A Birth of Jazz

Pepper Adams    Cannonball Adderley    Gene Ammons    Harry Arnold    Georgie Auld

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. He is listed here in modern jazz as a seminal figure who's career extended from contemporaneity with Louis Armstrong and Fletcher Henderson whence solos by individual artists began to emerge, traveled through the swing period as a significant figure, then joined Dizzy Gillespie in the creation of modern bop. Coleman's earliest recordings are thought to have been with Smith about September of 1921, four tracks per two sessions for Okeh in NYC: 'Arkansas Blues' (Okeh 4446), 'The Wang-Wang Blues' (Okeh 4445), 'Stop! Rest a While' (Okeh 4471) and 'Sweet Cookie' (Okeh 4542). 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' (4631), 'Dem Knock-Out Blues' (4631), 'Lonesome Mama Blues' (4630), 'New Orleans' (4630). 'Mamie Smith Blues' w 'Alabama Blues' (4658) followed on June 27, 'Stuttering' (8036)and 'Those Longing For You Blues' (8072) 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' (Victor 19124) and 'Struttin Blues' (unisued). Hawkin's first recorded solos were with Henderson, such as 'The Stampede' on 14 May 1926 to see issue w 'Jackass Blues' on Columbia 654-D. Hawkins career alone is a virtual encyclopedia of the jazz genre with some 549 sessions notched on his belt. Among his more important projects was touring Europe with swing artists, Django Reinhardt (guitar) and Stephan Grappelli (piano at the time), where they recorded together in Paris in 1935 and '37. Coleman's rendition of 'Body and Soul' in 1939 brought him to national acclaim [1, 2]. Other notable swing-era musicians with whom Hawkins collaborated were Henry Red Allen [*], Roy Eldridge and Duke Ellington. The emergence of bebop is generally given per sessions in Feb of 1944 beginning w 'Woody 'n You' (Apollo 751) on the 16th w Hawkins at tenor, Bud Johnson on baritone, Dizzy Gillespie (trumpet), Clyde Hart (piano), Oscar Pettiford (bass) and Max Roach (drums). 'Woody 'n You' was composed by (John) Gillespie. Come titles like 'Disorder at the Border' (Apollo 753) on the 22nd including Don Byas at tenor sax. Other modern jazz giants with whom Hawkins worked were Thelonious Monk, Oscar Peterson, 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 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 per Lord in 1968 in Europe, among tracks gone down were 'Lover Man' (13 Feb in Copenhagen, Denmark) and 'All the Things You Are' (2 April in Essen, Germany) eventually issued on 'Master of Jazz' (Storyville 4112). Hawkins died on 19 May 1969 in New York City of pneumonia. References: 1, 2, 3, 4, 5, 6, 7, 8, 9. Sessions: Heinz Becker; J-Disc (w comps by Hawkins); Lord; solography. Discos: 1, 2, 3, 4. Compilations: Chronological Classics Vol 1 '1929-1934' (#587) through Volume 12 '1953-1954' (#1416); 'I Love You' 1943-49 by Giants of Jazz 1999; 'Phantomesque' 1944-47 per Arpeggio 2001; 'Complete Birdland Broadcasts' w Horace Silver 1952-59 by Solid Jazz 2011. Hawkins in visual media: IMDb; videography. Reviews: AAJ; Jazz 24. Further reading: Hawkins w Tiny Grimes: AAJ; Hawkins w Fletcher Henderson: Logical Place; Jazz Profiles: Cerra, Morgenstern; John Wilson. Other profiles: 1, 2, 3, 4, 5. More Hawkins under Howard McGhee.

Coleman Hawkins   1921

  Arkansas Blues

      With Mamie Smith

      Composition:

      Spencer Williams/Anton Lada

Coleman Hawkins   1922

With Mamie Smith:

  Lonesome Mama Blues

      Composition:

      Anna Welker Brown

      Billie Brown (Irene Anderson)

      E. Nickel

  Mean Daddy Blues

      Composition:

      Jimmy Durante

      Irving Bloom

      Fred Hamburger

  New Orleans

      Composition:

      Vaughn De Leath (Leonore Vonderlieth)

Coleman Hawkins   1925

  Carolina Stomp

      With Fletcher Henderson

      Composition: Rube Bloom

Coleman Hawkins   1927

  Hello Lola

      Clarinet: Pee Wee Russell

       Comb: Red McKenzie

       Composition: Red McKenzie

Coleman Hawkins   1933

  Queer Notions

      With Fletcher Henderson

      Composition: Hawkins

  The Day You Came Along

      Composition: Hawkins/Sam Coslow

Coleman Hawkins   1937

Coleman Hawkins All Stars

Piano: Stephane Grappelli

Guitar: Django Reinhardt

  Crazy Rhythm

      Composition:

      Joseph Meyer/Roger Wolfe Kahn

  Honeysuckle Rose

      Composition: Fats Waller/Andy Razaf

  Stardust

       Composition:

       Hoagy Carmichael/Mitchell Parish

Coleman Hawkins   1939

  Body and Soul

Coleman Hawkins   1943

Coleman Hawkins Swing Four

Piano: Eddie Heywood

Bass: Oscar Pettiford

Drums: Shelly Manne

  How Deep Is the Ocean

      Composition: Irving Berlin

  The Man I Love

      Composition: Gershwin Brothers

Coleman Hawkins   1944

  Blue Moon

      Cozy Cole All Stars

      Music: Richard Rodgers   1934

      Lyrics: Lorenz Hart

  Bu-Dee-Daht

      Coleman Hawkins & Orchestra

      Trumpet: Dizzy Gillespie

      Composition:

      Arthur Johnston/Lorenz Hart

  Disorder at the Border

      Coleman Hawkins & Orchestra

      Trumpet: Dizzy Gillespie

      Composition: Hawkins

  On the Sunny Side of the Street

      All American Four

      Music: Jimmy McHugh   1930

      Lyrics: Dorothy Fields

  Rainbow Mist

      Coleman Hawkins & Orchestra

      Trumpet: Dizzy Gillespie

      Composition: Hawkins

  Woody 'n You

      Coleman Hawkins & Orchestra

      Trumpet: Dizzy Gillespie

      Composition: Gillespie

  Yesterdays

      Coleman Hawkins & Orchestra

      Trumpet: Dizzy Gillespie

      Composition:

      Jerome Kern/Otto Harbach

Coleman Hawkins   1946

  Low Flame

      Drums: Shelly Manne

      Composition: Leonard Feather

  Spotlite

      Drums: Shelly Manne

      Composition: Hawkins

Coleman Hawkins   1947

  Half Step Down, Please

       Coleman Hawkins & Orchestra

       Trumpet: Fats Navarro

      Guitar: Chuck Wayne

       Composition:

       Hawkins/Tadd Dameron

  I Love You

      Coleman Hawkins All Stars

      Composition:

      Harry Archer/Harlan Thompson

  Jumping for Jane

       Coleman Hawkins & Orchestra

       Trumpet: Fats Navarro

      Guitar: Chuck Wayne

       Composition: Leonard Feather

Coleman Hawkins   1952

  Disorder at the Border

      Radio broadcast: 'The Birdland Show'

      Composition: Hawkins

Coleman Hawkins   1954

  Lullaby of Birdland

      Music: George Shearing   1952

      Lyrics:

      B.Y. Forster (George David Weiss)

Coleman Hawkins   1956

  Autumn Leaves

      Music: Joseph Kosma   1945

      Lyrics French: Jacques Prévert

      Lyrics English: Johnny Mercer

Coleman Hawkins   1957

  Blues for Yolanda

      Tenor sax: Ben Webster

      Composition: Hawkins

Coleman Hawkins   1958

  Battle Hymn of the Republic

      Music: William Steffe   1856

      Lyrics: Julia Ward Howe   1861

  Frankie and Johnny

      Composition: See Wikipedia

  Maryland, My Maryland

Note: 'Maryland My Maryland' was made the official state song of Maryland in 1939. Taken from the poem, 'Maryland, My Maryland', by James Ryder Randall in 1861, it was set to music by Jennie Cary who borrowed the melody from 'Lauriger Horatius', a German student song traced to sometime after 1780 that had made its way across the ocean to appear in the Yale College Song Book of 1858 [see also: 1, 2]. Some place the possible origin of 'Lauriger Horatius' w the Archpoet (or Archpoeta) living circa 1130-65. John Addington Symonds published a translation in 1884 in his book, 'Wine, Women, and Song'. 'Maryland My Maryland' and 'Lauriger Horatius' share the same melody as 'O Tannenbaum' ('O Christmas Tree'). James Davis comments in the book, 'Maryland, My Maryland', that variations of 'O Tannenbaum' are traceable in text to the 16th century [see also *]. Hymns and Carols has text and music first published in 1799, melody possibly borrowed from 'Lauriger Horatius'. Versions were published by August Zarnack in 1819 or '20 and Ernst Anschütz in 1824 [see also 1, 2].

  Undecided

      Filmed live at Cannes

      Composition: Charlie Shavers/Sid Robin

  Until the Real Thing Comes Along

      Piano: Ray Bryant

      Composition: Alberta Nichols

      L.E. Freeman/Mann Holiner

      Sammy Cahn/Saul Chaplin

Coleman Hawkins   1959

  Bean's Blues

      Piano: Red Garland

      Bass: Doug Watkins

      Drums: Charles Wright

      Composition: Hawkins

      LP: 'Swingville'

  Sandra's Blues

      Piano: Tommy Flanagan

      Vibes: Milt Jackson

      Guitar: Kenny Burrell

      Composition: Milt Jackson

       LP: 'Bean Bags'

Coleman Hawkins   1960

  After Midnight

      Album: 'The Hawk Swings'

     All comps by Hawkins

From 'At Ease'

Piano: Tommy Flanagan

Bass: Wendell Marshall

Drums: Osie Johnson

  At Dawning

     Composition: Charles Cadman

  Then I'll Be Tired of You

     Composition:

     Arthur Schwartz/Yip Harburg

Coleman Hawkins   1962

  Desafinado

      Music: Tom Jobim

      Lyrics: Newton Mendonça

  Disorder at the Border

      Recorded in Brussels

     Composition: Hawkins   1944

  Disorder at the Border

      Radio broadcast

Coleman Hawkins   1964

  Centerpiece

       Live performance

      Composition:

      Harry Sweets Edison/Jon Hendricks

  Disorder at the Border

       Live performance

      Composition: Hawkins   1944

  Stoned

      Live performance

      Composition: Wardell Gray

Coleman Hawkins   1966

  Blue Lou

      Live for 'Jazz at the Philharmonic'

      Composition: Irving Mills/Edgar Sampson

  Body and Soul

       Live for 'Jazz at the Philharmonic'

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 multiple takes of ''Just a Crazy Song', 'Sugar Blues', etc. [Gaps 160, Victor 22661, et al]. Webster joined Ben Moten's band in 1932, a session on December 13 yielding such as 'Toby' and 'Moten Swing on Victor 23384. His first tracks with Fletcher Henderson were on September 11, 1934: 'Limehouse Blues' (Decca 157) 'Shanghai Shuffle' (Decca 158), 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' per Vocalion 2898. Carter was the arranger on Webster's first titles with Henderson. They 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. References: 1, 2, 3. Gig chronology. Sessions: DAHR; Evensmo (solographies): 1, 2, 3; J-Disc; Lord. Discos: 1, 2, 3, 4. Compilations: 'Duke Ellington: The Blanton–Webster Band' 1939-42 by RCA 1986: 1, 2; Chronological Classics #1017 1944-46, #1253 1946-51 and #1458 1953-54. Reviews. Webster in visual media: IMDb; select videography. Internet Archive. 1965 interview w Les Tomkins. Further reading: Whitney Balliett: 1, 2; John Wilson. Biblio: Jan Evensmo; 'Someone to Watch Over Me: The Life and Music of Ben Webster' by Frank Büchmann-Møller (U of Michigan Press 2006). See also the Ben Webster Foundation: 1, 2. Other profiles: 1, 2.

Ben Webster   1931

  It's Right Here for You

      With Blanche Calloway & Her Joy Boys

      Composition: Perry Bradford

  Make Me Know It

      With Blanche Calloway & Her Joy Boys

      Composition: Fess Williams

Ben Webster   1944

  Blue Skies

      Composition: Irving Berlin

Ben Webster   1953

  Bounce Blues

      Composition: Webster

      Album: 'King of Tenors'

Ben Webster   1956

     Album with Art Tatum 

Ben Webster   1964

  Chelsea Bridge

      Composition: Billy Strayhorn   1941

  Night in Tunisia

  Perdido

      Composition: Juan Tizol

      First issue Duke Ellington   1941

Ben Webster   1970

  My Romance

      Music: Richard Rodgers   1935

      Lyrics: Lorenz Hart

      For the musical 'Jumbo'

Ben Webster

Source: Sooze Blues & Jazz

Born in 1912 in Muskogee, Don Byas, was a tenor saxophonist who bridged swing to bebop. He 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' (Victor 25876), 'Is This to Be My Souvenir?' (Victor 25876), 'When Day Is Done' (Victor 25883) and 'The Song Is Ended' (Victor 25883). In late '38 he laid tracks with Lucky Millinder: 'Ride, Ride, Ride' (later issued on 'Hot Jazz on Film Vol 1' per Extreme Rarities LP 1002) and 'Jazz Martini' (fate unknown). 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. References: 1, 2, 3. Sessions: DAHR (w composing credits); Evensmo (solographies); J-Disc (w compositions by Byas); Lord. Discographies: 1, 2, 3, 4. Compilations: 'New York-Paris 1938-1955' by Fremeaux 2016; 'The Don Byas Collection 1939-61' by Acrobat 2014; 'Complete American Small Group Recordings' 1944-46 by Definitive 2001: 1, 2, 3. Byas in visual media: IMDb; live performances. Select YouTube. Further reading: crownpropeller (Byas w Don Redman); jazzprofiles; saxontheweb. All tracks below for 1938 are Byas with Timme Rosenkrantz and his Barrelhouse Barons [1, 2, 3, 4, 5, 6].

Don Byas   1938

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'  (Victor 26476) and two takes of 'The Heebie Jeebies Are Rockin' the Town' (: Victor 26423) with the instrumental, 'Haven't Named It Yet' (Victor 26476). 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' (Majestic 1055) with three other instrumentals during his premiere session as a leader. Bostic was also an arranger and songwriter, such as 'Let Me Off Uptown' and 'Brooklyn Boogie' (Prima on Majestic 7141). Among Bostic's better known issues was 'Flamingo' released in early 1951 on King 4475. Bostic and his wife owned the Flying Fox nightclub in Los Angeles in the early sixties. Of 109 sessions in Lord's disco, nearly all are per his own catalogue leading his own bands. Lord traces Bostic to as late as 1965 on an unknown date at an unknown location to put down 'The Song Is Not Ended', that issued posthumously in 1967. Having issued nearly 40 albums before his death [Discogs], Bostic passed beyond of a second heart attack on 28 October 1965 while giving a performance in his birthplace, Rochester. He had released 'Plays the Great Hits of 1964' and 'A New Sound' in 1964. References: 1, 2, 3, 4. Discos: 1, 2, 3, Lord. Bostic in visual media. Further reading: Owen Callahan. More Bostic under Jimmy Cobb.

Earl Bostic   1939

  Haven't Named It Yet

      With Lionel Hampton

      Composition:

      Charlie Christian/Hampton

     Victor 26476

Earl Bostic   1945

  Hurricane Blues

      Composition: Bob Mason

     Majestic 1055

Earl Bostic   1948

  Temptation

      Music: Nacio Herb Brown

      Lyrics: Arthur Freed

      King 4214

Earl Bostic   1949

  Joy Dust

      Composition: Bostic

      King 4247

  Slightly Groovy

      Composition: Bostic

      King 4247

Earl Bostic   1951

  Flamingo

      Composition:

      Edmund Anderson/Theodor Grouya

      King 4475

Earl Bostic   1953

  Cherokee

       Composition: Ray Noble   1938

      Recorded 17 Dec 1952   NYC

      King 4623

Earl Bostic   1955

  Sweet Lorraine

      Music: Cliff Burwell   1928

      Lyrics: Mitchell Parish

      King 4776

Earl Bostic   1959

  Dancing in the Dark

      Music: Arthur Schwartz

      Lyrics: Howard Dietz

      King 5209

Earl Bostic   1961

  Unchained Melody

      Music: Alex North   1955

      Lyrics: Hy Zaret

      Album: Arthur Schwartz

      'Sweet Tunes of the Fantastic 50's'

      King 602

Earl Bostic

Source: Earl Bostic

Born in Sherman, Texas, in 1913, Buddy Tate, tenor sax, began his professional career in Texas in 1927 w Roy McCloud's Night Owls. In 1929 he performed w the St. Louis Merrymakers in Wichita Falls and the band of Troy Floyd in San Antonio. Come a brief period w Gene Coy, then Terrence Holder's 12 Clouds of Joy from 1930 to '33. Passing through a few other bands [see Evensmo], his first encounter w Count Basie was in 1934 in Little Rock before joining Andy Kirk's operation followed by that of Nat Towles. He hired on w Basie again in 1939, his first recording session traced by Lord to March of that year on such as 'What Goes Up Must Come Down' (Vocalion 4734) and 'Rock-a-Bye Basie' (Vocalion 4747). Vocalists during his first session with Basie, with whom he remained until 1948, had been Helen Humes and Jimmy Rushing ('What Goes Up Must Come Down'). 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 per Lord 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.) A performance w Humphrey Lyttleton at Pye Studios in London on 3 July of 1974 went toward 'Kansas City Woman' in '75, reissued in 1992 by Black Lion as 'Swinging Scorpio'. 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 band 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 [obit]. References: 1, 2, 3, 4, 5. Sessions: Evensmo (solograohy); Lord (leading 52 of 376). Discos: 1, 2, 3, 4. IMDb. Compilations: Chronological Classics 1207 '1945-1950'. Interviews: John Wilsonaug 1977, NAMM 1995. Further reading: Sandi Brewster-walker: 1, 2; Nic Jones. Other profiles: 1, 2.

Buddy Tate   1939

  Rock-a-Bye Basie

      With Count Basie

      Composition:

      Buddy Tate

      Lester Young

      Myles Collins

Buddy Tate   1940

  Super Chief

      With Count Basie

      Composition:

      Count Basie/Jimmy Mundy

Buddy Tate   1945

  Grand Slam

      With the Karl George Octet

      Composition: Bill Doggett

Buddy Tate   1967

  Mack the Knife

      Music: Kurt Weill   1928

      Lyrics: Bertolt Brecht

      For 'Die Dreigroschenoper'

      ('The Threepenny Opera')

  Too Heavy Blues

      Composition: Wallace Bishop

Buddy Tate   1975

  Talk of the Town

      Composition:

      Al Neiburg

      Jerry Livingston

      Marty Symes

Buddy Tate   1977

  Body and Soul

Buddy Tate   1987

  Moten Swing

      With Dick Hyman

      Composition Bennie Moten   1932

Buddy Tate

Source: All About Jazz

Ike Quebec   1944

  Blue Harlem

      Composition: Quebec

  The Gasser

      With Roy Eldridge

      Composition: Eldridge

  If I Had You

      Recorded 25 Sep 1944

      Composition:

      Jimmy Campbell

      Reginald Connelly

      Ted Shapiro

  Mad About You

      Recorded 25 Sep 1944

      Composition:

      Joe Bishop/Roger Ramirez

  Tiny's Exercise

      Composition: Tiny Grimes

Ike Quebec   1945

  Cup-Mute Clayton

      Composition: Buck Clayton/Quebec

  Dolores

      Composition:

      Louis Alter/Frank Loesser

  Sweethearts on Parade

      Music: Carmen Lombardo   1928

      Lyrics: Charles Newman

Ike Quebec   1960

  Mardi Gras

      Composition: Quebec

Ike Quebec   1962

From 'Heavy Soul'

Recorded 26 Nov '61   NJ

Organ: Freddie Roach

Bass: Milt Hinton

Drums: Al Harwood

  Acquitted

      Composition: Quebec

  Blues for Ike

      Composition: Freddie Roach

  Nature Boy

      Composition: eden ahbez

From 'Soul Samba'

Recorded 5 October '62   NJ

Guitar: Kenny Burrell

Bass: Wendell Marshall

Drums: Willie Bobo

Shekere: Garvin Masseaux

  Blue Samba

      Composition: Quebec

  Favela

      Composition:

      Joraci Camargo/Heckel Tavares

  Lloro tu Despedida

      Composition:

      Facundo Cabral

      Joraci Camargo

      Emanuel Lacordaire

  Loie

      Composition: Kenny Burrell

  Shu Shu

      Composition:

      Antônio Almeida

      Carlos Monteiro DeSouza

Ike Quebec   1963

From 'Blue and Sentimental'

Recorded 16 & 23 Dec '61   NJ

Guitar: Grant Green

  Blue and Sentimental

      Composition:

      Count Basie

      Mack David

      Jerry Livingston

  Blues for Charlie

      Composition: Grant Green

Ike Quebec   1964

From 'It Might As Well Be Spring'

Recorded 9 Dec '61   NJ

Organ: Freddie Roach

Bass: Milt Hinton

Drums: Al Harwood

  A Light Reprieve

      Composition: Quebec

  Lover Man

      Music: Jimmy Davis   1941

      Lyrics:

      Ram Ramirez/James Sherman

  Ol' Man River

      Music: Jerome Kern

      Lyrics: Oscar Hammerstein II

  Willow Weep for Me

      Composition: Ann Ronnell

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' (Gem 15) and 'Gettin' Out' (Gem 18). 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' (Indigo 100/ 101). 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' (4 Star 1108, 1107 and 1106). 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'. Collette's first tracks as a leader were also circa 1948. That was a quartet issuing 'It's April' and 'Collette' on Dolphin's of Hollywood 205. About the cusp 0f 1951-52 he put down 'Blue Strings' and 'Jimmie's Boogie' toward Crest 111. His debut album as a leader was 'Man of Many Parts' in 1956. With more than 350 sessions during his career, Collette 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 Collette on the latter's 'Tanganyika Jazz' in 1956. Collette stuck with Hamilton's operation into 1959, to work together again in '89 and '96. Another important band for Collette 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. Collette 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 Collette's Pollwinners to back his album, 'Porgy and Bess', in 1957. Collette next backed Bellson on the latter's 'Music, Romance and Especially Love' recorded on July 24, 1957. Collette supported Bellson during several sessions until 1964, they to work together again in the latter sixties and early seventies. Collette 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 by Continuum w assistance by Steven Isoardi. Collette died in Los Angeles on 19 Sep 2010 [obit]. References: 1, 2. Discos: 1, 2, 3, 4. Compositions. Collette in visual media. Interviews: Steven Isoardi 1989/90; NAMM 2008; Marc Myers 2010: 1, 2, 3, 4, 5. Further reading: Jazz Profiles: 1, 2; Marc Myers; NPR: 1, 2. Collette plays clarinet, flute and saxophone on recordings below.

Buddy Collette   1948

 Mingus Fingus (Mingus Fingers)

Buddy Collette

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' [Lord, Losin, Sutherland; 1937 per JDP]. 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'. Parker gave his final performance on 5 March 1955 [*] at the Birdland [1, 2], a nightclub opened in 1949 named after him. 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. Complicating his will was his 1948 marriage to one, Doris, whom he never divorced before beginning to live with Chan Parker (nee Berg) in 1950. Chan published 'My Life in E-Flat' in 1999 (U of South Carolina Press). Chan and Charlie had a daughter who had died at age three and a son, Baird, who passed away in 2014. 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'. References chronological; encyclopedic: 1, 2, 3, 4; musical: 1, 2, 3, 4; Japanese: 1, 2. Universal sessions query. Solography. Discographies: 1, 2, 3, 4; w Gillespie: *; w Miles Davis: *. Compilations: 'A Studio Chronicle: 1940-1948' by JSP 2003; 'Unheard Bird: The Unissued Takes' 1949-52 by Verve 2016: 1, 2, 3, 4; 'Bird and Diz' 1950 by Clef 1956. See also 'Bebop Story' (Part 4/5) in the 'Encyclopedia of Jazz' (complete). Parker in visual media. Compositions. Transcriptions: Bird Lives; 'Charlie Parker Omnibook': 1, 2 3; Sun. Interviews: 1954 by Paul Desmond; Jan 1961 in 'Jazz Review'; Les Tomkins 1976. Documentaries: 'Bird Song' by BBC Radio 1945: 1, 2, 3, 4; Bird Lives. Further reading: failure at age sixteen; Parker w Red Garland: *; w Lennie Tristano: *; w Norman Granz, Gil Evans and Dave Lambert: *; 'A Remembrance' by Orrin Keepnews; books: 'The Birth of Bebop: A Social and Musical History' by Scott DeVeaux (U of California Press 1999); 'Chasin' The Bird' by Brian Priestley (Oxford U Press 2006); at Bird Lives. Criticism: Bird Lives; Richard Williams. Facebook tribute site. Other profiles 1, 2. All titles below were authored by Parker except as noted. Per Gillespie's 'A Night in Tunisia', Frank Paparelli was credited as co-author in exchange for transcriptions done for Gillespie.

Charlie Parker   1940

  Coquette

      Date of issue unknown

      With Jay McShann

      Composition:

      Johnny Green/Gus Kahn/Carmen Lombardo

Charlie Parker   1941

  Hootie Blues

      With Jay McShann

      Composition:

      Walter Brown/Jay McShann/Parker

Charlie Parker   1945

  Dizzy Atmosphere

      Composition: Dizzy Gillespie

Charlie Parker   1946

  A Night in Tunisia

      Trumpet: Miles Davis

Charlie Parker   1947

  202

      Trumpet: Howard McGhee

      Album by Dial Records

  Bongo Bop

  Donna Lee

  Embraceable You

      Composition: Gershwin Brothers

  Groovin' High

      Composition: Dizzy Gillespie

Charlie Parker   1948

  How High the Moon

  Parker's Mood

      Composition: Parker

      Arrangement: Buddy Clark

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

      Composition: John Klenner/Sam M. Lewis

  Summertime

      LP: 'Charlie Parker with Strings'

      Unissued until 1995

      Composition:

      Gershwin Brothers/DuBose Heyward

Charlie Parker   1951

  Blues for Alice

Charlie Parker   1952

  Cheryl

      Live   Trumpet: Joe Gordon

  Hot House

      Live   Trumpet: Dizzy Gillespie

      Composition: Tadd Dameron

  I'll Remember April

        Live   Trumpet: Joe Gordon

  Ornithology

      Live   Trumpet: Joe Gordon

      Composition: Benny Harris/Charlie Parker

  Stella by Starlight

      Music: Victor Young   1944

      Lyrics: Ned Washington   1946

Charlie Parker   1953

  Groovin' High

      Composition: Dizzy Gillespie

  Moose the Mooch

      Composition: 1946

Charlie Ventura   1941

With Chu Berry:

   Dream Girl Part 1

   Dream Girl Part 2

   Get Lost Part 1

   Get Lost Part 2

Note: Above titles are credited on labels as traditionals (unfound). Jazz Selection J.S. 625, however, credits 'Get Lost' to Berry.

Charlie Ventura   1945

   Body and Soul

     Vocal: Billie Holiday

       Music: Johnny Green   1930

   C.V. Jump

       Composition: Eddie Laguna

   Dark Eyes

       Composition: Florian Hermann

Charlie Ventura   1946

   Euphoria

       Composition: Roy Kral

   S' Wonderful

       Composition: Gershwin Brothers   1927

Charlie Ventura   1947

   The Man I Love

      Composition: Gershwin Brothers   1927

Charlie Ventura   1948

   Pina Colada

      Composition: Ventura/Roy Kral

Charlie Ventura   1949

Civic Auditorium, Pasadena, California

Recorded 9 May 1949

Vocals: Jackie Cain

   Birdland

      Composition: Gene Roland/Ventura

  East of Suez

      Composition: Ventura

      Album: 'Charlie Ventura Concert'

   Euphoria

       Composition: Roy Kral

      Album: 'Charlie Ventura Concert'

Note: Titles above from the concert above saw issue in 1953 on 'Gene Norman Presents a Charlie Ventura Concert' Decca DL 8046 (YouTube). 'The Legendary Pasadena Concert' arrived in 2002 by Proper Records. 'The Complete Pasadena Concert 1949' per Charlie Ventura and His Bop For The People Septet saw release by Fresh Sound in 2004 (YouTube).

   Ha!

      Vocals: Betty Bennett w Jackie Cain

      Composition: Boots Mussulli/Ventura

   Lullaby in Rhythm

      Vocal: Jackie Cain

       Composition:

       Clarence Profit

       Edgar Sampson

       Walter Hirschl

Charlie Ventura   1952

   Stardust

       Composition:

       Hoagy Carmichael/Mitchell Parish

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. Lord has those issued on the CD per Kazoo Lips KL-1. On September 11 he was in Chicago at the Panther Room, Hotel Sherman, with Hampton when 'Train Time' was recorded, later released on Masters of Jazz MJCD 112. Gordon's first recordings to see issue are thought those in NYC in December, again with Hampton: 'Just for You'/'My Wish' (Decca 18265), 'Southern Echoes'/'Nola' (Decca 18285). 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'. The first two titles were issued on Mercury/Clef 8900, all four on the 1974 LP, 'Nat Cole Meets the Master Saxes' (Phoenix Jazz LP5) also featuring Lester Young and Illinois Jacquet. His next session on October 30, 1945, included tracks that would be found on the 1958 album, 'Dexter Rides Again'. Tracks for his 1977 LP, 'The Hunt', went down on 6 July 1947. Gordon's first tracks toward his debut LP issued in 1950, 'Dexter Gordon', went down on 4 Dec 1947 to include 'Ghost of Chance'. An alt take of that saw issue in 1950 on 10" shellac Dial 1018 per Discogs, 1948 per RYM, flip side of 'Mischievous Lady' earlier recorded on 5 June '47. Parts 1 and 2 of 'The Duel', also recorded 4 Dec '47, saw issue in 1947 on 10" shellac Dial 1028 per Discogs, 1948 per RYM. In 1955 Gordon appeared in the film, 'Unchained', the same year he recorded the albums, 'Daddy Plays the Horn' and 'Dexter Blows Hot and Cool'. Come 'The Resurgence of Dexter Gordon' in 1960. He began recording for Blue Note in 1961 per 'Doin' Alright', followed by 'Dexter Calling' (issued '62), 'Landslide' (issued 1980) and 'Go' (issued 1962). After putting down 'A Swingin' Affair' on 29 August of 1962 Gordon left the States to live in Paris, then Copenhagen, for the next 14 years. Life was apparently easier both as a black man and a jazz musician in Europe. Gordon switched to Prestige label in 1965 until 1973. He met tour manager and future wife, Maxine Gordon [1, 2, 3, 4, 5], in 1975 to manage the logistics of returning to the United States the next year. He was picked up by Columbia in 1976 upon doing so, recording 'Homecoming' live in December at the Village Vanguard in NYC. In 1986 Gordon starred in the film, 'Round Midnight'. The soundtrack was released by the same title; Gordon's companion issue was released as 'The Other Side of Round Midnight'. He was inducted into 'Down Beat' magazine's Jazz Hall of Fame in 1988. Gordon died on 25 April 1990 of kidney failure in Philadelphia. Tom Lord's discography has him recording to 244 sessions, 143 of them his own. References encyclopedic: 1, 2, 3; musical: 1, 2, 3. Sessions: DAHR, Evensmo, JDP, Lord. Discos: 1, 2, 3, 4, 5, 6. Compilations: 'Jazz Profile' 1947-65 by Blue Note 1998. Gordon in visual media. Compositions. Transcriptions. Reviews: 'Doin' Alright' 1961: 1, 2; 'Go' 1962: Sputnik; essential albums: Eric Novod. Criticism: 1, 2; w Al Cohn. Biblio: 'Long Tall Dexter: The Discography of Dexter Gordon' by Thorbjorn Sjogren 1986; 'Sophisticated Giant' Maxine Gordon (U of CA Press 2018): 1, 2, 3. See also: Dex Music (licensing); the Dexter Gordon Society. Collections: 1, 2, 3; Internet Archive. Other profiles: 1, 2, 3.

Dexter Gordon   1942

  Nola

      With Lionel Hampton

      Composition:  Felix Arndt

  Southern Echoes

      With Lionel Hampton

      Composition:  Buddy Johnson

Dexter Gordon   1947

  The Hunt

      Album

      Recorded 6 July 1947

      Not issued until 1977

Dexter Gordon   1955

  Autumn in New York

      Composition:  Vernon Duke   1934

  Confirmation

      Composition: Charlie Parker   1946

  Cry Me a River

      Composition: Arthur Hamilton   1953

Dexter Gordon   1958

From 'Dexter Rides Again':

  Blow Mr. Dexter

      Recorded 30 Oct 1945

      Composition: Gordon

  Dexter Rides Again

      Recorded 29 Jan 1946

      Composition: Gordon/Bud Powell

  Dexter's Deck

Dexter Gordon   1963

  Second Balcony Jump

      Live performance

      Drums: Arthur Taylor

      Composition:

      Billy Eckstine/Gerald Valentine

  You've Changed

      Live performance

      Composition:

      Bill Carey/Carl Fischer

Dexter Gordon   1964

  Blues Walk

      Live performance

      Composition: Lou Donaldson

  Night in Tunisia

      Live performance

Dexter Gordon   1972

  Days of Wine and Roses

      Album: 'Tangerine'

      Music: Henry Mancini   1962

      Lyrics: Johnny Mercer

      For the film 'Days of Wine and Roses'

Dexter Gordon   1977

  Blue Bossa

      Composition: Kenny Dorham

      Album: 'Biting the Apple'

      Piano: Barry Harris

      Bass: Sam Jones

      Drums: Al Foster

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 per MJCD112. Jacquet's first recordings to issue were also with Hampton, now in NYC in December for 'Just for You'/'My Wish' (Decca 18265) and 'Southern Echoes'/'Nola' (Decca 18285). 'Southern Echoes' featured vocals by Hampton. Nola was an instrumental. Rubel Blakey featured at vocals on the others. 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 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. 1966 saw the issue of 'Go Power!' w organist, Milt Buckner, and drummer, Alan Dawson. 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 [obits: 1, 2]. References encyclopedic: 1, 2, 3, 4, 5; musical: 1, 2, 3, 4, 5, 6. Sessions: Di Filippo, Lord. Discographies: 1, 2, 3, 4. Jacquet in visual media. Oral interviews: Les Tomkins 1973, Arthur Dawkins 1984, NAMM 1995. Further reading: 1, 2. See also the Illinois Jacquet Foundation: *. Other profiles *. Jacquet plays bassoon on his rendition of Thelonious Monk's 'Round Midnight' below.

Illinois Jacquet   1942

  Flying Home

      With Lionel Hampton

  In the Bag

      With Lionel Hampton

      Composition:

      Lionel Hampton/Robert Crowder

Illinois Jacquet   1945

  Flying Home

Illinois Jacquet   1946

  Blow Illinois Blow

      Composition: Jacquet

  Jivin' with Jack the Bellboy

      Trumpet: Miles Davis

      Composition: Bill Doggett

  Illinois Blows the Blues

      Composition: Jacquet

Illinois Jacquet   1947

  Riffin' at 24th Street

      Composition: Jacquet

Illinois Jacquet   1956

  Groovin' with Jacquet

      Album

Illinois Jacquet   1969

  'Round Midnight

Illinois Jacquet

Source: Musik World

Hans Koller   1947

  Fräulein Melanie

      With Peter Kreuder

      Composition: Kreuder

Hans Koller   1950

  Nylon

      With Charles Prouché

      Composition:

      Rico Garzarolli-Thurnlack

Hans Koller   1953

  Idaho

      Composition: Jesse Stone

Hans Koller   1954

  Ack Varmeland Du Skona

      Piano: Jutta Hipp

      Composition:

      Swedish folk traditional

  Frankfurt Special

      Piano: Jutta Hipp

      Composition: Joki Freund

  Koller's Idea

      Composition: Koller

Hans Koller   1958

  Back in Paradise

      Composition: Hans Hammerschmid

  Blues Around Joe

      Composition: Hans Hammerschmid

  Blue Night

      Duet with Zoot Sims

      Composition: Hans Hammerschmid

  I'll Close My Eyes

       Bass: Peter Trunk

      Drums: Rudi Sehring

       Piano: Hans Hammerschmid

      Trombone: Albert Mangelsdorff

       Composition: Billy Reid/Buddy Kaye

  Minor Meeting

      Duet with Zoot Sims

      Composition: Hans Hammerschmid

Hans Koller   1959

  The Gentle Art of Love

      Bass: Oscar Pettiford

      Composition: Pettiford

Hans Koller   1962

  Call Me Eric

      Composition: Koller

Hans Koller   1966

From 'Zoller Koller Solal'

Recorded Jan 1965

Villingen, Germany

Piano: Martial Solal

Guitar: Attila Zoller

  After Glow

      Composition: Attila Zoller

  All the Things You Are

Hans Koller   1973

  Nicolas 1-2

      Composition: Koller

      Free Sound LP: 'Phoenix'

      Recorded 25 & 26 Sep 1972

      Villingen, Germany

Hans Koller   1974

From 'Kunstkopfindianer'

  Kunstkopfindianer

      Composition: Wolfgang Dauner

  Nom

      Composition: Adelhard Roidinger

  Suomi

      Composition: Adelhard Roidinger

End 'Kunstkopfindianer'

  Live in Berlin

      Filmed live w Free Sound

      Violin: Zbigniew Seifert

Hans Koller   1982

  Continued Talks

      Album: 'Continued Talks'

      Recorded Aug 1980

      Wien (Vienna), Austria

Hans Koller   2003

  London Ear Session

      Filmed live with Steve Lacy

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. References: 1, 2, 3, 4, 5. Sessions: DAHR, Evensmo (solography), JDP, Lord (48 of 135). Discos: 1, 2, 3, 4. IMDb. Compilations: Chronological Classics #1071 '1946-47'. Internet Archive. Select YouTube audio. Select YouTube video. Discussion. Further reading: Andrew Dansby.

Arnett Cobb   1942

  Flying Home No. 1

      Composition:

      Benny Goodman

      Lionel Hampton

      Sid Robin

Arnett Cobb   1943

  Salty Papa Blues

      With Dinah Washington

      Music: Lionel Hampton   1943

      Lyrics: Leonard Feather

Arnett Cobb   1952

  Someone to Watch Over Me

      Composition:

      Gershwin Brothers   1926

Arnett Cobb   1960

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

      Music: Victor Young 1932

      Lyrics:

      Ned Washington/Bing Crosby

Arnett Cobb   1979

  She's Got It

      Filmed live w Buddy Tate

      Composition: Cobb/Tate

Arnett Cobb   1982

  Smooth Sailin'

      With Lionel Hampton

      Composition: Cobb

Arnett Cobb   1984

  Texas Blues

Arnett Cobb   1987

Live in Germany

Trumpet: Doc Cheatham

Trombone: Al Grey

  Part 1

  Part 2

  Live at the Pink Piano

      Final recorded performance Oct '88

      Osnabrück, Germany

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'. Lord has those issued on Queen Disc Q 040 and Joyce 1147. Following more titles with 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 (#214) 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. That contained his first Grammy for 'Desafinado'. 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'.) As for Getz, among several bossa nova albums that he issued in the early sixties was 'Getx/Gilberto' in April of 1964. Featuring Tom Jobim at piano and Joao Gilberto at vocals and guitar, that contained another version of 'Desifinado' and Getz' second Grammy for 'The Girl From Ipanema' sung by Astrud Gilberto w Sebastião Neto (double bass) and Milton Banana at drums and pandeiro. 'Getx/Gilberto', the album, acquired two more Grammys [spelling: NARAS] as well, one for Album of the Year, the other for Best Instrumental. 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. A fifth Grammy arrived in 1991 for Best Solo Performance of 'I Remember You', that on his album, 'Serenity', recorded on 6 July 1987 w Kenny Barron (piano), Rufus Reid (bass) and Victor Lewis (drums). Getz' preferred tenor saxophone was the Selmer Mark VI. He died of liver cancer on 6 June 1991 in Malibu, California [obit]. References: 1, 2, 3, 4, 5, 6. Sessions: JDP, Lord. Discos: 1, 2, 3, 4, 5. Compilations: 'Cool Bebop' 1945-49 by Jazz Archives 2000; 'And the Angels Swing' 1946-50 by Jazz Hour 2001; Chronological Classics in seven volumes: #1126 '1946-49', #1172 '1950', #1299 '1951', #1338 '1951-52', #1379 '1952-53', #1395 '1953' and #1435 '1954'; 'Quartet & Quintet: 1950-1952' by Giants of Jazz 1998; 'Split Kick: The Complete Roost Session' 1950-52 by Royal Roost 1978; 'The Complete Columbia Albums Collection' 1972-79 by Columbia 2011: 1, 2; 'The Very Best of Stan Getz' 1952-91 by Verve Music Group 2002. Getz in visual media: IMDB; JazzWax: 1, 2. Transcriptions: 1, 2. Interview w Les Tomkins 1964. Biblio: 'Stan Getz: A Life in Jazz' by Donald Maggin (Harper Perennial 1997). Further reading: Marc Myers; various; Marcus Wolfe. Other profiles: 1, 2.

Stan Getz   1944

  And Her Tears Flowed Like Wine

      With Stan Kenton

      Vocals: Anita O'Day

      Music: 1944:

      Stan Kenton/Charles Lawrence

      Lyrics:   Joe Greene

Stan Getz   1946

Recorded 31 July 1946 NYC

Issued variously

  And the Angels Swing

      Composition: Getz

  Don't Worry About Me

      Composition:

      Rube Bloom/Ted Koehler

  Running Water

      Composition: Getz

Stan Getz   1949

  Battleground

      Composition: Al Cohn

  Fast

      Composition: Al Cohn

  Stan's Mood

      Composition: Al Cohn

Stan Getz   1950

  On the Alamo

      Composition: Isham Jones/Gus Kahn

  For Stompers Only

Stan Getz   1952

  Autumn Leaves

      Music: Joseph Kosma   1945

      Lyrics French: Jacques Prévert

      Lyrics English: Johnny Mercer

Stan Getz   1955

  Summertime

      Music: George Gershwin   1934

      Lyrics: DuBose Heyward

      For the 1935 opera 'Porgy and Bess'

      Book: DuBose Heyward

Stan Getz   1962

  Desafinado

      Live on the 'Perry Como Show'

      Guitar: Charlie Byrd

      Composition:

      Tom Jobim/Newton Mendonça

From 'Jazz Samba'

Studio recording 13 Feb 1962

Guitar: Charlie Byrd

  Desafinado

      Composition:

      Tom Jobim/Newton Mendonça

  Samba De Uma Nota Só

      Composition:

      Tom Jobim/Newton Mendonça

  Samba Triste

      Composition:

      Baden Powell/Billy Blanco

Stan Getz   1964

  Girl from Ipanema

      Television performance

      Vocal: Astrud Gilberto

      Composition:

      Tom Jobim

      Vinicius de Moraes

      Norman Gimbel

Stan Getz   1983

  Just Friends

      Filmed live with Chet Baker

      Composition: John Klenner/Sam Lewis

Stan Getz   1989

  Green Dolphin Street

      Live performance

      Music: Bronisław Kaper   1947

      Lyrics: Ned Washington

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, on 17 August 2001 [obit]. References: 1, 2, 3. Sessions: DAHR, J-Disc, Lord (leading 48 of 319). Discos: 1, 2, 3, 4. IMDb. Internet Archive.

Flip Phillips   1943

  Too Marvelous for Words

      Vibes: Red Norvo

      Vocal: Helen Ward

      Composition:

      Richard Whiting/Johnny Mercer 1937

Flip Phillips   1947

  Flip and Jazz

      With Roy Eldridge

      Composition: Phillips/Eldridge

  Leap Here

      Composition: Nat King Cole

  Lover Come Back to Me

      With the Metronome All-Stars

      Trumpet: Dizzy Gillespie

      Piano: Nat King Cole

      Music: Sigmund Romberg   1928

      Lyrics: Oscar Hammerstein II

Flip Phillips   1949

  Don't Take Your Love from Me

      Composition: Henry Nemo   1941

Flip Phillips   1952

  If I Had You

      Composition: Irving King/Ted Shapiro

      Irving King = Jimmy Campbell/Reg Connelly

Flip Phillips   1970

  Sweet and Lovely

      Composition: Gus Arnheim/Harry Tobias

      Jules Lemare (Charles Daniels)

Flip Phillips   1983

  I Hadn't Anyone Til You

      Live performance

      Composition: Ray Noble   1938

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'. 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. That and the next year he 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'. NDR Jazz Workshop sessions arrived in Hamburg in April of '59 and '60 to eventually see release in 2016 on 'Bop & Ballads' (Sonorama ‎C/L-95). Spring of 1961 saw sessions in Paris eventually released in 1997 on 'Lord, Lord, Am I Ever Gonna Know?' (Candid CCD 79035). 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 [obits: 1, 2]. References: 1, 2, 3, 4, 5. Sessions: Cohen: main, multiple versions, solography; Evensmo (solography); J-Disca (w comps by Thompson); Lord (leading 60 of 269). Discos: 1, 2, 3. Compilations: 'Complete Parisian Small Group Sessions' 1956-59 by Fresh Sound 2017. Compositions. IMDb. Discussion. Further reading: Jazz Lead Sheets, Jazz Profiles, JazzWax, Rifftides.

Lucky Thompson   1944

  Rockin' at Ryans

      With Hot Lips Page

      Composition: Oran (Hot Lips) Page

Lucky Thompson   1946

  Oodie Coo Bop

      ('Ornithology')

      Composition:

      Charlie Parker/Benny Harris

Lucky Thompson   1947

  Drop Dead

      Vocal: Rickey Jordan

        Composition: Rickey Jordan

Lucky Thompson   1953

  Flamingo

      Composition:

      Ted Grouya/Edmund Anderson

Lucky Thompson   1956

Drums: Gérard Pochonet:

  East of the Sun

      Composition: Brooks Bowman

  Lullaby in Rhythm

      Composition: Brooks Bowman

      Benny Goodman/Edgar Sampson

      Walter Hirsch/Clarence Profit

  Tenderly

      Composition:

      Walter Gross/Jack Lawrence

Note: Titles above issued on 'Lucky Thompson & Gérard Pochonet et son quartette' (Swing LDM 30.030).

Lucky Thompson   1957

  Dancing Sunbeam

      Recorded 11 Dec 1956

      Issued ABC-Paramount ‎ABC 171

      Guitar: Skeeter Best

      Bass: Oscar Pettiford

      Composition: Thompson

Lucky Thompson   1959

  Anthropology

      Live in Paris

      Composition: Charlie Parker

  Midnight Sun

      Composition:

      Lionel Hampton

      Johnny Burke

      Johnny Mercer

  Tea for Two

Lucky Thompson   1960

  Choose Your Own

      ('Two Steps Out')

      Composition: Thompson

  Live in Paris

      'Modern Jazz at the Blue Note'

  Why Weep?

      Live in Paris

      Composition: Thompson

Note: Noal Cohen comments in his sessionography that 'Why Weep?' is erroneously titled 'You Move You Lose' by several sources (including Fresh Sound and Lord) and is actually 'Why Weep?'. Among instances cited is a session on 25 Nov 1960 for w 'Why Weep?' issued on 'Four Brothers' (Sonorama ‎C/L-87) in 2016.

Lucky Thompson   1964

  Invitation

      Composition:

      Bronislau Kaper

      Paul Francis Webster

      Mark Fisher

      Album: 'Lucky Strikes'

      Piano: Hank Jonees

      Bass: Richard Davis

      Drums: Connie Kay

Lucky Thompson   1973

  Munsoon

      Composition: Thompson

      Album: 'I Offer You'

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' [1, 2, 3]. 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. References: 1, 2. Sessions: DAHR; Lord (leading 15 of 115). Discos: 1, 2, 3. Compilations: 'The Complete Small Group Bop Sessions' 1946-49 by Jazz Factory 1999. Internet Archive. Discussion: 1, 2. Further reading: Jazz Profiles. Biblio: 'A Musical Biography and Discography' by Vladimir Simosko (Scarecrow Press 1998). Other profiles: 1, 2, 3.

Serge Chaloff   1945

  Interlude (A Night in Tunisia)

      With Boyd Raeburn

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 on tracks performed at an AFRS (Armed Forces Radio Service) radio broadcast at Charleston Airfield, South Carolina, 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 whose 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. Among titles issued by the Four Brothers was the LP, 'The Brothers', gone down in April of '49 and Sep of '52 toward issue in 1956. That album isn't to be confused w the later trio of saxophonists behind 'The Brothers !' in 1955 that was Cohn, Will Perkins and Richie Kamuca backed by an ensemble including pianist, Hank Jones. With beyond 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. The seventies brought a date on 22 Oct of '76 w Dexter Gordon, also tenor sax, toward 'True Blue' and 'Silver Blue' [*] with trumpeters, Blue Mitchell and Sam Noto. In January of '79 Cohn joined the orchestra backing Helen Ward on 'Songbook Vol 1' issued in 1980. It was pianist and vocalist, Joe Derise, in '86 and '87 toward 'Jimmy Van Heusen Anthology Vol 1-3'. Cohn's first session as a leader had been 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'. 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 in 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, on 15 Feb 1988. References: 1, 2. Sessions: DAHR (w composers), JDP, Lord (leading 54 of 612). Discos: 1, 2, 3, 4, 5. Interviews: Les Tomkins 1965/82. Further reading: Steven Cerra. More Cohn under Zoot Sims.

Al Cohn   1944

  Sweet and Lovely

      With Georgie Auld   Vocal: Kay Little

      Composition:

      Gus Arnheim/Charles Daniels/Harry Tobias

Al Cohn   1945

  Interlude (Night in Tunisia)

      With Boyd Raeburn

      Composition: Dizzy Gillespie

Al Cohn   1954

  Autumn Leaves

      Music: Joseph Kosma   1945

      Lyrics French: Jacques Prévert

      Lyrics English: Johnny Mercer

  Inside Out

      Composition: Cohn

  Serenade for Kathy

      Composition: Cohn

  Suddenly It's Spring

      Composition:

      Jimmy Van Heusen/Johnny Burke

Al Cohn   1955

From 'Brothers !'

Tenor sax trio with:

Richie Kamuca & Bill Perkins

Recorded 24 & 25 June 1955

  Cap Snapper

      Composition: Cohn

  Pro-Ex

      Composition: Bill Perkins

  Sioux Zan

      Composition: Nat Pierce

Al Cohn   1956

  The Brothers

      Album

      Recorded April '49 & Sep '52

      Also tenor sax: Zoot Sims

From 'Cohn on the Saxophone'

Recorded 29 Sep 1956   NYC

Trombone: Frank Rehak

Piano: Hank Jones

Bass: Milt Hinton

Drums: Osie Johnson

  Singin' the Blues

      Composition:

      Con Conrad

      Joseph Russel Robinson

      Joe Young

      Sam Lewis

  The Things I Love

      Composition:

      Harold Barlow/Lew Harris

  We Three

      Composition:

      Dick Robertson

      Nelson Cogane

      Sammy Mysels

Al Cohn   1957

  Tenor Conclave

      Album

      Recorded 7 Sep 1956

      Tenor sax quartet with:

      John Coltrane/Hank Mobley/Zoot Sims

  It's a Wonderful World

      Composition:

      Harold Adamson

      Jan Savitt

      Johnny Watson

      Album: 'Al and Zoot'

      Recorded 27 March

Al Cohn   1958

  American Haikus

      With Jack Kerouac & Zoot Sims

Al Cohn   1959

  Lover Come Back to Me

      Live at the Half Note w Zoot Sims

      Music: Sigmund Romberg   1930

      Lyrics: Oscar Hammerstein II

      For the Broadway show 'The New Moon'

Al Cohn   1960

  Ah Moore

      Live at the Birdland w Zoot Sims

      Composition: Cohn

  Just You, Just Me

      Live at the Birdland w Zoot Sims

      Composition:

      Marv Green

      Jeffrey David Stevens

  You'd Be So Nice to Come Home To

      With Zoot Sims

      Composition: Cole Porter   1943

      For the film 'Something to Shout About'

Al Cohn   1968

Live on 'Cool of the Evening' with Zoot Sims:

  Doodle-Oodle

      Composition: Billy Byers

  What the World Needs Now

      Composition:

      Burt Bacharach/Hal David

Al Cohn   1974

  Emily

     Composition:

      Johnny Mandel/Johnny Mercer

      LP: 'Body and Soul'

      With Zoot Sims

Al Cohn   1976

  America the Beautiful

      Music: Samuel Ward   1883

      Lyrics: Katherine Bates   1895

      Published 1910

      LP: 'All Cohn's America'

      Piano: Barry Harris

      Bass: Sam Jones

      Drums: Leroy Williams

Al Cohn   1977

  Them There Eyes

      Piano: Jimmy Rowles

      Music:

      Maceo Pinkard/Doris Tauber

      Lyrics: William Tracey

Al Cohn   1980

  No Problem

      Album

      Recorded 18 Dec '79   NYC'

      Piano: Barry Harris

      Bass: Steve Gilmore

      Drums: Walter Bolden

Al Cohn   1987

Live at the Sanremo Jazz Festival

  Untitled

  Untitled

Al Cohn

Source: Lehigh Valley Music

John Dankworth   1946

 That Da Da Strain

      With Humphrey Lyttelton

      Composition: Edgar Dowell/Mamie Medina

John Dankworth   1950

 Lightly Politely

      The Dankworth Seven

      Composition: John Dankworth

  Marmaduke

      The Dankworth Seven

      Composition: Charlie Parker

John Dankworth   1956

  Experiments with Mice

      Composition: John Dankworth

John Dankworth   1961

  African Waltz

      Composition: Galt MacDermot

John Dankworth   1964

  Beefeaters

      Composition:

      John Dankworth/Mike Vickers

John Dankworth   1965

  Darling

      Music: John Dankworth

      Lyrics: Dirk Bogarde

John Dankworth   1966

  Return from the Ashes

    Film theme

      Composition: John Dankworth

John Dankworth   1990

  Webster's Mood

    Filmed live

      With Michael Garrick

      Composition: Michael Garrick

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' w 'Floogie Boo' (Hit 8089) and 'I Don't Know w 'Gotta Do Some War Work Baby' (Hit 8090). Upon leaving Williams in 1944 Davis went on to work with Lucky Millinder, his first session yielding 'Hurry Hurry' (Decca 18609), 'Darling' (Decca 18779), 'I Can't See for Lookin'' (Decca 18609) and 'Who Threw the Whiskey in the Well?' (Decca 18674) 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' (Decca 18782) and 'I Know' (Decca 18782). A couple more sessions with Kirk followed into 1946. It was 1946 when Davis formed his own band, a quintet, to record 'Surgery' (Haven 801), 'Lockjaw' (Haven 800), 'Afternoon in a Doghouse' (Haven 800) and Athlete's Foot' (Haven 801). That was followed with a couple sessions in December of '46 with his Beboppers, yielding such as 'Callin' Dr Jazz' (Savoy 907) and 'Just a Mystery' (Savoy 705). He began recording steadily and extensively with his own ensembles and orchestras the next year, but space allotted has us leapfrogging the latter forties into the fifties to arrive to Davis' 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. Other luminaries along Davis' path included Sonny Stitt who had backed Davis on tenor sax at the Birdland in New York in 1954 on such as 'Metalmouth', 'I Can't Get Started' and 'Roller Coaster'. It was 1966 in New York City that Davis backed Stitt's LP, 'The Matadors Meet The Bull'. Davis held a couple sessions with Stitt again on 11 November of '81 in Florida. The first yielded 'Sonny, Sweets & Jaws' w Sweets Edison on trumpet issued in '82 on Who's Who In Jazz 21022. The second went toward 'Sonny' issued in '83 on Who's Who In Jazz 21025. Those were released the same year in the UK as 'Sonny's Last Recordings' on Kingdom Jazz Gate 7012 as Stitt had died in July of '82 in Washington DC. Another of Davis' more memorable associates was organist, Shirley Scott. Scott had joined Davis' Trio w Charlie Rice at drums on 16 July of '56 toward such as 'The Happy Whistler'/'Teach Me Tonight' (King 4966). It was Davis' trio of Scott and George Duvivier (bass) in December of '57 toward 'Count Basie Presents Eddie Davis Trio + Joe Newman' (Roulette 52007) w Basie at piano and Joe Newman at trumpet. It was Scott w Davis' Trio of Duvivier and Arthur Edgehill (drums) on 20 Jan of 1958 in NYC toward two nonidentical issues catalogued by Discogs as 'The Eddie Davis Trio featuring Shirley Scott organ', one on Roulette 52019, the other on Roost LP 2227 (3 big 3s on the front sleeve). It was Davis' quartet of Scott, Edgehill and Bill Pemberton (bass)that laid out 'Uptown' (King LP 606) ion 14 June of '58. Davis' 'Cookbook' went down six days later on the 20th w Duvivier and Edgehill featuring flute and tenor sax by Jerome Richardson. It was Scott, Duvivier and Edgehill on 29 April 1959 toward 'Very Saxy' w Davis joined on tenor sax by Buddy Tate, Coleman Hawkins and Arnett Cobb. It was the same quartet behind 'Jaws in Orbit' on 1 May of '59 w trombonist, Steve Pulliam. Wendell Marshall replaced Duvivier on 20 Sep of '59 toward 'Hear My Blues'. Duvivier was back w Davis' quartet on 20 Jan 1960 to support vocalist, Mildred Anderson's 'Person to Person'. It was Davis, Duvivier and Edgehill on 31 Jan toward 'Moodsville Volume 4' (Moodsville MVLP 4) featuring Scott. Lord's disco traces Scott w Davis to as late as 12 April of 1960 toward 'Misty' w Duvivier again replaced by Marshall and Ray Barretto added at congas. Another of Davis' more featuring associates was tenor saxophonist, Johnny Griffin, from 1960 to '62 and later in 1970. Among albums recorded w Griffin were 'Battle Stations' on 2 Sep '60, 'Tough Tenors' on 4 and 10 Nov '60, 'Tough Tenor Favorites' on 5 Feb '62 and 'Tough Tenors Again 'N' Again' on 24 April '70 in Cologne, Germany. We need return to 11 December of '59 for 'Moodsville Volume 1' (Moodsville MVLP 1) w the Red Garland trio consisting of Sam Jones (bass) and Art Taylor (drums). That was also released as 'The Red Blues'. It was via Basie that 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 Royal Festival Hall yielding 'Pennies From Heaven'. In the meantime Davis had partnered with tenor saxophonist, Paul Gonsalves, on August 2 and 3 of '67 toward 'Love Calls' [1, 2] supported by Roland Hanna (piano), Everett Barksdale (guitar), Ben Tucker (bass) and Grady Tate (drums). 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'. Other highlights Davis' career include his Jazz at the Philharmonic (JATP) sessions in '71 (w Sarah Vaughan in Monterey), '72, '82 and '83. In 1980 Davis had attended the Aurex Jazz Festival in Japan with Dizzy Gillespie and Cedar Walton, recording such as 'I Can't Get Started'. The summer of 1985 witnessed Davis recorded live (videos) at the Jazzhus Slukefter in Copenhagen toward 'Eddie "Lockjaw" Davis Quartet' (Storyville STCD 8311) released in 2000. That was with an ensemble of Niels Jorgen Steen (piano), Jesper Lundgaard (bass) and Ed Thigpen (drums). Davis' final recordings as a leader were with a quartet in Europe in the summer of 1985 consisting of Michael Starch (piano) Karl Ratzer (guitar) Stefan Prokesch (bass) and Victor Plasil (drums) toward '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. A few months later in Nov in Hollywood he supported Jeannie Cheatham on such as 'Worried Life Blues' and 'Piney Brown Blues', et al. (Jeannie Cheatham was wife to trombonist, Jimmy Cheatham, neither related to Doc Cheatham.) Lord traces Davis to as late as January of 1986, again in Vienna, w Art Farmer (flugelhorn) and Louie Austen at vocals toward 'Togetherness' (Together 120 917). Tracks included 'The Time and the Place' and 'I'm Gonna Make It All the Way'. Davis died later that year in Culver City, California, on 3 Nov of 1986 [obit]. References: 1, 2. Sessions: Jan Evensmo (solography); Tom Lord (leading 93 of 306). Discos: 1, 2, 3. Compilations: Chronological Classics #1382 '1948-52' & #1443 '1953-55'. IA. Further reading: Jazz Profiles. Other profiles *.

Eddie Lockjaw Davis   1944

  Echoes of Harlem

      Composition: Duke Ellington

  Floogie Boo

      Composition:

      Eddie Cleanhead Vinson/Cootie Williams

  Hurry Hurry

      With Lucky Millender

      Vocals: Wynonie Harris

      Composition:

      Richard Larkin/Benny Carter

  You Talk a Little Trash

      Composition: Cootie Williams

Eddie Lockjaw Davis   1948

   Happy Birthday

Note: 'Happy Birthday to You' has long been credited to Patty and Mildred Hill as of 1893, originally as 'Good Morning to All' sung as "Good morning to you" [1, 2]. The sisters' version is thought to have eventually seen publication in 1912 [*]. Their long-held claim on authorship was contested, however, in a 2013 lawsuit against Warner/Chappell Music in which it was argued that other versions of 'Happy Birthday to You' not written by the Hill sisters had seen publication as early as 1901. As a result of that lawsuit, the huge royalties that Warner Music had been acquiring from 'Happy Birthday to You' ceased in 2016 when the song officially became public domain.

Eddie Lockjaw Davis   1958

From 'Cookbook'

Recorded 20 June '58

Organ: Shirley Scott

  The Chef

      Composition: Davis

  In the Kitchen

      Composition: Johnny Hodges

Eddie Lockjaw Davis   1959

  Skillet

      Composition: Davis/Scott

      Album:

      'The Eddie "Lockjaw" Davis Cookbook 2'

      Recorded 5 Dec '58

      Organ: Shirley Scott

Eddie Lockjaw Davis   1961

From 'Afro-Jaws'

Recorded 4 & 12 May '60

Arrangements: Gil Lopez

  Afro-Jaws

      Composition: Davis

  Wild Rice

      Composition: Gil Lopez

From 'Trane Whistle'

Recorded 20 Sep '60

  The Stolen Moment

      Composition: Oliver Nelson

Eddie Lockjaw Davis   1963

From 'Smokin''

Tracks below recorded 5 Dec '58

Organ: Shirley Scott

Comps by Davis/Scott

  High Fry

  Jaws

Eddie Lockjaw Davis   1977

  Telegraph

      Filmed live at the Montreux Jzzz Fest

      Composition: Davis

Eddie Lockjaw Davis   1985

  Take the 'A' Train

      Composition: Billy Strayhorn

  I Can't Get Started

      Composition: George Duke/Ira Gershwin

  Just Friends

      Composition: John Klenner/Sam Lewis

  Out of Nowhere

      Music: Johnny Green

      Lyrics: Edward Heyman

  S'Wonderful

      Composition: Gershwin Brothers   1927

      For the Broadway musical 'Funny Face'

Arne Domnérus   1944

  It's Love Love Love

      Vocal: Diana Miller

      Composition:

      Alex Kramer/Joan Whitney/Mack David

Arne Domnérus   1949

  Body and Soul

      Parisorkestern 1949

  Idaho

       Parisorkestern 1949

       Composition: Jesse Stone

Arne Domnérus   1951

  Out of Nowhere

       Composition: Johnny Green

Arne Domnérus   1975

From 'Antiphone Blues'

Organ:: Gustaf Sjökvist

  Antiphone Blues

  Largo

  Nobody Knows the Trouble I've Seen

Arne Domnérus   1976

  Good Vibes at the Pawnshop Jazz Club

      Album

      Piano: Bengt Hallberg

      Vibraphone: Lars Erstrand

      Bass: Georg Riedel

      Drums: Egil Johansen

Arne Domnérus   1977

From 'Jazz at the Pawnshop'

Piano: Bengt Hallberg

Vibraphone: Lars Erstrand

Bass: Georg Riedel

Drums: Egil Johansen

  High Life

      LP: 'Jazz at the Pawnshop'

      Composition:

      Duke Ellington   1929

  Lady Be Good

      Composition: Gershwin Brothers

  Limehouse Blues

      Composition:

      Philip Braham/Douglas Furber

Arne Domnérus   1979

  After All

      LP: 'The Sheik'

      Piano: Jimmy Rowles

      Composition: Billy Strayhown

Arne Domnérus   1986

  Blåtoner Fra Troldhaugen

      Album

      Guitar: Rune Gustafsson

Source: Discogs

Allen Eager   1944

  The Music Stopped

      Woody Herman w Frances Wayne

      Composition:

      Jimmy McHugh/Harold Adamson

Allen Eager   1946

  Allen's Alley

      Coleman Hawkins' 52nd Street All-Stars

      Composition: Denzil Best

Allen Eager   1947

  All Night, All Frantic

      Composition: Herman Lubinsky

  And That's for Sure

  Churchmouse

      Composition: William Finegan

  Donald Jay

      Composition: Allen Eager

  Fine and Dandy

       Baritone sax: Serge Chaloff

       Trumpet: Red Rodney

      Composition: Kay Swift/Paul James

  The Goof and I

       Baritone sax: Serge Chaloff

      Composition: Al Cahn

  Groovin' High

      Composition:

      Dizzy Gillespie/Frank Paparelli

  Nightmare Allen

      Composition: 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 variously issued or unissued tracks of 'Avalon' (below), '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'. Upon leaving Kirk in 1948 Forrest played briefly with Duke Ellington in 1949, then freelanced with Sweets Edison. He also worked with Miles Davis and Count Basie. Forrest released his first album in his own name in 1952, 'Night Train' recorded in November of '51 w Bunky Parker (piano), John Mixon (bass), Oscar Oldham (drums) and Percy James (percussion). 'Forrest Fire' [1, 2] arrived a few albums later, gone down on 9 Aug 1960 w Larry Young (organ), Thornel Schwartz (guitar) and Jimmie Smith (drums). The first of several Sweets Edison albums on which Forrest appeared were 'The Swinger' and 'Mr. Swing', both gone down on 18 Sep of 1958 w Jimmy Jones (piano), Freddie Green (guitar), Joe Benjamin (bass) and Charlie Persip (drums) toward issue in 1960. Forrest also contributed to a few Bennie Green albums about that time time, the first recorded on an unidentified date in 1959 [Lord] toward 'Swings the Blues' 1960 [Discogs]. Along with several other albums jammed into the early sixties Forrest had also contributed to Jo Jones' 'Vamp 'til Ready' ('60) as well as Jack McDuff's 'Tough 'Duff' ('60) and 'The Honeydripper' ('61). It was Blue Mitchell's 'Blue Mitchell' in 1971. Moving past the years Forrest spent w Count Basie, '72 through '77, in 1979 he performed in the film, 'Last of the Blue Devils'. Having led or co-led well above a dozen albums, he died in Grand Rapids, Michigan, on 9 Aug 1980 [obit]. Lord traces Forrest to as late as the month before on 2 and 3 July 1980 in London with trombonist, Al Grey, toward 'O.D. (Out 'Dere)' (Greyforrest GF 1001). Among others unmentioned whom he supported were Oliver Nelson, Betty Roché, Joe Williams, and Waymon Reed. References: 1, 2, 3, 4, 5. Sessions: DAHR; Evensmo (solography); Lord (leading 14 of 86). Discos: 1, 2, 3, 4. IMDb. IA. Select YouTube. Discussion. Further reading: Tom Reney.

Jimmy Forrest   1944

  Avalon

       With Andy Kirk

      Composition: 1920:

      Al Jolson/Buddy DeSylva/Vincent Rose

  Roll 'Em

       With Andy Kirk

      Piano: May Lou Williams

      Composition: Williams

Jimmy Forrest   1952

  Blue Groove

      Composition: Forrest

  Bolo Blues

      Composition: Forrest

  All the Things You Are

       Trumpet: Miles Davis

  Night Train

      Composition: Forrest

Jimmy Forrest   1959

  All the Gin Is Gone

       Album

      Guitar: Grant Green

Note: 'All the Gin Is Gone' was recorded 10 Dec 1959 in Chicago. Lord lists releases as Delmark DL404 and 77 Records LA 12/24. Discogs has 77 Records LA 12/24 issued in the UK in 1964. RYM as Delmark DL404 (US) issued in 1967.

Jimmy Forrest   1961

  Rocks in My Bed

      Composition: Duke Ellington

      LP: 'Sit Down and Relax'

Jimmy Forrest   1962

  Soul Street

      Composition: Forrest

       LP: 'Soul Street'

  Black Forrest

       Album   Posthumous release

       Recorded 10 & 12 Dec '59

      Piano: Harold Mabern

      Guitar: Grant Green

      Bass: Gene Ramey

      Drums: Elvin Jones

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 12, 1945: 'Body and Soul' (Clef MGC 718) with 'Strange Fruit' (Verve 10181). Gray didn't know he had only ten years to make his mark but progressed rapidly, his brief career spent backing bands ever in search of the best tenor sax to be found. Sessions in 1947 went toward Gray's 1956 album, 'Way Out Wardell'. 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. Lord has that eventually released on Spotlite SPJ 145 and Masters of Jazz MJCD 198. Waerell 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' (Masters of Jazz MJCD 198). 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 (Session LP106). 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 issued on Clef MGC 4003 and 4004. Of Gray's 125 sessions in Lord 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). Wardell's last name session was January 15, 1955: 'Sweet Mouth', 'Blues in the Closet', 'Dat's It' and 'Hey There' toward issue by Top Rank (RLP 111) and Swingtime (STCD 1). Waerdell's 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' (GNP LP12/ GNP S9041). Unfortunately Gray's career was permanently abbreviated in 1955. Last seen on May 25 working w Benny Carter and Vic Dickenson in Las Vegas, he was found dead on 26 May of a broken neck in the desert nearby. It is yet a mystery whether his death was an accident, as ruled, or murder [1, 2]. He'd begun using drugs by that time but no end of speculations have arrived to the cause of his death. Among Gray's comps was 'Twisted' in 1949, to which Annie Ross added lyrics in 1952, to become more famous via Joni Mitchell on her 1974 album, 'Court and Spark'. Other compositions by Gray. References: 1, 2, 3, 4, 5. Chronology. Sessions: 1, 2, Lord; solographies: Evensmo-Accardi: 1, 2. Discos: 1, 2. Compilations: 'Blue Lou' 1946-52 by Da Music 1999; Chronological Classics in two volumes: #1264 '1946-50', #1463 '1950-55'; 'Wardell Gray Memorial' Vol 1 & 2 1949-53 by Prestige 1955; 'Wardell Gray Memorial Album' 1949-53 on 2X LP by Prestige 1965. Transcriptions by Alex Hoffman. YouTube channel. Further reading: Mark Ladenson; Victor Schermer. Internet Archive. Other profiles: *.

Wardell Gray   1944

  Good Jelly Blues

      With Billy Eckstine

      Composition: Billy Eckstine

  I Stay in the Mood for You

      With Billy Eckstine

      Composition: Billy Eckstine

  Fatha's Idea

      With Earl Hines

      Composition: Earl Hines

Wardell Gray   1947

  The Chase

      With Dexter Gordon

      Issued on Dial 1017

      Composition: Dexter Gordon/Gray

  Groovin' High

      AFRS broadcast #261

      With Howard McGhee

      Composition: Dizzy Gillespie

  The Hunt

      Album w Dexter Gordon

      Recorded Los Angeles 6 July 1947

      Not issued until 1977 by Savoy

      'The Hunt' composed by Ozzie Cadenza

Wardell Gray   1949

  Easy Living

      Composition: Ralph Rainger

  Twisted

      Music: Gray

      Lyrics: Annie Ross   1952

Wardell Gray   1951

  Every Tub

      With Count Basie

      Composition: Count Basie

  I May Be Wrong

     With the Charlie Parker Sextet

      Composition:

      Henry Sullivan/Harry Ruskin

  O' Blues

      With the Joe Swanson Orchestra

      Composition: Dolphin/Swanson

Wardell Gray   1953

  So Long Broadway

      Composition: Teddy Charles

Wardell Gray   1956

  Way Out Wardell

      Album recorded 1947

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 trombonist, 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. On March 23 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' (RCA Victor ‎LPM-1372), 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. It was in March, April and Dec of '56 that tracks got laid for McKusick's 'The Jazz Workshop' (RCA Victor LPM-1366: 1, 2) w McKusick's alto complemented by Sol Schlinger's baritone, Art Farmer at trumpet and Jimmy Cleveland on trombone. 27 Dec of 1957 brought 'Triple Exposure' [1, 2] w Billy Byers (trombone), Eddie Costa (piano), Paul Chambers (bass) and Charlie Persip (drums). McKusick performed with the CBS Studio Orchestra in NYC from '58 into 1972, after which he moved to Long Island and semiretirement from the music industry while pursuing such as photography, antiques restoration and piloting charter airplanes. McKusick regularly performed on weekends at the Jazz At Moon club in East Hampton where in his latter years he taught at the Ross School, New York. He died on 11 April of 2012 [obits: 1, 2]. References: 1, 2, 3. Sessions: DAHR; Fitzgerald (alt); J-Disc; JDP; Lord (leading 18 of 238). Discos: 1, 2, 3, 4. IMDb. IA. Select YouTube: 1, 2. Interviews: Marc Myers 2007: 1, 2, 3, 4, 5. Discussion.

Hal McKusick   1944

  A Night in Tunisia

      With Boyd Raeburn

Hal McKusick   1945

  Summertime

      With Boyd Raeburn

Hal McKusick   1955

From 'East Coast Jazz'

  Give Em' Hal

      Composition: Manny Albam

  Minor Matters

      Composition: Manny Albam

Hal McKusick   1957

From McKusick's 'The Jazz Workshop'

Recorded Mar/Apr/Dec '56

  The Blues Train

      Composition: Jimmy Giuffre

  Tommy Hawk

      Composition: John Mandel

From McKusick's 'Jazz at the Academy'

Recorded 3 Nov '56

  Irresistible You

      Composition:

      Don Raye/Gene de Paul

Hal McKusick   1958

  La Rue

      Composition: Clifford Brown

      LP: 'Cross Section-Saxes'

      Composition: Dizzy Gillespie

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 was 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 and 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. His debut session as a leader had been on 11 February of 1952 at the Surf Club in Hollywood with a quartet consisting of Hampton Hawes (piano), Joe Mondragon (bass) and Larry Bunker (drums/vibes), Those weren't issued until 2009 on the CD, 'Original Quartet 1952' (Interplay ABCJ-527 Japan). It was the same bunch at the Surf Club the next day on 12 Feb toward 'The Early Show', that not pressed until 1976. The same ensemble recorded 'The Late Show' the same day at the Surf Club, that appearing as tardily as aptly later in 1980. Both of those saw reissue as Vol. 1 and 2 of 'A Night at the Surf Club'. As for Hawes, Lord's disco has him first recording w Pepper at the Shrine Auditorium in Los Angeles in April of '49 as members of Kenton's All Stars to square away 'Perdido' and 'The Great Lie' issued in 1979 on 'Jazz Off the Air Vol 2' (Spotlite SPJ 145). They supported Rogers on 'Modern Sounds' on 8 Oct 1951. 45Worlds and Discogs have 'Suzy the Poodle' and 'Tickle Toe' released in '53 on Swing SW418. It was the quartet of Pepper, Hawes, Mondragon and Bunker for titles on 4 March of '52 before all but Bunker joined Rogers' Giants on 27 Sep of '52 at the Rendezvous Ballroom, Balboa Beach, CA, for such as 'Avalon' and 'Popo'. Come 10 Oct at the 4-5 Ballroom in Los Angeles w Rogers and Chet Baker, et al, for such as 'I May Be Wrong' and 'I Can't Get Started' [Lord: Interplay ABCJ-532 Japan]. On 12 and 15 Jan of '53 Hawes and Pepper backed Rogers again toward 'Shorty Rogers and His Giants' issued that year on RCA Victor LPM 3137 [Discogs].  Hawes and Pepper reunited a couple decades later on 9 Aug 1975 in Los Angeles w Charlie Haden (bass) and Shelly Manne (drums) for 'Living Legend'. Lord's disco shows final dates between  Hawes and Pepper in July and August of 1976 in Los Angeles toward Art Farmer's 'On the Road' w Ray Brown (bass) and Steve Ellington (drums). It was 1974 when Pepper married his third wife, Laurie, who helped him write his memoir, 'Straight Life: The Story of Art Pepper', published by Schirmer Books in 1979 [1, 2, 3, 4]. Laurie would be responsible for bringing numerous unheard sessions by Pepper to release upon founding Widow's Taste Records in 2006. Among those were dates on 27 and 28 June of 1980 toward 'Unreleased Art Pepper Vol VI: Blues for the Fisherman' [1, 2, 3] issued in 2011 per Discogs. 'Unreleased Art Pepper Vol VII: Sankei Hall-Osaka, Japan: November 18, 1980' [1, 2 3] arrived in 2012. A date on 21 Jan 1981 in Seattle, WA, saw issue in 2012 on 'Neon Art Volume One' [*] by Omnivore. Joining Pepper on that were Milcho Leviev (piano), David Williams (bass) and Carl Burnett (drums). 'Live at Fat Tuesday's' [*] went down on 15 April 1981 for release by Elemental in 2015. Backing Pepper on that were Leviev, George Mraz (bass) and Al Foster (drums). Come another date in Japan in Nov 1981 to get released in 2012 on 'Neon Art Volume Two' [*] by Omnivore. 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 released as 'Final Art' on Tofrec TFCL-88918 in 1991 [Discogs]. Pepper died of cerebral hemorrhage in Los Angeles at the relatively young age of 56 on 15 June 1982 [obit]. References: 1, 2. Sessions: JDP; Tom Lord (leading 98 of 272); Todd Selbert. Discos: 1, 2, 3, 4, 5, 6. IMDb. Compilations: 'Over The Rainbow: Rare and Unissued Art Pepper 1949-1960' by Lighthouse 2015: 1, 2; 'Work of Art' 1952-1957 by Proper Records 2008: 1, 2; 'The Best of...Art Pepper' 1956-1957 by Pacific Jazz 1993; 'The Best of Art Pepper' 1957-1980 by Contemporary 2004. Reviews. Compositions. Transcriptions. Interviews: Les Tomkins: 1979; 1980 1, 2; 1981; w Laurie Pepper: Terry Gross 1995; George Harris 2017. Documentaries: 'Notes from a Jazz Survivor' directed by Don McGlynn 1982; 'Straight Life' by Laurie Pepper 2017: 1, 2, 3. Further reading: Marc Myers; Art & Laurie Pepper: Lockwood, Myers. Facebook tributes: 1, 2. Biblio: 'ART: Why I Stuck with a Junkie Jazzman' by Laurie Pepper (CreateSpace 2014): 1, 2, 3; extensive. Other profiles: 1, 2. See also Laurie Pepper: 1, 2, 3; Widow's Taste: 1, 2. 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

      Composition:

      Johnny Lange/Leon Rene

Art Pepper  1951

  Body and Soul

      Live

  Popo

      Album w Shorty Rogers

      Recorded 27 Dec 1951

      Issue:  Xanadu 148   1980

      Trumpet: Rogers

      Piano: Frank Patche

      Bass: Howard Rumsey

      Drums – Shelly Manne

Art Pepper  1952

From 'Modern Sounds'

Shorty Rogers LP

Recorded 8 Oct 1951

Trumpet: Rogers

Comps below by Rogers

  Apropos

  Popo

End 'Modern Sounds'

  Brown Gold

      Recorded 4 March 1952

      Discovery Records 157

      Piano: Hampton Hawes

      Bass: Joe Mondragon

      Drums: Larry Bunker

      Composition: Pepper

Art Pepper  1956

  Diane

      Composition: Pepper

      LP: 'The Art Pepper Quartet'

      Recorded 23 Nov 1956

      Los Angeles

  What's New?

      Composition:

      Bob Haggart/Johnny Burke

      Recorded 26 Nov 1956

      Issued 1972:

      'The Way It Was!'

      Recorded 1956/57/60

  You Go to My Head

      Composition:

      John Frederick Coots

      Haven Gillespie

      LP: 'The Return of Art Pepper'

      Recorded 6 Aug 1956

      Hollywood

Art Pepper  1957

From 'Meets the Rhythm Section'

Recorded 19 Jan 1957

Piano: Red Garland

Bass: Paul Chambers

Drums: Philly Joe Jones

  Birk's Works

    Composition: Dizzy Gillespie

  Imagination

    Composition:

    Jimmy Van Heusen/Johnny Burke

  Jazz Me Blues

    Composition: Tom Delaney

  Red Pepper Blues

    Composition:

    Pepper/Red Garland

  Tin Tin Deo

  Waltz Me Blues

    Composition:

    Pepper/Paul Chambers

From 'Mucho Calor'

Recorded 3 Oct 1957

  Mambo Jumbo

    Composition: Conte Candoli

   Mucho Calor (Much Heat)

    Composition: Bill Holman

   Old Devil Moon

    Composition:

    Burton Lane/Yip Harburg

   Pernod

    Composition: Johnny Mandel

  That Old Black Magic

      Music: Harold Arlen   1942

      Lyrics: Johnny Mercer

      For the film 'Star Spangled Rhythm'

End 'Mucho Calor'

  What Is This Thing Called Love

      Composition: Cole Porter

      LP: 'Modern Art'

      Recorded Dec '56/Jan '57

      Los Angeles

Art Pepper  1958

  The Breeze and I

      Recorded 1 April '57

      Hollywood

      Composition:

      Al Stillman/Ernesto Lecuona

    LP: 'The Art of Pepper Vol II'

      Piano: Carl Perkins

      Bass: Ben Tucker

      Drums: Chuck Flores

Art Pepper  1960

  Smack Up

      Album

      Recorded 24 & 25 Oct 1960

Art Pepper  1975

From: 'Living Legend'

Recorded 9 Aug 1975

Piano: Hampton Hawes

Bass: Charlie Haden

Drums: Shelly Manne

  Here's That Rainy Day

      Music:

      Jimmy Van Heusen   1953

      Lyrics: Johnny Burke

  Lost Life

      Composition: Pepper

Art Pepper  1977

From: 'Friday Night at the Village Vanguard'

Recorded 29 July 1977

  But Beautiful

      Jimmy Van Heusen   1947

      Lyrics: Johnny Burke

  Labyrinth

      Composition: Pepper

End: 'Friday Night at the Village Vanguard'

  Manteca

      Recorded 5 April 1977

      Issue:

      'Tokyo Debut'   1995

      Composition:

      Dizzy Gillespie

      Chano Pozo

      Gil Fuller

  My Funny Valentine

      Music: Richard Rodgers   1937

      Lyrics: Lorenz Hart

      For the musical 'Babes in Arms'

  Red Car

      Composition: Pepper

    LP: 'The Trip'

      Recorded 24 & 25 Oct 1976

      Piano: George Cables

      Bass: David Williams

      Drums: Elvin Jones

Art Pepper  1979

  My Friend John

      Recorded 28 July 1977

      Composition: Pepper

      LP: 'Thursday Night at The Village Vanguard'

  Patricia

      (Pepper's daughter)

      Composition: Pepper

      LP: 'Today'

      Recorded 1 & 2 Dec 1978

Art Pepper  1980

Recorded 27 & 28 June

Ronnie Scott's   London

'Blues for the Fisherman'

Widow's Taste APM 11001

Issued 2011

Piano: Milcho Leviev

Bass: Tony Dumas

Drums: Carl Burnett

  Blues for Blanche

      Composition: Pepper

      Analysis

  Blues for the Fisherman

      Composition: Pepper

Art Pepper  1981

  Mambo de la Pinta

      Composition: Pepper

      LP: 'Besame Mucho'

      Recorded 16 & 23 July 1979

      Tokyo

Art Pepper

Photo: Andy Freeberg

Source: Art Pepper Disco

Born in 1916 in Denver, CO, Paul Quinichette, tenor sax, began his remove from obscurity upon joining Jay McShann's orchestra to tour for a couple years. Lord has him first recording to issue w McShann in NYC on December 1, 1943, toward such as 'Wrong Neighborhood' and 'Home Town Blues' (Decca 48037). 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' (Excelsior JR141). Quinichette hung with Otis into 1946, putting down such as 'Love's Nocturne' (Excelsior 518) and 'My Old Flame' (Excelsior 519) 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' (Alto AL710) and 'Every Tub' (Sabie 5302), 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' (Jazz Band TMCD 2162-2) and 'Jumpin' at the Woodside' (Sabie 5302). His last tracks with Basie 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' (Mercury 5728) and 'Cold Cold Heart' (Mercury 5278), 'Baby Did You Hear Me' (Mercury 5736) and 'New Blowtop Blues' (Mercury 5840). 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' (Bethlehem BCP 6021) in August of '57 in a quintet with Charlie Rouse also on tenor. Other members of that project were Wynton Kelly (piano), Wendell Marshall (bass) and Ed Thigpen (drums). Quinichette 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' (3 takes), 'Sandstone' (2 takes), 'Prevue' and 'No Time' (2 takes), followed in January 1952 with such as 'Paul's Bunion' (2 takes) and 'Crew Cut' (2 takes). He released his first album, 'The Vice Pres', in 1952. Several followed throughout the fifties until Quinichette dropped out of the music industry to work in construction as an electrical contractor. Lord shows last sessions on 24 March of '61 w the Nat Pierce Orchestra toward 'The Ballad of Jazz Street' released in 1980 on HEP 2009. He resumed his recording career thirteen years later on 4 Feb of 1974 in the orchestra of Gerard Dave Pochonet w tenor saxophonist, Paul Gonsalvez, toward 'Paul Gonsalvez | Paul Quinichette | Orchestre G. Dave Pochonet' released in 1977 on Communication CO 300. Quinichette was forced to retire in the latter seventies due to health. His final session 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. References: 1, 2, 3. Sessions: DAHR; Evensmo (solography); Fitzgerald; JDP; Lord (leading 22 of 121). Discos: 1, 2, 3, 4. IMDb. IA.

Paul Quinichette   1944

  Hometown Blues

      With Jay McShann

      Vocal: Walter Brown

      Composition: McShann/Brown

  Wrong Neighborhood

      With Jay McShann

      Trumpet: Bob Merrill

      Composition:

      Archie Hall/McShann/Bob Merrill

Paul Quinichette   1951

  Every Tub

      Piano: Count Basie

      Composition: Count Basie

      Recorded 6 May '51

      Make Believe Ballroom   NYC

Paul Quinichette   1952

  Basie Beat

       Piano: Count Basie

  I Can't Face the Music

      Vocal: Billie Holiday

      Composition:

      Rube Bloom/Ted Koehler

  Royal Garden Blues

      Piano: Count Basie

      Composition:

      Spencer Williams/Clarence Williams

Paul Quinichette   1954

  Lullaby of Birdland

      Vocal: Sarah Vaughan

      Music: George Shearing

      Lyrics:

      B.Y. Forster (George David Weiss)

  Paul's Bunion

      Recorded 30 Jan '52

      Album: 'The Vice Pres'

Paul Quinichette   1955

Album: 'moods'

Recorded 4 & 22 Nov '54

  Grasshopper

      Composition: Quincy Jones

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

      Composition:

      Jimmy McHugh/Clarence Gaskill

Paul Quinichette   1956

  These Foolish Things

       Composition: Harry Link/Jack Strachey

Paul Quinichette   1957

  On the Sunny Side of the Street

      Music: Jimmy McHugh   1930

      Lyrics: Dorothy Fields

      Album: 'On the Sunny Side'

Paul Quinichette   1958

  Pennies from Heaven

      Music: Arthur Johnston   1936

      Lyrics: Johnny Burke

Boyd Raeburn   1944

   Medley

      One Night Stand' radio broadcast

   Night in Tunisia (Interlude)

      Radio broadcast

Boyd Raeburn   1945

   Interlude (Night in Tunisia)

   Summertime

       Trumpet: Dizzy Gillespie

Boyd Raeburn   1946

   Blue Echoes

       Vocal: David Allyn

   Body and Soul

       Vocals: David Allyn & Ginnie Powell

   Boyd Meets Stravinsky

      Composition: Raeburn/Edwin Finckel

   Dalvatore Sally

      Composition: George Handy

   The Eagle Flies

      Composition: Johnny Mandel

   Little Boyd Blue (Blows His Top)

      Composition: Edwin Finckel

   Medley

      V-Disc 677

   Memphis in June

      Vocals: David Allyn & Ginnie Powell

      Composition: George Handy

   Over the Rainbow

Boyd Raeburn

Source: Jazz Wax

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'. Sims had been 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'. Come a tour to Germany where 'Lost Tapes: Baden-Baden – June 23, 1958' [1, 2, 3] got squared away w Willie Dennis (trombone), Hans Hammerschmid (piano), Peter Trunk (bass), Kenny Clarke (drums) and several German reed players. 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. Sims' were among master tapes lost to the Universal Studios fire in Hollywood in 2008. References: 1, 2, 3. Sessions: DAHR (w composing credits), JDP, Lord (leading 109 of 585). Discos: 1, 2, 3, 4, 5. IMDb. Compilations: Zoot Sims & His Orchestra featuring Jim Hall: 'Recado Bossa Nova' by Fresh Sound 1992 (combining 'New Beat Bossa Nova Means the Samba Swings' Volumes 1 & 2 1962). IA. Les Tomkins interview 1965. Discussion. Further reading: 'Down Beat'. Other profiles: 1, 2 (alt). More Zoot Sims under Al Cohn.

Zoot Sims   1944

  Henderson Stomp

      With Benny Goodman

      Composition: Fletcher Henderson

Zoot Sims   1954

  Blueberry Hill

      Recorded 8 Sep '54

      Clifford Brown Ensemble

      Trumpet: Clifford Brown

      Music: Vincent Rose

      Lyrics: Al Lewis

Zoot Sims   1956

  The Blue Room

      Composition:

      Richard Rodgers/Lorenz Hart

  Captain Jetter

      Recorded 16 March '56   Paris

      Composition: Henri Renaud

  Crazy Rhythm

      Composition:

      Irving Caesar

      Joseph Meyer

      Roger Wolfe Kahn

  Evening in Paris

      Recorded 16 March '56   Paris

      Composition: Quincy Jones

  Everything I Love

      Recorded 16 March '56   Paris

      Composition: Cole Porter

  The Modern Art of Jazz

      LP recorded Jan '58

      Valve trombone: Bob Brookmeyer

      Piano: John Williams

      Bass: Milt Hinton

      Drums: Gus Johnson

  Gus's Blues

      Piano: John Williams

      Composition: Gus Johnson

  I Wish I Were in Love Again

      Composition:

      Richard Rodgers/Lorenz Hart

  Jerry's Jaunt

      Piano: John Williams

      Composition: Al Cohn

  Just Blues

      Piano: Jutta Hipp

      Composition: Zoot Sims

      LP: 'Jutta Hipp with Zoot Sims Blue Note 1530'

  Looking at You

      With Al Cohn

  Morning Fun

      Composition: Zoot Sims

      LP: 'Whooeeee'

      Recorded 8 Feb '56

      Valve trombone: Bob Brookmeyer

      Composition: Zoot Sims

  Nuzzolese Blues

      Recorded 16 March '56   Paris

      Composition:

      Henri Renaud/Jon Eardley/Zoot Sims

  Violets for Your Furs

      Piano: Jutta Hipp

      Composition:

      Matt Dennis/Tom Adair

      LP: 'Jutta Hipp with Zoot Sims Blue Note 1530'

Zoot Sims   1957

  Tenor Conclave

      Album   Tenor sax quartet

      Recorded 7 Sep '56

      Also tenor sax:

      Al Cohn/John Coltrane/Hank Mobley

      Piano: Red Garland

      Bass: Paul Chambers

      Drums: Art Taylor

Zoot Sims   1961

  Autumn Leaves

      Recorded Nov '61

      Music: Joseph Kosma

      Lyrics French: Jacques Prévert

      Lyrics English: Johnny Mercer

      Issues: Fontana:

      'Solo for Zoot'   1962

      'Cookin!'   1965

  You Go to My Head

      Music: John Frederick Coots   1938

      Lyrics: Haven Gillespie

Zoot Sims   1962

From 'New Beat Bossa Nova Vol 2'

Colpix Records CP-437

Recorded Nov '62

Zoot Sims & His Orchestra

Guitar: Jim Hall/Barry Galbraith

  Buscando la Luna

      ('Reaching for the Moon')

      Composition: Irving Berlin

  Nature Boy

      Composition: Eden Ahbez

Zoot Sims   1967

  Brasilville

      With the Brasilia Nueve

      Composition: Bill Potts

Zoot Sims   1970

 Medley

      Film: 'Live at Donte's'

Zoot Sims   1974

  Honeysuckle Rose

      Guitar: Bucky Pizzarelli

      Bass: Milt Hinton

      Drums: Buddy Rich

      Composition:

      Fats Waller/Andy Razaf

Zoot Sims   1975

  I Got Rhythm

      Composition:

      Gershwin Brothers   1960

  Tangerine

      With Eddie Lockjaw Davis

      Music: Victor Schertzinger   1940

      Lyrics: Johnny Mercer

Zoot Sims   1976

  Blues for Louise

      Piano: Ray Bryant

      Composition: Zoot Sims

      LP: 'Soprano Sax'

      Recorded 8 & 9 January

Zoot Sims   1979

  She's Funny That Way

      ('He's Funny That Way')

      Piano: Jimmy Rowles

      Music: Neil Moret   1929

      Lyrics: Richard Whiting

      Recorded Dec '79

      Issue: 'The Swinger'   1995

      Original Jazz Classics 855

      Pablo Records 2310-861

Zoot Sims   1981

  Stompin' at the Savoy

      Recorded in Kansas City

      Piano: Ross Tompkins

      Bass: Bob Cranshaw

      Drums: Jake Hanna

      Composition: Edgar Sampson   1934

Zoot Sims   1983

  Blues for 2

      Composition: Zoot Sims

      Album: 'Blues for 2'

      Guitar: Joe Pass

Zoot Sims   1984

  A Time for Love

      Composition:

      Johnny Mandel/Paul Francis Webster

      Album: ''Quietly There''

      ('Zoot Sims Plays Johnny Mandel')

  Happy Over Hoagy

      Album w Al Cohn

Zoot Sims

Source: Concert Database

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.. Stitt's were among master tapes later destroyed in the 2008 Universal Studios fire in Hollywood. References: 1, 2, 3, 4, 5. Sessions: J-Disc (w comps by Stitt); Evensmo (solography); Lord (leading 159 of 245). Discos: 1, 2, 3, 4, 5. IMDb. Compilations: 'The Complete Original Quartet Recordings' 1955/57/62 on Lone Hill Jazz LHJ10169 2005. Marc Myers reviews: 1, 2. Analysis: Jazzomat ('Blues in Bebop' '45); Jens Larson. Interviews: Les Tomkins 1965. Authorship. Further reading: Will Friedwald; Jazz Profiles; Tom Maxwell; Bob Perkins. Other profiles: *.

Sonny Stitt   1945

  A Cottage for Sale

      With Billy Eckstine

      Music: Willard Robison   1929

      Lyrics: Larry Conley

Sonny Stitt   1946

  Bebop in Pastel

      ('Bouncing w Bud')

      Piano: Bud Powell

      Composition:

      Bud Powell/Gil Fuller

  Serenade to a Square

      Composition: Earl Powell

Sonny Stitt   1948

  Bobbin' with Robin

      ('Baggy's Blues')

      Vibraphone: Milt Jackson

      Composition: Jackson

Sonny Stitt   1949

  Sonny Side

      Piano: Bud Powell

      Composition: Stitt

      Issue: 1956:

      'Sonny Stitt | Bud Powell | J. J. Johnson'

      Prestige PRLP 7024

Sonny Stitt   1951

  P.S. I Love You

      Composition:

      Gordon Jenkins/Johnny Mercer

      Recorded 1 Feb 1951

      LP: 'Mr. Saxophone'

      Prestige PRLP 111

Sonny Stitt   1957

  Blues Greasy

      Composition: Stitt

      LP: 'Personal Appearance'

      Recorded 12 May 1957

      Piano: Bobby Timmons

      Bass: Edgar Willis

      Drums: Kenny Dennis