appear to have been in 2005 for the first of two volumes of 'Bebop Process Excellence'. Payne died on November 27 of 2007.

Cecil Payne   1946

   Hey Jay Jay

      Piano: Bud Powell

Cecil Payne   1956

   Bringing Up Father

      From debut album reissued as 'Patterns of Jazz'

   How Deep Is the Ocean

   Man of Moods

      From debut album reissued as 'Patterns of Jazz'

Cecil Payne   1968

   Ray's Idea

      With Sahib Shihab

Cecil Payne   1973

   Girl You Got a Home

      Recorded December 1968

      Album: 'Zodiac'

Cecil Payne   2001

   Chic Boom

      Album: 'Chic Boom'


Birth of Modern Jazz: Cecil Payne

Cecil Payne

Source: The Telegraph


Born in 1922 in Kansas City, Missouri, flautist and saxophonist Frank Wess began playing professionally with big bands at age nineteen, upon moving to Washington D.C.. He played in a military band while in the service during World War II, then joined Billy Eckstine's orchestra in New York City. He is thought to have first appeared on record in 1946 per Eckstine, such as 'Second Balcony Jump' and 'I Cried For You' (the last with vocallist, Ann Baker) for the film 'Rhythm in a Riff'. Wess didn't know he was going hog so much space on the internet when he began his recording career of some 610 sessions. It's been left to us to compromise that wealth of information with but several highlights, a paucity in comparison to his whole career. After Eckstine Wess sat in with such as Lucky Millinder and Bull Moose Jackson until hooking up with the Count Basie Orchestra in 1953 in time to appear on that year's 'Plymouth Rock', 'Blues Go Away' and 'One O'Clock Jump'. A next session in December 1953, resulted in: 'Softly, With Feeling', 'Base Goes Wess', 'Peace Pipe', 'The Blues Done Come Back' 'Cherry Point' and 'Right On'. Wess participated on countless titles with Basie to 1966, their last recorded performance together at the Newport Jazz Festival on July 4 of '66 with vocalists, Bill Henderson and Jimmy Rushing. Instrumentals were such as 'Jumpin' at the Woodside' and 'Cherry Point'. Among Wess' most important partners over the years was trumpeter, Joe Newman. They'd first put down tracks together in 1951 for 'My Name Is Ruth Price ... I Sing'. Wess first backed Newman in 1954 per the latter's 'Joe Newman and His Band' issued in 1957. Newman backed Wess on the latter's 'Dear Mr. Basie' in '89, and 'Entre Nous' in 1990. Newman and Wess shared numberless sessions, both with Basie and otherwise, for nigh thirty years to as late as 1998, they supporting Jimmy McGriff on 'Straight Up' that year. Another important trumpeter was Thad Jones, who had joined Basie in '54. Wess first supported Jones on 'The Fabulous Thad Jones' for Debut Records on August 11, 1954: 'Bitty Ditty', 'Chazzanova', 'Elusive', 'Sombre Intrusion' and 'You Don't Know What Love Is'. Jones backed Wess on the latter's 'Opus De Blues' in '59 and 'Yo Ho! Poor You, Little Me' in '63. They would record numerously together, both with Basie and otherwise, for twelve years into 1966, supporting Eddie Lockjaw Davis on 'The Fox and the Hounds' that year. Yet another important trumpeter was Clark Terry, though less in terms of Basie (once in 1960: 'Easin' It'), more in support of various bands. Terry and Wess first put down titles together with Tony Scott in NYC on December 11, 1956: 'Moonlight Cocktail', 'I Surrender Dear', etc.. Wess first backed Terry's band in 1970 for 'Big Bad Band' recorded at Carnegie Hall. Their last of numerous sessions for nearly thirty years was in Chicago in 1994 for Terry's 'Big Band Basie'. Among the more important pianists with whom Wess often worked was Hank Jones. Jones and Wess had laid their first tracks together per Thad Jones' 'The Fabulous Thad Jones' in 1954. Jones supported Wess on 'Opus De Blues' in '59. They would be teamed together on numerous sessions for more than half a century. 2003 saw the issue of 'Hank and Frank', 2009 of 'Hank and Frank II'. Their last session together was in 2009 per 'Swinging, Singing, Playing' with the Count Basie ghost orchestra. Highlighting Wess' career in the fifties was Wess' first recordings as a leader in 1954, issued that year on the album, 'The Frank Wess Quintet'. He also laid tracks like 'Danny's Delight' with his sextet in '54. Wess also recorded with both Billie Holiday and Sarah Vaughan at Carnegie Hall on September 25, 1954. He would see more of Vaughan into the sixties and in '79 for a few sessions. Wess released his album, 'Jazz For Playboys', in 1956. Another big name vocalist was Dinah Washington, holding five dates with her from '57 to '62. Highlighting the sixties was opportunity to record with Duke Ellington in 1961, one result of which was Basie's and Ellington's 'First Time! The Count Meets the Duke'. Highlighting the seventies were tracks with vocalist, Little Jimmy Scott in 1972: 'Why Not Me', 'For Once In My Life', etc.. Highlighting the eighties was the soundtrack for 'The Cotton Club'. He would work with tuba player, Bob Stewart, on those tracks, later supporting Stewart on 'Welcome to the Club' ('89) and 'For Your Ears Only' ('95). 1984 also witnessed Wess' first session with pianist, Toshiko Akiyoshi, for her 'Ten Gallon Shuffle'. He would perform with her again in '86 on 'Wishing Peace' and at Carnegie Hall in '91. Wess was named an NEA Jazz Master by the National Endowment for the Arts in 2007. His final recordings were four albums in 2011. Three were his own: 'Menage a Bleu', 'Magic 101', and 'Magic 201'. His second to last was 'Coexist' by Winard Harper and Jeli Posse. Wess died of heart attack related to kidney failure in 2013. He plays both flute and sax in the samples below. A number of the tracks for year 1954 can be found on the CD, 'Wess Point', released in 2007.

Frank Wess   1946

   Our Delight

      Film with Billy Eckstine

Frank Wess   1954

   Cherry Point

   Softly, With Feeling


      Trumpet: Thad Jones

   Flute Song


Frank Wess   1956

   Jazz For Playboys

Frank Wess   1957

   Ballad Medley

      Piano: Tommy Flanagan   Trumpet: Thad Jones

   Baubles, Bangles and Beads

      Guitar: Kenny Burrell

   Bird Song

   Monday Stroll

Frank Wess   1958

   Alone Together

      Harp: Dorothy Ashby

Frank Wess   1960


      Live with Count Basie

   Rainy Afternoon

   Star Eyes

Frank Wess   1983

   Blues For David

      Album with Johnny Coles: 'Two At The Top'

Frank Wess   1992

   Forget the Woman

Frank Wess   2004


      Live performance

Frank Wess   2006

   Lush Life

      Live performance

Frank Wess   2009

   Blues Up and Down

      Live performance

Frank Wess   2011

   It Could Happen to You

      Album: 'Magic 201'


Birth of Modern Jazz: Frank Wess

Frank Wess

Photo: Nancy Miller Elliott

Source: Yale School of Music


Born in Brooklyn in 1926, alto saxophonist Ernie Henry made his recording debut in NYC in August 1947 with vocalist Kenny Hagood for Savoy records: 'Goodbye to Love', 'Baby, I'm Coming Home, 'The Way You Look Tonight', and 'Foolish Me'. That same year found him working with pianist, Tadd Dameron, at the Onyx Club in Manhattan, also recording with Dameron for the first time (with Hagwood) for V-Disc shortly after Hagwood: 'I Think I'll Go Away' and 'Don't Mention Love to Me'. Later sessions with Dameron for Blue Note and Savoy that year included trumpeter, Fats Navarro. Henry began recording en force with Dizzy Gillespie on July 19, 1948, at the Civic Auditorium in Pasadena, CA: 'Emanon', 'Good Bair', et al. His last of session of that period with Gillespie was in Los Angeles on August 31, 1949: 'Rhum Bop Concert', 'Soulphony in Three Parts', et al. Henry saw more of Fats Navarro in a session on October 10 with trumpeter Howard McGhee, recording such as 'The Skunk' and 'Boperation' with their Boptet. He worked largely as a session musician in the early fifties. Henry released his first album, 'Presenting Ernie Henry', in 1956, with drummer Arthur Taylor, bassist Wilbur Ware, pianist Kenny Drew and trumpeter Kenny Dorham. He began working with Gillespie again that year as well. His final session with Gillespie was in NYC on July 8, 1957: 'I Remember Clifford', 'You'll Be Sorry' and 'Wonder Why'. Also of note in 1957 were Henry's albums, 'Last Chorus', '2 Horns / 2 Rhythm' and 'Seven Standards and a Blues', the latter recorded with drummer Philly Joe Jones, bassist Wilbur Ware and pianist Wynton Kelly. Sadly, Henry died in his prime at age thirty-one in December that year of a heroin overdose (according to pianist, Cedar Walton). Of his 48 something sessions during his decade-long career only several had been as a leader.

Ernie Henry   1947

   A Bebop Carol


      Piano: Tad Dameron

      Trumpet: Fats Navarro

      Vocal: Kenny Hagwood

Ernie Henry   1956

   All The Things You Are

       Piano: Wynton Kelly   Trumpet: Lee Morgan


      Album: 'Presenting Ernie Henry'

   Free Flight

      Album: 'Presenting Ernie Henry'

   I Should Care

       Album: 'Presenting Ernie Henry'

Ernie Henry   1957

   Beauty and the Blues

   Is It True What They Say About Dixie

   I've Got The World On A String

   Melba's Tune


   Sweet Lorraine


Birth of Modern Jazz: Ernie Henry

Ernie Henry

Source: Audio Visual Trivia

Birth of Modern Jazz: Bobby Jaspar

Bobby Jaspar

Source: Jazz Wax

Born in 1926 in Belgium, Bobby Jaspar played clarinet, flute and tenor sax. Jaspar is said to have recorded with saxophonist Don Byas, in 1947, broadcasting on radio in Belgium. Byas had moved to Europe the year before, deciding to stay upon a tour with Don Redman. That broadcast is thought to have been transcribed, though not to have survived, nor, apparently, any documentation of it. Tom Lord's discography is nigh as problematic. Lord has Jaspar recording even earlier in January 1945 in Brussels with the Orchestre du Cosmopolite, 'Don't Be That Way' and 'I've Found a New Baby', with issue given as 12 Continental Acetate. But nothing else known except the members of that ensemble and no further documentation can be found. Jaspar's first issue with certainty was with the Bob Shots in 1947 by Olympia Records (5302): 'Oop Bop Sh'bam' and 'Moonlight in Vermont'. Further recordings with the Bob Shots are listed into 1949. A recorded radio broadcast in 1951 with Henri Renaud is documented before Jaspar's initial tracks in his own name, those with a quartet in Paris on May 5, 1951 for Vogue: 'Bobby's Beep' and 'You Are Too Beautiful'. Jaspar issued numerously, both in his own name and backing other operations, before moving to the United States in 1956. He did indeed eventually record with the big band of Don Byas in two sessions in 1953 in Paris for the French label, Vogue, such as 'Got No One to Love Me' and 'Limelight'. Among important compatriots while yet in Europe was arranger/pianist, Christian Chevallier, who arranged for Jaspar in 1954, after which Jaspar would perform in Chevelier's orchestra until latter 1955. Per November that year in Paris they recorded 'A Night in Tunisia', 'Pierre Speaking' and 'Olympia' before Jaspar's next sessions with Chet Baker, also in Paris, in December: 'Chik-eta', 'How About You', 'Exitus', 'Dear Old Stockholme'. Jaspar held a few more sessions, his last with Blossom Dearie ('Old Devil Moon' '56), before traveling to the States, he to lay his debut tracks as a visitor, age 30, with the Mort Herbert Sextet on May 29 of '56: 'Blues for Fred and Faye', 'Mitch's Carol' and That's All'. His next sessions were with the bigger name, J. J. Johnson, their first to result in 'J Is for Jazz' in '56. He recorded prolifically both in his own name and backing others during his short career to follow. Among his most frequent partners in numerous sessions supporting both each other and other bands was guitarist, Barry Galbraith, they first recording together in the Bobby Jaspar Quintet on November 20, 1956, 'In a Little Provincial Town' among others. Their last occasion to record together was for Joe Puma and the Audiobon All Stars per 'Like Tweet' in 1961. Among others with whom Jaspar recorded on multiple occasions was trumpeter, Donald Byrd, they first recording together in the orchestra of Andre Hodeir on March 5, 1957, resulting in the album, 'American Jazzmen Play Hodeir's Essais'. Byrd and Jaspar would tour Europe together in 1958 and lay their last common tracks in NYC with vocalist, Chris Connor, on March 19, 1959: 'Ballad of the Sad Cafe', 'I'm a Fool to Want You', 'Lilac Wine'. Another big name among many was an opportunity to share tenor sax with John Coltrane on the album, 'Interplay for 2 Trumpets and 2 Tenors' in '57. Guitarist, Kenny Burrell, was in on that, with whom he recorded on multiple occasions into '61. Another giant name arrived in '57, Jaspar recording as a member of the Miles Davis Quintet during a radio broadcast from the Birdland in NYC in October: 'All of You', 'Four', 'Nature Boy' and 'A Night In Tunisia'. That was followed by a session for Tony Bennett the same month. Pianist, Toshiko Akiyoshi, claimed him on a couple sessions in '58. Guitarist, René Thomas, was in on those on the same day of June 13, yielding from 'Swingin' Till the Girls Come Home' to 'United Notions'. Jaspar and Thomas would later record in Europe. In 1960 Jaspars accompanied Sascha Burland for 'Swingin' The Jingles'. His last recordings in the United States were with Kenny Burrell in NYC on April 11, 1961, 'Hootchie Koo' among others. Jaspar's final recordings were per a tour to Europe, three in Italy followed by England, all in January of 1962. René Thomas was present on all of those, the first his own session with his quintet in Rome. The next was in Rome with Chet Baker, yielding the latter's 'Chet Is Back'. The third session in Italy was in Turin supporting John Lewis for 'A Milanese Story'. Jaspar's final session was at Ronnie Scott's jazz club in London, bearing such as 'Pent-up House' and 'Stella By Starlight'. Those wouldn't see release until 1986 on CD. Jaspar died of heart attack in New York City in 1963, only 37 years old. He plays flute on a few of the tracks below.

Bobby Jaspar   1949

   Boppin' for Haig

       With the Bob Shots

Bobby Jaspar   1951

   You Are Too Beautiful

Bobby Jaspar   1956

   What's New?

   Moonlight Becomes You

       Piano: Hank Jones

   What's New?

Bobby Jaspar   1957


       Trombone: JJ Johnson

   Bernie's Tune

       Trombone: JJ Johnson

   Everything Happens To Me

      Trombone: JJ Johnson

   The Fuzz

        Piano: George Wallington

   Old Devil Moon

        Trombone: JJ Johnson

   Tutti Flutie

      With Herbie Mann

Bobby Jaspar   1958

   Jeux de Quartes

Bobby Jaspar   1959

   Keep It Moving

      Piano: Wynton Kelly

Bobby Jaspar   1960

   There Will Never Be Another You

        Drums: Kenny Clarke



Born in 1927 in Chicago, alto saxophonist Lee Konitz began his professional career with Teddy Powell in 1945. He is thought to have first recorded in 1947 with Claude Thornhill, his first of numerous sessions with Thornhill's operation to 1948 being on September 4, 1947 in NYC, accomplishing such as 'Thrivin' on a Riff' and 'Anthropology' among others. Thornhill's was a topnotch older organization apt to a talent like Konitz', preparing him for work with another young master named Miles Davis, Konitz first recording with Davis at a radio broadcast on September 4, 1948, from the Royal Roost in NYC. That bore such as 'Godchild' and 'S'il Vous Plait'. Konitz would be found on numerous recordings with Davis, in the early and late fifties. recording 'Birth of the Cool' in 1949 & 1950 (released 1957). It didn't take Konitz long to begin recording in his own name, issuing 'Marshmellow' and 'Fishin' Around' in 1949 on the New Jazz label. One of his most significant partners for years to come was in on that session, tenor saxophonist, Warne Marsh. They had first lain tracks together with Lennie Tristano in NYC on March 4, 1949: 'Wow!' and 'Cross Current'. Their last of many sessions through the years was a telecast from the Halfnote in NYC on June 6, 1964, also with Tristano, resulting in 'Subconscious Lee', '317 East 37th Street' and 'Background Music'. Konitz recorded beyond prolifically, his sessions upward toward 600, nearly half of them his own. Clearly little account of such can be given here. Membership in Stan Kenton's orchestra, however, is requisite to mention per his early career. Konitz first recorded in  Kenton's orchestra on August 26, 1952, during an AFRS radio broadcast in Cincinnati, Ohio, tracks like 'Limelight' and 'Lover Man'. Konitz stuck with  Kenton for a couple years, last recording with his organization in Hollywood on March 1, 1954, netting such as 'Of All Things' and 'Lover Man'. Highlighting the sixties was Konitz' 1967 release of 'The Lee Konitz Duets' with tenor saxophonists, Joe Henderson and Richie Kamuca. In 1981 Konitz performed at the Woodstock Jazz Festival. Altogether, Konitz was a very busy musician, releasing well over one hundred albums. More Lee Konitz under Warne Marsh higher on this page.

Lee Konitz   1947


      With Claude Thornhill

Lee Konitz   1948

   Chasin' the Bird

      Trumpet: Miles Davis

   Half Nelson

      Trumpet: Miles Davis


      Trumpet: Miles Davis   Album: 'Nonet Jam'

   To Each His Own

      With Claude Thornhill

Lee Konitz   1949


      Guitar: Billy Bauer

Lee Konitz   1950

   Ice Cream Konitz

   You Go to My Head

Lee Konitz   1954

   At Storyville


   In Harvard Square


Lee Konitz   1957

   Birth of the Cool

      Trumpet: Miles Davis


      'The Subject is Jazz' television program


Birth of Modern Jazz: Lee Konitz

Lee Konitz

Birth of Modern Jazz: Harold Land

Harold Land

Source: Jazz Tour Database


Born in 1928 in Houston, bop tenor saxophonist Harold Land released his debut recordings as leader of the Harold Land All-Stars in 1949 for Savoy Records: 'Outlandish', 'Swingin' On Savoy', 'San Diego Bounce' and 'I'll Remember April'. He had laid his debut tracks with Jimmy Liggins and his Drops of Joy in Los Angeles on September 8, 1947: 'Troubles Goodbye' among others. Liggins was Land's main vessel throughout that year, their sixth and last session in December, bearing such as 'Looking For My Baby' and 'Careful Love' among others. He sided for vocalist, Charles Waterford, on June 6 of 1949 before his first session with Clifford Brown in the summer of 1954, yielding such as 'Deception' and 'Fine and Dandy'. Land covered fifteen sessions of rarified atmosphere with Brown into 1955, notably one for vocalist, Dinah Washington, others for drummer, Max Roach. In 1958 Land issued his second album, 'Harold In the Land of Jazz' featuring 'Grooveyard'. 'Jazz at the Cellar' was recorded in 1958 in Vancouver, BC, though not released until 2007 on CD. 'The Fox' followed in 1960, recorded in Los Angeles in August of '59. Later that year arranger/trumpeter, Gerald Wilson, would become another significant figure in Land's career. Wilson first recorded with Land in Los Angeles, backing the latter on 'Blowin' the Blues'. Land was next a member of Wilson's band for the recording of Al Hibbler's 'Monday Every Day' in 1961. Land would be found with Wilson numerously as late as 1986 in Verona, Italy, Land contributing to 'Who Can I Turn To?' on Wilson's 'Verona Jazz' that year. Another frequent recording partner was Bobby Hutcherson, they first laying tracks together on December 4, 1967 for Wilson's album, 'Everywhere'. They worked together with Wilson before Land began backing Hutcherson's ensembles numerously. They recorded together as late as November 4, 1990, per the LP, 'Time for the Timeless All Stars'. Another major associate was trumpeter, Blue Mitchell, first entering Land's sphere per Hutcherson's ensemble on December 21, 1971 to record 'Inner City Blues' with others unissued. Land backed Mitchell often, they also working together in the groups of Art Pepper, Dollar Brand, Dolo Coker, Jimmy Smith, and Philly Joe Jones. Land had opportunity to work with Jones again in '74 and '78, but the most significant drummer of his career was likely Billy Higgins with whom he first recorded in 1960 per the album by Thelonious Monk, 'Quartet Plus Two at the Blackhawk'. Higgins and Land recorded numerously together in the seventies, eighties and nineties, both supporting each other's sessions as well backing other outfits. Notable in the eighties was the Timeless All Stars, in which ensemble Higgins and Cedar Walton attended all four sessions with Land in '82, '83, '86 and 1990. Higgins would appear on Land's final tracks in La Jolla, California, on August 6, 2000, bearing the album, 'Promised Land', with Mulgrew Miller (piano) and Ray Drummond (bass). Land joined the UCLA Jazz Studies Program in 1996 as a lecturing professor teaching instrumental combo jazz. He died of stroke in July 2001.

Harold Land   1947

   Cadillac Boogie

      With Jimmy Liggins

   I Can't Stop It

      With Jimmy Liggins

Harold Land   1949

   San Diego Bounce

Harold Land   1954

   Sweet Clifford

      Drums: Max Roach   Trumpet: Clifford Brown

Harold Land   1958


   Just Friends


      With the Montgomery Brothers

   Smack Up

   You Don't Know What Love Is

Harold Land   1959

   One Down

   One Second Please

Harold Land   1960

   Land of Peace

   On A Little Street In Singapore

   So In Love

      Trumpet: Kenny Dorham

   West Coast Blues

Harold Land   1968

   Black Caucus

   The Peacemaker


Harold Land   1972

   In the Back, In the Corner, In the Dark

Harold Land   1983

   Speak Low

      Live performance


  Born in 1923 in Boston, Charlie Mariano After a time in the Army, Mariano attended the Schlesinger House of Music (now Berklee College of Music). He first stepped into a recording studio on a problematic date. Tom Lord's discography has him recording 'Pad 458' and 'Gale Boogie' in 1947 with Nat Pierce. Troy Street has that in 1949. It seems generally agreed that he recorded with Ray Borden some time between September and December that year for Solitaire, tracks like 'Temptation' and 'Paradise'. A first issue date of 1947 is thus tentative. Lord's also has Mariano leading a combo with Nat Pierce circa December of '47: 'Body and Soul' and 'All the Tings You Are' among others eventually released on CD by Hep. Be as may, Mariano continued with the Nat Pierce Orchestra into 1950. With above 340 sessions to his credit, 70 of those his own, this small space can but little represent his career. Among the major names with whom he recorded most often during his early years was Stan Kenton, his debut tracks with the latter on February 25, 1954, at the Civic Auditorium in Portland, Oregon: 'Night and Day' and 'My Funny Valentine' among others. He last sat in Kenton's band to record on July 4, 1963, at the Newport Jazz Festival in Rhode Island: Waltz of the Prophets' and ''Artistry' among others to eventually be issued on CD by Jasmine. Among the smaller ensembles with which he performed were those of drummer, Shelly Manne, from January of 1956 in Los Angeles ('The Dart Game') to February 24 of '58: 'Tom Brown's Body', 'Hugo Hurwhey' and 'Blu-Gnu'. Mariano found himself on the faculty at Berklee in 1965, where he taught until moving to Europe in 1971, settling in Koln, Germany. Among other highlights of his career in the sixties were recordings with alto saxophonist/flautist, Sadao Watanabe, in Tokyo in '67 and '68, their first session bearing such as 'Comin' Home Baby' and 'Black Orpheus'. Mainly an alto saxophone player, Mariano also took up the nadaswaram, an Indian reed instrument, first recording on that in Tokyo in 1968: 'Pallisades' and 'You Are My Heart's Delight' (both with Watanabe). The ensemble with which Mariano was predominantly associated during his latter career was the United Jazz + Rock Ensemble. His first performance with that band would seem to have been in January of '77, yielding 'Circus Gambit' and 'Heyday' among others. Numerous performances were staged until 1992: 'Capriccio Funky' and 'Ode to Sappho', et al. Frequent members of that band were Eberhard Weber and Emil Mangelsdorff. Mariano's last recordings were in Stuttgart, Germany, on May 2, 2008 at the Theaterhaus. Those titles were released in 2011 per the CD, 'The Great Concert Stuttgart'. Mariano died of cancer in 2009.

Charlie Mariano   1949

  King Edward the Flatted Fifth

   Serge Chaloff/Ralph Burns Septet


   Serge Chaloff/Ralph Burns Septet

Charlie Mariano   1951


   Trumpet: Joe Gordon

Charlie Mariano   1953

 Boston Uncommon (Master A)

 You Go to My Head

Charlie Mariano   1955

 Darn That Dream

Charlie Mariano   1957

 After You've Gone

   Alto sax: Jerry Dodgion

Charlie Mariano   1963


Charlie Mariano   1967

 The Shadow of Your Smile

Charlie Mariano   1971

 Live at Molde Jazz Festival

Charlie Mariano   1974


Charlie Mariano   1976

 Parvati's Dance

Charlie Mariano   1998



Charlie Mariano   2000


Charlie Mariano   2001

 Close Enough for Love

Charlie Mariano   2004

 Live at Jazzwoche Burghausen

Charlie Mariano   2005

 Tango para Charlie

    Album   Guitar: Quique Sinesi

Charlie Mariano   2007

 Live at TFF Rudolstadt


Birth of Modern Jazz: Charlie Mariano

Charlie Mariano

Photo: Paul G. Deker

Source: Secret Society

Birth of Modern Jazz: Charlie Rouse

Charlie Rouse

Source: All Music

Born in 1924 in Washington D.C., tenor saxophonist Charlie Rouse began his career in the orchestra of Billy Eckstine in 1944. The next year he worked in Dizzy Gillespie's big band. His recording debut occurred in 1947 with pianist Tadd Dameron and trumpeter Fats Navarro. From that session on September 26 resulted 'Our Delight'/'The Squirrel' (issued '47 per Stanford University) and 'The Chase'/'Dameronia' (issued '48 per rateyourmusic). Those were Blue Note 540 and 541. He was also on the roster of Navarro's quintette on December 5 for 'Nostalgia', 'Barry's Bop', 'Bebop Romp' and 'Fats Blows'. Rouse was a member of a number of important bands: Duke Ellington (1949-50), Count Basie (1950), Bull Moose Jackson (1953) and Oscar Pettiford (1955). In 1957 he partnered with Paul Quinichette per 'The Chase Is On'. Rouse's most important associate was to be pianist Thelonious Monk, with whose quintet he first recorded in late 1950 for Frankie Passions: 'Especially to You' and 'Nobody Knows, Nobody Cares'. They would session again at the Five Spot in NYC in 1958 for titles not released until 2007 as 'Live In New York Vol. 1'. Rouse would stick with Monk as late as 1970, they last recording together on December 15 of 1969 in Paris, titles not released until 2013 as 'Paris 1969'. In 1982 Rouse became a founding member of the group, Sphere, recording 'Four In One' on February 17. Sphere issued several albums, its last recorded March 12, 1988, for 'Birdong'. Rouse made his final recordings at Bimbo's 365 Club in San Francisco on October 10, 1988, released posthumously the next year as 'Epistrophy'. Trumpeter, Don Cherry, was in on that concert. Rouse died on November 30, 1988, in Seattle of lung cancer. All tracks below for year 1947 are Rouse with Tadd Dameron and Fats Navarro.

Charlie Rouse   1947


   Bebop Romp

   The Chase

   Fats Blows

   Good Bait

   Lady Be Good

   Lady Bird


   Our Delight

   The Squirrel/52nd St. Theme

Charlie Rouse   1956

   Autumn Leaves

      Flugalhorn: Julius Watkins

Charlie Rouse   1960

   Billy's Blues

   Stella By Starlight

   When Sunny Gets Blue

Charlie Rouse   1961

   I Should Care

   There Is No Greater Love

Charlie Rouse   1966

   Live in Oslo

      Film   Piano: Thelonious Monk

Charlie Rouse   1967

   Straight, No Chaser

      Album   Piano: Thelonious Monk

Charlie Rouse   1977

   Cinnamon Flower

   The Clucker

   Waiting On the Corner

Charlie Rouse   1981

   Naima's Love Song

      Live in Munich

Charlie Rouse   1983


      With Sphere

   If I Should Lose You

      With Sphere

Charlie Rouse   1984

   Darn That Dream

      Album: 'Social Call'   Trumpet: Red Rodney

Charlie Rouse   1985

   Dual Force

      With Sphere

   Well, You Needn't

Charlie Rouse   1988

   I'm Never Happy Anymore

      Baritone Sax: Sahib Shihab

   November Afternoon

      Baritone Sax: Sahib Shihab


      Live at Bimbo's 365 Club



Born in 1924 in San Francisco, Paul Desmond, alto sax, was playing at the Bandbox in Palo Alto, California, and the Geary Cellar in San Francisco, when he became reacquainted with Dave Brubeck in 1948. The pair recorded an NBC audition for the Fantasy label that year as part of Brubeck's octet. Tracks from that session weren't released until 1950 on the album, 'The Dave Brubeck Octet'. After Desmond's initial recordings with Brubeck he left for New York City to play with Jack Fina. (Brubeck and Cal Tjader meanwhile made their first record release together in 1949 as the Dave Brubeck Trio.) Desmond returned to California in 1950 to record with Brubeck's octet again that July, those tracks in catalogue order: 'Love Walked In', 'IPCA', 'What Is This Thing Called Love', 'The Way You Look Tonight', 'September In The Rain', 'Prelude Fantasy 511', 'Fugue On Bop Themes' and 'Let's Fall In Love'. Desmond then joined a quartet Brubeck was forming with Fred Dutton on bass and Herb Barman on drums. Their contract stipulated that Brubeck would be the band leader, Desmond would never be fired and would be paid twenty percent of their quartet's profits. That quartet's first recordings, were made in August 1951: 'A Foggy Day', 'Lyons Busy', 'Somebody Loves Me' and 'Crazy Chris (Crazy Time)'. Desmond and Brubeck played together in their quartet until 1967. Another interesting figure in Desmond's career was trumpeter, Chet Baker, whose first session with Brubeck and Desmond was with their quartet at the Newport Jazz Festival in 1955, recording 'Tea for Two'. Desmond would back Baker in '74 on 'Autumn Leaves', 'Tangerine' and 'My Future Just Passed' per Baker's LP, 'She Was Too Good to Me'. Desmond also supported saxophonist, Gerry Mulligan, on the album, 'Gerry Mulligan - Paul Desmond Quartet', released in '58. Guitarist, Jim Hall, was another significant figure in Desmond's career. Hall first laid tracks with Desmond in the latter's quartet in 1959 per the 1960 album, 'First Place Again'. Other members were Percy Heath (bass) and Connie Kay (drums). Hall supported Desmond during several sessions in the decade to come. in 1974 Desmond and Baker would back Hall on his album, 'Concierto'. Ed Bickert backed Desmond on guitar from '74 to '76. Desmond's last performance with Brubeck was in February 1977 in New York City, he dying of lung cancer the next May in Manhattan. He willed profits thereafter from the song, 'Take Five', to the Red Cross. Desmond is also found with Dave Brubeck in Modern Jazz Piano.

Paul Desmond   1950

   Fugue on Bop Themes

      Piano: Dave Brubeck

Paul Desmond   1951


      Piano: Dave Brubeck

   Lyons Busy

      Piano: Dave Brubeck

Paul Desmond   1952

   Blue Moon

Paul Desmond   1953

   These Foolish Things

      Piano: Dave Brubeck

   Let's Fall In Love

      Piano: Dave Brubeck


      Piano: Dave Brubeck

   You Go To My Head

      Piano: Dave Brubeck

Paul Desmond   1957

   Blues In Time

      With Gerry Mulligan

Paul Desmond   1958

   For All We Know

      Piano: Dave Brubeck

Paul Desmond   1959

   Blue Rondo à la Turk

      Piano: Dave Brubeck

   East Of the Sun

      With Jim Hall

   I Get a Kick Out of You

      With Jim Hall

   These Foolish Things

      Live with Dave Brubeck

Dave Brubeck   1963

   Blue Rondo à la Turk

      Live at Carnegie Hall

      Saxophone: Paul Desmond

Paul Desmond   1964

   Bossa Antigua

      Guitar: Joe Pass

   Jazz At Storyville

      Piano: Dave Brubeck

      Recorded 1952-55

Paul Desmond   1965


      Piano: Dave Brubeck

Paul Desmond   1972

   Take Five

      Live performance

      Piano: Dave Brubeck

Paul Desmond   1975

   Darn That Dream

      Guitar: Ed Bickert

   The Duets

      Album   Piano: Dave Brubeck


Birth of Modern Jazz: Paul Desmond

Paul Desmond

Source: All About Jazz


Born in 1926 in Philadelphia, Jimmy Heath ('Little Bird") was rejected for the draft because he didn't weigh enough. He began his professional career as a sax player in 1945 with the Nat Towles band. In 1946 he formed his own band, recruiting John Coltrane. In 1947 he began touring the United States and Europe with trumpeter, Howard McGhee. He is thought to have contributed alto and baritone sax to titles recorded in Chicago in December of '47 and February of '48 with McGhee, Milt Jackson (vibes) Will Davis (piano) Joe Harris (drums) and his brother, Percy Heath (bass). Among those titles for VitaCoustic (to be sold to Savoy) were 'Merry Lee' and 'Short Life'. The session in '48 included vocalist, Earl Coleman: 'Yardbird Suite' and 'Donna Lee'. Heath's next sessions in 1948 were in Paris with Coleman Hawkins ('I Surrender Dear' unissued), Kenny Clarke ('Maggie's Drawers', et al), the Howard McGhee Boptet (two parts of 'How High the Moon', et al), Erroll Garner ('Laura', et al) and another session with McGhee's Boptet on May 18: 'Denise' and 'Nicole', et al. Back in NYC Heath recorded tracks with the Gil Fuller Orchestra on June 11 before hooking up with Dinah Washington and the Teddy Stewart Orchestra to lay such as 'Fast Movin' Mama' and 'Juice Head Man of Mine' on September 27. Heath then joined Dizzy Gillespie's band, his debut tracks with Gillespie on November 21: 'Say When', 'Tally-Ho', 'You Stole My Wife You Horsethief' and 'I Can't Remember'. A couple more sessions with Gillespie followed in 1950 before Heath's tracks with Miles Davis on April 20, 1953: 'Kelo', 'Enigma', etc.. Come Kenny Dorham that December to record such as 'An Oscar for Oscar' and 'Be My Love'. Heath would hold several sessions with Dorham over the years until 'The Music of Kenny Dorham' recorded in November 1983. In 1956 Heath composed the major portion of the album, 'Playboys', for trumpeter, Chet Baker, and sax man, Art Pepper. By that time Hugh Hefner had the lawyers to get sue-happy about that album's cover design with Playboy's trademark rabbit ears. (The first 'Playboy' was issued in December 1953.) In 1959 Heath worked briefly with Miles Davis though didn't record with him. He also worked with pianist, Gil Evans, about that time, though didn't lay tracks with him. One of Heath's most numerous studio partners, however, was trumpeter, Art Farmer, his first session with Farmer was at the Half Note Cafe in NYC in April 1966: 'Gingerbread Boy', 'Blue Bossa', et al. Heath sided for Farmer on multiple occasions until the latter's album, 'Homecoming', recorded in the summer of '71. Heath's initial recordings as a leader had been on November 27, 1959, for the album, 'The Thumper'. He formed the Heath Brothers in 1975 with his brothers, bassist, Percy Heath, and drummer, Albert Heath. Beginning in the eighties Heath taught at Queens College in New York for a couple decades. He also taught at Jazzmobile (founded 1964) in New York. In 1997 he backed drummer, TS Monk, son of Thelonious Monk, on several tracks: 'Bright Mississippi', 'Suddenly', 'Ugly Beauty' and 'Jackie-ing'. Heath continued recording into the new millennium, his most recent tracks per 2015 with vocalist, Roberta Gambarini, singing compositions by Heath on 'Connecting Spirits'. He is yet active as of this writing. More of Jimmy under Albert Heath.

Jimmy Heath   1949

   The Richest Guy In The Graveyard

      With Dinah Washington

Jimmy Heath   1953

   Get Happy/The Eminent

      JJ Johnson SExtet w Clifford Brown


      With Miles Davis

Jimmy Heath   1960

   Nice People

   Ol' Man River

      With Kenny Dorham

   The Thumper

Jimmy Heath   1962


Jimmy Heath   1964

   Cloak and Dagger

Jimmy Heath   1972

   Angel Man

Jimmy Heath   1973

   Heads Up! Feet Down!

Jimmy Heath   1975

   For Minors Only


Birth of Modern Jazz: Jimmy Heath

Jimmy Heath

Source: Bop & Beyond


Birth of Modern Jazz: Yusef Lateef

Yusef Lateef

Source: En Esencia Jazz

Born William Emanuel Huddleston in 1920 in Chattanooga, Tennessee, Yusef Lateef played a multiplicity of instruments beyond tenor sax: arghul, flute and oboe among them. He began his professional career at age eighteen, touring with swing bands, and changed his name to Yusef Abdul Lateef (after the prophet) in 1948 upon becoming Muslim as a student at Wayne University in Detroit. Lateef is found first recording in December of 1948 for Aristocrat with Eugene Wright and his Dukes of Swing in Chicago: 'Big Time Baby', 'Pork and Beans', 'Dawn Mist', and 'Music Goes Round and Round'. The next year he was playing with Dizzy Gillespie, his first tracks with the beloved master of bop on April 4, 1949: 'Swedish Suite', 'St. Louis Blues', 'I should Care' and 'That Old Black Magic'. Lateef's last of multiple sessions with Gillespie was on August 31, 1949, at the Shrine Auditorium in Los Angeles: 'Rhum-bop Concerto' among those titles. Lateef began releasing albums in 1957 (four of them). Tom Lord's discography his Lateef on 172 sessions, 111 of them his own. A recognized master by the time he left Gillespie, he was also a hardcore jazz instrumentalist, well reflected in his work with Cannonball Adderley. His first occasion to record with Adderley was per Nat Adderley's 'That's Right' in 1960. Among their numerous sessions, also with Nat, was a radio broadcast in Lugano, Switzerland, on March 23, 1963: 'Jessica's Birthday' and 'The Jive Samba' among others. Their last recordings, also with Nat, were on July 28, 1963, during a tour to Tokyo: 'Marney' and 'Nippon Soul' among others. Lateef had matriculated into the Manhattan School of Music in 1960, completing his bachelor's in music in 1969. In 1970 he earned his master's, then his doctorate in education in 1975. Lateef began teaching at the University of Massachusetts and Hampshire College in Massachusetts in 1986. In 1992 he founded YAL Records. He was awarded as Master by the National Endowment for the Arts Jazz Masters in 2010. His final recordings were with pianist, Ahmad Jamal, in Paris on June 27, 2012, those released in 2014 per the album, 'Ahmad Jamal/Yusef Lateef'. Lateef plays all instruments on the sample below from his last recorded album, 'Roots Run Deep', released in 2012 (recorded March 2004). Lateef died in 2013 of prostate cancer.

Yusef Lateef   1949

   Big Time Baby

      With Eugene Wright

   The Music Goes Round and Round

      With Eugene Wright

   That Old Black Magic

      With Dizzy Gillespie

      Vocal: Johnny Hartman

Yusef Lateef   1957


      From 'Jazz Mood'

   Love and Humor

      From 'The Sounds Of Yusef'


      From 'The Sounds Of Yusef'

   Take the A Train Part 1

      From 'The Sounds Of Yusef'

   Take the A Train Part 2

      From 'The Sounds Of Yusef'


      From 'Other Sounds'

   Lover Man

      From 'Prayer to the East'

   Prayer to the East

      From 'Prayer to the East'

Yusef Lateef   1959

   The Snow Is Green

      From 'Cry! - Tender'

Yusef Lateef   1961

   Big Foot

   Blues For the Orient

      From 'Eastern Sounds'

   Chinq Miau

      From 'Eastern Sounds'


   Love theme from The Robe

      From 'Eastern Sounds'

   Love Theme From Spartacus

      From 'Eastern Sounds'

   A Night In Tunisia

      From 'Eastern Sounds'

   The Plum Blossom

      From 'Eastern Sounds'

   Soul Blues

   Three Faces Of Balal

      From 'Eastern Sounds'


      From 'The Centaur and the Phoenix'

   Water Pistol

      From 'Into Something'

   You've Changed

      From 'Into Something'

Yusef Lateef   2012

   Roots Run Deep

      From 'Roots Run Deep'



Born in 1927 in Los Angeles, cool jazz tenor saxophonist Warne Marsh first recorded with pianist André Previn and drummer Karl Kiffe in 1942 ('How High the Moon' and 'Stompin' at the Savoy'). Those, however, weren't issued, which happened with numerous early recordings by Marsh, most later made available on CD. Also per Warne Marsh Info, in 1944 Marsh performed in the short film, 'Hollywood Canteen Kids', performing 'Drumboogie' and 'Mutiny in the Nursery'. More films followed with radio broadcasts as well as titles recorded with the U'S Army's Special Services Band on an unknown date in 1946 at Camp Lee, Virginia. Numerous sessions in one form or another followed those until a first issue was reached per V-Disc (891), recorded with the Buddy Rich Orchestra in NYC on October 28, 1948. Those were 'A Man Could Be a Wonderful Thing', 'The Carioca', 'Four Rich Brothers', 'I've Got News for You' and 'Good Bait'. Marsh is perhaps most notable for vertical improvisation, emphasizing chords and harmony rather than melody. His early development was attended by two main forces: saxophonist, Lee Konitz, and pianist, Lennie Tristano, both with whom he first recorded on March 4, 1949 in NYC: 'Wow!' and 'Cross Current'. Guitarist, Billy Bauer, was also in on that, to back Marsh on multiple occasions in the near future. Marsh and Konitz collaborated on numerous sessions into 1959, at first with Tristano, later backing each other. They would record together again in '64 (their last with Tristano) and 1975-77. Another important tenor saxophonist was Ted Brown. Brown had joined Marsh's ensemble for the recording of 'Jazz of Two Cities' on October 3, 1956, and remained with him into 1959 until they both backed Konitz on the album, 'Lee Konitz Meets Jimmy Giuffre', that May. Among the highlights of Marsh's early career was the recording of 'The Way It Was!' for Art Pepper in Los Angeles on November 26, 1956. Marsh and Pepper also contributed to Ted Brown's 'Free Wheeling' in December. They would record again in '74 at Donte's in Hollywood on April 26, bearing such as 'All the Things You Are' and 'What's New?'. Between 1972 and 1977 Marsh played with the bop band, Supersax. That group first laid tracks in Los Angeles in '73: Ko-Ko' and 'Parker's Mood' among them. Supersax' last sessions were in the summer of '76 toward the issue of 'Chasin' the Bird'. Among the highlights of Marsh's latter career was the recording of tenor saxophonist, Pete Christlieb's, 'Apogee' in 1976. Marsh's final recordings were made on December 15, 1987, to be released on 'Personal Statement'. He died three days later while performing 'Out of Nowhere' at Donte's on December 18.

Warne Marsh   1949


      Album   Piano: Lennie Tristano


      Album: 'Sub-Conscious Lee'

      Alto sax: Lee Konitz

Warne Marsh   1955

   Donna Lee

      Alto sax: Lee Konitz   Piano: Sal Mosca

   Ronnie's Line

      Alto sax: Lee Konitz   Piano: Ronnie Ball

   There Will Never Be Another You

      Alto sax: Lee Konitz


      Alto sax: Lee Konitz   Bass: Oscar Pettiford

      Guitar: Billy Bauer

   Two Not One

Warne Marsh   1956

   All the Things You Are

      With Art Pepper

   I Never Knew

      Piano: Ronnie Ball

   Jazz of Two Cities

      With Ted Brown

Warne Marsh   1957

   It's Alright With Me

   Lover Man

   You Are Too Beautiful

     Bass: Red Mitchell   Drums: Stan Levey

      Piano: Ronnie Ball

Warne Marsh   1958

   Half Nelson

      Live with Lee Konitz

   Just Squeeze Me


      Live with Lee Konitz


      'The Subject is Jazz' television show

Warne Marsh   1964

   Live at the Half Note

      Film   With Lee Konitz & Lennie Tristano

Warne Marsh   1975


   Lennie Bird

      Alto sax: Lee Konitz   Piano: Ole Kock Hansen

   You Don't Know What Love Is

Warne Marsh   1978


      Album   Tenor sax: Pete Christlieb & Warne Marsh

Warne Marsh   1980

   Body and Soul

      Kenny Drew Trio

   Body and Soul

      Live performance

   It Could Happen to You


      Kenny Drew Quartet


      Bass: Red Mitchell

   Sophisticated Lady

      Kenny Drew Quartet

Warne Marsh   1981


   Shak'in Out (Body and Soul)

Warne Marsh   1985


      Trumpet: Chet Baker


      Piano: Susan Chen

Warne Marsh   1986

   Joy Spring

Warne Marsh   1987

   Sweet and Lovely

      Guitar: Larry Koonse


Birth of Modern Jazz: Warne Marsh

Warne Marsh

Photo: Eddie Richey

Source: Mark Sowlakis


Birth of Modern Jazz: Frank Morgan

Frank Morgan

Source: All Music

Born in Minneapolis, Minnesota, in 1933, alto and soprano saxman Frank Morgan had been acquainted with such as Charlie Parker, Dexter Gordon and Wardell Gray as a teenager. Sent to live with his divorced father, a guitarist, in Los Angeles, Morgan's first professional position was at the Club Alabam, backing such as Josephine Baker and Billie Holiday. His first recording session occurred at age fifteen (1948) with Merv Griffin and the Freddy Martin Orchestra on 'Over the Rainbow', the result of winning a televised talent contest. Morgan joined Lionel Hampton's band in 1952. He also recorded in California in July of '52 with alto saxman, Charlie Parker, 'Scrapple from the Apple' among those tracks on July 14 at Zorthian's Ranch in Altadena, California. On February 20 of 1953 he taped with Teddy Charles' West Coasters in Los Angeles: 'The Man I Love', 'Lavonne', 'So Long Broadway' and 'Paul's Cause'. That was followed by on November 1, 1954, by five tracks with drummer Kenny Clarke for Savoy Records, including 'I Lost Your Love' with Milt Jackson vocal. In 1955 Morgan joined a couple of recording dates with trumpeter, Conte Candoli, resulting in his first album, 'Frank Morgan', for the GNP Crescendo Record Company. Unfortunately his first arrest for drug possession also occurred that year, having become addicted to heroin at age seventeen. Morgan would spend the next three decades of his life in and out of prison. (He played with Art Pepper in San Quentin in the sixties.) Consequently he attended only about 43 sessions during his career, 21 of those his own. Morgan played the Monterey Jazz Festival in 1986, making his first appearance in New York City the same year at the Village Vanguard. He also began playing in the off-Broadway production of 'Prison-Made Tuxedos' in 1986. The last couple decades of his life were highly active, recording and touring, completing his only tour of Europe in 2007. Tom Lord's discography shows a final recording there in Holland in November with pianist, Rein de Graaff, a live version of 'Parker's Mood'. His last album, recorded in 2005, bore the same title as his 1988 LP with his All Stars: 'Reflections'. Morgan died in December 2007 of colorectal cancer in Minneapolis. All tracks below for year 1953 are with Sonny Clark, Teddy Charles and Wardell Gray. Tracks for 1954 are with drummer, Kenny Clarke. All tracks for 1955 are from the album, 'Frank Morgan'.

Frank Morgan   1953


   The Man I Love

   Paul's Cause

   So Long Broadway

Frank Morgan   1954



Frank Morgan   1955

   Autumn Leaves

   Bernie's Tune

   The Champ


   I'll Remember April

   Milt's Tune

   My Old Flame

   The Nearness Of You

Frank Morgan   1987


Frank Morgan   1989

   Ben Sidran Presents


Frank Morgan   1990


      Television performance

Frank Morgan   2003

   It's Only a Paper Moon



Born in 1926 in Hamlet, North Carolina, alto saxophonist John Coltrane began his jazz career in the U.S. Navy, having joined the day the atom bomb was dropped on Hiroshima, August 6, 1945. Though he didn't witness vinyl until 1949 his first recordings were in the Navy in Hawaii on May 13, 1946. Instrumental tracks were 'Ornithology', 'Sweet Miss', 'Koko' and 'Hot House' with Benny Thomas providing vocals on four others. Members of the band were Dexter Culbertson (trumpet), Norman Poulshock (piano), Willie Stader (bass) and Joe Theimer (drums). Those weren't released, however, until 2006 on an import CD titled 'First Giant Steps' by Rare Live Recordings (RLR). Released from the Navy a year later, he returned to Philadelphia where he'd lived before the Navy and first been impressed by Charlie Parker at a live performance in June of '45. Coltrane toured with King Kolax before joining the band of Jimmy Heath in Philadelphia. He was with the Teddy Stewart Orchestra in NYC when he first recorded to issue with Dinah Washington on September 27, 1949, two takes of 'Richest Guy in the Graveyard' et al. As his first recording session was with heavyweights he began a tradition of such at his next session with Dizzy Gillespie two months later on November 21, that to yield 'Say When', 'Tally-Ho', 'You Stole My Wife You Horsethief' and 'I Can't Remember'. Coltrane held numerous sessions with Gillespie other elites before getting hardcore with trumpeter, Miles Davis, in 1955, their initial recordings together on October 26, apparently a difficult session as there were multiple incomplete takes of all titles, leading off with 'Two Bass Hit' and wrapping it up with 'Budo'. Coltrane would perform in Davis' operation into the sixties. Thing became interesting on April 16, 1957, when he joined pianist, Thelonious Monk, and bassist, Wilbur Ware, to put down 'Monk's Mood'. Coltrane and Monk held several sessions together into 1958, their last at the Five Spot Cafe on September 11 with Ahmed Abdul-Malik (bass) and Roy Haynes (drums). That session began with 'Crepuscule with Nellie' and wrapped with 'Nutty'. Coltrane's initial recordings as a leader were with a sextet consisting of Johnny Splawn (trumpet), Sahib Shihab (baritone sax), Mal Waldron (piano), Red Garland (piano), Paul Chambers (bass) and Albert Heath (drums). Among the tracks that group recorded in Hackensack, NJ, on May 31, 1957, were 'Straight Street', two takes of 'Bakai' and 'I Hear a Rhapsody'. His next session was a trio consisting of Earl May (bass) and Art Taylor (drums) on August 16, again in Hackensack, toward the release of 'Lush Life' in 1961. Coltrane first recorded the tune, 'Giant Steps', in NYC on March 26, 1959, with 'Nama' and 'Like Sonny'. His fifth album was also called 'Giant Steps', finished on May 4. Among continuous members of Coltrane's ensembles were pianist, McCoy Tyner (1960-65), drummer, Elvin Jones (1960-65) and bassist, Jimmy Garrison, from 1961 to Coltrane's death in 1967. Coltrane also experimented with avant-garde jazz, evident in his 1965 album, 'A Love Supreme'. He was inducted into 'Down Beat' magazine's Jazz Hall of Fame in 1965. Tom Lord's discography has him in a final session on May 17, 1967, in Englewood, NJ, for two titles unissued by Impulse: 'None Other' and 'Kaleidoscope'. Coltrane died the next month in Long Island, New York, of liver cancer, only 41 years of age. Coltrane's preferred saxophone was the Selmer Mark VI. He was posthumously made a saint by the African Orthodox Church (black Episcopalian). In 2007 he was awarded a special Pulitzer Prize. More Coltrane under Paul Chambers.

John Coltrane   1946


      Not issued until 2006

John Coltrane   1946

   Richest Guy in the Graveyard

      Teddy Stewart Orchestra

     Vocal: Dinah Washington

John Coltrane   1957

   Blue Train

      Trumpet: Curtis Fuller

John Coltrane   1958

   It Never Entered My Mind

      Trumpet: Miles Davis

John Coltrane   1959

   Giant Steps

John Coltrane   1962

   Every Time We Say Goodbye

      Pianist: McCoy Tyner

John Coltrane   1965

   A Love Supreme


John Coltrane   1966



John Coltrane   1967




Birth of Modern Jazz: John Coltraine

John Coltrane

Source: Dirty Jazz


Born in 1928 in Los Angeles, though Eric Dolphy played clarinet and piccolo his main instrument was alto sax. The earliest known recordings by Dolphy are thought to have occurred in 1949 with drummer Roy Porter's Seventeen Beboppers. Tracks recorded in January that year were, in session order, 'Pete's Beat', 'Sippin' With Cisco Part 1', 'Sippin' With Cisco Part 2', 'This Is You', and 'Gassin' the Wig'. (Lord's discography notes that those titles may have been recorded in 1948, per Porter, but given a 1949 date due to the recording ban throughout 1948 by the American Federation of Musicians.) Tracks recorded in February were 'Phantom Moon' 'Howard's Idea' 'Love Is Laughing At Me' and 'Little Wig'. In spring of 1949 Dolphy also recorded three tracks with Charles Mingus: 'The Story Of Love', 'Inspiration Part 1' and 'Inspiration Part 2'. After a few more sessions with Porter Dolphy made some recordings at his home in Los Angeles with Clifford Brown, Max Roach, et al, recording titles that would later be pressed by Philology and RLR, 'Deception' and 'Fine and Dandy' among them. He and Roach would later hold several sessions in 1960-61. Dolphy afterward played local gigs in Los Angeles for several years before getting his big break with drummer, Chico Hamilton, first recording with Hamilton in April 1958. He began working with Charles Mingus again in 1960. Dolphy issued his first two albums in 1960: 'Outward Bound' and 'Out There'. He then began working with both John Coltrane and Booker Little. Young trumpeter Freddie Hubbard and pianist Herbie Hancock both passed through Dolphy's early bands. Dolphy issued his final album, 'Out to Lunch', in 1964. He had left the States for a tour of Europe with Charles Mingus that year, but died in Berlin of diabetic coma in June. His last recordings had been in Paris on June 11th, released in 1988 on 'Unrealized Tapes'. (The album below, 'Last Date', wasn't Dolphy's last date.) Dolphy was inducted into 'Down Beat' magazine's Hall of Fame the same year. He plays both flute and saxophone in samples below. Per 1964, all tracks are from Dolphy's posthumous album, 'Last Date', recorded in Netherlands on June 2nd, unless otherwise indicated.

Eric Dolphy   1949

   Gassin' the Wig

      Roy Porter's Seventeen Beboppers

   Little Wig

      Roy Porter's Seventeen Beboppers

   Sippin' With Cisco Part 1

      Roy Porter's Seventeen Beboppers

   Sippin' With Cisco Part 2

      Roy Porter's Seventeen Beboppers

Eric Dolphy   1958  

   In a Mellow Tone

      Chico Hamilton Quintet

Eric Dolphy   1960  

   Inner Flight II

      Album: 'Other Aspects'

   Out There


   Stormy Weather

      With Charles Mingus

Eric Dolphy   1964


   Fables of Faubus

      With Charles Mingus


   The Madrig Speaks

   Miss Ann

   South Street Exit

   Take the 'A' Train

      Filmed live with Charles Mingus

   Unrealized Tapes

      Final recordings in Paris

      Not released until 1988

   You Don't Know What Love Is


Birth of Modern Jazz: Eric Dolphy

Eric Dolphy

Source: Dangerous Minds

Birth of Modern Jazz: Herb Geller

Herb Geller

Source: All Music
Born in 1928 in Los Angeles, saxophonist, Herb Geller, had a mother who performed on piano at silent movie theaters. He began with alto at age thirteen, then moved to clarinet. His first professional employment was at age sixteen with Joe Venuti. His first confirmable recording sessions were in February 1949 with Earle Spencer. They are thought to have been released that year as Black & White 78 871 ('Oh, You Beautiful Doll'/'Jazzbo') and Black & White 78 875 ('Sunday Afternoon'/'Box Lunch'). He partook in a couple of sessions with Claude Thornhill in April of 1950. The first was for the short film, 'Claude Thornhill and His Orchestra', at Universal Studios. The second yielded RCA Victor 7820-3774 ('Sugar Foot Rag/Down the Lane') and RCA Victor 7820-3842 ('Sweet and Lovely/Honolulu'). Geller backed various others until his first engagement with Chet Baker in 1953, resulting in the issue of 'The Trumpet Artistry of Chet Baker' in 1955. Geller would record variously with Baker throughout his career. '55 was also the year Geller released his initial album, 'The Herb Geller Sextette'. He walked away with 'Down Beat' magazine's New Star Award that year. Maynard Ferguson was a large figure in the fifties. Geller rode the latter fifties into the sixties with both Shorty Rogers and Benny Goodman. He then toured to Brazil for a brief period before he began working for the RIAS (Rundfunk im amerikanischen Sektor) broadcasting system in Berlin in 1962. Three years later he began a 28 year career at the NDR (Norddeutscher Rundfunk) broadcasting system, arranging and playing alto sax in Hamburg. In 1996 the government of Hamburg bestowed upon him the title of Professor so he could teach at the Hochschule für Musik. Geller died of pneumonia in November of 2008 in Hamburg. He had been marred for a short period in the fifties to pianist, Lorraine Walsh, until her death of asthma in 1958. Geller had participated in 481 documented sessions amounting to 2,385 unique titles. Nearly 1300 of those saw unique issue. Noel Cohen's Jazz History Website (from where we glean this information) has him making more than 3.300 concert performances since his time with Spencer until his death. His latest recordings had been made on three occasions in Hamburg (January 2012), Lisbon (June 2012) and Hamburg again (June 2012).  Per 1954 below, all tracks are with Earle Spencer's big band.

Herb Geller   1949



  Oh, You Beautiful Doll

Herb Geller   1954

 Obviously Geller

Herb Geller   1955


      LP: 'The Gellers'

 The Outpost Incident

      LP: 'The Herb Geller Sextette'

Herb Geller   1956


      With Clifford Brown

Herb Geller   1957

 Fire In the West

Herb Geller   1959

 Small World

      Vocal: Barbara Long

      LP: 'Gypsy'

Herb Geller   1962

 Live at the Blue Note

      Filmed in Paris

Herb Geller   1975

 Space a la Mode

      LP: 'Rhyme and Reason'

Herb Geller   1992

 Birdland Stomp

      Filmed live

Herb Geller   1996

 Sleigh Ride

      LP: 'Herb Geller Plays'

Herb Geller   2009

 If I Were a Bell

      Filmed at Novi Sad Jazz Festival

Herb Geller   2011

 Take the A Train

      Filmed with Pedro Guedes



Born in 1929 in Philadelphia, tenor saxophonist Benny Golson was playing jazz with such as John Coltrane and Red Garland while in high school. After graduating from college he worked with Bull Moose Jackson from 1947 to 1950 (recording together in '51). Golson is listed to have recorded as early as 1949, playing tuba with Enrico Caruso on pandeiro (Brazilian tambourine) and John Coltrane on tenor sax, that per J-Disc at Columbia University. Those tracks are said to have been 'I'll Remember You' and an extended version of 'Body and Soul''. The circumstances of that session unknown, perhaps there's been a typo somewhere along the way because nothing more can be found about it. Tom Lord's discography, however, has Golson with guitarist, Tiny Grimes, circa 1949 in NYC, recording 'I'm a Wine Drinker' and 'I Love to Make Love to You' for Krazy Kat Records (#821). He's shown with Jimmy Preston in a couple of sessions in 1950 in Philadelphia, the first yielding 'They Call Me the Champ' with 'Swingin' in the Groove', the second bearing 'Hay Ride' and 'Potato Salad', et al. A session followed with Charles Gonzales before further tracks with Grimes that year. Tracks with Bull Moose Jackson in '51 were 'I'll Be Home for X-Mas' and 'I Never Loved Anyone But You', issued by King Records (4493).     Pianist, Tadd Dameron, was in on that, after which Golson joined Dameron's septet to record a rehearsal with trumpeter, Clifford Brown, in June of 1953: 'Somebody Loves Me', 'Indiana', et al. That same month those three recorded the album, 'A Study in Dameronia'. From 1954 to '56 Golson performed in Earl Bostic's band, then left for a U.S. State Department tour of South America with Dizzy Gillespie from latter '56 into '57. About twenty tunes were recorded during that trip, among them, 'Manteca'. Back in the States, Golson filled out the year with Dinah Washington. Come July of '58 it was Abbey Lincoln, with whom Golson first recorded with trombonist, Curtis Fuller, on 'Just for Me', 'An Occasional Man' and 'Music, Maestro, Please'. Fuller was a constant companion into the sixties as a member of Golson's band, thereafter on numerous sessions as late as 2003. Another frequent recording partner was trumpeter, Art Farmer. Golson and Farmer had begun laying tracks together with the Oscar Pettiford Orchestra in NYC on August 23, 1957: 'Now See How You Are', 'I Remember Clifford' and 'Aw! Come On'. Farmer kept with Golson into 1962, thereafter on numerous occasions as late as 2000. He was with Golson on the latter's first tracks as a leader of a nonet: 'Whisper Not', 'Just By Myself' and 'Capri'. Farmer was also present on what may be Golson's greatest claim to fame, his composition, 'Killer Joe', released in 1960. Golson was honored as an NEA Jazz Master in 1995 by the National Endowment for the Arts. In 2009 he was inducted into the International Jazz Hall of Fame. Tom Lord's discography has Golson at 253 sessions, 53 of those as a leader.

Benny Golson   1950

   They Call Me the Champ

      With Billy Preston

Benny Golson   1957

   Blues On Dawn

   Hymn to the Orient

   Out of the Past


   Something In B Flat

   Your Mine You

   Venetian Breeze

   Whisper Not

Benny Golson   1960

   Killer Joe

      Trumpet: Art Farmer

Benny Golson   1962

   Out of Nowhere

Benny Golson   1963

   Just By Myself

Benny Golson   1965

   Put On a Happy Face

      Live performance

Benny Golson   2000

   Live in Salzau



Birth of Modern Jazz: Benny Golson

Benny Golson

Source: All Music

Birth of Modern Jazz: Lars Gullin

Lars Gullin

Source: Last FM

Born in 1923 in Sanda on the island of Gotland, Swedish baritone saxophonist, Lars Gullin, began his career as a pianist before picking up alto sax and clarinet. His first professional job is thought to have been with the Charles Redland Orchestra at the Winter Palace in Stockholm in 1948 as a pianist. While with that orchestra he joined Arthur Österwall’s Sextet for a radio broadcast recording in March of '49 on which he played alto and clarinet, featured on 'Swedish Pastry' and 'The Man I Love'. He also arranged for Osterwall. Several recordings were made on the 4th and 5th of October 1949 with the Seymours Orkester on which Gullin played alto: 'Too Much', 'All Right Louis, Drop That Gun', 'Laredo' and 'En Rod Blomma Till En Blond Flicka' ('Red Roses for a Blue Lady'). Gullin's first recording on baritone sax was in April of 1950 with Zoot Sims and his Five Brothers on 'Yellow Duck'. Sims would later back Gullin in '53 on 'Dedicated to Lee' and 'Late Date', that also the first that Gullin recorded with Lee Konitz. 1951 found him performing for a couple years at the Nalen nightclub in Stockholm, the hot seat for jazz in Sweden. The fifties were the decade in which the Swedish made the rest of the world aware that they, too, were host to not a few world-class musicians. Prior to that, though snow-bound Stockholm is only about 400 miles from Copenhagen, it had been fairly marginalized. Early musicians such as pianist, Reinhold Svensson, were hardly unknown yeti. But it wasn't until the first jazz festival held in Europe after World War II in Paris in May of 1949 that Sweden's envoy, the Parisorkestern 1949 with the Swedish Jazz All-Stars, lit the fuse that saw the burst of Sweden's significance in jazz in the fifties. Gullin had no part in that fair, but was otherwise a major figure in Sweden's rise to the renown that it has witnessed ever since in the production of jazz. He recorded two (of six) versions of 'Ablution' with Lee Konitz in 1956. The pair would record again in 1973 in Stockholm: 'The Carousel' and 'Blue Mail'. Gullin made recordings with a number of American big name musicians, though he himself never did visit the United States. Gullin led his first group to issue in 1951 with a quartet consisting of Bengt Hallberg (piano), Gunnar Almstedt (bass) and Jack Noren (drums). Those tracks were 'That's It', 'Gull in a Gulch', 'All Yours' and 'Deep Purple'. Come 1954 he was voted the New Star Award by 'Down Beat' magazine, that another sign that Sweden was now figuring big in jazz. Lord's discography has Gullin leading about half of 220 sessions before his early death of heart attack in May of 1976. His album, 'Aeros Aromatic Atomica Suite', was released that year.

Lars Gullin   1950

   Yellow Duck

      Baritone debut

      Tenor sax: Zoot Sims

Lars Gullin   1951


      Tenor sax: Stan Getz

Lars Gullin   1953

   Hershey Bar

Lars Gullin   1953/54


Lars Gullin   1954

   Danny's Dream

Lars Gullin   1956


   Late Summer

   Like Someone In Love


Lars Gullin   1962


      Filmed live

   Stella By Starlight

      Television broadcast

Lars Gullin   1963

   Live at the Cafe Montmatre

      Filmed in Copenhagen 1962

      Flute/Alto: Sahib Shihab

      Tenor sax: Dexter Gordon


  Born in 1932 in Miami, Willis Jackson played tenor sax. He was a teenager he joined the band of Cootie Williams in NYC he going on record quickly in 1949 on Williams' 'Gator Tail Parts 1 & 2'. (Lord's discography has him confused with saxophonist, Little Willie Jackson, per the Honeydrippers in 1945.) He picked up the nickname "Gator" as a result of those. Jackson spent the fifties doing session work, though he first recorded as a leader on January 16, 1950: 'On My Own', 'Chuck's Chuckles', 'Can't Help Lovin' Dat Man' and 'Dance of the Lady Bug'. Some fifty-two sessions as a leader would constitute three quarters of his recordings. Among those with whom he collaborated was Ruth Brown with whom he secretly lived from '50 to '55. He first laid tracks with Brown in NYC in September of 1950: 'I Could Make You Care', 'Am I Making the Same Mistake Again', 'Teardrops From My Eyes' and 'R.B. Blues'. Their last session together was July 2, 1953: 'Tears Keep Tumbling Down, 'Just a Little Walk' and 'Just Enough'. Jackson released his first name album in 1959: 'Please Mr. Jackson'. During the seventies he backed George Benson on a number of occasions, the last resulting in Benson's 'Erotic Moods' in 1978. Jackson received small critical acclaim, and is nigh invisible on the internet today beyond a paragraph or so. But he had a strong fan base into the eighties and released well over forty albums as a leader until his death a week after heart surgery in 1987 in New York. He was only age 55. Per 1975 below, each track is from the album, 'The Way We Were'.

Willis Jackson   1949

   Gator Tail Part 1

      With Cootie Williams

Willis Jackson   1959

   Please Mr. Jackson

      Album: 'Please Mr. Jackson'

Willis Jackson   1960

   Blue Gator

      Album: 'Blue Gator'

   Cool "Gator"


Willis Jackson   1961

   Cookin' Sherry


Willis Jackson   1963

   After Hours

      Album: 'Loose'

Willis Jackson   1964

   Nuther'n Like Thuther'n

      Album: 'More Gravy'

Willis Jackson   1965

   Jive Samba

      Album: 'Jackson's Action!'

Willis Jackson   1966

   I Can't Stop Loving You

      Album: 'Soul Night/Live!'

      Recorded March 1964   NYC

      Guitar: Pat Martino

   Together Again, Again

      Album   Recorded 1959/60/61

Willis Jackson   1968

   The Song of Ossahna

      Album: 'Soul Grabber'

Willis Jackson   1975

   Brown Eyed Girl

   Pick Up the Pieces


Willis Jackson   1980

   Nothing Butt...



Birth of Modern Jazz: Willis Jackson

Willis Jackson

Source: Ace Records

Birth of Modern Jazz: Plas Johnson

Plas Johnson

Source: Beginner Saxaphone

Born in 1931 in Donaldsonville, Louisiana, Plas Johnson, tenor sax, made his debut recordings in New Orleans in 1949 for Erline Harris with the Johnson Brothers Combo on Regal (3233): 'Jump and Shout' and 'Never Kissed My Baby'. His next session in New Orleans with the Johnson Brothers Combo was in 1950 for Deluxe Records: 'Our Boogie' and 'Hello Mama', the last with pianist, Ray Johnson (brother), at vocals. With sessions well topping 300 Johnson is said to have averaged two sessions a day during his earlier career. The more considerable portion of his work was with bigger bands and orchestras. One example was Les Baxter's 'Jungle Jazz' in 1958. Another fine example was Billy May's operation with which he first laid tracks on August 1, 1960, for Ella Fitzgerald, that resulting in 'Sings the Harold Arlen Songbook'. Further sessions with Fitzgerald followed into 1961. Johnson would join May again in the latter sixties to 1970. Johnson is perhaps most famous as the saxophonist on Henry Mancini's 'The Pink Panther' per the 1963 soundtrack. Johnson had first laid tracks with Mancini in 1958 in Hollywood per 'Peter Gunn', 'Session at Peter's Pad' and 'Dreamsville'. He would be found with Mancini numerously until February 28 of 1966 in a session bearing 'Satin' Doll' among others. He meanwhile contributed to Shorty Rogers's 'Gospel Mission' in 1963. He participated in Chet Baker's 'Blood, Chet and Tears' in 1970, the same year he signed on to the 'Merv Griffin Show' band. Among highlights during his later career was vocalist, Steve Tyrell from '99 to 2003. Johnson continues to perform as of this writing.

Plas Johnson   1953

   Baby Rock Me

      With Pat Valdeler

   Something's Wrong

      With Woo Woo Moore

Plas Johnson   1955

   Last Call

      With George Jenkins

   Wanna, Wanna, Wanna, Wanna

      With the Ray Johnson Combo

Plas Johnson   1957

   Rockin' with Plas

Plas Johnson   1959


Plas Johnson   1963

   The Pink Panther Theme

      With Henri Mancini

Plas Johnson   1970

   The Odd Couple Theme

Plas Johnson   1975

   The Blues


Plas Johnson   2011

   Sound Check



Born in 1931 in New York City, progressive alto saxophonist Jackie McLean is thought to have first recorded in 1949 with guitarist Charlie Singleton, those two tracks being 'Camel Walkin'' and 'Hard Times Are Coming'. His first track with Miles Davis was 'Conception' on October 5, 1951, that with others such as 'Out of the Blue' and 'Denial'. Such would be issued on the Davis album, 'Dig', in January of 1956., That band was a sextet in which Sonny Rollins played tenor sax and Art Blakey drums. Tommy Potter supplied bass and Walter Bishop piano. A few sessions with Davis followed into '52, another in '55, others not until years later on May 10, 1991, in Paris: 'Out of the Blue', 'Donna' and 'Jean Pierre'. McLean released his first album in 1955, 'Presenting Jackie McLean'. McLean was banned from playing clubs in New York City in 1957, heroin usage resulting in the confiscation of his cabaret card. He was one of not a few jazz musicians whose NYC cabaret ID card was revoked due to drug charges: Chet Baker, Charlie Parker, Thelonious Monk, Elmo Hope, Billy Higgins and Billie Holiday among others. Frank Sinatra flat refused to play in New York City due to having to have a cabaret card. The cabaret identification card had come into usage during the Prohibition and remained law until 1967. Bubble-dancing burlesque star, Sally Rand, had been refused a card in 1947 due to her suggestive wardrobes, but appealed and won. Comedian, Lenny Bruce, lost his card in the sixties, and was banned nigh everywhere else due to obscenity. Unable to play in NYC nightclubs, McLean became dependent on recording. Blue Note Records began producing him in 1959 until new management dropped him in 1968. He then began touring, also starting to teach at the University of Hartford that year. In 1970 he and wife, Dolly, founded the Artists Collective, Inc., dedicated to offering musical alternatives to at-risk youth, the students of which McLean employed in his bands. Among the highlights of his latter career was a session in Copenhagen on July 15, 1973, as one of four altos with Gary Bartz, Lee Konitz and Charlie Mariano, that resulting in such as 'Mode for Jay Mae' and 'Love Choral'. They were joined by Joachim Kuhn (piano), Palle Danielsson (bass) and Han Bennink (drums). McLean's final album was 'Nature Boy' per 1999. He died in Hartford, Connecticut, in 2006, at least 133 sessions behind him, some 59 his own.

Jackie McLean   1951


      Bass: Tommy Potter 

      Drums: Art Blakey

      Piano: Walter Bishop

      Tenor sax: Sonny Rollins

      Trumpet: Miles Davis


      Bass: Tommy Potter

      Drums: Art Blakey

      Piano: Walter Bishop

      Tenor sax: Sonny Rollins

      Trumpet: Miles Davis

Jackie McLean   1955


      Bass: Percy Heath

      Drums: Arthur Taylor

      Piano: Ray Bryant

      Trumpet: Miles Davis

   It's You or No One

      Album: 'Presenting Jackie McLean'

   Lover Man

      Album: 'Presenting Jackie McLean'

   Minor March

      Bass: Percy Heath

      Drums: Arthur Taylor

      Piano: Ray Bryant

      Trumpet: Miles Davis

   The Way You Look Tonight

      Album: 'Presenting Jackie McLean'

Jackie McLean   1957

   Not So Strange Blues

Jackie McLean   1961


   A Fickle Sonance

      Album: 'A Fickle Sonance'

   Let's Face The Music And Dance

      With Kenny Dorham


      Album: 'A Fickle Sonance'

Jackie McLean   1962

   Beautiful Love

   Cabin In the Sky

Jackie McLean   1963

   Love and Hate

Jackie McLean   1964

   Cancellation/It's Time!

      Album; 'It's Time!'


      Album: 'Destination... Out!'


      Album: 'Action Action Action'

   Kahlil The Prophet

      Album: 'Destination... Out!'


      Album; 'It's Time!'

Jackie McLean   1966

   Dr. Jackle

Jackie McLean   1967

   Old Gospel

      Bass: Scott Holt

      Drums: Billy Higgins

      Piano: Lamont Johnson

      Trumpet: Ornette Coleman


Birth of Modern Jazz: Jackie McLean

Jackie McLean

Source: All About Jazz

Birth of Modern Jazz: Don Rendell

Don Rendell

Photo: Heritage Images/Getty

Source: The Guardian

Born in 1926 in Plymouth, England, Don Rendell, began playing alto sax at age fifteen, shifting to tenor sax by 1945 while working at clubs and US military bases in England. He was playing with Oscar Rabin in 1948, recording 'Cherokee' and 'Shine' with Rabin in February of 1949 for Parlophone. He that year began playing with Johnny Dankworth at the Club Eleven, recording with the Johnny Dankworth Seven in May of 1950. His first four tracks with Dankworth were 'Lightly Politely', 'Strike Up the Band', 'Marmaduke' and 'Little Benny'. Joining Dankworth was a highly significant affair (during which he became a Jehovah's Witness in 1952 - a different source says '58) until 1953 when Rendell began playing in London clubs, formed a sextet and played in other bands, including Ted Heath's (1955-56). His initial sessions as a leader had been on June 9, 1954: 'Cool June', 'My Heart Belongs to Dady', 'Little Boy Green' and 'Jerry the Joker'. Rendell left Dankworth and Heath because he didn't care to work with big bands. He nevertheless joined Stan Kenton's outfit when it arrived to the UK on a tour of Europe in 1956, that to result in five sessions with Kenton in Sweden (1) and Germany (4). He then worked with Tony Kinsey a bit (1956-57), formed a group called the Jazz Six and toured with Woody Herman's Anglo-American Herd in 1959. A private session was held with Herman in Manchester on April 15, resulting in such as 'The Preacher' and 'Like Some Blues', et al. 1960 found Rendell performing with Dudley Moore on what would be released in 2004 as 'The First Orchestrations'. Graham Bond played alto sax on that, later to join Rendell's quintet for 'Roarin'' in 1961. In 1962 Bond joined Rendell in what would be released in 2010 as 'Manumission: BBC Jazz for Moderns'. From '63 to '69 he led a quintet with Ian Carr. His first tracks with Carr were in London on January 22, 1964, at the Antibes Jazz Festival. Those would be compiled with another Antibes performance in '68 to be issued in 2001 as 'Live from the Antibes Jazz Festival'. In October 1964 they recorded the album, 'Shades of Blue', issued the next year. Though it was with Carr that Rendell came to major recognition, they separated upon Carr wishing to tour internationally, that not Rendell's bag. Rendell began teaching at the Guildhall School of Music and Drama in London in 1984, and has also taught at the Royal Academy of Music. Lord's discography shows a last session per John Williams' album, 'Tenorama', those titles recorded November 13, 2002. Rendell died in October of 2015. Per 1950 below, all tracks are from his first session with the Johnny Dankworth Seven in May of 1950. Per 1964 through 1969 all tracks are the Don Rendell-Ian Carr Quintet.

Don Rendell   1949


      With Oscar Rabin


      With Oscar Rabin

Don Rendell   1950

   Lightly Politely

   Little Benny


Don Rendell   1955


      Album: 'Meet Don Rendell'

Don Rendell   1964

   Blues for Sally

      Album: 'Live from the Antibe Jazz Festival'

Don Rendell   1965

   Just Blue

      Album: 'Shades Of Blue'

   Shades of Blue

      Album: 'Shades Of Blue'

Don Rendell   1968

   Pavane (Pavanne)

      Filmed live

Don Rendell   1969

   Pavane (Pavanne)

      Album: 'Live'

Don Rendell   1972

   Space Walk

      Album   Don Rendell Quintet

Don Rendell   1975


      With the Joe Palin Trio

      Album: 'Live at the Avgarde Gallery'

Don Rendell   2008

   Love for Sale

      Filmed live at Ashford Jazz Festival

      Vocal: Lee Gibson



Birth of Modern Jazz: Sonny Rollins

Sonny Rollins

Source: Corner Booth


Born in 1930 in New York City, tenor and soprano saxophonist Sonny Rollins first recorded in 1949 with vocalist Babs Gonzales. Those first six tracks were 'Capitolizing' and 'Professor Bop' (recorded in on January 20), and 'Real Crazy', 'Then You'll Be Boppin' Too', 'When Lovers They Lose', and 'St. Louis Blues' (recorded on April 27). Rollins next held a couple sessions with trombonist J.J. Johnson ('Audobahn' and 'Elysee', et al), filling out the year with pianist, Bud Powell's, Modernists on August 8 ('Bouncing with Bud' et al). The greater majority of Rollins' output was in his own name, only about fifty of well above 200 sessions backing others. Rollins' first of several dates with Miles Davis was January 17, 1951: 'Morpheus', 'Down', etc.. Lord's discography has Rollins first recording as a leader on that date per 'I Know'. Rollins was with Davis on some ten sessions into 1957. Two of those in '53 and '56 would be found on Davis' issue of 'Collectors' Items' in December of '56. Charlie Parker was in on the '53 session. Davis' 'Bag's Groove' was recorded in 1954 on June 29 after a date in January with trumpeter, Art Farmer. Another big name to come Rollins' way was pianist, Thelonious Monk, Rollins first supporting Monk on November 13, 1953 in NYC for 'Let's Call This', 'two takes of 'Think of One' and 'Friday the 13th', those for Prestige. Monk was next backing Rollins in Hackensack, NJ, on October 25, 1954, for 'I Want to Be Happy', 'The Way You Look Tonight' and 'More Than You Know'. Six sessions were held with Monk into 1957, one on October 9, 1956, resulting in Monk's 'Brilliant Corners'. It was Tommy Flanagan at piano on June 22, 1956, to back Rollins on 'Saxophone Colossus'. The rest of that quartet was Doug Watkins (bass) and Max Roach (drums). Among titles was Kurt Weill's composition, 'Moritat' ('Mack the Knife'). Roach had become one of Rollins most important partners since 1949 (per above) with J.J. Johnson. They would next record together for Clifford Brown on November 7, 1955, resulting in the album, 'Live at the Beehive'. They would show up together on numerous occasions with Brown, other bands and each other's own as late as 1966. In 1957 Rollins began experimenting with strolling, backing saxophone with only bass and drums in a trio format. In 1958 he released the album, 'Freedom Suite', among his most highly regarded endeavors. In 1959 he took a sabbatical, practicing on the Williamsburg Bridge between Brooklyn and Manhattan to avoid disturbing other apartment dwellers. The result was the 1962 release of 'The Bridge'. In 1966 Rollins created the soundtrack for the film, 'Alfie'. Experimenting with a variety of styles during his career, Rollins entered a disco phase in the seventies, until his 1985 release of 'The Solo Album'. Rollins lived several blocks away from the World Trade Center when it was struck by two planes in an act of war in September 2001. Forced to evacuate, Rollins took with him only his saxophone. In 2007 he played Carnegie Hall in commemoration of his first performance there fifty years prior. In 2013 the Julliard School in NYC awarded him an honorary doctorate in music. A prolific musician releasing upward of sixty albums, Rollins yet performs as of this writing.

Sonny Rollins   1949

   52nd Street Theme

      Piano: Bud Powell   Trumpet: Fats Navarro

   Bouncing With Bud

      Piano: Bud Powell   Trumpet: Fats Navarro


      With Babs Gonzales

   Dance of the Infidels

      Piano: Bud Powell   Trumpet: Fats Navarro


      Trombone: JJ Johnson

   Goof Square

      Trombone: JJ Johnson

   St. Louis Blues

      With Babs Gonzales


      Piano: Bud Powell   Trumpet: Fats Navarro

Sonny Rollins   1954


      Trumpet: Miles Davis

Sonny Rollins   1955

   Toot Toot Tootsie Goodbye

Sonny Rollins   1956

   Moritat (Mack the Knife)

      Album: 'Saxophone Colossus'

Sonny Rollins   1957

   The Eternal Triangle

      Album: 'Sonny Side Up'

      With Dizzy Gillespie & Sonny Stitt

   It Could Happen To You

Sonny Rollins   1958

   The Freedom Suite

Sonny Rollins   1959

   Weaver of Dreams

      Live performance

Sonny Rollins   1962

   Alfie's Theme

   The Bridge


Sonny Rollins   1973

   Alfie's Theme

      Live performance

Sonny Rollins   1974

   Alfie's Theme

      Live in Copenhagen

Sonny Rollins   1982

   Montreal Jazz Festival




Birth of Modern Jazz: Lou Donaldson

Lou Donaldson

Source: Belle Epoque


Born in 1926 in Badin, North Carolina, bop alto saxophonist Lou Donaldson first recorded in 1950 for the Saturn label in NYC with the Charlie Singleton Orchestra: 'The Late Creeper', 'H-Bomb Boogie', 'Never Trust a Woman' (vocal by Freddie Jackson) and 'Earthquake'. A few more sessions with Singleton for Atlas followed before Donaldson found himself added to Milt Jackson's Modern Jazz Quartet, making that a quintet, for tracks on April 7, 1952, per Blue Note: 'Lillie', 'What's New', 'Don't Get Around Much Anymore', et all. That was an earlier configuration of the Modern Jazz Quartet consisting of John Lewis (piano) Percy Heath (bass) and Kenny Clarke (drums). Donaldson was then with Thelonious Monk for Blue Note on May 30 to record such as 'Skippy', 'Hornin' In' and 'Sixteen'. Donaldson's initial name recordings followed on June 20, also for Blue Note: 'Roccus', 'Cheek to Cheek', 'Lou's Blues' and 'The Things We Did Last Summer'. Those would be issued on the album, 'New Faces, New Sounds'. Among Donaldson's more important comrades was pianist, Horace Silver, with whom he played on that album with Gene Ramey (bass) and Art Taylor (drums). Silver performed with Donaldson continuously until 1960, including with Art Blakey. On September 14, 1953, Donaldson joined the Horace Silver Quartet to record 'You Go to my Head' and 'The Way You Look Tonight' among others at, probably, the Birdland in NYC. Other members of that quartet were Jimmy Schenck (bass) and Lloyd Turner (drums). Silver would much later join Donaldson per the albums, 'Sassy Soul Strut' and 'Sweet Lou', recorded in '73 and '74. Another important early associate was drummer, Art Blakey, who participated in Donaldson's second session as a leader on November 19, leading off with 'Sweet Juice' and 'Down Home'. The next year Donaldson would be one of Blakeys' Jazz Messengers broadcasting from the Birdland in NYC on October 31, 1953: 'An Oscar for Oscar' with others, 'Lullaby of Birdland' wrapping it up. Another broadcast from the Birdland followed on February 21, 1954, with 5 sets, 'Wee Dot' and 'Quicksilver' among titles. Blakey also backed Donaldson in Hackensack, NJ, on August 22, 1954, for 'Caracas', 'The Stroller', 'Moe's Bluff' and 'After You've Gone'. He and Donaldson would back organist, Jimmy Smith, together in '57 and '58. Blakey died in 1990, leading to a couple legacy albums released by the Cedar Walton Septet in 1993 of which Donaldson was a member. Among the highlights of Donaldson's career were occasions to record with trumpeter, Clifford Brown, prior to his early death in 1956. The first such opportunity was in NYC on June 9, 1953, with the Clifford Brown Quintet putting down such as 'Carvin' the Rock' and 'Cookin''. Other members were Elmo Hope (piano) Percy Heath (bass) and Philly Joe Jones (drums). Half a year later on February 21, 1954, the two would record 'A Night at the Birdland' with the Art Blakey Quintet. Other members were Horace Silver (piano) and Curly Russell (bass). Yet kicking per this writing with well above a hundred sessions to his credit, Donaldson was elected into the International Jazz Hall of Fame in 1996. In 2012 he was named an NEA Jazz Master by the National Endowment for the Arts.

Lou Donaldson   1950


      Charlie Singleton Orchestra

Lou Donaldson   1952

   If I Love Again

   On the Scene

      Milt Jackson Quintet

   The Best Things In Life Are Free

      Pianist: Horace Silver

   Down Home

      Pianist: Horace Silver

Lou Donaldson   1957

   I Won't Cry Any More

Lou Donaldson   1958

   Blues Walk

      Album: 'Blues Walk'

Lou Donaldson   1962

   The Natural Soul


Lou Donaldson   1963



Lou Donaldson   1967

   Alligator Bogaloo

   Aw Shucks!

Lou Donaldson   1968

   Snake Bone

      Album: 'Say It Loud'

Lou Donaldson   1970

   Everything I Do Gonh Be Funky

   Hamp's Hump

Lou Donaldson   1971

   The Caterpillar

      Album: 'I Want To Make It With You'

Lou Donaldson   1972

   The Long Goodbye

   You Are The Sunshine Of My Life

Lou Donaldson   1981


Lou Donaldson   1984


      Live performance

Lou Donaldson   2000

   Whiskey Drinking Woman

      Live performance

Lou Donaldson   2004

   Live In France

      Concert   Hammond B3: Lonnie Smith



Born in Cincinnati in 1928, Frank Foster, tenor sax, left Cincinnati to join the music scene in Detroit in 1949. Before being drafted in 1951 Foster recorded the year before with Barry Harris in Detroit: 'Santa Fe Shuffle' and 'Hopper Topper'. Upon leaving the army in 1953 he recorded 'You'll Never Know' and 'Maxin' for Maxie' with Eva Foster and the Van Perry Quintet, likely in Los Angeles where he would hold his next session, the first of numerous that would make his career, that with the Count Basie Orchestra on August 13, 1953: 'Plymouth Rock', 'Blues Go Away' and 'One O'Clock Jump'. Foster hung with Basie, also arranging and contributing to compositions, for 17 years. His last session with Basie is thought to have been live at a concert in Budapest on April 16, 1970, those tracks available on a much later CD per 2004 titled 'Good Time Blues'. During his years with Basie and afterward Foster also recorded with a full list of distinguished musicians. One example of such in his early years was Duke Ellington in 1961. An example of such during his latter years was vocalist, Carmen Lundy, in 1994. After Basie, Foster's most significant associate was Elvin Jones. He first recorded in Jones' ensemble in NYC on December 27, 1961, with Thad Jones on cornet: 'Shadowland' and 'Ray-El'. Foster would contribute to numerous titles for Jones in '62, '68, '70 through '78 and '84. Jones also supported Foster on a couple of the latter's albums: 'The Loud Minority' in 1972 and 'Well Water' in 1977. Of Foster's nearly 400 sessions, most with Basie, he's listed in Tom Lord's discography as a leader only 27 times. His first recordings as such were with a quartet in Paris for Vogue on April 4, 1954, yielding 'My Heart Stood Still', 'Just Forty Bars', et al. His ensemble consisted of Henri Renaud (piano) Jean-Marie Ingrand (bass) and Jean-Louis Viale (drums). Two years after the death of Count Basie in 1984 Foster succeeded Thad Jones as director of the Count Basie ghost orchestra, whereat he remained until 1995. He thereafter recorded on occasion variously until a couple years before his death 2011 in Chesapeake, Virginia.

Frank Foster   1953

   Plymouth Rock

     With Count Basie

  Softly, With Feeling

     With Count Basie

Frank Foster   1954

   How I Spent the Night

Frank Foster   1960

   Blues in Frankie's Flat

      Film with Count Basie

   Who Me?

      Film with Count Basie

Frank Foster   1974

   The Loud Minority

  Requiem for Dusty

Frank Foster   1976

   Been Here and Gone


  Square Knights of the Round Table

  Sweet Mirage

Frank Foster   1977


Frank Foster   1979

   Live At the Hnita Jazz Club


Frank Foster   1994

   Live in Burghausen

      25th Internationale Jazzwoche


Birth of Modern Jazz: Frank Foster

Frank Foster

Source: Deces des Celebrites


Birth of Modern Jazz: Von Freeman

Von Freeman   2009

Photo: Michael Wilderman

Source: Point of Departure

Born in 1923 in Chicago, tenor sax man Von Freeman played his first professional gig at age sixteen in the band of Horace Henderson. During World War II he served in the Navy in Hawaii. Upon discharge he returned to Chicago to play at the Pershing Hotel Ballroom with his brothers, George (guitarist) and Eldridge (drummer). Freeman's debut recording experience is thought to have been a session with the Charlie Parker Sextet at the Pershing on October 23, 1950: 'Indiana', 'I Can't Get Started', 'Anthropology', 'Out of Nowhere' and 'Get Happy'. Freeman also performed with Sun Ra during his early days in Chicago. In November of 1954 Freeman recorded with the rhythm and blues band, the Maples. Those two tracks were '99 Guys' and 'I Must Forget You'. One of the bigger names with whom Freeman recorded was Jimmy Witherspoon and the Riley Hampton Orchestra on January 16, 1959: 'Kansas City', 'Everything But You' and 'I Know I Know'. Freeman's first name recording as a leader didn't occur until 1972 per the album, 'Doin' It Right Now'. During the seventies and eighties Freeman played Monday nights at the Enterprise Lounge and Tuesday nights at the New Apartment Lounge, both in Chicago. Among the highlights of his latter career were tracks with pianist, Francesco Crosara, in 1998 yielding such as 'Dolphin Dance' and 'Passion'. Freeman was made a Jazz Master by the National Endowment for the Arts in 2012, the same year his heart failed him in Chicago. Freeman's son is the horn player, Chico Freeman.

Von Freeman   1955

   99 Guys

      With the Maples

   I Must Forget You

      With the Maples

Von Freeman   1956

   After Dark

      With Andrew Hill

   Down Pat

      With Andrew Hill

Von Freeman   1972

   Doin' It Right Now

      Album: 'Doin' It Right Now'

Von Freeman   1981


      With Chico Freeman

Von Freeman   1983


      New Years Eve live at the Jazz Showcase

Von Freeman   1988

   Tenor Battle

      Filmed live with Clifford Jordan

Von Freeman   1992

   I Love You


      Live in Belgium

Von Freeman   1996


Von Freeman   1998

   So What

      Live at the New Apartment Lounge

Von Freeman   2002

   Blues for Sunnyland Slim

      Filmed live

Von Freeman   2010

   Blame It On My Youth

      Live at the New Apartment Lounge

   Live at the New Apartment Lounge


Von Freeman   2011

   Bewitched Bothered and Bewildered

      Filmed live



Born in 1930 in Eastman, Georgia, bebop tenor saxophonist Hank Mobley began his jazz career playing local clubs in Newark, New Jersey. His career was early energized upon meeting Dizzy Gillespie and Max Roach at age 19 (1949). His first recordings took place in 1950 (per 45worlds), cutting ten tracks with the Paul Gayten Orchestra in NYC for the Regal label: 'Goodnight Irene' and 'Oh, La La' et al. JazzDisco also has him with Gayten on 'Christmas Blues' with vocalist, Larry Darnell, probably recorded in August 1950 for release in November by Regal (3298). By April 10, 1953, Mobley was ready to lay his first tracks with Roach and His Sextet in NYC: 'Orientation', 'Mobleyzation', 'Glow Worm' and 'Sfax'. Another session with Roach followed on April 21 ('Just One of Those Things' et al)before Mobley recorded his first titles as a leader on September 28, 1953: 'Ow' and 'There's a Small Hotel' among others not issued until years later on a CD by Uptown: 'Newark 1953'. Roach was perfect preparation for a career amidst stellar talents, Mobley to hold his next sessions with Gillespie on May 24, 1954, in NYC, that resulting in Gillespie's 'Manteca'. Mobley showed up to three other sessions with Gillespie that year before moving on with Horace Silver, with whom he would find himself teamed numerously from '55 to '57 both in each other's bands and those of others. Mobley's first tracks with Silver were as a member of Silver's quintet recording in Hackensack, NJ, on November 13, 1954: 'Room 608' and 'Stop Time' among other titles with Kenny Dorham (trumpet), Doug Watkins (bass) and Art Blakey (drums) also in the group. Those were issued on the album, 'Horace Silver and the Jazz Messengers'. Among other of their multiple sessions was the one held on March 27, 1955, that resulting in Mobley's debut record album, 'Hank Mobley Quartet'. Their last session on May 8, 1957, was also for Blue Note in Hackensack, resulting in Silver''s 'The Stylings of Silver'. One of Mobley's more numerous partners was trumpeter, Donald Byrd, from December 2, 1955, to May 26, 1967. The first date of their twelve-year relationship was to record 'Byrd's Eye View'. They recorded often both in each other's ensembles and those of others. Their last date in '57 was for Mobley's album, 'Far Away Lands'. Another highly regarded talent with whom Mobley recorded often was trumpeter, Lee Morgan. Their first such occasion was November 5, 1956, to record 'Introducing Lee Morgan' per Mobley's quintet also consisting of Hank Jones (piano), Doug Watkins (bass) and Art Taylor (drums). Eleven years of countless recordings together brought them to their last session on February 24, 1967, for Mobley's 'Third Season'. Mobley began 1960 by recording the album, 'Soul Station' followed by 'Roll Call'. 'Workout' and 'Another Workout' ensued in '61. But not before his debut tracks with trumpeter, Miles Davis, on March 7, 1961, yielding 'Drad-dog' and 'Pfrancing' upon several takes of each. Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums) were also in on that. Mobley backed Davis on six sessions that year. The last was live at Carnegie Hall with the Gil Evans Orchestra on May 19: 'So What', 'Concierto de Aranjuez', et al. From 1967 to 1969 Mobley toured and recorded in Europe ('The Flip' per Paris). His final plate for Blue Note was 'Thinking Of Home' in 1970, though not released until a decade later. Mobleys last album, 'Breakthrough!', was issued in 1972 for Cobblestone Records, later on Muse. Mobley had to largely cease performing in the seventies due to poor lung health. He died of pneumonia in 1986.

Hank Mobley   1950

   Goodnight Irene

      With Paul Gayten

Hank Mobley   1953


      Drums: Max Roach

   Lullaby of Birdland


      Drums: Max Roach

Hank Mobley   1955

   Hank's Prank

   Just Coolin'

      Pianist: Horace Silver

   Pennies From Heaven

      Piano: Horace Silver

      Trombone: JJ Johnson

   Walkin' the Fence

Hank Mobley   1956

   These Are The Things I Love


Hank Mobley   1957


Hank Mobley   1960

   My Groove Your Move

      Album: 'Roll Call'

      Drums: Art Blakey

      Trumpet Freddie Hubbard

   Roll Call

      Album: 'Roll Call'

      Drums: Art Blakey

      Trumpet Freddie Hubbard

   Soul Station

      Album   Pianist: Wynton Kelly

   Take Your Pick

      Album: 'Roll Call'

      Drums: Art Blakey

      Trumpet Freddie Hubbard

Hank Mobley   1961

   The Best Things In Life Are Free

   Hello, Young Lovers

      Pianist: Wynton Kelly

   I Should Care

      Pianist: Wynton Kelly

Hank Mobley   1967

   Far Away Lands

      Album   Keys: Cedar Walton

Hank Mobley   1968

   Goin' Out of My Head

      Album: 'Reach Out'

Hank Mobley   1969

   18th Hole

      Album: 'The Flip'

   Early Morning Scroll

      Album: 'The Flip'

Hank Mobley   1970


      Album: 'Thinking of Home'


      Album: 'Thinking of Home'

   You Gotta Hit It

      Album: 'Thinking of Home'

Hank Mobley   1972


      Album: 'Breakthrough!'

      Keys: Cedar Walton


Birth of Modern Jazz: Hank Mobley

Hank Mobley

Photo: Francis Wolff

Source: Private Press

  Born in 1928 in Lawrenceville, Virginia, tenor saxophonist/flautist, Seldon Powell, trained in classical before joining Tab Smith in 1949. He next worked for Lucky Millinder, recording King 4398 ('Clap Your Hands'/'Who Said Shorty Wasn't Coming Back') with him on February 23, 1950. Those were made available on later Millinder compilations such as 'Shorty's Got to Go 1942-1952' and 'Let It Roll Again 1949-1955'. Powell's more than 355 sessions amounted to a vast galaxy of musicians he supported, impossible to cover very well in this small space. Among his most frequent recording partners for years to come was trombonist, Jimmy Cleveland. Cleveland and Powell first recorded together on October 9, 1955, with Sonny Stitt and the Quincy Jones Orchestra: 'If You Could See Me Now', 'Quince', etc.. They would back other bands together numerously as late as February 12, 1969, for Hank Crawford per 'Mr. Blues Plays Lady Soul'. In 1956 they released the LP, 'Seldon Powell Sextet Featuring Jimmy Cleveland'. Another frequent compatriot was Thad Jones, with whom Powell also first recorded with Stitt and Jones per above. Thad Jones and Powell would back the Leiber-Stoller Big Band in 1960, and record together occasionally thereafter, including in Jones' orrchestra, as late as 1973 with Jimmy Witherspoon. Frank Wess would also show up on a lot of recordings with Powell. Their first session together was in Hackensack, NJ, on March 27, 1958, for Billy VerPlanck's 'The Spirit of Charlie Parker'. Bobby Jaspar was also in on that. They would find themselves teamed together on numerous occasions with various bands as late as 1974 per Les McCann's 'Another Beginning'. They found occasion to record together again in 1990, that for Joe Williams: 'Winter Wonderland', 'Christmas Waltz', et al. Among the highlights of Powell's career in the latter fifties was opportunity to work with Billy Taylor and Herbie Mann in 1959: 'St. Thomas', etc.. Powell saw more of Taylor per the latter's 'Brazilian Beat' in 1963. The next he recorded with Mann was a high-powered deal in 1973, backing T-Bone Walker. Those sessions with Walker also included Charles Brown, Dizzy Gillespie, Gerry Mulligan, etc.. Among the lesser known was a session with Rose Murphy in 1962 for 'Jazz, Joy and Happiness', and Pat Bowie's 'Out of Sight' in 1964. Among sessions between was with Cal Tjader in May of '64, yielding the latter's 'Warm Wave'. Another session with Tjader in '66 resulted in the latter's 'Soul Burst'. Powell had issued his first LP, 'Seldon Powell', in 1955. Over the next fifty years Powell recorded about 13 albums as a leader or co-leader. He had graduated from Juilliard in 1957 before working with Benny Goodman, though doesn't seem to have recorded with him. During the sixties Powell worked as a staff player for the ABC broadcasting system. During the seventies he issued 'Messin' With' ('73) and 'More Shame' ('75'). 1986 saw the release of 'Flutin' The Bird...Bird Lives!'. In 1992 he recorded 'Swinging for the Count' with the Basie Alumni before his last two sessions in 1993 yielding his album, 'End Play', and Joe Wilder's 'No Greater Love'. Powell died in January of 1997 in Hempstead, New York. Per 1956 below, the full album title is 'Seldon Powell Sextet Featuring Jimmy Cleveland'.

Seldon Powell   1950

 Clap Your Hands

      With Lucky Millinder

  Who Said Shorty Wasn't Coming Back

      With Lucky Millinder

Seldon Powell   1955

  Seldon Powell


Seldon Powell   1956

  Seldon Powell . . . Jimmy Cleveland


Seldon Powell   1957

  You Can Depend On Me

      Vocal: Mary Ann McCall

Seldon Powell   1963

  A Blues Serenade

      LP: 'Bill English'

 Sel's Tune

      LP: 'Bill English'

Seldon Powell   1973

  Afro Jazz

      LP: 'Messin' with Seldon Powell'


      LP: 'Messin' with Seldon Powell'

Seldon Powell   1975

  More Shame


Birth of Modern Jazz: Seldon Powell

Seldon Powell

Source: rippletunes

Birth of Modern Jazz: Tina Brooks

Tina Brooks

Source: Blue Note

Born Harold Floyd Brooks in 1932 in Fayetteville, North Carolina, tenor saxophonist Tina Brooks got his nickname, Tina (Tiny), as a child, being small and withdrawn. He first worked professionally with blues pianist Sonny Thompson in 1951. He also first recorded with Thompson on January 31 of 1951 in Cincinnati, OH, for the King Label, those four tracks in session order: ''Jumping With the Rhumba King', 'Gone Again Blues', 'Uncle Sam Blues', and 'Smoke Stack Blues'. Brooks began working with Lionel Hampton in 1955. He was also associated with trumpeter, Little Benny Harris, during his earlier career. It wouldn't appear, however, that he recorded again for another seven years, that in NYC with organist, Jimmy Smith, on February 25 ('The Sermon') before his session in March of 1958 in Hackensack, NJ, to record the tracks to his album, 'Minor Move'. That wouldn't see issue until 1980, six years after Brooks' death. A couple more sessions with Jimmy Smith followed before his initial tracks with guitarist, Kenny Burrell, on May 14 that year, resulting in Burrell's LP, 'Blue Lights'. Brooks would contribute to Howard McGhee's 'The Connection' in June of 1960, Freddie Hubbard's 'Open Sesame' the same month, as well as put down his album, 'True Blue'. In August that year he participated in Freddie Redd's 'Shades of Redd', Jackie McLean's 'Jackie's Bag', and recorded his album, 'Back to the Tracks', in October. A session followed with Redd in January of '61 before Brooks recorded the LP, 'The Waiting Game' in March. From thereon he dropped into obscurity, heroin his demon. he died at age 42 in 1974 in New York City of liver failure. Albeit Brooks' output was even more limited than his brief career, he belongs on this page as a musician with great potential but for a chemical.

Tina Brooks   1958

   Au Privave

      Alto sax: Lou Donaldson

      Drums: Art Blakey   Guitar: Kenny Burrell

      Organ: Jimmy Smith   Trumpet: Lee Morgan


      Alto sax: Lou Donaldson

      Drums: Art Blakey   Guitar: Kenny Burrell

      Organ: Jimmy Smith   Trumpet: Lee Morgan

   The Sermon

      Alto sax: Lou Donaldson

      Drums: Art Blakey   Guitar: Kenny Burrell

      Organ: Jimmy Smith   Trumpet: Lee Morgan

Tina Brooks   1960

   For Heaven's Sake

   Nothing Ever Changes My Love For You

   True Blue

Tina Brooks   1961

   One For Myrtle

      Drums: Philly Joe Jones   Trumpet: Johnny Coles

   Stranger in Paradise

      Drums: Philly Joe Jones   Trumpet: Johnny Coles

Tina Brooks   1980

   Everything Happens to Me

      Recorded 1958

   Minor Move

      Recorded 1958


      Recorded 1958



Born in 1935 in London, Tubby Hayes is thought to have first recorded saxophone in 1951 with the Kenny Baker Orchestra: 'I Only Have Eyes For You'/'I Can't Get Started'. It was 1955 that he formed an octet and recorded in his own name for the first time, to release the album, 'The Little Giant'. In 1957 he would help Ronnie Scott form the highly regarded British version of Art Blakey's Jazz Messengers (first formation in 1947), the Jazz Couriers. That ensemble recorded numerously until March 25, 1959 at the Tivoli Restaurant in Morecambe, tracks made from available in a limited edition of 500 on a CD titled 'Tippin'' issued in 2012. 1959 was the year Hayes began leading his band at Ronnie Scott's jazz club in London, recording there numerously for the next decade. The last such occasion was a BBC television broadcast on August 24, 1969, 'yielding such as 'Blues for Pipkin' and 'The Inner Splurge'. Hayes' first trip to America was in 1961 to play at the Half Note in New York City. He appeared in his first film that year as well: 'All Night Long'. In addition to leading his own bands (some 98 sessions out of some 185) Hayes was a preferred session musician. In 1972 he toured Norway and Sweden. His final recordings are thought to have been in on March 23 of 1973 in London: 'Mayday!', 'Challoner's Wood', 'Acropolis' and 'Hanner-Philia'. He died in June 1973 during his third heart operation in London. Hayes plays flute on 'Voodoo Session' below.

Tubby Hayes   1951

   I Can't Get Started

      With Kenny Baker

Tubby Hayes   1952

   Art's Theme

      With Art Baxter

Tubby Hayes   1954

   Walkin' Shoes

      With Vic Lewis

Tubby Hayes   1955

   Final Selection

   Peace Pipe

Tubby Hayes   1956

   A Tribute

Tubby Hayes   1957

   A Foggy Day

      Jazz Couriers

Tubby Hayes   1958

   The Moon Was Yellow

Tubby Hayes   1959

   Hook's Way

   Like Someone to Love


   Tin Tin Deo

Tubby Hayes   1961




Tubby Hayes   1964

   Voodoo Session

Tubby Hayes   1965

   Suddenly Last Tuesday

      Trumpet: Jimmy Deuchar

Tubby Hayes   1972

   Rhythm a Ning

   Vierd Blues


Birth of Modern Jazz: Tubby Hayes

Tubby Hayes

Source: Jazz Wax

Birth of Modern Jazz: Oliver Nelson

Oliver Nelson   1959

 Source: Cover Jazz
Born in 1932 in St. Louis, Missouri, saxophonist, Oliver Nelson, began training on piano at age six, moving to saxophone at eleven. He was only 18 when he joined Louis Jordan's band, one of the hottest around. He began recording numerously with Jordan in June, July and November of 1951, his first five tracks on the 5th of June: 'If You're So Smart How Come You Ain't Rich?', 'Trust in Me', 'Louisville Lodge Meeting', 'Happy Birthday Boogie'. In 1952 he found himself in the Marines, serving in Japan and Korea as a band member, whence he began composing. After release from military service Nelson recorded several tracks in December of 1954 with Tommy Dean, that would end up on the 1989 album, 'Deanie Boy Plays Hot Rhythm and Blues'. Nelson also studied composition and theory at a couple universities in Missouri, graduating with a master's in 1958. He had meanwhile completed the first two of above ten concert works: 'Divertimento for Chamber Orchestra', in 1956 and 'Sonata for E-Flat Alto Sax and Piano' the next year (recorded in 2006). Upon receiving his degree Nelson headed for Harlem where he became house arranger at the Apollo Theater. He there began performing with big names, finding himself for a short time in 1959 with Louie Bellson in Los Angeles to record 'The Brilliant Bellson Sound', released the next year. His own debut album was recorded in October that year back in New Jersey: 'Meet Oliver Nelson'. He was backed by some serious talent on that: Ray Bryant (piano), Kenny Dorham (trumpet), Wendell Marshall (bass) and Art Taylor (drums). He recorded prolifically in the years to follow, also arranging for countless others such as Quincy Jones, Gene Ammons, Herbie Mann and Shirley Scott. Between '62 and '66 he did arrangements on six albums by guitarist, Johnny Smith. Having orchestrated Sonny Rollins' soundtrack for 'Alfie' ('66), in 1967 Nelson moved to Los Angeles to work in television and film. Shows to which he contributed include 'Ironside', 'Night Gallery', 'Columbo' and 'The Six Million Dollar Man'. Among his film scores were 'Death of a Gunfighter' ('69), 'Skullduggery' ('70) and 'Zig Zag' ('70). He arranged Gato Barbieri's '72 soundtrack, 'Last Tango in Paris'. Nelson completed his last concert work, 'Fugue and Bossa' in 1973 (recorded 2002). He issued his last LP, 'Stolen Moments', several months before his premature death of heart attack at age 43 in October 1975 in Los Angeles. Per 1951 below, all tracks are with Louis Jordan.

Oliver Nelson   1951

   Bone Dry


   How Blue Can You Get?

   May Every Day Be Christmas

Oliver Nelson   1959

   Jams and Jellies

      Album: 'Meet Oliver Nelson'

   What's New

      Album: 'Meet Oliver Nelson'

Oliver Nelson   1961

   The Blues and the Abstract Truth


Oliver Nelson   1966

   Flute Salad

      Album: 'Sound Pieces'

   Sound Pieces for a Jazz Orchestra

      Album: 'Sound Pieces'

Oliver Nelson   1968

   A Penthouse Dawn

      Album: 'Jazzhattan Suite'


  Born in Memphis, Tennessee, in 1934, Bennie Ross "Hank" Crawford Jr. played piano as a child, not taking up alto saxophone until high school. He is thought to have begun touring with BB King at age 17, first recording on alto sax with King in 1952 for Virgin Records (#363): 'You Know I Love You'. In that group were Ike Turner (piano), Ben Branch (tenor sax), Tuff Green (bass) and Phineas Newborn Sr. (drums). Crawford entered Tennessee State University in 1958. While there he was hired by Ray Charles, thereat beginning an illustrious career in both jazz and rhythm & blues as Charles' musical director. His first recordings with Charles were at the Newport Jazz Festival on July 5, 1958, leading off with 'Hot Rod' and wrapping the set with 'The Blues'. His last recordings with Charles is thought to have been at the Shrine Civic Auditorium in Los Angeles on September 20, 1964, two parts of 'Makin' Whoopee' included. The next year Charles and Crawford backed Percy Mayfield on 'The Hunt Is On' and 'Life Is Suicide' for Tangerine Records. He reunited with Charles in 1978 at the Montreux Jazz Festival with Dizzy Gillespie, 'How Can You Get In' among the titles available on the Charles' CD, 'Live at the Montreux Jazz Festival'. Crawford's first album as a leader was recorded in 1960, then released the next year: 'More Soul'. Among the drummers with whom Crawford often worked in his latter career was Bernard Pretty Purdie whom Crawford first hired in 1969 to record his album 'Mr. Blues Plays Lady Soul', in February. Crawford backed Purdie on several of his own sessions as a leader in 1997. Purdie last appeared with Crawford on the latter's 1999 album, 'Crunch Time'. Recording into the new millennium, beginning with the album, 'The World of Hank Crawford' and Jimmy Scott's 'Mood Indigo' in 2000, Crawford died in 2009. Per below, all edits for 1989 are filmed live with Jimmy McGriff at piano.

Hank Crawford   1952

 You Know I Love You

   With BB King 

Hank Crawford   1958

 I Got a Woman

   With Ray Charles 

Hank Crawford   1960

 Newport Jazz Festival

   With Ray Charles 

Hank Crawford   1961

 Dat Dere

  Album: 'More Soul'


  Album: 'More Soul'

Hank Crawford   1972

 Uncle Funky

   Guitar: Cornell Dupree

Hank Crawford   1975

 Love Won't Let Me Wait

Hank Crawford   1977

 Teach Me Tonight

Hank Crawford   1989

 Everyday I Have The Blues

 Frame For The Blues

 K.C. Blues


 You Send Me


Birth of Modern Jazz: Hank Crawford

Hank Crawford

 Source: Jazz Colombia

Birth of Modern Jazz: Joki Freund

Joki Freund

 Source: JazzMa

For a musician so well-regarded as tenor saxophonist, Joki Freund, there is little information to be found about him. Born in Germany in 1926, he began his professional career upon release from military service. He played with Joe Klimm in 1951, and is thought to have made his first recordings with pianist, Jutta Hipp, in 1952. Freund was an arranger for the Jazz Ensemble of the Hessischer Rundfunk, as well as the Erwin Lehn Orchestra which he joined in 1962. Freund passed away in February of 2012.

Joki Freund   1954

   Ack Varmeland Du Skona

      Piano: Jutta Hipp

   Frankfurt Special

      Piano: Jutta Hipp


      Piano: Jutta Hipp

   Simon/Cool Dogs/Yogi

      Album: 'Cool Europe'   Piano: Jutta Hipp

Joki Freund   1963


      Album: 'Yogi Jazz'


      Album: 'Yogi Jazz'


      Album: 'Yogi Jazz'



Birth of Modern Jazz: Gil Mellé

Gil Mellé

Source: Blue Note

Born in 1931 in New York City, composer Gil Mellé began playing sax professionally at age 16 in Greenwich Village nightclubs. In 1952, age 19, he signed his first recording contract with Blue Note resulting in his first recordings, the album 'New Faces - New Sounds'. He would issue a number of albums before turning his attention to soundtracks. Among the some 125 scores he created was for the 1971 film, 'The Andromeda Strain'. He also composed scores for television, such as 'Columbo', 'Kolchak' and 'The Six Million Dollar Man'. Mellé took jazz a realm or so beyond, as several of the tracks below reveal. He was also a painter and sculptor, creating album covers for various fellow musicians. Mellé died of heart attack in 2004 in Malibu, California.

Gil Mellé   1952


      Vocalist: Monica Dell

Gil Mellé   1953


   Timepiece/Lover Man

   Venus/Under Capricorn

Gil Mellé   1955

   Life Begining At Midnight

   Night Train To Wildwood

Gil Mellé   1956

   Ballet Time


   Long Ago and Far Away

   Moonlight In Vermont

   The Set Break

Gil Mellé   1968

   Tome VI


Gil Mellé   1971

   The Andromeda Strain

      Film Score

   Subway Chase

      Album: 'The Organization'

Gil Mellé   1989


Gil Mellé   1996



Birth of Modern Jazz: Stanley Turrentine

Stanley Turrentine

Source: Blue Note
Born in 1934 in Pittsburgh, PA, tenor saxophonist, Stanley Turrentine, was son to Thomas Turrentine Sr., saxophonist with Al Cooper's Savoy Sultans. His brother, Tommy, was a professional trumpet player and his mother played stride piano. Turrentine had begun his professional career at age sixteen and was a long way from home when he recorded his first tracks for Ray Charles in either 1950 [Lord's disco] or 1951 ['Jazz Survivor' by Marshal Royal '96]. Of those five titles Swingtime 274 saw issue per 45worlds in February of 1952 as 'Kissa Me Baby'. That was side A to 'I'm Glad for Your Sake' from a prior session with Turrentine absent. Soulfulkindamusic has 'The Snow Is Falling'/'Misery in My Heart' from that session issued in 1953 per Swing Time 326. 'Hey Now' from that session eventually saw issue on the 2004 Charles CD compilation, 'The Complete Swing Time and Down Beat Recordings'. In 1953 Turrentine replaced John Coltrane in Earl Bostic's outfit, complemented by Blue Mitchell at trumpet. Four sessions from June 6 of 1953 to May 27 of 1954 netted titles such as 'Melancholy Serenade', 'The Very Thought of You', 'These Foolish Things', 'Ubangi Stomp', et al. In April of 1959 Turrentine joined the band of Max Roach to record 'Rich Versus Roach', an LP shared by Buddy Rich. Turrentine participated in five more of Roach's albums from 'Quiet as It's Kept' in July of '59 to 'Parisian Sketches' in March 1 of 1960. Along the way Roach contributed to Turrentine's debut LP gone down in January of 1960: 'Stan 'The Man' Turrentine'. His crew on that was George Duvivier (bass), Tommy Flanagan (piano) in the first session and Sonny Clark (piano) in the second. Roach and Turrentine had also backed Abbey Lincoln's 'Abbey Is Blue' in 1959 and Tommy Turrentine's 'Tommy Turrentine' in January 19, 1960. Among the more important organists with whom Turrentine worked was, Jimmy Smith, for whom we return to April 25, 1960, and several tracks that would get issued variously, such as 'The Incredible Jimmy Smith: Midnight Special' in 1961 and 'The Incredible Jimmy Smith: 'Back at the Chicken Shack' in 1963. Turrentine supported nine more of Smith's projects to as late as 'Fourmost Return' at Fat Tuesdays' in November of 1983 with Kenny Burrell (guitar) and Grady Tate (drums). Smith contributed to Turrentine's 'Straight Ahead' in latter 1984. Burrell had been present in April of 1960 for Smith's 'Back at the Chicken Shack'. Together with backing other operations together, like titles toward 'One Night with Blue Note Preserved Vol 3' on February 22, 1985, Burrell contributed to multiple Turrentine sessions from August of 1962 toward 'Jubilee Shout!!!' ('78) to 'The Sugar Man' in early 1971. Turrentine participated in Burrell's 'Midnight Blue' on January 8 of 1963. October 22 of 1964 saw titles toward Burrell's 'Freedom' issued in '79. Another organist to play a major role in Turrentine's career was Shirley Scott whom Turrentine had married from 1960 to 1971. Come June 2, 1961, it was Scott's 'Hip Walk'. Seven more Scott LPs ensued to 'Soul Song' in latter 1968. Scott participated in no less than seven of Turrentine's LPs from 'Dearly Beloved' on June 8 of 1961 to 'Common Touch' on August 30, 1968. Scott was present with Bob Cranshaw (bass) and Otis Candy Finch (drums) for the recording of Turrentine's 'Hustlin'. Together with backing other enterprises together on occasion, such Donald Byrd, Herbie Hancock and Horace Silver, Cranshaw provided rhythm on well above ten Turrentine issues to 'Always Something There' in October of 1968. Their last mutual session is thought to gave been on November 6 of 1968 toward Scott's 'Soul Song'. Another important bassist was Ron Carter for whom we return to 'Up with Donald Byrd' on December 16, 1964. Together with backing other operations, such as Astrud Gilberto's, Freddie Hubbard's and Jimmy Smith's, Carter participated in no less than 15 Turrentine albums from 'Let It Go' in April of '66 to 'If I Could' in May of 1993. Their last mutual session is thought to have been for pianist, Benny Green's, 'Kaleidoscope' in June of 1996. Another important drummer was Grady Tate for whom we back up to 'Up with Donald Byrd' on December 16, 1964. Together with backing other ensembles, such as Jimmy Smith's, Tate contributed sticks to no less than five Turrentine albums from 'Joyride' in April of '65 to 'If I Could' in May of 1993. Along with albums co-led by such as Shirley Scott, Turrentine left a catalogue of sixty-one albums. His final went down in February of 1999: 'Do You Have Any Sugar?'. He died of stroke on September 12 of 2000 in New York City. Among numerous others on whose recordings Turrentine can be found along a path of 202 sessions are Dizzy Reece, McCoy Tyner, Mongo Santamaria, Jimmy McGriff, the CTI All Stars and Gene Harris.

Stanley Turrentine   1960

   Live in France

     Drums: Max Roach

     Trombone: Julian Priester

    Trumpet: Tommy Turrentine

   Lotus Blossom

      Album: 'Quiet as It's Kept'

   Quiet as It's Kept

      Album: 'Quiet as It's Kept'

Stanley Turrentine   1961

   Come Rain Or Come Shine

   Stolen Sweets

Stanley Turrentine   1963

   Midnight Blue

      Album: 'A Chip Off the Old Block'

Stanley Turrentine   1964


Stanley Turrentine   1966

   Feeling Good

      Album: 'Rough N Tumble'


      Album: 'The Spoiler'

Stanley Turrentine   1967

   The Return of the Prodigal Son


Stanley Turrentine   1970


Stanley Turrentine   1972

   Night Wings

Stanley Turrentine   1982

   I Remember You

      Vibes: Milt Jacksn

Stanley Turrentine   1985

   Scratch My Back

      Filmed live

     Drums: Grady Tate

      Guitar: Kenny Burrell 

     Organ: Jimmy Smith

Stanley Turrentine   1989


      Television broadcast

Stanley Turrentine   1992

   In a Sentimental Mood


  Born in 1929 in Huntington, West Virginia, funk jazz master, Rusty Bryant, was raised in Columbus, Ohio, before romping with Tiny Grimes and Stomp Gordon, before forming the Carolyn Club Orchestra in 1951. He first recorded in 1952 with that band. 45Cat has Bryant on 'Castle Rock' b/w 'Nite Train' issued in 1953 on Carolyn (45-333). Tom Lord's discography has 'Castle Rock' b/w 'All Night Long' issued by Dot (15134). Bryant's next releases would be with Dot Records as well, recorded in '53, issued in '54, 'House Rocker' among them. Bryant's initial album was released in 1955, the something confidently titled: 'America's Greatest Jazz'. The second volume followed in 1961. Also figuring large in Bryant's career were pianist, Hank Marr. Marr was present in the group with which Bryant had first recorded along with Warren Stephens (guitar), Fred Smith (bass) and Jimmy Rogers (drums). In 1962 Bryant began backing Marr's own bands into latter '64. Among others with whom Bryant worked was Boogaloo Joe Jones in 1972 for his album,'Snake Rhythm Rock'. Having switched from King and New Frontier to the Prestige label in '68 for 'That Healin' Feelin'', 'Rusty Bryant Returns', 'Soul Talk' and 'Night Train Now' followed in '69 before 'Soul Liberation' in 1970. 1971 witnessed the albums, 'Fire Eater' and 'Wild Fire'. 'Friday Night Funk' appeared in '72, 'For the Good Times' in '73, 'Until It's Time for You to Go' in '74. Bryant issued his final of thirteen albums in 1980: 'Rusty Rides Again with Boss 4'. He surfaced on Jimmy McGriff's 'The Starting Five' in 1986. Performing locally in Columbus in his final years, he there died in March of 1991. Per 1956 below, 'America's Greatest Jazz' is a collection of recordings previously released by Dot from 1954 to 1955/56. Per 1972 tracks are from the LP, 'Friday Night Funk for Saturday Night Brothers', unless otherwise indicated.

Rusty Bryant   1953

   All Nite Long (Night Train?)

      With the Carolyn Club Band   Piano: Hank Marr

  Castle Rock

     With the Carolyn Club Band   Piano: Hank Marr

Rusty Bryant   1956

   America's Greatest Jazz


Rusty Bryant   1957

   Rusty Bryant Plays Jazz


Rusty Bryant   1961

   America's Greatest Jazz Vol II


Rusty Bryant   1969

   Cootie Boogaloo

      LP: 'Night Train Now!'

   Funky Mama

      LP: 'Night Train Now!'

   Streak o' Lean

      LP: 'Rusty Bryant Returns'

   With These Hands

      LP: 'Night Train Now!'

   Zoo Boogaloo

      LP: 'Rusty Bryant Returns'

Rusty Bryant   1971

   Fire Eater

      LP: 'Fire Eater'

  The Hooker

      LP: 'Fire Eater'

Rusty Bryant   1972

   Blues for a Brother

   Friday Night Funk

   Mercy, Mercy, Mercy

   Wild Fire

      LP: 'Wild Fire'

Rusty Bryant   1973

   Ga Gang Gang Goong

      Album: 'For the Good Times'


Birth of Modern Jazz: Rusty Bryant

Rusty Bryant

Source: All Music

  Born Curtis Ousley in Ft. Worth in 1934, King Curtis was an R&B and, later, soul saxophonist who swam with the blues, jazzed, and rocked as well. Curtis began playing sax at age twelve. At age eighteen  Curtis seems to have known exactly what to do: head for New York City and find employment as a session musician. Which he did, also putting together a quintet and releasing his first 45 the next year in 1953 (Gem 208: 'Tenor In the Sky' b/w 'No More Crying On My Pillow'). Of the 140 sessions that Lord's disco ascribes to Curtis, the majority were R&B customers such as Big Joe Turner ('58, '59), Ruth Brown ('58, '59, '60) and LaVern Baker ('58, '59, '60, '61). He issued his first two albums in 1959: 'The Good Old Fifties' and 'Have Tenor Sax, Will Blow'. Musicvf has Curtis placing his composition, 'Soul Twist', on Billboard's R&B at #1 in February of 1962. It was a hand of years before he saw the Top Ten again, first in August of '67 at #6 for his composition, 'Memphis Soul Stew', followed the next month by Bobbie Gentry's 'Ode to Billy Joe'. Curtis was murdered by knife twelve years later in August of 1971, age only 37, during an altercation with a couple drug dealers outside his residence in New York City. He had recorded 'Live at Fillmore West' that year in San Francisco, and 'Blues at Montreux' in Switzerland on June 17, the latter with Champion Jack Dupree (piano/vocals), Cornell Dupree (guitar) and Jerry Jemmott (electric bass). Assistance with composers on some of Curtis' releases on 45 RPM. Songwriting credits to some of his later soul recordings at Discogs 1, 2, 3. See also australiancharts. More King Curtis in Blues 4 and Rock 1.

King Curtis   1953

   Tenor In the Sky

      First issue

      Composition: King Curtis (Curtis Ousley)

King Curtis   1960

   Lazy Soul

      Composition: King Curtis

King Curtis   1961

   So Rare

      Composition: Jerry Herst/Jack Sharpe

King Curtis   1967

   Ode to Billie Joe

      Composition: Bobbie Gentry


Birth of Modern Jazz: King Curtis

King Curtis

Source: Jigsaw

Birth of Modern Jazz: Gigi Gryce

Gigi Gryce

Source: Jazz Wax

Born George General Grice Jr. in 1925 in Pensacola, alto saxophonist, Gigi Gryce, pursued a degree in classical composition at the Boston Conservatory while studying jazz on the side. His first real professional work was arranging for Sabby Lewis in 1948. 1953 was a big year for Gryce. He recorded his first tracks with the Max Roach Sextet in NYC on April 10, followed in May with Howard McGhee, June with Clifford Brown and Tadd Dameron, August with Roach and Wes Montgomery for Clifford King Solomon, September in Europe with both Lionel Hampton and Annie Ross, as well as the first of numerous sessions as a leader in Paris: 'Paris the Beautiful' and 'Purple Shades'. Gryce performed with a full load of some of the more talented names in jazz. Among them was pianist, Thelonious Monk, who joined Gryce with Percy Heath (bass) and Art Blakey (drums) on his album, 'Nica's Tempo', on October 15, 1955. ("Nica" referred to bebop patroness, Kathleen Annie Pannonica Rothschild.) Gryce backed Monk on a couple sessions in '57 as well, including the album, 'Monk's Music'. Come trumpeter, Donald Byrd, and double bassist, Oscar Pettiford, on August 12, 1955, recording tracks for the latter's album, 'Another One'. Byrd and Gryce would back each on sessions in '57 (notably Gryce's Jazz Lab Quintet to record 'Love for Sale', 'Geraldine' and 'Minority'). Pettiford would continue with Gryce into 1957. Another big name about that time was drummer, Teddy Charles, Gryce backing Charles per a few sessions in January of '56. In 1959 he picked up trumpeter, Richard Williams, who stuck with Gryce until 1961 when Gryce suddenly retired to become a public school teacher on Long Island, adopting his Muslim name, Basheer Qusim. (Gryce had become Muslim while in college.) His last couple sessions in New York City in 1961 were eventually issued by Uptown on CD, including 'Blues in Bloom' and 'Dancing the Gigi'. In 1978 Gryce took a master's degree from Fordham University. Lord's discography has him at 100 sessions, 28 his own by 1961, a couple decades before his death in 1983 of heart attack in Pensacola, Florida.

Gigi Gryce   1953

   All The Things You Are

      With Clifford Brown

   All Weird (Take 2)

      With Clifford Brown

   Conception (Blue Concept)

      With Clifford Brown


      With Howard McGhee


      With Clifford Brown

   No Start, No End

      With Clifford Brown


      With Clifford Brown

   Purple Shades

   Salute to the Bandbox

      With Clifford Brown


      With Howard McGhee

Gigi Gryce   1954

   Blue Concept

      With Art Farmer

   A Night At Tony's

Gigi Gryce   1955

   Blue Lights

      With Art Farmer

   Oh Yeah

      Piano: Duke Jordan

Gigi Gryce   1957


      With Donald Byrd & the Lab Quintet

Gigi Gryce   1958


      Piano: Bill Evans

Gigi Gryce   1960



   Back Breaker

   Blues In the Jungle


   Monday Through Sunday

      Album: 'The Rat Race Blues'

   Sonor (Sonar)

      Unissued demo disc


   Take the 'A' Train


  Born in 1931 in Helena, Arkansas, James Red Holloway, played banjo and harmonica as a child before taking up tenor sax at age twelve. He played in his high school band and attended the Chicago Conservatory of Music before joining the Army, becoming bandmaster for the U.S. Fifth Army Band. Returning to Chicago after his tour was up, he gigged with such as Yusef Lateef and Dexter Gordon, joining Roosevelt Sykes in 1948. Just so, rhythm n blues were the heavy element in Holloway's jazz. Playing Chicago clubs with all number of name blues and jazz artists (Billie Holiday, Muddy Waters, et al), he began doing session work in 1952. In latter 1952 he recorded a number of tracks with vocalist, Bobby Prince and the Al Smith Orchestra: 'Tell Me Why, Why, Why', 'I Want to Hold You', et al, issued in January of '53. Among sessions to come with Smith's operation was one in 1953 with Big Bertha Henderson for the Chance label, bearing 'Rock Bertha Rock' and 'Tears In My Eyes'. He also backed the doo-wop group, the Flamingos, on 'Carried Away' that year. 1955 found him in the studio for the Club 51 label with the Four Buddies and the Lefty Bates Orchestra. It was next to saxophonist, Gene Ammons, that Holloway began coming on strong, first recording with Ammons on June 13 of 1961. Tracks from those sessions would be found on 'Soul Summit Volume 2' ('62) and 'Velvet' Soul ('64). He would join Ammons' orchestra again in 1972 for the latter's album, 'Free Again'. It was also that June session with Ammon that Holloway first laid tracks with trumpeter, Clark Terry. Holloway and Terry would occasionally record together until 2003 as the Statesmen of Jazz, to issue the album, 'A Multitude of Stars' the next year. It was with Brother Jack McDuff, however, that Holloway found his bond for the next decade. His first of numerous LPs with McDuff was issued in 1963: 'Brother Jack McDuff Live!'. The last session of his first period with McDuff was in Berkeley, CA, 1972, for the latter's album, Check This Out'. Latter periods with McDuff were in the eighties, then nineties into the new millenium. It was also 1963 that Holloway released his initial album as a leader: 'The Burner'. With Holloway found on at least 138 sessions he backed a wide variety of musicians. 1973 saw Holloway with John Mayall, issuing 'The Latest Edition'. Another session with Mayall was held at Philharmonic Hall in NYC on July 5 before touring internationally. Titles per that included 'Country Road' and 'My Time Will Come'. Another highlight in the seventies was Sonny Stitt, they releasing 'Forecast: Sonny & Red' together in 1976. They would later record together in Norway in 1981: 'Blue n' Boogie', 'Star Dust', 'Wee' and 'Finale'. Of note in the eighties was Holloway's first session with Etta James and Eddie Cleanhead Vinson in Los Angeles in May of '86, resulting in the album, 'Blue in the Night'. Another session that May resulted in 'The Late Show'. In 1994 Holloway backed James on 'Mystery Lady', a compilation of Billie Holiday tunes. He was with James yet again per the release of 'Blue Gardenia' in 2001. Among highlights in the nineties were recordings with Axel Zwingenberger at the Jazzland in Vienna, Austria, in the summer of 1992. Among highlights in the new millennium were recordings with the Swiss group, Blue Flagships. The first were in Switzerland in 2002, another tour in 2010 resulting in titles, thought to be his final tracks. Holloway died a month after James in February 2012 of stroke and kidney failure. His last two albums had been issued in 2009: 'Go Red Go!' and 'Meets the Bernhard Pichi Trio'. Per 1952 below, Holloway is first tenor sax but not featured. Second tenor sax is Oett Mallard. Per 1963 below, all tracks are from Holloway's debut album as a leader, 'The Burner', unless otherwise remarked.

Red Holloway   1953

   Carried Away

      With the Flamingos

   Rock, Daddy, Rock

      Vocal: Big Bertha Henderson

   Tell Me Why, Why, Why

      Vocal: Bobby Prince

Red Holloway   1963


   Brother Jack McDuff Live!


   The Burner

   Crib Theme

   Miss Judy Mae

   Moonlight in Vermont

Red Holloway   1964

   Live in Antibes 1

      Brother Jack McDuff Quartet

      Filmed live

      Drums: Joe Dukes

      Guitar: George Benson

   Live in Antibes 2

      Brother Jack McDuff Quartet

      Filmed live

      Drums: Joe Dukes

      Guitar: George Benson

Red Holloway   1965

   Good and Groovy

      Album: 'Red Soul'

   Making Tracks

      Album: 'Red Soul'

Red Holloway   1989

   Locksmith Blues

      Trumpet: Clark Terry

Red Holloway   1997

   Watermelon Man

      Album: 'In the Red'

Red Holloway   2001

   Pass the Gravy

      Tenor Sax: Plas Johnson

      Drums: Kenny Washington

      Guitar: Melvin Sparks

      Organ: Gene Ludwig


Birth of Modern Jazz: James Red Holloway

James Red Holloway

Source: New York Times
  Born in Kingston, Jamaica, in 1928, Joe Harriott played alto sax with several bands for several years in Jamaica before posing as a band member on a cruise ship to the UK in 1952, which was easy because he belonged to the band as well. From there it was London's nightclubs with a string of bands before beginning to record in 1954. His first session with any indication of a date was with his own quartet in February for Melodisc: 'Summertime', 'April in Paris', 'Cherokee' and 'Out of Nowhere'. Those may not have been released until 1960 on an EP titled, 'Cool Jazz'. Harriott's next session was in April with Kenny Graham's Afro Cubists, assumed to have been issued that year by Esquire: 'The Continental', 'Cottontail', 'Fascinating Rhythm' and 'Blues in the Night'. A session in May with the Tony Kinsey Trio yielded 'Last Resort', 'Best Behaviour', 'How Deep Is the Ocean' and 'Get Happy', though not released until 1956 on an Esquire EP titled 'Tony Kinsey Trio with Joe Harriott'. In autumn he recorded several tracks with Buddy Pipp's Highlifers, thought to have been released only in Africa: 'Ghana Special', 'Sway', 'Akee Blues' and 'Positive Action'. Harriott recorded several more tracks with the Tony Kinsey Trio in autumn of 1954, Esquire issuing 'Chirracahaua' and 'Teddi' that year. Harriott focused on bebop in the fifties, then began exploring free form in the early sixties, assembling a free from quintet with trumpeter, Shake Keane. Representative of Harriott's work during that period were the albums, 'Free Form' ('60), 'Abstract' ('62) and 'Movement' ('63). Harriott's early approach to free form jazz was considerably more buttoned up than free form would come to be (Albert Ayler's incontinent recordings perhaps the best example of the obliteration of music). But free form didn't have a lot audience in Great Britain (not like it would in Germany), such that when Keane left Harriott's quintet in '65 it was time to move onward with Michael Garrick, then explore Indo fusion with Indian composer, John Mayer. 1969 saw the release of 'Hum Dono', an album that should have kept Harriott from financial desperation. He instead became ill, and was only 44 years old when he died of cancer in 1973 in Southampton, Hampshire. He'd last recorded in September of '69, such as 'Confirmation' and 'Body and Soul' later issued on CD by Jazz Academy. With him were William Haig-Joyce (piano) and Coleridge Goode (bass).

Joe Harriott   1954

   Get Happy

      Not thought released until 1956:

      'Tony Kinsey Trio with Joe Harriott'

   Ghana Special

      With Buddy Pipp's Highlifers


      Released 1960 on 'Cool Jazz'


      With the Tony Kinsey Trio

Joe Harriott   1960


      Album: 'Free Form'

Joe Harriott   1962


      Album: 'Abstract'

Joe Harriott   1963

   Morning Blue

      Album: 'Movement'

Joe Harriott   1966

   Indo Jazz Suite

      Album with John Mayer

Joe Harriott   1967


      Album: 'Indo-Jazz Fusions'

      With John Mayer

Joe Harriott   1968

   Abstract Doodle

      Album: 'Personal Portrait'

Joe Harriott   1969

   Ballad for Goae

      Album: 'Hum Dono'

   Hum Dono

      Album: 'Hum Dono'

   In a Sentimental Mood

      Television broadcast

      With Stan Tracey's Big Brass


Birth of Modern Jazz: Joe Harriott

Joe Harriott

Source: All Music

Birth of Modern Jazz: Steve Lacy

Steve Lacy

Source: Aula Electro Acustica

Born Steven Norman Lackritz in 1934 in New York City, Steve Lacy, soprano sax, began his career at age sixteen as a Dixieland musician before moving on to bebop and more avant-garde expressions. Lacy first recorded on August 8, 1954, toward the issue of 'Jazz Idiom' by the Dick Sutton Sextet. His next session in December was also with Sutton, toward the release of 'Progressive Dixieland'. Recordings with Tom Stewart, Whitey Mitchell and Joe Puma were made in 1956 before work on Cecil Taylor's first album, 'Jazz Advance', followed by tracks with Taylor at the Newport Jazz Festival in 1957. Come Gil Evans on September 2 for the first of three sessions to issue 'Gil Evans and Ten' that year. While working with Evans Lacy recorded his debut name album, 'Soprano Sax', on November 1 for release in '58. 'Reflections followed in letter '58. Evans would continue to be a big figure in Lacy's career, attending numerous sessions for Evans in the sixties, latter seventies and eighties. Another frequent associate was pianist, Mal Waldron, who had backed Lacy on 'Reflections' in '58. Lacy later backed Waldron on the latter's album, 'Journey Without End', in 1971, thereafter often through the years to 1994, Waldron backing Lacy that year on 'Communique'. Waldron would side for Lacy one last time in 2002 per the album, 'One More Time'. Lacy began the sixties per a session with Thelonious Monk in August 1960 for CBS Radio at the Quaker City Jazz Festival in Philadelphia, PA, that yielding such as 'Evidence' and 'Straight, No Chaser'. He would join Monk again in December 1963 for the latter's album, 'Big Band and Quartet In Concert'. Lacy first visited Europe in 1965 with pianist, Kenny Drew. Other than marriage to one Irene Aebi, other highlights in the latter sixties were sessions with bassist, Giovanni Tommaso. His first such occasion was for drummer, Max Roach, on April 27, 1968, during a radio broadcast in Rome, that to yield Roach's 'Sounds As a Roach'. Sessions in Rome in 1969 would bear Tommaso's 'Indefinitive Atmosphere'. A session on March 23, 1970, would result in Tommaso's 'The Healthy Food Band'. Other than moving to Paris in 1970, highlighting that decade was work with guitarist, Derek Bailey. Bailey first backed Lacy on 'Saxophone Special' in December of 1974, then 'Dreams' in '75. They would hold multiple sessions until 1985, notably on Bailey's 'Company' albums 4 through 7. In 1983 they co-led 'Outcome'. Highlighting the eighties were Lacy's contributions to the album by various, 'A Tribute to Thelonious Monk', in 1984 per the tracks 'Ask Me Now', 'Evidence', 'Gallop's Gallop' and 'Bemsha Swing'. Lacy returned to America in 2002 to teach at the New England Conservatory of Music in Boston. He prolifically attended well above 330 sessions during his career, some 180 of those his own. His final is thought to have been a concert in Boston on March 12, 2004, resulting in the album, 'Last Tour'. He died in June 2004 of cancer.

Steve Lacy   1956

   Let's Get Lost

      With Tom Stewart

Steve Lacy   1957

   Johnny Come Lately

      Newport Jazz Festival

      Piano: Cecil Taylor

Steve Lacy   1958

   Day Dream

   Lover Man


Steve Lacy   1960



Steve Lacy   1961


      Album   With Don Cherry

Steve Lacy   1963

   Monk's Dream

      Composition: Thelonious Monk

Steve Lacy   1977


Steve Lacy   1982

   The Flame


      Filmed Live in Paris

Steve Lacy   1983


      Piano: Misha Mengelberg

Steve Lacy   1984


      Piano: Mal Waldron

Steve Lacy   1987

   Only Monk


Steve Lacy   1989

   Number One

      Live performance

Steve Lacy   1997

   Peggy's Blue Skylight

      Piano: Mal Waldron


      Piano: Mal Waldron



Birth of Modern Jazz: Emil Mangelsdorff

Emil Mangelsdorff

Source: Red Hot Hottentots

Born in Frankfurt in 1925, Emil Mangelsdorff played clarinet, flute and soprano sax, though he was most familiar to audiences as an alto saxophonist. He was the elder brother of trombonist, Albert Mangelsdorff. Mangelsdorff began studying clarinet at the Hoch Conservatory in Frankfurt in 1942. During World War II he was arrested as a member of the Frankfurt Hot Club, an underground jazz band. Not all jazz was illegal in National Socialist Germany, but Mangelsdorff belonged to the wrong group. During the Third Reich there was either "Aryan jazz" or “Neger musik,” the latter believed to be barbaric. Such as scat singing, improvisational riffs, or plucking a double bass rather than bowing it, were against the law. The counterculture to the Nazi Party's Hitler Youth was Swing Youth (Swing Kids), of which Mangelsdorff was a part. Mangelsdorff was arrested by the Gestapo in association with a member of his band, Horst Lippmann, who had published a newsletter listing swing jazz broadcasts by the BBC and Radio Stockholm. Mangelsdorff was then drafted into the Nazi army, after which he became a Russian POW. Upon release he returned to Frankfurt, where he began his (legal) professional career in 1949 by becoming a member of Joe Klimm's combo. His first known recording session was with Jutta Hipp on April 13, 1954. Among those titles were 'Simone' and 'Mon Petit' among others. Eleven days later they recorded such as 'Cleopatra', 'Ghost Of a Chance', 'Blue Skies' and 'Variations' among others. Tracks selected from both sessions were made available on Hipp's 1954 album, 'New Faces - New Sounds From Germany'. His most significant partner throughout his career, saxophonist, Joki Freund, was in on that. To say the one was nigh as to say the other throughout the decades right up to their final session in Frankfurt in 2008 to record 'Unauffallige Festansage' and 'Sichuan'. Mangelsdorff's first session as a leader was live at the Sopot Jazz Festival in Gdansk, Poland, on July 15, 1957: 'I Got Rhythm', 'The Blue Room' and 'After You've Gone'. Another of Mangelsdorff's frequent partners was saxophonist, Hans Koller, first recording as a member of Mangelsdorff's ensemble in Frankfurt in June of '58, featured on 'Almost Dawn' and 'Adlon 1925'. The next decade saw numerous sessions together until Mangelsdorff's 'New York City' recorded on January 18, 1968, in Villingen. Mangelsdorff began a relationship with the Hessischen Rundfunks Broadcasting Corporation (HRBC) in 1959, his debut recordings with the HR Jazzenzemble that year on January 21, featuring Inge Brandenburg on vocals: 'Easy Living', 'What a Difference a Day Made' and 'Moonglow'. Countless sessions for HRBC were held to 1993, the HR Jazzensemble to resume recording again from 2000 to his final session, per above, with Freund in 2008. Among the highlights of Mangelsdorff's career was the recording of 'Vier Temperamente' as one of the Frankfurt All Stars with Joki Freund, that issued in '56. Another were tracks with the Frankfurt Jazz Ensemble, also with Freund, on April 21, 1975, bearing 'Lord Snowdon's Remorese', 'Tunc-bilek', 'Ebony Moonbeams' and 'Street Stories'. As of this writing Mangelsdorff yet performs.

Emil Mangelsdorff   1954


      Piano: Jutta Hipp

   Simon/Cool Dogs/Yogi

      Album: 'Cool Europe'

     Piano: Jutta Hipp

Emil Mangelsdorff   1964

   Ciacona in F Minor

      Flute: Emil Mangelsdorff

Emil Mangelsdorff   1966

   Swinging Oil Drops!


Emil Mangelsdorff   1969

   Icy Acres

      Album: 'Wild Goose'

      Guitar/vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund

   Fourth Flight

      Album: 'Wild Goose'

      Guitar/vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund


      Album: 'Wild Goose'

      Guitar/vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund

   Snowy Sunday

      Album: 'Wild Goose'

      Guitar/vocal: Colin Wilke

       Vocal: Shirley Hart

       Tenor sax: Joki Freund

Emil Mangelsdorff   2011


      Filmed live

Emil Mangelsdorff   2012

   Night In Tunisia

      Filmed live


  Born in Corsicana, Texas, in 1933, David Fathead Newman played piano as a child before taking up flute and sax. It was in a high school band class that he acquired "Fathead'" as a nickname. His teacher, noticing Newman's score was upside down on his music stand, jokingly thumped him aside the head and called him a fathead. Which all, including Newman, thought funny, the name to stay. (I myself fell asleep in history classes but did well in math, due partially to a joking teacher who paid attention to me with a ruler to the back of the hand. That was after I got in trouble for assigning funny names to students during some other class. The teacher thought them insulting, my fellow brats not supposed to laugh when I had to read the names I'd given them in front of the class. it is hoped that none greatly suffered.) After a couple years in college Newman toured with the Buster Smith band before joining Ray Charles in 1954 to play baritone sax, with whom he first recorded in November that year: 'Black Jack', 'I've Got A Woman', 'Greenbacks' and 'Come Back Baby'. Releases quickly occurred the next month in December. Newman's first album as a leader was also with Charles, released in 1959: 'Fathead: Ray Charles Presents David Newman'. After making his name with Charles, until 1964, Newman found himself in large demand as a session player, backing some of the bigger names in blues, rhythm and blues, jazz, disco and rock, such as Herbie Mann (1968, 1972-77, '88, '92, '95), Aretha Franklin, BB King, Joe Cocker and Dr. John. Newman died in Kingston, New York, of pancreatic cancer in January 2009. Newman plays variously on flute or sax on tracks below. All tracks for 1954 are with Ray Charles. The track for 1958 is from the album, 'Fathead: Ray Charles Presents David Newman'.

David Fathead Newman   1954

  Black Jack

   Come Back Baby


   I've Got A Woman

David Fathead Newman   1958

  Hard Times

David Fathead Newman   1961

  Cousin Slim

    Album: 'Straight Ahead'

David Fathead Newman   1963

  Birth Of A Band

    Television performance with Ray Charles

David Fathead Newman   1971

  Lonely Avenue

David Fathead Newman   1977

  Rock Me, Baby

   Album: 'Scratch My Back'

David Fathead Newman   1978

  Keep the Dream Alive

   Album: 'Keep the Dream Alive'

David Fathead Newman   1980

  Carnegie Blues

   Album: 'Resurgence!'

David Fathead Newman   1999


   Album: 'Resurgence!'

  Live in Philadelphia

   Filmed live

David Fathead Newman   2006

  Live in Woodstock

   Filmed live


Birth of Modern Jazz: David Fathead Newman

David Fathead Newman

Source: All About Jazz

Born in 1931 in Springfield, Massachusetts, Phil Woods first recorded alto saxophone in 1947, at age 16, in his parent's home with other teenage friends like Joe Morello and Sal Salvador. Those tracks weren't issued until much later on a CD called 'Bird's Eyes' the Italian Philology label. Though Woods played saxophone he studied clarinet at Julliard because saxophone wasn't taught. He thus played some fine clarinet as well as alto sax. It is thought that Woods first issued commercially per sessions on August 11, 1954, with guitarist Jimmy Raney: 'Stella by Starlight'/'Jo Anne' and 'Back and Blow'/'Five'. His initial recordings as a leader followed in October with 'Pot Pie', 'Open Door', 'Robin's Bobbin'' and 'Mad About That Girl', released on the album, 'Phil Woods New Jazz Quintet', that year. 'Phil Woods New Jazz Quartet' ensued in '55. In terms of sessions, Woods was even more prolific than Frank Wess, approaching 700 of them with 149 his own. A couple important arrangers were Manny Albam with whom Woods worked numerously from '55 to '66 ('82 as well) and Oliver Nelson from 1960 to '67. The more important orchestras in which he performed were those of Quincy Jones and Michel Legrand. Woods had first recorded with Jones per Dizzy Gillespie in NYC on June 6, 1956, Jones arranging titles like 'Hey Pete' and 'Jessica's Day'. Jones and Woods accompanied Gillespie on a tour to South America that year before Woods' first tracks with Jones leading on September 19 that year: 'A Sleepin' Bee' and 'Boo's Blues'. Those were followed on the 29th by 'Stockholm Sweetnin' and 'Walkin''. The last Woods sat in Jones' band was twenty years later in 1976 in Los Angeles for 'Superstition' (Stevie Wonder). Woods' first titles for Legrand were per the latter's 1957 album, 'Legrand In Rio', recorded in New York City. Numerous sessions followed over the years to 1982, Woods appearing on Legrand's 'After the Rain' that year. They had co-led the album, 'Images', in 1975. Woods backed so many artists over the decades that a tome is requisite only to list them, among such: Neal Hefti ('Hot 'N Hearty' '55 and 'Pardon My Doo-Wah' '58), Bob Prince ('56, '59), the Sauter-Finegan Orchestra ('58, '59), Candido Camero ('59), Big Miller ('59), Thelonious Monk ('59, '63, '67), Buddy Rich ('59, '78), Kenny Burrell ('59, '63-'67), Benny Goodman ('62), Joe Williams ('62, 63, '96), Jimmy Smith ('62-'66), Irene Reid ('65), Paul Simon ('75), Steely Dan ('75), Billy Joel ('77) and Dianne Reeves ('96). Between 1968 and 1972 Woods lived in Europe, leading the avant-garde band, the European Rhythm Machine. In 1973 Woods formed the bebop quintet with which he performed for the rest of his career. In 1978 Woods helped found the annual Celebration of the Arts Festival (COTA) in Delaware Water Gap, Pennsylvania. Lord's discography has his last tracks with his quintet per November 10, 2014, issued as 'Live at the Deer Head Inn'. Woods died on September 29, 2015 in East Stroudsburg, PA. All tracks for 1956 below are from Wood's third album, 'Woodlore', recorded in November of '55. Several of the tracks below are live performances.

Phil Woods   1956


      Piano: Mose Allison

Phil Woods   1957

   There Will Never Be Another You

Phil Woods   1959

   Wee Dot

      Piano: Mose Allison

      Tenor sax: Al Cohn and Zoot Sims

Phil Woods   1968

   Sunrise Sunset

      Trumpet: Art Farmer

Phil Woods   1975

   Spring Can Really Hang You Up the Most

Phil Woods   1987

   Poor Butterfly

Phil Woods   1989

   Hi Fi

       Saxophone: David Sanborn

       Vocal: Abbey Lincoln

Phil Woods   1990


      With Tito Puente

Phil Woods   1993

   I'll Never Stop Loving You


   You And The Night And The Music

Phil Woods   1996

   You Never Know

Phil Woods   1997

   I Wanna Be a Bebopper

       Piano: Ben Sidran

Phil Woods   1998

   Goodbye Mr. Evans

Phil Woods   2000


       Original composition: Dizzy Gillespie

       Trumpet: Clark Terry

Phil Woods   2001

   Easy to Love

   Watch What

       Bass: Eric Lagace

      Drums: Ray Brinker

       Piano: Michel Legrand

   You Must Believe In Spring

       Bass: Eric Lagace

      Drums: Ray Brinker

       Piano: Michel Legrand

Phil Woods   2005

   I'll Remember April

      Quartet with strings

Phil Woods   2006

   People Time

       Original composition: Benny Carter


Birth of Modern Jazz: Phil Woods

Phil Woods

Source: Pate's Place

Birth of Modern Jazz: Pepper Adams

Pepper Adams

Source: Theatre Encyclopedia


Born Park Frederick Adams III in 1930 in Highlands Park, Michigan, baritone saxophonist, Pepper Adams, played his first professional gigs in 1946 with Ben Smith, dropping out of school in 11th grade due to work demand. Upon moving to Detroit with his mother that year he played with Willie Wells and Little John Wilson before gaining career momentum upon becoming a member of Lucky Thompson's band. After a time in the military, serving in Korea, Adams then played with Thad Jones at the Blue Bird Inn in Detroit, replacing Jones as musical director upon Jones leaving to join Count Basie's orchestra. In 1954 he left the Blue Bird to work with guitarist, Kenny Burrell. Adams isn't known to have recorded before April of 1956, participating in 'Trane's Strain' with bassist, Paul Chambers, and saxophonist, John Coltrane, to be found on an album by various artists titled, 'Jazz in Transition', with bassist Paul Chambers. Adams would see a lot of Chambers into the sixties. He would record with Coltrane a few more times in '56, '57 and '58. On April 20 of '56 Adams and Coltrane contributed to Chambers' album, 'High Step'. In April of '57 Adams contributed to 'Baritones and French Horns' (released again in 1963 as 'Dakar') with Coltrane. 1958 saw him on tracks with Coltrane and Gene Ammons, such as 'The Real McCoy' and 'That's All'. One of Adams most frequent early recording companions was alto saxophonist, Lennie Niehaus, with whom he first laid tracks with the Stan Kenton Orchestra on November 3, 1956, at the Macumba Club in San Francisco, several tracks taped between 'What's New' and 'Artistry in Rhythm'. Those were Adam's debut tracks with Kenton. Niehaus and Adams seem to have last recorded together with double bassist, Howard Rumsey, in Los Angeles on March 12, 1957, yielding 'Funny Frank', 'If You Are There' and 'That's Rich'. Another frequent partner with whom Adams first played at the Macumba was drummer, Mel Lewis, with whom he recorded numerously throughout the decades as late as December of 1983 in NYC, recording 'The Duke' among others for RCA Victor. Another partner significant to Adams' early career was trumpeter Chet Baker, beginning with the recording of the soundtrack to the film, 'The James Dean Story', on November 8, 1956 in Los Angeles. His last recordings with Baker seem to have been with pianist, Bill Evans, on July 21, 1959, contributing baritone sax to the album 'Chet Baker Plays the Best of Lerner and Loewe'. Having participated in nearly 300 sessions during his career, Adams backed the heavenly host of jazz. To list but a few doesn't represent the lot but one might begin with Charles Mingus with whom Adams performed on numerous albums, beginning with tracks for 'Mingus Newly Discovered - The Rarest On Debut', recorded September of '57 in NYC but not released until 1987. They recorded 'Blues & Roots' in February of 1959. In 1958 Adams formed a working relationship with Donald Byrd that was pursued through the sixties. Adams and Byrd first recorded together in NYC with the Johnny Griffin Sextet on February 25 of '58 ('Stix' Trix' et al). Drummer, Philly Joe Jones, was in on that. Numerous sessions, especially with Byrd's own ensembles, followed until the recording of Byrd's 'The Cat Walk' in 1970. Among the jazz luminaries with whom Adams recorded was Ella Fitzgerald on April 10, 1959, for the television broadcast of 'Swing into Spring', also featuring Lionel Hampton and Peggy Lee. In April of 1960 Adams, Paul Chambers and guitarist, San Salvador, participated in the obscure album by bandleader, Tony Zano, 'The Gathering Place'. Adams first recorded with vibraphonist, Teddy Charles, in 1961 in a quintet led by Adams and Byrd in NYC, two takes each of 'Bird House' and 'Day Dream' among others. Adams backed Charles in the latter's band on a couple occasions before last recording together per Adam's album, 'Pepper Adams Plays the Compositions of Charlie Mingus'. More significant to Adam's career was trumpeter, Thad Jones. They first saw studio together in two sessions in September 1963 with Chambers, to record 'Pepper Adams Plays the Compositions of Charlie Mingus', released in '64. They would partake in numerous recordings to 1977 in Nice, France, in concert with Mel Lewis. Adams had first recorded as a leader in Hollywood on July 10, 1957, for his album 'Pepper Adams Quintet'. Mmembers of that ensemble were Stu Williamson (trumpet), Carl Perkins (piano), Leroy Vinnegar (bass) and Mel Lewis (drums). Tom Lord's discography has Adams on 25 sessions as a leader up to June of '85 to record the album, 'The Adams Effect'. Tours to Europe produced recordings in France in '69 and '77. During his latter years Adams shuttled between Europe and New York City on several occasions. In 1983 he recorded at Fat Tuesday's (Scheffel Hall) in Manhattan toward the release of 'Live at Fat Tuesday's'. That same year Adams' leg was crushed between his auto and his garage door when the parking brake slipped, requiring about a year to recover. In March of 1985 Adams was diagnosed with lung cancer, beginning radiation treatments that summer. Largely debilitated, he gave his final performance at the Montreal Jazz Festival in July of 1986. He died the following September in Brooklyn of lung cancer.

Pepper Adams   1955

   Trane's Strain

      Bass: Paul Chambers

Pepper Adams   1956

   High Step

      Bass: Paul Chambers

Pepper Adams   1957


      Drums: Mel Lewis

      Trumpet: Lee Katzman

   Baubles Bangles and Beads

   Bloos, Blooze, Blues

   Freddie Foo

   Heavy Dipper

      Album: 'The Cooker'

      Trumpet: 'Lee Morgan'


   My One and Only

   Night In Tunisia

      Album: 'The Cooker'

      Trumpet: 'Lee Morgan'

   Seein' Red

Pepper Adams   1958


      Lennie Niehaus Octet

   The Long Two/Four

      Drums: Elvin Jones

      Trumpet: Donald Byrd

Pepper Adams   1960

   Bitty Ditty

      Bass: Paul Chambers

      Drums: Louis Hayes

      Guitar: Kenny Burrell

      Piano: Tommy Flanagan

      Trumpet: Donald Byrd


      Bass: Paul Chambers

      Drums: Louis Hayes

      Guitar: Kenny Burrell

      Piano: Tommy Flanagan

      Trumpet: Donald Byrd

Pepper Adams   1964

   Haitian Fight Song

Pepper Adams   1966

   H and T Blues

Pepper Adams   1967

   Cotton Tail/Straight, No Chaser

Pepper Adams   1968


      Tenor sax: Zoot Sims

   The Long Two/Four

      Album: '10 To 4 At The 5 Spot'

       Trumpet: Donald Byrd

Pepper Adams   1969

   Billie's Bounce

Pepper Adams   1974

   Once Around

      Montreaux Jazz Festival

      Drums: Mel Lewis

      Trumpet: Thad Jones

Pepper Adams   1978

   Straight, No Chaser

      Live performance

Pepper Adams   1983

   Alone Together

      Live at Fat Tuesday's

   Bye Bye Blackbird

      Live in Bloomfield, New Jersey

Pepper Adams   1984




Birth of Modern Jazz: Cannonball Adderley

Cannonball Adderley

Source: Napster


Born Julian Edwin Adderley in Tampa in 1928, hard bop alto and soprano saxophonist Cannonball Adderley left Florida for New York City in 1955, where he got his initial break sitting in with Oscar Pettiford at the Cafe Bohemia. Adderley is thought to have laid his first tracks with his brother, Nat Adderley, with the Kenny Clarke Septet in June of 1955, resulting in the album, 'Bohemia After Dark'. His first album released under his own name was 'Presenting Cannonball Adderley' in 1955, recorded in July, also with his brother, cornet and trumpet player, Nat Adderley. He and Nat would often perform together throughout their careers. Cannonball's engine got fitted with turbo in '58 and '59 per Miles Davis. On February 4 he contributed to the album, 'Milestones'. Numerous sessions with Davis were seen until their last at the Birdland in NYC on August 25, 1959, yielding 'So What'. Members of Davis Sextet on that were John Coltrane (tenor sax), Red Garland (piano) Paul Chambers (bass) and Philly Joe Jones (drums).       During his Miles Davis period Adderley also began working with pianist, Bill Evans. On May 26, 1958, the two recorded 'On Green Dolphin Street', 'Fran-Dance', and 'Love for Sale' with the Miles Davis Sextet. (Twelve takes of 'Stella By Starlight' were put down in that session with Adderley out.) Evans was a frequent companion into the early sixties. Another of Adderley's important early associates was Gil Evans with whom he first laid tracks in NYC on April 8, 1958, for Evans' album, 'New Bottle Old Wine'. He and Evans recorded numerously with Miles Davis as well. Tom Lord's discography has Adderley attending 138 sessions, 92 as a leader, before his death of stroke in 1975 in Tallahassee, Florida, only 47 years of age. His final recordings are thought to have been live with his brother, Nat, at the Nassau Coliseum in Uniondale, NY, on July 6, 1975, 'Country Preacher' among those titles. More Cannonball Adderley under Nat Adderley and Paul Chambers.

Cannonball dderley   1955

   A Little Taste

      Album: 'Presenting Cannonball Adderley'

      Cornet: Nat Adderley

      Drums: Kenny Clarke

   Bohemia After Dark

      Album: 'Bohemia After Dark'

      Cornet: Nat Adderley

      Drums: Kenny Clarke

   Caribbean Cutie

      Album: 'Presenting Cannonball Adderley'

      Cornet: Nat Adderley

      Drums: Kenny Clarke


      Album: 'Bohemia After Dark'

      Cornet: Nat Adderley

      Drums: Kenny Clarke


      Album: 'Presenting Cannonball Adderley'

      Cornet: Nat Adderley

      Drums: Kenny Clarke


      Album: 'Julian Cannonball Adderley and Strings'

   Still Talkin' to Ya

      Album: 'Presenting Cannonball Adderley'

      Cornet: Nat Adderley

      Drums: Kenny Clarke

   We'll Be Together Again

      Album: 'Bohemia After Dark'

      Cornet: Nat Adderley

      Drums: Kenny Clarke

   Willow Weep For Me

      Album: 'Bohemia After Dark'

      Cornet: Nat Adderley

      Drums: Kenny Clarke

   With Apologies To Oscar

      Album: 'Bohemia After Dark'

      Cornet: Nat Adderley

      Drums: Kenny Clarke

Cannonball Adderley   1958

   Somethin' Else

      Album   Trumpet: Miles Davis


      Drums: Philly Joe Jones

Cannonball Adderley   1959

   Bohemia After Dark

      Live in San Francisco

Cannonball Adderley   1960


      Album: 'Jazz at the Philharmonic'


      Album: 'Them Dirty Blues'

Cannonball Adderley   1961

   Jazz Casual

      Television program

      Piano: Joe Zawinul

   Know What I Mean?

      Album   Piano: Bill Evans

Cannonball Adderley   1962

   Jive Samba

      Live performance

Cannonball Adderley   1963

   Bohemia After Dark

      Filmed live in Switzerland

Cannonball Adderley   1966

   Mercy, Mercy, Mercy

      Live performance


  Born in 1930 in Lund, Sweden, tenor sax man, Rolf Billberg, took up clarinet at age 17 when he began to study music in Uddevalla for the next four years, during which time he played in a military band. He then took up alto sax while gigging in France and Germany before arriving in Stockholm in 1954 to play tenor sax with Simon Brehm's Big Simon's Band, a session in October yielding 'Sugar Blues', 'At the Jazz Band Ball' and 'Persisk Marknad'. He then formed the Rolf Billberg Quintet with baritone saxophonist, Lars Gullin. It was with Gullin that Billberg is thought to have recorded his initial name tracks in March 28 of 1955, 'Too Marvelous for Words' leading off. Billberg then backed Gullin in April on 'Danny's Dream', 'Igloo' and 'Lars Meets Jeff'. Those wouldn't see issue until 1982 on 'The Great Lars Gullin '55/'56 Vol 1' (below). Tracks in June with the Lars Gullin Sextet yielded 'Late Summer' and 'For F.J. Fans Only', issued that year on 'Lars Gullin with the Moretone Singers'. Billberg was a favorite with Gullin and pianist, Nils Lindberg, both with whom he made a number of recordings as he became a musician of note during Sweden's jazz explosion in the fifties (the ka to its boom in the sixties). His last tracks with Gullin would be in June of 1964 to appear on Gullin's album, 'Portrait of My Pals'. He recorded numerously with Lindberg in the sixties beginning in February 1960 for Lindberg's album, 'Sax Appeal'. Tom Lord's discography lists 'Vals Pa Lek' as Billberg's final recording, that backing Lindberg.         He was with the Danish Radio Big Band when band leader, Stan Kenton, loaned it a bit of his repertoire and considerable talent at piano on tracks recorded in 1966 at Copenhagen's Radio Concert Hall. That was released much later in 2003 on 'Stan Kenton with the Danish Radio Big Band'. Billberg was in the prime of life when five days before his 36th birthday he died of a (prescribed) amphetamine overdose in August of '66. Per 1964 below, tracks are from a November 10 radio broadcast, not issued until 2001 on 'Darn That Dream'.

Rolf Billberg   1955

   Danny's Dream

      Baritone sax: Lars Gullin

      Not issued until 1982


      Baritone sax: Lars Gullin

      Not issued until 1982

   Lars Meets Jeff

      Baritone sax: Lars Gullin

      Not issued until 1982

Rolf Billberg   1956

   I'm Building Up for a Nervous Breakdown

Rolf Billberg   1961

   Hi Beck

Rolf Billberg   1962


      Filmed live in Stockholm


      Filmed with Lars Gullin

Rolf Billberg   1964

   Får Jag Lämna Några Blommor

      Piano: Knud Jörgensen

   Stella by Starlight

      Piano: Knud Jörgensen

   Sweet and Lovely

      Piano: Knud Jörgensen

Rolf Billberg   1965

   We'll Be Together Again

      Radio broadcast February 23

      LP: 'We'll Be Together Again'   1973

Rolf Billberg   1966

   Darn That Dream

      LP: 'We'll Be Together Again'   1973


Birth of Modern Jazz: Rolf Billberg

Rolf Billberg

Source: Discogs

  Born in 1936 in Berlin, tenor sax man Klaus Doldinger began conservatory training in 1947, studying piano, then clarinet, until graduation in 1957. He was yet a student when he started pursuing his professional career with the Dixieland band, the Feetwarmers. It was with the Feetwarmers that Doldinger first recorded in 1955, issuing two EPs of four tunes each that year: 'Enter the Feetwarmers' and 'The Feetwarmers Play the Blues' (none found). Tom Lord's discography has Doldinger's first session as a leader per October 28, 1956, recording 'Brunswick Blues' with Jurgen Lennartz (bass) and Hermann Mutschler (drums). Among the highlights of his young career was the Amateur Festival in Dusseldorf in 1959, taping 'Das Lied vom Mondkalb', 'I've Found a New Baby' and 'Raumknoten 114a', to be issued by Metronome. In 1971 Doldinger formed the jazz fusion ensemble, Passport, which issued its first two albums, 'Passport' and 'Second Passport', in 1972. Doldinger later wrote several film scores, 'Das Boot' (1981) and 'The NeverEnding Story' (1984) among them. As of this writing Doldinger yet performs with Passport, the group releasing its most recent album in 2003: 'Back to Brazil'.

Klaus Doldinger   1958

   Ich weiss es wird einmal ein Wunder geschehn

      Filmed live with the Feetwarmers

Klaus Doldinger   1971



Klaus Doldinger   1973

   Afternoon in Valencia


      Filmed live

Klaus Doldinger   1974


      Filmed live

Klaus Doldinger   1975


Klaus Doldinger   1980


      Filmed live

Klaus Doldinger   1981

   Daybreak Delight

   Theme to 'Das Boot'

Klaus Doldinger   1984

   Artax's Tod

   Atréju's Berufung

   Die Unendliche Geschichte (The Neverending Story)

Klaus Doldinger   1985

   Bastian's Happy Flight

Klaus Doldinger   2011


      Filmed live

Klaus Doldinger   2012

   Sahara Sketches

      Filmed live


Birth of Modern Jazz: Klaus Doldinger

Klaus Doldinger

Source: Second Hand Songs

Birth of Modern Jazz: Gato Barbieri

Gato Barbieri

Source: Rate Your Music

Born in 1932 in Rosario, Sante Fe, Argentinian tenor saxophonist, Gato Barbieri (Cat Barbieri in Spanish) began with clarinet, then alto sax, the instruments he was playing when he joined the orchestra of Lalo Schifrin in Buenos Aires, picking up tenor with that band. Having moved to Buenos Aires in 1947, Barbieri's first recordings with Schifrin were in 1956, he listed as one several reed players on a radio broadcast with no documentation of ever being issued: 'Laguna Leaps', 'Tenderly' and 'Jumpin' with Symphony Sid' (Lester Young composition). His next recordings with Schifrin were in August of '56 on alsto sax, released by Columbia Argentina: 'Doodlin'' (Horace Silver) and 'Oye Pedro' (Dizzy Gillespie). He next appeared on tenor sax with Schifrin on the soundtracks for the 1958 film, 'El Jefe' ('The Boss'), all composed by Schifrin: 'El Jefe', 'Mima', 'Blues Para Berger' and 'Buenos Aires Minuit'. In 1960 he privately recorded 'Menorama', concerning which nothing more is known. The thing for Barbieri as a young musician was jazz as it was happening in the United States, especially Charlie Parker  (though Parker died in '55). Things weren't happening in Argentina quick enough so he took his wife, Michelle, to Rome, in 1962. Those were reportedly released in 1998 on 'Jazz Mania All-Stars'. It was 1965 when Barbieri met Don Cherry in Paris, with whom he recorded the duo LP of five Movements, 'Togetherness', in Italy that year, it released the next. Barbieri performed on three more LPs by Cherry released in '66. The next year he issued his first name album (apart from Cherry), 'In Search of the Mystery'. That was an ESP containing 'In Search of the Mystery', 'Michelle', 'Obsession No 2' and 'Cinemateque'. Allmusic has 'Obsession' released in '67 as well, containing 'Obsession Part 1', 'Obsession Part 2' and 'Michelle'. Barbieri began recording for the Flying Dutchman label at the time he began mixing free form with Latin influences on the 1970 LP, 'The Third World'. He issued a couple more albums until he made his name in 1972 with the soundtrack to the Marlon Brando film, 'Last Tango in Paris'. 1973 saw the release of 'Chapter One: Latin America', the first of four 'Chapter' LPs. He spent the seventies touring internationally as a major attraction. His last album for Flying Dutchman was 'El Gato' in 1975, switching to Herb Alpert's A&M label in 1976 for the issue of 'Caliente!' containing the track, 'Europa' (composed by Carlos Santana). Barbieri's popularity began to fade in the eighties. During the nineties he withdrew from public life as a result of the death of Michelle and triple bypass surgery. He nevertheless appeared on the 1995 Essence All Stars album, 'Afro Cubano Chant'. He was back in business again by 1997, performing at the Playboy Jazz Festival in Los Angeles and releasing 'Que Pasa'. Barbieri's latest release in the 21st century was 'New York Meeting' in 2010.

Gato Barbieri   1958

   El Jefe ('The Boss')

      Soundtrack by Lalo Schifrin

Gato Barbieri   1965


      Movements 1 & 2

      Movement 3

      Movement 4

      Movement 5

Gato Barbieri   1967

  In Search of the Mystery

      In Search of the Mystery/Michelle

      Obsession No 2/Cinemateque



      Obsession Part 1

      Obsession Part 2

Gato Barbieri   1969

   The Third World


Gato Barbieri   1976



Gato Barbieri   1977


      Filmed live with Carlos Santana


      Album: 'Ruby Ruby'

Gato Barbieri   1984


      Filmed live

Gato Barbieri   1997

   Cause We're Ended as Lovers

      Album: 'Que Pasa'


      Album: 'Que Pasa'

Gato Barbieri   2001

   Live from the Latin Quarter

      Filmed concert


Birth of Modern Jazz: James Clay

James Clay

Source: Organissimo

Born in Dallas in 1935, tenor saxophonist James Clay played locally until moving to Los Angeles to make his debut recording with pianist, Bobby Timmons, in July of 1956 in Los Angeles. That single track was 'In a Sentimental Mood', released the next year by Pacific Jazz on an album by various artists titled 'Solo Flight'. The next month in August he recorded with drummer, Larance Marable (those released the same year, prior to Clay's initial recording). He first recorded as a leader with a quartet in Los Angeles on October 25, 1956: 'In a Sentimental Mood'. Clay then worked and recorded with Red Mitchell. He spent a couple years in the Army before playing with Ornette Coleman and the Jazz Messiahs in 1960. Clay was skilled enough to be invited to replace John Coltrane in Miles Davis' band later that year. That would have made Clay's career. But he was presented with an ailing grandmother in Texas at the same time. The decision he made, his grandmother, meant a rather obscure regional career centered in Dallas for a world-class horn player. He performed with Charles during the sixties yet continued in the Dallas area. Clay released a couple albums with David Fathead Newman in the nineties before his death in Dallas in 1995.

James Clay   1956

  The Devil and the Deep Blue Sea

      Larance Marable Quartet

  Lover Man

      Larance Marable Quartet

  Three Fingers North

      Larance Marable Quartet

James Clay   1957

 Cheek To Cheek

      Red Mitchell Quartet

  In A Sentimental Mood

      Pacific Jazz album: 'Solo Flight'

  Paul's Pal

      Red Mitchell Quartet

James Clay   1960

 Body And Soul

      Guitar: Wes Montgomery

  New Delhi

      Album: 'Double Dose of Soul'


      Album: 'Double Dose of Soul'

  Some Kinda Mean

      Duet with David Fathead Newman

  Wide Open Spaces

      Duet with David Fathead Newman

James Clay   1991

 Wide Open Spaces

      Duet with David Fathead Newman


  Born in 1930 in Denison, Texas, tenor saxophonist, Booker Ervin, studied at the Berklee College of Music in Boston before moving to Tulsa, Oklahoma, to join the Ernie Fields rhythm and blues band. Ernie Fields had been around a while, first recording the year Ervin was born. Ervin's first recording experience with Field's orchestra was in Los Angeles in 1956 for Ace: 'Daddy How Long' and 'T-Town Mambo'. Another followed about the cusp of '57-'58 for Combo: 'Long, Long Highway' and 'Skyway'. He joined bassist, Charles Mingus, to record the latter's album, 'Jazz Portraits', at the Nonagon Art Gallery in NYC on January 16, 1959, leading off with 'Nostalgia in Times Square' and wrapping with 'Wednesday Night Prayer Meeting'. Ervin hung with Mingus 'til their last session in NYC on September 20, 1963, that for the album, 'Mingus, Mingus, Mingus, Mingus, Mingus'. Due Mingus, one of Ervin's most important compatriots was Horace Parlan. He and Parlan had first recorded together with Mingus on February 4, 1959, in NYC, such as 'Moanin' and 'Cryin' Blues', for Mingus' album, 'Blues and Roots'. They would stick with Mingus together as well as record in each other's bands until their last session together in Englewood, CA, on June 19, 1963 for Ervin's album, 'Exultation'. Among other tunes they recorded had been with Parlan's quintet in June '61: 'Up & Down'/'Happy Frame of Mind'). Another name Ervin frequently supported was pianist, Randy Weston. Their initial session was in April 1963 at Webster Hall in NYC, commencing with 'Caban Bamboo Highlife' and finishing with 'Mystery of Love'. Their last of several sessions was live at the Monterey Jazz Festival on September 18, 1966, including such as 'The Call' and 'African Cookbook'. Ervin's debut album, 'The Book Cooks', was recorded on April 6, 1960. Tom Lord's discography has 21 of Ervin's 63 sessions as a leader, placing his last in Englewood, CA, on May 24, 1968, toward the LP, 'Back From the Gig'. Included in that were Woody Shaw (trumpet), Kenny Barron (piano), Jan Arnet (bass) and Billy Higgins (drums). Lord gives Ervin's final session in Englewood as well, for also saxophonist, Eric Kloss', 'In the Land of the Giants'. Ervin was only 39 when he died of kidney disease in 1970 in NYC, recognized as one of the finest talents to visit jazz.

Booker Ervin   1959

  Ah Um

      Charles Mingus album: 'Ah Um'

   Alice's Wonderland

      Charles Mingus album: 'Jazz Portraits'

   I Can't Get Started

      Charles Mingus album: 'Jazz Portraits'

   No Private Income Blues

      Charles Mingus album: 'Jazz Portraits'

   Nostalgia In Times Square

      Charles Mingus album: 'Jazz Portraits'

Booker Ervin   1960

  Dee Da Do

      Album: 'Cookin''

  Well, Well

      Album: 'Cookin''

Booker Ervin   1961

   Booker's Blues

      Album: 'That's It!'

  The Book's Beat

      Piano: Horace Parlan


      Piano: Horace Parlan

 Light Blue

      Piano: Horace Parlan


      Album: 'That's It!'

Booker Ervin   1963


      Album: 'Exultation!'

  No Man's Land

      Album: 'Exultation!'

Booker Ervin   1964

  Cry Me Not

      Album: 'The Freedom Book'

  A Lunar Tune

      Album: 'The Freedom Book'

  True Blue

      Album: 'The Blues Book'

Booker Ervin   1965

  Groovin' at the Jamboree

      Album: 'The Trance'

  The Trance

      Album: 'The Trance'

Booker Ervin   1966

  Portrait of Vivian

      Piano: Randy Weston

Booker Ervin   1967

  East Dallas Special

      Album: 'Booker 'n' Brass'

  You Don't Know What Love Is

      Album: 'Heavy!!!'

Booker Ervin   1968


      Album: 'The In Between'

  Lynn's Tune

      Album: 'Tex Book Tenor'

Booker Ervin   1968

   Home in Africa

      Album: 'Back From The Gig'


Birth of Modern Jazz: Booker Ervin

Booker Ervin

Source: Dusty Groove
  Rahsaan Roland Kirk was a multi-instrumentalist, though best known for clarinet, flute and saxophone. Born Ronald Theodore Kirk in Columbus, Ohio, in 1935, Kirk became blind at age two. He began playing professionally in R&B bands at age 15. He began modifying his instruments quite young, before his first recordings in 1956, to be able to play three saxophones at once. He would have to modify them again in 1975, upon suffering a stroke that left him paralyzed to one side of his body, leaving him with one good arm. Per above, Kirk first recorded in NYC toward the issue of the album, 'Triple Threat' in 1956. That quartet consisted of Kirk on tenor, Jimmy Madison (piano), Carl Pruitt (bass) and Henry Hank Duncan (drums). 'Introducing Roland Kirk' followed in 1960. The overwhelming majority of Kirk's work was in his own name, though he backed others as well. Notable in the early sixties was Charles Mingus, contributing to both Mingus' albums, 'Vital Savage Horizons' and 'Oh Yeah'. He would perform with Mingus again at Carnegie Hall much later in 1984. Kirk's more frequent collaborator was Quincy Jones, first recording in Jones' orchestra in NYC on June 15, 1962, resulting in 'A Taste of Honey' among others. Numerous sessions with Jones followed into 1964, later in 1968-69. Esteemed as one of the finest musicians in the business, Kirk made his final recordings in NYC in 1977. He would unfortunately die young that year, age 42, of a second stroke. The majority of edits below are live performances.

Rahsaan Roland Kirk   1956

   Triple Threat

Rahsaan Roland Kirk   1959

   Lover Man

Rahsaan Roland Kirk   1965

   Here Comes the Whistleman

      LP: 'Here Comes the Whistleman'

   Making Love After Hours

      LP: 'Here Comes the Whistleman'

   Rip, Rig and Panic



      LP: 'Here Comes the Whistleman'

Rahsaan Roland Kirk   1967

   The Inflated Tear

Rahsaan Roland Kirk   1968

   One Ton

      Newport Jazz Festivel

Rahsaan Roland Kirk   1971

   Never Can Say Goodbye

      Album: 'Blacknuss'

Rahsaan Roland Kirk   1972

   Misty/I Want Talk


   Serenade to a Cuckoo

   Volunteered Slavery

Rahsaan Roland Kirk   1975

   The Entertainer

      Album: 'The Case of the 3 Sided Dream in Audio Color'

   Pedal Up

   Goodbye Pork Hat

      Album: 'The Return Of The 5000 lb. Man'

   Serenade to a Cuckoo

      Filmed live

Rahsaan Roland Kirk   1976

   Theme for the Eulipions


Birth of Modern Jazz: Rahsaan Roland Kirk

Rahsaan Roland Kirk

Source: ABC Classic FM

  Born in 1931 in Chicago, tenor saxophonist Clifford Jordan played with a number of rhythm and blues bands in Chicago, as well as Max Roach and Sonny Stitt, before moving to New York City in 1957 where he made what are thought his first recordings with John Gilmore (of Sun Ra fame) in March that year: 'Evil Eye', 'Status Quo', 'Let It Stand', 'Bo-Till', 'Everywhere', 'Blue Lights' and 'Billie's Bounce'. The resulting album, 'Blowing In From Chicago' was Jordan's first, sharing credit with Gilmore as leader. Jordan's debut tracks as sole leader were with Lee Morgan on trumpet the following June, resulting in Jordan's second album, 'Cliff Jordan'. Jordan completed the fifties performing with Horace Silver, then JJ Johnson. The early sixties found him working with Kenny Dorham and Max Roach, also touring Europe with Charles Mingus and Eric Dophy in 1964. In 1969 Jordan moved to Belgium, also touring Africa with pianist, Randy Weston, that year. Moving back to the States in 1970, he concentrated on leading his own ensembles, recording what many deem to be his most significant works during the seventies with pianist, Cedar Walton. Among those cited is the album, 'Glass Bead Games' (in reference to the 1943 novel, 'The Glass Bead Game', by Hermann Hesse). During his latter career Jordan ventured from smaller combos to his own big band named, well, the Big Band. Jordan died relatively young, age 61, of lung cancer in Manhattan. Lord's discography ascribes 41 of 144 sessions to be as a leader.

Clifford Jordan   1957

   Blowing In From Chicago

      Album   Sax: John Gilmore


      Album: 'Cliff Jordan'   With Lee Morgan


      Album: 'Cliff Craft'

   Not Guilty

      Album: 'Cliff Jordan'   With Lee Morgan

Clifford Jordan   1960

   Au Privave

      Piano: Cedar Walton


Clifford Jordan   1962


Clifford Jordan   1965

   Black Girl

      Album: 'These Are My Roots'

      Vocal: Sandra Douglass

Clifford Jordan   1968

   Straight No Chaser

      With Lee Morgan

   The Theme/Announcements

      With Lee Morgan

Clifford Jordan   1969


Clifford Jordan   1970

   Señor Blues

Clifford Jordan   1974

   Eddie Harris

      Piano: Cedar Walton

   Glass Bead Games

      Piano: Cedar Walton

   The Highest Mountain

      Piano: Cedar Walton


      Piano: Cedar Walton

   One For Amos

      Piano: Cedar Walton

   Prayer To The People

      Piano: Cedar Walton

Clifford Jordan   1975

   John Coltrane

      Piano: Cedar Walton

Clifford Jordan   1988

   Tenor Battle

      Filmed live with Von Freeman

Clifford Jordan   1989


      Concert filmed live   With Art Farmer


Birth of Modern Jazz: Cliff Jordan

Clifford Jordan

Source: All Music

Birth of Modern Jazz: Sonny Red

Sonny Red

Source: Soundological

Born in 1932 in Detroit, alto saxophonist, Sonny Red, is thought have first recorded to issue with tenor saxophonist, Paul Quinichette, in Hackensack, NJ, on May 10, 1957, per Quinichette's LP, 'On the Sunny Side'. His earliest known working association is given as pianist, Barry Harris, from 1949 to 1952. Harris would later back Red in a number of sessions beginning November 3, 1960, for Red's album, 'Breezin'. Harris would also be with Red on his final recordings with Howard McGhee in NYC on October 11, 1978, per McGhee's album, 'Home Run'. In 1954 Red worked with Frank Rosolino and Art Blakey, but wouldn't seem to have recorded with either. Red's first titles as a leader were released in 1957 on an album shared with Art Pepper: 'Two Altos' ('Watkins Production' and 'Redd's Head'). The track below, 'Stop', was recorded at the same session with Pepper Adams on baritone sax. Red's next album, 'Out of the Blue', was recorded on December 5, 1959, in Englewood Cliffs, NJ, with his quartet consisting of Wynton Kelly (piano), Sam Jones (bass) and Roy Brooks (drums). Most of the tracks for 1960 below are from that album. Not a lot is known about Red other than that he didn't record a lot. His thirty-year career netted only 31 sessions per Lord's discography, only ten of those his own. In 1964 he recorded 'Live at the Connecticut Jazz Party' with pianist, Bobby Timmons, not issued until the year of Red's death in 1981. Red's last session as a leader appears to have been NYC in 1971 per his album, 'Sonny Red'. He died ion March 20, 1981, not yet fifty years of age.

Sonny Red   1957

   Blue Dots

      With Paul Quinichette

      Album: 'On the Sunny Side'


Sonny Red   1960

   All I Do Is Dream Of You

   Alone Too Long

   Blues For Kokee

   Blues In the Pocket


   I've Been In Love Before

   The Lope

   Lost April


   The New Blues (Breezin')

   Stairway to the Stars

   Red Crystal

   Stay As Sweet As You Are

   You're Driving Me Crazy

   You're Sensational

Sonny Red   1961

   Dodge City

   Falling In Love Is Wonderful

      Tenor sax: Clifford Jordan

   The Rhythm Thing

      Piano: Barry Harris

Sonny Red   1971

   And Then Again


Birth of Modern Jazz: Nick Brignola

Nick Brignola

Source: All Music

Born in 1936 in Troy, New York, Nick Brignola, began horn with clarinet at age eleven, moving onward to alto, tenor, then baritone sax at age twenty. Brignola was a college student at Ithaca where he won a 'Down Beat' magazine award for best college group, there apparently a recording made. Yet in Ithica, Brignola joined the Reese Markewich Quintet to record the album, 'New Designs in Jazz', in 1957, issued the next year. He then won a Benny Goodman Scholarship to attend the Berklee College of Music in Boston, thought the first scholarship to be awarded by Berklee. While at Berklee in 1958 he participated in 'Jazz In The Classroom: Volume II' which orchestra was led by trumpeter, Herb Pomeroy. (Pomeroy also directed Irene Kral's 'The Band and I' that year. In addition, he issued 'Life Is a Many Splendored Gig' and 'Band in Boston' in '58.) Brignola toured and recorded in Russia in 1963. That was with Bob Brookmeyer, Al Cohn, Art Farmer, Walter Perkins, John Bunch and Zoot Sims. Those were pressed much later as 'The Liberty of Jazz'. Much the same bunch recorded shortly afterward in New York as the Bill Crow-Phil Woods All Stars, those titles to be found on a much later release titled 'Jazz at Liberty'. (The original LP is available to collectors with a $500 price tag. It's much cheaper as the second CD of two more recently packaged as 'Jazz Mission to Moscow', also containing 'Soviet Jazz Themes' minus Brignola). Brignola had also laid tracks with guitarist, San Salvador. and clarinetist, Woody Herman in '63. Brignola's first session as a leader was a quartet with Reese Markewich (piano/flute), Glen Moore (bass) and Dick Berk (drums) in Kinderhoek, New York, in April, 1967, yielding 'Sparky', among others, per his debut LP, 'This Is It!'. He began backing Ted Curson on a tour to Europe in '67. The seventies found Brignola with Curson on releases of 'Quicksand' ('76) and 'Jubilant Power' ('76). Brignola was also with Curson on the latter's issue of 'Snake Johnson' in '81. Brignola was also featured on Doug Sertl's 'Menagerie' that year (Sertl's band called the 'Glass Menagerie'). In 1994 he recorded 'Live Again! At Page Hall with Nick Brignola' with guitarist, Tisziji Munoz. No earlier release date seems determinable than 2014. Brignola issued above twenty LPs during his career. His last to be recorded, his 21st, was 'Tour de Force'. If Allmusic's release date of February 26, 2002, is correct then it was posthumous by 18 days, Brignola dying of cancer on February 8th that year. Per 1985 below, Brignola is joined on baritone sax with birthjazz4.htm#John McLaughlinRonnie Cuber and Cecil Payne at Jazzfest Berlin.

Nick Brignola   1958

   Moonlight In Vermont

      Reese Markewich Quintet

   The Way You Look Tonight

      Reese Markewich Quintet

Nick Brignola   1974?

   Live in Troy NY

      Sal Nistico Quintet

Nick Brignola   1977


      Duet with Pepper Adams

      LP: 'Baritone Madness'

Nick Brignola   1978


      Album by Sal Nistico

Nick Brignola   1983

   Signals...In From Somewhere


Nick Brignola   1985

   Battle of the Big Horns

      Filmed concert

Nick Brignola   1989

   Hurricane Connie

      LP: 'Raincheck'

      Original comp: Cannonball Adderley

Nick Brignola   1990

   All the Things You Are

      LP: 'On a Different Level'

   Star Eyes

      LP: 'What It Takes'

   Tears Inside

      LP: 'On a Different Level'

Nick Brignola   1993

   The Blues Walk

      LP: 'Joy Spring'

Nick Brignola   1994?

   Like Old Times

      Filmed live


  Born in 1930 in Fort Worth, Texas, composer Ornette Coleman, an alto saxophonist, put together his first band, initially pursuing bebop and R&B, as a high school student in Ft. Worth, Texas. After touring with Silas Green in 1949 (age 19) Coleman had to work various day jobs due to difficulty fitting his style (some said off tune) to strict bebop structures that were prevalent in the Los Angeles jazz scene at the time. Coleman wasn't, however, wholly isolated, as he and pianist Paul Bley found they could musically converse. Be as may, Coleman released his first album in 1958 with Walter Norris at piano and Don Cherry at cornet: 'Something Else!!!!: The Music of Ornette Coleman'. Coleman began excluding piano from his ensembles in 1959 upon the release of the album, 'Tomorrow Is the Question!' with drummer, Shelly Manne. Coleman's excursion into the avant-garde, commencing en force in 1959 upon the release of the album, 'The Shape of Jazz to Come', was, at least initially, variously received by some of the big dogs in music and jazz: Leonard Bernstein and Lionel Hampton found such impressive; Miles Davis (always difficult to please) and Roy Eldridge didn't. In 1960 Coleman released the album, 'Free Jazz: A Collective Improvisation', which happened to help launch the free jazz genre. (Another important figure at the conception of free jazz is pianist Cecil Taylor.) Coleman released more than fifty albums during his career. In 2007 he won a Pulitzer Prize for his 2006 issue of the album, 'Sound Grammar'. In 2010 he was awarded an honorary doctorate in music from the University of Michigan. Coleman died of cardiac arrest in June 2015. All recordings for year 2006 below are from the album, 'Sound Grammar'. Much more of Coleman under Billy Higgins in Early Modern Jazz Percussion.

Ornette Coleman   1958

   Angel Voice

      Album: 'Something Else!!!!'

      Piano: Walter Norris

   The Blessing

      Piano: Paul Bley


      Album: 'Something Else!!!!'

      Piano: Walter Norris


      Piano: Paul Bley

   Tomorrow is the Question!

      Album: 'Tomorrow is the Question!'

   When the Blues Leave

Ornette Coleman   1959

   The Shape of Jazz to Come



Ornette Coleman   1960


Ornette Coleman   1961

   Free Jazz

   R.P.D.D. (Relation of the Poet to Day Dreaming)

Ornette Coleman   1966

   Sound Gravitation

   Zig Zag

Ornette Coleman   1968


   Vocal: Yoko Ono 

Ornette Coleman   1969

   Live in Belgium

Ornette Coleman   1968

   Broadway Blues

   Round Trip

   We Now Interrupt For A Commercial

Ornette Coleman   1969

   Live in Belgium

Ornette Coleman   1971

   Civilization Day

   Is It Forever

   The Jungle Is a Skyscraper

   Who Do You Work For?

      Live in Belgrade

Ornette Coleman   1972

   Berliner Jazztage

   Skies of America

Ornette Coleman   1974


Ornette Coleman   1977

   Dancing In Your Head

Ornette Coleman   1978

   Fou Amour

   Voice Poetry

Ornette Coleman   1981


      Live in Rome   With Pat Metheny


      Live in Woodstock   With Pat Metheny

Ornette Coleman   2004

   Live in Ann Arbor


Ornette Coleman   2006

   Call to Study



   Sleep Talking

   Song X



Birth of Modern Jazz: Ornette Coleman

Ornette Coleman

Source: Counterweights

  Born in 1934 in Pensacola, Florida, tenor saxophonist Junior Cook, was performing at the Howard Theatre in Washington DC about the time he first recorded with guitarist, Kenny Burrell, on May 14, 1958, in NYC toward Burrell's album, 'Blue Lights'. The next month found backing Bill Henderson and the Horace Silver Quintet in Hackensack, NJ, on 'Tippin' and 'Senor Blues'. That would begin a relationship with Silver that would last into 1964, they to reunite in 1988 per the album, 'Music to Ease Your Disease'. Cook released his first album, 'Junior's Cookin'', in 1962, recorded in Long Beach, CA, the year before. Cook had worked closely with Blue Mitchell in Silver's ensembles since 1959, the first recording together per 'Finger Poppin' with the Horace Silver Quintet'. He first backed Mitchell as a leader per the latter's album, 'The Cup Bearers', in 1962. Cook hung with Mitchell into 1967, the both of them to next appear on organist, Don Patterson's, 'Opus De Don' in '68. Another major figure in Cook's career was trumpeter, Freddie Hubbard, with whose ensemble he first recorded at the Newport Jazz Festival in Rhode Island on July 3, 1969: 'Eclipse', 'Hub-Tones' and 'George Wein Outro'. Cook stuck with Hubbard's operation until '74, thought to have last recorded together that year on July 5 at Carnegie Hall, leading off with 'First Light'. Among those with whom he recorded numerously in the seventies and eighties was trumpeter, Bill Hardman. He first session with Hardman was in 1977 per Mickey Tucker's album, 'Sojourn'. Cook then joined Hardman's septet in January of '78 to record 'Home'. Tom Lord's discography has Cook's last recordings in December of 1991 in Klampenborg, Denmark, toward 'You Leave Me Breathless'. Members of that performance were Valery Ponomarev (trumpet), Mickey Tucker (piano), John Webber (bass) and Joe Farnsworth (drums). Cook died young in his apartment in NYC in February of 1992, cause of death unknown. It would appear that he released only six or seven LPs as a leader.

Junior Cook   1958

  Autumn in New York

      LP: 'Blue Lights'

      Kenny Burrell Quartet

  The Outlaw

      Horace Silver LP: 'Live At Newport '58'

      Not issued until 2008


      Horace Silver LP: 'Live At Newport '58'

      Not issued until 2008

  Yes Baby

      LP: 'Blue Lights'

      Kenny Burrell Quartet

Junior Cook   1959

  Blowin' The Blues Away

      With Horace Silver

  Cool Eyes

      Filmed with Horace Silver

Junior Cook   1960

  Senor Blues

      Newport Jazz Festival

      Filmed with Horace Silver

Junior Cook   1960

  The Cup Bearers

      Album by Blue Mitchell


      LP: 'Junior's Cookin''

  Sweet Cakes

      LP: 'Junior's Cookin''

Junior Cook   1973

  Straight Life

      Filmed with Freddie Hubbard

Junior Cook   1982

  Fiesta Espanol

      LP: 'Somethin's Cookin''

Junior Cook   1987

  Live in Spain

      Filmed with Bill Hardman


Birth of Modern Jazz: Junior Cook

Junior Cook

Photo: Mosaic Image

Source: Blue Note

Birth of Modern Jazz: Ronnie Cuber

Ronnie Cuber

Source: Concord Music Group
Born in 1941 in NYC, Ronnie Cuber played clarinet, flute and sax: soprano, tenor and mainly baritone. His first substantial employment was with the Marshall Brown Newport Youth Band with which he first recorded in May and June of 1959 in NYC, again at the Newport Jazz Festival in July, those to result in the 1959 issues of 'The Newport Youth Band' and 'The Newport Youth Band at the Newport Jazz Festival'. 'Dance Tonight' followed in 1960 before another session at Newport. Some time in 1962 he laid down 'Godchild' in the George Benson Quintet. That would see issue by various labels in 1981 on 'Europa Jazz', 'I Giganti Del Jazz 72' and 'Los Grandes Del Jazz 72'. It was July of '62 for Slide Hampton's 'Explosion!' He appeared on the tracks, 'Spanish Flier', 'Begin the Beguine', 'Maria' and 'Slide's Blues' (Jay Cameron at baritone on the others). After Hampton, Cuber joined Maynard Ferguson for a couple years, contributing to 'The New Sounds of Maynard Ferguson' ('63), 'Come Blow Your Horn' ('63) and 'Color Him Wild' ('65). Cuber then spent about a year with George Benson, participating in 'It's Uptown' and 'The George Benson Cookbook' in 1966. Benson and Cuber recorded variously on multiple occasions over the years. He surfaced on Benson's 'Good King Bad' in 1976, 'Pacific Fire' in 1983. Benson contributed to Cuber's 'Passion Fruit' in 1985. Cuber had issued his first LP, 'Cuber Libre!', in 1976 with a crew of Barry Harris (piano) Sam Jones (bass) and Albert Heath (drums). He also worked with Frank Zappa, Patti Austin, Idris Muhammad and Lee Konitz during the seventies. 'Lee Konitz Nonet' went down in 1977, 'Yes, Yes, Nonet' and 'Live at Laren' in 1979. Cuber began working with the Mingus Big Band in the early nineties, appearing on eight albums from 'Nostalgia in Times Square' in 1993 to 'Live at the Jazz Standard' recorded in December of 2008. Having issued some 16 live and studio LPs, Cuber's last studio release was 'Boplicity' in 2012. Cuber currently teaches sax via Skype. Per 1985 below, he plays baritone with Nick Brignola and Cecil Payne.

Ronnie Cuber   1962


      Slide Hampton LP: 'Explosion!'

   Slide's Blues

      Slide Hampton LP: 'Explosion!'

Ronnie Cuber   1976

   Tin Tin Deo

      LP: 'Cuber Libre!'

Ronnie Cuber   1985

   Battle of the Big Horns

      Filmed concert

Ronnie Cuber   1992

   Arroz Con Pollo

      Album 'Cubism'

   No Smokin'

      Album 'Cubism'

Ronnie Cuber   1993


      LP: 'The Scene Is Clean'

   Max & Pack

      Filmed with Antonio Farao


      LP: 'The Scene Is Clean'


      Charles Mingus LP:

      'Nostalgia in Times Square'

Ronnie Cuber   1996

   12/8 Thang

      LP: 'In a New York Minute'

Ronnie Cuber   2003

   San Sebastian Jazz Festival

      Filmed live in Spain

      Sax: Bill Evans

      Trumpet: Randy Brecker

Ronnie Cuber   2007

   Filthy McNasty

      Filmed live

      Novisad Serbia Jazz Fest

Ronnie Cuber   2014

   Mountain Flight

      Filmed with the WDR Big Band

      Guitar: Tininho Horta


Birth of Modern Jazz: John Handy

John Handy

Source: John Handy

Born in 1933 in Dallas, John Handy took up recorder at age 11, clarinet at 12, alto sax at 15, and would perform with other horns. He moved with his family at age 17 to Cleveland, OH, but would leave for San Francisco in '52. He began a short tour in the US Army the next year. Brief chase to New York City in 1958 where he made his first recordings in January 16 of '59 at the Nonagon Art Gallery with Charles Mingus for the latter's album, 'Jazz Portraits'. Later that year he recorded his first album, 'In the Vernacular'. Handy worked closely with Mingus through the early sixties, 'Mingus Ah Uhm' their second release together in 1959. Handy meanwhile continued releasing his own albums, his second in 1960: 'No Coast Jazz'. During the mid seventies Handy was a member of the jazz band, Brass Fever. In the latter eighties he began performing with his ensemble, Class, consisting of a trio of female violinists and vocalists. They issued 'Centerpiece' in 1989. Handy's list of awards is so long that we don't dare refer to them from this point onward. 1996 saw the release of his album, 'Musical Dreamland', about his 18th LP. Well over half of his 55 sessions per Tom Lord's discography were as a leader. In the new millennium Handy participated in 'Live at Herbst Theatre' with Karlton Hester, recorded live on February 7, 2006, in San Francisco. Handy currently resides in Oakland, CA, since 1998, married with children. Handy is yet pretty active for his age, as evidenced by his appearance at Lincoln Center in 2015 below, the fiftieth anniversary of his appearance at the Monterey Jazz Festival in 1965. Per 1959 below, tracks are from Charles Mingus' 'Jazz Portraits: Mingus in Wonderland'. Per 1966 below, tracks are from Handy's highly regarded LP: 'Recorded Live at the Monterey Jazz Festival' in 1965.

John Handy   1959

 No Private Income Blues

  Nostalgia in Times Square

John Handy   1965

 Algiers Strut/Milenberg Joys

     Filmed with Kid Thomas

  Just a Closer Walk/Careless Love

     Filmed with Kid Thomas

John Handy   1966

  If Only We Knew

  Spanish Lady

John Handy   1967

  (Naima) In Memory Of John Coltrane

     LP: 'New View!

John Handy   1968

  Dance to the Lady

     LP: 'Projections'

John Handy   1976

  Hard Work

     LP: 'Hard Work'

John Handy   1978

  You Live You Learn

     LP: 'Handy Dandy Man'

  Where Go the Boats

     LP: 'Where Go the Boats'

John Handy   2015


     Concert filmed at Lincoln Center NYC


  Born in 1939 in Warsaw, Poland, Zbigniew Namyslowski began playing piano professionally in 1955 at a club called Hybrids. He switched over to cello upon joining Krzysztof Sadowski's Modern Combo. He took up alto sax in 1960, which instrument he chiefly favored. His debut session is thought to have been on April 7, 1959, with the Zespół Modern Dixielanders for 'Marmolada Z Klarnetu' ('Clarinet Marmalade' Muza L 0291). Lord's disco has him with the Andrzej Trzaskowski's Wreckers next on February 10, 1960, for 'At the Last Moment', 'Nina's Dream' and 'Kalatówki 59', issued on a 7" EP per Muza N 0133. Come October 29, 1961, it was the New Orleans Stompers for 'Sygnal Festiwalu' (Muza XL 0127) and 'Kansas City Stomps' (Musa L0370). It was the Jazz Rockers on November 3, 1961, for 'Jazz Jamboree 1961 Nr 3', a 7" EP including his composition, 'Blues-Shmues'. Lord's disco estimates 'Śniadanie U Tiffaniego' and two takes of 'Ja Nie Chcę Spać' in 1962 for issue in 1999 on 'The Complete Recordings of Krzystof Komeda Vol 1-19'. Michał Urbaniak (tenor sax) was also in on those. Namyslowski is thought to have been among the first Polish jazz musicians to visit the United States per the 1962 Newport Jazz Festival with the Wreckers, performing on Sunday, July 8. Urbaniak (tenor sax) was part of the crew on that tour. Urbaniak then joined Namyslowski's Jazz Rockers at Philharmonic Hall in Warsaw on October 26, 1962, for 'Holiday Moods' (Muza N 0229). Urbaniak would assume a strong presence in Namyslowski's career, supporting him on titles into 1964. 1977 saw Namyslowski contributing to Urbaniak's 'Urbaniak'. Come Urbaniak's 'Ecstasy' in June 1978. Along the way they partnered in multiple projects by others such as Czeslaw Niemen, Andrzej Trzaskowski and Jan Ptaszyn Wroblewski. Jazz festivals figured large in Namyslowski's career. He has toured widely to destinations in Europe, Asia, Australasia, Israel, India, Cuba, Mexico, Kuwait, South Africa, Sweden and Brazil. He's also recorded all over the globe: Poland, Germany, England, Sweden, Italy, Greece, Hungary, the Soviet Union and the United States. Having released nigh thirty albums as a leader or co-leader, among Namyslowski's latest was 'Geomusic 111-PL' in 2011.

Zbigniew Namyslowski   1964





Zbigniew Namyslowski   1966

   Zbigniew Namyslowski Quartet


Zbigniew Namyslowski   1973



Zbigniew Namyslowski   1973



Zbigniew Namyslowski   1975

   Kuyaviak Goes Funky


   Der Schmaltztango


Zbigniew Namyslowski   1977

   Jasmine Flavoured

      LP: 'Zbigniew Namysłowski'

Zbigniew Namyslowski   1981

   Air Condition


Zbigniew Namyslowski   1991

   Live at Jazz Jamboree


Zbigniew Namyslowski   2015

   Live with Brass Federacja

      Filmed in Warsaw

      Summer Parade of Music


Birth of Modern Jazz: Zbigniew Namyslowski

Zbigniew Namyslowski

Source: All Souls Jazz

Birth of Modern Jazz: Wayne Shorter

Wayne Shorter

Photo: Francis Wolff/Mosaic Images

Source: MP3s

Born in 1933 in Newark, New Jersey, composer and saxophonist Wayne Shorter had met and played with Horace Silver in the army. Upon release from duty his career took off in 1959, thought to have made his debut recordings with the Maynard Ferguson Orchestra at the Newport Jazz Festival on July 3, 1959: 'Oleo', 'Newport', etc.. His next session was with the Wynton Kelly Quintet in August in NYC that year: 'Wrinkles', 'June Night', Mama 'G'', 'What Know' and 'Sydney', all found on the album, 'Kelly Great', issued that year. Shorter's first session with Art Blakey arrived per a tour to Europe, recording 'Blues March, 'The Midget', 'Nellie Blye' and 'A Night in Tunisia' in Copenhagen, Denmark, on November 5, 1959. Blakey would figure huge in Shorter's earlier career, recording with him numerously to 1964. Blakey backed Shorter on the latter's 1960 album, 'Second Genesis'. Shorter would later support Blakey on the latter's LP, 'The Art of Jazz', recorded live on October 9, 1989, at the Leverkusen Jazz Festival in Germany. Another figure of high significance in Shorter's career was Miles Davis, Shorter first joining Davis per the latter's sextet in NYC on August 21, 1962, for multiple takes of both 'Blue X-Mas' and 'Nothing Like You'. Shorter would stick with Davis to 1970, also working with him in 1990-91. Via Davis Shorter often worked with keyboardist, Chick Corea, bassist, Dave Holland, and guitarist, John McLaughlin. Corea would back Shorter's ensembles on multiple occasions as late as 1991 ('Phantom Navigator'), as well as record with Davis that year in Paris. He would see more of Holland and McLaughlin with Davis in '91 in Paris as well, Holland again with T.S. Monk (son of Thelonious) in '97. Another large figure was trumpeter, Herbie Hancock, first setting tracks with Hancock per Lee Morgan's 'Search for the New Land' on February 15, 1964. Hancock and Shorter would be found together numerously throughout Shorter's career, particularly with Davis and as late as 2009 per Hancock's 'The Imagine Project'. Shorter formed the jazz fusion group, Weather Report, with bassist, Miroslav Vitouš, and pianist, Joe Zawinul. in 1971. Jaco Pastorius (electric bass) would join that operation in 1976 upon its return to Los Angeles after a tour to Europe in late '75. (Pastorious and Shorter had earlier recorded 'Opus Pocus' with Hancock in October of 1975.) Weather Report remained intact until its sixteenth and final 1986 release of 'This Is This!'. Among the countless highlights of Shorter's career was folk singer, Joni Mitchell, whom he backed on 'Don Juan's Reckless Daughter' in '77 and 'Mingus' in '79. They would record again with Hancock in '98, 2000 ('Both Sides Now') and 2007 ('River'). Dave Holland was in on the latter. Shorter's first session as a leader had been in NYC in November of 1959, issued that year per 'Introducing Wayne Shorter'. Around 40 sessions later in 2000 Shorter formed the Wayne Shorter Quartet with bassist John Patitucci, drummer Brian Blade and pianist Danilo Perez, which ensemble yet performs as of this writing, releasing its latest album, 'Without a Net', in 2013.

Wayne Shorter   1959

   Blues March

      Filmed live in Paris with Art Blakey

   Down In the Depths

      Live performance with Art Blakey's Jazz Messengers

   June Night

      Piano: Wynton Kelly

   Mama G

      Piano: Wynton Kelly


      Filmed live in Paris with Art Blakey

   A Night in Tunisia

      Filmed live in Paris with Art Blakey

   Pug Nose

Wayne Shorter   1961

   The Summit

      Filmed live in Tokyo

Wayne Shorter   1963

   Children of the Night

      Filmed live in San Remo

Wayne Shorter   1964

   All Blues

      Filmed live in Milan with Miles Davis


   Infant Eyes/Speak No Evil

Wayne Shorter   1974


      Album: 'Moto Grosso Feio'

Wayne Shorter   1985


      Album: 'Sportin' Life'

   Corner Pocket

      Album: 'Sportin' Life'


      Album: 'Sportin' Life'

Wayne Shorter   1990

   Joy Rider

      Live performance

Wayne Shorter   1991


      Filmed live in Montreaux

Wayne Shorter   2005

   Beyond the Sound Barrier


Wayne Shorter   2013

   (The Notes) Unidentified Flying Objects

      Album: 'Without a Net'


      Album: 'Without a Net'


      Album: 'Without a Net'


Birth of Modern Jazz: Frank Strozier

Frank Strozier

Source: Alchetron

Born in 1937 in Memphis, Tennessee, to parents who ran a pharmacy, Frank Strozier, first trained at piano as a youth, but began his career on alto saxophone. While yet in Memphis he (may have) recorded at least a couple of unissued tracks with Houston Stokes for the Sun label in November of '52 (per Noal Cohen). Strozier would have fifteen years of age at the time. He left home for Chicago in 1954 where Cohen has him recording a string of unissued name titles for Mercury some time in 1958 with Billy Wallace at piano and Bill Lee at bass. Though Max Roach was producer he wasn't the drummer who remains uncertain. In either January or April of '59 Strozier taped 'Things Ain't What They Used to Be', 'Blue 'n' Boogie' and 'Star Eyes' with trumpeter, Booker Little, and pianist, Phineas Newborn. (Jazzdisco has 'Star Eyes' omitted, but the first two were issued back to back by United Artists that year. 'Star Eyes' was also issued, backed by 'After Hours' on which Strozier doesn't perform.) Some time in spring that year he recorded 'Devoted to Debbie' and 'Come On Home' with Edward Bunky Redding (leader/vocal) for the Apex label. It was upon joining drummer, Walter Perkins', MJT+3 (Modern Jazz Two + 3) that Strozier began to distinguish himself, his first of numerous titles with that outfit in January of '59. December of '59 found Strozier recording his first issued titles for Vee Jay, those appearing on his debut LP the next year: 'Fantastic Frank Strozier'. He issued a few more albums in rapid succession during the early sixties, also backing various others until hooking up with Shelly Manne in Los Angeles in the latter sixties. Returning to New York in 1971, Strozier's career gradually descended via this and that frustration toward little income. His solution was to hone up on piano during the eighties, making his initial debut with that instrument in a trio at the Well Recital Hall in New York in March 1990. Even so, that was about his last hurrah in the music industry, he to become a public school teacher of math or science in Westchester County, New York. He had issued his last of seven albums thirteen years earlier in 1977: 'What's Going On', although a compilation of yet unissued recordings was released in '93 on 'Cool, Calm and Collected'. Per 1952 below, Strozier's presence is per a lost discography, considered as likely as not. Per 1960 below, tracks not otherwise noted appear on Strozier's LP, 'Fantastic Frank Strozier'.

Frank Strozier  1952

  We're All Gonna Do Some Wrong

      With Frank Stokes

   You'll Be Sorry

      With Frank Stokes

Frank Strozier  1959

  Make Everybody Happy

      MJT+3 LP: 'Make Everybody Happy'


      LP: 'Walter Perkins' MJT+3'

   Things Ain't What They Used to Be

      Booker Little LP: 'Down Home Reunion'

Frank Strozier  1960

  Fat Lady

      LP: 'The Young Lions'

  I Don't Know

  Just In Time

  Off Shore



  Waltz of the Demons

  WK Blues

Frank Strozier  1961

   Long Night


  Raggity Man

      LP: 'MJT+3'

Frank Strozier  1963

   Mooche Mooche

      Booker Ervin LP: 'Exultation!'

   No Man's Land

      Booker Ervin LP: 'Exultation!'

Frank Strozier  1964


      Roy Haynes LP: 'People'

Frank Strozier  1966

   Frank's Tune

      Shelly Manne LP: 'Boss Sounds!'

Frank Strozier  1977

   Cloudy & Cool

      Recorded 1977   Released 1993

      LP: 'Cool, Calm and Collected'


      LP: 'Remember Me'


Birth of Modern Jazz: Leo Wright

Leo Wright

Source: Muutoksen Syke
Born in 1933 in Wichita Falls, Texas, saxophonist, Leo Wright, is ghostly a figure on the internet but for this singular biography by Andre Condouant. We'll not iterate but to mention that Wright won a scholarship to Tillotson College in Austin, Texas, before being drafted into the US Army to do short duty in Germany where he performed on flute in the military band and met peers such as Eddie Harris, Don Ellis and Cedar Walton. Release from service saw him at San Francisco State College to study flute while he honed his talents on sax independently, there no curriculum for sax. Numerous sources from 'The New Grove Dictionary of Jazz' to Jazz Profiles have Wright recording unidentifiably with vibraphonist, David Pike, in 1958. Wright would later scratch tracks with Pike in December of '62 ('Limbo Carnival'). Wright headed to NYC in 1959. He there met Charles Mingus at the Blue Note nightclub. Wright was with Mingus at the Newport Jazz Festival in July of 1959. A number of tracks were recorded but no release is known until years later. In September of 1959 Wright was on tour with Dizzy Gillespie in Europe for a live recording in Denmark on the 17th. That isn't thought to have seen light until 1995 on 'Copenhagen Concert' released by Steeplechase. Heading south to Italy (per discography), Wright and Gillespie were recorded on television in Roma the same month for RAI Studios. (That's a moot matter, however, per 'Suite' below.) Wright's first tracks to see record shelves were recorded at the Monterey Jazz Festival in early October, those for Virgil Gonsalves' 'Jazz at Monterey' issued in 1959 [discogs]. Lord's disco places Wright with Gillespie in Europe again in 1960 without a date to put away titles toward 'No More Blues' issued in April of 1995 (Moon MCD 065-2). They were in NYC to support Katie Bell Nubin's 'Soul, Soul Searching' in January that year, no date. March of 1960 saw such as Parts 1 and 2 of both Gillespie's 'Theme from Formula 409' and 'Kush'. In May Wright taped initial tracks for his debut album, 'Blues Shout', before appearing with Gillespie at the Newport Fest in July. He finished 'Blues Shout' in August, then joined Gillespie for 'Gillespiana' in November, that issued that year. Richard Williams' 'New Horn in Town' went down on November 17 before Wright headed back to Europe with Gillespie that month, sessions in Stockholm and Paris to include a couple with Jazz at the Philharmonic. Numerous sessions with Gillespie continued to as late as the Las Vegas Convention Center on an unidentified date in 1963 for such as 'Here It Is', 'Salt Peanuts', 'Long Long Summer', et al. Their reunion in 1978 in Germany saw issue in 2017 on Gillespie's 'At Onkel Pö's Carnegie Hall: Hamburg 1978'. Well to mention the presence of Argentine pianist, Lalo Schifrin, on numerous Gillespie sessions from 'The Big Band' in Paris in April 1962 to Las Vegas in 1963. During that time Wright had contributed to Schifrin's 'Lalo = Brilliance' and 'Bossa Nova New Brazilian Jazz' in '62. Schifrin and Wright had also participated in Bob Brookmeyer's 'Sambra Para Dos' on February 7 of 1963. July that year saw them with Antonio Diaz for the latter's 'Eso Es Latin Jazz ...Man!'. Lord's disco leaves Wright in Vienna in 1990 for Austrian vocalist (and wife), Elly Wright's 'Listen to My Plea'. Her 'Lady Champagne' had preceded that in May of 1988. Among numerous others on whose recordings Wright had participated through the years were Eldee Young, Milt Jackson, Jimmy Witherspoon, Antônio Carlos Jobim, Johnny Coles, Gil Evans, Torolf Molgaard and Red Garland. Wright is thought to have recorded his last of about eight albums in January of 1977 in Vienna: 'Jazz Live at 'Jazz Bei Freddy''. He died on January 4, 1991, in Vienna. Per 'Suite' under 1960 below, J-DISC Columbia shows two televised sessions in Rome, one in '59, one in '60, before discussing the likeness and difference between discographies by Fitzgerald ('59 per Jazz Discography) and Bruyninckx ('60 per Jazz Disco) leading to suspicion that they could be different versions of the same session. The tracks on the television broadcast below are alike and different from both of those as well. Since Wright and Gillespie's recordings with Nubin were in January of 1960 in the United States, their tour in Europe kaput, the question is whether there was more than one RAI broadcast, and whether Wright and Gillespie were (yet) in Italy in January that year, with time to return to the States to back Nubin the same month on an unknown date. Without clarifying the matter, Easy Does It places Wright and Gillespie on the last leg of their European tour in Antwerp, Belgium, with footage differing from that below, said to have been broadcast (versus recorded) over French television in 1960. The odds between '59 and '60 seem the flip of a coin at this point, so we're splitting the difference with filmed in '59 for broadcast in '60 for 'Suite' below. Maybe. Per 1978 below, all but 'Caravan' were filmed in Germany with Benjamin Brown (bass), Micky Roker (drums), Rodney Jones (guitar) and Dizzy Gillespie (trumpet).

Leo Wright   1959

   Jazz at Monterey

      Album by Virgil Gonsalves

Leo Wright   1960

   Autumn Leaves

      LP: 'Blues Shout'

   Blues Shout

      LP: 'Blues Shout'

   Gillespiania Suite: Blues

      Not released until 1998:

      'Paris Jazz Concert 1960'


      Newport Jazz Festival

      Filmed with Dizzy Gillespie


      LP: 'Blues Shout'


      RAI TV   Rome

   The Wind

      LP: 'Blues Shout'

Leo Wright   1961

   Jazz Casual

      Television program

Leo Wright   1962

   Chega de Saudade

      Lao Schifrin LP: 'Bossa Nova'

   Chora Tua Tristeza

      Lao Schifrin LP: 'Bossa Nova'

   An Evening in Sao Paulo

      Lao Schifrin LP: 'Lalo = Brilliance'

   A Felicidad

      LP: 'Suddenly the Blues'

      'A Happiness' or 'To Happiness'


      Filmed in Antibes, France

      Piano: Lalo Schifrin

      Trumpet: Dizzy Gillespie

   Menina Feia

      Lao Schifrin LP: 'Bossa Nova'


      Lao Schifrin LP: 'Bossa Nova'


      Lao Schifrin LP: 'Lalo = Brilliance'

Leo Wright   1978


      Filmed in Hamburg


      Filmed live

      Paul Kuhn & the SFB Big Band

   Dizzy's Party

      Filmed in Hamburg

   Night In Tunesia

      Filmed in Hamburg


      Filmed in Hamburg




We end this Birth of Modern Jazz Saxophone with Leo Wright. By Wright's time jazz is well-developed beyond big band, largely via bebop, cool (it's milestone usually considered to be Miles Davis' 'Birth of the Cool', recorded in 1949-50 though not released until 1957) and West Coast jazz. By the sixties modern jazz is arrived, such as 'Take Five' or 'Desafinado' major markers of its progress. Saxophonists 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 - Latin - Percussion - Song - Other

Jazz Modern - 1960 to 1970

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

UK Beat - British Invasion

Latin Recording - Europe

Latin Recording - The Caribbean - South America


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