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A Birth of Jazz

A YouTube History of Music

Modern Jazz 2

Clarinet - Cornet - Flute - Trombone - Trumpet

Group & Last Name Index to Full History:


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

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

Not on this page? See history tree below.



Nat Adderley    Ray Anthony
Chet Baker    Kenny Ball    Chris Barber    Harry Beckett    Ruby Braff    Clifford Brown    Bob Brookmeyer    Papa Bue    Donald Byrd
Conte Candoli    Pete Candoli    Doc Cheatham    Don Cherry    Jimmy Cleveland    Kenneth Colyer    Ted Curson
Miles Davis    Wild Bill Davison    Buddy DeFranco    Kenny Dorham
Sweets Edison    Mercer Ellington    Don Elliott    Don Ellis    Rolf Ericson
Art Farmer    Maynard Ferguson    Herbie Fields    Curtis Fuller
Dizzy Gillespie    Jimmy Giuffre    Joe Gordon    Bennie Green    Al Grey    Urbie Green
Bobby Hackett    Slide Hampton    Bill Hardman    Ted Heath    Freddie Hubbard    Percy Humphrey
JJ Johnson    Jonah Jones    Quincy Jones    Thad Jones
Shake Keane
Steve Lane    George Lewis    Melba Liston    Booker Little    Claude Luter    Humphrey Lyttelton
Albert Mangelsdorff    Herbie Mann    Hugh Masekela    Howard McGhee    Blue Mitchell    Lee Morgan    Buddy Morrow
Ray Nance    Fats Navarro    Joe Newman
Benny Powell    Julian Priester
Dizzy Reece    Red Rodney    Shorty Rogers    Frank Rosolino    Roswell Rudd    Pee Wee Russell
Tony Scott    Charlie Shavers    Jack Sheldon
Clark Terry
Kenny Wheeler    Putte Wickman    Bob Wilber    Cootie Williams    Gerald Wilson    Kai Winding



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

Names are alphabetical, not chronological, per year:


1924 Wild Bill Davison
1925 Ted Heath

Doc Cheatham

1927 Pee Wee Russell
1928 Cootie Williams
1933 Sweets Edison
1936 Jonah Jones    Buddy Morrow
1937 Dizzy Gillespie    Bobby Hackett    Ray Nance
1938 Charlie Shavers
1939 Gerald Wilson
1940 Ray Anthony
1941 Pete Candoli
1942 Mercer Ellington    George Lewis    Howard McGhee    Joe Newman    Kai Winding
1943 Buddy DeFranco    JJ Johnson
1944 Conte Candoli    Rolf Ericson    Herbie Fields    Fats Navarro    Red Rodney
1945 Miles Davis    Kenny Dorham    Melba Liston    Shorty Rogers    Putte Wickman
1946 Bennie Green    Al Grey    Tony Scott
1947 Donald Byrd   Jimmy Giuffre    Urbie Green    Claude Luter    Clark Terry    Bob Wilber
1948 Art Farmer    Humphrey Lyttelton
1949 Chris Barber    Maynard Ferguson    Benny Powell    Frank Rosolino 
1950 Jimmy Cleveland
1951 Don Elliott    Percy Humphrey    Quincy Jones    Thad Jones    Blue Mitchell
1952 Chet Baker    Bob Brookmeyer    Clifford Brown    Joe Gordon    Slide Hampton
1953 Ruby Braff    Kenneth Colyer    Bill Hardman    Albert Mangelsdorff
1954 Kenny Ball    Papa Bue    Shake Keane    Dizzy Reece    Jack Sheldon
1955 Nat Adderley    Harry Beckett    Herbie Mann    Roswell Rudd
1956 Lee Morgan    Julian Priester    Kenny Wheeler
1957 Curtis Fuller    Steve Lane
1958 Don Cherry   Freddie Hubbard    Booker Little
1959 Ted Curson    Don Ellis    Hugh Masekela


  One might think of the history of jazz a little like the ka-boom of string-theory cosmology (or one such version): in the beginning was the big bounce of small bands (Ka . . . call Buddy Bolden the elusive string), next the inflation of full swing orchestras (Boom . . . Hi!-de-ho!), then the jazz universe as we know it, of solo stars in small clusters of all variety. This page concerns the birth of modern jazz via its major instrument, the horn, excluding saxophone, which can be found at Modern Jazz 4. Covered are those bands and musicians releasing their first recordings before 1960.



Birth of Modern Jazz: Wild Bill Davison

Wild Bill Davison

Source: Second Hand Songs

Born in 1906 in Defiance, Ohio, cornet player Wild Bill Davison is thought to have first recorded in 1924 in Cincinnati, OH, with the Chubb-Steinberg Orchestra on April 10: 'Walking Talking Dolly', 'From One Till Two', 'Blue Evening Blues' and 'Horsey! Keep Your Tail Up'. Titles like 'Because They All Love You' and 'Mandy Make Up Your Mind' followed in '25. The most significant figure in Davison's career was guitarist, Eddie Condon, who first saw studio with Davison per the latter's Commodores on November 27, 1943, tracks such as 'That's a Plenty' and 'Muskrat Ramble'. Condon and Davison were nigh inseparable partners to at late as 1972. Upon Condon's death on August 4, 1973, followed by Ben Webster's on September 20, Davison participated in three titles during their posthumous July 5, 1974, Carnegie Hall tribute concert: 'Avalon', 'Keepin' Out of Mischief Now' and ''Lady Be Good'. Sidney Bechet was another important figure, they first recording together in Condon's outfit on January 20, 1945, per a radio broadcast in NYC yielding such as 'Jazz Me Blues' and 'At Sundown'. They would work together for another five years, they last recording together on April 27, 1950, for a Bechet session yielding such as 'Jelly Roll Blues' and 'Hindustan'. Lord's discography has Davison's first session as a leader on February 12, 1940: 'I Surrender Dear' and 'On a Blues Kick'. Davison's first releases in his own name are thought to have been such as 'Clarinet Marmalade' and 'Baby Won't You Please Come Home' in 1944 for Commodore. Among his more frequently recorded tunes was 'Monday Date', first rendered on January 22, 1945. It would get rendered again in Vienna for his 1958 album, 'Wild Bill Davison Und Die Tremble Kids'. He died on November 14, 1989, in Santa Barbara, CA. His last recordings had been on May 15 in Wales that year, such as 'Lady Be Good', Squeeze Me' and 'Hindustan'.

Wild Bill Davison  1924

   Blue Evening Blues/Horsey!

      Chubb-Steinberg Orchestra

Wild Bill Davison  1925

   Mandy Make Up Your Mind

      Chubb-Steinberg Orchestra

Wild Bill Davison  1932

   I've Found A New Baby

      Saxophone: Sidney Bechet

Wild Bill Davison  1944

   Clarinet Marmalade

      With the All Star Stompers

Wild Bill Davison  1945

   Darktown Strutters Ball

      Saxophone: Sidney Bechet

Wild Bill Davison  1963

   Twice As Nice

      CBS Jazz Documentary

      With Eddie Condon and Helen Ward

Wild Bill Davison  1984

   On the Alamo

   You're Lucky to Me

Wild Bill Davison  1985

   You Took Advantage Of Me

      Live performance



Though this history largely concerns American jazz we nevertheless enter musicians from abroad too essential to ignore. One of those was British trombonist Ted Heath, though he was better known as a bandleader. Born in 1909 in South London, Heath could well be placed in Big Band Swing but that his popularity followed that era by perhaps a decade. Heath is thought to have first recorded trombone on February 20, 1922, in Middlesex with Rector's Paramount Six, those titles unissued: 'After a While' and 'Everybody Step'. His first recordings to see issue are thought per 1925 with the Hannan Dance Band: 'No One Knows What It's All About' (Columbia 3598), 'Suite 16' (Columbia 3653), etc.. Heath also put down tracks in '25 with the Corona Dance Band and the Kit-Cat Band. Among one the more nonstop acts in jazz, Heath's career isn't going to fit in this small space but for a few major names. Among the more significant was the orchestra of Bert Ambrose, which he joined in time for 'Singapore Sorrows' on April 2, 1928. Heath sat in Ambrose' band through the thirties to as late as 1942 with Ambrose directing the Melody Maker Band for 'I Didn't Want to Walk Without You'. (The Melody Maker Band was a revolving outfit per the 'Melody Maker' music industry trade paper.) His first tracks with the band of Philip Lewis were laid on October 1, 1929, his last on August 19, 1930, resulting in 'Livin' In the Sunlight' etc.. Heath's first titles with Joe Brannelly's Blue Mountaineers were on February 29, 1932: 'In the Jailhouse Now' and 'Open Up Dem Pearly Gates'. His last were March 27, 1933: 'Won't You Stay to Tea?' and 'There's a Tiny Little Hair on Your Shoulder'. Among Heath's frequent partners, both supporting each other's projects and other bands, was clarinetist/saxophonist, Freddy Gardner. Heath and Gardner first recorded together on October 17, 1932, with Phil Allen's Merrymakers: 'Since I Fell In Love With Emmalina'. Gardner last supported Heath's orchestra on January 28, 1946, for 'Wotcher!' and 'Bakerloo Nonstop'. Another frequent partner was clarinetist/saxophonist, Sid Phillips. First recording with Phillips in the Bert Ambrose Orchestra on October 5, 1933 ('Dinner at Eight'), Heath and Phillips partnered on multiple occasions, both backing other operations and each other. Their last session was in December of '39, Heath siding Phillips on such as 'Music For You' and 'Plain Jane'. On April 15, 1936, he laid tracks with Benny Carter in London when the latter was touring Europe, among them: 'Swingin' at the Maida Vale', 'Night Fall' and 'Big Ben Blues'. Heath put together his first band in 1944 to broadcast for the BBC. His first session as a leader that year bore such as 'South of the Border' and 'Caravan'. He first appeared in film, 'London Town', in 1945. It was 1950 that he hired vocalist, Lita Roza, to his orchestra, for which he is perhaps best known. His first Royal Command Performance was for King George VI in 1951. His second arrived in 1954 for Queen Elizabeth II. In 1956 he visited America, touring with June Christy and Nat King Cole. Heath toured the States, Australia and Europe a number of times over the years. In 1958 he managed to record nine albums. Heath collapsed on stage on his 62nd birthday in 1964 of cerebral thrombosis. He continued to perform and record, though toured less, eventually dying in 1969 in Surrey, England. By the end of his career, spanning more than five decades, Heath had recorded more than a hundred albums, and sold 20 million of them. His band's library of commissioned original arrangements exceeded eight hundred. Unfortunately, the earliest track below on which Heath definitely plays trombone is for the year 1942, on which he is neither featured nor distinguishable from other members of the band. More of Ted Heath's orchestra in Modern Jazz Song under Lita Roza.

Ted Heath   1926

   Camel Walk

      With the Kit-Cat Band

      Vocal: Al Starita

   Headin' for Louisville

      With Bert Firman

Ted Heath   1942

   Soft Shoe Shuffle

      With the Geraldo Orchestra

Ted Heath   1950

   Birmingham Bounce

      With Jack Parnell

Ted Heath   1952

   Blacksmiths Blues

      With Lita Roza

Ted Heath   1953

   Hot Toddy

Ted Heath   1954

   Skin Deep

Ted Heath   1956

   Hawaiian War Chant

      Carnegie Hall   Drums: Ronnie Verrell

Ted Heath   1958

   Swingin` Shepherd Blues

Ted Heath   1959

   Amor, Amor

Ted Heath   1962

   Drum Crazy

       Drums: Ronnie Verrell and Kenny Clare


Birth of Modern Jazz: Ted Heath

Ted Heath

Source: Jazz Wax


  Born in 1905 in Nashville, trumpeter Doc Cheatham began his recording career in 1926 as a saxophone accompanist to blues singer Ma Rainey: 'Down in the Basement', 'Sissy Blues' and 'Broken Soul Blues'. Having attended at least 230 sessions, we resume his career per the swing era with Cab Calloway in 1932, for whom he played trumpet on December 7 that year: 'Dinah', 'Angeline', etc.. Cheatham's last tracks with Calloway were seven years later on October 17, 1939 ('Chili Con Conga', 'Tarzan of Harlem', etc.) when he was replaced by Dizzy Gillespie. They would reunite in 1990 per Milt Hinton on 'Good Time Charlie'. Cheatham's last titles with Calloway in 1937 were also his only with Gillespie until 1992, participating in 'To Diz with Love'. Cheatham seems to have recorded with swing master, Benny Goodman, only once, that on October 16, 1934, with two takes of 'Stars'. He would later contribute to a couple sessions in 1966, first as a member of Goodman's quintet for a radio broadcast for WNEW from the Rainbow Grill in NYC ('Indiana', 'Cheerful Little Earful', etc.), then as a member of Goodman's sextet with young Herbie Hancock: 'Avalon', Embraceable You', etc.. After World War II Cheatham concentrated on Latin bands in New York City. Among highlights of Cheatham's career in the fifties was his initial session as a leader in Paris on January 31, 1950, yielding such as 'Solitude' and 'Since I Fell for You' with vocalist, Eartha Kitt. Duets with pianist, Sammy Price, were recorded in 1958 in Paris: 'Lady Be Good', 'The Man I Love', etc.. Cheatham would see Price again in 1988 for 'Doc Cheatham and Sammy Price in New Orleans with Lars Edegran's Jazz Band'. The first of numerous sessions with trombonist, Wilbur de Paris, arrived on April 2, 1955, putting down such as 'Mardi Gras Rag' and 'Milenberg Joys'. Their last recordings were on November 17, 1960, per such as 'Over and Over Again' and 'Careless Love'. Cheatham formed his own band in 1960, running that for the next five years in NYC. Also highlighting the sixties were sessions with alto saxophonist, Capt. John Handy, in 1966 in NYC. Fast forwarding three decades, Cheatham recorded with the Swiss Dixie Stompers in Switzerland in 1995. He died on June 2, 1997, in Washington D.C.. His final recordings had been in September of '96 in New Orleans per the album, 'Doc Cheatham & Nicholas Payton'.

Doc Cheatham   1926

   Band Down In The Basement

      With Ma Rainey

Doc Cheatham   1939

   The Ghost of Smokey Joe

      With Cab Calloway

Doc Cheatham   1950

   Doc's Blues

   Embraceable You

Doc Cheatham   1968

   Mr. Trumpet Man

      With Ricardo Ray

Doc Cheatham   1983

   Limehouse Blues

Doc Cheatham   1985

   Someday You'll Be Sorry

Doc Cheatham   1987

   The Nearness of You

      Saxophone: Arnett Cobb

      Al Grey: trombone

Doc Cheatham   1996

   How Deep Is the Ocean

      Duet with Nicholas Payton


      Duet with Nicholas Payton


Birth of Modern Jazz: Doc Cheatham

Doc Cheatham

Source: Jazz Trumpet Transcriptions



Born Charles Ellsworth Russell in 1907 in Maplewood, Missouri, clarinetist Pee Wee Russell began working professionally in 1922, touring river boats and tent shows. He is thought to have first recorded in St. Louis in 1924 with Herb Berger (unfound). In 1925 he headed for Chicago where he played with such as Bix Beiderbecke and Frank Trumbauer. In 1926 he joined Jean Goldkette's orchestra. Russell first recorded with cornetist, Red Nichols, on April 2, 1927. Those tracks ('The Doll Dance' and 'Delirium') were released under the imaginary leadership of Carl Fenton. "Carl Fenton" had originally been the pseudonym of Brunswick musical director, Gus Haenschen, in 1919. But Brunswick began attaching "Carl Fenton" to records with which Haenschen had nothing to do (including the above) when it needed the name of a bandleader. Ruby Greenberg, violinist and musical director for Gennett Records, bought the rights to use "Carl Fenton" on recordings from '27 to '30. "Carl Fenton" was used on records as late as 1937 by, it is thought, Red Nichols as a joke. Be as may, Russell would next record with Nichols in August of '27, Nichols having formed his Five Pennies by that time. Russell released his first issues as a leader in 1938 with his Rhythmakers. With Max Kaminsky on trumpet, 'Dinah' was among those eight tracks. In 1952 Russell issued the album, 'Clarinet Strut'. Russell had been no slouch. Together with his own recordings he contributed to countless tunes by a host of the Who's Who of jazz during his career, several among them being Coleman Hawkins, Miff Mole, Jack Teagarden, Billy Banks (vocalist), Eddie Condon, Bobby Hackett, Louis Prima, Teddy Wilson, Bud Freeman, Wild Bill Davison, Muggsy Spanier, the Stuyvesant Stompers (George Wetting: drums), Max Kaminsky, Ruby Braff and Buck Clayton. Russell's last gig was President Nixon's inaugural ball in 1969, three weeks before his death in Alexandria, Virginia. More early Pee Wee Russell can be found in Early Jazz.

Pee Wee Russell   1927


      With Red Nichols

   Doll Dance

      With Red Nichols

   Feelin' No Pain

      With Red Nichols

   Five Pennies

      With Red Nichols

   Slippin' Around

      With Red Nichols


      With Red Nichols

   Sugar Foot Strut

      With Red Nichols

Pee Wee Russell   1952

   I've Got the World On a String

      Album: 'Clarinet Strut'

Pee Wee Russell   1958

   Pee Wee's Blues

   That Old Feeling

Pee Wee Russell   1961

   Sugar/Lover Come Back

   The Very Thought Of You

      Album: 'Swinging With Pee Wee'

Pee Wee Russell   1963

   Twice As Nice

      Filmed live

Pee Wee Russell   1968

   Meet Me In Chicago

      Filmed live


Birth of Modern Jazz: Pee Wee Russell

Pee Wee Russell

Source: Britannica



After saxophone, trumpet is the main horn via which modern jazz advanced. Born in Mobile, Alabama, in 1911, swing trumpeter Cootie Williams began his career at age fourteen with the Young Family Band, of which saxophonist, Lester Young, was also a member. Williams first recorded at age eighteen with pianist James Johnson in 1928 in NYC: 'Chicago Blues' and 'Mournful Tho'ts'. His next session on March 1, 1929, was with Duke Ellington's Jungle Band, putting down 'Rent Party Blues', 'Paducah' and 'Harlem Flat Blues'. It was Ellington's Cotton Club Orchestra on March 7, his Washingtonians on March 15, his Memphis Men on April 4. Ellington's orchestras would be Williams' main hammer into 1940, those eleven or so years constituting his first of two long periods with Ellington. His last session with Ellington's band in '40 was on October 28 in Chicago for such as 'Across the Tracks Blues' and 'Chloe'. His last recordings with Ellington were per the latter contributing piano to titles by Johnny Hodges on November 2: 'Day Dream', 'Good Queen Bess', etc.. Among Williams' frequent longtime partners with Ellington was cornetist, Rex Stewart, who first joined Ellington's orchestra on January 9, 1935, in Chicago for such as 'Admiration' and 'Farewell Blues'. Stewart recorded with Ellington's orchestra to October 2 of 1940, just prior to William's last on the 28th per above. They would reunite, however, in 1957-58 to co-lead 'The Big Challenge', perform at the '58 Newport Jazz Festival and co-lead 'Porgy & Bess Revisited'. Williams had recorded with Benny Goodman as early as January 16, 1938, at Carnegie Hall, next to Hodges on 'Blue Reverie'. A week after William's last session with Ellington in October, 1940, he joined the Benny Goodman Sextet in NYC on November 7 for multiple takes of 'Wholly Cats' and 'Royal Garden Blues'. Williams hung with Goodman into 1942. They would reunite twenty years later on August 12, 1962, for a Goodman radio broadcast from WNEW in NYC: 'Love For Sale', 'I've Got a Lot of Living to Do', etc.. Marking the commencement of Williams' second period with the Duke Ellington's orchestra was a session held one month later on September 12 for multiple takes of 'Tootie for Cootie', 'Broadstream' and 'To Know You Is to Love You'. A session the next day included multiple takes of 'Monk's Dream' and 'The Lonely Ones'. Williams would grace Ellington's operation for more than a decade, he last recording with Ellington a few months before the latter's death (May '74) on February 10, 1974, at Georgetown University in Washington, D.C.: 'C Jam Blues', 'Take the 'A' Train', etc.. Williams' had been hugely prolific with above 550 sessions to his name, some 57 his own. Since a book isn't going to fit here we add but that his first session as a leader was with his Rug Cutters (including Ellington at piano) on March 8, 1937, recording double takes of 'I Can't Believe That You're in Love With Me', 'Downtown Uproar', 'Diga Diga Doo', 'Blue Reverie' and 'Tiger Rag'. His final recordings are thought to have been at Carnegie Hall on April 5, 1978, guesting for Teresa Brewer. He died in New York City on September 15, 1985. In 1991 he was elected into the Alabama Jazz Hall of Fame.

Cootie Williams  1928

   Chicago Blues

      With the Jimmy Johnson Orchestra

      Thought Williams' 1st recording issued

   Mournful Tho'ts

      With the Jimmy Johnson Orchestra

      Thought Williams' 2nd recording issued

Cootie Williams  1937

   Downtown Uproar

      Piano: Duke Ellington

Cootie Williams  1942

   Epistrophy (Fly Right)

      Original composition: Thelonous Monk

Cootie Williams  1944

   Blue Garden Blues

   Echoes of Harlem

   Mobile Blues

   'Round Midnight

   You Talk a Little Trash

Cootie Williams  1945

   Everything But You


Birth of Modern Jazz: Cootie Williams

Cootie Williams

Source: The Music's Over



Born in 1915 in Columbus, Ohio, then raised in Louisville, Kentucky, Harry Sweets Edison began playing professionally in 1933 in Cleveland with the Jeter-Pillars Orchestra. He first recorded on March 24, 1933, with Alphonse Trent: 'Clementine' and 'I've Found a New Baby', the last with Anderson Lacy at vocals. Edison then joined the Mills Blue Rhythm Band run by Lucky Millinder, recording such as 'Blue Rhythm Fantasy' and 'Prelude to a Stomp' on February 11 of 1937. A couple more sessions ensued with the Blue Rhythm Band that year until moving onward to the Count Basie Orchestra. Edison's first tracks with Basie were on February 16, 1938: 'Sent for You Yesterday', 'Every Tub', etc.. Basie would be one of the more important figures throughout Edison's career, Edison supporting Basie to 1950, then '53 to '59, '64 to '66, '76, '79 and as late 1981 per Basie's 'Warm Breeze'. Edison would appear at the Kool Jazz Festival Salute to Count Basie at Carnegie Hall on June 30, 1984, to record 'Rompin' at the Reno', 'Kansas City Blues' and 'Cherry Blossom'. (Basie had died April 26, 1984.) With sessions by Edison approaching 600, some 34 his own, there weren't many fish with which he didn't blow bubbles at one time or another. While he was with Basie an important vocalist arrived per Billie Holiday and Her Orchestra on December 13, 1939, recording such as 'Night and Day' and 'The Man I Love'. Several sessions with Holiday followed in the fifties from '54 to as late as March 11, 1959, with the Ray Ellis Orchestra: ''Deed I do', 'All of You', etc.. An important drummer, Buddy Rich, entered Edison's sphere via Basie on September 25, 1944, Rich attending an AFRS 'Jubilee' (#98) radio broadcast from Los Angeles: 'One O'Clock Jump', 'Rhythm Man', etc.. Edison and Rich would be found together on multiple projects in the fifties, both supporting other bands and Edison backing Rich. The first such occasion for the latter was on August 21, 1953, in Los Angeles: 'Let's Fall In Love', 'Me and My Jaguar' and 'Just Blues'. In 1955 they issued the album, 'Buddy and Sweets'. Their last recordings together were with Basie again on December 19, 1966: "Ceaseless Blues', 'Macy', etc.. Another important drummer was Louie Bellson whom Edison first backed in July of 1953 for Bellson's 'Skin Deep'. Numerous sessions followed in '57, '63 to '74, '83 and as late as 1999, both of them contributing to vocalist, Steve Tyrell's, 'A New Standard'. An important horn player, tenor saxophonist, Ben Webster, came along in 1953, Edison first backing Webster on December 8 that year for such as 'That's All', 'Pennies From Heaven', etc.. They would record on multiple occasions, Webster contributing to Edison's 'Sweets' ('56) and 'Gee Baby Ain't I Good to You' ('57). Their album, 'Ben and Sweets', appeared in 1962. They put down tracks together as late as a concert on May 22, 1973, in Denmark with trumpeter, Arrivid Meyer: 'I Can't Get Started', 'Mess a Stomp, etc.. Another important personality was vocalist, Frank Sinatra, via Nelson Riddle, recording 'You Forgot All the Words', 'Love Is Here to Stay' and 'Weep They Will' on October 17, 1955, in Los Angeles. Numerous sessions were held with Sinatra, with Basie from '64 to '66, to as late as October 5, 1970, at Royal Festival Hall in London: 'Pennies From Heaven'. Another important vocalist was Ella Fitzgerald, arriving via the Buddy Bregman Orchestra on January 25, 1956: 'Stay There' and 'Too Young for the Blues', etc.. Multiple sessions with Fitzgerald would occur through the years to as late as her album, 'All That Jazz', recorded in March of 1989. Among the highlights of Edison's career was his first session as a leader on September 26, 1941: 'Hold the Phone'. His first of five dates with Norman Granz' Jazz at the Philharmonic was September 16, 1950, at Carnegie Hall, bearing 'Lady Be Good', 'Indiana', etc.. His last titles with the JATP were on October 17, 1983, in Tokyo, numerous tracks from 'Sunday' to 'Flyin Home', the last with Fitzgerald on vocals. It was 1952 that Edison had migrated from the East Coast to California where he worked as studio musician, also playing in television orchestras. Touring Europe and Japan during his latter career, Edison died in Columbus, Ohio, on June 27, 1999. His final tracks are thought to have been with Bellson per above for vocalist, Steve Tyrell's, 'A New Standard', in '99.

Sweets Edison  1941

   Swingin' the Blues

      Film: 'Dance Of the Gremlins'   With Count Basie

Sweets Edison  1944

   Jammin' the Blues

      Film   Vocal: Billie Holiday

Sweets Edison  1953

   Pennies From Heaven

Sweets Edison  1955

   Barney's Bugle

      Drums: Buddy Rich

   Easy Does It

      Drums: Buddy Rich

   Nice Work If You Can Get It

      Drums: Buddy Rich

   Now's the Time

      Drums: Buddy Rich

   One O'Clock Jump

      Drums: Buddy Rich

   You're Getting To Be A Habit With Me

      Drums: Buddy Rich

   Yellow Rose Of Brooklyn

      Drums: Buddy Rich

Sweets Edison  1962

   Better Go

      Saxophone: Ben Webster

Sweets Edison  1964


      Filmed live   Saxophone: Coleman Hawkins

   Willow Weep For Me

      Filmed live

Sweets Edison  1983

   There Is No Greater Love

      Filmed live

Sweets Edison  1992

   Sweet Tooth

      Filmed live   Drums: Louie Bellson

Sweets Edison  1994font>

   Ghost Of a Chance

      With the Ben Peplowski Quintet


Birth of Modern Jazz: Sweets Edison

Sweets Edison

Source: Postales de Jazz


  Born in 1909 in Louisville, Kentucky, trumpet player Jonah Jones began his career playing on riverboats, until 1928 when he joined the Horace Henderson Orchestra. In 1932 he joined violinist Stuff Smith's Onyx Club Boys, both he and Smith recording for the first time in 1936 for Vocalion. Their first track on January 17, 'With All My Heart', went unissued. Their next session on February 11 saw releases of such as 'I'se a Muggin'' and 'I Hope Gabriel Likes My Music'. In the forties Jones worked with Benny Carter, Fletcher Henderson and Cab Calloway. Jones began leading his own band in the fifties, his quartet winning the 1960 Grammy Award for Best Jazz Instrumental Album ('I Dig Chicks'). He also jammed with the King Of Thailand, an amateur saxophone player, in 1960 at Benny Goodman's residence. In 1961 he played for Prince Ranier and Princess Grace in Monaco. 1972 found him collaborating with pianist Earl Hines. In 1999 Jonah was inducted into the Big Band and Jazz Hall of Fame, he passing away the next next year in New York City.

Jonah Jones   1936

   Here Comes The Man With The Jive

      With Stuff Smith

   You'se A Viper

      With Stuff Smith

Jonah Jones   1945

   Broadway Holdover

Jonah Jones   1954


   Squeeze Me

      With Sidney Bechet

Jonah Jones   1955

   Pete's Delta Bound

Jonah Jones   1958

   Jumpin' With Jonah

   Just A Gigolo

   Three Coins in the Fountain

      Album: 'Swingin' At The Cinema'

Jonah Jones   1971

   La Grande Parade du Jazz

      Filmed live


Birth of Modern Jazz: Jonah Jones

Jonah Jones

Source: Jazz Wax


Birth of Modern Jazz: Buddy Morrow

Buddy Morrow

Source: Kterrl


Born in 1919 in New Haven, Connecticut, trombonist Buddy Morrow is thought to have first entered the recording studio in 1936 for Vocalion Records while a student at the Juilliard School. Recording as a session player with Sharkey Bonano's Sharks Of Rhythm, David Winstein and others, between October of 1936 and January of 1937. Morrow appeared on the following tracks: 'Mudhole Blues' (with Sharkey Bonano), 'Swing In Swing Out' (with David Winstein), 'I'm Satisfied With My Gal' (with Sharkey Bonano), 'High Society', 'Mr. Brown Goes to Town' (with David Winstein), 'Was It Clean?' (with Sharkey Bonano), 'Blowing Off Steam' (with David Winstein), 'Big Boy Blue', 'Old Fashioned Swing', 'Swing Like a Rusty Gate' (with David Winstein), and 'Swingin' On The Swanee Shore'. Morrow next played briefly in the bands of Eddie Duchin and Vincent Lopez before signing up with the more major operation of Artie Shaw in time to sit in on such as 'Love and Learn' and 'Moonface' with vocals by Peg LaCentra on November 30, 1936. Morrow's last session with Shaw was per the branding of Shaw's orchestra as the Rhythm Makers on February 19, 1937, for Thesaurus transcriptions (RCA for commercial, not retail, distribution to such as radio stations). Those are available per 'The Complete Rhythm Makers Sessions 1937-1938 Vol. 1' released in 2003. Morrow's career exceeding sixty years was, if not prolific, full enough with above 150 sessions, perhaps twenty of those his own. Though Morrow didn't emphasize recording so much as his peers, that portion of his career was yet too full to follow very closely here. Among those requiring mention are the Dorseys. After supporting vocalist, Dick Robertson, on July 21, 1937, Morrow first recorded with Tommy Dorsey's orchestra on October 4 that year, unissued titles: 'Getting Some Fun Out of Life' and 'In a Mission By the Sea'. His first titles with Dorsey to see release were per a CBS Radio tribute to Irving Berlin on August 3, 1938: 'Marie' and 'Now It Can Be Told'. Morrow stuck with Tommy until January of '39 until the latter combined his orchestra with Jimmy's on the 18th for 'Honeysuckle Rose' for NBC Radio. Morrow would fill a spot in Tommy's band on a few tracks later in '49: 'Puddlewump', et al. The combination of the Dorsey orchestras was the first that Morrow recorded with Jimmy, he to join Jimmy's band for a number of sessions in 1945, his first for an AFRS (Armed Forces Radio Service) broadcast of 'One Night Stand 635' from Ocean Park, CA, on July 19, such as 'Java Junction' and 'It's Only a Paper Moon. His last titles with Jimmy were on December 26, another AFRS radio broadcast, 'One Night Stand 850', now from Newark, NJ: 'Opus 1', 'Don't You Remember', et al. In the meanwhile, between Tommy and Jimmy's orchestras Morrow performed with Paul Whiteman's operation, recording per Whiteman's Bouncing Brass on April 6, 1939, such as 'Heat Wave' and 'Home Again Blues'. His first tracks with the Bob Crosby Orchestra were in Los Angeles on September 4, 1941, such as 'A Gay Ranchero' (vocal by Liz Tilton) and 'Something New' (vocal by Bob Crosby). His last recordings with Crosby were on June 10, 1942, a transcription session for Standard in Los Angeles: 'Soft Jive', 'Yank's Lament', etc.. There would be a reunion on April 4, 1967, with Crosby's Bobcats, putting out such as 'Ja-Da' and 'Washington and Lee Swing'. Morrow had also supported Bob's brother, Bing Crosby, on a few occasions in '42, the first for the soundtrack to 'Holiday Inn'. After his run with the Crosbys Morrow joined the U.S. Navy per World War II. Stationed on Staten Island, he played trombone with a Navy band. He was in the Navy on October 5, 1944, when he recorded tracks with the Red McKenzie Orchestra in NYC, such as 'Sweet Lorraine' and 'It's the Talk of the Town'. Just when he left the Navy is uncertain, but he next recorded with Yank Lawson on February 12, 1945, for V-Disc. V-Disc was a U.S. military label established to the purpose of entertaining troops, but military membership was hardly requisite. Another session with Lawson occurred before Morrow joined Jimmy Dorsey's orchestra per above. Occasion arose for Morrow to lead Dorsey's band while the latter was ill. In 1947 Morrow formed his own orchestra. His initial session as leader in NYC on February 18, 1952, for RCA Victor went unissued: 'The Beat o' My Heart', 'Water Boy' and 'East Side Drive'. His next on April 12 in Hollywood yielded 'Vereda Tropical' and 'Night Train'. Also during the sixties Morrow was a member of the 'Tonight Show' band. In 1977 he began leading the Tommy Dorsey ghost orchestra (Tommy had died on November 26, 1956, his brother, Jimmy, the following year on June 12.) Morrow's final appearance with that band was in September 2010, dying three days later on the 27th.

Buddy Morrow   1937

   Sweet Lorraine

      With Artie Shaw

Buddy Morrow   1951

   Rose, Rose, I Love You

Buddy Morrow   1952

   Night Train

Buddy Morrow   1953

   Knock On Wood

      Vocal: Shaye Cogan

Buddy Morrow   1954

   Mr. Sandman

Buddy Morrow   1955

   Rock N' Roll

Buddy Morrow   1958

   Sweet Sue (Just You)

Buddy Morrow   1960

   Twilight Zone

      Album: 'Double Impact'

Buddy Morrow   1988





Birth of Modern Jazz: Dizzy Gillespie

Dizzy Gillespie

Source: Rate Your Music


Born John Birks Gillespie in 1917 in Cheraw, South Carolina, trumpeter Dizzy Gillespie was to bebop what Miles Davis was to cool jazz. Born the youngest of nine children, Gillespie had begun playing piano at age four. He was well into trombone and trumpet by age twelve. He was later a student at the Laurinburg Institute on scholarship. Gillespie's first professional position was in 1935 with the Frank Fairfax Orchestra. He next joined Eddy Hayes' outfit, before replacing Roy Eldridge in Teddy Hill's orchestra. His first recorded solo was with Teddy Hill's band in 1937. In 1939 he replaced Doc Cheatham in Cab Calloway's orchestra. Unfortunately Calloway and Gillespie didn't get along. Gillespie had a sense of humor that Calloway found irritating, the two eventually going to fisticuffs, Gillespie pulling a switchblade on Calloway, who had punched him during an argument that had exploded over someone tossing a spitball. Gillespie managed to cut Calloway's hand before they were pulled apart. Gillespie found more peaceful work about that time, composing big band music for such as Woody Herman and Jimmy Dorsey. He held his first sessions as a leader at Minton's Playhouse in NYC in May of 1941, recording 'Star Dust' twice and 'Kerouac'. In 1942 he worked with Ella Fitzgerald, then Earl Hines. He then joined Billy Eckstine's orchestra until 1945. Gillespie had begun pulling away from the big band sound while with Hines, starting to compose for small combos, and what would soon come to be called bebop. 'A Night In Tunisia', composed in 1942, is among the earliest examples of such. Other of bebop's preeminent early masters were Coleman Hawkins and Charlie Parker. The term, "bebop" is said to have arisen as a result of Gillespie's scat singing: when fans didn't know the name of a song they would ask for "bebop," which the press picked up. Also called "rebop," the term was common by 1945, Gillespie's collaborations with Charlie Parker ensuring that. After that period of work with Parker, Gillespie went on to form both smaller combos and larger orchestras. He also often performed with Norman Granz' Jazz at the Philharmonic, seventeen dates from January 28, 1946, at the Philharmonic Auditorium in Los Angeles to November 26, 1966, at Royal Festival Hall in London. In 1947 Gillespie began experimenting with the Afro-Cuban beat. He composed, for example, 'Manteca' with Cuban percussionist, Chano Pozo, in 1947. It was 1954 when Gillespie began playing trumpet with an upturned bell, his first manufactured for him that year by Martin. It's said that Gillespie had tested such a trumpet in 1937 and liked the tone. Another account has a couple of dancers crashing into it while it rested on a trumpet stand on stage, at Snookie's in Manhattan in January 1953. Gillespie put his trashed trumpet to his mouth, and liked what it blew. (Christie's auction house sold Gillespie's first bent Martin for $63,000 in 1995.) In 1956 Gillespie toured the Middle East, then appeared at the Newport Jazz Festival the following year. That was recorded, as well as nine more appearances at Newport in 1957, 1959-60, 1963-68 and 1972. 'Down Beat' magazine inducted Gillespie into its Jazz Hall of Fame in 1960. Circa 1970 Gillespie began to involve himself with the Bahá'í Faith. In 1979 he published his autobiography, 'To Be or Not to Bop'. During the eighties Gillespie led the United Nations Orchestra. In 1989 he is proposed to have given 300 performances in 27 countries, appeared on three television specials, performed with two symphonies and recorded four albums. One busy musician. France also made him Commandeur de l’Ordre des Arts et des Lettres in 1989, in addition to receiving a Grammy Lifetime Achievement Award. The following year Gillespie received the Kennedy Center Honors Award, as well as the Duke Ellington Award given by the ASCAP (American Society of Composers, Authors, and Publishers). He was awarded the Polar Music Prize by Sweden in 1993, the year he died of pancreatic cancer on January 6. With a highly prolific number of sessions during his career at 533, nigh half of those his own, Gillespie had performed at Carnegie Hall 32 times and been distinguished with fourteen honorary doctorates. His last recording on trumpet is thought to have been 'Toreador' on January 31, 1992, per Steve Turre's album, 'Sanctified Shells'. More Gillespie can be found in tracks with Charlie Parker in Jazz Sax and Milt Jackson in Jazz Percussion.

Dizzy Gillespie   1937

   King Porter Stomp

      With Teddy Hill

Dizzy Gillespie   1945


   Blue 'n Boogie

      With Dexter Gordon

   Dizzy Atmosphere

      With Charlie Parker

   Good Bait

      With Charlie Parker

   I Can't Get Started

   Salt Peanuts

      Recorded January 9

   Salt Peanuts

      Recorded May 11

   Shaw 'Nuff

      With Charlie Parker

Dizzy Gillespie   1946

   He Beeped When He Should Have Bopped


   Jivin' in Be-Bop

      Filmed live

   Things to Come

      Filmed live

Dizzy Gillespie   1947

   Groovin' High

      With Charlie Parker

Dizzy Gillespie   1949

   Night In Tunisia

      Live at Carnegie Hall   Saxophone: Charlie Parker

Dizzy Gillespie   1950


      With Charlie Parker

   Coast to Coast


      With Charlie Parker

   Leap Frog

      With Charlie Parker


      With Charlie Parker

   Thinking Of You

      Dizzy Gillespie Sextet

Dizzy Gillespie   1957

   Whisper Not

      Featuring Lee Morgan

Dizzy Gillespie   1958

   Blues After Dark

      Filmed live   Tenor sax: Sonny Stitt

  On the Alamo

      Filmed live   Drums: Kenny Clarke

Dizzy Gillespie   1960

   Gillespiana Suite Blues


Dizzy Gillespie   1966

   Woody'n You

      Newport Jazz Festival

Dizzy Gillespie   1975

   Bebop Reunion

      Live on 'Soundstage'

Dizzy Gillespie   1976


      With Benny Carter

Dizzy Gillespie   2007


      Steve Turre album: 'Sanctified Shells'


Birth of Modern Jazz: Dizzy Gillespie

Gillespie's Trademark Bent Trumpet   1988

Source: Wikiwand


Birth of Modern Jazz: Bobby Hackett

Bobby Hackett

Source: Rhode Island Music Hall


Born in Providence, Rhode Island, in 1915, trumpeter Bobby Hackett received his big break in the late thirties when he was hired to play in the Vic Schoen Orchestra, recording 'Why Talk About Love?' and 'Just a Simple Melody' with the Andrew Sisters in NYC on October 18, 1937. His first recordings had been for vocalist, Dick Robertson, on March, 24, 1937, those for Decca. Hackett backed Robertson's band into 1939. With above 450 sessions to his name, 157 of those as a leader, we'll not imagine to cover Hackett's career here. It nevertheless serves well to remark as to one of Hackett's more important partners over the years, that being guitarist, Eddie Condon, whose Windy City Seven he joined to record such as 'Love Is Just Around the Corner and 'Ja-da' on January 17, 1938. The next month Condon supported Hackett in his first session as a leader, putting down such as 'You, You and Especially You' with vocalist, Lola Bard. Condon and Hackett were nigh the left and right rail of the same track for more than a decade, both supporting each other's projects and those of others to 1950. They would reunite in '55, later in the sixties and lastly on July, 1974, for a tribute to Ben Webster at Carnegie Hall: 'Avalon', 'Lady Be Good', 'Don't Blame Me', etc.. Similarly, and much in association with Condon, was trombonist, Jack Teagarden, with whom Hackett would perform memorable duets. Theirs was likewise a continuous companionship for more than a decade, Hackett's first tracks with Teagarden per above with Condon's Windy City Seven. Teagarden sided for Hackett on numerous occasions. They last recorded together for Teagarden's operation at the Hollywood Bowl on July 26, 1963. It is also be apt to mention the orchestra that early put Hackett's career into high gear and with which he began to distinguish himself, that being Glenn Miller's orchestra, which he joined in time for a number of 'Chesterfield Show' broadcasts from Eastwood Gardens in Detroit, MI, in July of 1941, resulting in such as 'Ida' and 'Measure for Measure'. Hackett's time with Miller was highly productive though relatively short-lived, he last to sit in Miller's band on September 24, 1942, for another 'Chesterfield Show' before Miller folded up shop, joined the military per World War II and didn't came back. Another trombonist Hackett would join on multiple occasions was Vic Dickenson. They first recorded together on October 22, 1945, backing Peggy Lee with the Jubilee Allstars on 'You Was Right, Baby'. They would see further sessions, Dickenson often backing Hackett, in 1951-52, '55, '63 and 1969-74. Their last session was live in '74 at the Carnegie concert per above with Eddie Condon in tribute to Ben Webster. In 1953 Hackett was asked to play on Jackie Gleason's first mood music album: 'Music for Lovers Only'. 'My Funny Valentine', below, is from that record. Hackett played on the next ten Gleason albums as well. (Note of interest: Jackie Gleason was an extraordinary television comedian: 'The Honeymooners', 'The Jackie Gleason Show'. But he was merely a front man to all the beautiful mood music that was produced in his name. Gleason himself played no instruments, nor composed nor arranged any music.) Hackett passed away in Chatham, Massachusetts, in 1976. He performs with trombonist, Vic Dickenson, on the tracks below for year 1970.

Bobby Hackett  1937

   Bei Mir Bist Du Schon

     With Vic Schoen and the Andrew Sisters

   I Want You For Christmas

     With Dick Robertson

Bobby Hackett  1940

   Body and Soul

Bobby Hackett  1951

   Struttin' with Some Barbeque


Bobby Hackett  1953

   Body and Soul

      Filmed live

   But Not For Me

      Filmed live

   Peg O' My Heart

      Filmed live

Bobby Hackett  1962

   Sentimental Blues

      Filmed live

   Swing That Music

      Filmed live

   When the Saints Go Marching In

      Filmed live

Bobby Hackett  1963


Bobby Hackett  1968

   Goodnight My Love

   My Funny Valentine

Bobby Hackett  1970

   Heebie Jeebies

      Filmed live at the Newport Jazz Festival


      Live at the Roosevelt Grill

   You're Gonna Hear From Me

      Live at the Roosevelt Grill


  Born in 1913 in Chicago, trumpeter, violinist and vocalist Ray Nance formed his own band at age 21 in 1932. In 1937 he began blowing trumpet with pianist, Earl Hines, in Chicago with whom he set his first tracks on August 10, such as 'Hines Rhythm' and 'Rhythm Rhapsody'. His first recorded vocal was with Hines on March 7, 1938: 'Tippin' at the Terrace'. Sessions with Hines ensued into 1938 (another in '44) before joining Horace Henderson in '39. His first session with Henderson on February 27, 1940, found him on violin for the first time per 'Kitty on Toast'. A session for Okeh followed in May before Nance signed on with whom would be his major vehicle for the next quarter century, that Duke Ellington with whose orchestra he first recorded a long string of titles on November 7, 1940, at the Crystal Ballroom in Fargo, North Dakota, such as 'The Mooche' and 'Ko-Ko'. Replacing Cootie Williams, constant touring and numberless sessions followed to as late as July 29, 1966, at the Antibes Jazz Festival in Juan-les-Pins, France, another long stream of titles including 'Take the 'A' Train and 'Soul Call'. Nance reunited with Ellington several months before the latter's death (May 24, 1974) in September of 1973, for what were Ellington's last studio tracks per the album, 'It Don't Mean a Thing If It Ain't Got That Swing'. Another huge figure in Nance's career was also saxophonist, Johnny Hodges, he present at Nance's first session with Ellington at the Crystal Ballroom as commented. Hodges stayed with Ellington into 1955, after which Nance began backing Hodges' orchestra on January 11, 1956, blowing trumpet on such as 'Hi' Ya' and 'Sinbor'. Hodges was another reason that Nance's sessions during his career exceeded a highly prolific 640 (five of those his own). One session wrought the next to as late January 9, 1967 for Hodges' 'Triple Play'. Nance had held his first of a handful of sessions as a leader with the Ellingtonians on July 1, 1948, in London, resulting in such as 'Moon Mist' and 'Sometimes I'm Happy' for Esquire. He later issued a couple albums: 'Body and Soul' in '69 and 'Huffin' 'n' Puffin'' in '71. Nance toured England and recorded with trombonist, Chris Barber, in Germany in 1974, before his his final titles at Carnegie Hall on November 8 with the New York Jazz Repertory Company, such as 'Funeral March', 'St. Louis Blues' and 'You've Been a Good Old Wagon'. Nance died on January 28, 1976. in New York City. Nigh all tracks below are with the Duke Ellington Orchestra. In the 1940 sample Nance shares trumpet with Cootie Williams. He plays violin on 'C Jam Blues', 'Take the 'A' Train' and 'Wild Child' below. Vocals by Nance will be found in Modern Jazz Song.

Ray Nance   1937

   Hines Rhythm

      With Earl Hines

   Rhythm Rhapsody

      With Earl Hines

Ray Nance   1940

   Cotton Tail

      With Duke Ellington

   Kitty On Toast

      With Horace Henderson

      Violin: Ray Nance

   Shufflin' Joe

      With Horace Henderson

Ray Nance   1941

   Chocolate Shake

      Vocal: Ivy Anderson

   Take the 'A' Train

Ray Nance   1942


   C Jam Blues

      Filmed Live

Ray Nance   1947

   Don't Get Around Much Anymore

      Vocal: Al Hibbler

Ray Nance   1962


Ray Nance   1969

   Take The 'A' Train

      Piano: Roland Hanna

Ray Nance   1971

   Wild Child

      Piano: Roland Hanna

Ray Nance   1963

   The Blues Ain't

      Album: 'My People'

      With the Irving Bunton Singers


Birth of Modern Jazz: Ray Nance

Ray Nance

Source: Wikipedia



Born in 1920 in New York City, trumpeter Charlie Shavers was only 16 when he joined the John Kirby Sextet in 1936. He performed with Tiny Bradshaw and Lucky Millinder when he was a teenager, first recording with latter at age seventeen per the Mills Blue Rhythm Band in NYC on February 11, 1937: 'Blue Rhythm Fantasy', 'Prelude to a Stomp' etc.. Future sessions with the MBRB followed, also recording that year with Billy Kyle, Maxine Sullivan, Midge Williams and Jimmie Noone. With about 610 sessions, 35 his own, during his relatively brief career of only 25 years, Shavers' was a highly dedicated career which can't be plumbed to full depth here. Apt to mention is bassist, John Kirby, with whom he first recorded on January 21, 1938, they members of Johnny Dodds' Chicago Boys for 'Wild Man Blues', 'Melancholy', etc.. Kirby and Shavers traveled nigh left and right foot from one session to the next for nearly another seven years, they backing other bands when Shavers wasn't supporting Kirby. Their last recordings together were radio transcriptions for Associated on August 18, 1944, for titles like 'Desert Night' and 'B Flat Special'. Five years after Kirby's death ('52) in 1957 Shavers would lead the Original John Kirby Orchestra for 'Flow Gently, Sweet Rhythm'. Another frequent compatriot was veteran clarinetist, Buster Bailey, first recording together on February 18, 1938, for 'Planter's Punch' and 'Sloe Jam Fizz'. Like Kirby, Bailey and Shavers used much the same map for more than six years, also last recording together in 1944 per the August Associated transcriptions mentioned above. Not a few of Shavers' heavy number of sessions were with Billie Holiday, their first with her orchestra on May 11, 1938, for double takes of 'You Go to My Head', 'If I Were You', et al. Shavers continued with Holiday into '39, later sessions following in '44, again numerously in the fifties between '52 and '58, their last on July 17, 1958 for a WNTA television broadcast of 'Art Ford's Jazz Party', performing such as 'Basin Street Blues' and 'C Jam Blues'. Another vocalist whom Shavers supported numerously was Mildred Bailey whom he first backed for Red Norvo on September 29, 1938, on 'St. Louis Blues' and 'Have You Forgotten So Soon?". He saw more of Bailey with her orchestra in '39, later to join her in 1944-45 for not a few sessions. Among others with whom Shavers held sessions in '38 were Trixie Smith, Leola B Wilson, Tina Mayberry, Jack Sneed, Bea Foote and Lionel Hampton. Shavers began 1939 with the Artie Shaw Orchestra on the 23rd, arranging 'Carioca'. Shavers arranged and played clarinet for Shaw on numerous occasions into June, they to reunite on January 25, 1951, for titles like 'Beautiful Madness' and 'Chapel of the Roses' with Sy Oliver arranging and vocalist, Don Cherry (not to be confused with Don Cherry). Another swing band with which Shavers recorded was Benny Goodman's, that initial occasion on June 12, 1944, per 'All the Cats Join In'. On July 31 he was a member of Goodman's V-Disc All-Star Band for an NBC radio broadcast of such as 'Let's Dance and 'After You've Gone'. He would join Goodman again in July, 1954, for titles at Basin Street East in NYC like 'Avalon' and 'Don't Be That Way'. The orchestra, however, which would be Shavers' main vehicle for more than a decade was Tommy Dorsey's. Shavers' first recorded with Dorsey when the latter was a guest performer for Mildred Bailey during a CBS broadcast of 'Music 'Til Midnight' on January 5, 1945. The next month he was in Dorsey's orchestra on the 23rd for Victor to record 'After Hour Stuff' and 'That's It'. Seasoning Dorsey's operation for more than ten years, Shavers was present in March of '45 for recordings by Jimmy and Tommy's combined orchestras, the first for an AFRS radio broadcast at La Guardia Air Field in New York on the 12th yielding 'Saturday Night', the second on the same date at Liederkrantz Hall in NYC for V-Disc, bearing 'Brotherly Love' and 'More Than You Know'. Shavers last sat in Dorsey's orchestra on November 25, 1956, for a CBS radio broadcast from the Cafe Rouge, Hotel Statler, in NYC for 'Harlem Express', 'Don't Worry 'Bout Me', etc.. By that time Shavers was familiar spice in the jazz realm while yet in the prime of his career. He had lead his first session on April 22, 1944, for Keynote, recording 'Mountain Air', 'Curry in a Hurry', 'Star Dust' and 'Rosetta'. Among signs of arrival to elite status among his peers were several sessions with Norman Granz' Jazz at the Philharmonic in the early fifties. He first recorded with JATP at Carnegie Hall on September 13, 1952, such as 'Jam Session Blues' and 'The Trumpet Battle' (Roy Eldridge also on trumpet). He would follow JATP to Europe to record in Lausanne, Switzerland, in '53, later that year in Tokyo. Shavers released his first LP, 'Horn O Plenty' the next year. Among other highlights of his career at his prime was vocalist, Carmen McRae, he first supporting her on June 18, 1957, for her album, 'Mad About the Man'. Further sessions followed that year, he last backing her on March 5 of '58 with the Jack Pleis Orchestra for such as 'Invitation' and 'Free and Easy'. Shavers' final recordings were made on February 28, 1971, in Lyngby, Denmark, with trumpeter, Arnvid Meyer: 'Hi Ya' and 'Stardust'. He died later that year on July 8 in New York City of throat cancer, only fifty years old. The tracks below for 1955 are from his second album, 'The Most Intimate'.

Charlie Shavers  1938

   Prelude to a Stomp

      With the Mills Blue Rhythm Band

Charlie Shavers  1938

   Try and Get It

      With Bea Foote

   In Any Language

      With Midge Williams

   Love is Like Whiskey

      With Midge Williams

Charlie Shavers  1939

   Royal Garden Blues

      With the John Kirby Sextet

Charlie Shavers  1944


Charlie Shavers  1945

   Runnin' Wild

      Piano: Teddy Wilson   Vibes: Red Norvo

Charlie Shavers  1946

   At the Fat Man's

      With Tommy Dorsey

Charlie Shavers  1947

   Dizzy's Dilemma

      Charlie Shavers Quintet

   I Got Rhythm

      Composition: George Gershwin   Vibes: Red Norvo

   She's Funny That Way

      Charlie Shavers Quintet


      Film   John Kirby Sextet

Charlie Shavers  1952

   The Trumpet Battle

      With Roy Eldridge

Charlie Shavers  1955

   Ill Wind/Stormy Weather/Let's Fall In Love

      Album: 'The Most Intimate'

Charlie Shavers  1956

   The Man I Love

Charlie Shavers   1958

   Jumpin' with Symphony Sid

      Live   Tenor Sax: Coleman Hawkins & Lester Young

      Clarinet: Pee Wee Russell

      Trombone: JC Higginbotham

      Guitar: Dickie Thompson   Drums: Sonny Greer

       Piano: Willie Smith   Bass: Vinnie Burke

       Vibes: Harry Sheppard

Charlie Shavers  1960

   Alexanders Ragtime Band

Charlie Shavers  1961

   Out Of Nowhere

Charlie Shavers  1970

   In Mellowtone

   Sweet Georgia Brown


Birth of Modern Jazz: Charlie Shavers

Charlie Shavers

Source: Last FM


Birth of Modern Jazz: Gerald Wilson

Gerald Wilson

Source: Afro Centric News


Born in 1918 in Shelby, Mississippi, Gerald Wilson began his career as an arranger, composer and bandleader playing trumpet at the Plantation Club in Detroit in 1936. He toured with Chick Carter until joining Jimmie Lunceford's orchestra in 1939, replacing Sy Oliver. Wilson's first recordings were with Lunceford on August 2 that year for 'Who Did You Meet Last Night?', 'You Let Me Down', 'Sassin' the Boss' and 'I Want the Waiter (With the Water)'. The first compositions by Wilson that saw recording were with Lunceford: 'Hi Spook' and 'Yard Dog Mazurka' on August 26, 1941. Wilson would serve as first trumpeter and arranger for Lunceford to July 12, 1943, in Hollywood for an AFRS 'Jubilee' (#33) broadcast of such as 'Hallelujah' and 'Yesterdays'. Vocalist, Ada Brown, joined on 'Hip Hip Hooray'. Wilson would spend '43 and '44 in the military, playing in a U.S. Navy band while stationed at the Great Lakes Naval Training Center just north of Chicago. If not while yet in the Service, then upon release, Wilson held several sessions with Cab Calloway in NYC in August and September of '44, then headed for Los Angeles to form his own orchestra which first session was held May 6, 1945: 'Moonrise', 'Too of the Hill', 'Synthetic Joe' and 'Puerto Rican Breakdown'. Wilson held a healthy 222 sessions during his career, above fifty of those his own. So we'll not venture a history here and but highlight a few big names. That would make it requisite to announce Dizzy Gillespie's arrival on December 29, 1948, for a Victor session for which Wilson arranged 'Guarachi Guaro'. Wilson arranged 'Tally Ho' for another Gillespie session on November 21, 1949. His first of four sessions in '49 with Count Basie had been on April 11, bearing double takes of 'Brand New Doll', 'Cheek to Cheek', 'Just an Old Manuscript' and 'Katy'. Wilson added Duke Ellington to his resume on April 26, 1954, in San Francisco, recording such as 'All Day Long' and 'Bunny Hop Mambo'. Wilson kept with Ellington into 1955, his last session in that orchestra on June 11 in Portland at the Jantzen Beach Ballroom for 'Discontented Blues', 'Once In a Blue Mood', et al. He would reunite with Ellington briefly in 1959. Wilson had by that time supported Jimmy Witherspoon on May 8, 1958, toward the LP, 'Singin' the Blues'. Multiple sessions occurred until their last four years later on May 23, 1962, for Witherspoon's 'Roots'. Wilson had first recorded with Ray Charles that year, Charles joining Wilson's orchestra to support vocalist, Little Jimmy Scott, on such as 'They Say It's Wonderful' and 'Why Try to Change Me Now?'. Wilson would arrange a few titles on occasion for Charles to 1964. They last recorded together in 1965 to support Percy Mayfield on 'The Hunt Is On' and 'Life Is Suicide'. In 1963 Wilson contributed arrangements to Bobby Darin's 'You're The Reason I'm Living'. Ditto Nancy Wilson, the first such occasion 'Yesterday's Love Songs . . . Today's Blues' recorded in October of 1963. On March 30, 1964, he directed Wilson's 'How Glad Am I'. During the seventies Wilson hosted his own radio show for KBCA in Los Angeles. He taught on the faculties of California State University, the University of California and Cal Arts. Among Wilson's more well-regarded compositions was 'Theme From Monterey' (1998). Lord's disco has Wilson's last recordings in 2011 in NYC for 'Legacy'. Wilson died in Los Angeles in September of 2014, finally stricken with pneumonia at age 96. His son, Anthony, has played guitar with pianist and vocalist, Diane Krall, since 2001.

Gerald Wilson   1939

   Who Did You Meet Last Night?

   Sassin' the Boss

   Lunceford Special

Gerald Wilson   1941

   Hi Spook

   Yard Dog Mazurka

Gerald Wilson   1950

   Nice Work If You Can Get It

Gerald Wilson   1962


      Album: 'Moment of Truth'

   Nancy Jo

      Album: 'Moment of Truth'

Gerald Wilson   1965


      Filmed live

Gerald Wilson   1967

   Viva Tirado

Gerald Wilson   1968

   Down Here On the Ground

Gerald Wilson   1969

   Equinox/Pisces/You, Me and Now

Gerald Wilson   2011

   Variation On Claire de Lune

      CD: Legacy


Birth of Modern Jazz: Pete Candoli

Pete Candoli

Source: Peoples

Born in 1923, trumpeter Pete Candoli was elder brother to trumpeter, Conte Candoli by four years. At age 13 he joined the American Federation of Musicians. He was hired by the Sunny Dunham band in 1940 with which he made his first recordings on July 23, 1941, such as 'The Nickel Serenade' and 'Memories of You'. Per YouTube titles below it would appear Candoli also appeared in a film as early as 1941: 'Las Vegas Nights'. Pete was slightly less prolific than his brother, but with at least 560 sessions to his name, only some 12 of those his own, he, like his brother, was a regular sea of jazz history. So grab a bucket and start bailing 'cause now we're sinking: After a couple sessions each with Ray McKinley and Will Bradley in '42 Candoli signed on with Tommy Dorsey Raleigh-Kool radio broadcast in Hollywood on February 10, 1943. In 1944 he joined the Teddy Powell band but doesn't seem to have recorded with him. More significantly, he hooked up with Woody Herman in time to record an 'Old Gold Show' rehearsal in NYC on August 2, 1944, titles like 'Flyin' Home' and 'It Must Be Jelly'. Sessions with Herman were numerous into '46. They would reunite in '51, '55, '57, '76 and '81. In '96 Candoli performed in the Woody Herman ghost orchestra, recording 'A Tribute to the Legacy of Woody Herman'. Candoli recorded 'Look Out' with the Metronome All-Star Band in January 1946, sharing trumpet with several others. Another important name came along on November 16, 1945, Shorty Rogers first recording with Herman's band on that date, four takes of 'Wild Root'. Rogers and Candoli would record countless titles together, much in association with Conte, to as late as February 10, 1959. They would reunite again in 1991 per 'Stan Kenton ‎– 50th Anniversary Celebration - Back to Balboa'. Tex Beneke came along from '47 to '49, though of considerably greater influence to Candoli's career was Henry Mancini, one of Beneke's arrangers with whom he first worked in '47. Candoli found himself recording with Mancini on numerous occasions to as late as February 1966 for Mancini's LP, 'Mancini '67'. Gold walked into his life per Ella Fitzgerald in Los Angeles on November 26, 1951, to record such as 'Baby Doll' and 'What Does It Take?'. Nine dates later a Verve session was held with Fitzgerald on August 28, 1956, yielding such as 'Ten Cents a Dance' and 'I Wish I Were In Love Again'. Another important associate, particularly in association with Conte, was Stan Kenton. Conte attended Pete's first session with Kenton in Hollywood on January 21, 1952: 'Soliloquy', 'Lazy Daisy' and 'Tenderly'. Pete sat in Kenton's band for numerous sessions to as late as 1964. Also of major importance was arranger/director, Billy May, first sitting in May's orchestra on May 26, 1954, for such as 'Hernando's Hideaway' and 'Anything Can Happen'. Candoli backed May's projects numerously to as late as 1967 with May arranging and conducting for Nancy Wilson's 'Just For Now'. From '69 to '70 he contributed to May's huge project, 'The Swing Era 1930-1936'. They would reunite per 1990 upon May arranging Frank Stallone's 'Close Your Eyes'. From '57 to '59 Candoli worked with the orchestra of trumpeter, Ray Anthony. Other highlights during the fifties had been the Nelson Riddle Orchestra in '52 for Capitol (sharing trumpet with Vito Mangano below) and Peggy Lee's 'Black Coffee' in '53 on which Candoli appeared as Cootie Chesterfield ('Black Coffee'). Briefly afterward that year Candoli held his first session as a leader, bearing 'Hey Bellboy', 'Anybody Hurt?' and 'By the Waters of the Minnetonka'. Come Bing Crosby in '56, his first session with both Gus Bivona and Skip Martin on March 18, 1957, for the former's 'Music For Swingers', and 'More Peter Gunn' with the Soundstage All Stars in 1959. The next year Candoli held sessions with Nat King Cole, Dean Martin and Nancy Wilson, working with the last later in the sixties as well. We give this abbreviated account of recordings final punctuation per Johnny Williams from '59 to '61. Among curiosities was Candoli's 1957 appearance on 'The Adventures of Ozzie and Harriet' television show as the character, Tommy Jackson, that segment titled, 'Ricky, the Drummer'. Candoli was inducted into The International Jazz Hall of Fame in 1997 and the Big Band Hall of Fame in 2003. He died January 2008. His final recordings are thought to have been in 2002 for Keely Smith's 'Keely Swings Basie-Style ... With Strings'. Candoli played often with his brother, Conte, during his career. The two are paired on the bottom two tracks below.

Pete Candoli   1941

 As We Walk Into the Sunset

      With Sonny Dunham

 Memories of You

      With Sonny Dunham

 Song of India

      Film: 'Las Vegas Nights'

     With Tommy Dorsey

Pete Candoli   1943

 Fascinating Rhythm

      Film: 'Girl Crazy'

     With Tommy Dorsey

Pete Candoli   1946

 Look Out

      Metronome All Star Band

Pete Candoli   1952

 Faith Can Move Mountains

      With Nat King Cole

Pete Candoli   1953

 Anybody Hurt?

      Vocal: Gloria Wood

 Black Coffee

      As Cootie Chesterfield

     Vocal: Peggy Lee

 Hey, Bellboy!

      Vocal: Gloria Wood

Pete Candoli   1954

 Everybody Needs a Sweetheart

      Vocal: Marilyn Maxwell

Pete Candoli   1958

 77 Sunset Strip Cha Cha

Pete Candoli   1959


      Vocal: Gloria Wood

Pete Candoli   1961

 Willow Weep for Me

Pete Candoli   1983

 Peter Gunn Theme

      Television performance with Conte Candoli

Pete Candoli   1990

 Tribute Dinner 1990

      Filmed live with Conte Candoli


  Albeit clarinetist George Lewis didn't pursue progressive jazz, he did keep the earlier New Orleans sound alive during the modern era until his death in 1968. Born in 1900 in New Orleans, like Bunk Johnson, Lewis played professionally in New Orleans for a couple decades before first recording in 1942, with Bunk Johnson (also Johnson's first recordings). He had actually earlier recorded per 'Climax Rag' on September 23, 1925, with the Imperial Serenaders but that went unissued. Lewis had begun playing clarinet professionally at age seventeen. When the Great Depression arrived he had to take a job as a stevedore. He conducted his initial session as a leader at the home of Edgar Mosley in New Orleans on May 15, 1943, such as 'Just a Closer Walk with Thee' and 'Don't Go 'Way Nobody'. Being nearly crushed by a heavy container while working the docks in 1944 was in a manner propitious, enabling him by twists and turns to give his full attention to music. Lewis was vested with leadership of Bunk Johnson's band upon Johnson's retirement in 1946. He began touring nationally in 1950. During the sixties he played at the grand opening of New Orleans' Preservation Hall (built to promote New Orleans jazz culture) and regularly thereafter until his death. Lewis also took his band on international tours of Europe and Japan in the sixties.

George Lewis   1942

   High Society

      Trumpet: Bunk Johnson


      Trumpet: Bunk Johnson

George Lewis   1944

   Baby Won't You Please Come Home

   Burgundy Street Blues

   When You And I Were Young Maggie

George Lewis   1955

   Bucket's Got a Hole In It

George Lewis   1959

   Running Wild

      Filmed live

George Lewis   1962

   Old Rugged Cross

      Television performance

   Over the Waves

      Television performance


Birth of Modern Jazz: George Lewis

George Lewis

Source: Discogs



Born in 1918 in Tulsa, Oklahoma, Howard McGhee, trumpet player, first recorded with Andy Kirk & His Twelve Clouds of Joy on July 14, 1942: 'Hey Lawdy Mama', 'Boogie Woogie Cocktail, 'Ride On, Ride' and 'McGhee Special'. Vocals on 'Mama' and 'Ride' were by June Richmond. McGhee would last record with Kirk at the Apollo in NYC on June 7, 1944, for 'Paradise Alley'. In the meantime McGhee had also worked as an arranger for the orchestra of Charlie Barnet, the latter recording 'Strollin' on October 21, 1943. McGhee continued arranging on occasion for Barnet into 1946. With a full career of about 180 sessions, 44 of those his own, this small space will little trace his full path. McGhee first recorded with both tenor saxophonist, Teddy Edwards, and double bassist, Charles Mingus, in 1945, supporting Pearl Traylor on 'Lonesome Gal. He next fell in with Mingus per Billie Holiday for a Jazz at the Philharmonic (JATP) performance at Philharmonic Auditorium in Los Angeles on February 12, 1945: 'Body and Soul' and 'Strange Fruit'. In September of '45 Edwards and Mingus contributed to McGhee's first session as a leader in Hollywood, yielding 'Deep Meditation'. Also that ensemble were Vernon Biddle (piano), Stanley Morgan (guitar) and Monk McFay (drums). Edwards would back McGhee into '47 ('California Boppin''), later co-leading 'Together Again!' in '61. They would reunite in 1979 in Venice, CA, for 'Wise In Time'. McGhee and Mingus found themselves backing Wilbert Baranco a couple of times in '46, then drifted apart until July 7, 1974, at Radio City Music Hall in NYC, McGhee backing Mingus on such as 'All the Things You Are'. Another JATP concert in Los Angeles on January 28, 1946, saw McGhee first recording with bop saxophonist, Charlie Parker, such as 'Blues for Norman' and 'I Can't Get Started'. The next day Parker backed McGhee on 'Be-Bop', 'Trumpet at Tempo' and 'Thermo-Dynamics' in Hollywood. McGhee hung with Parker into 1947, siding numerous sessions before they drifted apart, reuniting on May 19, 1950, at the Renaissance Ballroom in NYC with Machito: 'Mambo', 'Lament for the Congo' and 'Reminiscing at Twilight'. Their last session together was April 12, 1951, at Christy's in Boston, McGhee supporting Parker on 'Scrapple From the Apple', 'Lullaby in Rhythm' and 'Happy Bird Blues'. McGhee had first joined Machito per 'Cubop City' in November of '48, attending several sessions into 1950. He commenced the sixties in January of 1960 backing vocalist, Sascha Burland, followed that with tracks for Eddie Jefferson in March, then issued two albums that year: 'Dusty Blue' and 'The Connection'. He was back with Jefferson again in January of '61. McGhee began teaching music in the seventies in Manhattan. He died on July 17, 1987, in New York City.

Howard McGhee   1942

   McGhee Special

      With Andy Kirk

Howard McGhee   1945

   Bean Stalking

      Saxophone: Coleman Hawkins

   Cryin' Sands

   Night Ramble

      Saxophone: Coleman Hawkins

   Someone To Watch Over Me

      Saxophone: Coleman Hawkins


      Saxophone: Coleman Hawkins

Howard McGhee   1946


      Saxophone: Charlie Parker

Howard McGhee   1947


      Album with Charlie Parker


      Sax: Wardell Gray

   Bebop Romp

   Groovin' High

      Live performance


Howard McGhee   1948

   Flip Lip

Howard McGhee   1960

   Dusty Blue

      Album: 'Dusty Blue'


   The Sound of Music

      Album: 'Dusty Blue'

Howard McGhee   1961

   Demon Chase


      Sax: Teddy Edwards   Bass: Ray Brown

   My Delight

      Piano: Junior Mance

   You Stepped Out Of A Dream

      Sax: Teddy Edwards   Bass: Ray Brown

Howard McGhee   1962

   House Warmin'

      With the Blazers

Howard McGhee   1973

   Lover Man

      Filmed live


Birth of Modern Jazz: Howard McGhee

Howard McGhee

Photo: William P. Gottlieb

Source: Jazz Wax



Born in 1922 in New Orleans, trumpeter Joe Newman began his professional career in 1941 with vibraphonist Lionel Hampton, then Count Basie. Lord's discography finds Newman's first recording with Hampton on September 24, 1941, at the Hotel Sherman in Chicago: 'Train Time'. Newman remained with Hampton only a couple more sessions into early '42 before signing up with Count Basie. While with Hampton, however, Newman first laid tracks in NYC with Illinois Jacquet on December 24, 1941: 'Just For You', 'Southern Echoes', etc.. Newman and Jacquet ran much the same rail through Hampton and Basie, Newman also backing Jacquet, until July 7, 1957, at the Newport Jazz Festival in Rhode Island, they supporting Basie on such as 'Polka Dots and Moonbeams' and Lester Leaps In'. Newman and Jacquet would reunite in the sixties and seventies. Newman's first recordings with the Count Basie Orchestra were per a V-Disc session on November 23, 1943, in NYC yielding 'Yeah Man', 'Rhythm Man', 'Queen Mary III' and 'Let's Make Hay'. Basie was Newman's major choo choo for another twenty years, Newman contributing to countless Basie recordings until September of '64, backing Sammy Davis Jr. on 'Our Shining Hour'. Another important figure was organist, Jimmy Smith, whom Newman first supported as a member of the Oliver Nelson Orchestra on March 26, 1962: 'In a Mellow Tone' and 'Step Right Up'. Several sessions resulting in several Smith albums preceded 'The Dynamic Duo' by Smith and Wes Montgomery on September 21. 1966, after which numerous sessions in various capacities followed to their last in October of '73, supporting Illinois Jacquet on 'Birthday Party Vol. 2'. Highlighting Newman's career in the forties was a session with Benny Carterr on January 7, 1946, resulting in two takes of 'Diga Diga Doo', 'Who's Sorry Now?' and 'Some of These Days'. Drummer, JC Heard, was in on that, with whom he would soon perform titles with both Timmie Rogers and Etta Jones before Newman backed Heard in May of '48 on such as 'Ollopa' and 'This Is It'. The two would reunite in Chicago on March 6, 1958 to record Heard's 'This Is Me'. Highlighting the fifties was the issue of Newman's first album, 'Joe Newman and His Band' in 1954, others to follow in rapid succession. In 1961 Newman became a founder of Jazz Interactions, formed to promote jazz in New York City and schools in the metro area. He backed Bob Brookmeyer on November 6, 1961, for 'Gloomy Sunday and Other Bright Moments'. Among arrangers on that project was Gary McFarland with whom he would work again, particularly as to 'Tijuana Jazz' on December 3, 1965, and 'Profiles' on February 6, 1966. Newman's was as busy a career thereafter as before, he finishing a highly prolific career of more than 660 sessions, 44 of them his own, until disabled by stroke in 1991. His last recorded performance is thought to have been in Tokyo at Kan-i Hoken Hall on November 11, 1990, for Frank Wess' 'Entre Nous'. Newman passed away on Independence Day, 1992.

Joe Newman   1942

   In the Bag

      With Lionel Hampton

Joe Newman   1954

   Peter Pan

   These Foolish Things

Joe Newman   1955

   Exactly Like You

Joe Newman   1956


Joe Newman   1957

   Oh Shay

      Saxophone: Zoot Sims

Joe Newman   1960

   Blues In Frankie's Flat

      With Count Basie

   Wednesday's Blues

Joe Newman   1961

   A.M. Romp



Birth of Modern Jazz: Joe Newman

Joe Newman

Photo: Terry Cryer

Source: Keep Swinging


Birth of Modern Jazz: Kai Winding

Kai Winding

Source: Media Club



Born in 1922 in New York City, trombonist, Kai Winding, made his first recordings on March 10, 1942, in NYC with the Sonny Dunham Orchestra: ''Sweet Talk', 'Heavenly Hideaway', ''You're Blase' and 'Deliver Me to Tennessee'. He next recorded with the Curtis Bay Coast Guard Training Station Dance Band in NYC in March of '44: 'My Heart Isn't In It', 'Annie Laurie', etc.. A year passed before his next vinyl with the Manor All Stars in May of '45: 'Mervil Falls In', 'Never Go There', et al. Winding's was a flush career at more than 360 sessions, 90 of those his own, so we'll limit this account to a few of the high cards he played during his earlier career. The first was Benny Goodman, whose orchestra Winding joined in time for a session on November 20 of '45 yielding a couple takes each of 'Give Me the Simple Life', 'Fascinating Rhythm' and 'I Wish I Could Tell You'. Winding didn't stick with Goodman long, leaving in early '46, but that served as a thoroughly wet baptism into the jazz industry as Winding followed Goodman to the West Coast, last to sit in Goodman's band for an AFRS radio broadcast of 'One Night Stand' (#856) from Culver City (Los Angeles), CA, on January 27, 1946: 'Let's Dance', 'Moonlight on the Ganges', etc.. There would be a reunion years later at the Schaeffer Music Festival in Central Park, NYC, on June 26, 1969, for 'St. Louis Blues'. About a month after Winding's initial session with Goodman arrived his first as a leader on December 14, 1945, that with his Cats while yet in NYC for 'Sweet Miss', 'Loaded', 'Grab Your Axe, Max' and 'Always'. Half a year later Stan Kenton took him on in Hollywood in time for the June 4, 1946, recording of 'Rika Jika Jack' and 'Artistry in Boogie', etc.. Winding kept with Kenton nigh a year, last recording with his orchestra on April 1, 1947, in Hollywood for Capitol transcriptions of such as 'Artistry in Harlem Swing' and 'Please Be Kind'. With Kenton his meal ticket for a brief but busy time, Winding began to notably bloom as a musician about that period. In June of '47 in NYC he was one of tenor saxophonist, Coleman Hawkins', All Stars to record 'Bean-a-re-bop', 'Isn't It Romantic?', 'The Way You Look Tonight' and 'Phantomesque'. Hawkinsn's other All Stars were Miles Davis (trumpet), Howard Johnson (alto sax), Hank Jones (piano), Curly Russell (bass) and Max Roach (drums). Winding and Davis would cross paths on multiple occasions in '49 and '51, including twice with the Metronome All Stars and Davis' 'Birth of the Cool' on January 21, 1949. More significant to Winding's career, however, was trombonist, JJ Johnson, appearing with Winding on his first of four sessions with the Metronome All Stars including Davis, Dizzy Gillespie and Fats Navarro on trumpet. That session on January 3, 1949, yielded 'Overtime' and Victory Ball'. Gillespie would join Winding on his second occasion with the Metronome All Stars on January 10, 1950, for 'Double Date' and 'No Figs'. As for Johnson, he and Winding would spend the next twenty years weaving much the same chord, backing other operations, each other, and performing trombone duets into 1969. Examples of their work include their album, 'Jay and Kai', issued in 1957. In February of 1968 they recorded Winding's 'Israel'. Johnson's 'Betwixt and Between' went down in October and November. Johnson and Winding would reunite in September of '82 at the Aurex Jazz Festival in Japan. Joining them on such as 'The Snapper', 'I Want a Little Girl' and 'Listen to the Dawn' were Clark Terry (trumpet), Dexter Gordon (tenor sax), Tommy Flanagan (piano), Kenny Burrell (guitar), Richard Davis (bass) and Roy Haynes (drums). Highlights in the fifties included another major band per Quincy Jones, first recording with Jones' outfit to back King Pleasure on December 7, 1954, per such as 'Don't Get Scared' and 'I'm Gone'. Winding would join visit Jones' operation on multiple occasions, including a couple sessions with Dinah Washington in '61, to as late as June of '69 for Jones' 'Walking in Space'. Vocalists highlighting the fifties included Chris Connor ('53, '55) and Sarah Vaughan ('55, '64, '67). Highlighting the sixties was Winding's issue in 1964 of something of an unusual album, 'Modern Country', with folk-pop vocalists, the Anita Kerr Singers. He was also musical director for the Playboy Club in New York City in the sixties. Highlighting the seventies was a tour to Europe in latter '71 with Dizzy Gillespie (trumpet), Sonny Stitt (alto sax), Thelonious Monk (piano), Al McKibbon (bass) and Art Blakey (drums), resulting in 'The Giants of Jazz' issued in '72. Winding recorded more titles with Gillespie in '72 with Billy Eckstine, then at the Newport Jazz Festival. He and Gillespie would tour Europe again in '78. Lord's discography lists Winding's last recordings in Rotterdam, Netherlands, in 1986, contributing 'I Thought About You' and 'Robbins' Nest' to 'Mat Mathews and Friends'. Winding died on March 6 of 1983 of a brain tumor in New York City.

Kai Winding   1942

   Heavenly Hideaway

      With Sonny Dunham (trumpet)

      Vocal: Ray Kellogg

Kai Winding   1945

   Grab Your Axe, Max

      Recorded December 1945

      Bass: Robert Shevak   Drums: Shelly Manne

      Piano: Shorty Allen

      Tenor sax: Stan Getz Trumpet: Shorty Rogers

   Rattle and Roll

      With Benny Goodman

Kai Winding   1954

   Blues For Trombones

      Album: 'Jay and Kai'   With JJ Johnson


      Album: 'Jay and Kai'   With JJ Johnson

Kai Winding   1962

   Baby Elephant Walk

      Original composition: Henry Mancini

Kai Winding   1963

   Comin' Home Baby

      Album: 'Soul Surfin''   Guitar: Kenny Burrell


      Album: 'Soul Surfin''   Guitar: Kenny Burrell

   The Ice Cream Man


      From the film 'Mondo Cane'


      Album: 'Soul Surfin''   Guitar: Kenny Burrell

   Time Is On My Side

Kai Winding   1971

   Lover Man

      Live performance

Kai Winding   1982

   It's Alright With Me

      Filmed live at the Newport Jazz Festival

      Duet with JJ Johnson



Birth of Modern Jazz: Buddy DeFranco

Buddy DeFranco

Source: Jazz Wax


Born Boniface Ferdinand Leonard DeFranco in Camden, New Jersey, in 1923, Buddy DeFranco, a largely swing and bebop clarinetist, first recorded with Charlie Barnet on October 21, 1943, resulting in such as 'Strollin'' and 'The Moose' for Decca. Another session with Barnet was held in February of '44 before DeFranco signed on with Tommy Dorsey until 1948. He is featured on 'Opus One' below. De Franco recorded 'Mr. Clarinet' in '53 for release '57. His first session as a leader had been April 23, 1949, bearing such as 'A Bird In Igor's Yard' and 'This Time the Dream's On Me'. Having begun begun playing clarinet for Benny Goodman in 1941, in 1957 he recorded the album, 'Plays Benny Goodman'. With above 240 sessions to his name DeFranco was too prolific to represent more than a caricature here. While DeFranco was with Dorsey per above he recorded his first title with the Metronome All-Stars (per 'Metronome' magazine) January 15, 1946: 'Look Out'. His last of several sessions with that revolving outfit, several with Dizzy Gillespie, was on January 10, 1950, with Gillespie, bearing 'Double Date' and 'No Figs'. It was with the Metronome All-Stars that Dizzy Gillespie first bopped into a studio with DeFranco, per December 21, 1947 to record a couple takes of 'Leap Here'. They would find themselves in multiple sessions together, including Gillespie's band, to as late as February 10, 1955, in Berlin per Norman Granz' Jazz at the Philharmonic (JAPT), yielding such as 'Mop Mop' and 'Billie's Bounce'. It was also with the Metronome All-Stars that that DeFranco first recorded with Charlie Parker, the latter one of the crew on February 3, 1949, for takes of 'Overtime' and 'Victory Ball'. DeFranco would record one other title, 'Ornithology', with Parker on March 25, 1952. Another of the big name presented itself via Count Basie in 1950, DeFranco hiring on in time to knock out such as 'Neal's Deal' and 'Bluebeard Blues' on May 16 with Basie's octet. DeFranco hammered with Basie through that year, then again in 1953 per JAPT in Hollywood for such as 'Apple Jam' and 'Lady Be Good'. Come direction of the Glenn Miller ghost band from 1966 to 1974. His first tracks running that operation, the New Glenn Miller Orchestra, are thought to have been on April 9 of '66 in NYC: 'A Taste of Honey', 'What now My Love', etc.. Last titles per Lord's discography were live on April 18, 1970, at Royal Festival Hall in London: 'Magic Moments' and 'String of Pearls', among others. Since that time a host of top players passed through DeFranco's ensembles. He is thought to have last recorded in 2006 per 'Charlie Cat 2' issued the next year. De Franco died December 24, 2014.

Buddy DeFranco   1943


      With Charlie Barnet

Buddy DeFranco   1944

   Opus One

      Tommy Dorsey Orchestra

Buddy DeFranco   1950

   Bud's Invention

      From the album 'Mr. Clarinet'   Recorded 1949

Buddy DeFranco   1953

   When Your Lover Has Gone

      From the album 'Sweet and Lovely'   Piano: Kenny Drew

Buddy DeFranco   1954

   A Foggy Day

     Piano: Sonny Clark

Buddy DeFranco   1983


      Live Performance

Buddy DeFranco   1991

   After You've Gone

      Vibraphone: Terry Gibbs

      Live Performance   Guitar: Herb Ellis

   Air Mail Special

      Vibraphone: Terry Gibbs

      Live Performance   Piano: Larry Novak


      Vibraphone: Terry Gibbs

     Live Performance   Guitar: Herb Ellis

   Body and Soul

      Vibraphone: Terry Gibbs

      Live Performance   Guitar: Herb Ellis

   Don't Be That Way

      Vibraphone: Terry Gibbs

      Live Performance   Guitar: Herb Ellis

   Memories Of You

      Vibraphone: Terry Gibbs

      Live Performance   Guitar: Herb Ellis

   Seven Come Eleven

      Vibraphone: Terry Gibbs

      Live Performance   Guitar: Herb Ellis

Buddy DeFranco   2007

   Charlie Cat 2

      Album: 'Charlie Cat 2'



Birth of Modern Jazz: Jay Jay Johnson

Jay Jay Johnson

Source: Jazz Wax


Born in 1924 in Indianapolis, trombonist JJ Johnson began his professional career in 1941 with Clarence Love. In 1942 he moved on to the band of pianist, Snookum Russell, then Benny Carter, the latter with whom he made his first recordings on December 18, 1942, and AFRS 'Jubilee' (#4) radio broadcast from Los Angeles. Albeit AFRS broadcasts were usually transcribed (grooved for commercial use on what came to be called acetates), Lord's discography makes no mention of that. A number of future radio sessions were held with Carter until vinyl definitely happened for Capitol Records in San Francisco on October 25, 1943. Johnson recorded his first solo, 'Love For Sale', on that date with Carter's orchestra, albeit only twelve bars long. Johnson hung with Carter into '46. Examples of titles released in 1944 with Carter are 'I Can't Escape From You', 'I Can't Get Started' and 'I Surrender, Dear'. Carter and Johnson would reunite in 1960 for a Norman Granz' Jazz at the Philharmonic (JAPT) concert in Stockholm, Sweden. With sessions likely approaching 400, a quarter some of those his own, this small space doesn't promise a summary of Johnson's career, his one of the huge names in jazz. It is nevertheless well to mention his first session with the JAPT while he was with Carter, that at the Philharmonic Auditorium in Los Angeles on July 2, 1944, performing 'Lester Leaps In', 'Tea For Two', et al. Also in on that were Illinois Jacquet and Jack McVea on tenor sax, Nat King Cole (piano), Les Paul (guitar), Johnny Miller (bass) and Lee Young (drums). Jacquet and Johnson would see numerous sessions together to '47, again with Ella Fitzgerald in '57, and finally in July of '66 for ''What's New!!! Sonny Stitt Plays the Varitone'. It is requisite to mention Count Basie per Johnson's early career, with whom he first plunged on May 14, 1945, for a V-Disc session in NYC: 'High Tide', 'Sent For You Yesterday', etc.. Johnson took a rush tour into swing with Basie until July 31, 1946, for Columbia and CBS: 'Hob Nail Boogie', 'Mutton Leg', et al. Also requisite to mention due his stature is Dizzy Gillespie, his first tracks with the latter per a JAPT performance at Carnegie Hall on June 17, 1946. Johnson would have a few more occasions to record with Gillespie in the sixties, their last recordings some years later in August of 1980 in Rochester, NY, toward Gillespie's 'The Symphony Sessions'. Another name meet to mention for stature is Miles Davis, Johnson first recording with Davis per the Charlie Parker Sextet on December 17, 1947, putting down such as 'Drifting on a Reed' and 'Quasimodo'. Davis was one of Johnson's more important partners for several years to 1954, later in '56 and the early sixties. Another horn player important to Johnson's early career was alto saxophonist, Sonny Stitt. They first laid tracks together as members of Russell Jacquet's All Stars in Detroit in May of '48: 'Scamparoo', 'Suede Jacquet', etc.. Stitt and Johnson would find themselves sharing numerous sessions, both backing other ensembles and Johnson, to as late as October 24, 1957, at the Shrine Auditorium in Los Angeles to support Ella Fitzgerald on 'Stompin' at the Savoy' and 'Lady Be Good'. They would reunite in '64 and '66. Another important horn player was trombonist, Kai Winding. They first got mixed together with Gillespie and Davis per the Metronome Allstars for a Victor session on January 3, 1949: 'Overtime', 'Victory Ball', et al. Johnson and Winding were tight associates for a decade to come, collaborating with other ensembles, backing Johnson or as co-leaders. Their last session in NYC in 1960 was for Johnson with Bill Evans (piano), Tony Williams (bass) and Art Taylor (drums), recording such as 'Alone Together' and 'Just for a Thrill'. They would reunite a couple times in '64 with both Lalo Schifrin and Quincy Jones. Another name due for its stature is Stan Getz, Johnson first recording with Getz in the Miles Davis Sextet for the WNYC Jazz Festival broadcast in NYC on February 18, 1950, titles such as 'Conception' and 'Ray's Idea'. Getz and Johnson would find themselves working together numerously to 1960, including per JAPT. They would reunite in 1988 to lead a quintet at the Chicago Jazz Festival on August 31, recording such as 'Billie's Bounce' and 'Yesterdays'. Another significant figure was double bassist, Oscar Pettiford, with whom he first laid tracks as members of Budd Johnson's All Stars in NYC in September of 1951: 'Groovin' at the Birdland', 'It's the Talk of the Town', et al. Johnson and Pettiford nigh traveled the same rail, supporting other ensembles, until their last session together for Lee Konitz in Berlin on September 29, 1958. Among the highlights of Johnson's career was his first session as a leader on June 26, 1946, resulting in ''Mad Be Bop. Among the first four albums Johnson released in 1949 was 'J. J. Johnson with Sonny Stitt'. On January 17, 1952, he laid tracks in Guam with trumpeter, Howard McGhee's, Korean All Stars: 'How High the Moon', 'Body and Soul', etc.. That was per a tour of military camps in Korea and Japan during the Korean War. He and McGhee would join forces again in the mid sixties. In 1970 Johnson moved to California to compose for films and television. In 1994 he participated in 'Carnegie Hall Salutes the Jazz Masters' with the Carnegie Hall Jazz Band. He was voted into 'Down Beat' magazine's Jazz Hall of Fame in 1995. Johnson recorded and toured busily during his latter years, recording 'Heroes' in October 1996, about the time he began to experiment with composition via computer at his home. Lord's discography lists a final recording with pianist, Marian McPartland, 'The Christmas Song', in 1997. Later becoming ill, perhaps with prostate cancer, Johnson took his own life with a gun on February 4, 2001.

JJ Johnson   1943

   Love For Sale

      With Benny Carter

JJ Johnson   1944

   I Can't Get Started

      With Benny Carter

JJ Johnson   1946

   I Surrender, Dear

      With Benny Carter

JJ Johnson   1947

   Bongo Deep

      With Charlie Parker & Miles Davis

JJ Johnson   1949

   Afternoon In Paris

JJ Johnson   1950


      Saxophone: Stan Getz


      Trumpet: Miles Davis

   Embraceable You

      Trumpet: Miles Davis

JJ Johnson   1951


      Live at the Birdland with Miles Davis

JJ Johnson   1952


      Trumpet: Miles Davis


      Trumpet: Miles Davis

JJ Johnson   1953

   I Waited For You

      Trumpet: Miles Davis


      Trumpet: Miles Davis

   Tempus Fugit/ C.T.A./I Waited for You

      Trumpet: Miles Davis

JJ Johnson   1954

   Blue 'n' Boogie

      Trumpet: Miles Davis

   Blues for Trombones

      Duet with Kai Winding


      Duet with Kai Winding

JJ Johnson   1957

   It Never Entered My Mind

      Saxophone: Stan Getz

JJ Johnson   1958

   Tune Up

JJ Johnson   1959

   Almost Like Being In Love

JJ Johnson   1968


      Duet with Kai Winding

JJ Johnson   1982

   That's Alright With Me

      Television broadcast   Duet with Kai Winding

JJ Johnson   1993

   Blue Bossa

      Live performance

   It Never Entered My Mind

      Live performance

JJ Johnson   1995

   Night In Tunisia

      Duet with Kai Winding

JJ Johnson   2007

   In the Wee Small Hours of the Morning

      Posthumous release      Recorded 1957

      Duet with Kai Winding


  Born in Mishawaka, Indiana, in 1927 Conte Candoli was the younger brother of trumpeter, Pete Candoli, by four years. He is thought to have played with Woody Herman's First Herd in 1944 before graduating from high school, after which he joined the band the next year. Candoli first recorded with Herman on August 2, 1944, at an 'Old Gold Show' rehearsal in NYC. A couple of those tracks got issued by V-Disc: 'Flyin' Home' and 'It Must Be Jelly'. More 'Old Gold Show' rehearsals and radio broadcasts followed until a V-Disc session on September 10, 1944, at Liederkranz Hall, NYC, netted 'There Are No Wings On a Foxhole', 'Apple Honey' and 'Time Waits For No One'. Another session at the Liederkranz on August 22, 1945, bore V-Discs titles such as 'Ah, Your Father's Mustache' and 'Lover Man'. Candoli's last of numerous sessions with Herman was on September 22 for 'Gee It's Good to Hold You' and 'Your Father's Mustache'. Candoli would see Herman again in 1950, '59 and '76, the last per 'The 40Th Anniversary Carnegie Hall Concert'. With well above 600 sessions to his name and only some 23 of those his own, Candoli supported the quantum of jazz. His brother, Pete, was present during his first session with Herman and would be a constant companion throughout his career. Their last session together wouldn't arrive until 2001 for Keely Smith's 'Keely Sings Sinatra'. Other than his brother the most significant figure in Conte's career was Stan Kenton, with whose orchestra he first laid tracks per an AFRS (Armed Forces Radio Service) broadcast from Hollywood on June 12, 1948, such as 'Artistry Jumps' and 'Elegy for Alto'. Kenton's orchestra was Candoli's bread and butter to 1955, issuing countless titles. They would reunite in '65 and '71. In '93 he participated in the Stan Kenton Tribute Band (Kenton having died in '79) per 'Double Feature Vol. 4'. It was via Kenton that Candoli first recorded with other important longtime associates. One was drummer, Shelly Manne, with whom his first session with Kenton also featured June Christy on vocals per a radio broadcast in Philadelphia, PA, titles like 'I'll Remember April' and 'Don't Want That Man Around'. With Kenton and otherwise Manne attended numerous sessions with Candoli to 1967, later in '69, '72 and '78, the last in December that year per 'The Manne We Love'. Another important compatriot through the years was flugal horn and trumpet player, Shorty Rogers, also first recording with Candoli per Kenton and Christy above. Their last of numerous sessions with Kenton and otherwise was for Bud Shank's 'A Spoonful of Jazz' in Los Angeles in 1967. They would reunite in multiple sessions in '91 and '92, their last tracks together with Bud Shank in West Hollywood in January for 'Eight Brothers'. Shank himself was as significant to Candoli's career as Kenton, they first recording together per Kenton in Atlantic City, NJ, during a radio broadcast with Jay Johnson at vocals, titles like 'Prelude to a Kiss' and 'Lullaby In Rhythm'. They recorded numberless titles together with Kenton and otherwise throughout Candoli's career to as late as August 2001 for Shank's 'On the Trail'. Also large was arranger/conductor/director, Manny Albam, who showed up as an arranger for Kenton at a concert at Bailey Hall at Cornell University in Ithaca, New York, on October 14, 1951, titles like 'Artistry In Rhythm' and 'Spirals'. Candoli would work for Albam to as late as January of 1961, Albam contributing to arrangements on 'Main Stem' for Terry Gibbs. Another highly significant figure was upright bassist, Howard Rumsey, per the Lighthouse All-Stars. Candoli's first titles with that group were in Los Angeles on December 3, 1954: 'Who's Sleepy', 'Mad at the World' and 'Sad Sack'. Candoli played with the All-Stars to 1958, again in '61 and 1989, the last at the Hermosa Beach Civic Auditorium (CA) on February 12 for Rumsey's 'Jazz Invention'. Another significant figure was drummer, Louie Bellson, per January 1962, they backing Pearl Bailey on titles like 'Just You, Just Me' and 'That Certain Feeling'. Candoli backed Bellson that same month on 'Big Band Jazz at the Summit'. Candoli would be found on numerous Bellson albums to as late as 'The Art of the Chart' in October 1997. Another important ensemble to which Candoli belonged was Supersax. His first of numerous sessions with that ensemble was in Los Angeles in 1973 per 'Supersax Plays Bird'. His last tracks with the group were in 1988 per 'Stone Bird'. Among the highlights of Candoli's early years was his first session as a leader with a sextet consisting of Bob Wynn (alto sax), Ira Sullivan (tenor sax), Gene Esposito (piano), Chubby Jackson (bass) and Tony Pappa (drums). Of four titles two were issued by Chance: 'Flamingo' and 'Mambo Junior'. The next month he was in Stockholm, Sweden, with Kenton where he recorded with Lars Gullin on baritone sax: 'Dedicated to Lee' and 'Late Date'. Other members of that septet were Frank Rosolino (trombone), Lee Konitz (alto sax), Zoot Sims (tenor sax), Don Bagley (bass) and Stan Levey (drums). Candoli released his first album, 'Sincerely, Conte', in 1954. Highlights during the sixties include Dizzy Gillespie's 'The New Continent' in '62 and a concert with Gillespie's Neophonic Orchestra in 1965 yielding such as 'Jambo' and 'Things Are Here'. He was able to join Henry Mancini's orchestra in February 1963 to contribute to 'Uniquely Mancini'. He put down tracks with the Airmen of Note per the United States Air Force in 1966-67. Highlighting the eighties were tracks for the 1981 album, 'Swing', issued by Planet, and his first couple sessions with Doc Severinsen in 1986 yielding two volumes of 'The Tonight Show Band'. He would also participate in Severinsen's 'Once More . . . with Feeling' in '91 and 'Swingin' the Blues' in '99. Others of note with whom Candoli bumped shoulders on occasion were saxman, Gerry Mulligan, and trombonist, Carl Fontana. Candoli was a member of the Johnny Carson 'Tonight Show' band, regularly between 1972 and 1992, after which he toured with another of Carson's musicians, trumpeter, Doc Severinsen, mentioned above. Candoli was inducted into the International Jazz Hall of Fame in 1997. He died of cancer in Palm Desert, California, in 2001. His final recording may have been 'Winter Wonderland' in latter 2001 with Pete Christlieb (tenor sax), Pete Jolly (piano), Jim DeJulio (bass) and Larance Marable (drums). That would be found on the album, 'Jazz Yule Love'. Conte performs with his brother, Pete, in the track for 1983 below.

Conte Candoli   1944

  125th Street Prophet

      Issue date unknown

      With Woody Herman

Conte Candoli   1945

  Apple Honey

      With Woody Herman


      Vocal: Woody Herman

Conte Candoli   1947

  Crown Pilots

      With Chubby Jackson

Conte Candoli   1950

   Starlight Souvenirs

      With Woody Herman

Conte Candoli   1955

  Pete's Alibi

      With the West Coast Wailers

Conte Candoli   1956


      With the Lou Levy Quintet

  Comes Love

Conte Candoli   1957



      Trumpet duet with Lee Morgan

Conte Candoli   1960


  No Moon at All

  Countin' the Blues

  Mambo Diane

Conte Candoli   1983

   Peter Gunn Theme

      With Pete Candoli & Henry Mancini


Birth of Modern Jazz: Conte Candol

Conte Candoli

Source: Jazz Wax

Birth of Modern Jazz: Rolf Ericson

Rolf Ericson

Source: Discogs


Born in Sweden in 1922, trumpeter Rolf Ericson began studying his instrument at age eight. Beginning his professional career in 1938, Ericson is thought to have made his debut recordings on December 27, 1941, with the Owe Kjells Orkester, a broadcast yielding 'Jump Jack Jump' though not issued until years later on CD. Ditto titles with the Dagges All Stars ('I'm On My Way From You' in '42) and Lulle Ellboj '44. 'Jitterbug' was recorded for a soundtrack in '44 with Seymour Osterwall, but no record released. Not 'til September 25, 1944, is a session for the Sonora label held in Stockholm with Kenneth Fagerlund, that to bear 'The Last Jump' and 'I'll Never Smile Again'. sessions followed with Uffe Baadh, Lulle Ellboj and Charlie Norman before Alice Babs and the Expressens Orkester came along per a radio broadcast from Oslo, Norway, on August 31, 1945, to record 'Truckin'', 'Undecided' and 'At the Darktown Strutter's Ball'. Ericson would see Babs again in '47, '51 and '69, that last occasion with Duke Ellington in Stockholm, Sweden, recording such as 'Almighty God' and 'Heaven'. Other Swedes with whom Ericson laid tracks during his career were Kjeld Bonfils ('45), trumpeter, Bengt-Arne Wallin ('52, 62, 70) and bassist, Sture Nordin ('69, 71, '75, '78, '84). He was married to German vocalist, Evelyn Ericson, but any recordings with her are unknown. Ericson recorded for German bandleader, Erwin Lehn, at the Heidelberg Jazz Festival in '72 ('Roto Rooter'), also appearing on Lehn's 'Color of Jazz' issued in 1974. Of greater emphasis here were American musicians who held Ericson in high regard both on his multiple trips to the United States and as host to Americans touring Europe and Scandinavia. His first sojourn to the United States was from 1947 to 1950, during which time he played with Benny Goodman and recorded with Charlie Barnet, Maynard Ferguson, Gerry Mulligan (with the orchestras of Elliot Lawrence and Stan Kenton) and Woody Herman. In 1950 he toured Scandinavia per the Swedish All Stars with Charlie Parker. He was back in the States to lay tracks with band of Charlie Spivak in December of '52 and January of '53. Others with whom he recorded between '53 and '56 were Chet Baker, Miles Davis, Howard Rumsey's Lighthouse Allstars, Jack Costanzo and Les Brown. In 1956 he toured Sweden with Cecil Payne (baritone sax), Duke Pearson (piano), John Simmons (bass) and Art Taylor (drums). Back in the States he laid tracks with Harry James in '56 with drummer, Buddy Rich, in the band. He would see Rich again for the latter's 'Blues Caravan' in 1961. Stan Kenton took him on in 1959-60. He also recorded with vocalist, Chris Connor, in '60 and '61. 1963 witnessed a tour of Sweden with Duke Ellington. He would record with Ellington again on November 26, 1969, in Manchester, England, and once again in Malmo, Sweden on October 25, 1973. Another with whom he recorded often in the States from '63 to '66  was trumpeter, Rod Levitt, and his orchestra. Ericson also had occasion to play with Charles Mingus, though no recordings are known. Ericson moved to Berlin in '71, commuting back and forth between Europe and the States until eventually moving to Los Angeles in the latter eighties. He returned to Stockholm in the early nineties when his wife, Evelyn, who had been on tour in Europe, was refused readmission to the States. There must have been complications of some nature, since only not being an American citizen wouldn't have kept her out. Highlights of Ericson's career include his first session as a leader on September 19, 1950, in Stockholm, running the orchestra of pianist, Reinhold Svenssons: 'Miles Away', 'Conversation', 'Perdido' and 'How High the Moon'. From 1965 to 1971 he ramrodded the band, Radiojazzgruppen. That operation first recorded on November 9, 1965, in Stockholm: 'Astral Blues', 'Per-Anders drom', 'Du gladjerika skona' and 'T.EX.III'. That orchestra's last date was in May of 1971 to record 'Du Gladjerika Skona', also in Stockholm. Another highlight was his recording of 'Explosive!' with the Festival Big Band in 1971 in Hilversum, Holland. Ericson died in Stockholm on June 16 of 1997. His last recordings are thought to have been November 11-14 of 1996 for arranger, Kjell Samuelson's, 'See the World/Swing'n Dance'.

Rolf Ericson   1942

   I'm On My Way From You

      Not issued until 1995

      With the Dagges All Stars

Rolf Ericson   1944


      Not issued until 2005

      With Seymour Osterwall

Rolf Ericson   1945

   Sweet Georgia Brown

      With Kjeld Bonfils

Rolf Ericson   1950

   Starlight Souvenirs

      With Woody Herman

Rolf Ericson   1956

   Flight to Jordan

   I'll Remember April

      Bass: Tommy Potter

   The Imp

      Bass: Tommy Potter

   A Night In Tunisia

      Bass: Tommy Potter

   This Time the Dream's On Me

Rolf Ericson   1959


Rolf Ericson   1962


      Filmed live

Rolf Ericson   1964

   C Jam Blues

      Filmed live with Duke Ellington

   Rockin' In Rhythm

      Filmed live with Duke Ellington

   Sophisticated Lady/I Let A Song Go Out Of My Heart

      Filmed live with Duke Ellington

Rolf Ericson   1989

   My Foolish Heart

      Piano: Lex Jasper



Birth of Modern Jazz: Herbie Fields

Herbie Fields

Photo: William P. Gottlieb

Source: Wikimedia Commons

Born in Asbury Park, New Jersey, in 1919, Herbie Fields, band leader and clarinetist (also alto sax), left Julliard in 1938. His first recordings were with Hot Lips Page in NYC in 1940 at the apartment of Jerry Newman who had an acetate recording machine. Those tracks were released much later in 1973 as  'After Hours In Harlem'. Fields' next session with Art Tatum on November 11 was likewise not issued until later in 1972 as 'God Is In The House'. Ditto tracks laid with Roy Eldridge on the 19th, not issued until 1982 as 'At Jerry Newman's'. Fields recorded on occasion in 1941 with Tab Smith, Page and Eldridge, but his wagon didn't arrive to town until April 5, 1944, with Woody Herman, recording transcriptions for World: 'As Long As I Live', 'Perdido', etc.. Transcription discs were 16" (sometimes) lacquer-coated aluminum platters sold commercially to radio stations. Fields would record with Herman again on January 24, 1945, 'Northwest Passage', et al, with tenor saxophonist, Don Byas. Fields was found on record shop vinyl per his first session as a leader on April 14, 1944, Signature issuing 'You Can Depend On Me' and 'These Foolish Things' (90004). A month or so later he replaced Earl Bostic in Lionel Hampton's outfit, recording such as 'Loose Wig' and 'Caldonia Boogie'. Fields stuck with Hampton into '45, the same year his band supported vocalist, Rubberlegs Williams, on April 24 with Miles Davis blowing trumpet on his debut titles: 'That's the Stuff You Gotta Watch', 'Pointless Mama Blues', 'Deep Sea Blues' and 'Bring It On Home'. Later that year Fields recorded 'The Romp' on August 25 with Ben Webster and Don Byas that later released in 1976 on 'Ben and The Boys'. Duke Ellington contributed piano to that. In '46 Ellington would arrange 'Metronome All Out' for the Metronome All Stars on January 15. Among who sided Fields' ensembles was pianist Bill Evans, though he wouldn't appear to have laid any tracks with Evans. Hampton contributed piano to titles by Fields' Hot Five on May 4 of '45 ('O.K. Sarge' et al) and Fields' Hot Seven on the 30th ('Just Relaxin'' et al). Frank Rosolino participated in 'Live at the Flame Club' in November of 1949 in St. Paul, Minnesota. Fields had owned The Rancher restaurant in North Miami where he often performed until his death in 1958, overdosing on sleeping pills at the age of only 39. Considering the schedules musicians keep one can see how an accidental overdose might occur, but Fields' death was apparently a suicide, noting that he'd left a message for his wife reading in part: "I have completed my mission in life". He had only recently issued the album, 'Fields In Clover'. Per 1941 below, Fields plays clarinet rather than sax in Smith's band, though one wouldn't know he was present. Per 1945 below, 'Rubberlegs Williams with Herbie Fields' is a compilation by the YouTube site, Milestones: A Miles Davis Archive.

Herbie Fields   1941

   Body and Soul

      With Tab Smith

   On the Suny Side of the Street

      With Tab Smith

Herbie Fields   1945

   Rubberlegs Williams with Herbie Fields

      Miles Davis' debut titles

Herbie Fields   1946

   Gate Serene Blues

      With Lionel Hampton

   There's Nothin' The Matter With Me

      Vocal: Marianne Dunne

Herbie Fields   1947

   Soprano Boogie

Herbie Fields   1951

   Harlem Nocturne/How High The Moon

      Rhythm Rhapsodies

   I Love You

      Rhythm Rhapsodies

Herbie Fields   1953

   Harlem Nocturne



Born in 1923 in Key West, bop trumpeter Fats Navarro first recorded with Andy Kirk in November of '43 per an AFRS 'Jubilee' (#43) broadcast from NYC, titles like 'Wednesday Night Hop'. It's possible that those were transcriptions, as AFRS broadcasts generally were. (Electrical transcriptions, called E.T.s, found commercial uses, not released like vinyl to record shops for the home). A session on December 3 of 1943 resulted in the vinyl issue 'Fare Thee Well Honey' and 'Babe, Don't You Tell Me No Lie'. Navarro continued with Kirk into 1945, a last session on January 3, 1946 in NYC resulting in such as 'Doggin' Man Blues'. Navarro traded Kirk's operation for Billy Eckstine's in early '45, first joining Eckstine for an AFRS Jubilee broadcast of 'Club Plantation' in Los Angeles that year for what would end up on 'Together'. Navarro hung with Eckstine for a year, he last sitting in Eckstine's band in March of '46 for 'Love Is the Ting', 'Without a Song', etc. Among the more important figures during Navarro's career was pianist, Tadd Dameron. They were with Eckstine in March of '46 for a National session yielding such as 'Love Is the Thing' and 'Without a Song'. The next several years would see them constant companions either siding other ensembles or backing each other's projects. Their final titles together were recorded as members of Miles Davis' Birdland All Stars at the Birdland in NYC on June 30, 1950, yielding such as 'Max Is Making Wax' and 'Wee'. Also significant in Navarro's brief career was alto saxophonist, Charlie Parker, the two sharing their first session together on November 8, 1947, as one of the All Star Metronome Jazzmen of Barry Ulanov per a radio broadcast of 'Bands For Bonds' in NYC, such as '52nd Street Theme' and 'Donna Lee'. They next recorded together on January 3, 1949, for Victor as members of the Metronome All Stars: 'Overtime' and 'Victory Ball'. Also in on that were Davis and Dizzy Gillespie. They thereafter ran much the same circle, Navarro to back Parker when they weren't supporting other ensembles. Their final recordings together were Navarro's last as well, those per a private jam at the Birdland on June 30, 1950, resulting in 'Embraceable You', 'Cool Blues' and '52nd Street Theme'. With a recording career not seven years long Navarro appeared at 54 sessions, four of those his own. His first as a leader had been September 6, 1946, resulting in titles like 'Fat Boy Part 1 & 2', 'Everything's Cool' and 'Webb City Part 1 & 2'. Other highlights to a career showing major promise before much chance to bloom include Lionel Hampton at the Howard Theatre in Washington D.C. on May 1, 1948, broadcasting 'Hot House', 'Adam Blew His Hat' and 'Goldwyn Stomp'. Benny Goodman came knocking later that year on September 9, Navarro to join his septet for a rendition of 'Stealin' Apples'. Navarro's final session with Parker at the Birdland per above was one week before his death of tuberculosis on July 6 of 1950, only twenty-six years old.

Fats Navarro   1944

   Roll Em

      With the Andy Kirk Orchestra

Fats Navarro   1947

   Bebop Romp

      Piano: Tadd Dameron

   Ed Pob

      Piano: Tadd Dameron

   Fats Blows

      Piano: Tadd Dameron


      Piano: Tadd Dameron

   Our Delight

      Piano: Tadd Dameron

Fats Navarro   1948

   Good Bait

      Piano: Tadd Dameron

   Lady Be Good

      Piano: Tadd Dameron

   Lady Bird

      Piano: Tadd Dameron


      Drums: Max Roach

   Stealin' Apples

Fats Navarro   1949

   The Things We Did Last Summer

      Live performance Carnegie Hall

      Piano: Hank Jones


Birth of Modern Jazz: Fats Navarro

Fats Navarro

Photo: William P. Gottlieb

Source: Talking Trumpet


Birth of Modern Jazz: Red Rodney

Red Rodney

Source: Jazz Network


Born Robert Roland Chudnick in 1927 in Philadelphia, bop trumpeter Red Rodney received his first trumpet at age thirteen as a bar mitzvah gift from his great aunt. He began playing professionally at age fifteen, upon running away from home to Atlantic City, in a house band that warmed the crowd before the big band performance. From there he worked in a number of orchestras, including those of Jerry Wald, Les Brown and Tony Pastor. Rodney had moved to the West Coast where his first vinyl occurred per the Jimmy Dorsey Orchestra in Hollywood on June 7, 1944, recording such as 'It's a Crying Shame' and 'An Hour Never Passes' with vocalist, Gladys Tell. Numerous sessions followed with Dorsey into July.   June 21, 1945, found Rodney with CBS radio bandleader, Elliot Lawrence, at the Time Town Ballroom in St. Louis, MO, for titles like 'Lawrence Leaps' and 'The Song Is For You'. Rodney joined Gene Krupa's outfit in time for his first of numerous sessions that year with the same on January 17 at the Hollywood Palladium, broadcasting 'Bolero at the Savoy' and 'King Porter Stomp'. Tenor saxophonist, Charlie Ventura, was present on that, as like other Krupa sessions. Rodney would back Ventura on the latter's projects in March and May of '46 and December of '49. Rodney's first session as a leader was with his Be-Boppers on November 23, 1946, backing vocalists, Dave Lambert and Buddy Stewart. His Be-Boppers on that included Al Haig (piano) Curly Russell (bass) and Stan Levey (drims) with Neal Hefti arranging for such as 'A Cent and a Half' and 'Gussie 'G''. His next session with his Be-Boppers on January 29, 1947, consisting of Allen Eager (tenor sax), Serge Chaloff (baritone sax), Al Haig (piano), Chubby Jackson (bass) and Tiny Kahn (drums). Kahn, Gerry Mulligan and Al Cohn contributed arrangements on 'All God's Chillun Got Rhythm', Elevation', 'Fine and Dandy' and 'The Goof and I'. Rodney would record with Chaloff, Jackson and Kahn on two or three more occasions. Come Georgie Auld on March 15, 1947, for a WNEW 'Saturday Night Swing Session' broadcasting 'Perdido', 'Red Cross' and 'The Goof and I' among others. That was followed on November 6 by tracks for Columbia with Claude Thornhill, resulting in such as 'Lover Man' and 'Polka Dots and Moonbeams'. Benny Goodman, came knocking from June 26, 1948, into July. Later that year Rodney was with Woody Herman's Second Herd on November 11 for a CBS radio broadcast from the Royal Roost in NYC yielding such as 'Yucca' and 'Keen and Peachy'. Rodney stuck with Herman into '49, there a reunion ten years later on August 1 of '59 for 'Lament for Linda', 'Summer Nights' and 'The Magpie'. Rodney had also first recorded with saxophonist, Charlie Parker, in November of '49, a private session at the Pershing Ballroom in Chicago, putting down such as 'Perdido' and 'Allen's Alley'. Replacing Miles Davis, multiple sessions with Parker followed until August 8, 1951, in NYC with Parker's quintet, grooving 'Blues for Alice', 'Si Si', 'Swedish Schnapps', 'Back Home Blues' and 'Lover Man'. He later supported multi-instrumentalist, Ira Sullivan, in '55, '57 and 1980-82. (Flugelhorn duets from the latter period are indexed below.) Rodney's wasn't the name that was Dizzy Gillespie's, not because he wasn't a heavyweight trumpeter, but because heroin addiction wrought another path. His last session with Herman on August 1, 1959, per above, was also the last of his career until 1970 in Chicago for a Parker memorial concert. Rodney had met Gillespie in Philadelphia at the Downbeat Club, Gillespie introducing him in '49 to Charlie Parker, about the time Rodney started using heroin. By the latter fifties it was starting to own him, he running five small-time bands in 1958 to play bar mitzvahs and weddings. That was good money, but not the music he had the stuff to make but for heroin, which soon began needing more money than leading local bands could supply. In 1960 Rodney managed to steal $10,000 from the Atomic Energy Commission by impersonating an Army officer. Things came to further strain in 1963 when his father died and he was involved in an auto accident that killed his wife and daughter upon the former running their car off the highway in Nevada. In 1964 Rodney found himself in prison for twenty-seven months where, however, he earned a bachelor's degree while purging his weakness. Upon release from prison he began to study law, but was prevented from taking the bar exam three years later because he was a felon. He otherwise began playing again in Las Vegas casinos, backing such as Sammy Davis Jr., Elvis Presley and Barbra Streisand. In 1972 he began performing at Donte’s jazz club in Los Angeles, getting back in alignment with his musical direction. He suffered a stroke the same year, but released 'Bird Lives' in 1973, also appearing at the Newport Jazz Festival in Rhode Island that year. In 1974 he toured Europe. In 1975 Rodney was jailed in Kentucky for drug possession, but brushed that off with the release of the album, "Yard's Pad', the next year. In 1980 he formed a quartet with Ira Sullivan, per above, with whom he performed for the next five years. In 1990 Rodney was elected into 'Down Beat' magazine's Hall of Fame. Rodney and Gillespie finally got together for recordings in NYC on March 12, 1991, with another trumpeter, Yank Lawson, to back Teresa Brewer on 'Hello Dolly', 'I've Got the World on a String' and 'St. Louis Blues'. A session at the Blue Note in NYC in early '92 wrought 'To Diz With Love'. That same year Rodney toured England with Rolling Stones drummer, Charlie Watts. Rodney held his final sessions in May of '92 toward the album, 'Then and Now'. He was diagnosed with lung cancer in 1993, giving his last performance at the Charlie Parker Jazz Festival in NYC that summer. He died on May 27, of 1994.

Red Rodney   1944

   It's a Crying Shame

      With Jimmy Dorsey   Vocal: Gladys Tell

      Thought to be Rodney's 1st track

Red Rodney   1946

   Charge Account

      With the Be-Boppers

      Vocals: Dave Lambert & Buddy Stewart

   Gussie G

      With the Be-Boppers

      Vocals: Dave Lambert & Buddy Stewart

Red Rodney   1947


      With the Be-Boppers

   Fine and Dandy

      With the Be-Boppers

   The Goof and I

      With the Be-Boppers

   Yardbird Suite

      With Claude Thornhill

      Alto saxophone: Lee Konitz

      Tuba: Bill Barber

Red Rodney   1949

   I've Got My Love to Keep Me Warm


      With Charlie Parker

Red Rodney   1951

   Blues For Alice

      With Charlie Parker

Red Rodney   1955

   Dig This

   Red Is Blue

Red Rodney   1957

   Red Arrow

   Stella By Starlight

   You Better Go Now

Red Rodney   1959

   I Remember You


   Shaw Nuff

Red Rodney   1976

   Here At Last

      Album: 'Yard's Pad'

      Bass: Red Mitchell

Red Rodney   1977

   Red Rodney Rides Again

Red Rodney   1978

   For Dizzy

      Album: 'Red Tornado'

Red Rodney   1981

   Crescent City

      Flugelhorn: Ira Sullivan

   Monday's Dance

      Flugelhorn: Ira Sullivan

   Spirit Within

      Flugelhorn: Ira Sullivan

Red Rodney   1983

   Days of Wine and Roses

      Live in Newcastle

Red Rodney   1984

   Darn That Dream

      Album: 'Social Call'

      Tenor sax: Charlie Rouse

Red Rodney   1989

   Birdman and Birdsongs

      Concert   Drums: Roy Haynes

Red Rodney   1993


      Live performance

      Bass: Dario Rosciglione

      Drums: Gegè Munari

      Piano: Andrea Beneventano

      Sax: Massimo Urbani



Birth of Modern Jazz: Miles Davis

Miles Davis

Source: L'Intermede


Born Miles Dewey Davis III in 1926 in Alton, Illinois, trumpeter Miles Davis, Master of cool jazz, studied at the Julliard School of Music in 1944. He dropped out to play professionally with Coleman Hawkins and Eddie Lockjaw Davis. He made his first recordings with the Herbie Fields Band and vocalist, Rubberlegs Williams, on April 24 of 1945 for the Savoy label: 'That's the Stuff You Gotta Watch', 'Pointless Mama Blues', 'Deep Sea Blues' and 'Bring It On Home'. He next recorded with Charlie Parker on November 26 the same year: 'Billie's Bounce', 'Now's the Time' and 'Thriving On a Riff'. Davis' association with arranger and composer, Gil Evans, began in 1948, with whom he collaborated in the recording of the album, 'Birth of the Cool', released in 1957. After recording 'Birth of the Cool' Davis toured Paris (1949). Shortly later Davis began experimenting with hard bop. (Hard bop differs from bebop in being both less radical and slower in tempo.) During this period Davis' heroin addiction started coming to a head, beginning to threaten his career, such that Davis quit cold turkey (locking himself in a room in his father's house) in 1954. He then performed in the Midwest, largely Detroit, where access to the drug was less readily available to him. Figuring himself safe from temptation, Davis headed back to NYC in 1955, playing at the Newport Jazz Festival that year as well. He then put together one of his more highly esteemed ensembles with John Coltrane on tenor sax, Paul Chambers on bass, Philly Joe Jones on drums and Red Garland at piano. With that combo Davis recorded four albums of material in two days of sessions in 1956: 'Relaxin', 'Steamin', 'Workin' and "Cookin'. That band dissolved in 1957, as Davis began working with Gil Evans again, resulting in the 1957 release of the album, 'Miles Ahead'. ('Miles Ahead' is a good example of "third Stream" jazz, that is, fusion of classical with jazz improvisation.) Davis returned to Paris in 1957. Back in NYC in 1958, Davis restructured his earlier quintet into a sextet for the release of the album, 'Milestones', in April of 1958 (another good example of third stream jazz). Davis and Evans also saw the release of 'Porgy and Bess' (a reworking of George Gershwin's 1935 opera by the same name) in 1958. Davis worked with Evans into the sixties, the album, 'Quiet Nights', their last collaboration together, issued in 1962. In August of 1959 Davis issued the album, 'Kind Of Blue', a good example (together with 'Milestones') of modal jazz, that is, harmonic structure employing musical modes (scales) rather than chord progressions. ('Kind of Blue', featuring Bill Evans at piano, was unanimously voted a national treasure in 2009 by the U.S. House of Representatives.) While working at the Birdland in NYC in 1959, Davis was attacked by police upon escorting a woman to a cab. As he was playing a gig at the club, he didn't move on down the street as he was told, resulting in a beating, a trip to the hospital for stitches to his head, charges of disorderly conduct and third-degree assault, and the suspension of his cabaret card, necessary to play jazz in New York City clubs. Davis was later acquitted, to tour Europe with John Coltrane in 1960. Upon his return to the States Davis' band endured some shuffling of personnel, most notably the addition of Wayne Shorter in 1964, largely replacing Gil Evans as Davis' arranger and composer. With Shorter, Davis built another quintet, his final acoustic group before going electric, employing Ron Carter on bass, Tony Williams on drums and Herbie Hancock at piano. That ensemble's first album release was 'E.S.P'. in 1965, later issuing several more albums described as "freebop", that is, bop structured modally rather than by chord. Davis went electric in 1969, also expanding the size of his band. His first electric release was the album, 'In a Silent Way', in 1969. Davis soon began opening for rock groups at concerts as well. In 1976 he issued the album, 'Bitches Brew'. By that time Davis had been recording prolifically as well as touring, to the result that after appearing at the Newport Jazz Festival in 1975 he took a rest for several years, until the recording, begun in '79, of 'The Man with the Horn', released in 1981. Reemerging that year with two more performances at the Newport Jazz Festival, Davis expanded his repertoire yet again with the soul-oriented album, 'Decoy' in 1984. Davis also composed a number of soundtracks in the eighties: 'Street Smart', 'Siesta', 'The Hot Spot' (with John Lee Hooker) and 'Dingo'. He died in September 1991 in Santa Monica, California, from a combination of stroke, pneumonia and respiratory failure. His album, 'Miles & Quincy Live at Montreux' (Quincy Jones), had been released the month before in August. His last album was released posthumously in 1992, the hip-hop oriented 'Doo-Bop'. His album, 'Kind of Blue', remains the highest selling jazz album of all time. Along with Dizzy Gillespie, perhaps no name in the history of jazz so approaches that of Louis Armstrong as Miles Davis': it's not who's heard of him; it's who hasn't. More Miles Davis under Jimmy Forrest in Jazz Sax and JJ Johnson higher on this page. Recordings in 1955 with Red Garland. Per 1945 below, 'Rubberlegs Williams with Herbie Fields' is a compilation by the YouTube site, Milestones: A Miles Davis Archive.

Miles Davis   1945

   Billie's Bounce

      Alto sax: Charlie Parker    Bass: Curley Russell

       Drums: Max Roach    Piano: Dizzy Gillespie

   Now's the Time

      Alto sax: Charlie Parker    Bass: Curley Russell

      Drums: Max Roach    Piano: Dizzy Gillespie

   Rubberlegs Williams with Herbie Fields

      Davis' debut titles

Miles Davis   1947

   Half Nelson

      Alto sax: Lee Konitz

   Little Willie Leaps

      Saxophone:  Charlie Parker   Drums:  Max Roach

   Sippin' At Bell's

      Saxophone:  Charlie Parker   Drums:  Max Roach

Miles Davis   1949


   The Squirrel/Fine and Dandy/Body and Soul

      Live at WPIX Radio

Miles Davis   1956

   Round Midnight

      Saxophone: John Coltrane

Miles Davis   1957

   Birth of the Cool


   Miles Ahead

      Album Side A

   Miles Ahead

      Album Side B

Miles Davis   1959

   So What

      Filmed live at the Robert Herridge Theater

   So What

      Album: 'Kind of Blue'

Miles Davis   1964

   All Blues

      Filmed live in Milan

Miles Davis   1969

   Funky Tonk

      Album: 'Live-Evil'

   Gemini/Double Image

      Album: 'Live-Evil'


      Album: 'Live-Evil'

   What I Say

      Album: 'Live-Evil'

Miles Davis   1970

   Bitches Brew

      Album: 'Bitches Brew'

   Bitches Brew

      Filmed live

   John McLaughlin

      Album: 'Bitches Brew'

   Pharaoh's Dance

      Album: 'Bitches Brew'

   Spanish Key

      Album: 'Bitches Brew'

   You and Me

      Filmed live in Stuttgart   Featuring Benny Rietveld

Miles Davis   1971

   Little Church


   What I Say

      Filmed live

Miles Davis   1983


      Album: 'Decoy'

Miles Davis   1992

   The Doo Bop Song

      Album: 'Doo-Bop'



Birth of Modern Jazz: Kenny Dorham

Kenny Dorham

Source: Big Band Sheet Music


Born in 1924 in Fairfield, Texas, bop trumpeter Kenny Dorham is thought to have first recorded with the Frank Humphries Orchestra in NYC in autumn of 1945: 'After You've Gone' and 'Lonesome Road, concerning which no timely issue date can be hazarded. Ditto 'Time and Time Again' with Humphries and vocalist, Della Simpson (Della Griffin). Dorham was with Billy Eckstine on January 3, 1946, for 'I Only Have Eyes for You, 'You're My Everything', et al. The Mercer Ellington Orchestra followed on May 17: 'Metronome All-Out' and 'Pass Me By', etc.. Jazzdisco has Dorham on a number of tracks with Dizzy Gillespie from possibly May to July of '46 at The Spotlite Lounge in Washington DC. Dorham is also listed on tracks on July 9 per Gillespie's 'Groovin' High'. On August 23 Dorham recorded with alto saxophonist, Sonny Stitt, and pianist, Bud Powell. The following month he attended a couple sessions on the 5th and 6th on which he, Stitt and Powell were joined by drummer, Kenny Clarke, and trumpeter, Fats Navarro, variously credited to Sonny Stitt's quintet, the Be Bop Boys, and Kenny Clarke's 52nd Street Boys. One of those tracks was 'Epistrophy'. At this point we need but daub some names on the canvas here, Dorham's 166 sessions too prolific to detail. Returning to January 3, 1946, per Eckstine above, Art Blakey contributied drums to that session, apt to mention since Blakey would become one of the important figures in Dorham's career for the next decade. On December 22, 1947, Dorham was one of Blakey's Messengers (not yet Jazz Messengers) to lay tracks, a couple of which would be found on Blakey's album, 'New Sounds'. Multiple sessions would occur through the next several years, they either backing each other or other ensembles together. On January 22, 1955 Blakey supported Dorham on 'Afro/Cuban'. On November 23 Dorham supported Blakey on 'The Jazz Messengers at the Cafe Bohemia'. On June 20, 1947, he recorded such as 'Hamp's Got a Duke' and 'Mam'selle' with Lionel Hampton per a radio broadcast from Culver City (Los Angeles), CA. Another name for dropping was Charlie Parker's, Dorham one of Parker's All Stars during a WMCA radio broadcast from the Royal Roost in NYC on December 25, 1948, to record such as 'Half Nelson' and '52nd Street Theme'. Also in that quintet were Al Haig (piano), Tommy Potter (bass) and Max Roach (drums). Dorham made his first marks with pianist, Thelonious Monk, in latter 1950 for vocalist, Frankie Passions: 'Especially to You' and 'Nobody Knows, Nobody Cares'. He next supported Monk on May 30, 1952, titles like 'Skippy' and 'Hornin' In'. Another important drummer, Max Roach, entered Dorham's circle via Parker above, Roach attending the session for WMCA Radio on December 25, 1948. They would record numerously together over the next decade or so, both backing other operations and each other. On May 21, 1957, Roach backed Dorham on 'Jazz Contrasts'. Their last session was November 1, 1960, Dorham supporting Roach on 'Oh Yeah, Oh Yeah', both composed by and featuring Dorham. Another important associate was pianist, Cedar Walton, he first backing Dorham on July 7, 1958, for 'This Is the Moment'. They would back each other on multiple occasions until their last session together for Howard McGhee at the Newport Jazz Festival on July 4, 1966. Other highlights of Dorham's career include his first session as a leader on October 21, 1953: 'Chicago Blues' and 'Lonesome Lover Blues'. His debut album, 'Kenny Dorham Quintet', occurred on December 15, 1953, for the Debut label owned by Charles Mingus and Max Roach. In 1956 Dorham briefly led, and recorded with, the Jazz Prophets, issuing two volumes with that group. Dorham began teaching at the Lenox School of Jazz in Massachusetts in 1958. In 1959 he composed soundtracks for a couple of French films. During the sixties tenor sax man, Joe Henderson, appeared on three of Dorham's albums: 'The Flamboyan, Queens, NY, 1963', 'Una Mas' and 'Trompeta Toccata'. Dorham died of kidney disease in December 1972, only 48 years of age. His final recordings had been for the Charlie Parker memorial concert at the North Park Hotel in Chicago on August 16, 1970: Just Friends' and 'Summertime'. More Kenny Dorham under Cedar Walton.

Kenny Dorham   1946

   Boppin' a Riff

      Credited to Sonny Stitt and his Be Bop Boys

   Rue Chaptal (Royal Roost)

      Credited to Kenny Clark and his 52nd Street Boys

   Serenade To A Square

      Credited to Sonny Stitt and his Be Bop Boys

Kenny Dorham   1949


      Saxophone:  Charlie Parker

Kenny Dorham   1952

   Hornin' In

      Drums: Art Blakey   Piano: Thelonious Monk

   Let's Cool One

      Drums: Art Blakey   Piano: Thelonious Monk

Kenny Dorham   1953

   Darn That Dream


Kenny Dorham   1955


   La Villa

Kenny Dorham   1956

   My Heart Stood Still

   Night In Tunisia

      With Dizzy Gillespie


Kenny Dorham   1957



   Falling In Love With Love

      Album: 'Jazz Contrasts'

   I'll Be Seeing You

      Saxophone: Ernie Henry

   I'll Remember April

      Album: 'Jazz Contrasts'

   I Should Care

      Saxophone: Ernie Henry

   Lotus Blossom

      Saxophone: Ernie Henry

   My Old Flame

   Noose Bloos

      Album: 'Orpheus'

Kenny Dorham   1958

   Where Are You?

Kenny Dorham   1960

   Oh Yeah, Oh Yeah

      Drums: Max Roach

Kenny Dorham   1961


      Saxophone: Hank Mobley

Kenny Dorham   1964

   Around Midnight


Kenny Dorham   1966

   Disorder at the Border

      Filmed live



Born in 1926 in Kansas City, Missouri, Melba Liston began her career as an arranger, composer and trombonist in 1943 with trumpeter, Gerald Wilson. She first recorded with Wilson on May 6 of 1945 for the Excelsior label, those titles: 'Moonrise', 'Top of the Hill', 'Synthetic Joe' and 'Puerto Rican Breakdown'. Liston continued with Wilson into 1947, recording at least forty tracks such as 'Yenta', 'Come Sunday', 'Love Me a Long, Long Time' and 'I Don't Know What Time It Is' along the way. Liston also recorded with Dexter Gordon in 1947. A date with Count Basie during tour on April 11, 1949, in Los Angeles, was her first recording with Clark Terry, he to later become a major figure in Liston's career for several years from '56 to '63 and later in '66, that last occasion to support Jimmy Smith and Wes Montgomery on 'Jimmy & Wes - The Dynamic Duo'. Sessions with Dizzy Gillespie from '55 to '57 found Liston blooming. Her first recording date with Gillespie in Los Angeles in November 8, 1955, yielded such as 'Oasis' and 'Flamingo'. She left Gillespie after a session in NYC on September 8, 1957, yielding such as 'Joogie Boogie' and 'I Remember Clifford'. They would record once again with the Quincy Jones Orchestra on December 20, 1964, bearing 'I Had a Ball', 'Almost' and 'Addie's At It Again'. Speaking of whom had been a major rail in Liston's career: Liston had first recorded with Jones as a member of the Dizzy Gillespie Orchestra in NYC on June 6, 1956, she arranging 'Stella by Starlight', 'My Reverie' and 'Annie's Dance'. She would join Jones' orchestra again from 1959 to '64 per above with Gillespie. During her period with Jones she would also support vibraphonist, Milt Jackson, also a member of Jones' orchestra. It would be apt to drop another big name for its stature here, being drummer, Art Blakey, Liston first falling in with Blakey's Jazz Messengers on April 2, 1957, for two takes each of 'A Night at Tony's' and 'Social Call'. A few more sessions with Blakey followed in '64 and '66, their last occasion a few tracks on May 27 for Blakey's 'Hold On I'm Coming'. Liston had joined Billie Holiday in 1949 but didn't record with her. Said to have disliked doing road, Liston then absented herself from the music business. picking it up again a few years later, she began by organizing her own orchestra to support vocalist, Mel Walker, in Los Angeles in 1953 on such as 'Unlucky Man' and 'My Baby'. She formed her own quintet in 1958, to become a septet for her album, 'Melba Liston and Her Bones', recorded in December that year. She began collaborating with pianist, Randy Weston, as an arranger, the next year. They would much later collaborate on 'Volcano Blues' in '93. Likewise, Liston began arranging for Calvin Scott in 1971, then moved to Jamaica to teach at the Jamaica School of Music. While in Jamaica she arranged for the 1975 film, 'Smile Orange'. In 1979 Liston returned to the States, but was convinced to stop performing (though not arranging) upon a stroke in 1985, leaving her partially paralyzed. In 1987 Liston was awarded the Jazz Masters Fellowship by the National Endowment for the Arts. Her last recordings are thought to have been with Weston in Montreal, Canada, on July 4, 1995, per Weston's 'Earth Birth'. After multiple strokes, she died on April 23, 1999, in Los Angeles. Among the many who graced Liston's full career of above 140 sessions were Johnny Griffin (1957-58), Ray Charles ('59), Billy Eckstine ('61, '65) and Jimmy Smith (' 63, '66).

Melba Liston   1945

   Start Swingin'

      Live performance

Melba Liston   1946

   One O'Clock Jump

      With Gerald Wilson

Melba Liston   1958

   Blues Melba



   You Don't Say

   Zagred This

Melba Liston  1960

   My Reverie

      Live performance with Quincy Jones


Birth of Modern Jazz: Melba Liston

Melba Liston

Photo: Institute Of Jazz Studies/Rutgers University

Source: Persons Info



Born in 1924 in Barrington, Massachusetts, Shorty Rogers, flugelhorn and trumpet, was a West Coast jazz master who began his professional career in the band of Will Bradley. His first recordings are thought to have been with Cozy Cole on February 2, 1945, for the Keynote label in NYC: 'Lover Come Back To Me', 'Smiles', 'All of Me' and 'They Didn't Believe Me'. His next session was with Red Norvo, per a Town Hall concert in NYC on June 9: 'One, Two, Three, Jump', 'In a Mellow Tone', et al. Roger's third session was with Woody Herman on November 16, recording three takes of 'Wild Root' for Columbia. Herman's operation would be Rogers main locomotive for six years to June 4, 1951, he last recording with Herman in Hollywood for MGM: 'Cuban Holiday', 'The Glory of Love', etc.. On December 14, 1945, Rogers was one of Kai Winding's Cats to scratch 'Sweet Miss', 'Loaded', et al. Drummer, Shelly Manne, was in on that, one of the more significant figures in Roger's career. Manne and Rogers ran nigh the same rail for the next two decades, backing Herman, Stan Kenton and other bands. A number of their sessions through the years included Manne backing Roger's projects. They recorded frequently together until '63, again in '66, finally on September 2, 1983, that live at the Aurex Jazz Festival in Japan. Another important figure moved in on May 31, 1946, for an AFRS 'Wild Root' (#32) broadcast with Herman. Contributing to such as 'Crazy Rhythm' and 'Strange Love' was bassist, Joe Mondragon, with whom Rogers kept a tight professional relationship supporting Herman and other bands for the next sixteen years. Mondragon also sided for Rogers, their last such occasion on December, 1962, in Los Angeles for such as 'I'm Gonna Go Fishin'' and 'Be As Children'. Another longtime companion emerged in latter 1947 in the person of Jimmy Giuffre, the latter working as an arranger for Herman, later to contribute sax. Giuffre and Rogers would leave much the same trail into 1960 backing Giuffre, then other bands. Giuffre would also appear on numerous of Rogers' name recordings. They would reunite in 1983 per the Aurex Jazz Festival with Manne mentioned above. While with Herman, Rogers added another major name to his resume, that Stan Kenton on November 6, 1948, broadcasting from The Click in Philadelphia, PA, such as 'Machito' and 'I'll Remember April'. Kenton's orchestra was another of Rogers' main machines for several years. He performed with both Herman and Kenton from '48 to '51, continuing with the latter to May 15 of '55, sitting in on 'Freddy' in Los Angeles. By that time another major figure in Rogers' career had surfaced in alto saxophonist, Bud Shank, the latter one of Boots Brown's (Rogers) Blockbusters on February 3, 1953, for titles like 'Hip Boots' and 'Blue Fairy Boogie'. Shank and Rogers were nigh as left and right hand for another ten years, Shank supporting Rogers on numerous projects. After Vic Lewis' 'Bossa Nova at Home and Away' on January 18, 1963, they drifted apart to reunite in '67, '69, 1983-85 (: the Aurex Jazz Festival in '83) and 1991-92. Their last sessions together were reconfigurations of the Lighthouse All-Stars resulting in 'America the Beautiful' (August '91)and 'Eight Brothers' (January '92). Rogers participated heavily in 466 sessions in one manner or another, more than 80 of those his own. The above account lends little account of his full career. Among its early highlights were a couple sessions with Benny Carter in January of 1946 resulting in such as 'Diga Diga Doo' and 'Rose Room'. Rogers' first session as a leader was October 8, 1951, with his Giants consisting of John Graas (flugelhorn), Gene Englund (tuba), Art Pepper (alto sax), Jimmy Giuffre (tenor sax), Hampton Hawes (piano), Don Bagley (bass) and Shelly Manne (drums). That would result in his debut album, 'Modern Sounds'. He recorded his next LP, 'Popo', at the Lighthouse in Hermosa Beach on December 27, 1951, that ensemble consisting of Art Pepper (alto sax), Frank Patchen (piano), Howard Rumsey (bass) and Shelly Manne (drums). On September 27, 1952, he recorded what would be issued as 'Live at the Rendezvous Ballroom' in Balboa  Beach, California. That group included Bob Enevoldsen, Joe Mondragon, Les Thompson, Larance Marable, Chet Baker, Gerry Mulligan, Wardell Gray, Art Pepper and Hampton Hawes with June Christy at vocals. The early sixties saw Rogers performing less, arranging more, he also beginning to write scores for film and television. In the twenty years between '63 ('Gospel Mission') and May of '83 ('Re-Entry') he worked largely as an arranger for other bands but performed very little himself. He had contributed flugelhorn to 'Born Again' per the Bath Jazz Festival in England on October 23, 1982, leading the National Youth Jazz Orchestra. Rogers' last titles are thought to have been with saxophonist, Bill Perkins, in Phoenix, AZ, in June of '93, issued in '94 per 'Live at the Royal Palms Inn Vol 5'. Rogers died in Van Nuys, California, on November 7, 1994.

Shorty Rogers   1945

   One, Two, Three Jump

      With Red Norvo

Shorty Rogers   1951



   Scrapple From the Apple

Shorty Rogers   1953


   Infinity Promenade


   Powder Puff

   Sweetheart of Sigmund Freud

   Tale Of an African Lobster

Shorty Rogers   1954

   Porter House

      Piano: André Previn

Shorty Rogers   1955

   Moten Swing

Shorty Rogers   1959

   If I Only Had a Brain

   It's Not For Me to Say

Shorty Rogers   1962

   Martians Go Home

      Bass: Gary Peacock   Drums: Larry Bunker

      Piano: Lou Levy

Shorty Rogers   1983


      Filmed live at the Aurex Jazz Festival (Japan)


Birth of Modern Jazz: Shorty Rogers

Shorty Rogers

Source: Something Else


Birth of Modern Jazz: Putte Wickman

Putte Wickman

Source: Roger Lindqvist

Born in 1924 in Fulin, Sweden, clarinetist, Putte Wickman, was raised in Borlänge. At about age fifteen his mother gave him a clarinet for Christmas, he first exposed to jazz at that time upon attending high school in Stockholm. He was playing professionally at age twenty and would become the house bandleader at the Nalen nightclub in Stockholm, the hotspot of jazz culture in Sweden. He would begin his recording career in 1945 while at the Nalen, he first grooving vinyl for the Sonora label on February 14, 1945, with a group called the Expressens Elitorkester on a 10' 78 titled 'Jam Session' bearing 'Express Blues' and 'Jam Session'. The Expressens Elitorkester was per the 'Expressen' newspaper founded in 1944. Lord's discography has that group, with Gosta Torner on trumpet, recording the same titles again on March 28, yet with the same session and release number (640). From '47 to '49 Wickman recorded sparingly with such as the Simon Brehm Orkester, Bob Laine with the Gosta Torner Sextet, the Estrads Solistorkester and the Thore Jederby Sextett. Wickman also performed at the Nalen with blind pianist, Reinhold Svensson, who first backed Wickman on the latter's first session as a leader on January 26, 1949, running a sextet for 'Liza' and 'Blue Skies'. Svensson and Wickman would partner frequently to 1953, backing each other and other outfits. One example of such was Svensson's quartet on May 24 of 1949 for releases of 'I'm Getting Sentimental Over You'/'Memories of Paris' and 'I Surrender, Dear'/'There's a Small Hotel'. Other members of that quartet were Roland Bengtsson (bass) and Georg Oddner (drums). Svensson and Wickman would reunite in '56, recording together numerously into 1959. Returning to 1949, a session with accordion player, Lill-Arne Söderberg, in October yielded 'Be-bop Accordeon' b/w 'Twilight Time'. Wickman then surfaced on a couple of titles recorded in January of 1950 with popular vocalist, Gustov Winkler: 'Have I Told You Lately That I Love You'/'Play a Simple Melody'. In February and May of 1950 he and Svensson recorded several tracks with vibraphonist, Ulf Linde, notably 'Dinah'/'Once In a While' and 'On the Alamo'/'Always'. He was with Svensson again for 'Rain On the Roof'/'Moonlight Saving Time' in 1951, those per Leonard Feather and the Swinging Swedes. In October of '51 Wickman's orchestra (the Specialorkester) recorded Lars Gullin's 'First Walk' at the Nalen, an aircheck for Swedish Radio. Wickman quit the Nalen in 1955 to form his own band. He first visited the U.S. in 1959, appearing at Carnegie Hall in New York City. During the sixties he played clubs in Stockholm as a bandleader. During that decade his first album with Brazilian musician, Sivuca, appeared in 1966: 'Putte Wickman Meets Sivuca'. During the seventies he toured solo internationally. Among Wickman's numerous awards was the Illis Quorum in 1994, the highest medal one can receive in Sweden for contributions to Swedish culture. Wickman died on Valentine's Day, 2006. His final recordings are thought to have been in January of 2005 for the LP, 'An Intimate Salute to Frankie'.

Putte Wickman   1948

   Bob's Idea

      Gosta Torner Sextet

      Piano: Bob Laine

Putte Wickman   1949

   Be-Bop Accordeon

      Lill-Arne Söderberg Quintet

Putte Wickman   1951

   Have I Told You Lately

      Vocal:Gustav Winckler

   Play a Simple Melody

      Vocal:Gustav Winckler

Putte Wickman   1958

   Softly As In a Morning Sunrise

Putte Wickman   1969

   Musikant Fran Brasilien

      Televised with Sivuca

Putte Wickman   1984

   Atlanta Inn

      Album: 'Desire'

Putte Wickman   1988

   Days of Wine and Roses

      LP: The Very Thought of You

Putte Wickman   1993

   Lush Life

      Filmed live

      Guitar: Johan Norberg

Putte Wickman   1997

   Drunk on Love

      Filmed live

Putte Wickman   1998

   Django d’or


Putte Wickman   2000


      Vocal: Lisa Nilsson

Putte Wickman   2005

   Night and Day

      LP: 'An Intimate Salute to Frankie'

   Once in a While

      LP: 'An Intimate Salute to Frankie'



Birth of Modern Jazz: Bennie Green

Bennie Green

Source: PTA Blues


Born in 1923 in Chicago, trombonist Bennie Green (not to be confused with Benny Green, the sax player, or much later pianist) is thought to have begun his professional career in 1941 in the orchestra of Earl Hines. Drafted into the Army in 1943, he returned to Hines upon discharge in 1946. Green is sometimes listed on recordings with Hines from '44 into '45 (with three other trombonists). Lord's discography has him recording AFRS transcriptions (sold for commercial use) as early as October of '44, such as 'Boogie Woogie St. Louis Blues' and 'Fatha's Idea'. But as Green was in the Army during those years that isn't possible. The closest to clarifying that discrepancy that we've found is, which would appear to have Green making his debut recordings with Hines in July of 1946 for ARC (American Recording Artists): 'I Ain't Gonna Give Nobody None Of My Jelly Roll', 'Oh My Achin' Back' and 'Let's Get Started'. Howsoever, Green was definitely with Charlie Ventura on tracks per October 18 of '46 ('Cant's Help Lovin' Dat Man', et al), after which he was definitely with Hines into early '48. In May of 1948 Green recorded four tracks with JC Heard for Apollo Records: 'Ollopa', 'This Is It', 'Sugar Hips' and 'Coastin' With J.C.'. He also put down a few tracks with Dave Lambert that May before continuing with Ventura with whom he last recorded in December of '49 ('Take the 'A' Train', et al). On December 2, 1948, Green found himself backing vocalist, Babs Gonzales, as 6 Bips and a Bop for such as 'A Lesson In Bopology' and 'Loop-plu-e-du'. Green would support Gonzales on multiple occasions, their last on November 23, 1958, for 'Minor Revelation'. One of those sessions with Gonzales on January 20, 1949, included JJ Johnson on trombone and Sonny Rollins on tenor sax for 'Capitolizing' and 'Professor Bop'. Green would see Johnson again in '53 and '58, the last in December with The Trombones, Inc. with Johnson arranging 'Soft Winds' and 'Dues Blues'. Green would record with Rollins again on January 17, 1951, with the Miles Davis Sextet: 'Morpheus', 'Down', et al. Green had recorded with Davis on two prior occasions, the first at Carnegie Hall on December 24, 1949 ('Move', et al), the next with Sarah Vaughan on May 18, 1950 in NYC. Among Green's debut titles as a leader was 'Pennies From Heaven' on April 10, 1950. Those were for the Parkway label which then folded before issues were made. His next titles on August 13 were issued as EPs by Jubilee: 'La Vie en Rose', 'Our Very Own, 'Lowland Shuffle' and 'Blues Is Green'. Titles for Jubilee in June of '51 went unissued before recording tracks on October 5 that year which would find their way onto a compilation of various artists titled 'Early Bones'. Having become a session player after the folding of Ventura's band, pianist, Gene Ammons, was the first to knock on Green's door on April 26, 1950, for such as 'Chabootie' and 'Gravy'. Ammons would later contribute to Green's 'Soul Stirrin' on April 28, 1958, and 'The Swingin'est' on November 12, 1958. After Ammons Green backed Sarah Vaughan during a couple sessions in May of 1950 with Miles Davis. The first on the 18th yielded such as 'Ain't Misbehavin'' and 'Goodnight My Love'. The second on the 19th resulted in such as 'Mean to Me'' and 'East of the Sun'. Green's would be a full career, attending above a hundred sessions during the next couple decades, about a quarter of those his own. Green recorded a number of tunes with Count Basie on May 6 of 1951 for the WNEW radio show, 'Make Believe Ballroom', in NYC, such as 'Cheek to Cheek' and 'Every Tub'. On September 18, 1953, he joined JJ Johnson and Kai Winding at the Putnam Central Club in Brooklyn to record both volumes of the album, 'Trombone Rapport'. 1956 found them issuing 'Trombone by Three'. On April 27-28, 1960, Green participated in Dizzy Gillespie's 'A Portrait of Duke Ellington'. He would join Ellington's orchestra in 1968-69, after which he moved to Las Vegas. His final performance is thought to have been at the 1972 Newport Jazz Festival, ('Bags' Groove' and 'Night in Tunisia), dying five years later of cancer on March 23, 1977, in San Diego.

Bennie Green   1948/font>


      With JC Heard

Bennie Green   1949


      With Charlie Ventura


      With Charlie Ventura


      Live   Trumpet: Miles Davis

Bennie Green   1951


      Trumpet: Miles Davis


      Trumpet: Miles Davis

Bennie Green   1958

   B.G. Mambo

   Green Street

   Just Friends

   Melba's Mood

   Minor Revelation

   Soul Stirrin'

      With Babs Gonzales

Bennie Green   1960

   And That I Am So In Love

   Blue Minor

Bennie Green   1964

   My Main Man

      Album   Tenor sax: Sonny Stitt


Birth of Modern Jazz: Al Grey

Al Grey

Source: BBC

BBorn in Aldie, Virginia in 1925, trombonist, Al Grey, was raised in Pottstown, Pennsylvania. He began playing trombone while serving in the US Navy during World War II. Upon release from active duty Grey joined Benny Carter's outfit with which he first recorded on December 12, 1945, tracks like 'Cuttin' Time', 'Forever Blue', et al. January 6 of '46 saw such as 'Jump Call' and 'Patience and Fortitude' along with 'Lonesome Morning' with vocalist, Lee Richardson. Gray hung with Carter into 1948. His session on August 23, 1946, was with Carter's Chocolate Dandies with Buck Clayton on trumpet, yielding 'Sweet Georgia Brown', 'Out Of My Way', 'What'll It Be' and 'Cadillac Slim'. Grey would partner with Carter again in 1959-60 supporting Count Basie. They would reunite in Malmo, Sweden, with Roy Eldridge on trumpet on November 7, 1972, for 'Jim Dog Blues', 'The Nearness of You' and 'Undecided'. They would back Basie again in 1976-77, before their final reunion on June 13, 1989, at La Villette in Paris, for a tribute to Charlie Parker featuring Jay McShann which saw release as 'Paris All-Star Blues'. With above 350 sessions to his name, 40 of those his own, Grey's career requires some compression to stuff into this little box. A good place to start is Grey's first major orchestra, that of Lionel Hampton with which he first recorded per a couple radio broadcasts from Little Rock, Arkansas, in October of 1948, yielding 'Dues In Blues'. 'Jay Bird', 'Beulah's Boogie', 'Calling Dr. Mancuso' and 'Re-Bop'. Grey stayed with Hampton to 1952, would join him again at the Newport Jazz Festival in 1967, yet again in Nice, France, in 1982 and lastly in 1995 in NYC and Los Angeles. It was with Hampton on May 21, 1951, that he first recorded with trumpeter, Quincy Jones, who arranged titles on that date: 'Hannah Hannah', 'Shalom Shalom', and two parts of 'Eli Eli'. Grey and Quincy Jones worked sessions for Hampton into '52. They later found themselves partners with Count Basie in 1958-59, would work together a few times in the sixties, recorded Jones's 'Gula Matari' in 1970, and finally supported Joe Williams at the Monterey Jazz Festival on September 17, 1977, Jones arranging. It would be well to drop another big name here, that of Dizzy Gillespie with whom Grey experienced several sessions in 1956-57. Grey appeared on three albums by Gillespie, the first, 'Dizzy in Greece', issued in 1957. They would reunite twenty some years later to back Teresa Brewer at Carnegie Hall on April 5, 1978. Considerably more significant in Grey's career was Count Basie, joining the latter's orchestra in time for 'Atomic Basie' on October 21, 1957. Basie's operation was Grey's main rope to 1966. Grey would appear on nigh twenty albums with Basie during that period. The first was 'Basie Plays Hefti' in 1958. The last was nine years later, 'Basie's Beat', in 1967. Grey would return in 1970-72 and 1975-77, their last session for Joe Williams at the Monterey Jazz Festival per above. Among the countless highlights of Grey's career was his first session as a leader in Houston in 1953, yielding 'Trombone Interlude', 'Bid Chief', 'Walkin' One' and 'Over and Under'. A couple more sessions followed that year and the next. In 1959 he issued his debut album, 'The Last of the Big Plungers'. Some 25 more would ensue over the next four decades, including 'Struttin' and Shoutin' in 1976. Grey's last LP was issued in 1998: 'Echoes of New Orleans'. Other highlights include a couple of sessions with Ella Fitzgerald in 1952 with the Sy Oliver Orchestra, resulting in such as 'A Guy Is a Guy' and 'Angel Eyes'. Grey would see more of Fitzgerald in the seventies and eighties. Another trombonist with whom he frequently worked was Melba Liston. Their first such occasion was for a CBS radio broadcast from the Birdland in NYC with Dizzy Gillespie, recording titles that would find their way onto 'Live in Hi-Fi from Birdland'. More sessions with Gillespie followed before one with the Ernie Wilkins Orchestra on September 6, 1957: 'Blue Jeans', 'Ain't Cha Glad?', et al. On December 20, 1958, Grey participated in Liston's 'Melba Liston and Her Bones'. June 23, 1959, saw them in the Quincy Jones Orchestra backing Ray Charles on 'Let the Good Times Roll', 'Alexander's Ragtime Band', et al. They would bump shoulders again in May of '73 for pianist, Randy Weston's, 'Tanjah'. Another highlight was the recording of 'Snap Your Fingers' at the Birdland on January 31, 1962 with Green's All Stars consisting of Donald Byrd (trumpet), Billy Mitchell (tenor sax), Bobby Hutcherson (vibes), Herbie Hancock (piano), Herman Wright (bass) and Eddie Williams (drums). Grey and Hancock would later sit in for Quincy Jones' 'Gula Matari' in March of 1970. Another big deal was touring with Frank Sinatra in '65 and backing his operation at the Sands Hotel in Las Vegas in '66. Grey died of diabetes on March 24, 2000.

Al Grey   1948

   One O'Clock Jump

      With Benny Carter

Al Grey   1961

   Grey's Blues

      Billy Mitchell Sextet

   On Green Dolphin Street

      Billy Mitchell Sextet

Al Grey   1963

   Boss Bone


Al Grey   1970

   Live in Stockholm

      With Oscar Peterson

Al Grey   1973

   Jazz Harmonie

      Filmed live

Al Grey   1977

   Ain't That Funk For You

      Album: 'Ain't That Funk For You'

      Tenor sax: Arnett Cobb

   Bookie Blues

      Album: 'Basie Jam: Montreux '77'

   Live in Montreaux

      Filmed live with Count Basie

   On Green Dolphin Street

      Album: 'Ain't That Funk For You'

      Tenor sax: Arnett Cobb

Al Grey   1978

   Stompin' the Blues

      Live with Jimmy Forrest

Al Grey   1982


      Live with Jimmy Forrest

Al Grey   1984

   Straighten up and Fly Right

      Album with Buddy Tate: 'Just Jazz'


      Album with Buddy Tate: 'Just Jazz'

Al Grey   1990

   Mood Indigo

      Album: 'Live at the Floating Jazz Festival'


Birth of Modern Jazz: Tony Scott

Tony Scott

Source: All Music

Born in 1921 in Morristown, New Jersey, clarinetist, Tony Scott, is thought to have made his debut performance in 1939 with Ben Webster at Minton's Playhouse in Harlem. He would record with Webster several years later on a few occasions. He attended Juilliard from 1940 to 1942, after which he served in the Army. Upon release from duty Scott found employment at the Apollo Theater with Lucky Millinder. He would record a few tracks with Millinder later in '49. Scott's earliest known recordings were for Buddy Rich in December 1945 on titles that would later be released in 1979 as 'A Young Man and His Drums'. Scott was a major talent with perhaps 180 sessions to his name, half of those his own. We'll thus abandon the notion of pursuing his long history, and mention but a few vocalists out of the vast number of musicians with whom he recorded. Sarah Vaughan came along on March 6, 1946, to contribute 'All Too Soon' to Scott's initial session as a leader, that with his Down Beat Club Septet in NYC, also recording the instrumentals, 'You're Only Happy When I'm Blue' and 'Ten Lessons With Timothy'. Ben Webster and Dizzy Gillespie also participated, the latter as B. Bopstein. Scott would later support Vaughan in a couple sessions in 1950. Babs Gonzales popped up in August of '47 for titles to support like 'Roy's Groove' and 'Phipps' Dream'. Also in on that were Bobby Tucker (piano), Arthur Phipps (bass) and Roy Haynes (drums). Scott recorded with Billie Holiday on multiple occasions, the first on December 10, 1952, at the Apollo Theater, appearing on a radio broadcast with the Buster Harding Orchestra for renditions of 'Mop Mop', 'Tenderly' and 'My Man'. Dizzy Gillespie and Charlie Parker took part in that. Scott would record with Holiday again in 1955-56, the first in '55 for 'Stay with Me', their last at Carnegie Hall on November 10, 1956. Scott's debut album is thought to have been the 10 inch, 'Music After Midnight', issued in 1953. In 1955 he appeared on Carmen McRae's album, 'Carmen McRea', recorded December the previous year. Scott released his album, 'Fling', in 1955. During the early sixties he toured Asia, leading to the release of 'Music for Zen Meditation' in 1964. 1970 saw the issue of 'Homage to Lord Krishna', after which Scott based himself in Italy. Scott died on March 28, 2007, having released above fifteen albums as a leader. His final recordings had been made in Milan, Italy, in February of 2006, released posthumously that April on a CD called 'A Jazz Life'.

Tony Scott   1946

   All Too Soon

      Tenor sax: Ben Webster

     Vocal: Sarah Vaughan

Tony Scott   1952


      Vocal: Billie Holiday

Tony Scott   1953

   Music After Midnight

Tony Scott   1955

   But Not For Me

Tony Scott   1957

   Blues For Charlie

   If I'm Lucky

   Villa Jazz

     Piano: Bill Evans

Tony Scott   1963

   Swootie Patootie

Tony Scott   1964

   Is All Not One?

    Album: 'Music for Zen Meditation'

   The Murmuring Sound of the Mountain Stream

    Album: 'Music for Zen Meditation'

Tony Scott   1967

   Swara Sulina

Tony Scott   1978


Tony Scott   1994

   A Night In Tunisia

    Filmed live   Drums: Giulio Capiozzo

Tony Scott   2007


    Album: 'A Jazz Life'

   A Night In Tunisia

    Album: 'A Jazz Life'



Birth of Modern Jazz: Donald Byrd

Donald Byrd

Source: Flea Market Funk


Born in 1932 in Detroit, Donald Byrd, cornetist and trumpeter largely associated with bebop, worked with Lionel Hampton as a teenager. He also made his first recordings at age fifteen, as Sahib Byrd, with the Robert Barnes Sextette: 'Black Eyed Peas' and 'Bobbin' At Barbee's'. (Neither of those are at YouTube but they can be heard at the Crown Propeller Blog.) Upon graduating from high school Byrd joined the Air Force. He took his bachelor's from Wayne State University and his master's from the Manhattan School of Music. While at Manhattan he replaced Clifford Brown in Art Blakey's Jazz Messengers. He is thought to have next recorded on June 28 of 1955 with the Kenny Clarke Septet (including Cannonball and Nat Adderley), several tracks for Savoy including 'With Apologies to Oscar' and 'Bohemia After Dark'. On August 12 that year he recorded a number of tracks with the Oscar Pettiford Octet for Bethlehem Records. He would lay tracks with Pettiford into 1958. Their last such occasion was in Paris on October 29, Pettiford backing Byrd for 'Donald Byrd Plays 'Au Chat''. 1955 was a big year for Byrd, as he released his first album, 'Byrd Jazz', that year, also grooving vinyl with Yusef Lateef (Transition label), George Wallington (Progressive label), Jackie McLean (Ad Lib ADL), Hank Jones (Savoy) and Ernie Wilkins ('Top Brass Featuring Five Trumpets'). He backed Wallington on three more albums in '56 and '57 for a total of five. His last of several sessions backing McLean was on February 11, 1963, for 'Vertigo'. He last recorded with Jones in 1958, they supporting Jim Timmens on 'Here's How-Dee-Do' per the album, 'Jazz Festival in Hi-Fi'. Young Herbie Hancock is thought to have first recorded with Byrd per the Pepper Adams/Donald Byrd Quintet on March 2, 1961, titles such as 'Curro's' and 'Bird House', to be found on the album, 'Out of This World'. Adams and Byrd went back to the Johnny Griffin Sextet in 1958. They would back each other on several occasions to as late as May 15, 1970, for Byrd's 'Electric Byrd'. Byrd and Griffin supported Thelonious Monk on 'Blues Five Spot' on February 25, 1958, and would record together again in Germany in 1964. As for Hancock, he hung with Byrd into 1965, Byrd supporting Hancock on the latter's album, 'My Point of View', in 1963. Their last session together was to back Wes Montgomery on 'Goin' Out of My Head'. Among Byrd's more frequent partners was pianist, Duke Pearson, who first backed Byrd on October 4, 1959, to record Byrd's 'Fuego'. Pearson usually supported Byrd though they recorded Pearson's 'Wahoo!' on November 21, 1964. Their last session on December 4, 1970, wrought 'Perpetual Love', 'Elmina', 'The Loud Minority' and 'My Love Waits'. Byrd transitioned from bop to jazz fusion in 1969 with the release of the LP, 'Fancy Free'. Byrd continued with fusion during the seventies, then took his doctorate in music education from Columbia University in 1982, he thereafter teaching at various educational institutions. Byrd released his final album, 'Touchstone', in 2000. He passed away in 2013 in Dover, Delaware. More Donald Byrd under Duke Pearson.

Donald Byrd   1947

   Black Eyed Peas/Bobbin' At Barbee's

Donald Byrd   1955


      Kenny Clarke Septet

     Saxophone: Cannonball Adderley

   Crazy Rhythm

   Gotcha Goin' and Comin'

   Hank's Other Tune (The Late Show)

   Hear Me Talkin' to Ya/Bohemia After Dark

      Kenny Clarke Septet

      Saxophone: Cannonball Adderley

   If I Love Again

   It's You or No One/Lover Man

      Alto sax: Jackie Mclean

   Long Green

&   Shaw 'Nuff

      With Yusef Lateef

   Someone to Watch Over Me

   Star Eyes


   With Apologies to Oscar

      Kenny Clarke Septet

      Saxophone: Cannonball Adderley

Donald Byrd   1956

   The End Of a Love Affair

      Drums: Art Blakey

   Nica's Dream

      Drums: Art Blakey

Donald Byrd   1958

   Paul's Pal

      Piano: Wynton Kelly

   Sudwest Funk

      Piano: Wynton Kelly

   When Your Lover Has Gone/font>

      Piano: Wynton Kelly

Donald Byrd   1959

   Everything Happens to Me

   Here I Am

      Piano: Wynton Kelly

Donald Byrd   1960

   Quiet Temple (All Alone)

      With Booker Little

Donald Byrd   1961

   I'm an Old Cowhand

   It's A Beautiful Evening

      Baritone sax: Pepper Adams

      Piano: Herbie Hancock

Donald Byrd   1969

   Fancy Free

      Album: 'Fancy Free'



Birth of Modern Jazz: Jimmy Giuffre

Jimmy Giuffre

Source: Cisco Houston

Born in 1921 in Dallas, Jimmy Giuffre could well be entered in Modern Jazz Saxophone but that he was a master with clarinet as well. Giuffre made his first recordings in April of 1947 with the Jimmy Dorsey Orchestra, tracks like 'Angela Mia' with Bob Carroll on vocals and 'At Sundown' with Dee Parker at vocals. Giuffre hung with Dorsey into September that year, meanwhile putting down tracks with Boyd Raeburn that August. His first of a number of sessions through the years with Red Norvo also arrived in 1947, as well as a couple titles with Jesse Price before the first of a number of sessions through the years with Woody Herman, that in Hollywood on October 19 of '47 for 'If Anybody Can Steal My Baby' and 'I Told Ya I Love Ya, Now Get Out'. Among his more important compatriots for decades to come was in on that session, Shorty Rogers, with whom he would partner on numberless occasions, both backing other bands and each other. Rogers would side 'The Jimmy Giuffre Clarinet' in 1956. Giuffre would be among Rogers' Giants for 'Wizard of Oz' in '59. Their last recordings together wouldn't arrive until the Aurex Jazz Festival in Japan in 1983. In 1952 Giuffre was a member of Howard Rumsey's second group of Lighthouse All-Stars. His first two sessions as a leader in April and June of 1954 resulted in his debut album that year: 'Jimmy Giuffre'. The more famous of his compositions on that was 'Four Brothers' in reference to Stan Getz, Zoot Sims, Herbie Steward and Serge Chaloff when they were with Woody Herman, a tune that both Giuffre and Herman recorded often. He formed his first trio with bassist, Ralph Peña, and guitarist, Jim Hall, to record 'The Jimmy Giuffre 3' on December 3, 1956. Giffre and Hall went back to September of '55 when they were two of Jack Millman's All Stars to record 'Shades of Things to Come'. Hall would stick with Giuffre until the recording of 'In Person' at the Five Spot in NYC in August 1960. The two would support pianist, John Lewis, the next month, then last lay tracks together in May of '63 for vibraphonist, Teddy Charles. His first opportunity to record with pianist, Bill Evans, was on March 25, 1958 for Hal McKusick's 'Cross-Section Saxes'. They joined each other on a couple sessions in '59 with Lee Konitz, and finally for Evans' 'Living Time' in May of '72. In 1961 Giuffre formed a free jazz trio with bassist, Steve Swallow, and pianist, Paul Bley, that released on the album, 'Fusion'. They held a couple recorded sessions in Germany later that year and put down more tracks into 1962. They would reunite as late as '92 for an April session in NYC, a December session in Marseilles, France, the same year, and '93 for their last session in May in Milan, Italy, that resulting in 'Conversations With a Goose'. Swallow will have exchanged double bass for bass guitar. During the seventies Giuffre ran a trio with bassist Kiyoshi Tokunaga and drummer Randy Kaye. Their first session in December of '72 in Sea Cliff, NY, arrived to 'Music for People, Birds, Butterfields & Mosquitoes'. Their next and last was for 'River Chant' on April 25, 1975. Giuffre began teaching music at New York University in the seventies. He also taught at the New England Conservatory of Music in Boston in the nineties. With a perhaps 300 sessions to his name, 63 his own, Giuffre died of pneumonia in Pittsfield, Massachusetts, on April 24, 2008. He plays both clarinet and sax on examples below. Several are live performances.

Jimmy Giuffre   1947

   I Told Ya I Love Ya, Now Get Out

      With Woody Herman

      Vocal: Walter Yoder

Jimmy Giuffre   1952

   Swing Shift/Big Girl

      With the Lighthouse All-Stars

Jimmy Giuffre   1957

   The Train and the River

      Filmed live

Jimmy Giuffre   1959

   A Little Melody

      Filmed live

   Time Machine

      Filmed live

Jimmy Giuffre   1961

   Jesus Maria

      Album: 'Fusion'

      Bass: Steve Swallow   Piano: Paul Bley

   In the Mornings Out There

      Album: 'Fusion'

     Bass: Steve Swallow   Piano: Paul Bley

Jimmy Giuffre   1962

   Spasmodic from Freefall



Birth of Modern Jazz: Urbie Green

Urbie Green

Source: Discogs


Born in Mobile, Alabama in 1926, trombonist Urbie Green began playing professionally at age fifteen upon the death of his father. His debut band was that of Bill Lagman's. Green also played with Tommy Reynolds, Jan Savitt and Frankie Carle before his big break with Gene Krupa arrived in 1947 in Hollywood, also recording for the first time with Krupa on July 19, resulting in such as 'I'll Never Make the Same Mistake Again' and 'Fun and Fancy Free' with vocalist, Buddy Hughes. With sessions well exceeding 630, 43 his own, Green is one of the most prolific jazz musicians (by random comparison with others who emphasized recording: Tommy Dorsey 1,153, Jack Teagarden 507, JJ Johnson 355). Just so, this brief account can't but come up looking like a slice of Swiss cheese with not a little missing. Green would continue with Krupa off and on, yet numerously, into the latter fifties, their last sessions in 1961 in NYC. Another band of emphasis was Woody Herman's. Green joined Herman in time to record such as 'Lonesome Gal' with vocalist, Dolly Houston, on January 9, 1951. He would become a member of Herman's Third Herd, as well as New Third, recording 'Woody Herman and the New Third Herd' on May 30, 1952: 'Blues In Advance', 'Jump In Line', 'Terresita' and 'Stompin' At The Savoy'. Green remained with Herman into '53. They backed saxophonist, Buck Clayton, on a couple sessions together in '54, to reunite five years later on October 3, 1959, at the Monterey Jazz Festival. Another important early band was Clayton's, Green joining that outfit in time for 'Moten Swing' and 'Sentimental Journey' on December 14, 1953. Clayton and Green would see numerous sessions together throughout the fifties, either backing other bands, especially Benny Goodman's, or Green supporting Clayton. Their last session together was with Goodman per the television broadcast of 'Swing into Spring' from NYC on April 10, 1959, yielding such as 'Let's Dance' and 'Air Mail Special' with a couple medleys. They would reunite in March of '74, Green backing Clayton on such as 'Boss Blues' and 'Case Closed'. With Green's career largely concentrated on big bands often employing say, four trumpeters, among those with whom Green often got saddled was Clark Terry. Green first joined Terry per the latter's septet on June 2, 1954, putting down tracks that would find their way onto 'Hot Versus Cool - A Battle of Jazz'. December 21, of 1956 found them backing Dinah Washington with the Quincy Jones Orchestra. They found themselves together numerously from '59 to '67, either backing Jones or other bands. On April 29, 1969 they both contributed to a tribute to Duke Ellington at the White House in Washington DC that would be made available in 2002 per 'Duke Ellington ‎– 1969 All-Star White House Tribute'. Green last backed Terry on July 7, 1974, at Radio City Music Hall in NYC: 'Walkin'', 'Just Friends', etc.. Another important horn player was trombonist, JJ Johnson, with whom Green first recorded in the Quincy Jones Orchestra alongside trombonists, Jimmy Cleveland and Kai Winding, on February 25, 1955, for 'Grasshopper'. That would be found on 'The Giants Of Jazz' in 1963 (along with Johnson's 'Fatback'). Green and Johnson recorded frequently together to as late as 1969, both backing other operations or Green supporting Johnson. In 1968 Johnson appeared on both volumes of Green's '21 Trombones'. Green's first tracks with Benny Goodman was a live performance at Basin Street West in NYC in March of 1955, with Goodman's octet: 'Don't Be That Way', 'Rose Room', etc.. Green contributed to a shotgun blast of recordings made by Goodman that year ('55) and would perform with Goodman again in 1957-60, '67, '69 and '75. That last occasion was on November 14 for 'Slipped Disc' and 'Limehouse Blues'. Limehouse, incidentally, is a district in east London. Composed by Douglas Furber (lyrics) and Philip Braham (music), the standard was first made popular in 1922 by Gertrude Lawrence. Punctuating his career in swing, Green found time while with Goodman to join Count Basie in August of '55 to record the soundtrack to 'The Benny Goodman Story'. Green would see Basie again in January of '63 to record 'This Time by Basie'. A more longtime important associate was pianist, Dick Hyman, they putting down tracks together for the first time With Woody Herman on November 14, 1955, in NYC with Rosemary Clooney at vocals, such as 'It's Bad For Me' and 'Goodbye'. They put down numberless titles together over the next forty years, either supporting other operations or Hyman siding Green. Their last session together didn't arrive until May 1994 for Hyman's 'From the Age of Swing'. Another trumpeter with whom Green frequently recorded was Doc Severinsen. Their first such occasion was with the Benny Goodman Orchestra on December 12, 1955: 'Don't Be That Way' and 'King Porter Stomp'. They would attend numberless sessions together over the coming decade, either supporting other operations or Severinsen siding Green. In 1964 Green backed Severinsen on 'The Big Band's Back In Town'. Rounding out Green's career in swing was Tex Beneke on February 24, 1956: 'Lisbon Antigua', 'Montat, 'Lullaby of Birdland' and 'No, Not Much'. Green would join Beneke on a few more occasions in the latter fifties, their last together on September 26, 1960, resulting in such as 'Ballad of the Alamo' and 'Here's to the Ladies'. In November of 1960 Green took a step away from swing with Dizzy Gillespie to contribute to 'Gillespiana'. On May 22, 1961, he recorded Gillespie's 'Perceptions'. Among countless others to sprinkle Green's career were Charlie Parker ('51 with Herman), Maynard Ferguson ('58, '64), Jimmy McPartland ('60, '67), Enoch Light and the Light Brigade ('62, '70), Jimmy Smith (1962-64), Astrud Gilberto ('64, '67, '77), Pee Wee Russell ('67), Eddie Daniels ('74, 1977-80) and Delaware Water Gap ('80). Other highlights in Green's career include his first session as a leader on December 27, 1953, resulting in ''New Faces - New Sounds'. After recording 'The Benny Goodman Story' in '55 per above Green ran Goodman's band for a three-month tour. He directed the Tommy Dorsey ghost band in 1956. Having released about thirty name albums, as of this writing Green yet performs annually at the COTA Festival in Delaware Water Gap, Pennsylvania.

Urbie Green   1951

   I'll Never Make the Same Mistake Again

      With Gene Krupa   Vocal: Buddy Hughes

      Possibly Green's first recording

Urbie Green   1951

   The Goof and I/Leo the Lion

      Album: 'Byrd Flies With the Herd'

Urbie Green   1954

   Lullaby of Birdland

Urbie Green   1955

   Reminiscent Blues

Urbie Green   1956

   No Moon at All

      Duet with Kai Winding

Urbie Green   1958

   I Love Paris

      Album: 'We Dig Cole!'

Urbie Green   1959

   Silhouettes In Jazz

Urbie Green   1961

   At Last

      Album: 'The Persuasive Trombone Of Urbie Green'

   Prisoner Of Love

      Album: 'The Persuasive Trombone Of Urbie Green'

Urbie Green   1964

   Fly Me to the Moon

      Vocal: Astrud Gilberto

Urbie Green   1968

   Blue Again

Urbie Green   1970

   Stone Flower

      Album with Antonio Carlos Jobim

Urbie Green   1973

   Ave Maria/Pathetique Sonata

Urbie Green   1975


      Live at the Village Jazz Lounge

Urbie Green   1976


Urbie Green   1977

   You Are So Beautiful

Urbie Green   1982

   Autumn Leaves



Birth of Modern Jazz: Clark Terry

Clark Terry

Source: Notes on the Road



Born in 1920 in St. Louis, Missouri, not only did trumpeter Clark Terry release his first album in 1955, he produced three of them. The example below, 'Swahili', is from his album by the same name. Terry played professionally in the St. Louis area until joining the U.S. Navy in 1942. Upon leaving the Navy in 1945 Terry found employment with Lionel Hampton and George Hudson. Terry is thought to have first recorded with his brief-lived Section Eights band in a V-Disc session in February of 1947, those tracks: 'Phalanges' (V-Disc 783), 'Sleep' (V-Disc 783), 'Flat 5 On the Avenue' ((unissued), 'Billie's Bounce' (V-Disc 805), 'Terry's Tune' (unissued) and 'On the Sunny Side of the Street'. On April 29 the same year Terry laid a few tracks with the Eddie Vinson Orchestra for the Merc and Bleu labels, sharing trumpet with Volley Bastine and John Hunt on 'Luxury Tax Blues', 'Railroad Porter’s Blues'  and 'Gonna Send You Back Where I Got You From'. Terry began arranging upon joining Charlie Barnet, recording about fifty tracks with Barnet from September 20 through December 7 of 1947. His first session with Count Basie occurred on September 11, 1948: 'X-1', 'Futile Frustration', 'Am I Asking Too Much', 'Evil Gal Blues', 'Good Bait', 'Moon Nocturne', 'Paradise Squat', 'I Want to Cry', 'Blue Skies' and 'The King'. Terry exchanged Basie for Duke Ellington in 1951, with whom he worked until 1959. Between 1960 and 1972 he was a staff musician for NBC, including 'The Tonight Show'. On June 14, 1962, Terry participated in pianist, Oscar Peterson's, 'Bursting Out'. He first laid tracks with JJ Johnson on June 9, 1964, they supporting Lalo Shifrin's 'New Fantasy'. On December 7 he contributed to Johnson's album, 'J.J.!'. He had supported Johnny Dankworth's 'The Zodiac Variations' on October 9, 1964, with   trombonist, Bob Brookmeyer. They would see multiple sessions together in the sixties, also co-leading a few albums. Terry was instrumental in the founding of Jazzmobile in Harlem in 1965, an educational organization that taught jazz at public schools and jazz camps. His first occasion to record with Ella Fitzgerald arrived with Duke Ellington at the Hollywood Bowl on July 1, 1967, she performing 'Cotton Tail'. He would see more of Fitzgerald in '74 and the early eighties. He became director of the Clark Terry International Institute of Jazz Studies in 1994. He began hosting the Clark Terry Jazz Festival in 2000. Yet active as of this writing, Terry has appeared at more than fifty jazz festivals, toured internationally, served as a U.S. State Department jazz ambassador in Africa and the Middle East, performed for seven U.S. Presidents, composed above 200 songs and attended more than 940 recording sessions, 122 this own. (By way of comparison, others prolific were Louis Armstrong: 620, Sweets Edison: 531, Dizzy Gillespie: 501). Among his many awards, Terry was made a Jazz Master in 1991 by the National Endowment for the Arts, received the Grammy Lifetime Achievement Award in 2010 and held sixteen honorary doctorates. Terry died on February 21, 2015. He is not featured (among three other trumpeters) in the 1948 release of 'Spasmodic' below. But he is highlighted in the 1950 release of 'Little White Lies'.

Clark Terry   1947

   Billy's Bounce

      V-Disc (Side B: Art Lund with Benny Goodman)

      With the Section Eights

   Deep Purple

      With Charlie Barnet


      V-Disc (Side A: Buddy Weed Trio)

      With the Section Eights

Clark Terry   1948


      With the Count Basie Orchestra

Clark Terry   1950

   Little White Lies

      With the Count Basie Octet

Clark Terry   1955


Clark Terry   1957

   Clark Bars

      Sax: Paul Gonsalves


   Trumpet Mouthpiece Blues

      Sax: Paul Gonsalves

Clark Terry   1960


Clark Terry   1961

   Among My Souvenirs

   As You Desire Me


   This Is Always

Clark Terry   1967


      Filmed live

Clark Terry   1977

   Sextet Samba De Orfeu

      Filmed live

   Sweethearts On Parade

      Filmed live

Clark Terry   1994

   Jive At Five

      Album: 'Portraits'

Clark Terry   2000

   On the Alamo/Somewhere Over the Rainbow

      Live in concert

    Elijah/Mood Indigo/The King

      Live in concert



Birth of Modern Jazz: Flumpet

One of Art Farmer's Flumpets

Source: Flickr/jwillmusic


Born in 1928 in Council Bluffs, Iowa, trumpet and flugelhorn player Art Farmer debuted as a band leader on July 2, 1953, putting together the Farmer Septet in NYC to record 'Work of Art', 'The Little Bandmaster' and 'Up In Quincy's Room'. His first recordings, however, had been with Jay McShann in Los Angeles on an indeterminable date in early 1948: 'Black Train Blues', 'You Turned Your Back On Me', 'No Name Boogie' and 'Thinkin' 'Bout My Baby'. On June 28 of 1948, also in Los Angeles, Farmer laid his first tracks with R&B vocalist, Big Joe Turner, and boogie woogie pianist, Pete Johnson, toward the issue of 'Radar Blues'/'Trouble Blues', 'Wine-O-Baby'/'B & O Blues', 'Christmas Date Boogie'/'Tell Me Pretty Baby' and 'Old Piney Brown is Gone'/'Baby Won't You Marry Me'. January 19, 1949, Farmer recorded several tunes with Roy Porter's 17 Beboppers: 'Pete's Beat', 'Sippin' with Cisco', 'This Is You' and 'Gassin' the Wig'. April of '49 saw tracks with saxophonist, Wardell Gray, in Hollywood: 'Bop' and 'Scratch'. Another session in April saw 'Perdido' and 'The Great Lie' with the Kenton All Stars. Farmer continued with Porter into 1950, held a session with Ike Lloyd in June of '51, then was back strong with Gray in '52. One hour older than his twin brother, bassist, Addison Farmer, the pair had moved to Los Angeles in 1945. They worked together in a cold storage warehouse at first, but were soon getting professional gigs, among who first hired Farmer being Horace Henderson, Jimmy Mundy and Floyd Ray. Getting hired by Johnny Otis was something to toast, until the demands of working with that band left Farmer with a lacerated lip, forcing him to quit four months later. He then went to New York to acquire technique training, working as a janitor until he was ready to freelance in 1947. He returned to Los Angeles in 1948 to work, per above, with such as Jay McShann, Benny Carter, Roy Porter, Gerald Wilson and Wardell Gray. Even so, Farmer had to keep day jobs until being hired by Lionel Hampton in 1952, with whom he toured Europe. Returning to New York, Farmer made his first recordings as a leader, per above, in 1953. Thereafter in great demand, among those with whom he performed in the fifties were Gigi Gryce, Horace Silver, Gerry Mulligan, Thelonious Monk, Charles Mingus, Lester Young, George Russell, Quincy Jones, Oliver Nelson, Edgard Varèse, Hal McKusick and Benny Golson. With all that beneath his hat, he put together an important quartet with guitarist, Jim Hall, bassist, Steve Swallow, and drummer, Walter Perkins, in the early sixties. It was about that time he began playing flugelhorn rather than trumpet. Farmer toured Europe with Jimmy Heath in 1965, afterward working in the pit orchestra of Elliot Lawrence on Broadway, then moved to Europe in 1968 to play with Kenny Clarke, eventually calling Vienna home, joining the Austrian Radio Orchestra. During the seventies and eighties Farmer spent most of his time traveling from one gig to the next. In 1982 he regrouped the Jazztet, which he had formed in 1959 with tenor sax man, Benny Golson. In 1989 Farmer helped design the flumpet, a flugelhorn-trumpet hybrid. He finally bought a second house in New York in the early nineties, after two decades of commuting between there and Vienna. During the nineties he performed with saxophonist, Clifford Jordan, at the Sweet Basil Jazz Club. He also played at the Village Vanguard. Farmer died in New York City on October 4, 1999. His last of about 400 sessions, more than a quarter of them his own, are thought to have been per a tour to Europe in 1998. Recordings in February in Poland that year saw the issue of 'Art Farmer Plays Standards'. A final track, 'Soon', was also put down in February in Vienna.

Art Farmer   1948

   Baby Won't You Marry Me

      With Big Joe Turner

   Old Piney Brown Is Gone

      With Big Joe Turner

   Radar Blues

      With Big Joe Turner


      With Big Joe Turner

Art Farmer   1949

   Gassin' the Wig

      With Roy Porter

   Little Wig

      With Roy Porter

Art Farmer   1952

   Farmer's Market

      Saxophone: Wardell Gray

Art Farmer   1954

   Mau Mau

   A Night At Tony's

      Sax: Gigi Gryce

Art Farmer   1957

   It's Too Late Now

      Art Farmer Quintet

Art Farmer   1958

   Modern Art

      Album   Art Farmer Quintet

Art Farmer   1972

   We've Only Just Begun

Art Farmer   1975

   What Are You Doing the Rest of Your Life

Art Farmer   1977


      Vocal: Yusef Lateef

   Crawl Space


Birth of Modern Jazz: Art Farmer

Art Farmer

Photo: Francis Wolff

Source: All About Jazz


Birth of Modern Jazz: Humphrey Lyttelton

Humphrey Lyttelton

Source: BBC


Born in 1921 in Berkshire, England, Humphrey Lyttelton had served as a second lieutenant in the Grenadier Guards during World War II when he inadvertently made his first radio broadcast on VE Day, 1945. Playing his trumpet from a wheelbarrow during celebrations, the BBC happened to record it. The recording yet exists but not at YouTube. Upon release from service Lyttelton attended Camberwell Art College, then became a cartoonist for the 'Daily Mail'. His first intentional recordings were on February 5, 1946, with his own band, those titles unissued: 'Sister Kate, 'Tiger Rag' and 'That Da Da Strain'.     His next recording on the 7th, 'At Sundown', for drummer, Carlo Krahmer, also went unissued. Krahmer had backed Lyttelton's first session. Further unissued sessions, both for Krahmer and George Webb's Dixielanders, followed into 1947 until first vinyl got released by Esquire with Krahmer's Chicagoans per a concert at Town Hall in Birmingham on November 21, 1947, titles like 'Original Dixieland One-Step' and 'Fidgety Feet'. In 1949 he met Sidney Bechet, who sat in with Lyttelton's band on November 13, 1949, in London to record 'Some of These Days', 'Black and Blue', 'Who's Sorry Now', 'Sleepy Time Down South', 'I Told You Once, I Told You Twice' and 'Georgia On My Mind'. Lyttelton's original main interest in music was the traditional jazz of New Orleans, though his repertoire later expanded. In 1967 Lyttelton became a presenter for 'Best of Jazz' on BBC Radio 2, a position he held to the month of his death in April 2008. He was working on the album, 'Cornucopia 3' when he passed away, which has been available since 2009. Beyond a highly prolific recording career of above 300 sessions, the majority his own, Lyttelton's favorite pursuit was calligraphy.

Humphrey Lyttelton   1949

   I Told You Once, I Told You Twice

      With Sidney Bechet

   Some of These Days

      With Sidney Bechet

Humphrey Lyttelton   1954

   Basin Street Blues

   Feline Stomp

      Live performance

   High Society

   The Onions

Humphrey Lyttelton   1956

   Bad Penny Blues

   Close Your Eyes

Humphrey Lyttelton   1978

   Tin Roof Blues

      Live with the Harlem Ramblers

Humphrey Lyttelton   1982


      Live with the Harlem Ramblers

Humphrey Lyttelton   1986


      Live performance


  Born in 1930 in Hertfordshire, English trombonist and bandleader Chris Barber first recorded in October 1949 for the Tempo label, with a band consisting of Hugh Middleton (cornet), Alex Revell (clarinet), Colin Bennett (piano), Arthur Hoxley (banjo) and John Westwood (drums). Those tracks were 'Mabel's Dream' (rejected), 'Working Man Blues', 'Gatemouth' and 'Doctor Jazz' (rejected). That's per jazzdisco. tradjazzradio has them all issued on 78s. In March of 1951 Barber recorded for Esquire with his New Orleans Jazz Band: 'Oh Didn't He Ramble' and 'Snake Rag' (unissued). In August, also for Esquire, though with his Washboard Wonders, he grooved 'Everybody Loves My Baby' and 'Whoop It Up'. Back with his New Orleans Jazz Band, Barber then recorded for Tempo again in October of 1951: 'Camp Meeting Blues', 'Stomp Off, Let's Go', 'When Erastus Plays His Old Kazoo' and 'Misty Morning'. In 1953 Barber recorded with Ken Colyer's Jazzmen. When Colyer left the group in 1954 Barber renamed it the Chris Barber Band, the same year he began working with Irish blues vocalist, Ottilie Patterson. Barber's first session with Patterson was on January 9, 1955, at Royal Festival Hall in London, titles like 'St. Louis Blues' and 'I Hate a Man Like You'. Their last of numerous sessions was nigh thirty years later on January 19, 1984 in Netherlands: 'Salty Dog', 'Doctor Jazz', et al. Barber made the first of his many visits to the States in 1959 to play with Muddy Waters. He was a UK tour manager for Waters, as well as blues artists, Big Bill Broonzy, Brownie McGhee and Sonny Terry. Among Barber's longest musical associations was with guitarist, John Slaughter, who played in Barber's band from 1964 until his death in 2010. (His absence from 1978 to 1986 was filled by Roger Hill.) As of this writing Barber yet actively tours. For more Chris Barber see Ottilie Patterson in Blues 4. Several of the later cuts below are live performances.

Chris Barber   1954

   Goin' Home

      With Ken Colyer's Jazzmen

   Original Tuxedo Rag

      With Ken Colyer's Jazzmen

   Precious Lord Take My Hand

      Vocal: Lonnie Donegan

Chris Barber   1955

   Everybody Loves My Baby

   Lord, Lord, Lord You Sure Been Good To Me

      Film: 'Momma Don't Allow'

   Oh, Didn't He Ramble

   Trouble In Mind

      Vocal: Ottilie Patterson

Chris Barber   1956

   Whistlin' Rufus

Chris Barber   1957

   The Sheik of Araby

   When the Saints Go Marching In

      Vocal: Ottilie Patterson

Chris Barber   1959

   Petit Fleur

Chris Barber   1984

   Chimes Blues

      With the Maryland Jazz Band of Cologne

Chris Barber   1990

   That's a Plenty

Chris Barber   1992

   Working Man Blues

Chris Barber   1994

   Isle of Capri

      Filmed live

   Working Man Blues

Chris Barber   1996

   Tiger Rag

      Filmed live

   Ice Cream

      Filmed live

Chris Barber   1997

   Just A Closer Walk With Thee

      Filmed live


Birth of Modern Jazz: Chris Barber

Chris Barber

Source: Chris Barber



Born in 1928 in Verdun, Quebec, Canadian Maynard Ferguson (trumpet, flugelhorn, sax) is accounted a prodigy who, though he was an excelling student, dropped out of high school to play horn with greater focus. Ferguson first worked professionally at age 13 (1941) for CBC (Canadian Broadcasting Corporation). Among numerous broadcasts, 'Serenade for Trumpet in Jazz' was composed by Morris Davis for him to play. In 1948 he moved to the United States where he played in the orchestra of Boyd Raeburn. Lord's discography lists a first recording session per Jimmy Dorsey on March 3, 1949, titles for transcription (sold to radio stations) by Standard such as 'Stop, Look and Listen' and 'Tangerine'. While with Dorsey Ferguson backed that bet with Charlie Barnet, recording with his orchestra on April 2: 'Be-Bop Spoken Here' and 'Gloomy Sunday'. Ferguson stuck with both Dorsey and Barnet into 1949, 'All the Things You Are' one of numerous titles with the latter. He would join Barnet's orchestra again in '54 and '56, their last occasion on May 8 in Hollywood for such as 'Blue Rose' and 'Lumby'. At about 350 sessions during his career, 107 of those his own, Ferguson was too busy a bee to trace his entire route in detail. We'll but mention his main rail for the next several years, starting in 1949, that the Stan Kenton Orchestra, with which he recorded the title, 'Salute', on January 30, 1950. Kenton formed his 40-piece Innovations Orchestra for its first session on February 16 at the Sweets Ballroom in Oakland, CA, titles resulting like 'Soliloquy' and 'In Veradero'. Ferguson's last of numerous sessions with Kenton was on February 12, 1956, in Hollywood, such as the 'Peanut Vendor' and 'Unison Riff'. Ferguson become a session player for Paramount about that time, to appear on 46 soundtracks. In 1956 he put together the Birdland Dream Band to play at the Birdland jazz club in NYC. Tracks recorded in September resulted in 'The Birdland Dreamband Vol 1 & 2'. In 1963 Ferguson moved to Millbrook, New York, to partake in psychedelics experiments conducted at Harvard University by Timothy Leary and Ram Dass. He began teaching music in India in 1967. In 1969 he formed a jazz fusion band for CBS Records. He gathered together the septet, High Voltage, in 1986, albums recorded by that group in '87 and '88 issued as 'High Voltage Vol 1 & 2'. He formed the nine-piece Big Bop Nouveau in 1988, first recording with that ensemble in Jacksonville, Florida, that year, resulting in the album, 'Big Bop Nouveau'. Several albums by that group followed until 'Brass Attitude' in 1998, recorded in May in Santa Barbara, CA. Ferguson died on August 23, 2006, in Ventura, California, of kidney and liver failure. His last CD, 'The One and Only', was issued posthumously in 2007, recorded in July the year before.

Maynard Ferguson   1949

   All The Things You Are

      With Charlie Barnet

   In a Little Spanish Town

      With Jimmy Dorsey

Maynard Ferguson   1950

   Maynard Ferguson

      With Stan Kenton

Maynard Ferguson   1959

   Where's Teddy

Maynard Ferguson   1969



      Filmed live

Maynard Ferguson   1970

   El Dopa

      Television performance

   MacArthur Park


      Television performance

Maynard Ferguson   1975

   Live At The Top Plaza Hotel


Maynard Ferguson   1977

   Gonna Fly Now

      'Dinah Shore Show'

   Live at the Conrad Hilton Ballroom

Maynard Ferguson   1982

   Montreal Jazz Festival


Maynard Ferguson   1983

   Bebop Buffet


Maynard Ferguson   1987

   JazzFest Berlin


Maynard Ferguson   1992


      Cork Jazz Festival

Maynard Ferguson   2007

   Without a Song

      Posthumous issue


Birth of Modern Jazz: Maynard Ferguson

Maynard Ferguson

Source: Persons Info


  Trombonist and bass trombonist, Benny Powell, was born in 1930 in New Orleans. Powell generally played supportive roles, releasing little of his own material. His heydays were with the big bands of Count Basie and Thad Jones/Mel Lewis, both in which three trombones were standard personnel and Powell rarely featured. He was nevertheless a solid player and steady musician, good lumber in the house that jazz built. He began playing professionally at age 14. Four years later in '48 he was taken up by Lionel Hampton. His first titles with Hampton on January 28 of '49 were 'Hamp's Boogie No 2', 'Hamp's Gumbo', 'Beulah's Sister's Boogie' and 'Wee Albert'. On April 28 he may have joined Hampton for 'What's Happening Baby', 'Drinkin' Wine' and 'Moonglow'. The month of May found Powell recording 'The Hucklebuck', 'Baby, You're Great', 'Hampology' and 'Flying Home' with Hampton and Wes Montgomery. August found him recording 'Beulah's Boogie' and 'Drumology' with Hampton. The following December they recorded 'Rag Mop', 'For You My Love' and 'Sky Blue'. Those were followed with a few sessions in January of 1950 with such as 'I've Been a Fool', 'How You Sound', 'I Almost Lost My Mind', 'I'll Never Be Free', 'Symphony In Jazz' and 'Everybody's Somebody's Fool'. Powell's last of numerous recordings with Hampton were at the Kingston Community Centre in Ontario, Canada, on June 26, 1952, for 'What Did I Say?' and 'Midnight Sun'. He had already joined Count Basie's busy operation in time for a session on January 19 of '52 in NYC for such as 'New Basie Blues' and 'Sure Thing'. Basie's orchestra would be Powell's home on tour until 1963, Powell on numerous Basie albums during that decade. Among operations he supported in the sixties were the Duke Ellington Orchestra on April 25 for 'Up in Duke's Workshop' and the Thad Jones/Mel Lewis Orchestra on June 17 for 'Tow Away Zone', 'Central Park North' and 'Jive Samba'. Powell stuck with the Thad Jones/Mel Lewis organization into 1970, the year he joined the band of the 'Merv Griffin Show', which he followed from its base in New York to Los Angeles. 'Ya Betcha B.P.!!' was Powell's first name album, recorded in Los Angeles, issued in '79. That was followed by 'Coast to Coast', recorded in September of '81, issued in 1982 after returning to New York. Powell began teaching with New York City's Jazzmobile in the eighties and would instruct at the New School for Jazz and Contemporary Music in 1994. He had recorded the album, 'Why Don’t You Say Yes Sometime?!', on July 7 of '91. He already partnered with pianist, Randy Weston, in May on such as 'The Healers' and 'African Cookbook'. Weston would be a major figure in the nineties, Powell backing Weston on multiple occasions until September 24, 1999, at the Lafayette Presbyterian Church in Brooklyn per Weston's 'Spirit! The Power of Music'. Their reunion ten years later would be Powell's final recordings on December 12, 2009, for Weston's 'The Storyteller: Live at Dizzy's Club Coca-Cola'. Also highlighting the nineties was Powell's participation in pianist, Yuka Aikawa's, 'All Beings in the Whole Universe' in 1999. Of Powell's five albums as a leader the latter two arrived in the 21st century: 'The Gift of Love' (2003) and 'Nextep' (2008). He died after back surgery on June 26 of 2010. Per 2008 below, tracks are from Powell's last LP, 'Nextep'.

Benny Powell   1949

  Beulah's Sister's Boogie

      With Lionel Hampton

   Wee Albert

      With Lionel Hampton

Benny Powell   1950

  Rag Mop

      With Lionel Hampton

   Everybody's Somebody's Fool

      With Lionel Hampton

      Vocal: Jimmy Scott

Benny Powell   1956


      With Thad Jones

Benny Powell   1959

  Moten Swing

      With Count Basie

Benny Powell   1991

  The Spirit of Our Ancestors

      Album by Randy Weston

Benny Powell   2008


   Free to Be Me

   The Township Diary


Birth of Modern Jazz: Benny Powell

Benny Powell

Source: All About Jazz


Born in 1926 in Detroit, trombonist and vocalist Frank Rosolino played in the same high school band with Milt Jackson. During World War II he served in the Army. Rosolino joined Bob Chester's orchestra in 1946, then the Casa Loma Orchestra in 1947. The year of Rosolino's first issued session was 1949, that in NYC upon joining Gene Krupa's band. Among four titles for Columbia were 'Bop Boogie' and 'Lemon Drop'. Among the more prolific of jazz musicians with well above 500 sessions during his career of thirty years, this can't be but a barren account of such. In latter '49 Rosolino expanded with Tony Pastor, Herbie Fields, Tommy Turk and Georgie Auld before getting down to business with the Stan Kenton Orchestra for an AFRS (Armed Forces Radio Service) broadcast from Town Casino in Cleveland Ohio on June 17, 1952: 'Taboo', 'You Go to My Head', etc.. Working with Kenton meant touring and recording nonstop to May of '55 at Stamford University in Palo Alto, CA, for the tune, 'Swing House'. It was via Kenton that Rosolino began working with arranger/bandleader, Pete Rugolo, that in July of 1952. Rosolino first joined Rugolo's orchestra in Los Angeles on May 10, 1955, to support titles by vocalist, June Christy: 'I'm Thrilled', 'The Night We Called It Day' and 'This Time the Dream's On Me'. Rosolino sided Rugolo's operation numerously to August 19, 1960, in Hollywood, that also for Christy: 'You Say You Care', 'Out of This World', etc.. Among Rosolino's more important associates was Shorty Rogers, also working as an arranger for Kenton's orchestra in July of '52. They would do duty with both Kenton and other bands together until Rosolino joined Rogers' orchestra on July 5, 1956, for what would be issued as 'The Big Shorty Rogers Express'. Rosolino was a member of Rogers' band until April 26 of '61, recording such as 'Saturnian Sunrise' that day. Their last occasion to record together was for Bud Shank's 'A Spoonful of Jazz' in 1967. As implied per Rugolo, Rosolino recorded countless titles with June Christy, first with the Stan Kenton Orchestra on January 1, 1953, for 'It's the Talk of the Town'. His last session with Christy was in November of '62 for Capitol on titles like 'Stompin' at the Savoy' and 'Goodbye'. Later in June of '77 Rosolino supported Christy on titles to her album, 'Impromptu'. Another of Rosolino's significant vehicles was Howard Rumsey's Lighthouse All-Stars, he joining that outfit at the Lighthouse Cafe in Hermosa Beach, CA, in time to join Zoot Sims on March 9, 1954, for 'Lighthouse Days', followed the next day by 'Goofy Eyes', 'All the Things You Are' and 'Bag's Groove'. Numerous sessions with the Lighthouse All-Stars ensued to May 19, 1958, for the KABC television program, 'Stars of Jazz', performing 'All the Things You Are', 'The Nearness of You' and 'Viva Zapata'. A couple sessions in 1961 would amount to Rumsey's 'Jazz Structures'. Another important figure in Rosolino's career was drummer, Shelly Manne, they first recording together on May 10, 1955, per June Christy and Pete Rugolo above. They ran much the same circle supporting Rugolo and other bands for another ten years, Rosolino also backing Manne on the latter's projects. They last recorded together in February of '65 for 'Manne - That's Gershwin!', reuniting in '67, '72 and '77, that last occasion to back Christy on 'Impromptu' per above. Beginning in 1962 Rosolino spent a couple years with the 'Steve Allen Show' band before another major figure came along in May of '63, that Ray Anthony, whose orchestra Rosolino joined for a television broadcast of a long stream of titles like 'Begin the Beguine' and 'Cherokee'. Rosolino would spend above a decade supporting Anthony's band, his last such occasion in January of '76 to record 'Tie a Yellow Ribbon', 'Paper Roses', et al. Among the highlights of Rosolino's busy and expansive career was his first session as a leader in September of '52 in Detroit, four titles issued in 1953 by Dee Gee on a 7' called 'The Frank Rosolino Quartet'. The huge names that are Dizzy Gillespie and Charlie Parker came along at the Civic Auditorium in Portland on February 25, 1954, with the Stan Kenton Orchestra for titles that would later get released in 1981 as 'Kenton and Bird'. Among the several albums Rosolino recorded was 'Frankly Speaking!' on May 4, 1955. Another fifties highlight arrived the next year in the person of vocalist, Anita O'Day, on December 20 with the Buddy Bregman Orchestra, recording such as 'Let's Begin' and 'Sweet Georgia Brown'. O'Day and Rosolino would visit often in 1959-61. Another vocalist, Peggy Lee, came along in October of '58 with the Jack Marshall Orchestra, recording 'I Like Men'. April of 1961 saw the recording of Lee's 'Blues Cross Country' with the Quincy Jones Orchestra. Rosolino would see Jones' operation again in December of 1971 for the soundtrack to the film, 'The Hot Rock'. Another session in '74 wrought Jones' 'Body Heat', the same year he supported Lee on 'Let's Love' on July 17. Highlighting Rosolino's latter career was the band, Supersax, his first of several sessions with that operation in Autumn of '74 for the album, 'Supersax Plays Bird With Strings'. His last titles with that conglomeration were were recorded in Villingen, Germany, in April of '78 toward the issue of 'Dynamite!!'. Rosolino's final recordings were at the Swiss Chalet in Miami on October 16, 1978, toward the issue of 'Chubby Jackson's All Star Band: Live'. Unfortunately, being at the top of the game with a trombone doesn't prevent psychological nightmares. The next month at his home in Van Nuys, California, Rosolino's third wife committed suicide in their garage with auto exhaust, among the reasons given being her discovery of his affair with another woman. Unable to cope, so the story goes, Rosolino then shot his two sons, ages seven and nine, blinding the former and killing the latter. He then shot himself, the date November 26, making this narrative a sad and mind-shattering obituary.

Frank Rosolino   1949

   Lemon Drop

      With Gene Krupa

   Pennies From Heaven

      With Gene Krupa

Frank Rosolino   1952

   Sweet and Lovely

   Take Me Out to the Ballgame

Frank Rosolino   1954

   Frank'n Earnest


Frank Rosolino   1955

   Lover Come Back to Me

      Album: 'Four Horns and a Lush Life'

   What Is This Thing Called Love

      Album: 'Four Horns and a Lush Life'

Frank Rosolino   1956

   My Deluxe

      Bass: Wilfred Middlebrooks   Drums: Stan Levey

      Piano: Sonny Clark

Frank Rosolino   1958

   Love For Sale

      Tenor sax: Howard Land

Frank Rosolino   1959

   The Things We Did Last Summer

     With the  Richie Kamuca Octet

Frank Rosolino   1962

   Please Don't Bug Me

      Live performance

Frank Rosolino   1973

   Blue Daniel

   I Just Dont Want To Run Around Anymore

Frank Rosolino   1976

   Ballad for Heather

Frank Rosolino   1977

   Nica's Dream

Frank Rosolino   1978

   Quiet Nights

      Album: 'In Denmark'


Birth of Modern Jazz: Frank Rosolino

Frank Rosolino

Photo: Eddie Engels

Source: Trombone Page of the World


  Born in London in 1926 in Wartrace, Tennessee, Jimmy Cleveland didn't take up trombone until age sixteen. With only eleven of perhaps 520 sessions his own, Cleveland's was a prolific career aburst with musical personalities. The following is a list of some with whom he recorded multiple sessions followed by their first date: Dinah Washington (March 15, 1955), Gil Evans (April 3, 1956), Phineas Newborn Jr. (September 7, 1957), Miles Davis (July 22, 1958), Eddie Lockjaw Davis (September 20, 1960), Johnny Griffin (July 13, 1961), Oscar Peterson (June 14, 1962), Charlie Barnet (December 24, 1966), Thelonious Monk (October 28, 1967), Grady Tate (October 12, 1962), Hank Crawford (February 12, 1969), Phil Woods (March 4, 1956: Joe Newman's 'Salute to Satch') and Ella Fitzgerald (January 4, 1970). Cleveland's first professional employment of note had been with Lionel Hampton in 1950, with whom he first first recorded on July 25 that year in Los Angeles: 'Well, Oh Well', 'Pink Champagne' and 'September in the Rain'. During his Hampton period Cleveland taped 'Work of Art' in July of '53 with the Art Farmer Septet, issued in '56. Cleveland would tour to Europe with Hampton for 12 weeks in September of 1953. Part of Hampton's entourage were Farmer, Gigi Gryce, Clifford Brown and Quincy Jones, all with whom he would record in Paris. Some of those tracks were variously released years later, but in '54 'Jazztime Paris Vol 1' was issued by Gryce, featuring Brown. Cleveland found himself recording in Sweden with Jones in latter 1954, 'Jazz Abroad', released the next year (that album shared with drummer, Roy Haynes, on Side B). Cleveland's debut album, 'Introducing Jimmy Cleveland and His All Stars', was recorded in latter '55 in two sessions for release in '56. About the same time he taped 'Sonny Stitt Plays Arrangements from the Pen of Quincy Jones' in two sessions for issue the next year as well. Cleveland and Stitt would work together again, but the major figures as Cleveland turned the page from the fifties to the sixties were Jones and Milt Jackson. Farmer and Donald Byrd would figure large as well. Cleveland backed Jimmy Smith on a stream of albums during the sixties, Oliver Nelson figuring large in the latter part of that decade as well. During the seventies Cleveland commuted from his home base in NYC to Los Angeles to perform in the band of 'The Merv Griffin Show'. Among highlights in the nineties was 'Mississippi Lad' recorded in March of '91 with Teddy Edwards and Tom Waits. Cleveland died on August 23, 2008. Per 1956 below tracks are from Cleveland's album, 'Introducing Jimmy Cleveland and His All Stars'. Per 1959 below, the full title is 'Seldon Powell Sextet Featuring Jimmy Cleveland'.

Jimmy Cleveland   1953

 How High The Moon

      With Lionel Hampton


      With Lionel Hampton


      With Lionel Hampton

Jimmy Cleveland   1955


      Quincy Jones: 'Jazz Abroad'

  Pogo Stick

      Quincy Jones: 'Jazz Abroad'

Jimmy Cleveland   1956

  Bone Brother

  I Hadn't Anyone Til You

  Love Is Here to Stay

  My One and Only Love


      Art Farmer Septet

      LP: 'Work of Art'   Recorded 1953

Jimmy Cleveland   1958


      Telecast: 'The Subject Is Jazz'

      With Billy Taylor & Nat Adderley

Jimmy Cleveland   1959

  Seldon Powell . . . Jimmy Cleveland



      LP: 'A Map of Jimmy Cleveland'

Jimmy Cleveland   1964

  Crazy Rhythm

      LP: 'Rhythm Crazy'

      Recorded February 1959


Birth of Modern Jazz: Jimmy Cleveland

Jimmy Cleveland

Source: Discogs

Birth of Modern Jazz: Don Elliott

Don Elliott

Source: Jazz Wax


Born in 1926 in Somerville, New Jersey, Don Elliott (not to be confused with the author) played vibes, trumpet and sang, but is best known as a mellophone player. He is thought to have first recorded on xylophone on February 5, 1951 with pianist, George Shearing, in NYC, titles like 'I'll Never Smile Again' and 'I'll Be Around'. Several sessions with Shearing followed until later that year when he joined Allen Eager's octet for 'Swingin' with Allen Eager' per a couple radio broadcasts at the Birdland in NYC in October of 1951, recording then on mellophone. A session with pianist/vocalist, Beryl Booker, followed on January 5, 1952, now on vibraphone, before arriving to the supernova that would be Miles Davis for a broadcast from the Birdland on April 25, 1952, with the Beryl Booker Quintet, yielding such as 'Lady Be Good' and 'All the Things You Are'. A couple similar sessions were held the next month  including 'Confirmation', 'Out of the Blue' and 'Wee Dot'. Elliott next walked into treasure per Ella Fitzgerald at the Birdland on June 7, recording such as 'Angel Eyes' and 'Goody Goody'. Vibraphonist, Terry Gibbs, was in on that, whom he joined the next month on July 11, 1952, at the Pythian Temple in NYC for titles that would find their way onto 'Jazztime U.S.A.'. Gibbs was one of Elliott's more important associates for the next six years, Elliott last recording in Gibbs's band per Dinah Washington at the Newport Jazz Festival on July 6, 1958, yielding 'All of Me'. Lord's discography has Elliott at 124 sessions, a fifth of those his own, so he had a full career we can't hope to follow here. We'll stick, instead, to the fifties and splash a few big names: Elliott's first session as a leader on August 20, 1952, ended up on the B side of an album titled 'Vib-Rations', vibraphonist, Cal Tjader, on A side. Elliott isn't thought to have ever recorded with Tjader, especially not as he and Gibbs often did. A name that had more to do with Elliott was Benny Goodman's, with whom Elliott first recorded on trumpet in Chicago on August 20, 1952. Another huge name was Dizzy Gillespie's, Elliott joining the latter's Cool Jazz Stars at the Birdland on November 24, 1952, for 'Muskrat Ramble', 'Battle of the Blues', 'Indiana' and 'How High the Moon'. Elliott began 1953 in January with Ben Webster before joining Harry James at the Band Box in NYC on March 2 for 'You'll Never Know' and 'Two O'Clock Jump'. Drummer, Buddy Rich, was in on those, affecting further sessions that month with James and the Buddy Rich Quartet. Elliott and Rich would back Gibbs at the Band Box that month as well, titles like 'Out of Nowhere' and 'what's New?'. Sid Bulkin replaced Rich drums for their next titles at the Band Box in April, such as 'Cheerful Little Earful' and 'I May Be Wrong'. One reason to drop big names per the fifties is Dinah Washington. Elliott was with the Quincy Jones Orchestra when he first backed Washington on June 25, 1956: 'Relax Max', 'I Know', etc.. Six dates later came his last performance with Washington, per above at the Newport Jazz Festival in '58. A couple months later in September Elliott participated in titles that would be found on the album by various artists, 'The Seven Ages of Jazz'. Elliott was also a record producer (instrumental in the development of multitrack recording), wrote scores for Broadway and film, and produced advertising jingles. He died July 5, 1984, of cancer. His last tracks per Lord's discography were for clarinetist, Phil Bodner in 1980 in NYC: 'Honeysuckle Rose', 'These Foolish Things', 'It Had to Be You' and 'Have You Met Miss Jones?'. Per 1951 below all tracks are with George Shearing.

Don Elliott   1951

   I’ll Be Around

      Possibly Elliott's 2nd recording issued

   I’ll Never Smile Again

     Possibly Elliott's 1st recording issued

   I Remember You

      Possibly Elliott's 3rd recording issued


      Same session as above

Don Elliott   1952

   The Chase

      On vibes with Miles Davis

   It Could Happen to You

      On vibes with Miles Davis

   Out of the Blue

      On vibes with Miles Davis

Don Elliott   1956


      With the Paul Desmond Quartet

   Jazz Me Blues


Don Elliott   1958

   Echoes of Webster Hall

   Play Fiddle Play

      On Trumpet

Don Elliott   1960



Don Elliott   1975


      Album: 'Rejuvenation'

Don Elliott   1983

   Live in Westport

      Concert at Staples High School



Birth of Modern Jazz: Percy Humphrey

Percy Humphrey

Source: Wikipedia


Born in 1905 in New Orleans, trumpeter Percy Humphrey, younger brother of clarinetist, Willie Humphrey (also trombonist Earl Humphrey), was a New Orleans traditionalist. He became leader of the Eureka Brass Band, founded in 1920 by trumpeter Willie Wilson, in 1946. Humphrey had played local venues for decades before first recording with George Lewis per a radio broadcast at the Parisian Room in New Orleans on August 11, 1950. Of those three titles Discogs has 'High Society' issued on the album, 'American Music by George Lewis', in 1951 by American Music. On January 1, 1951, at age 46, he finally recorded his first tracks as a leader, those with his Sympathy Five. Titles like 'Bourbon Street Parade', however, wouldn't see issue until years later on CD.    Lord's discography has Humphrey at more than seventy sessions during the rest of his career, 23 of those his own. On October 25, 1987, he recorded 'Jazz in Schloss Gracht' live in Aachen, Germany, issued in 1995. A final session is listed per 'Narvin Kimball and Friends' in Morgantown, West Virginia, on April 27, 1992. Humphrey yet performed until three months before his death on July 22, 1995, in New Orleans. His brother, Willie, is featured on a few of the tracks below, as well as trombonist Big Jim Robinson.

Percy Humphrey   1951

   Lady Be Good

      Eureka Brass Band

Percy Humphrey   1961

   All The Gals Like THe Way I Ride

      Crescent City Joy Makers

   Over In Gloryland

      Crescent City Joy Makers

   Rip 'Em Up Joe

      Crescent City Joy Makers

Percy Humphrey   1964


      Preservation Hall Jazz Band

Percy Humphrey   1970

   Lord, Lord, Lord/St. Louis Blues

      Eureka Brass Band

Percy Humphrey   1973

   Down In Honky Tonk Town

      Preservation Hall Jazz Band


      Preservation Hall Jazz Band

   Just A Closer Walk With Thee

      Preservation Hall Jazz Band

   Just A Closer Walk With Thee

      Preservation Hall Jazz Band

   Tell Me Your Dreams

      Preservation Hall Jazz Band

   When The Saints Go Marching In

      Preservation Hall Jazz Band

Percy Humphrey   1987

   The Bucket's Got a Hole In It

      Maryland Jazz Band


Birth of Modern Jazz: Willie Humphrey

Willie Humphrey

Source: D'Addario Woodwinds



Born in 1933 in Chicago, composer, bandleader and record producer Quincy Jones studied at Seattle University and the Berklee College of Music in Boston before dropping out to join Lionel Hampton's band with which he first cut vinyl on May 21, 1951: 'Hannah Hannah', 'Shalom Shalom' and 'Eli Eli'. He also began arranging for a string of top names in jazz about that time. Jones continued with Hampton's orchestra into '53, though their last session together was for Clifford Brown in Copenhagen, Denmark, on November 12 that year, recording such as 'Indiana'. Jones' first session as a leader occurred in Stockholm, Sweden, on November 10, 1953. Titles from that would get released in 1955 on an LP shared with drummer, Roy Haynes, called 'Jazz Abroad'. We're not going to pretend to cover Jones' extensive career in this thin column, but mention of Dizzy Gillespie is requisite. Jones first blew trumpet with Gillespie on May 24, 1954, for Gillespie's 'Manteca'. They toured the Middle East and South America together in 1956. Jones would record in various capacities with Gillespie in '56, '64, '87 and '89, that last occasion for his 'Back on the Block', also including such as Miles Davis, Ella Fitzgerald and Sarah Vaughan. He would record as a conductor with Davis again in Montreux, Switzerland, on July 8, 1991. Another major name arrived per Dinah Washington in NYC on March 15, 1955, Jones arranging and directing titles like 'I Could Write a Book' and 'Make the Man Love Me'. Jones saw more of Washington in '56, later in '61, that last occasion in Chicago, Jones conducting such as 'Tell Me Why'. On September 14, 1956, Jones recorded 'This Is How I Feel About Jazz'. 'Quincy Jones and the Jones Boys' followed the next year. He first arranged and conducted a session with Sarah Vaughan in Paris on July 7, 1958: 'Please Be Kind', etc.. Jones would record with Vaughan again the sixties, then '89 per 'Back on the Block'. Ella Fitzgerald came knocking with Count Basie in July of '63, Jones arranging titles like 'Shiny Stockings' and ''Deed I Do'. Jones was promoted to vice-president of Mercury Records in 1964, the same year he composed his first of thirty-three film scores, 'The Pawnbroker'. Jones arranged and composed for an impressive list of prominent jazz singers in the sixties. He also began producing, among his bigger early successes popular vocalist, Lesley Gore, with whom collaborated in 1963 toward her first release, 'It's My Party'. Gore was yet a junior in high school at the time. Jones later founded Qwest Productions in 1975, producing for Frank Sinatra and, later, Michael Jackson. In 1988 Jones founded Quincy Jones Entertainment with Warner Communications, which he would reshape in 1993 into QDE (Quincy Jones/David Salzman Entertainment). In addition to other media, that company would handle Jones' magazine, 'Vibe', also launched in 1993. In the meantime his production of 'Back on the Block' ('89) had won the 1991 Album of the Year Grammy Award. Jones published his autobiography, 'Q', in 2001. He had also been considerably active in a number of philanthropic endeavors. Amidst the more quizzical aspects of his life is that for a man so hugely productive he never learned to drive, citing fear due to involvement in an auto accident when he was age fourteen. As of this writing Jones is yet quite active.

Quincy Jones   1951


      With Lionel Hampton

Quincy Jones   1956

   Evening In Paris

Quincy Jones   1960


      Live performance

Quincy Jones   1969

   I Never Told You

      Album: 'Walking In Space'

   Walking In Space

      Album: 'Walking In Space'

Quincy Jones   1974

   Body Heat

   If I Ever Lose This Heaven

Quincy Jones   1981

   The Dude


Quincy Jones   1989

   I'll Be Good To You

Quincy Jones   1995

   Stuff Like That


Birth of Modern Jazz: Quincy Jones

Quincy Jones

Source: Elsewhere



Born in 1923 in Pontiac, Michigan, composer Thad Jones, brother of pianist, Hank Jones, was playing trumpet professionally by age 16. His career was interrupted in 1943 upon being drafted into the Army. Upon release in 1946 he returned to music, playing largely in Des Moines and Oklahoma City. The earliest discernible recordings in which Jones participated occurred with the Count Basie Orchestra in November and December of 1950, a live radio broadcast for Saga Records in NYC: '3:15 A.M. Blues', 'Indiana', 'C Jam Blues' and 'Robbins' Nest'. On December 28, 1951, he recorded such as 'Tip Lightly' with the Jimmy Tyler Orchestra. 1952 saw the release of such as 'Rockaway Rock' with tenor saxophonist, Billy Mitchell. He was back with Basie again in 1954, recording at the Savoy Ballroom in Cleveland, OH, in July, such as 'Blee Blop Blues' and 'Slow But Sure'. Jones arranged those titles and most of his recording with Basie would be in that capacity. Anyone who worked in Basie's band would be recording nonstop, which Jones did as an arranger to as late as October 8, 1965, for 'Makin' Whoopee'. Among exceptions was when he contributed trumpet to a session with Billie Holiday at Carnegie Hall on September 25, 1954, for titles like 'All of Me' and 'My Man'. Jones had just recorded his first album in August, 'The Fabulous Thad Jones'. Upon largely leaving Basie in 1963 Jones freelanced in New York City until forming the Thad Jones/Mel Lewis Orchestra with drummer, Mel Lewis, in 1965. Jones and Lewis had first recorded together in June of '63 for James Moody's 'Great Day'. Their first session as Thad Jones/Mel Lewis was per their Big Band at the Village Vanguard in NYC on February 7, 1966, recording such as 'Back Bone' and 'Big Dipper'. They would record together to as late as March, 1985, Jones contributing to arrangements on a couple titles per Lewis' '20 Years at the Village Vanguard'. Upon Lewis' death on February 2, 1990, Jones arranged 'To You' per that year's 'To You - A Tribute to Mel Lewis'. Jones was yet with the Thad Jones/Mel Lewis Orchestra when he moved to Copenhagen, Denmark, in 1977. He joined the Danish Radio Big Band, made one last trip to the States to leave his Orchestra, then recorded a couple albums with his Danish orchestra in '78: 'By Jones, I Think We've Got It' and 'A Good Time Was Had By All'. Jones then formed the band, Eclipse, in 1979, recording a couple albums that and the next year: 'Eclipse' and 'Jazzhus Slukefter'. Jones returned to the U.S. in 1985 to take the reins for the Count Basie Orchestra upon Basie's death. He became too ill, however, to work, and returned to Copenhagen where he died in August 1986. Among the countless highlights of Jones' career were opportunities to perform on cornet with pianist, Thelonious Monk, in June of '59 ('Five By Monk By Five') and December of '63 ('Big Band and Quartet In Concert'). All tracks below from 1966 to 1976 are Jones with the Thad Jones/Mel Lewis Orchestra.

Thad Jones   1952

   Rainy Day Blues

      With Billy Mitchell    Vocal: Sonny Wilson

   Rockaway Rock

      With Billy Mitchell

Thad Jones   1954


      Album: 'The Fabulous Thad Jones'

Thad Jones   1956

   April In Paris

      Album: 'The Magnificent Thad Jones'


      Album: 'The Magnificent Thad Jones'

Thad Jones   1957

   Flamingo/If You Were Mine

      Album: 'Mad Thad'

      Drums: Elvin Jones

      Piano: Tommy Flanagan

   I'm Through with Love/Love Walked In

      Album: 'Mad Thad'

      Drums: Elvin Jones

      Piano: Tommy Flanagan

Thad Jones   1966

   Three and One

Thad Jones   1968

   The Groove Merchant

      Filmed live


      Filmed live

Thad Jones   1970



Thad Jones   1973


      Filmed live

Thad Jones   1974

   Once Around

      Filmed live

Thad Jones   1975

   Greetings and Salutations

Thad Jones   1976

   Greetings and Salutations

   Kids Are Pretty People

      Filmed live


Birth of Modern Jazz: Thad Jones

Thad Jones

Source: Zone de Jazz



Born in 1930 in Miami, trumpeter Blue Mitchell recorded as early as July 5, 1951, for saxophonist, Paul Williams, 'Rockin' Chair Blues' and 'Sinner's Hop' issued on Savoy. Another session followed with Williams before Mitchell signed on with Earl Bostic, in time for a session, also in NYC, on April 7, 1952: 'Velvet Sunset', 'Moonglow', etc.. Mitchell spent a couple years with Bostic's operation, last recording with him on October 9, 1954. On November 19, 1952, Mitchell was one of the Lou Donaldson Quintet consisting of Horace Silver (piano), Percy Heath (bass) and Art Blakey (drums), recording 'Sweet Juice', 'Down Home', et al. Mitchell would record with Donaldson again in 1959, later from '67 to January 9, 1970, that last occasion resulting in such as 'Tennessee Waltz' and 'Over the Rainbow'. Silver would also be a significant figure in Mitchell's career. The next he recorded for Silver was with the latter's quintet on February 1, 1959, toward 'Finger Poppin'. Blakey would support Mitchell on his second album, 'Out of the Blue', on January 5, 1959. They would record together again for Bobby Timmons' 'Soul Time' in August 1960. Mitchell would join Heath again for Elmo Hope's 'Homecoming' on June 2, 1961. Mitchell would experience multiple sessions with Cannonball Adderley into the early sixties, his first for the latter's 'Portrait of Cannonball' on July 1, 1958. March 22, 1962, saw him in the Red Garland Quintet for 'Red's Good Groove'. Mitchell's first album was 'Big 6', released in 1958, followed in 1959 by 'Out Of the Blue'. Mitchell dove into the seventies in 1970 with Ray Charles' outfit for a couple years. He held sessions with bluesman, John Mayall, in '71 and '73. More significant to his career would be Harold Land. They were members of Bobby Hutcherson's band when they first recorded together on December 21, 1971: 'Wichita Lineman', 'Workin' on a Groovy Thing' and Inner City Blues'. Another Hutcherson session followed the next day, after which Land and Mitchell ran a nigh parallel rail into the latter seventies, Land backing Mitchell's projects when they weren't supporting other bands. They are thought to have last recorded together for Philly Joe Jones' 'Drum Song' in October of '78. Mitchell spent some time performing with Tony Bennett and Lena Horne in Los Angeles in 1974 but doesn't seem to have recorded with either. He did, however, side for Kay Starr on 'Back to the Roots' in 1975. Mitchell also experimented with a little  jazz funk in the seventies. Lord's discography wants Mitchell's last session per Philly Joe Jones' 'Advance!' in October of '78 in Berkeley, CA. Also in that were Slide Hampton (trombone), Charles Bowen (tenor/soprano sax), Harold Land (tenor sax), Cedar Walton (piano) and Marc Johnson (bass). Mitchell was performing with the Harold Land Quintet when he died of cancer on May 21, 1979 in Los Angeles, only 49 years of age.

Blue Mitchell   1951

   Rockin' Chair Blues

      With Paul Williams

Blue Mitchell   1952

   Down Home

      With Lou Donaldson

Blue Mitchell   1958


      Album: 'Big 6'

   Cool Eyes

      Bass: Gene Tailor   Drums: Louis Hayes

      Piano: Horace Silver   Tenor Sax: Junior Cook


     With Cannonball Adderley

Blue Mitchell   1959

   Blowin' the Blues Away

      Piano: Horace Silver

   Come On Home

   The Head

   Joe's Debut

      Drums: Philly Joe Jones

   It Could Happen To You

      Album: 'Out Of the Blue'

   Missing You

      Album: 'Out Of the Blue'

   Nica's Dream

   Park Avenue Petite

      Album: 'Blue Soul'

   Sweet Cakes

     Album: 'Junior's Cookin''   Junior Cook Quintet

   Top Shelf

Blue Mitchell   1960

   I'll Close My Eyes

Blue Mitchell   1962

   Cup Bearers

Blue Mitchell   1965


Blue Mitchell   1972

   Granite and Concrete

Blue Mitchell   1973

   Graffiti Blues

   One For Russ

   Steal the Feel

Blue Mitchell   1974

   Funky Walk

   Hot Stuff

Blue Mitchell   1975

   Bump It

Blue Mitchell   1976


      Album: 'Funktion Junction'


      Album: 'Funktion Junction'

   I'm In Heaven

      Album: 'Funktion Junction'

Blue Mitchell   1977



Birth of Modern Jazz: Blue Mitchell

Blue Mitchell

Source: Foto Trompet


Birth of Modern Jazz: Chet Baker

Chet Baker

Photo: Chet Baker Estate

Source: Chet Baker Estate

Born in 1929 in Yale, Oklahoma, West Coast trumpeter, composer and vocalist Chet Baker was stationed at the Presidio with the Sixth Army in 1950, making the jazz clubs of San Francisco convenient. Upon discharge from service (his second enlistment) Baker began playing with Vido Musso and Stan Getz. It was about that time that he first recorded, a private session in 1949 titled 'Get Happy', released years later on CD by Lighthouse. On March 24, 1952, he recorded 'Out Of Nowhere' at the Trade Winds Club in Inglewood, California. Joining him were Sonny Criss and Wardell Gray. Those would find issue per 'The West Coast Jam Sessions' in 1980 by Scarecrow and 'A Live Jam Session Recorded at Trade Winds' by Jam Session (#103) in 1981. It was also at the Tradewinds on June 16 of '52 that he recorded 'Inglewood Jam' (issued '89) with Harry Babasin, Charlie Parker and Sonny Criss among others: 'The Squirrel', 'Irresistible You', 'Indiana' and 'Liza'. On July 8 Baker recorded 'Scrapple from the Apple' in a private session with Charlie Parker at the Jirayr Zorthian ranch in Altadena, California. The next day he recorded 'Haig and Haig (Dinah)' and 'She Didn't Say Yes' with the Gerry Mulligan Quartet, followed by seven tracks with Al Haig and Sonny Criss on August 4, again at the Trade Winds Club. Baker continued recording and touring the West Coast with Mulligan throughout 1952, also recording heavily with Shorty Rogers in three separate sessions during September and October that year. When Mulligan disappeared upon arrest for drugs in 1953 Baker was left to form his own ensembles. He appeared in film for the first time, 'Hell's Horizon', in 1955. By that time, however, Baker was addicted to heroin, adding difficulties to his career, pawning his instruments at times to keep in money. During the the sixties he was jailed for a year in Italy on drug charges, and expelled from both the United Kingdom and West Germany (twice) for the same. Baker also served jail terms in the States for prescription fraud. In 1968 Baker lost the ability to play trumpet for some time upon getting his teeth knocked out by a group of robbers, perhaps drug related. Having already begun playing flugelhorn in 1966, Baker developed a new embouchure upon obtaining dentures, was able to get a gig three months later, and stuck to flugelhorn until 1974. During the seventies Baker concentrated on straight ahead jazz in New York City, also playing with guitarist, Jim Hall. In 1978 he moved to Europe, commuting between there and the States during his last decade. Though recording a quite lot, such was for smaller European labels, leaving him largely unpromoted in America. Among those with whom he worked in the eighties were Stan Getz and Elvis Costello. His album, 'Chet Baker in Tokyo', was recorded and released in 1987. His last recordings were made in Europe in 1988 as late as April. In May of 1988 Baker was discovered dead on the street below his second-story apartment in Amsterdam, Netherlands. Cocaine and heroin were found in his system, but his death was ruled an accident, wounds to his head from falling while attempting to gain access to his balcony upon having locked himself out. Unless otherwise noted all edits for year 1987 below were filmed live in Tokyo.

Chet Baker   1952

   Bernie's Tune

      Gerry Mulligan Quartet


      Gerry Mulligan Quartet

   Indiana (Donna Lee)

      Saxophone: Charlie Parker

   Irresistable You

      Saxophone: Charlie Parker

   Line For Lyons

      Gerry Mulligan Quartet


      Saxophone: Charlie Parker

   My Funny Valentine

      Gerry Mulligan Quartet

   Nights at the Turntable/Frenesi

      Gerry Mulligan Quartet

   The Squirrel

      Saxophone: Charlie Parker

   Scrapple From The Apple

      Saxophone: Charlie Parker

   Sweet Georgia Brown

      Piano: Al Haig

Chet Baker   1954

   Out of Nowhere

      Live at the Tiffany Club

Chet Baker   1955


      With Shorty Rogers

Chet Baker   1956


   Time After Time

      Album: 'Prince of Cool'

Chet Baker   1959

   My Funny Valentine

      Filmed live

Chet Baker   1964

   Bye Bye Blackbird

      Live performance

   So What

      Live performance   Original composition: Miles Davis

   Time After Time

      Live performance

Chet Baker   1965

   Baker's Holiday


Chet Baker   1975

   My Funny Valentine

      Live at Carnegie Hall with Gerry Mulligan 1975

Chet Baker   1983

   Just Friends

      Filmed live with Stan Getz

Chet Baker   1987

   Almost Blue



   For Minors Only


   Portrait In Black and White

      Album: 'Chet Baker in Tokyo'

   Seven Steps to Heaven

   Stella By Starlight

   You'd Be So Nice To Come Home To



Valve trombonist Bob Brookmeyer was born in 1929 in Kansas City, Missouri. He was at first a pianist, working in the bands of Tex Beneke and Ray McKinley. He switched to valve trombone upon touring with Claude Thornhill in 1952. (The valve trombone plays more like a trumpet rather than sliding.) Brookmeyer's first vinyl, so to speak, wasn't for home listening. They were RCA Thesaurus transcriptions which were 16" platters called acetates and sold commercially to radio stations. Transcriptions were often used to document music before magnetic tape came into common usage in the forties. Brookmeyer's first of those arrived per the Tex Beneke Orchestra in 1952, such as 'I Talk to the Trees' (arrangement: Henry Mancini), 'Laura' (vocals: Bill Raymond) and 'Walking My Baby Back Home (vocals: Tex Beneke). Brookmeyer spent 1953 with Stan Getz, with whom his recordings first saw record shops. His first session with Getz was on March 8, 1953, at the Hi-Hat Club in Boston. His next session on April 16 would see issue on 'The Artistry of Stan Getz' that year. Brookmeyer would find himself with Getz on numerous occasions to 1964, again in '78 and '81, those last sessions per the Aurex Jazz Festival in Japan in September. Among Brookmeyer's more important associates was guitarist, Jimmy Raney, with whom he first recorded on June 25, 1955, with Al Cohn: 'Chorus for Morris', 'Hags!', etc.. Five days later Raney backed Brookmeyer on 'The Dual Role of Bob Brookmeyer'. On May 26, 1956, Brookmeyer contributed three tracks to 'Jimmy Raney in Three Attitudes'. Joining them in that quintet were John Williams (piano), Red Mitchell (bass) and Osie Johnson (drums). Raney and Brookmeyer recorded numerously to as late as April of '65, putting down 'Spuds' at the jazz loft of painter, David X. Young, in NYC. That can be found on the CD, 'David X. Young's Jazz Loft'. The most significant figure in Brookmeyeer's career was saxophonist, Gerry Mulligan, with whom he first recorded on a tour to Europe accompanied by Red Mitchell (bass) Frank Isola (drums). Their first session on June 1, 1954, at the Salle Pleyel in Paris yielded such as 'Bernie's Tune' and 'Walkin' Shoes'. Brookmeyer would support Mulligan to as late as 1963, again on dates in '73, '81 and '95. In August of 1997 in NYC Brookmeyer took part in the Mulligan tribute album, 'Thank You, Gerry!', Mulligan having died the prior year. Working with Mulligan would occur numerous sessions with Mitchell and Isola. They would each back Brookmeyer on a couple early sessions as well. Brookmeyer and Mitchell would reunite decades later in 1995 with the Canadian Brass to record 'The Lady Is a Tramp'. Working with Mulligan also meant an important partnership with Zoot Sims. Sims joined Mulligan's operation in 1954 in time for a concert recorded at Hoover High School in San Diego, CA, on December 14, 1954: 'I'll Remember April', 'Western Reunion', etc.. Sims would back Brookmeyer on a number of projects, they last recording together for Freda Payne's 'After the Lights Go Down Low' in 1963. Also important to Brookmeyer's career was arranger/conductor/director, Manny Albam, first appearing on Albam's 'The Jazz Workshop' in '56 (recorded December '55). Brookmeyer worked numerously for Albam either directly or in association with other projects into 1963. In 1966 he contributed to Albam's 'Brass On Fire'. Come Jimmy Giuffre in 1956 with whom Brookmeyer recorded Maynard Ferguson's 'The Birdland Dreamland'. Giuffre and Brookmeyer backed each numerously, such as Brookmeyer's 'Traditionalism Revisited' in 1957. They last recorded together on October 29, 1959, per Lee Konitz' 'You and Lee', Giuffre arranging. Brookmeyer would see Konitz again in 1997 per the Mulligan tribute album, 'Thank You, Gerry!'. Another important figure was trumpeter, Clark Terry. Their first tracks together were with Al Cohn on August 24, 1960, for the latter's 'Son of Drum Suite'. Numerous sessions were held with Terry to 1966, either backing other ensembles or Terry supporting Brookmeyer's projects. They would record a couple titles at Radio City Music Hall in '73, again in 1980 at the Village Vanguard. Brookmeyers had first worked with arranger/vibraphonist, Gary McFarland, with Mulligan in 1961, McFarland arranging titles for 'Gerry Mulligan Presents a Concert in Jazz'. McFarland also arranged titles on Anita O'Day's 'All the Sad Young Men' ('61) before contributing to arrangements on Brookmeyer's 'Gloomy Sunday and Other Bright Moments' on November 6, 1961. Two days later Brookmeyer backed McFarland on 'The Jazz Version of 'How to Succeed in Business Without Really Trying''. McFarland then contributed vibes to Brookmeyer's 'Trombone Jazz Samba' in August 1962. In 1965 Brookmeyer supported McFarland on 'The 'In' Sound' and 'Tijuana Jazz'. He showed up on McFarland's 'Profiles' in '66. A spatter of the names with whom Brookmeyers recorded in the sixties: Judy Holliday ('61), Harold Farberman ('64), Astrud Gilberto ('65), the Thad Jones/Mel Lewis Orchestra ('66, '68) and Bob Thiele ('69, '75). In 1968 Brookmeyer moved to Los Angeles to work as a studio musician for the next decade. Upon returning to New York he became musical director for the Thad Jones/Mel Lewis Orchestra in 1979. During the eighties he worked in Europe, where he founded a music school in Netherlands. Brookmeyer also taught at other educational institutions, such as the New England Conservatory of Music in Boston. In 2005 he formed the New Art Orchestra, winning a Grammy for 'Spirit Music', released in 2006. He was also named a Jazz Master that year by National Endowment for the Arts. Highlights of his earlier career include his first session as a leader on January 7, 1954, resulting in 'Bob Brookmeyer Featuring Al Cohn', and 'They Met at the Continental Divide', recorded in '58 for issue in '59 by The Trombones, Inc. (issued as 'Power-Packed Trombones' in 1961). Among the highlights of Brookmeyer's latter career were sessions with both Helen Schneider and Tony Coe in 1995. Brookmeyer died in New London, New Hampshire, on December 15, 2011.

Bob Brookmeyer   1953

   Love and the Weather

      Saxophone: Stan Getz

   Minor Blues

      Saxophone: Stan Getz

   The Nearness of You

      Saxophone: Stan Getz


      Saxophone: Stan Getz

Bob Brookmeyer   1954

   Feather Merchant

      Saxophone: Stan Getz

   I'll Remember April


   It Don't Mean a Thing

      Saxophone: Stan Getz

   Oh Jane Snavely

   Star Eyes

      Album: 'The Dual Role of Bob Brookmeyer'


Bob Brookmeyer   1956

   There Will Never Be Another You

      Album: 'The Modernity of Bob Brookmeyer'

Bob Brookmeyer   1964


Bob Brookmeyer   1981

   Bernie's Tune

      Filmed live


Birth of Modern Jazz: Bob Brookmeyer

Bob Brookmeyer

Source: All Music



Born in 1930 in Wilmington, Delaware, by 1948 bebop trumpeter Clifford Brown was playing professional gigs in Philadelphia when such as Fats Navarro, Dizzy Gillespie and Miles Davis became early associates of his, though he doesn't seem to have ever recorded with them. It was Dizzy Gillespie who encouraged Brown to continue his career upon convalescing from an auto accident in 1950. Brown had been severely injured, spending a year in the hospital. It had been as early as '49 or '50 that he made his first recording with alto saxophonist, Robert Lowery: 'Ornithology'. That would find issue much later on CD per a compilation of solos titled 'Clifford Brown Plays Trumpet & Piano'. Brown entered his first recording studio in a professional capacity in March of 1952 with Chris Powell and the Five Blue Flames, laying four tracks for Okeh Records: 'Ida Red', 'I Come From Jamaica', 'Blue Boy' and 'Darn That Dream'. In 1953 he held sessions with JJ Johnson, Tadd Dameron, Lou Donaldson and Lionel Hampton. In 1954 Brown joined AArt Blakey's Jazz Messengers, then formed his own quintet with bassist, George Morrow, drummer, Max Roach, and pianist, Richie Powell, that triad to remain with him until his death two years later. Their first sessions had been at the home of Eric Dolphy for such as 'Deception' and 'Fine and Dandy'. Both Harold Land and Sonny Rollins played in Brown's group for a time. Unfortunately Brown was killed, along with his wife and pianist, Powell, when his wife drove their car off the road near Bedford, Pennsylvania in 1956. Brown was only 26 years of age but had already achieved to a reputation that found him getting compared to Miles Davis. His death has ever since been recognized as a major loss to jazz. His final recordings were at the Continental Restaurant in Norfolk, VA, on June 18, 1956, available on volumes 7 and 8 of 'Brown Eyes'.

Clifford Brown   1949


      Recorded 1949 or '50   Issued 2009

Clifford Brown   1952

   I Come From Jamaica

      With Chris Powell

Clifford Brown   1953

   Choose Now

      With Tadd Dameron

Clifford Brown   1954


      Clifford Brown All Stars

   I'm Glad There is You

      With Sarah Vaughn

   You're Not The Kind

      With Sarah Vaughn

Clifford Brown   1956

   Memorial Album

      Recorded 1953   Issued posthumous


Birth of Modern Jazz: Clifford Brown

Clifford Brown

Source: Erik Veldcamp



Born in Boston in 1928, trumpeter Joe Gordon began playing professionally in 1947, later releasing his first album, 'Introducing Joe Gordon', in 1955. His first recording session is believed to have been with Charlie Mariano in December of 1951, resulting in Mariano's 'The New Sounds From Boston' the next year. A year later in December of 1952 he participated in a radio broadcast of 'I'll Remember April' from the Hi-Hat Club in Boston with Charlie Parker in early December of 1952. That was followed on the 14th with a recorded broadcast, again with Charlie Parker from the Hi-Hat Club, for WCOP radio. Those titles were 'Ornithology', 'Cool Blues', 'Groovin' High', 'Don't Blame Me'. 'Scrapple from the Apple', 'Cheryl' and 'Jumpin' With Symphony Sid'. At that point Gordon would have only about another decade remaining to his career, one reason he finished only 35 sessions, four of those his own, The caliber of the musicians with whom he worked nevertheless speaks of a highly respectable career. Next up after Parker came drummer, Art Blakey, on May 20, 1954, recording such as 'Minority' and 'Salute to Birdland'. The last of a few sessions together put Blakey and Gordon with Donald Byrd in Cambridge, Massachusetts, on December 2, 1955, to record 'Byrd's Eye View'. Pianist, Horace Silver, was in on that, to whose 'Silver's Blue' Gordon would contribute on July 2, 1956. Tenor saxophonist, Hank Mobley, had also participated in both 'Byrd's Eye View' and 'Silver's Blue'. It was also 1956 when Dizzy Gillespie came bop, bop, bopping along, they to tour the Middle East in spring for the State Department, record tracks in NYC on June 6 that would find their way onto 'Dizzy in Greece!', and tour South America in August where they also recorded. Upon moving to Los Angeles Gordon held a United Artists session in September of 1958 with Benny Carter, recording such as 'March Wind' and 'June Is Bustin' Out All Over'. Guitarist, Barney Kessel, was in on that, whom he next backed on 'Some Like It Hot' in March of 1959. Also in that Carter session had been drummer, Shelly Manne, among Gordon's most frequent partners for the next couple years. Gordon would back Manne on several albums, they also supporting pianist, Thelonious Monk, in April 1960, recording such as 'Quartet Plus Two At The Blackhawk'. Tenor saxophonists, Harold Land and Charlie Rouse, were also in on that. Manne would side in Gordon's quintet at the Lighthouse in Hermosa Beach, CA, on July 31, 1960, that for Gordon's 'West Coast Days'. Unfortunately Gordon's career was too brief for him to get very far as a bandleader, having been killed in a house fire at the prime age of 35 on November 4, 1963. Lord's discography has him recording the last of only a few name releases in July of 1961: 'Lookin' Good'. Later that month he laid tracks with Helen Humes for 'Swingin' with Humes'. His final recordings are listed per September 13, 1961, for alto saxophonist, Jimmy Woods', 'Awakening!'.

Joe Gordon 1952


      Alto sax: Charlie Parker

   I'll Remember April

      Alto sax: Charlie Parker


      Alto sax: Charlie Parker

Joe Gordon 1954

   Boos Bier

      Drums: Art Blakey

   Flash Gordon

   May Reh

      Drums: Art Blakey

Joe Gordon   1961

   A Song For Richard

   Terra Firma Irma


Birth of Modern Jazz: Joe Gordon

Joe Gordon

Source: Jazz Lead Sheets



Birth of Modern Jazz: Slide Hampton

Slide Hampton

Born Locksley Wellington Hampton in Jeannette, Pennsylvania, in 1932, trombonist Slide Hampton was one of eight brothers and four sisters who all played in a group led by their father and mother, Clark and Laura. Hampton began dancing and singing with that group at age three. His father taught him to play trombone such that he started performing with the instrument at age twelve. Hampton led that group upon his father's death in 1951. He stepped into the recording studio for the first time in July of 1952 with Eddie Cleanhead Vinson, recording 'I Need You Tonight', 'Good Bread Alley', 'Person To Person' and 'Lonesome Train'. (A couple of those may exist at YouTube, though undated, therefore indistinguishable from possible later recordings.) He recorded with his family's group in April of 1953 when it was called the Duke Hampton Boy and Girl Band, among those tracks, 'Please Be Good To Me' with lead sung by his sister, Aletra. That band performed at Carnegie Hall the next month, then at the Apollo Theater, then the Savoy Ballroom. Hampton left his family band in 1953, moving onward to Buddy Johnson, participating in four recordings on Johnson's 1956 album, 'Rock 'N Roll', most notably, 'It's Obdacious', he sharing trombone with two others on the other three tracks: 'Doot Doot Dow', 'I Don't Want Nobody' and 'Bring It Home To Me'. then both Lionel Hampton and Maynard Ferguson in 1958, the latter with whom he recorded four albums in the coming years. Hampton would play with Ferguson into the sixties and reunite on May 15, 1978 for Ferguson's 'Carnival'. In 1958 Hampton made further recordings with Johnson, as well as trombonist, Melba Liston, with whom he would record on occasion in the sixties, last putting down tracks together for Kim Weston's 'For the First Time' in 1967. Hampton put his first band together in 1959, his first tracks as a leader with an octet issued on 'Horn of Plenty'. From 1964 to 1967 he worked as musical director for a number of musicians, including Stevie Wonder and the Four Tops. In 1968 Hampton went on a tour of the United Kingdom with Woody Herman and decided to stay in Europe, first France for six years, then Berlin for two. Returning to the U.S. in 1977, Hampton began teaching at Harvard, the University of Massachusetts, De Paul University in Chicago and Indiana University. In 2005 Hampton was named a Jazz Master by the National Endowment for the Arts. He the formed the Hampton Ultra Big Band in 2006. With perhaps 240 sessions to his name, 40 his own, Hampton is yet active as of this writing. Among the many highlights of his career was the recording of both volumes of 'Montreaux Summit' in July of '77 in Switzerland, and his participation in 'Eastwood After Hours' at Carnegie Hall in October of '96.

Slide Hampton   1956

   It's Obdacious

      With Buddy Johnson

Slide Hampton   1958

   Frame For The Blues

      With Maymard Ferguson

   Mean Jean

      With Curtis Fuller

Slide Hampton   1959

   Autumn Leaves

      Trumpets: Freddie Hubbard & Booker Little

Slide Hampton   1960


Slide Hampton   1962


      Album: 'Exodus'

   Ow!/I Remember Clifford/Exodus/Mack The Knife

      Filmed Live

   Sister Salvation/?/Round Midnight

      Filmed Live


      Filmed Live

Slide Hampton   1969

   A Day In Vienna

      With Dexter Gordon

Slide Hampton   1974

   Tante Nelly

Slide Hampton   1982

   Rain Or Shine

Slide Hampton   1987

   All the Things You Are

      Filmed live with Dizzy Gillespie


      Filmed live with Dizzy Gillespie

Slide Hampton   1993

   17th Jazz Festival de Vitoria-Gazteiz

      Concert filmed live

Slide Hampton   1997


      Filmed live with Dizzy Gillespie



Birth of Modern Jazz: Ruby Braff

Ruby Braff

Photo: Ken Franckling

Source: New England Jazz Allance


Born Reuben Braff in 1927 in Boston, the earliest known recordings made by cornetist and trumpeter Ruby Braff were eight titles with clarinetist, Edmond Hall, in December of 1949 at the Savoy Cafe in Boston, released in 1954 as 'Jazz at the Savoy Cafe'. From '51 to perhaps '53 Braff participated in two or three sessions resulting in the albums 'Jazz at Storyville Vol. 1 & 2' issued in 1955. Contributing to one each of those sessions in Boston were trombonist, Vic Dickenson, and clarinetist, Pee Wee Russell. Braff's initial issues were possibly from a session with Ella Fitzgerald and the Jo Jones Quartet at the Storyville on February 7, 1953, titles such as 'Why Don't You Do Right?' and 'Mean to Me'. Braff would record with Russell on numerous occasions to as late as '67 ('George Wein Is Alive and Well in Mexico'), they backing each other's outfits. He would often get teamed with Jones into '56, he supporting Braff in '55 on 'Ruby Braff Special' and 'Little Big Horn'. Braff's next session after Fitzgerald was with Dickenson on the 29th of December, 1953, yielding such as 'Jeepers Creepers' and 'Russian Lullaby', those issued at the time. That date per Lord's discography is discrepant, however, with the 'Goldmine Standard Catalogue of American Records' which has those titles released in 1953. Dickenson would figure large in Braff's career, they working together numerously to as late as December 1981 for Braff's 'Very Sinatra', the last album on which Dickenson backed Braff. Among the more significant names in Braff's career was pianist, George Wein, who was in on Braff's first Storyville session. They would team up to back other bands as well as each other, Wein appearing on several of Braff's albums and Braff supporting Wein's Newport All Stars. The last of their numerous collaborations was in Nice, France, on July 18, 1974, to record such as 'Swingin' the Blues' and 'Broadway'. Among other names to grace Braff's career were Urbie Green, Buck Clayton, Bud Freeman, Benny Goodman, Ellis Larkins, Dick Hyman, Dave McKenna, Ralph Sutton, Scott Hamilton, Tony Bennett ('70 and '73) and Helen Ward ('79). Braff's first recordings as a leader were with Wein, live at the Boston Common on June 9, 1954. Those were issued in 2001 as 'Presents Jazz at the Boston Arts Festival'. The next year Braff released his tribute to Billie Holiday titled 'Holiday In Braff'. Braff performed with Scottish trumpeter, Alex Welsh, in 1967 in London, resulting in 'Ruby Braff with Alex Welsh and His Band' and Welsh's 'Hear Me Talkin''. In 1973 Braff formed a group that would make his name with guitarist, George Barnes, first recording at Carnegie Hall on June 29 that year. That ensemble broke up in 1975, its last recordings also at Carnegie Hall in February. It is written that Braff was cursed with a temper. Such is said to have been the caveat that prevented him from becoming more successful, that in context with the fact that he attended a prolific number of sessions, perhaps upwards of around 550, meaning he couldn't have been altogether despicable, otherwise owning a winning personality. During the nineties he flourished despite illness with lung disease. Braff gave his last performance at the Nairn Jazz Festival in Scotland in 2002, such also affecting his final recordings, 'For the Last Time'. Members of Braff's crew on those were Scott Hamilton (tenor sax), Jon Wheatley (guitar), John Bunch (piano), Dave Green (bass) and Steve Brown (drums). Braff had begun and pursued his career as a mainstream traditionalist, but modern jazz was far from lost on him, he only measuring such with characteristic delicacy. Braff died on February 9, 2003, in Chatham, Massachusetts. Titles for 1953 below are dated per 'Goldmine Standard Catalogue of American Records'. Lord's recording date per above of December '53 would make issues of the same that year impossible.

Ruby Braff   1953

   I Cover the Waterfront

      Piano: Sir Charles Thompson

      Trombone: Vic Dickenson

   Sir Charles At Home

      Piano: Sir Charles Thompson

      Trombone: Vic Dickenson

   Russian Lullaby

      Piano: Sir Charles Thompson

      Trombone: Vic Dickenson

Ruby Braff   1954

   I Can't Get Started

      Clarinet: Pee Wee Russell

   Lullaby of Birdland

     Flute: Frank Wess   Trombone: Urbie Green

Ruby Braff   1955


   A City Called Heaven

      Piano: Ellis Larkins

   Sing Sing Sing

      With Benny Goodman

   Struttin' with Some Barbecue

      Recorded 1951 at the Storyville Club

   Thou Swell

      Piano: Ellis Larkins

Ruby Braff   1957

   Did I Remember

      Album: 'Salute To Bunny'

      Piano: Nat Pierce   Clarinet: Pee Wee Russell

   I Can't Get Started

      Clarinet: Pee Wee Russell

   Somebody Is Taking My Place

      Album: 'Salute To Bunny'

      Piano: Nat Pierce   Clarinet: Pee Wee Russell

Ruby Braff   1958

   But Not For Me

   Embraceable You

   Keep Smiling At Trouble

   Treat Me Rough


Ruby Braff   1961

   Jazz Train Blues/When Your Lover Has Gone

      Filmed live with the Newport All Stars

   Sugar/Lover Come Back

      Filmed live with the Newport All Stars

   Way Down Yonder/C-Jam Blues

      Filmed live with the Newport All Stars

Ruby Braff   1967

   Take the 'A' Train

      With the Newport All Stars

Ruby Braff   1972

   Love Walked In

      Piano: Ellis Larkins

Ruby Braff   1974

   Lady Be Good

      Filmed live   Guitar: Barney Kessell


      Filmed live in Berlin   Guitar: George Barnes

Ruby Braff   1991

   It's Only a Paper Moon

      Filmed live at the Brecon Jazz Festival

      Bass: Frank Tate   Guitar: Howard Alden

   Mean to Me

      Filmed live at the Brecon Jazz Festival

      Bass: Frank Tate   Guitar: Howard Alden

   Miss Brown To You

      Filmed live at the Brecon Jazz Festival

      Bass: Frank Tate   Guitar: Howard Alden

   No One Else But You

      Filmed live at the Brecon Jazz Festival

      Bass: Frank Tate   Guitar: Howard Alden

   When a Man Loves a Woman

      Filmed live at the Brecon Jazz Festival

      Bass: Frank Tate   Guitar: Howard Alden

   You've Changed

      Filmed live at the Brecon Jazz Festival

      Bass: Frank Tate   Guitar: Howard Alden



Birth of Modern Jazz: Ken Colyer

Ken Colyer

Source: Last FM


Born in London in 1928, trumpeter and cornetist Kenneth Colyer joined the Merchant Navy at age seventeen. At some point he quit the Navy such that he had played with several bands before joining the Crane River Jazz Band in 1949, with which performed for Princess Elizabeth at the Royal Festival Hall in 1951. From November of '49 to November of '51 Colyer recorded a river of titles with that band as well as the Christie Brothers Stompers, none with any determinable release dates at the time. Colyer joined the Merchant Navy again in 1952, long enough to jump ship in Mobile and head for New Orleans where, being a devotee of traditional New Orleans jazz, he found employment with the George Lewis Band. He there set down some titles in '52-53, only to be arrested and deported back to England. Colyer's earliest issue found is the 1953 album with his Jazzmen, 'New Orleans to London', recorded September 2, 1953, in London. Colyer's first titles with Chris Barber had been 'Slow Drag Blues' and 'Blue Blood Blues' per a BBC broadcast in March of '53. He and Barber would see sessions into '54 and later in '64, '81 and '84, the last on December 12 resulting in Barber's 'New Orleans Parade'. Approaching 250 sessions during his career, the majority of those were Colyer's own. Lord's discography has his first as a leader in Burnham in 1951, again, no issue dates current with the time: 'Ja-da', 'Midnight Special', 'How Long Blues', etc.. His final recordings would appear to have been on June 6 of '87 for two volumes of 'Sadly the Last One'. Colyer died on March 8, 1888. More of Colyer under Chris Barber.

Kenneth Colyer   1953


   Early Hours

   Goin' Home

   Harlem Rag

   Too Busy

Kenneth Colyer   1954

   Bourbon Street Parade

   Easter Parade

   Joplin's Sensation

   Midnight Special

Kenneth Colyer   1955

   The Entertainer

Kenneth Colyer   1956

   Blame It On the Blues

   Old Rugged Cross

   Walking With the King

Kenneth Colyer   1958

   Bye 'n Bye

Kenneth Colyer   1960

   Maryland My Maryland

Kenneth Colyer   1963

   Give Me Your Telephone Number

Kenneth Colyer   1981

   Postman's Lament

      Live performance


Birth of Modern Jazz: Bill Hardman

Bill Hardman

Photo: Mosaic Image

Source: Blue Note

Born in 1933 in Cleveland, Ohio, trumpeter, Bill Hardman, was among not a few musicians in these histories to have made that a hopping jazz town, saxophonist, Albert Ayler, perhaps the most notorious among them (free form). Hardman himself knew bassist, Bob Cunningham, and pianinist, Tadd Dameron as a youth. Upon graduation from high school Hardman joined Tiny Bradshaw's outfit with whom he made his first recordings on July 29, 1953: 'Powder Puff', 'South of the Orient', 'Later' and 'Ping Pong'. Hardman stuck with Bradshaw into 1955. He entered a session with Charles Mingus at the Cafe Bohemia in NYC on August 18 of 1956 for such as 'Confirmation'. His first tracks with Jackie McLean followed on August 31, 1956, though 'Jackie's Pal' wasn't issued until 1957, 'Jackie McLean & Co.' as well, recorded February 7, 1957. Hardman also emerged on Art Blakey's 'Hard Bop' in '57, together with several other LPs released in rapid succession by Blakey that year. Blakey was the major figure in Hardman's career, they collaborating in the later sixties and latter seventies as well. Also important to Hardman's early career was Lou Donaldson, with whom he issued several albums in the early sixties, their first being Donaldson's 'Sunny Side Up' recorded on February 5, 1960. Hardman released his first LP in 1961: 'Saying Something'. As the seventies rolled into the eighties he worked with saxophonist, Junior Cook. Their first titles together were for pianist, Mickey Tucker's, 'Sojourn' on March 28, 1977. Cook would appear on several Hardman albums, they also backing other ensembles together. Their last session is thought to have been after Hardman moved to Paris in 1988, also proving to be Hardman's final titles, 'What's Up', recorded in Copenhagen, Denmark, on July 7, 1989. Hardman died of cerebral hemorrhage on December 5, 1990. He had participated in only about 75 sessions during his forty-year career, releasing only six albums as a leader or co-leader, but is recognized as among the top trumpeters in jazz. Per 1968 below, 'Live in Denmark' is the Horace Silver Quintet with the Elvin Jones Trio. Other edits are Silver's quintet featuring John Williams (bass), Billy Cobham (drums) and Bennie Maupin (sax).

Bill Hardman   1953

   Powder Puff

      With Tiny Bradshaw

      Thought to be Hardman's first recording

Bill Hardman   1955

   Cat Nap

      With Tiny Bradshaw

Bill Hardman   1957

   Falling In Love With Love

      Mal Waldron LP: 'Mal/2'

  Just for Marty

      Jackie McLean LP: 'Jackie's Pal'

  Sweet Doll

      Jackie McLean LP: 'Jackie's Pal'

Bill Hardman   1960


      Art Blakey LP: 'The Big Beat'

Bill Hardman   1961

   Angel Eyes

      LP: 'Saying Something'


      LP: 'Saying Something'

Bill Hardman   1964


      Lou Donaldson LP: 'Possum Head'

  Persimmon Tree

      Lou Donaldson LP: 'Possum Head'

Bill Hardman   1964

 Live in Denmark

      Filmed with Horace Silver


      Filmed with Horace Silver

 Song For My Father

      Filmed with Horace Silver

Bill Hardman   1967

 Live in Spain

      Filmed with Junior Cook

Bill Hardman   1989

 Fuller Up

      LP: 'What's Up'



Birth of Modern Jazz: Albert Mangelsdorff

Albert Mangelsdorff

Photo: Hermann Wygoda

Source: Golden Age 3040


Born in Frankfurt in 1928 trombonist Albert Mangelsdorff played violin and guitar as a child until switching to trombone in 1948. He was the younger brother of alto saxophonist, Emil Mangelsdorff. Mangelsdorff began his professional career in 1950 upon joining Joe Klimm's outfit. In 1953 he switched to Hans Koller's quintet. Lord's discography wants his first recordings unissued with Koller's New Jazz Stars joining Dizzy Gillespie at the NDR Studio in Hamburg, Germany on March 9. Titles with Jutta Hipp contributing piano were 'The Way You Look Tonight', 'Indian Summer', 'You Go to My Head' and 'All the Things You Are'. A couple more unissued titles by Koller's Stars followed on the 14th until a session in May in Baden-Baden saw vinyl issued by Vogue, such as 'The Way You Look Tonight' and 'What's New'. Koller and Mangelsdorff would maintain a significant relationship over the decades, holding numberless sessions, either backing each other or other ensembles, to as late as October 12, 1980, Mangelsdorff in Koller's band at the German Jazz Festival in Frankfurt to record such as 'Jessica's Dream' and 'Last Not Least'. Hipp would partake in a few more sessions with Koller and Mangelsdorff in '53, after which Mangelsdorff joined her quintet at the Deutsche Jazz Festival in Frankfurt on May 28, 1955, to record such as 'Hipp Noses' and 'The Song Is You'. It is thought Mangelsdorff first recorded with tenor saxophonist, Joki Freund, at that performance. Freund and Mangelsdorff would be nigh constant companions over the decades into the new millennium. In 1955 they formed the Frankfurt All Stars with Emil Mangelsdorff, issuing 'Vier Temperamente' in 1956. Koller would join them on the release of 'Rhein Main Jump' in '58. Mangelsdorff and Freund put together a quintet in 1957 which became the nucleus of the Jazz-Ensemble of Hessian Broadcasting, of which Mangelsdorff was the director until 2005. One manifestation of that arrangement was the Jazz Ensemble of Hessischer Rundfunk, recording in '67, '73, 1980-85, '89 and 1992-93. Mangelsdorff toured Asia, the United States and South America in the sixties. He began leading quartets in 1969. His first of numerous sessions with that formation was on March 23, 1970, for 'Never Let It End'. He began to emphasize solos in the seventies as well. In 1976 he began teaching at the Hoch Conservatory. In 1995 he became musical director for the JazzFest Berlin. His final recording is thought to have been with Joki Freund for 'Crows on the Roof' per the HR Jazzensemble on May 16, 2003, that issued in 2008 on 'Unauffällige Festansage'. Mangelsdorff died in Frankfurt on July 25, 2005.

Albert Mangelsdorff   1954

   Simon/Cool Dogs/Yogi

      Album: 'Cool Europe'   Piano: Jutta Hipp

Albert Mangelsdorff   1955

   Daily Double

      Piano: Jutta Hipp

Albert Mangelsdorff   1962

   The Sheriff

      Piano: John Lewis

Albert Mangelsdorff   1966

   Bluesy Sound

      Filmed live

Albert Mangelsdorff   1969

   Icy Acres

      Album: 'Wild Goose'

      Guitar and vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund

   Fourth Flight

      Album: 'Wild Goose'

      Guitar and vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund


      Album: 'Wild Goose'

      Guitar and vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund

   Ich Armes Maidlein Klag Mich Sehr

      Album: 'Wild Goose'

      Guitar and vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund

   Snowy Sunday

      Album: 'Wild Goose'

      Guitar and vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund

   Sweet Primroses

      Album: 'Wild Goose'

      Guitar and vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund

   Willow and Rue

      Album: 'Wild Goose'

      Guitar and vocal: Colin Wilke

      Vocal: Shirley Hart

      Tenor sax: Joki Freund

Albert Mangelsdorff   1971

   The End

Albert Mangelsdorff   1972

   Birds Of Underground

Albert Mangelsdorff   1976


      Concert   Filmed live

      Bass: Jaco Pastorius

      Drums: Alphonse Mouzon

Albert Mangelsdorff   1982


Albert Mangelsdorff   1983

   Ripoff/Mood Azure

      Filmed live   Bass: Leon Francioli

      Drums: Pierre Favre


      Filmed live   Bass: Leon Francioli

      Drums: Pierre Favre

   Wobbling Notes and Fluted Crackle

Albert Mangelsdorff   2004

   Im Wendekreis des Steinbock

      Filmed live

Albert Mangelsdorff   2008

   Crows on the Roof

      Album: 'Unauffällige Festansage'

      Posthumous issue



Birth of Modern Jazz: Papa Bue

Papa Bue

Source: Wikipedia


Born Arne Bue Jensen in 1930 in Copenhagen, Denmark, traditional Dixieland trombonist Papa Bue was a sailor after World War II when he began teaching himself to play his instrument. He was working venues in Copenhagen when he put together the Royal Jazz Band in 1953. That band would soon be renamed the Bohana Jazz Band. The Bohana Band made several live recordings in February of 1954, all unissued except 'Franklin Blues' and 'You Always Hurt The One You Love'. Those recordings were the first made by Bent Haandstad, launching his A Jazz Club Record label, Bue's band performing at the Soevaernets Kaserne naval base in Copenhagen. In 1956 Bue changed the name of his group to the New Orleans Jazz Band, then the Viking Jazz Band. The latter released its first album in 1958. In 1960, its release of 'Schlafe Mein Prinzchen' sold above a million copies. Papa Bue was the man to see when American musicians toured through Denmark. Among the Viking Jazz Band's recording collaborators were George Lewis ('59), Champion Jack Dupree ('62), Wingy Manone ('66-'67), Edmond Hall ('66), Art Hodes ('70), Albert Nicholas ('71) and Wild Bill Davison,('74-'77). Earl Hines and Ben Webster also performed with them at one time or another. Among the highlights of Bue's career were his debut recordings as a leader on the 18th and 30th of December, 1956, his first session yielding the sole title, 'Long Deep and Wide', his second seven more such as 'Bill Bailey' and 'Blue Bells Goodbye'. A compilation of Bue and the Viking Jazz Band was released on 4 CDs in 2005 titled, '100 Go'e'. Bue died in November of 2011.

Papa Bue   1954

   Franklin Blues

      Bohana Jazz Band

   You Always Hurt the One You Love

      Bohana Jazz Band

Papa Bue   1956

   Moten Shake

      New Orleans Jazz Band

Papa Bue   1958

   Nyboders Pris (Praise Of Nyboder)

Papa Bue   1959

   The Old Spinning Wheel

Papa Bue   1960

   Schlafe Mein Prinzchen


Papa Bue   1970

   2:19 Blues

Papa Bue   1975

   Hva' Si'r De Til Rejemad

      Banjo & vocal: Bjarne "Liller" Pedersen

Papa Bue   1978

   Just A Closer Walk

      Banjo & vocal: Bjarne "Liller" Pedersen

Papa Bue   1992

   Mack the Knife

   Maple Leaf Rag

   Tin Roof Blues

   Weary Blues

   Yellow Dog Blues

Papa Bue   1996

   We Shall Walk Through The Streets Of The City

      Filmed live

Papa Bue   1999

   Goin' Home

   Once In a While


Birth of Modern Jazz: Shake Keane

Shake Keane

Source: Carribean Beat

Trumpeter, Shake Keane, was born in 1927 in Kingstown, St. Vincent, the main of the group of islands called the Grenadines north of Venezuela in the West Indies. He was actually born first. The trumpet came later, though in time to play in public for the first time at age six, brought to him by his father who played trumpet but died when Keane was thirteen. The next year he began playing in a group with his brothers, eventually graduating to Ted Lawrence and his Silvertone Orchestra. Literature Shake. His dedication to writing as a young man is how his name got changed from Ellsworth McGranahan to "Shake", short for Shakespeare. In 1950 he published 'L'Oubili', a book of poetry, followed by 'Ixion' in 1952, the year he emigrated to Great Britain to work for BBC on the 'Caribbean Voices' radio program, doing interviews and reading poetry. He played trumpet in various nightclubs with various bands until forming his own, the Highlifers, to record 'Trumpet Highlife'/'Creole Honey' in 1954 for the Lyragon label on a date unknown. More sessions followed from February to circa May resulting in 'High Note Highlife'/'Mambo Indio', 'Akinla'/'Fire Fire' and 'Balonga'/'Shake's Ghana Blues'. Writing competed with music for Shake's dedication in the latter fifties, though he began to play flugelhorn about that time. He eventually released a number of titles in 1960 with tenor saxophonist, Wilton "Bogey" Gaynair, on the Tempo label. Shake had joined the Joe Harriott Quintet the year before and would appear on numerous recordings by Harriott into 1966. Keane was with Francy Boland in Germany from '66 to '68 where they recorded 49 titles together. He returned to St. Vincent in 1972 to become Director of Culture until 1975. He published the poetry collection, 'One a Week with Water', in 1979. During the eighties he moved to New York to settle in Brooklyn, working as a cultural attaché for the government of St. Vincent. Throughout the seventies and eighties Keane was less involved with music than other activities. He became a United States citizen in 1989, then left for Great Britain to tour with Joe Harriott Memorial Quintet with pianist, Michael Garrick. Though Keane was recognized as a phenomenal trumpet player his responsibility (I've called such response ability) to literature and writing saw him die of cancer in November of 1997 in Oslo, Norway, with little to his name.

Shake Keane   1954


      With Mike McKenzie's All Stars

   Fire, Fire

      With Mike McKenzie's All Stars

Shake Keane   1962


   Nursery Blues

Shake Keane   1965

   Bachianas Brasileiras No 5

      Album: 'The Keating Sound'

Shake Keane   1966


      Filmed live in Berlin

Shake Keane   1967

   As Tears Go By

      Album: 'That's the Noise'

Shake Keane   1969

   Green Onions

   Soul Serenade

Shake Keane   1991

   Prague 89

      Album: 'Real Keen Reggae into Jazz'


  Trumpeter, Dizzy Reece, had been born in Kingston, Jamaica, in 1931. He began trumpet at age fourteen, switching from baritone sax. Playing professionally at age sixteen, he took a ship to London in 1948, but had difficulty getting gigs so left for Paris the next year. He also worked in Holland and Germany before he figured he was good to visit London again in 1954. Things went much better that time around, hooking up with Kenny Graham's Afro Cubists to record 'The Continental', 'Cottontail', 'Fascinating Rhythm' and 'Blues In the Night' on April 27 of '54. A couple of sessions with Tony Crombie and his Orchestra would follow later that year. He commenced 1955 on January 9 with titles by the Town Jazz Group at Royal Festival Hall. On March 3 he recorded his first tracks with pianist/vibraphonist, Victor Feldman: 'Typhoon', 'Umf', etc.. Two months later on May 18 he put down tracks for what would end up on 'London Jazz' (Imperial LP 9043) with his quintet in 1957. Titles for Feldman's 'Suite Sixteen' followed on August 19, that issued in 1958. Reece stayed with Feldman through '56, their last session on January 3, 1957 for such as 'Strollin', 'I've Lost Your Love', etc.. On August 24, 1958, Reece recorded 'Blues in Trinity', issued the next year. Reece made his first trip to NYC in 1959, supporting Art Blakey on 'Africaine' at the Blue Note studio in Englewood Cliffs, NJ, on November 10. But, like London a decade before, the New York jazz scene wasn't easy to invade and he returned to England. Highlighting the sixties was a tour of Europe in 1968 with Dizzy Gillespie, resulting in a few Gillespie LPs. Highlighting the seventies was his participation in Boy Edgar's 'Music Was His Mistress: An Homage to Edward Kennedy Ellington' in 1975. A trip to New York in 1977 resulted in Clifford Jordan's 'Inward Fire' recorded on April 5. Another trip the next year came to Jordan backing Reece on 'Manhattan Project' on January 17. Reece would also join Jordan on 'Play What You Feel' in 1990 and 'Down Through the Years' in 1991, both in NYC. Highlighting the eighties was the Paris Reunion Band, recording 'French Cooking' on July 3, 1985, in Stockholm, Sweden. After contributing to Jordan's 'Down Through the Years' in '91 per above, Reece disappeared into obscurity. His career of forty years hadn't emphasized vinyl, he attending only 65 sessions, nigh a third of those his own.

Dizzy Reece   1955


      Tony Crombie Orchestra


      Tony Crombie Orchestra

   Good Bait

      Tony Crombie Orchestra

Dizzy Reece   1957

   On the Scene


Dizzy Reece   1959


      LP: 'Blues In Trinity'

   Color Blind

      LP: 'Blues In Trinity'

Dizzy Reece   1960

   Blue Streak

      LP: 'Soundin' Off'

   Comin' On!

      LP: 'Comin' On!'

      Unissued until 1999

   A Ghost of a Chance

      LP: 'Soundin' Off'


      LP: 'Star Bright'

   I'll Close My Eyes

      LP: 'Star Bright'


      LP: 'Comin' On!'

      Unissued until 1999

Dizzy Reece   1962

   Spiritus Parkus

      LP: 'Asia Minor'

   The Story of Love

      LP: 'Asia Minor'

Dizzy Reece   1970


      LP: 'From In to Out'

Dizzy Reece   1977

   Universal Harmony

      LP: 'Possession, Exorcism, Peace'

Dizzy Reece   1978

   Con Man

      LP: 'Manhattan Project'

   Manhattan Walk

      LP: 'Manhattan Project'

Dizzy Reece   1981

   Live at NYC Jazz Festival

      Fimed live


Birth of Modern Jazz: Dizzy Reece

Dizzy Reece

Source: Jazz Times

  West Coast trumpeter, singer and television actor, Jack Sheldon, was born in 1931 in Jacksonville, FL. Performing professionally at age thirteen, he served time in the Air Force, performing in military bands, then returned home to gig in clubs before trading coastlines in 1947, moving to Los Angeles. His earliest known session was with Al Haig leading a group that included trumpeter, Chet Baker, and alto saxophonist, Art Pepper, on August 18, 1952, at the Trade Winds in Inglewood, CA. Baker was out on three of six tracks, leaving those to Sheldon. They wouldn't see issue until 1990 as 'Inglewood Jam 1952'. Sheldon would later see numerous sessions with Pepper, their next occasion to back Pepper on August 6, 1956, for the latter's 'The Return of Art Pepper'. From '58 to 61 they cleared much the same path backing other operations when Sheldon wasn't backing Pepper. They last recorded together with the Teddy Edwards Septet supporting Helyne Stewart on January 20, 1961, for tracks on 'Love Moods'. On February 19 and April 15, 1954, Sheldon joined Jimmy Giuffre in the recording of the latter's debut album, 'Jimmy Giuffre'. Thought issued that year, that was likely Sheldon's first vinyl. Giuffre and Sheldon would visit on multiple occasions in the fifties, backing other bands when Sheldon not supporting Giuffre. Their last such occasion was per Giuffre's orchestra on April 8, 1959, supporting Anita O'Day on titles like 'Orphie Annie' and 'It Had to Be You'. Also present at Sheldon's first sessions for Giuffre's debut album mentioned above were Russ Freeman (piano), Curtis Counce (bass), Shelly Manne (drums), Bob Enevoldsen (valve trombone), Bud Shank (alto sax) and Ralph Pena (bass). With the exception of Pena with whom Sheldon recorded only a couple more times, the other members of that ensemble would be frequent partners on numerous occasions in the coming years. He next joined Freeman per 'The Return of Art Pepper' above in August of '56, they to interweave for the next eight years backing other bands. Their last session together was in the summer of '64 for Shelly Manne's LP, 'My Fair Lady with the Un-original Cast'. As for Manne, he was also present on 'The Return of Art Pepper' above. Manne would be a major compatriot in the decade to come, supporting other bands when Manne wasn't backing Sheldon. The last sessions of that long relationship fell to Manne's 'My Fair Lady with the Un-original Cast' per above in 1964. They reunited thirteen years later in the summer of '77 to back Tom Waits on the album, 'Foreign Affairs'. Sheldon first backed Counce on October 8, 1956, for the album, 'The Curtis Counce Group', and stuck with Counce to latter 1957. Sheldon next recorded with Bob Enevoldsen (after Giuffre above) in June of '57 to support 'Joe Bryan Sings'. They interweaved often as they supported other bands to as late as 1969, later reuniting in '88, '93, '01 and, finally, September 6, 2003, backing vocalist, Eric Felton, on 'Meets the Dek-Tette'. As for  Bud Shank, Sheldon's next session with him (after Giuffre above) was in the summer of 1958, backing the Hi-Lo's on 'Then I'll Be Tired of You' and 'Lady in Red'. They crossed paths on numerous occasions in the support of various to as late as April of '65, backing Johnny Mandel's 'The Sandpiper'. They would reunite nigh a quarter century later on March 21, 1989, for 'Vic Lewis West Coast All Stars Play Bill Holman'. Highlighting Sheldon's early career was his first session as a leader in late summer of '54, recording the 10" long play for the Jazz West label called 'Get Out of Town!'. On April 4 of '55 he was joined by Zoot Sims for another 10" album: 'Jack Sheldon Quintet with Zoot Sims'. His 1956 33 LP, 'The Quartet and the Quintet', combined those earlier albums onto one disc. Numerous reissues since then, beginning in '79, contain several additional tracks. Sheldon began to appear on television per 'The Merv Griffin Show' in 1962, and would eventually become a long-standing member of Griffin's band. Sheldon began acting in 1964, appearing in the television movie, 'The Nut House!!', moving on to numerous roles throughout his television career in such as 'Gilligan's Island', 'Run Buddy Run', 'Petticoat Junction', 'Dragnet', 'The Girl with Something Extra', 'Schoolhouse Rock!', 'Star Trek' and the television movie, 'Hard Time'. He's also contributed to numerous soundtracks, mostly in television, though his first in 1965 was a performance of 'The Shadow of Your Smile' for the the film, 'The Sandpiper'. Also a film actor, Sheldon first appeared as such in 1972 in 'A Day at the White House', moving onward to, among others, 'Freaky Friday' ('76) and 'Dear God' ('96). In the meantime his second career in music has seen the release of above twenty albums as a leader. Currently residing in Hollywood Hills, he is yet active at jazz clubs such as the Catalina Bar & Grill. The actor, George Segal, accomplished on banjo, joins him on occasion.

Jack Sheldon   1955

   Ah Moore

      Album: 'Get Out Of Town'

      Jack Sheldon Quartet

   Get Out of Town

      Album: 'Get Out Of Town'

      Jack Sheldon Quartet

   It's Only a Paper Moon

      Jack Sheldon Quintet

   Mad About the Boy

      Album: 'Get Out Of Town'

      Jack Sheldon Quartet

Jack Sheldon   1956

   Tangents in Jazz

      LP by Jimmy Giuffre

Jack Sheldon   1978

   Rocky Raccoon

Jack Sheldon   1984

   Don't Get Around Much Anymore

      Filmed live

Jack Sheldon   1985

   Cotton Tail

      'Merv Griffin Show' with Jon Faddis

      Original composition: Duke Ellington

Jack Sheldon   2013

   Live at Steamers

      Filmed in Los Angeles


Birth of Modern Jazz: Jack Sheldon

Jack Sheldon

Source: Discogs

  Cornetist Nat Adderley first recorded with his brother, Cannonball, on June 28, 1955, in NYC. That was for Kenny Clarke's 'Bohemia After Dark'. He had earlier recorded with Lionel Hampton's orchestra in Europe in '54. His first of several sessions had yielded 'Star Dust' in October in Amsterdam, Holland. Another rendition would be recorded in November in Vienna. Adderley's earliest recordings with Hampton in Europe were made available in 1955 on the album, 'Apollo Hall Concert 1954'. Fading back a bit earlier, Adderley had been released from the Army in 1953 to attend Florida A&M with the intention of becoming a teacher. But before filling his first position he joined Hampton's band per above, with which he played a couple years. In 1955 he and Cannonball went to New York where Oscar Pettiford was playing at the Café Bohemia in Greenwich Village. Pettiford's saxman didn't show so Cannonball filled his spot, Nat also playing. Pettiford was impressed and the brothers were encouraged to form the Cannonball Adderley Quintet. Adderley's first session with that quintet was after Clarke's per above, in Hackensack, NJ, for Savoy on July 14, 1955: 'Spontaneous Combustion', 'A Little Taste', 'Caribbean Cutie', et al.. That quintet finally folded upon Cannonball's death in 1975. Cannonball and Nat last recorded at a concert at the Nassau Coliseum in Uniondale, New York, on July 6, 1975: 'Phases', 'Country Preacher', 'Oh Babe!', et al. In 1980 Nat formed the Adderley Brotherhood. Lord's discography has him last recording in December of 1995: 'Mercy, Mercy, Mercy'. He died of diabetes in 2000 in Lakeland, Florida. More Cannonball Adderley in A Birth Of Modern Jazz 1.

Nat Adderley   1955

   Hurricane Connie

      With Cannonball Adderley

   I Married an Angel

   A Little Taste

      With Cannonball Adderley

   Still Talkin' To Ya

      With Cannonball Adderley


      With Lionel Hampton

Nat Adderley   1958


      Live with Billy Taylor & Cannonball Adderley

Nat Adderley   1959

   Blue Brass Groove

Nat Adderley   1960

   I've Got A Crush On You

   Sack O' Woe

      With Wes Montgomery

   That's Right

   Work Song

      With Wes Montgomery

Nat Adderley   1962


      Album: 'In the Bag'

Nat Adderley   1964

   Live on Jazz 625

Nat Adderley   1969

   Grey Moss

Nat Adderley   1975

   Quit It

Nat Adderley   1990

   Worksong/Mercy Mercy Mercy/Unit 7

      Live at the Pori Jazz Festival in Finland


Birth of Modern Jazz: Nat Adderley

Nat Adderley

Source: Jazz Trumpet Solos


  Born in 1935 in Bridgetown, Barbados, some 500 miles north of Venezuela, British trumpeter, Harry Beckett, picked up music as a cornetist with a Salvation Army band. He is thought to have left for London in 1954, possibly with tenor saxophonist, Willy Roachford, they to join the West African Rhythm Brothers (WARB) which had established a residency at the Abalabi nightclub in Soho in 1952. WARB would combine a variety of styles from calypso to swing, an operation run by Nigerian musician, Ambrose Campbell, since 1945, making its way to London in '46. Lord's disco picks up Beckett with the WARB on an unknown date in the early fifties, recording 'Mofi ajobi seyin' (circa 1954) with other unidentified titles. That (perhaps those) wouldn't see issue until 'London Is the Place for Me Vol 3' in 2006. Lord's also lists Beckett as the possible uncredited horn player on 'Iwa D'Arekere' (flip side to 'Ero Ya Kewawo' Melodisc 1322) in 1955 as well as the obscure 'Egbe Mi' (flip side to 'Ajo Laway' Melodisc 1462). Beckett also worked with Leslie Hutchinson upon arriving to London. He is thought to have met bassist, Graham Collier, in 1961 before Collier left for the United States to attend the Berklee College of Music. In 1962 Beckett appeared in the film, 'All Night Long', with Dave Brubeck and Charles Mingus. He found himself in Collier's band upon the latter's return to the UK in '63/64. On January 24, 1967, Beckett participated in three tracks on Collier's 'Deep Dark Blue Centre' (Kenny Wheeler filling trumpet on the others). Titles toward 'Workpoints' ('06) went down in March of 1968. Becket would remain with Collier through above ten albums to 'The Day of the Dead' in early 1978. Along the way Collier assisted as arranger on Beckett's debut LP, 'Flare Up', on July 15, 1970. They would reunite in November of 2004 for titles toward Collier's 'directing 14 Jackson Pollocks'. Wheeler, above, would be one of Beckett's more important comrades, they joining the trumpet section of numerous operations, such as Mike Gibbs', to as late as January of 1994 for 'Ixesha (Time)' by the Dedication Orchestra. Also contributing to 'Workpoints' above had been drummer, John Marshall, with whom Beckett often worked into the seventies, and saxophonist, John Surman, on whose debut album, 'John Surman', he participated with Wheeler on August 14, 1968. Beckett supported five of Surman's LPs to 'Tales of the Algonquin' in 1971. Along the way Surman contributed to Beckett's debut LP, 'Flare Up', in 1970. To go by Lord's disco they held their last mutual session on January 9 of 1971 for 'Chris McGregor's Brotherhood of Breath'. It was an unknown date for 'Jazz in Britain '68-'69' featuring Surman and Alan Skidmore with Mike Osborne also on sax. Both Skidmore and Osborne would play large roles in Beckett's career. Beckett and Osborne traveled together through Surman and, later, Chris McGregor. Beckett contributed to Osborne's 'Outback' in spring of 1970. It was Beckett's debut LP, 'Flare Up', in July, 'Warm Smiles' in the summer of '71 and 'Themes for Fega' on February 4 of '72. Lord's disco finds them together to as late as McGregor's 'Live Toulouse' on May 10 of 1977. They had also been members of Barry Guy's London Jazz Composers Orchestra for the dual disc 'Ode' issued in 1972 by Incus (6/7). As for Skidmore, he and Beckett nigh laced the same shoe into the nineties in the support of numerous enterprises from Surman's and McGregor's to Mike Gibbs' and Elton Dean's. Skidmore had assisted on Beckett'e debut LP, Flare Up', in 1970 and 'Themes for Fega' in '72. Lord's disco finds them together to as late as January of 1992 for 'Spirits Reoice' by the Dedication Orchestra. We slip back to December of 1968 for 'Something in the Sky' and 'Mandala', those toward guitarist, Ray Russell's, 'Dragon Hill'. Beckett would contribute to several of Russell's LPs to as late as 1978 for 'All Week Tomorrow' on Russell's 'Live at the I.C.A.' issued in 2000. Along the way Russell supported Beckett's 'Joy Unlimited' in March 1974, 'Memories of Bacares' in November 1975 and 'Got It Made' on July 13, 1977. As implied above, pianist, Chris McGregor, was another large presence in Beckett's career, for whom we return to Mike Osborne's 'Outback' in 1970. Beckett's next session was for 'Chris McGregor's Brotherhood of Breath' in January of '71 per above. Lord's disco has Beckett in sessions good to supply a total of thirteen McGregor albums to 'En Concert a Banlieues Bleues' on March 18, 1989. McGregor had also supported Beckett on titles in May of 1987 that saw issue variously per 'Les Jardins du Casino' ('93), 'Live Volume II' ('89) and 'Bremen Concert' ('88). After McGregor's death in May of 1990 Beckett participated in the reincarnation of the Brotherhood of Breath in December of '93 to perform a string of McGregor's compositions for 'The Memorial Concert' ('In Memoriam' in the US). It had been with McGregor that Beckett is thought to have first held session with alto saxophonist, Dudu Pukwana, that in January of 1971 for 'Chris McGregor's Brotherhood of Breath'. They traveled through numerous albums for McGregor together to as late as 'Thunderbolt' on May 17, 1986. Along the way Beckett participated in Pukwana's 'Zila' in January 1981 and 'Life in Bracknell & Willisau' in 1983. Lord's disco has them together to as late as John Steven's 'Fast Colour' on August 5 of 1988. We back up to Mike Osborne above on April 22, 1972, for Barry Guy's London Jazz Composers Orchestra toward 'Ode', that with saxophonist, Evan Parker. Beckett and Parker found numerous reasons to work together through the decades from projects by McGregor to the Dedication Orchestra to the London Improvisers Orchestra in the new millennium. Another of Beckett's major confederates was saxophonist, Elton Dean, for whom we return to McGregor's 'Bremen to Bridgwater' on February 26, 1975. Dean and Beckett would work with McGregor and other operations, like the Dedication Orchestra, into the nineties. Along the way Beckett supported sessions toward some six of Dean's albums from 'Oh! For the Edge' in March of '76 to 'Welcomet' gone down in Sao Paulo, Brazil, in March 1986. Dean had contributed to Beckett's 'Pictures of You' in 1985. Come the new millennium Beckett participated in six projects by the London Improvisers Orchestra from 'The Hearing Continues' in September 2000 to 'Separately & Together' in 2007 in a joint production with the Glasgow Improvisers Orchestra. Beckett's last of some seventeen albums as a leader or co-leader is thought to have been 'The Modern Sound Of Harry Beckett' gone down in 2007. Beckett died on July 22 of 2010 of stroke. Per 1967 below, Beckett is on tracks A1, A3 and A4 of 'Deep Dark Blue Centre'. It's Kenny Wheeler on tracks A2, B1 and B2.

Harry Beckett   1954

  Mofi Ajobi Seyin

      Not issued until 2006

Harry Beckett   1955

  Iwa D'Arekere

      Uncredited trumpet possibly by Beckett

Harry Beckett   1967

  Deep Dark Blue Centre

      LP by Graham Collier

Harry Beckett   1970

  Rolly's Tune

      LP: 'Flare Up'

Harry Beckett   1971

  Warm Smiles

      LP: 'Warm Smiles'

Harry Beckett   1975

  Bracelets of Sound

      LP: 'Joy Unlimited'

  No Time for Hello

      LP: 'Joy Unlimited'

  Rings Within Rings

      LP: 'Joy Unlimited'

Harry Beckett   1988

  Grandmothers Teaching


Harry Beckett   1991

  Live in Avellino

      Filmed live

Harry Beckett   2008

  Out of the Blue

      LP: 'The Modern Sound Of Harry Beckett'

  Something Special

      LP: 'The Modern Sound Of Harry Beckett'


Birth of Modern Jazz: Harry Beckett

Harry Beckett

Photograph: David Redfern/Redferns

Source: Organized Rage

Birth of Modern Jazz: Herbie Mann

Herbie Mann

Source: Latin Jazz Network


Born in Brooklyn in 1930, Herbie Mann was a bop flautist who began playing resorts in the Catskills (New York) at age fifteen. His earliest recordings were with the Mat Mathews Quintet in NYC on April 29, 1953: 'Owl Eyes', 'Study in Purple', etc.. Mann stuck with Mathews for a couple more sessions into '54 and would later join him in 1957 in the New York Jazz Quartet and New York Jazz Ensemble. With around 337 sessions, 222 of those his own, Mann's has been a household name for half a century whose career this small space forbids following but for a few among numerous highlights. In 1954 Mann backed Ralph Burns, Carmen McRae and Pete Rugolo before   joining tenor saxist, Paul Quinichette's All Stars on November 22 of 1954 for several tracks which would be included on Quinichette's first album release ('Moods'): 'Tropical Intrigue', 'Grasshopper', 'Dilemma Diablo' and 'I Can't Believe That You're In Love With Me'. The next month Mann, Quinichette and trumpeter, Clifford Brown, supported Sarah Vaughan during a couple sessions in NYC for such as 'Lullaby Of Birdland', 'April In Paris', 'He's My Guy', 'Jim', 'You're Not The Kind', 'Embraceable You', 'I'm Glad There Is You', 'September Song' and 'It's Crazy'. It was also December that Mann first put down tracks as a leader: 'The Things We Did Last Summer' and 'My Little Suede Shoes' among them. He issued his first album, 'Flamingo', the next year in 1955. 'Herbie Mann with the Wessel Ilcken Trio', was recorded in '56, released in 1958. 'Flute Fraternity', recorded with flautist, Buddy Collette, was released in 1957. In 1961 Mann toured Africa (state sponsored), released the Afro-Cuban album, 'Flutista', then toured Brazil, commencing his venture into bossa nova during the sixties. In 1969 Mann founded Embryo Records which remained in business eight years. During the seventies Mann pursued smooth jazz as well as popular music. During the eighties and nineties he revived his interest in Brazilian jazz. Lord's discography lists his final recordings per Phoenix, AZ, in 2003 with alto saxophonist, Phil Woods: 'Alvin G', 'Bohemia After Dark', 'Au Privave', 'Little Niles', 'Blood Count', and 'Time After Time'. Those tracks would be issued on the 2004 album, 'Beyond Brooklyn'. Mann gave his last performance at the New Orleans Jazz & Heritage Festival in May 2003, dying a month of so later on July 1 of prostate cancer at his home in Pecos, New Mexico. All recordings for year 1955 below are with Sarah Vaughan unless otherwise indicated.

Herbie Mann   1953

   Bag's Groove

      With Mat Mathews

   Study in Purple

      With Mat Mathews

      Thought to be Mann's 2nd recorded title

Herbie Mann   1955

   April In Paris

   It's Crazy

   Embraceable You


      Paul Quinichette album: 'Moods'

   He's My Guy

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

      Paul Quinichette album: 'Moods'

   I'm Glad There Is You


   Lullaby of Birdland

   September Song

   You're Not the Kind

Herbie Mann   1957

   Give a Little Whistle

      Duet with flautist Buddy Collette

      Piccolo: Herbie Mann

Herbie Mann   1961

   Comin' Home Baby

Herbie Mann   1965

   Live at the Newport Jazz Festival


Herbie Mann   1966

   Is Paris Burning

Herbie Mann   1967

   Unchain My Heart

Herbie Mann   1971

   Push Push

      With guitarist Duane Allman

Herbie Mann   1976

   Cajun Moon

      Vocal: Cissy Houston

Herbie Mann   1990

   Keep the Spirits Singing

      Live performance

Herbie Mann   2004

   Beyond Brooklyn

      Album   Posthumous issue


Birth of Modern Jazz: Rosewell Rud

Roswell Rudd

Source: O Sitio do Jazz

Born in Sharon, Connecticut, in 1935, trombonist, Roswell Rudd, was a graduate of Yale University. While there he was a member of a Dixieland band with pianist, Dick Voigt, called Eli's Chosen Six that recorded with Columbia to release its first album in 1955: 'College Jazz: Dixieland'. In November 1957 that band recorded the album, 'Ivy League Jazz', for the Golden Crest label for release the next year. With a full career of above 150 sessions, nigh a third of those his own, among Rudd's contemporaries was Steve Lacy with whom he would record on multiple occasions for forty years into the new millennium. They first saw studio together on January 10, 1961, for Buell Neidlinger, recording 'Jumpin' Punkins' and 'Things Ain't What They Used to Be'. Lacy and Rudd oared much the same boat into 1965, supporting other bands when Rudd wasn't backing Lacy. In March of '63 they co-led titles at the Phase Two Coffee House in NYC that would be issued as 'School Days' in 1979. Their last session together in he sixties was on April 10, 1965, with the Jazz Composer's Orchestra at the Contemporary Center in NYC, putting down such as 'Day', 'Communications No. 5' and 'Radio'. Reunions occurred in decades to follow to as late as August 8, 2002, with a Lacy quartet including Jean-Jacques Avenel (bass) and John Betsch (drums), that at the Iridium in NYC for 'Bamako' and 'Twelve Bars'. Also present at that session with Neidlinger in '61 per above was free jazz saxophonist, Archie Shepp. Eight months later in August Rudd joined Shepp's band to record 'Four for Trane'. Rudd supported Shepp on multiple occasions to December 15, 1967, in France: 'A Portrait of Robert Thompson' and 'Jazz Is My Religion'. Reunions occurred in '79 and 2000, such as Shepp's 'Live in New York' released in 2001. Further present at that session with Neidlinger on January 10 of '61 was pianist, Cecil Taylor. On the same date (if not the day before) Rudd contributed to a track on Taylor's 'New York City R&B': 'Cell Walk For Celeste'. In October he contributed to Taylor's album, 'Into the Hot'. Commencing in 1964 Rudd would participate, years off and on, in the musicology studies of Alan Lomax, begun that year as well. Another major figure surfaced that year in the person of pianist, Carla Bley, she arranging a couple titles for the Jazz Composer's Orchestra on December 29: 'Roast' and 'Communications No 3'. In November of '68 Rudd found himself recording with Bley's band, supporting her numerously into '69, later in '71 and 1976-78. Prior to joining Bley Rudd's debut album, 'Rosewell Rudd', emerged in 1965. He began teaching in the seventies, first at Bard College in Annandale-on-Hudson in New York, then the University of Maine. The eighties found Rudd working in musicology with Lomax again, resulting in the study, 'The Urban Strain'. January of 2000 found Rudd contributing to Charlie Kohlhase's 'Eventuality'. The year 2000 also took Rudd to Mali where he began several years of work with Mali musicians. A visit by Mongolian musicians in 2003 resulted in the album, 'Blue Mongol', in 2005 with the Mongolian Buryat Band, about as far as one can take jazz without lift off. Rudd continued his interest in Oriental performers in 2007 with the release of 'Keep Your Heart Right', featuring Korean vocalist, Sunny Kim. Rudd issued more than twenty albums during his career, his latest in 2013, 'Trombone For Lovers'. Residing in New York, Rudd yet performs as of this writing with Cuban musician, David Oquendo. Oquendo had contributed tres and vocals to 'Dame la Mano' on Rudd's 'The Incredible Honk' released in 2011. Per 1955 below, all tracks are from the album, 'College Jazz: Dixieland', by Eli's Chosen Six.

Roswell Rudd   1955



   Ugly Chile

   St. James Infirmary

Roswell Rudd   1966

   Yankee No-How

      Album: 'Everywhere'

Roswell Rudd   1974

   Maiden Voyage'

      Album: 'Flexible Flyer'

Roswell Rudd   1983


      Album with Steve Lacy: 'Regeneration'

Roswell Rudd   1983


      Album with Steve Lacy: 'Regeneration'

Roswell Rudd   1996


      Album: 'The Unheard Herbie Nichols'

Roswell Rudd   2002


      Album: 'MALIcool'

      Kora: Toumani Diabate 


      Album: 'MALIcool'

      Kora: Toumani Diabate

Roswell Rudd   2005

   Behind the Mountains

      Album: 'Blue Mongol'

With the Mongolian Buryat Band

   The Camel

      Album: 'Blue Mongol'

With the Mongolian Buryat Band

Roswell Rudd   2013

   Here There and Everywhere

      Filmed live with Bob Dorough

   Tennessee Waltz

      Filmed live

Guitar: Rolf Sturm  

      Violin: Michael Doucet

   Trouble in Mind

      Filmed live with Fay Victor


Birth of Modern Jazz: Lee Morgan

Lee Morgan

Source: Sister Ezili

Born in Philidelphia, Pennsylvania, in 1938, bebop trumpeter Lee Morgan blew his first trumpet at age 13, receiving one for his birthday from his sister. Five years later he dispensed with such as chains of command and working your way to the top by simply signing on with it from the start with Dizzy Gillespie. His first recordings as a leader may possibly have been the same date as his first with Gillespie, November 4, 1956. Lord's discography notes that the session with Gillespie may have have been on December 2. Be as may, Morgan's first name session was per the Lee Morgan Quintet for Blue Note, and end up on 'Lee Morgan Indeed!'. Belonging to that ensemble were Clarence Sharpe (alto sax), Horace Silver (piano), Wilbur Ware (bass) and Papa Jo Jones (drums). As mentioned, Morgan's first titles with Gillespie were for a CBS radio broadcast from the Birdland in NYC, to end up on Gillespie's 'Live in Hi-Fi from Birdland'. Morgan's early education in the music business with Gillespie lasted to July 8, 1957, in NYC after a recorded concert at the Newport Jazz Festival on the 6th. That NYC session heard such as 'Joogie Woogie' and 'I Remember Clifford'. More significant to his career was tenor saxophonist, Hank Mobley. Morgan' first tracks with Mobley were for the latter's 'Introducing Lee Morgan' on November 5, 1956. They would run together for another decade, backing other bands when not supporting one another's projects. Their last of numerous sessions is thought to have been for Mobley's 'Third Season'. Another important figure was drummer, Art Blakey. Morgan signed up as a Jazz Messenger in time for Blakey's 'Theory of Art' on April 2, 1957. Theirs was a concentrated collaboration into '61, also touring to Europe. Backing each other's albums, in 1960 alone along with projects for Blakey, the latter backed Morgan on 'Here's Lee Morgan', 'Lee-Way' and 'Expoobident'. They had co-led 'More Birdland Sessions' the same year. Drifting apart in '61, they teamed up again in 1964-65. Blakey appeared on Morgan's 'Tom Cat' in '64. Their last session was on May 13, 1965, for Blakey's 'Freedom One Day', 'The Hub' and 'A Quiet Thing'. During the sixties Morgan released more than twenty albums. His final 'The Last Session', was released in 1971. Lord's discography has him recording per a 'Soul!' television episode on January 11, 1972:' I Remember Britt', ''Angela', et al. The following month he is thought to have performed his final titles for organist, Charles Earland, such as 'Morgan' and 'Speedball'. Two days later on February 19 Morgan was playing a gig at Slug's Saloon in NYC when his common-law wife of 20 years, Helen More, shot him. By the time the ambulance, in delay, had arrived Morgan bled to death, 33 years old. Helen, 46 at the time, received a prison sentence. Morgan is thought to be featured on 'Whisper Not', with Dizzy Gillespie, per 1956 below.

Lee Morgan   1956

   Gaza Strip


      With Hank Mobley

   Reggie of Chester

   Stand By

   Whisper Not

      With Hank Mobley

Lee Morgan   1957

   I Remember Clifford

   Whisper Not

      With Dizzy Gillespie

Lee Morgan   1958


      Album   Art Blakey's Jazz Messengers

Lee Morgan   1961

   Since I Fell For You

      Oscar Peterson Trio

Lee Morgan   1963

   The Sidewinder


Lee Morgan   1964

   Mr. Kenyatta

Lee Morgan   1965


      Filmed live in London with Art Blakey

Lee Morgan   1972

   In What Direction Are You Headed?

      Album: 'The Last Session'


Birth of Modern Jazz: Julian Priester

Julian Priester

Source: The Stranger

Born in 1935 in Chicago, trombone player, Julian Priester, gigged with such as Muddy Waters, Bo Diddley and Sonny Stitt as a teenager. At age seventeen he recorded his initial tracks with Sun Ra backing vocalist, Billie Hawkins, in January of '56: 'I'm Comin' Home' and 'Last Call For Love'. In February he participated in Ra's 'Super-Sonic Jazz' and 'Angels and Demons at Play' in 1957. Other sessions with Ra were until their last on July 12, 1956, for 'Jazz by Sun Ra'. Priester left Chicago to tour with Lionel Hampton that year. He isn't thought to have recorded with Hampton, but he ended up in NYC where his next sessions with a major name occured, recording with Dinah Washington on October 2, 1957, he sharing trombone with Jimmy Cleveland in the Eddie Chamblee Orchestra on titles like 'Everybody Loves My Baby' and 'Blues Down Home'. Titles on November 20, 1957, would appear on Washington's 'Sings Fats Waller', released that year according to discogs. In the meanwhile Priester had contributed to drummer, Philly Joe Jones', 'Blues for Dracula' on September 17, 1958. Priester worked with Jones into '59 (: 'Showcase') and later in '61. After Jones, Priester held his first session with drummer, Max Roach, on January 22, 1959, those titles toward Roach's 'The Many Sides of Max'. Priester would end up backing Roach numerously, also supporting other bands together, until February of '62 for for Roach's 'It's Time'. A further example of Priester with Roach was 'Moon-faced and Starry-eyed' in 1959. Trumpeter, Booker Little, had contributed to 'The Many Sides of Max', a musician with whom Priester would work numerously, if not backing Roach or other operations then Priester supporting Little. Priester, for example, was one of Little's sextet on 'Out Front' in 1961. They last recorded together in August of '61 for Roach's 'Percussion Bitter Sweet'. Another frequent partner of Priester's was tenor saxophonist, Stanley Turrentine, they first recording together in April of '59 per participation in the joint album by Roach and Buddy Rich, 'Roach Vs Rich'. Priester and Turrentine found themselves on the same trail backing Roach and other bands into 1960. Later that decade Priester would support Turrentine in 1966-67, among those projects being 'The Spoilers' on September 22, 1966. Not long after 'Roach Vs Rich' per above came 'The Little Giant' with the Johnny Griffin Sextet in August of '59. Blue Mitchell blew trumpet on that, a character Priester saw a lot of in 1959-60 and 1966-67, either backing other operations or Priester supporting Mitchell on such as 'Smooth as the Wind' in 1960 and 'Boss Horn' in 1966. Priester issued his debut LP in 1960: 'Keep Swingin''. 'Spiritsville' ensued the same year. Yet another major player entered his path on August 1, 1961, per 'Percussion Bitter Sweet' above, that tenor saxophonist, Clifford Jordan, whom Priester would back on numerous albums into 1962, '66 and '69. They would reunite later as the eighties became the nineties, Jordan's 'The Mellow Side of Clifford Jordan' and 'Masters From Different Worlds' from that period. Among others who came Priester's way in the sixties were Ray Charles (1963-64) and Duke Ellington (1969-70). Also in 1970 arrived Herbie Hancock per 'Mwandishi'. Hancock and Priester would visit again in '72, '76 and '78, that last occasion in San Francisco for trumpeter, Eddie Henderson's 'Majal'. Henderson, also in on 'Mwandishi', would be a significant figure in Priester's career in the seventies, also with Priester on Hancock's 'Crossings' and 'Sextant' in 1971. They would record on multiple occasions, either backing other operations or Priester supporting Henderson, to as late as 1979 per Babatunde and Phenomena's 'Levels of Consciousness'. Priester had begun instructing at the Cornish College of the Arts in Seattle in 1979 where he taught into the new millennium. Highlighting the eighties were sessions with bassist, Dave Holland, in Germany in 1983-84. Priester would see multiple sessions with drummer, Jerry Granelli, beginning in Seattle, Washington, in 1984 for Allen Youngblood's 'Selah'. Their last session was autumn of 1992 per Granelli's 'Another Place', that recorded in Ludwigsburg, Germany. Another important figure in Seatle was pianist, David Haney, commencing in August 2000 with such as 'The Marionette' and 'Blues In the Rain'. Priester was found on numerous projects with Haney to as late as the latter's 'Dolphy's Hat' in 2013. Priester's latest of several LPs was in 2002: 'In Deep End Dance'. He has recently been forced to cease touring, his only means of income, due to Kidney troubles.

Julian Priester   1957

  Supersonic Jazz

      Album by Sun Ra

Julian Priester   1959


      Album by Philly Joe Jones

Julian Priester   1960

  Blue Stride

      LP: 'Spiritsville'

  Julian's Tune

      LP: 'Keep Swingin''

Julian Priester   1974


      LP: 'Love, Love'

  Prologue/Love, Love

      LP: 'Love, Love'

Julian Priester   1977

  Anatomy of Longing

      LP: 'Polarization'

Julian Priester   2001

  Chi Chi

      LP: 'Out Of This World'

      With Walter Benton

Julian Priester   2010

  Earshot Jazz Festival

      Filmed with David Haney

Julian Priester   2014

  Eternal Worlds

      Filmed at the Halifax Jazz Festival


  Born in 1930 in Toronto, Ontario, trumpet and flugelhorn player, Kenny Wheeler, began to play the cornet at age 12, soon to develop an interest in jazz. He studied composition at the Royal Conservatory in Toronto before embarking to London to become a resident in 1952. He gigged with a number of bands in London's clubs until recording with the Tommy Whittle Orchestra on November 9, 1955, for Esquire: 'Laura', 'Lester Leaps In', 'Jive at Five' and 'How High the Moon'. Another session with Whittle followed on March 22, 1956, before the Buddy Featherstonhaugh New Quintet in December, those titles released on the Pye Jazz label the next year: 'Goldfish Blues', 'Doin' the Uptown Lowdown', 'Knock Yourself Out' and 'Henrietta'. The next month (January '57) Wheeler recorded several titles with the Don Rendell Jazz Six: 'Jack O'Lantern', 'Will O' The Wisp', 'I Saw Stars' and 'Out Of Nowhere'. A session in March of '58 with Vic Lewis and his Orchestra yielded 'That's Love', 'Over The Rainbow' and 'El Congo Valiente'. Wheeler performed on eight tracks with Woody Herman's Anglo-American Herd in April of '59, recorded again with Vic Lewis in June, then made his debut recordings with the Johnny Dankworth Orchestra in July that year at the Newport Jazz Festival. Seven more sessions would follow with Dankworth until the last in October of '64. Wheeler appeared on issues by various other orchestras in the mid to latter sixties. His recordings with Alexander von Schlippenbach's Globe Unity Orchestra in '67 and '70 weren't released until 2001 on the CD, 'Globe Unity 67 & 70'. He partnered with Dankworth's outfit again for his debut name release in 1968: 'Windmill Tilter' (Don Quixote). In 1973 he appeared on Globe Unity's 'Live in Wuppertal', with which orchestra he would record numerously into the new millennium. The next year he appeared on Anthony Braxton's 'New York, Fall', several more with Braxton to follow into the nineties. In 1977 he formed a trio called Azimuth with vocalist, Norma Winstone, and pianist, John Taylor, recording that group's first issue, 'Azimuth', that March. The eighties saw Wheeler contributing to albums by Dave Holland and David Sylvian. His last LPs as a leader to be released before his death were 'Mirrors' in 2013 with Norma Winstone and 'Six for Six' the same year, though recorded in 2008. Wheeler passed away in September 2014 in London. Per 1959 below, Wheeler recorded with Herman in the UK before Dankworth at the Newport Jazz Festival, tracks in alphabetical order by year. Wheeler shares trumpet with three others on the 'London to Newport' album. It isn't known in what capacities he is featured. Per 1977 and 1985, Azimuth was a trio consisting of John Taylor (piano) and Norma Winstone (vocal).

Kenny Wheeler   1959

   Firth of Fourths

      Johnny Dankworth and his Orchestra

   From Pillar to Post

      Woody Herman's Anglo-American Herd

   Like Some Blues Man, Like

      Woody Herman's Anglo-American Herd

Kenny Wheeler   1968

   The Cave of Montesinos

      Album: 'Windmill Tilter'


      Album: 'Windmill Tilter'

Kenny Wheeler   1975

   Gnu High


Kenny Wheeler   1977


      Album: 'Azimuth'

Kenny Wheeler   1978

   Deer Wan

      Album: 'Deer Wan'

   Sumother Song

      Album: 'Deer Wan'

Kenny Wheeler   1984

   Foxy Trot

      Album: 'Double, Double You'

Kenny Wheeler   1985


      Album: 'Azimuth '85'

   Dream, Lost Song

      Album: 'Azimuth '85'

Kenny Wheeler   1987

   Everybody's Song But My Own

      Album: 'Flutter By, Butterfly'

Kenny Wheeler   1987

   The Sweet Time Suite

      Album   Disc 1 of 2

      'Music for Large & Small Ensembles'

Kenny Wheeler   2001

   Sly Eyes

      Album: 'Moon'

Kenny Wheeler   2012

   Old Ballad

      Filmed live in Sydney

Kenny Wheeler   2013


      Album with Norma Winstone


Birth of Modern Jazz: Kenny Wheeler

Kenny Wheeler

Source: NFM


Born in 1934 in Detroit, trombonist Curtis Fuller issued his first album, 'Curtis Fuller - New Trombone', in 1957 only two years after release from the Army where he had met Cannonball Adderley and Junior Mance. He had laid his first few tracks on April 20, 1956, in Boston: 'Trane's Strain', 'High Step' and 'Nixon, Dixon and Yates Blues'. Those wouldn't see issue until 1975 per bassist, Paul Chambers', double album, 'High Step'. During that first session Fuller performed alongside John Coltrane (tenor sax) Pepper Adams (baritone sax) Roland Alexander (piano) and Philly Joe Jones (drums). His next sessions were a year later in April of 1957 with Yusef Lateef, appearing on Lateef's albums, 'Morning' (recorded the 5th and the 9th of April for Savoy) and 'Before Dawn' (recorded the 16th for Verve). The next month on May 10 Fuller recorded with Paul Quinichette for Prestige, then booked three sessions to record 'Curtis Fuller - New Trombone' (11th for Prestige), 'Curtis Fuller With Red Garland' (14th for New Jazz) and 'Curtis Fuller and Hampton Hawes with French Horns' (18th for Prestige). He wrapped up 1957 with further recordings with both Tommy Flanagan and Art Farmer. Fuller worked as a sideman with other top names before joining Art Blakey's Jazz Messengers in 1961, with which he kept until 1965. Fuller had first laid tracks with Blakey on August 28, 1959, per Benny Golson's 'Groovin' with Golson'. Numerous sessions followed over the years to as late as October 9, 1989, at the Leverkusen Jazz Festival in Germany, resulting in Blakey's 'The Art of Jazz'. Fuller's first tracks with Golson had been on July 24, 1958, for Abbey Lincoln's, 'It's Magic'. He would share numerous sessions with Golson over the years to as late as January 30, 2003, per Joe Farnsworth's 'It's Prime Time'. Another name big in Fuller's career was Quincy Jones, with whose orchestra Fuller first recorded on October 19, 1960, such as 'G'wan Train' and 'Tone Poem'. Fuller worked often with Jones to as late as 2009, Jones arranging 'Swinging, Singing, Playing' for the Count Basie ghost orchestra. Fuller had been a member of Basie's orchestra from '75 to '77. He had also collaborated with Dizzy Gillespie, first recording with Gillespie in NYC per the Quincy Jones Orchestra on December 20, 1964: 'I Had a Ball', 'Almost' and 'Addie's At It Again'. Fuller participated in a few of Gillespie's sessions to as late as September 5, 1981, in East Berlin, Germany, that resulting in 'Jazz Bohne Berlin'. With perhaps 250 sessions behind him, 43 of those his own, Fuller yet performs and records as of this writing, also teaching at the New York State Summer School of the Arts. Fuller is featured on 'Blue Train' with John Coltrane below per 1957.

Curtis Fuller   1957

   Blue Train

      Piano: Red Garland

   Blues In Space

      With Yusef Lateef

   Chasin' the Bird

      With Jackie McLean


      With Yusef Lateef


   Stormy Weather

      Piano: Red Garland

   It's Too Late Now

      Piano: Sonny Clark   Trumpet: Art Farmer

   Transportation Blues

Curtis Fuller   1959


   Blues de Funk


      From 'Blues-ette'

   Five Spot After Dark

      From 'Blues-ette'

   It's All Right With Me

   Judy's Dilemma

   Twelve Inch

   Wheatleigh Hall

Curtis Fuller   1962

   The Clan


Birth of Modern Jazz: Curtis Fuller

Curtis Fuller

  Born in 1936 in Oklahoma City, avant-garde cornetist Don Cherry had a bartender for a father. He had known drummer, Billy Higgins, since high school in Los Angeles. Both they and Ornette Coleman released their first recordings together in 1958, 'Something Else!', recorded that February. Higgins and Coleman would be a fixtures in Cherry's career to '71, though Cherry and Coleman recorded 'J for Jazz Presents: Ornette Coleman Broadcasts' in '72. Higgins joined Cherry again in '75 to remain for the coming decade. The three would reunite in '87 for 'In All Languages' and 'The 1987 Hamburg Concert'. They would make their final recordings together in 1990 per Coleman's 'Reunion'. Cherry's first sessions as a leader yielded the unissued titles, 'Harlemite' and 'Black Elk Speak' on November 29, 1961. Henry Grimes played bass and Ed Blackwell drums. His next such session on January 3, 1963, wouldn't see issue until 'In the Beginning 1963 - 1964' per Pharoah Sanders on CD. His debut issue as a leader was 'Togetherness' recorded in Paris on April 22, 1965. 'Complete Communion' was recorded December 24, 1965, in Englewood Cliffs, NJ. During the seventies Cherry examined world fusion, incorporating elements of African, Middle Eastern and Indian music into his compositions. In 1978 he formed the Codona, a trio with percussionists, Nana Vasconcelos and Collin Walcott. Cherry died on October 19, 1995, of liver cancer in Málaga, Spain. Among his final recordings per the summer of '94 was 'Round Midnight', issued on the album by various artists, 'Up & Down Club Sessions Vol. 2'.

Don Cherry   1958

   The Blessing

      Album: 'Something Else!!!!'

      With Ornette Coleman & Billy Higgins

Don Cherry   1959

   Lonely Woman

      Album: 'The Shape of Jazz to Come'

      With Ornette Coleman & Billy Higgins

Don Cherry   1960

   The Avant-Garde

      Album   Saxophone: John Coltrane

Don Cherry   1965

   Brilliant Actions

      Drums: Ed Blackwell


      Tenor sax: Gato Barbieri

Don Cherry   1968


      Live in Denmark

      With Frank Zappa and the Mothers of Invention

Don Cherry   1969

   Brilliant Action

Don Cherry   1972

   Organic Music Society


Don Cherry   1973

   Mali Doussn'gouni

      Album: 'Relativity Suite'


      Album: 'Relativity Suite'

Don Cherry   1976

   Buddha's Blues

   Surrender Rose

   Universal Mother


      Filmed live in Italy


Birth of Modern Jazz: Don Cherry

Don Cherry

Source: All About Jazz


Birth of Modern Jazz: Freddie Hubbard

Freddie Hubbard

Photo: Michael Ochs Archives/Getty Images

Source: Today

Born in 1938, trumpeter Freddie Hubbard is thought to have made his debut recordings on December 30 of 1957 with Wes Montgomery, tracks from that session released the next year by World Pacific as 'The Montgomery Brothers And 5 Others'. He released his first album as a leader in 1960: 'Open Sesame'. With a prolific 340 sessions, Hubbard's career isn't going to shine to degree requiring sunglasses here. His next session after Montgomery was on December 26, 1958, with the John Coltrane Quartet for the latter's 'The Believer'. A few more sessions with Coltrane followed into '61, their last several years later on June 28, 1965, for Coltrane's 'Ascension'. Another important sax player was Eric Dolphy, Hubbard's initial tracks with Dolphy's quintet on April 1, 1962, for 'Outward Bound'. Numerous sessions with Dolphy, both backing him or with other ensembles followed to February 25, 1964, for Dolphy's 'Out to Lunch'. Dolphy had meanwhile supported Hubbard on a few tracks of 'The Body and the Soul' on March 8, 1963. Among Hubbard's most significant partners throughout the years was upright bassist, Ron Carter, with whom he first recorded with the Jazz Statesmen of drummer, Charlie Persip, on April 2, 1960 in NYC, yielding such as 'Soul March' and 'Right Down Front'. Carter and Hubbard would partner on numberless occasions for another thirty years, backing either other ensembles or Hubbard, with Carter appearing on numerous of Hubbard's LPs. Their last recording together wasn't until they joined Stanley Turrentine for the latter's 'More Than a Mood' on February 13, 1992. His first of several occasions to record with tenor saxophonist, Oliver Nelson, was with the Quincy Jones Orchestra on October 19, 1960, for such as 'G'wan Train' and 'Tone Poem'. Between a few more sessions with Jones' organization Hubbard supported Nelson on 'The Blues and the Abstract Truth' on February 23, 1961. Hubbard had opportunity to record with drummer, Roy Haynes, on a couple occasions, as well as Max Roach, Elvin Jones and Tony Williams on several, but he saw a lot more of Art Blakey. His first certain date with Blakey was per the latter's sextet on August 17, 1961, at the Village Gate in NYC, recording such as 'Arabia' and 'The Promised Land'. Hubbard stuck with Blakey's operation to 1965, last sitting in his group in May for such as 'Slowly but Surely' and 'Freedom One Day'. They would reunite in 1981 at the Aurex Jazz Festival in Japan. Tenor saxophonist, Wayne Shorter, was one of Blakey's sextet per above at the Village Gate in '61. Shorter would be frequent partner into the latter sixties, later in the latter seventies. A few of Hubbard's recordings on which Shorter appear are 'Ready For Freddie' ('61), 'Here to Stay' ('62) and 'The Body and The Soul' ('63). Another important figure was pianist, Herbie Hancock, Hubbard first appearing with Hancock on 'Takin' Off' in '62. Hancock then contributed piano to Hubbard's 'Hub-Tones' later that year. Hancock and Hubbard would be tight partners, both supporting each other and other operations, to 1966. They started collaborating again in '69 and recorded numerously for another decade into the early eighties. Other of Hubbard's projects in which Hancock participated were 'Red Clay' ('70) and 'Straight Life'('70). Other highlights in the seventies were 'Gleam', recorded in Tokyo on March 17, 1975. In April 1977 Hubbard released 'V.S.O.P.', a jazz-funk fusion project with Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams. The same would issue 'The Quintet' later in October. Other V.S.O.P. projects were 'Tempest in the Colosseum', also in October, and 'Live Under the Sky' issued in '81. In the meantime Hubbard collaborated with Billy Joel on '52nd Street' in 1978. He recorded 'The Rose Tattoo' in Japan, issued in Japan, in December of '83. He also toured Europe in the eighties. Hubbard's concert at the Warsaw Jazz Festival on October 24, 1991, was recorded. He then toured Japan again in April of '92. Hubbard was made an NEA Jazz Master in 2006. The next year he recorded his final tracks per studio on December 2007 for 'On the Real Side'. He died of complications from a heart attack a year later on December 29, 2008.

Freddie Hubbard   1957

  Billie's Bounce

      Guitar: Wes Montgomery

Freddie Hubbard   1960

  Open Sesame


Freddie Hubbard   1961

  Marie Antoinette

      Album: 'Ready For Freddie'

Freddie Hubbard   1962



Freddie Hubbard   1965

  Soul Surge

      Album: 'Blue Spirits'

Freddie Hubbard   1967


      Filmed live

Freddie Hubbard   1970

  Red Clay


Freddie Hubbard   1971

  First Light

Freddie Hubbard   1979

  Little Sunflower

      Album: 'The Love Connection'

      Vocal: Al Jarreau

Freddie Hubbard   1982

  Inner Glimpse

      Filmed at Playboy Jazz Festival

Freddie Hubbard   1985

  I'll Remember April

      Filmed live in Berlin with Dizzy Gillespie

  Subway 1985

      Filmed live Köln

Freddie Hubbard   1986

  Eye of The Hurricane

      Filmed live


      Filmed live with the Cedar Walton Trio

Freddie Hubbard   1991

  Jazzwoche Burghausen

      Filmed concert

Freddie Hubbard   2000

   At Jazz Jamboree Warszawa '91

      Recorded live 1991

Freddie Hubbard   2008

   On the Real Side

      LP: 'On the Real Side'


  Born in 1938 in Memphis, Tennessee, Booker Little first recorded trumpet in Chicago in 1958 with drummer Max Roach, that as one of the latter's Plus Four on 'Max on the Chicago Scene'. His first album release was also that year with Roach: 'Booker Little 4 and Max Roach'. Roach would be a continual partner to the end of Little's career only three years later. Another important figure was Eric Dolphy with whom he jammed at the Five Spot in NYC. Little's first occasion to support Dolphy was for the latter's 'Far Cry' on December 21, 1960. They worked together numerously, including several albums by Dolphy, to August 1, 1961 for Roach's ''Percussion Bitter Sweet', thought to be Little's final recordings. Booker's career flowed only three some years, but he managed to jam nigh fifty sessions into that period, six of those his own on which he distinguished himself as a highly promising talent to come. Unfortunately, his bloom was short-lived, he dying in October of 1961 of uremia (kidney failure), only 23 years old.

Booker Little   1958


      Drums: Max Roach

   Moonlight Becomes You

      Drums: Max Roach

Booker Little   1959

   Old Folks

      Drums: Max Roach


      Drums: Max Roach

Booker Little   1960

   Bee Tee's Minor Plea

   Chasing the Bird

      With Donald Byrd

   Grand Valse (Waltz Of The Demons)

   Minor Sweet

   Opening Statement

   Who Can I Turn To?

Booker Little   1961

   Man of Words/Hazy Blues

   Strength and Sanity Out Front


Birth of Modern Jazz: Booker Little

Booker Little

Source: All About Jazz


  Born in 1935 in Philadelphia, PA, trumpet player, Ted Curson, began training on that instrument at age ten. He was a student at the Granoff School of Music in Philadelphia before heading to NYC in 1956. Curson's first recordings to emerge on vinyl are thought to have been in 1959 with the Cecil Taylor Quintet: 'Get Out of Town', 'I Love Paris', etc., to be found on Taylor's 'Love For Sale'. The next month he recorded 'I'm Gonna Get Married'/'Three Little Pigs' with Lloyd Price. On May 24, 1960, Curson recorded the first of several albums with Charles Mingus, 'Pre Bird'. 'Mingus at Antibes' was recorded July 13, 1960, per that festival in Juan-les-Pins, France, though not issued until 1976. Both 'Charles Mingus Presents Charles Mingus' and 'Mingus', were recorded on October 20. Curson issued his debut album as a leader in 1961: 'Plenty of Horn'. He would release some twenty LPs as a leader. Curson performed at the first Pori Jazz Festival in Finland in 1966, a venue to which he would return each year throughout his career. He passed away in 2012 in Montclair, New Jersey, where he had long been a resident. His last recordings are thought to have been in Paris on October 27, 2008, issued in 2012: 'Ted Curson Plays the Music of Charles Mingus'. Per 1961 below, all tracks are contained on Curson's first LP: 'Plenty of Horn'.

Ted Curson   1959

   I’m Gonna Get Married

      Vocal: Lloyd Price

   Little Less

      Cecil Taylor album: 'Love For Sale'

   Matie's Trophies

      Cecil Taylor album: 'Love For Sale'

   Three Little Pigs

      Vocal: Lloyd Price

Ted Curson   1961


   Dem's Blues

   Flatted Fifth

   Mr. Teddy

   The Things We Did Last Summer

Ted Curson   1963

   Only Forever

      Album: 'Ted Curson Plays Fire Down Below'

Ted Curson   1967


      Album: 'Scant'

      Andrzej Trzaskowski Sextet

      Recorded Jan/Feb 1965 Warsaw

   Live in Antibes

      Alto sax: Paul Desmond

Ted Curson   1970

   Airie's Tune

      Album: 'Ode to Booker Ervin'

Ted Curson   1971

   L.S.D. Takes a Holiday

      Album: 'Pop Wine'

Ted Curson   1973

   L.S.D. Takes a Holiday

      Filmed live in France

Ted Curson   1974


      Album: 'Quicksand'

Ted Curson   1977

   Ted's Tempo

      Album: 'Jubilant Power'

Ted Curson   2012


      Filmed live at the Pori Jazz Festival

   Tears for Dolphy

      Album: 'Live in Paris'

     Posthumous release


Birth of Modern Jazz: Ted Curson

Ted Curson

Photo: The Star-Ledger

Source: All That's Jazz

Birth of Modern Jazz: Don Ellis

Don Ellis

Source: Overdose

Born in 1934 in Los Angeles, trumpet player, Don Ellis, also made a name for himself as an arranger, bandleader and composer. His first employment as a trumpeter was with Ray McKinley, McKinley directing the Glenn Miller ghost band. Ellis' first recordings are thought to have been with that orchestra on August 26, 1956, such as 'In the Mood' and 'Rhapsody In Blue'. Those aren't thought to have been issued, however, until much later by Star Line Cassesttes.  Drafted in 1956, Ellis spent some time in Army bands in Germany, then headed for Greenwich Village in 1958. First working with such as Charlie Barnet, Woody Herman and Lionel Hampton, he also recorded 'It Don't Mean a Thing' at the jazz loft of painter/photographr, David X. Young, on December 15, 1958, that eventually released on CD years later. Ellis then joined Maynard Ferguson's outfit in 1959 in time to record 'Plays Jazz for Dancing' in February and March. He didn't have to play second trumpet to Ferguson or anyone else when he put down tracks with Charles Mingus on November 13, 1959, for such as 'Where's Teddy' and 'Hey There'. Ellis stayed with Ferguson into 1960, the same year he recorded his first album that has never been released, 'New Sounds for the 60's', which tapes are stored per the Don Ellis Collection at UCLA. Later that year, however, he issued 'How Time Passes'. Ellis traveled to Warsaw in 1962, then Stockholm in '63 before forming the Improvisational Workshop Orchestra that year. In 1964 he studied ethnomusicology at UCLA, then formed the Hindustani Jazz Sextet. The first performance of the Don Ellis Orchestra was at the Monterey Jazz Festival in September 1966, recording such as '33 222 1 222' and 'Passacaglia and Fugue'. Ellis' first symphony, 'Contrasts for Two Orchestras and Trumpet', was performed in 1967 by the Los Angeles Philharmonic Orchestra. In 1971 'The French Connection' appeared, for which Ellis had written the score, he adding a string quartet and pianist, Milcho Leviev, to his orchestra in 1971 as well. Ellis began experiencing heart conditions in 1974, but worked through them to later be able to take his orchestra to the Montreux Jazz Festival in Switzerland in 1977. That performance was recorded along with a title with the Atlantic All Stars: 'Pick Up the Pieces'. Ellis' final recordings were in India in February of 1978, released on 'Live in India'. His last performance is thought to have been in April of 1978 in Los Angeles, he dying in December that year of cardiac arrhythmia, only 44 years of age. From avant-garde to Third Stream (fusion of classical with jazz improvisation), Ellis was highly regarded not only for his spectrum but his creativity and knowledge of his craft.

Don Ellis   1959

   Sea Isle Stomp

      With Maynard Ferguson

Don Ellis   1960

   How Time Passes

      Album: 'How Time Passes'

Don Ellis   1961

   Cock and Bull

   Despair to Hope

   Four and Three

   Natural H.


   Uh Huh

Don Ellis   1962


   Now's The Time

Don Ellis   1966



Don Ellis   1967

   Turkish Bath

      Album: 'Electric Bath'

Don Ellis   1968


      Live performance

Don Ellis   1970

   Rock Odyssey

      Live at the Fillmore

Don Ellis   1971

   Bulgarian Bulge

      Album: 'Tears of Joy'

   Strawberry Soup

      Album: 'Tears of Joy'

Don Ellis   1972

   Jesus Christ Superstar

Don Ellis   1976

   Sweet Georgia Brown

      Live with Shirley MacLaine

Don Ellis   1977

   Future Feature

      Live performance

   Open Wide

      Live performance

   Piggywiggle Stomp

      Live performance

   Sporting Dance

      Live performance


Birth of Modern Jazz: Hugh Masekela

Hugh Masekela

Source: Hudson Valley Times
Born in 1939 in Witbank, South Africa, composer, Hugh Masekela, began training on piano as a child, adding trumpet at age fourteen. After a bit of early training he began leading his own ensembles, he a popular performer by the time he joined the African Jazz Revue in 1956. He was trumpeter in the Father Huddleston Band circa 1956 for titles in Johannesburg toward the issue by various, 'Township Swing Jazz! Vol 1' in 1981. In 1958 he began touring South Africa with 'King Kong', the musical about the heavyweight boxer. It was 1959 that he participated in pianist, John Mehegan's, 'Jazz In Africa Vol 1' for issue that year (per discogs). In 1959 Masekela helped form the Jazz Epistles (named after Art Blakey's Jazz Messengers) with Dollar Brand, coming to the distinction of being the first black jazz ensemble to make a recording in South Africa, 'Jazz Epistle - Verse 1', released in 1960. Come the Jazz Dazzlers on July 15, 1960, for titles included on 'Township Swing Jazz! Vol 2' ('90). By that time the National Party had governed South Africa for twelve years (1948). Apartheid, the official segregation and disenfranchisement of blacks, was a system largely ignored by the global community. The Sharpeville Massacre of 69 demonstrators in March of 1960 was one of the results of an oppression that included censorship of the arts, not only mind-wrenchingly ridiculous in the banning of blacks from performing jazz, but making South Africa a dangerous place for jazz musicians to be (see Fela Kuti as to the rather different political zeitgeist in the latter seventies in Nigeria). Masekela therefore left his homeland in exile in 1960. Like others in the 'King King' production (concerning the boxer), he used its tour to Europe to leave South Africa without returning. He next attended the Guildhall School of Music in London before leaving for the United States to study classical trumpet at the Manhattan School of Music from 1960 to 1964. He issued his first LP, 'Trumpet Africaine', in 1962. 'Grrr' ('66) followed in April and May of 1965. November of '65 saw the recording of both 'The Americanization of Ooga Booga' ('66) and 'The Lasting Impression of Hugh Masekela' ('68). 'Hugh Masekela's Next Album' and 'The Emancipation of Hugh Masekela' both went down in 1966. 'Hugh Masekela's Latest' went down sometime in 1967, by which time he could draw a crowd at the Monterey Pop Festival in June. Even better was the four million copies he would sell of the instrumental, 'Grazing in the Grass', issued in 1968, something not about to have happened in South Africa, which would be governed by the National Party until 1994. In 1980 Masekela and Jive Records put together a mobile studio in Botswana just across the border from South Africa to assist musicians there. While living in Botswana he recorded 'Techno-Bush' in 1984 and 'Waiting for the Train' in 1985. Masekela's career would last considerably longer than that of the National Party. He is thought to have returned to South Africa in 1990 while that party was yet in power, contributing to Miriam Makeba's 'Vukani' in Johannesburg in 1991, found on 'Eyes on Tomorrow' that year. In 1992 Masekela joined alto saxophonist, Rene McLean, to record 'In African Eyes' in Johannesburg. Among others on whose recordings he can be found are Letta Mbulu, Herb Alpert, Manu Dibango and Prisca Molotsi. Releasing above forty albums, Masekela is yet active touring to this date. His latest releases were in latter 2012, 'Playing @ Work', and 'Friends' with pianist, Larry Willis. Per 1960 below, piano in the Jazz Epistles is by Dollar Brand who was young Abdullah Ibrahim. All tracks are from the album, 'Jazz Epistle - Verse 1'.

Hugh Masekela   1959

   Lover Come Back to Me

     Featuring John Mehegan

The Jazz Epistles   1960

   Sad Times, Bad Times/King Kong

   Scullery Department


Hugh Masekela   1966

   What Is Wrong With Groovin'?

     Album: 'The Emancipation of Hugh Masekela'

Hugh Masekela   1968

   Grazing in the Grass


Hugh Masekela   1973

   Introducing Hedzoleh Soundz


Hugh Masekela   1974

   I Am Not Afraid

     Album: 'I Am Not Afraid'

Hugh Masekela   1975

   A Person Is a Sometime Thing

     Album: 'The Boy's Doin' It'

Hugh Masekela   1984

   Don't Go Lose It Baby

     Album: 'Techno Bush'

Hugh Masekela   1986

   Stimela (Coal Train)

     Filmed live

Hugh Masekela   1993

   Market Place

     Album: 'Hope'

Hugh Masekela   2009

   Estival Jazz Lugano

     Filmed concert

Hugh Masekela   2010

   Stimela (Coal Train)

     Filmed live: Inntöne Festival Austria

Hugh Masekela   2011

   Estival Jazz Lugano

     Filmed concert

Hugh Masekela   2014

   I Won't Forget the Day

     Filmed live in Berlin

Hugh Masekela   2015

   Mandela (Bring Him Back Home)

     Filmed live


  We proceed no further than Hugh Masekela in this section of modern jazz horn. Horn players who began their careers in the sixties are at Modern Jazz 8.



Early Blues 1: Guitar

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